Seven albums’ worth of music is no small feat. Bruce Springsteen is not just a rock legend but a prolific artist unafraid of change, fearless in the face of emotionally provocative songwriting. He remains a gold standard for music, and even his archival releases, which are compiled and sent out on Tracks II: The Lost Albums, showcase that strength. At first, it would seem Tracks II: The Lost Albums is solely for Springsteen completionists. But dig in a little deeper. These seven albums, the lost remnants of toyed-with genres, of failed attempts to reinvent his image or sound, are of a quality close to Born in the U.S.A. and The Rising. Here is a selection of deep cuts and a few songs which escaped the archives that are truly worth investing your time in. Some all-time greats to be had here, some eclipsing what was released around the same time.
LA Garage Sessions ‘83 is the standout album to come from these archival tapes. A link between Nebraska and Born in the U.S.A. recontextualises not just those two perfect albums, but the period in between. A transition for The Boss is what can be heard on this one, as can be found on Streets of Philadelphia, too. These are not all albums collecting the tonal and emotive change from Springsteen. Many of these archival albums hear Springsteen dedicate himself to a new sound or style. It does not always work. The loop machine days found on Streets of Philadelphia are certainly the weakest moments of the package, though it remains a fun listen. It is the only album of the set which feels more like a release for the sake of historical documentation than it does on a purely enjoyable level. The rest of the set is a gold rush of new material.
Faithless, Somewhere North of Nashville, and Inyo may as well be a countrified trilogy. There is a through line for the trio of albums, each dealing with broad references to country music fundamentals. Inyo has Springsteen backed by a mariachi band for some truly beautiful dedications to a country on the border with the one he has criticised so passionately, so heartbrokenly, in the last few weeks. Somewhere North of Nashville finds time to showcase the fundamentals of country music and how slight variations can lead to some truly strong works. Faithless, too, an album made for a movie which never saw the light of day, has Springsteen tap into not only the moving standards but his faith, too. It marks a genuine shift for The Boss, an openness which is found only in pockets of his recent works. Only the Strong Survive offered a taste of that, but not in Springsteen’s own words.
Twilight Hours and Perfect World do, though. The two albums rounding out Tracks II: The Lost Albums showcase how modern-day Springsteen has adapted not just his voice, but his style, to new generations. Twilight Hours is his take on that Frank Sinatra-like crooner sound. It works well for him as it did for Bob Dylan on Shadows in the Night. The real difference is the orchestral backing Springsteen receives there. It opens up the songs with a sincerity that straight-shooting rock and roll can still provide. Perfect World does have its moments, though, the most recently archived album from Springsteen hears him tackling stadium-ready instrumental bliss. It works brilliantly, as expected, and caps off this monumental, must-listen compilation of unreleased albums with a familiar sound. Tracks II: The Lost Albums is essential listening for anyone with even a slight interest in The Boss.
Read our review of LA Garage Sessions ’83 here.
Read our review of Streets of Philadelphia here.
Read our review of Faithless here.
Read our review of Somewhere North of Nashville here.
Read our review of Twilight Hours here.
Read our review of Perfect World here.
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