They're not Booing; They're Yelling 'Bruuuuuce!'

Bruce Springsteen released his first album, "Greetings From Asbury Park, N.J." 43 years ago Jan. 5.

In honor of the anniversary, I recap my top six Bruce songs. I considered a simple top five, but couldn't leave any of these songs out. These six make up my Boss A list that I have come to love over the past 30 years listening to Bruce.

1. "Incident on 57th Street." I know this song doesn't top many lists, but it's my number one. I remember the first time I heard this song many years ago. I was at a red light when the song braked for a doo wop moment, and I remember thinking "What in the world is this?" I had never heard a rock-n-roll song put together quite this way, with a story flowing over stops and starts, complex instrumentation and even a semi-spoken part.
The lyrical imagry is just ridiculously good. Bruce had to be carrying these lyrics around for years. The second album off which "Incident" came was produced just a few months after the debut album.
"Incident" is very much a "West Side Story" song, and admirers of that musical might not find it all that original. But this tale of Spanish Johnny and Jane is my epic.

Link: The song.
Favorite lyric: "Spanish Johnny you can leave me tonight, but just don't leave me alone."
Instrument highlight: David Sancious punishes the organ
Quibble: The "sister prays for lost souls" lyric always seemed like it doesn't belong.

2. "Thunder Road." My favorite Bruce song for many years before I heard "Incident," "Thunder Road" is another lyrical and arrangement masterpiece. I used to listen to this song over and over and over and never could get the lyrics just right. It just moves so crisply, and Bruce completely eschews trite phrasing.
Bruce wrote plenty about busting out during the 70s, and for my dime, "Thunder" is the best. "Born to Run" is great, but was overplayed for me. With an intense, rapid fire delivery, Bruce perfectly captures the youthful craving for adventure. The "Thunder" buildup to its thunderous ending is one of rock's epic moments. It still gives me chills despite hearing it about a thousand times.
The song was chosen to kickoff what was a make-or-break album for the Boss, which also gives it a special place. Bruce identified with the "Thunder Road" title and it appears in the chorus of a later song ("The Promise). "Thunder Road" is the title of a 1958 movie starring Robert Mitchum. As was his habit, Bruce had the title in mind first, then wrote the song to fit.

Link: The song.
Favorite lyric: "It's a town full of losers and I'm pullin outta here to win."
Instrument highlight: Roy Bittan's piano begins plaintively and ends rollicking
Quibble: At 4:49, you wish it were longer

3. "Badlands." Here we go with the first of three straight off my favorite album, "Darkness of the Edge of Town." Another great movie title that Bruce lifted for inspiration. This is another one I probably have ranked higher than most. Unlike the spectacular time and tempo changes found on other classics, Bruce and team keep it pretty simple here. But sometimes, simple works.
"Badlands" is a straight-ahead pounder about life's inevitable rough patches. I certaily identify with a lot of the themes. While it's not epic in arrangement or length, it conveys similar power with an economy of style. If there's a quintessential Springsteen song, this might be it. It's my car go-to song coming out of long meetings, or heading out on Friday nights and road trips.


Link: The song.
Favorite lyric: "I wanna find one face that ain't lookin' through me."
Instrument highlight: Max Weinberg's drumming drives the song
Quibble: I got nothing

4. "Racing in the Street." The music does it for me here. The extended instrumental coda that ends the song is right up there with "Hotel California." As a story, "Racing" takes Bruce's favorite life and love themes and sends them to the racetrack. Driving and cars are metaphors he returns to often in his writing. As he did with a few songs, Bruce recorded slow and fast versions of "Racing." The slow version is far superior, and includes refined lyrics.
Bruce and the band languished in the sidelines for a year and a half while a lawsuit against manager Mike Appel was resolved. With nothing to do but write, record, and perfect these songs, this became Springsteen's most fertile period as an artist. "Racing" is one song that benefited from the extra studio time.

Link: The song.
Favorite lyric: "She stares off alone into the night, with the eyes of one who hates for just being born."
Instrument highlight: Bittan's piano, Federici's organ and Weinberg's drums harmonize perfectly here.

Quibble: The "Racing" lyrics feel just a bit too dense and unfocused. The first two verses describe male bonding through racing. The last verse introduces a girl and her dark world. Perhaps a tad too ambitious.

5. "Darkness on the Edge of Town." I have always liked the album title track -- yet another case where Bruce reportedly came up with a great title first -- but time moved it onto my A list. The vocals take chances, with Bruce singing of a lost love and regret, then growling angry responses. One can see the influence of gritty rock vocal stylings of The Animals here.
Bruce sings of a former flame ("I hear she's got a house up in Fairview"), dropping a reference to an upsacle New Jersey township in the process. He follows up with a vicious takedown ("And a style she's tryin' to maintain").
The E Streeters are again up to the task here. A break after verse two wonderfully blends Bittan's piano and Bruce's lead guitar, with Weinberg busting in to keep things moving. "Darkness" ends with Bittan leading the rhythm section in another beautiful mini-coda.

Link: The song.
Favorite lyric: "Where no one asks any questions, or looks to long in your face."
Instrument highlight: The Boss proves he's a pretty good guitar player, too.

Quibble: Not a one.

6. "Jungleland." Number one on many lists, I am partial to "Incident" when it comes to Bruce's operatic odes to teen love and loss. But "Jungleland" is an unquestioned rock classic, fueled by perhaps the greatest rock solo ever.
For me, "Jungleland" is a hair too polished and perfect. The characters ("Maximum Lawman," "Barefoot Girl"), the lines ("an opera out on the turnpike") and the production feel just a shade too overdone. Even Clarence's great solo was pieced together by Bruce from many, many takes. The Boss set out to make a masterpiece for the ages, and he accomplished his goal. But I think he lost a little grittiness along the way. I do love the song and appreciate its majestic beauty, but it might be a 9 instead of a 10 for me.

Link: The song.
Favorite lyric: "And the poets down here don't write nothing at all. They just stand back and let it all be."
Instrument highlight: The Big Man.

Quibble: See above.