Bruce Springsteen Forum

Nebraska

Aufgenommen im eigenen Studio am 03. Januar 1982 bis August 1982
Veröffentlicht am 04. Oktober 1982 - erstes eigenes Solo Album
Billboard Top Ten - Platz 10. erreicht am 03. November 1982

Mitwirkende Künstler:
Bruce Springsteen - Gesang, alle Instrumente

Produktion:
Mike Batling - Tonmeister
Dennis King - Mastering
Andrea Klein - Cover Design
David Michael Kennedy - Coverfoto

Tracklist:
Nebraska
Atlantic City
Mansion on the Hill
Johnny 99
Highway Patrolman
State Trooper
Used Cars
Open All Night
My Father's House
Reason to Believe

Infos:
Bruce Springsteen nahm im Frühjahr 1982 einige Songs in seinem Studio auf. Die Demoaufnahmen wurden komplett für das "Nebraska" Album übernommen. Bei "Highway Patrolman" kann man sogar den Stuhl quietschen hören.

"Born in the USA", "Vietnam", "My Love will not let you Down", "This Hard Land", "Downbound Train" und "Working on the Highway" sollten ursprünglich auf "Nebraska" veröffentlicht werden.

Weitere Songs, die für "Nebraska" eingespielt wurden:
- Fistfull of Dollars
- Riding Horse
- Party Lights
- Summer Nights
- My Heart is an Open Books
- Robert Ford and Jesse James
- Danger Zone
- Daniel In The Lion's Den
- T he Answer (aka Losin' Kind)
- Love is a Dangerous Thing
- Downbound Train
- Red River Rock
- Club Soul City
- Fade to Black
- Deputy (aka Highway Patrolman)
- Child Bride
- Dream Baby
- Precious Memories
- Pink Cadillac
- James Lincoln Dear
- All I Need

Die Singles "Atlantic City", "Johnny 99" und "Open All Night" stiegen in die US Billboard Mainstream Rock Charts ein und belegten Platz 10, 50 und 22.

Kritik aus der Washington Post (1982):
There is an adage in the record business that a recording artist's demos of new songs often come off better than the more polished versions later worked up in a studio. But Bruce Springsteen was the first person to act on that theory, when he opted to release the demo versions of his latest songs, recorded with only acoustic or electric guitar, harmonica, and vocals, as his sixth album, Nebraska. It was really the content that dictated the approach, however. Nebraska's ten songs marked a departure for Springsteen, even as they took him farther down a road he had been traveling previously. Gradually, his songs had become darker and more pessimistic, and those on Nebraska marked a new low. They also found him branching out into better developed stories. The title track was a first-person account of the killing spree of mass murderer Charlie Starkweather. (It can't have been coincidental that the same story was told in director Terrence Malick's 1973 film Badlands, also used as a Springsteen song title.) That song set the tone for a series of portraits of small-time criminals, desperate people, and those who loved them. Just as the recordings were unpolished, the songs themselves didn't seem quite finished; sometimes the same line turned up in two songs. But that only served to unify the album. Within the difficult times, however, there was hope, especially as the album went on. "Open All Night" was a Chuck Berry-style rocker, and the album closed with "Reason to Believe," a song whose hard-luck verses were belied by the chorus - even if the singer couldn't understand what it was, "people find some reason to believe." Still, Nebraska was one of the most challenging albums ever released by a major star on a major record label.

Kritik aus dem Rolling Stone Magazin:
Nebraska - Bruce Springsteen
Steve Pond (Rolling Stone)

After ten years of forging his own brand of fiery, expansive rock & roll, Bruce Springsteen has decided that some stories are best told by one man, one guitar. Flying in the face of a sagging record industry with an intensely personal project that could easily alienate radio, rock's gutsiest mainstream performer has dramatically reclaimed his right to make the records he wants to make, and damn the consequences. This is the bravest of Springsteen's six records; it's also his most startling, direct and chilling. And if it's a risky move commercially, Nebraska is also a tactical masterstroke, an inspired way out of the high-stakes rock & roll game that requires each new record to be bigger and grander than the last.
Until now, it looked as if 1973's dizzying The Wild, the Innocent & the E Street Shuffle would be the last Springsteen album to surprise people. Ensuing records simply refined, expanded and deepened his artistry. But Nebraska comes as a shock, a violent, acid-etched portrait of a wounded America that fuels its machinery by consuming its people's dreams. It is a portrait painted with old tools: a few acoustic guitars, a four-track cassette deck, a vocabulary derived from the plain-spoken folk music of Woody Guthrie and the dark hillbilly laments of Hank Williams. The style is steadfastly, defiantly out-of-date, the singing flat and honest, the music stark, deliberate and unadorned.

