Bruce Springsteen takes seven 'Lost Albums' off the shelf for a new box set
FILE - Bruce Springsteen speaks to the audience during a concert with the E Street Band at the Olympic Stadium in Berlin, Germany, on June 11, 2025. (AP Photo/Markus Schreiber, File)
By DAVID BAUDER
Bruce Springsteen's new project, 'Tracks II: The Lost Albums,' is entirely about that age-old question: What if?
The box set, out June 27, comprises seven albums encompassing the period between 1983 and 2018, all but one he prepared to release in its time but ultimately shelved. Now that he's decided to drop them simultaneously, they offer a fascinating alternative story of his musical life.
Building on its predecessor 'Tracks,' 1998's four-disc, 66-song collection of unreleased material, there are 83 songs here. While some slipped out on other projects — 'My Hometown' and 'Secret Garden' among them — the vast majority hadn't been heard publicly. This is all fully completed material, not half-baked or half-finished outtakes. It's not unusual for artists to leave songs — or even full-lengths — on the cutting-room floor, but multiple entire albums? Springsteen explains that he's taken care releasing albums, looking to build a narrative arc for his career, and believes this approach has served him well.
Perhaps as a result, the most interesting work on 'Tracks II' comes when he stretches out and explores pathways not in his wheelhouse: countrypolitan Bruce, border-town Bruce, Burt Bacharach-inspired Bruce and a set of synthesizer-based songs modeled after his Oscar-winning 'Streets of Philadelphia.' Oddly, the one disc of strays cobbled together that feels most like an E Street Band record is the least compelling.
Since these are seven distinct albums, it's worth evaluating them that way.
'LA Garage Sessions '83' captures Springsteen working virtually alone at a home in the Hollywood Hills. It was squarely in between his 'Nebraska' and 'Born in the USA' albums, and he seems torn between those two approaches. There are character studies here, and more lighthearted fare like 'Little Girl Like You,' with a single man yearning to settle down. The most striking cut is 'The Klansman,' about a boy and his racist father, yet it cries out for more development. Ultimately, Springsteen chose the right albums to release at the time.
The song 'Streets of Philadelphia' was a genuine departure musically, and Springsteen decided to make an album in the same vein, with synthesizers and drum loops the dominant elements. If released in the early 1990s, this would have been the most contemporary-sounding disc of his career, with atmospherics that occasionally recall U2. Springsteen pulled it at the last minute, reasoning that the stories of doomed relationships — sample lyric: 'We loved each other like a disease' — was too much like 'Tunnel of Love.'
At the same time he recorded 'The Ghost of Tom Joad' in 1995, Springsteen also convened a country band steered by pedal steel player Marty Rifkin. Their work was terrific, led by the one-two punch of 'Repo Man' and the Johnny Rivers cover, 'Poor Side of Town.' The title cut to a disc he calls 'Somewhere North of Nashville' escaped into the public some two decades later. Since the somber 'Joad' won a Grammy, who are we to second-guess his choice of what to put out? 'Nashville,' though, is a rollicking good time.
'Inyo' is similar to 'Joad' and 'Devils & Dust,' mostly acoustic-based narratives, here many of them stories of the Southwest. Springsteen even appropriately brings in mariachi bands for 'Adelita' and 'The Lost Charro.' Soozie Tyrell's violin is notable, particularly on the majestic 'When I Build My Beautiful House.' We're guessing that Springsteen may have considered 'Inyo' one album too many in the same style, but it's still strong work.
At one point Springsteen considered making 'Western Stars,' his salute to early 1970s California songwriting, a double album. When he didn't, the songs on 'Twilight Hours' were left behind. Here Bacharach is the primary influence, and this almost feels like Elvis Costello's collaboration with Burt, only without him (and is the lyric 'God give me strength' a hat-tip to that project?). The crooning Bruce of 'Sunday Love' is spellbinding, maybe the box's best song. 'Lonely Town' sits at the intersection of Bacharach and Roy Orbison, while 'Dinner at Eight' is a lovely sum-up. 'Twilight Hours' may startle Springsteen fans — and impress them, too.
