Bruce Springsteen: Born In the USA

When Bruce Springsteen's Born in the U.S.A. exploded onto the cultural landscape, it didn't just make him a superstar—it redefined what American rock could achieve commercially. Selling over 30 million copies worldwide and spawning seven Top 10 singles, the album tied Michael Jackson's *Thriller* for the most hit singles from a single release. Yet the 2014 reissue of this landmark album presents a fascinating case study in how even classic albums can stumble in the modern vinyl revival.

Born in the U.S.A. represented a radical departure from Springsteen's previous release, the stark acoustic meditation *Nebraska*. Recorded primarily at The Power Station and The Hit Factory in New York City between 1982 and early 1984, the album emerged from marathon sessions that produced 70-90 songs over two years. As Springsteen later wrote in his memoir, "By that time, I'd recorded a lot of music. But in the end, I circled back to my original groups of songs. There I found a naturalism and aliveness that couldn't be argued with."

The numbers tell an extraordinary story. Born in the U.S.A. spent seven weeks atop the Billboard 200, becoming the best-selling album of 1985 with over 17 million copies sold in America alone. It set a record by spending 18 consecutive weeks at #2 while Prince's *Purple Rain* occupied the top spot—the longest fixed top-two period in Billboard 200 history.

The album's cultural influence extended far beyond sales figures. It elevated Springsteen from arena performer to stadium headliner, creating what some longtime fans still consider an unfortunate divide between his earlier intimate club shows and the beer-chugging, bandanna-wearing crowds that came with mainstream success. The title track's widespread misinterpretation as a patriotic anthem—when it actually critiques Vietnam War veterans' treatment—became a template for political co-optation of popular songs that continues today.

The Vinyl Verdict
Columbia's 2014 reissue arrived with impressive credentials and a track record of success with his other releases: 180g heavyweight vinyl, remastering from original source tapes, and faithful recreation of original packaging including printed inner sleeve and lyric sheet. Bob Ludwig's remastering used the Plangent Process to remove wow, flutter, and other analog tape anomalies, while Chris Bellman cut the lacquers for vinyl production.

However, the pressing execution reveals significant quality control issues that divide collectors. The problems appear to stem from manufacturing at MPO in France, a facility known for inconsistent results during this period.

The most significant issue plaguing the 2014 reissue is severe sibilance—harsh, distorted "s" sounds that make extended listening fatiguing. The sibilance appears to result from mastering choices rather than pressing defects, as multiple copies from different batches exhibit identical problems. Some collectors report the issue as "high-frequency distortion in the left channel" rather than traditional sibilance, suggesting technical problems in the digital transfer chain.

Beyond sibilance, collectors report typical MPO pressing issues including non-fill defects, off-center pressing, and warped vinyl. One experienced collector noted: "its pressed at MPO which means a near certain guarantee of non fill defects and so it is with this one... not once, but on two copies in identical spots."

Inner groove distortion also affects later tracks, with "My Hometown" particularly suffering from dull, rough playback. The pressing quality seems especially problematic when played on higher-end cartridges that reveal rather than mask the manufacturing defects.

As if these production and mastering issues were not enough, the 2014 reissue sounds notably digital compared to original pressings. The energy in the vocal and in the mix is just missing. This digital character likely results from the extensive use of the Plangent Process and digital mastering chain, which removes analog warmth while adding clinical precision. While some appreciate the clarity, others find it sacrifices the musical energy that made the original album compelling.

The 2014 Born in the U.S.A. reissue presents an unusual situation for collectors: an album where technical execution undermines musical enjoyment despite good intentions. The remastering approach shows clear benefits in removing tape artifacts and improving clarity, but the sibilance issues make many copies unlistenable. 💸

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