Nebraska is an acoustic triumph, a basic folk album on which Springsteen has stripped his art down to the core. It's as harrowing as Darkness on the Edge of Town, but more measured. Every small touch speaks volumes: the delicacy of the acoustic guitars, the blurred sting of the electric guitars, the spare, grim images. He's now telling simple stories in the language of a deferential common man, peppering his sentences with "sir's." "My name is Joe Roberts," he sings. "I work for the state."

As The River closed, Springsteen found himself haunted by a highway death. On Nebraska, violent death is his starting point. The title track is an audacious, scary beginning. Singing in a voice borrowed from Guthrie and early Bob Dylan, he takes the part of mass murderer Charlie Starkweather to quietly sing, "I can't say that I'm sorry for the things that we done/At least for a little while, sir, me and her we had us some fun." The music is gentle and soothing, but this is no romanticized outlaw tale à la Guthrie's "Pretty Boy Floyd." The casual coldbloodedness, the singer's willingness to undertake the role and the music's pastoral calm make Starkweather all the more horrific.

Springsteen follows with another tale of real-life murder, this one involving mob wars in Atlantic City. With "Nebraska" and "Atlantic City," his landscape has taken on new, broader boundaries, and when he begins "Mansion on the Hill" with a reference to "the edge of town," it's clear that his usual New Jersey turf has opened its borders to include Nebraska and Wyoming and forty-seven other states. Crowds on the final leg of his last tour saw hints that Springsteen was heading toward this territory when he talked of Allan Nevins and Henry Steele Commager's history of the United States and Joe Klein's Woody Guthrie: a Life, and when he sang the songs of Guthrie, John Fogerty and Elvis Presley, all uniquely American stories.

The keynote lines on Nebraska–"Deliver me from nowhere" and "I got debts that no honest man can pay"–each surface in two songs. The former ends both "State Trooper" and "Open All Night," while the latter turns up in "Atlantic City" and "Johnny 99." The album's honest men–and they outnumber its criminals, though side one's string of bloodletters suggests otherwise – are all paying debts and looking for deliverance that never comes. The compassion with which Springsteen sings every line can't hide the fact that there's no peace to be found in the darkness, no cleansing river running through town.

As on The River, the most outwardly optimistic songs on the new album are sung by a man who knows full well that his dreams of easy deliverance are empty. In "Used Cars," the singer watches his father buy another clunker and makes a vow as heartfelt as it is heartbreakingly hollow: "Mister, the day the lottery I win/I ain't ever gonna ride in no used car again." And the LP's one seeming refuge turns out to be illusion: in "My Father's House," a devastating capper to Springsteen's cycle of "father" songs, the house is a sanctuary only in the singer's dreams. When he awakens, he finds that his father is gone, that the house sits at the end of a highway "where our sins lie unatoned." By this point, the convicted murderer of "Johnny 99" is one of the few characters who's seemingly figured out how to retain his dignity. He asks to be executed.

If this record is as deep and unsettling as anything Springsteen has recorded, it is also his narrowest and most single-minded work. He is not extending or advancing his own style so much as he is temporarily adopting a style codified by others. But in that decision are multiple strengths: Springsteen's clear, sharp focus, his insistence on painting small details so clearly and his determination to make a folk album firmly in the tradition. "My Father's House" may be the only cut on side two that can stand up to the string of songs that open the record, but inconsistency is perhaps inevitable after that astonishing initial stretch: the title track; "Altantic City"; and "Highway Patrolman," an indelible tale of the ties that bind and the toll familial love exacts, with one of Springsteen's most delicious, delirious reveries–"Me and Frankie laughin' and drinkin'/Nothing feels better than blood on blood/Takin' turns dancin' with Maria/As the band played 'Night of the Johnstown Flood.'"