The workmanlike songs on 'Faithless' were written on commission in two weeks, the soundtrack to a movie that was never made. It's a good bet it would have been a moody Western.
When Springsteen duels with Tom Morello on the song 'Another Thin Line,' you realize how little you've heard his electric guitar on 'Tracks II.' The album 'Perfect World' is the one here made up of leftovers from different periods, with the greatest E Street Band participation. Here's the deal, though: Most good E Street Band material has already been released. The best left behind for this disc is 'You Lifted Me Up,' with minimalist lyrics and a vocal collaboration with Patti Scialfa and Steve Van Zandt.
The box gives Springsteen completists plenty to mull over, and you can question whether these 'lost discs' would get more attention released separately instead of together. If it's too much, he's releasing a 20-song set of its highlights.
© Copyright 2025 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed without permission.
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Japan Today
8 hours ago
- Japan Today
Bruce Springsteen takes seven 'Lost Albums' off the shelf for a new box set
FILE - Bruce Springsteen speaks to the audience during a concert with the E Street Band at the Olympic Stadium in Berlin, Germany, on June 11, 2025. (AP Photo/Markus Schreiber, File) By DAVID BAUDER Bruce Springsteen's new project, 'Tracks II: The Lost Albums,' is entirely about that age-old question: What if? The box set, out June 27, comprises seven albums encompassing the period between 1983 and 2018, all but one he prepared to release in its time but ultimately shelved. Now that he's decided to drop them simultaneously, they offer a fascinating alternative story of his musical life. Building on its predecessor 'Tracks,' 1998's four-disc, 66-song collection of unreleased material, there are 83 songs here. While some slipped out on other projects — 'My Hometown' and 'Secret Garden' among them — the vast majority hadn't been heard publicly. This is all fully completed material, not half-baked or half-finished outtakes. It's not unusual for artists to leave songs — or even full-lengths — on the cutting-room floor, but multiple entire albums? Springsteen explains that he's taken care releasing albums, looking to build a narrative arc for his career, and believes this approach has served him well. Perhaps as a result, the most interesting work on 'Tracks II' comes when he stretches out and explores pathways not in his wheelhouse: countrypolitan Bruce, border-town Bruce, Burt Bacharach-inspired Bruce and a set of synthesizer-based songs modeled after his Oscar-winning 'Streets of Philadelphia.' Oddly, the one disc of strays cobbled together that feels most like an E Street Band record is the least compelling. Since these are seven distinct albums, it's worth evaluating them that way. 'LA Garage Sessions '83' captures Springsteen working virtually alone at a home in the Hollywood Hills. It was squarely in between his 'Nebraska' and 'Born in the USA' albums, and he seems torn between those two approaches. There are character studies here, and more lighthearted fare like 'Little Girl Like You,' with a single man yearning to settle down. The most striking cut is 'The Klansman,' about a boy and his racist father, yet it cries out for more development. Ultimately, Springsteen chose the right albums to release at the time. The song 'Streets of Philadelphia' was a genuine departure musically, and Springsteen decided to make an album in the same vein, with synthesizers and drum loops the dominant elements. If released in the early 1990s, this would have been the most contemporary-sounding disc of his career, with atmospherics that occasionally recall U2. Springsteen pulled it at the last minute, reasoning that the stories of doomed relationships — sample lyric: 'We loved each other like a disease' — was too much like 'Tunnel of Love.' At the same time he recorded 'The Ghost of Tom Joad' in 1995, Springsteen also convened a country band steered by pedal steel player Marty Rifkin. Their work was terrific, led by the one-two punch of 'Repo Man' and the Johnny Rivers cover, 'Poor Side of Town.' The title cut to a disc he calls 'Somewhere North of Nashville' escaped into the public some two decades later. Since the somber 'Joad' won a Grammy, who are we to second-guess his choice of what to put out? 