Bruce Springsteen Biography

(born Sept. 23, 1949, Freehold, N.J., U.S.) American singer, songwriter, and bandleader who became the archetypal rock performer of the 1970s and '80s.

Springsteen grew up in Freehold, a mill town where his father worked as a labourer. His rebellious and artistic side led him to the nearby Jersey shore, where his imagination was sparked by the rock band scene and the boardwalk life, high and low. After an apprenticeship in bar bands on the mid-Atlantic coast, Springsteen turned himself into a solo singer-songwriter in 1972 and auditioned for talent scout John Hammond, Sr., who immediately signed him to Columbia Records. His first two albums, released in 1973, reflect folk rock, soul, and rhythm-and-blues influences, especially those of Van Morrison, Bob Dylan, and Stax/Volt Records. Springsteen's voice, a rough baritone that he used to shout on up-tempo numbers and to more sensual effect on slower songs, was shown to good effect here, but his sometimes spectacular guitar playing, which ranged from dense power chord effects to straight 1950s rock and roll, had to be downplayed to fit the singer-songwriter format.

With his third album, Born to Run (1975), Springsteen transformed into a full-fledged rock and roller, heavily indebted to Phil Spector and Roy Orbison. The album, a diurnal song cycle, was a sensation even before it hit the shelves; indeed, the week of the album's release, Columbia's public relations campaign landed Springsteen on the covers of both Time and Newsweek. But it sold only middling well, and three years passed before the follow-up, the darker, tougher Darkness on the Edge of Town (1978), appeared. With “Hungry Heart,” from The River (1980), Springsteen finally scored an international hit single.

By then, however, he was best known for his stage shows, three- and four-hour extravaganzas with his E Street Band that blended rock, folk, and soul with dramatic intensity and exuberant humour. The band, a crew of mixed stereotypes—from rock-and-roll bandit to cool music professional—was more like a gang than a musical unit, apparently held together by little other than faith in its leader. Springsteen and saxophonist Clarence Clemons, a huge black man, seemed sometimes to be playing out scenes from Huckleberry Finn, using the stage as their raft. Springsteen's refusal, after Born to Run, to cooperate with much of the record company's public relations and marketing machinery, coupled with his painstaking recording process and the draining live shows, helped earn his reputation as a performer of principle as well as of power and popularity. Yet to this point Springsteen was probably more important as a regional hero of the Eastern Seaboard from Boston to Virginia, where his songs and attitudes metaphorically summed up a certain rock-based lifestyle, than as a figure of national or international importance.