| | Bruce Springsteen Human Touch CD Bruce Springsteen Discography of CDs
 (4 Customer Reviews)
After a five year recording hiatus following the emotionally eloquent TUNNEL OF LOVE (and a subsequent world tour), Springsteen returned in 1992 with the tandem release of HUMAN TOUCH and LUCKY TOWN. Though released separately, both albums signalled the singer's more mature preoccupation with introspective, complicated themes of desire, despair and regret. The albums were also Springsteen's first without the full E Street Band. HUMAN TOUCH and LUCKY TOWN marry Springsteen's popular persona of fist-waving, stadium rocker with the more reflective, rootsier sound the singer favored on NEBRASKA.
Of the two albums, HUMAN TOUCH is the more successful in this endeavor; songs like "Roll of the Dice" and "Real Man" are vintage, hell-raising Springsteen whereas the haunting "With Every Wish" and the roiling undercurrent of "57 Channels (And Nothin' On)" travel more uncertain avenues. "Human Touch" is pretty melodic pop and "Cross My Heart" generates pure sexual heat, gyrating with a bluesy guitar groove. HUMAN TOUCH and LUCKY TOWN may never be revered in same way as some of his other releases, but both albums are immensely satisfying as a double shot farewell to the raucous rebelliousness of Springsteen's youthful rock and roll years.
Recorded at A&M Studios, Los Angeles, California.
Personnel: Bruce Springsteen (vocals, guitar); Bobby "Blanco" King, Bobby King (vocals, background vocals); Patti Scialfa, Sam Moore (vocals); Tim Pierce (guitar); Mark Isham (trumpet); Ian McLagan (piano); David Sancious (organ); Roy Bittan (keyboards); Kurt Wortman (drums, dumbek); Jeff Porcaro (drums, percussion); Michael Fisher (percussion).
Audio Mixer: Bob Clearmountain.
Recording information: A&M Studios, Hollywood, CA; Ocean Way Recording Studios, Hollywood, CA; Oceanway Studios; Record Plant; Record Point; Soundworks West; Westlake.
Editors: Dave Collins ; Scott Hull.
Photographers: Harvy Gruyaert; Pamela Springsteen; Annie Leibovitz; Barbara Carr; David Rose.
Arranger: Bruce Springsteen.
Personnel: Bruce Springsteen (vocals, guitar, bass); Sam Moore, Bobby King, Bobby Hatfield (vocals); Tim Pierce (guitar); Mark Isham (trumpet); Ian McLagen (piano); David Sancious (organ); Roy Bittan (keyboards); Randy Jackson (bass); Jeff Porcaro (drums, percussion); Kurt Wortman (drums); Michael Fisher (percussion); Patti Scialfa (background vocals).
Producers: Bruce Springsteen, Jon Landau, Chuck Plotkin, Roy Bittan.
Rolling Stone (4/30/92, p.56) - 4 Stars - Excellent - "...his guitar playing is plentiful and gripping....the fascinating progress of one of the most compelling artists of our time....Beginning with the pulsing title track, which stands among Springsteen's best work, the fourteen songs on HUMAN TOUCH explore the movement from disenchanted isolation to a willingness to risk love and its attendant traumas again..."
Q (1/93, p.73) - Included in Q's list of the 50 Best Albums Of 1992.
Q (5/92, p.87) - 5 Stars - Indispensable - "...Springsteen navigates a classical landscape of the heart, as mythical and ghostly as the blasted topography of gospel music..."
Musician (5/92, p.87) - "...the songs seem at once personal and universal....fascinating for the fresh musical ground it covers..." Bruce Springsteen Human Touch Songs | 1. | Human Touch | $0.99 | |
| 2. | Soul Driver | $0.99 | |
| 3. | 57 Channels (And Nothin' On) | $0.99 | |
| 4. | Cross My Heart | $0.99 | |
| 5. | Gloria's Eyes | $0.99 | |
| 6. | With Every Wish | $0.99 | |
| 7. | Roll of the Dice | $0.99 | |
| 8. | Real World | $0.99 | |
| 9. | All or Nothin' at All | $0.99 | |
| 10. | Man's Job | $0.99 | |
| 11. | I Wish I Were Blind | $0.99 | |
| 12. | Long Goodbye, The | $0.99 | |
| 13. | Real Man | $0.99 | |
| 14. | Pony Boy | $0.99 | |
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Human Touch Music Review Average Rating: (4 out of 5 stars)   DESCOMUNAL
Como siempre
Submitted by www.graficel (Santos Lugares. Buenos Aires, Argentina)
Was This Review Helpful? Yes No 1 of 1 found this helpful.
underrated.
only 3 songs i don't like on this record so why is this record so underrated?
Submitted by charlie (blacktown,n.s.w,australia.)
Was This Review Helpful? Yes No  except for some
except for some tacks this is not a very good album.
We're talking about the boss, so we expect always a very high level, but here we have a too much forced sound, and some songs have no stength.
I'd rather like Lucky town, surely this is one of his worst.
Submitted by Daniele (Venice, Italy)
Was This Review Helpful? Yes No
The Song Human Touch
I love the song Human Touch great lyrics
i feel were bruce is come for on this one.