'Nashville,' though, is a rollicking good time. 'Inyo' is similar to 'Joad' and 'Devils & Dust,' mostly acoustic-based narratives, here many of them stories of the Southwest. Springsteen even appropriately brings in mariachi bands for 'Adelita' and 'The Lost Charro.' Soozie Tyrell's violin is notable, particularly on the majestic 'When I Build My Beautiful House.' We're guessing that Springsteen may have considered 'Inyo' one album too many in the same style, but it's still strong work. At one point Springsteen considered making 'Western Stars,' his salute to early 1970s California songwriting, a double album. When he didn't, the songs on 'Twilight Hours' were left behind. Here Bacharach is the primary influence, and this almost feels like Elvis Costello's collaboration with Burt, only without him (and is the lyric 'God give me strength' a hat-tip to that project?). The crooning Bruce of 'Sunday Love' is spellbinding, maybe the box's best song. 'Lonely Town' sits at the intersection of Bacharach and Roy Orbison, while 'Dinner at Eight' is a lovely sum-up. 'Twilight Hours' may startle Springsteen fans — and impress them, too. The workmanlike songs on 'Faithless' were written on commission in two weeks, the soundtrack to a movie that was never made. It's a good bet it would have been a moody Western. When Springsteen duels with Tom Morello on the song 'Another Thin Line,' you realize how little you've heard his electric guitar on 'Tracks II.' The album 'Perfect World' is the one here made up of leftovers from different periods, with the greatest E Street Band participation. Here's the deal, though: Most good E Street Band material has already been released. The best left behind for this disc is 'You Lifted Me Up,' with minimalist lyrics and a vocal collaboration with Patti Scialfa and Steve Van Zandt. The box gives Springsteen completists plenty to mull over, and you can question whether these 'lost discs' would get more attention released separately instead of together. If it's too much, he's releasing a 20-song set of its highlights. © Copyright 2025 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed without permission.
Japan Today
11-06-2025
- Japan Today
Springsteen's Berlin concert echoes with history and a stark warning
Bruce Springsteen performs with the E Street Band at the Olympic Stadium in Berlin, Germany, Wednesday, June 11, 2025. (AP Photo/Markus Schreiber) By STEFANIE DAZIO Veteran rock star Bruce Springsteen, a high-profile critic of President Donald Trump, slammed the U.S. administration as 'corrupt, incompetent and treasonous' during a concert Wednesday in Berlin. He was addressing tens of thousands of fans at a stadium built for the 1936 Olympic Games that still bears the scars of World War II and contains relics from the country's dark Nazi past. 'Tonight, we ask all who believe in democracy and the best of our American experiment to rise with us, raise your voices, stand with us against authoritarianism, and let freedom reign,' he said. Springsteen, long a political opponent of the president, has made increasingly pointed and contentious public statements in recent concerts. He denounced Trump's politics during a concert last month in Manchester, calling him an 'unfit president' leading a 'rogue government' of people who have 'no concern or idea for what it means to be deeply American.' Springsteen is no stranger to Berlin. In July 1988, he became one of the first Western musicians to perform in East Germany, performing to a ravenous crowd of 160,000 East Germans yearning for American rock 'n' roll and the freedom it represented to the youth living under the crumbling communist regime. An Associated Press news story from that period says 'fireworks steaked through the sky' and hundreds of people in the audience waved handmade American flags as they sang along to 'Born in the USA.' Almost four decades later, Springsteen issued a stark warning: 'The America that I love, the America that I've sung to you about, that has been a beacon of hope and liberty for 250 years, is currently in the hands of a corrupt, incompetent, and treasonous administration." © Copyright 2025 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed without permission.