By the end of the record, paradoxically, the choking dust that hangs over Springsteen's landscape makes its occasional rays of sunlight shine brighter. In "Atlantic City," for example, a rueful chorus makes the song sound nearly as triumphant as "Promised Land": "Everything dies, baby that's a fact/But maybe everything that dies some day comes back/Put your makeup on, fix your hair up pretty/And meet me tonight in Atlantic City."

Finally, it comes down to that: an old dress and a meeting across from the casino is sometimes all it takes. "Reason to Believe" adds the final brush strokes, by turns blackly humorous and haunting. One man stands alongside a highway, poking a dead dog as if to revive it; another heads down to the river to wed. The bride never shows, the groom stands waiting, the river flows on, and people, Bruce sings with faintly befuddled respect, still find their reasons to believe. Naive, simple and telling, it is the caption beneath Bruce Springsteen's abrasive, clouded and ultimately glorious portrait of America.

Outtake von Nebraska: Losin`Kind

http://www.youtube.com/watch?v=zqrZFD1d ... re=related

Beim Hafengeburtstag saß ich in einem Beachclub und traute meinen Ohren nicht - es wurde Bruce mit State Trooper gespielt und es tanzten schöne Frauen dazu . Zugegeben, es ist eine etwas andere Version, aber sie kam richtig gut an: http://www.youtube.com/watch?v=rPg1yZK_ ... re=related

Auch nicht schlecht:

http://www.youtube.com/watch?v=Dseky6zx ... re=related

Wie genial ist denn bitte "Fade to black"? Es muss eine Tracks-Box II geben!

http://www.youtube.com/watch?v=Qu23vlwF ... re=related

Aber die gibts es doch schon ..........


The Missing Tracks (8CD´s)

Vol. 1 - disc 1:

01 That's What You Get
02 Baby I
03 He's Guilty (Send That Boy To Jail)
04 Goin' Back To Georgia
05 The Train Song
06 Ballad Of Jesse James
07 Jazz Musician
08 If I Was The Priest
09 Arabian Night
10 Two Hearts In True Waltz Time
11 Street Queen
12 The Angel
13 Southern Son
14 Cowboys Of The Sea
15 Henry Boy
16 Vibes Man (a.k.a. "New York City Serenade")

Notes:

tracks 1&2 - Studio demos (acetate); Mr Music Inn, Bricktown, New Jersey - May 18, 1966.
tracks 3-5 - Steel Mill studio session; Fillmore Recording Studios, San Francisco, California - February 22, 1970.
track 6 - studio & location unknown, late '71/early '72; performed as "The Bruce Springsteen Band".
tracks 7-14 - CBS Audition / Hammond Demos; CBS Studios, New York City, New York - May 3, 1972.
tracks 15-16 - London Publishing Demos; Media and 914 Sound Studios, Blauvelt, New York - June/July 1972.

Missing Tracks - Vol. 1 - disc 2:

01 Song To Orphans
02 She's Leaving
03 The Word (a.k.a. "The Song")
04 Eloise
05 Jesse
06 The Lady And The Doctor
07 Prodigal Son
08 Border Guard
09 Camilla Horn
10 Hollywood Kids
11 California You're A Woman (a.k.a. "Family Song")
12 Evacuation To The West (a.k.a. "No More Kings In Texas")
13 War Nurse
14 Marie
15 Randolph Street (Master Of Electricity)
16 Visitation At Fort Horne
17 She's My Westside Angel

Notes:

tracks 1, 4-11, 13-16 - Laurel Canyon Music Publishing Demos; Media and 914 Sound Studios, Blauvelt, New York - June/July 1972.
tracks 2&3, 17 - London Publishing Demos; Media and 914 Sound Studios, Blauvelt, New York - June/July 1972.
track 12 - "The Wild, The Innocent & The E Street Shuffle" studio sessions; 914 Sound Studios, Blauvelt, New York - July/Aug. 1973.