Submitted by ERNIE (Charlottetown P.E.I CANADA)
Was This Review Helpful? Yes No | Have you heard this album? |  |
Purchase Human Touch CD To buy, Click on price to add to cart | Trans-Siberian Orchestra Night Castle CDs (2009)
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NIGHT CASTLE appears just in time for the big 2009 holiday season but don't be fooled: this isn't a Christmas album, even if it's sonically indistinguishable from Trans-Siberian Orchestra's other seasonal releases, and the fact that it's been dubbed "Capra-esque" certainly brings it within the realm of the season. NIGHT CASTLE brims with all the drama, pomp, and circumstance of Trans-Siberian Orchestra's other records but channeling these traits through a newly created narrative does have the effect of hearing it in a somewhat new light, shifting the focus entirely to the band's attack, not melody. Still, there's not that much new here -- and the coda of seasonal covers, including the first sober version of "Nutrocker" ever cut, doesn't do much to break that spell. But for those already enchanted by the Orchestra, this will continue to enthrall.
Night Castle appears just in time for the big 2009 holiday season but don't be fooled: this isn't a Christmas album, even if it's sonically indistinguishable from Trans-Siberian Orchestra's other seasonal releases, and the fact that it's been dubbed "Capra-esque" certainly brings it within the realm of the season. Night Castle brims with all the drama, pomp, and circumstance of Trans-Siberian ...
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After the initial shock fades, the existence of CHRISTMAS IN THE HEART seems perhaps inevitable. After all, the thing Bob Dylan loves most of all are songs that are handed down from generation to generation, songs that are part of the American fabric, songs so common they never seem to have been written. These are the songs Dylan chooses to sing on CHRISTMAS IN THE HEART, a cheerfully old-fashioned holiday album from its Norman Rockwell-esque cover to its joyous backing vocals. Apart from the breakneck "Must Be Santa," which barrelhouses like a barroom, Dylan doesn't really reinterpret ...
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Pink Martini follow the around-the-world-in-a-dozen-songs thrills of HEY EUGENE! with SPLENDOR IN THE GRASS, a mellower, simpler set of small pleasures. These are relative terms, however; the group's music is still well-traveled, with China Forbes singing in five languages (English, Spanish, Neapolitan, French, and Italian) instead of the six or so on EUGENE!. However, Pink Martini opt for a more unified sound here, one that draws on the more straightforward lounge-pop of their debut, SYMPATHIQUE, and the mellowness of '60s and '70s pop. SPLENDOR IN THE GRASS' first half is especially smooth, opening with the beautifully soft Neapolitan ballad "Ninna Nanna" and the title track, on which Forbes sings "I think we should take it slow" over swooping strings, brass, and piano that resurrect the glory days of AM pop; that feeling is echoed by the cover of Joe Raposo's "Sing," the Sesame Street song that gained popularity when the Carpenters ...
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Though Nikki Sudden's liner notes claim that "half of the rhythm section lost all of their enthusiasm" during the making of Groove, that laziness is nowhere evident in the final product. A big, swaggering, barnburner of a record, Groove pits toothy chords against thundering drums, making for what could best be described as post-punk designed to fill Madison Square Garden. The only thing that keeps the affair from being a full-blown bow to stadium rock is Sudden's wobbly, nasal vocals and his stubborn refusal to bow to conventional song structure. Forget anthemic singalong choruses -- Sudden's songs are all verse. Though scattered moments recall the stomp and pout of Marc Bolan, Sudden is too obtuse to be especially sexy. The brash, furious "Great Pharoah" has a two-note vocal melody, and the mournful cover of Neil Young's "Captain Kennedy" is interrupted up by long, loping guitar interludes. Groove works because it revels in the tension between the muscular arrangements and Sudden's passive drawl. On this reissue set, Groove is paired with an expanded edition of the super-rare live compilation Crown of Thorns. Impossible to find outside of Italy, Crown of Thorns plants Groove's bravado in a variety of live settings, turning Sudden and his band loose on everything from the Rolling Stones' "Wild Horses" to the T. Rex chestnut "Buick McKane." The results are scintillating, and rank among their finest work. From the mopey indie rock blueprint "Tell Me" to the roaring, rollicking "Mess With Me," the group plays like men on fire, making for a listening experience that is joyous and invigorating. As with all of the Secretly Canadian reissues of Sudden's work, the Groove/Crown of Thorns set is packaged with incredibly comprehensive liner notes (including song-by-song commentary from Sudden), extensive period ...
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It's hard to deny that saxophonist Gerald Albright often gave up playing "jazz" -- at least the snob definition -- in favor of urban radio and smooth jazz radio acceptance. During his years on the Atlantic label (1987-1997), his full-lengths contained big hits surrounded by lackluster songs. The exception was the "real jazz" album (snob definition again) Live at Birdland West, which kicked up the excitement a notch. After leaving Atlantic his first record for GRP, Groovology, was freer and more fun. Maybe it wasn't "real jazz," but it was really good. Nothing was so sweet and staid that it made you wince and the excitement was certainly back. Kickin' It Up continues along these lines, and if it isn't as well constructed as Groovology, it will at least keep the Albright faithful coming back. Albright still plays the jazz-pop that's kept him in the money, but once again he adds little flourishes and playful embellishments that are the textbook definition of jazz. A rotating group of musicians keeps the album from having any honest live feeling (no one ever "responds" to any of the other musicians), and there's almost as much drum programming as there is real drumming. The various groupings at least sound tight, and whenever Albright is coupled with Jeff Lorber he's extra effervescent. Former Boyz II Men vocalist Shawn Stockman pillow talks his way through the Brian McKnight-penned "Condition of My Heart" better than Justin Guarini did, and Albright's inspired arrangement and performance of John Mayer's "Why Georgia" captures the wistful, wandering spirit of the original. A couple formulaic numbers keep the record from being a total success, but there's less of it than during his worst Atlantic days ...
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