Japan Today
06-06-2025
- Japan Today
Film Festival showcases what artificial intelligence can do on the big screen
Runway's third-annual AI Film Festival kicks off with a screening at Lincoln Center's Alice Tully Hall in New York on Thursday, June 5, 2025. (AP Photo/Wyatte Grantham-Philips) By WYATTE GRANTHAM-PHILIPS Artificial intelligence 's use in movie making is exploding. And a young film festival, now in its junior year, is showcasing what this technology can do on screen today. The annual AI Film Festival organized by Runway, a company that specializes in AI-generated video, kicked off in New York Thursday night with ten short films from around the world making their debut on the big screen. 'Three years ago, this was such a crazy idea,' Runway CEO Cristóbal Valenzuela told the crowd. 'Today, millions of people are making billions of videos using tools we only dreamed of.' The film festival itself has grown significantly since its 2023 debut. About 300 people submitted films when it first began, Valenzuela said, compared to about 6,000 submissions received this year. The one and half-hour lineup stretched across a range of creative styles and ambitious themes — with Jacob Alder's ' Total Pixel Space " taking home the festival's top prize. The 9-minute and 28-second film questions how many possible images — real or not — exist in the digital space, and uses math to calculate a colossal number. A stunning series of images, ranging from the familiar life moments to those that completely bend reality, gives viewers a glimpse of what's out there. Meanwhile, Andrew Salter's 'Jailbird," which snagged second place, chronicles a chicken's journey — from the bird's perspective — to a human prison in the United Kingdom to take part in a joint-rehabilitation program. And 'One,' a futuristic story by Ricardo Villavicencio and Edward Saatchi about interplanetary travel followed in third place. The 10 films shown were finalists selected from thousands submitted to Runway's AI Film Festival this year. The shorts will also be shown at screenings held in Los Angeles and Paris next week. How AI is used and executed is a factor judges evaluate when determining festival winners. But not every film entered was made entirely using AI. While submission criteria requires each movie include the use of AI-generated video, there's no set threshold, meaning some films can take a more 'mixed media' approach — such as combining live shots of actors or real-life images and sounds with AI-generated elements. 'We're trying to encourage people to explore and experiment with it,' Valenzuela said in an interview prior to Thursday's screening. Creating a coherent film using generative AI is no easy feat. It can take a long list of directions and numerous, detailed prompts to get even a short scene to make sense and look consistent. Still, the scope of what this kind of technology can do has grown significantly since Runway's first AI Film Festival in 2023 — and Valenzuela says that's reflected in today's submissions. While there are still limits, AI-generated video is becoming more and more life-like and realistic. Runway encourages the use of its own AI tools for films entered into its festival, but creators are also allowed to turn to other resources and tools as they put together the films — and across the industry, tools that use AI to create videos spanning from text, image and/or audio prompts have rapidly improved over recent years, while becoming increasingly available. 'The way (this technology) has lived within film and media culture, and pop culture, has really accelerated,' said Joshua Glick, an associate professor of film and electronic arts at Bard College. He adds that Runway's film fest, which is among a handful of showcases aimed at spotlighting AI's creative capabilities, arrives as companies in this space are searching for heightened 'legitimacy and recognition' for the tools they are creating — with aims to cement partnerships in Hollywood as a result. AI's presence in Hollywood is already far-reaching, and perhaps more expansive than many moviegoers realize. Beyond 'headline-grabbing' (and at times controversial) applications that big-budget films have done to 'de-age' actors or create eye-catching stunts, Glick notes, this technology is often incorporated in an array of post-production editing, digital touch-ups and additional behind-the-scenes work like sorting footage. Industry executives repeatedly point to how AI can improve efficiency in the movie making process — allowing creatives to perform a task that once took hours, for example, in a matter of minutes — and foster further innovation. Still, AI's rapid growth and adoption has also heightened anxieties around the burgeoning technology — notably its implications for workers. The International Alliance of Theatrical Stage Employees — which represents behind-the-scenes entertainment workers in the U.S. and Canada — has 'long embraced new technologies that enhance storytelling,' Vanessa Holtgrewe, IATSE's international vice president, said in an emailed statement. 'But we've also been clear: AI must not be used to undermine workers' rights or livelihoods.' IATSE and other unions have continued to meet with major studios and establish provisions in efforts to provide guardrails around the use of AI. The Screen Actors Guild-American Federation of Television and Radio Artists has also been vocal about AI protections for its members, a key sticking point in recent labor actions. For Runway's AI Film Festival, Valenzuela hopes screening films that incorporate AI-generated video can showcase what's possible — and how he says this technology can help, not hurt, creatives in the work they do today. 'It's natural to fear change ... (But) it's important to understand what you can do with it," Valenzuela said. Even filmmaking, he adds, was born 'because of scientific breakthroughs that at the time were very uncomfortable for many people." © Copyright 2025 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed without permission.