Missing Tracks - Vol. 1 - disc 3:

01 Tokyo
02 Janey Needs A Shooter
03 Ballad Of A Self-Loading Pistol
04 Saga Of The Architect Angel
05 Winter Song
06 The Fever - DELETED; released on "18 Tracks"
07 You Mean So Much To Me
08 Phantoms
09 Wings For Wheels (a.k.a. "Thunder Road")
10 Thunder Road (acoustic)
11 Lovers In The Cold (a.k.a. "Walking In The Street")
12 It's Alright
13 What's The Matter Little Darlin'

Notes:

track 1 - London Publishing Demos; Media and 914 Sound Studios, Blauvelt, NY - June/July '72.
tracks 2-5 - Laurel Canyon Music Publishing Demos; Media and 914 Sound Studios, Blauvelt, NY - June/July '72.
tracks 6 & 8 - "The Wild, The Innocent & The E Street Shuffle" studio outtakes; 914 Sound Studios, Blauvelt, NY - June-Aug. '73.
track 7 - WGOE-FM Radio Studios; Richmond, VA - May 31, 1973.
tracks 9-11 - "Born To Run" studio sessions; The Record Plant, New York City, NY - March-July '75.
tracks 12-13 - "Darkness On The Edge Of Town" studio outtakes; The Record Plant, New York City, NY - June '77 - April '78.

Missing Tracks - Vol. 1 - disc 4:

01 The Promise #1 - different version to the one released on "18 Tracks"
02 The Promise #2 - different version to the one released on "18 Tracks"
03 One Way Street
04 Candy's Boy
05 Fire
06 Get That Feeling
07 World Of Dreams
08 Spanish Eyes
09 Say Sons (a.k.a. "Down By The River")
10 English Sons (a.k.a. "Endless Night")
11 Taxi Cab (a.k.a. "City At Night")
12 Outside Lookin' In
13 I'm Goin' Back (a.k.a. "Bo Diddley Rocker")
14 The Way
15 Preacher's Daughter
16 The Ballad (a.k.a. "Castaway")
17 Broken Hearted

Notes:

tracks 1-16 - "Darkness On The Edge Of Town" studio outtakes; The Record Plant, New York City, NY - June '77 - April '78.
track 17 - Studio rehearsals w/ The E Street Band; location unknown, Asbury Park, NJ - May 19, 1978.



Missing Tracks - Vol. 2 - disc 1:

01 Rendezvous (acoustic demo)
02 Roulette (acoustic demo)
03 Man That Got Away
04 Angelyne
05 Everybody Wants My Baby
06 Stockton Boys
07 You Gotta Be Kind
08 Down In Whitetown
09 You Can Look (But You Better Not Touch) #1
10 Party Lights
11 Love's Gonna Be Tonight
12 Protection (acoustic demo)
13 Love And Kisses
14 Under The Gun
15 Baby Don't Go
16 Walking On The Avenue
17 Find It Where You Can
18 Bring On The Night
19 You Gotta Fight (For What You Want)
20 Chevrolet Deluxe
21 White Lies
22 Mr. Outside
23 Restless Nights - DELETED; released on "Tracks"
24 Cindy

Missing Tracks - Vol. 2 - disc 2:

01 From Small Things (Big Things One Day Come) - DELETED; released on "Essential B.S."
02 Night Fire
03 Looking For Love
04 You Can Look (But You Better Not Touch) #2
05 Held Up Without A Gun - DELETED; released on "Essential B.S."
06 The Big Payback - DELETED; released on "Essential B.S."
07 Downbound Train (acoustic)
08 Losin' Kind #1
09 Losin' Kind #2
10 Child Bride
11 Pink Cadillac (acoustic)
12 Vietnam
13 Born In The U.S.A. (acoustic)
14 Love Is A Dangerous Thing
15 Fade To Black
16 Fistfull Of Dollars
17 Riding Horse
18 Party Lights
19 Open All Night (acoustic)
20 James Lincoln Dear
21 Richfield Whistle

Missing Tracks - Vol. 2 - disc 3:

01 Don't Look Back #1
02 Don't Look Back #2
03 One Love
04 Little Girl
05 Fugitive's Dream
06 Sugarland
07 Betty Jean
08 Bye Bye Johnny (a.k.a. "Johnny Bye Bye")
09 Seven Tears
10 The Klansman
11 Follow That Dream
12 Your Hometown
13 Unsatisfied Heart
14 Delivery Man
15 County Fair - DELETED; released on "Essential B.S."
16 None But The Brave - DELETED; released on "Essential B.S."
17 (Drop On Down And) Cover Me
18 Viva Las Vegas - DELETED; released on "Essential B.S."
19 Protection
20 Vigilante Man
21 Ain't Nobody Home
22 Hungry Heart

Missing Tracks - Vol. 2 - disc 4:

01 I Ain't Got No Home
02 Chicken Lips And Lizard Hips
03 30 Days Out
04 Gypsy Woman
05 Santa Claus Is Coming To Town
06 Merry Christmas Baby
07 Remember When The Music
08 Trapped - DELETED; released on "Essential B.S."
09 Trouble River
10 Waiting On The End Of The World
11 Blood Brothers
12 Dead Man Walkin' - DELETED; released on "Essential B.S."
13 Missing - DELETED; released on "Essential B.S."
14 Long Time Coming (live)
15 The Hitter (live)
16 Freehold
17 We Shall Overcome

Heute vor dreizig Jahren, am 20. September 1982, wurde das NEBRASKA-Album in den U.S.A. veröffentlicht.

Zu diesem Jubiläum lohnt es sich mal wieder, das Album anzuhören.
Bruce hat es sicherlich auch gemacht und daher zum Jubiläum auch die Tourpremiere von Mansion On The Hill gespielt.

Die Missing Tracks finde ich cooool,

Ja, 20 Jahre, wie die Zeit vergeht, tolles Album...

ICH WILL TRACKS II !!!!!

Da muß man sich erst in einem Boss-Forum anmelden um zu erfahren das es von meinem Lieblingsalbum noch solch gute zusätzliche Songs gibt
Hab mich grad durch einige Perlen der eingestellten Links gehört - danke

Ich habe gestern auf dem Flohmarkt die "Nebraska"-LP und das "The River"-Album für jeweils 9 € an einem Stand gesehen . Das "BitU"-Album für 7 € Das war leider der Einzige Stand auf dem gesamten Flohmarkt .

Meine Nebraska-Geschichte: ich bin im Herbst 1985 durch das "Born in the U.S.A."-Album auf Springsteen aufmerksam geworden. Nachdem ich die Platte in und auswendig kannte, habe ich mir Ende des Jahres die "Nebraska"-LP gekauft. Nach erstem Hören war ich total irritiert und wußte überhaupt nicht, was das ganze sollte Zudem war es kurioserweise eine griechische Pressung ohne das Textblatt (und die deutschen Übersetzungen), welche bei der hiesigen Pressung beilagen. Folglich wanderte die Platte ins Regal und wurde monatelang nicht gehört.

Das änderte sich mit der VÖ der "Live 1975-85"-Box Ende 1986, auf welche ja einige Nebraska-Songs in total coolen Versionen enthalten sind. Und diesmal gab es die Texte dazu, welche ich für mich relativ schnell übersetzte. Da wußte ich endlich, worum es in den Songs überhaupt ging und sah "Nebraska" mit anderen Augen.

"Johnny 99", "Atlantic City", "Reason To Believe", "Highway Patrolman", "Nebraska" - sie gehören heute alle zu meinen Favoriten im Springsteen'schen Gesamtwerk.

Trotz der vielen Live-Versionen mit Bands würde ich immer noch gern die 1982 im Studio eingespielten E Street Band-Versionen hören. Vielleicht taucht davon doch irgenwann mal etwas auf.

Anlässlich des bevorstehenden 40jährigen gibt es in der Wiener Zeitung einen Artikel:
https://www.wienerzeitung.at/nachrichte ... tudio.html

Nebraska gehört eindeutig zu meinen Lieblingsalben von Bruce. Nur schade, dass er sich durch überteuerte Konzerte selbst von den Leuten entfernt, deren Schicksal er auf Nebraska ein textliches und musikalisches Denkmal gesetzt hat.

Informativer Artikel, das Thema mal aus einer ganz anderen Richtung betrachtet.

Hat schon jemand den Artikel gelesen, alle Tipps beherzigt und ein neues "Nebraska"-Album aufgenommen?

Nebraska soll als "Jubiläumsvinyl" erscheinen!

https://www.rollingstone.de/bruce-sprin ... e-2495061/

Das ist keine Sony-Veröffentlichung, sondern kommt von "Vinyl me, please". Dort muss man Mitglied werden, bevor man die monatlichen Veröffentlichungen erwerben kann. Sieht toll aus, allerdings hat jemand in einem anderen Forum geschrieben, dass die Qualität der Vinylpressungen bei VMP nicht immer gut sein soll. Aber das ist nur eine Info aus zweiter Hand. Vielleicht weiß hier im Forum jemand Konkreteres?