Bruce Springsteen ‎– Human Touch

Columbia ‎– C 53000
Vinyl, LP, Album, Stereo, Carrollton Press

Tracklist Hide Credits

A1 Human Touch
Harmony Vocals – Patti ScialfaWritten-By – Bruce Springsteen
A2 Soul Driver
Guitar [Second] – Tim PierceHarmony Vocals – Sam MooreOrgan [Hammond] – David SanciousPercussion – Michael FisherWritten-By – Bruce Springsteen
A3 57 Channels (And Nothin' On)
Written-By, Bass – Bruce Springsteen
A4 Cross My Heart
Lyrics By – Bruce Springsteen, Sonny Boy Williamson (2)Music By – Bruce Springsteen
A5 Gloria's Eyes
Written-By – Bruce Springsteen
A6 With Every Wish
Bass – Douglas Lunn*Drums, Percussion [Dumbeck] – Kurt WortmanTrumpet [Muted] – Mark IshamWritten-By – Bruce Springsteen
A7 Roll Of The Dice
Backing Vocals – Bobby KingGuitar [Second] – Tim PierceWritten-By – Bruce Springsteen, Roy Bittan
B1 Real World
Vocals – Sam MooreWritten-By – Bruce Springsteen, Roy Bittan
B2 All Or Nothin' At All
Written-By – Bruce Springsteen
B3 Man's Job
Vocals – Bobby King, Sam MooreWritten-By – Bruce Springsteen
B4 I Wish I Were Blind
Harmony Vocals – Bobby HatfieldWritten-By – Bruce Springsteen
B5 The Long Goodbye
Written-By – Bruce Springsteen
B6 Real Man
Organ – David SanciousPiano – Ian McLagen*Written-By – Bruce Springsteen
B7 Pony Boy
Lyrics By [Additional], Arranged By – Bruce SpringsteenVocals – Patti ScialfaWritten-By – Traditional

Companies, etc.



Columbia Records Pressing Plant, Carrollton, GA press denoted by "G1" etches in runouts.
Issued with printed inner sleeve with lyrics, pictures and information.

All songs by Bruce Springsteen © 1992 Bruce Springsteen (ASCAP) except "Cross My Heart" © 1992 Bruce Springsteen (ASCAP)/Arc Music (BMI); "Roll Of The Dice" and "Real World" © 1992 Bruce Springsteen/Roy Bittan (ASCAP)
© 1992 Bruce Springsteen
℗ 1992 Bruce Springsteen
Direct Metal Mastering at Masterdisk
Recording and mixing at A & M Studios
Additional recording at Soundworks West, Oceanway Studios, Westlake, Record Plant
Manufactured by Columbia Records

The durations are from the computer recording.

Barcode and Other Identifiers

  • Barcode (Text): 0 7464-53000-1
  • Barcode (Scanned - variation 1): 07464530001
  • Barcode (Scanned - variation 2): 074645300016
  • Matrix / Runout (Label side A): AL 53000
  • Matrix / Runout (Label side B): BL 53000
  • Matrix / Runout (Runout side A, variant 1): AL-53000-IB GI DMM MASTERDISK C2
  • Matrix / Runout (Runout side B, variant 1): BL-53000-IA GI MASTERDISK D MM B3
  • Matrix / Runout (Runout side A, variant 2): AL-53000-A̶-IB GI DMM MASTERDISK B1
  • Matrix / Runout (Runout side B, variant 2): BL-53000-B̶-IA GI MASTERDISK D MM C5
  • Rights Society (Publishing): ASCAP
  • Rights Society (Publishing): BMI

Other Versions (5 of 77) View All

Cat# Artist Title (Format) Label Cat# Country Year
CK 53000 Bruce Springsteen Human Touch(CD, Album) Columbia CK 53000 US 1992 Sell This Version
471423 3 Bruce Springsteen Human Touch(MD, Album) Columbia 471423 3 1992 Sell This Version
88697287532 Bruce Springsteen Human Touch(CD, Album, Ltd, RE, Min) Sony Records Int'l 88697287532 Japan 2008 Sell This Version
4714232, COL 471423 9 Bruce Springsteen Human Touch(CD, Album, Ltd, Pic) Columbia, Columbia 4714232, COL 471423 9 Europe 1992 Sell This Version
471423 2 Bruce Springsteen Human Touch(CD, Album) Columbia 471423 2 Australia 1992 Sell This Version



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June 15, 2019

Not a top shelf album and not dismissible …

Without the E Street Band at his side, this was an album folks loved to hate, yet there is some really fine material here that should certainly be explored. Does the album drag in a couple of places? Of course it does, where at nearly 60 minutes in length, Bruce certainly could have trimmed it down, but he didn’t, and you can.

Others are going to point to this record and say that Human Touch is his most inconsistent collection of songs to date, though methinks most of that failure is due to the tracking order, as “Human Touch,” “57 Channels,” “Real Man,” “Man’s Job” and “All or Nothing at All” are simply sensational, meaning this is an album one needs in their collection. Of course, even I’ll admit that if the filler numbers had been tossed out of both albums, Human Touch and Lucky Town that would have made for a very remarkable record indeed.

Human Touch and Lucky Town are dance partners of sorts, they travel the same path, are comprised of the same attributes, and bring forth a likeminded vision. Originally meant to come out in 1990, Springsteen shelved the project until he’d completed Lucky Town, and in so doing, both of these records got released on the same day in 1992. Considering that Springsteen was standing on top of the world at this point, as with many artists, he’d nothing to aspire to, nothing to complain about, he was happy in his new marriage, so what was lacking here and on Lucky Town was a focal point that was bigger than Bruce.

If anything, what Human Touch brought forth was a series of what should have been hit singles rather than a formal album, because contextually it goes nowhere, yet as a series of singles, those songs would have paved the way into his next musical vision with grace and ease. And if that weren’t enough, there were to be an additional three tracks that would have stretched the album out beyond reason, beyond even the capacity of a compact disc, yet alone a single vinyl record: “Red Headed Woman,” “Secret Garden” and “All the Way Home.”

Listen, I’m not going to defend this album, an album that was certainly over produced and polished to the high heavens, nor am I going to cut it to shreds, the record is what it is, where I’m more than happy to have those aforementioned songs, songs which have been dropped into an ever increasing collection from albums I felt had little to offer. Yet if I can snag a single Springsteen song that rides well in my back pocket from an iffy album, man, I’m grateful for that one number and the smile it wraps around my face. Remember, this isn’t silly pop music that’s dismissed with the wave of a hand, this is Springsteen painting significant pictures in a different fashion, it’s all worth your consideration. I’m not going to make excuses for the weak material either, even though the man was working with a totally new band, a new sound, with the only hangover from the E Street days being Roy Bittan.

Human Touch was a defiantly different affair, this was a record that featured Bruce, there where no cinematic personas created for him to hide behind here, this was Bruce standing out in the open … where that concept might just be the aspect that sets this record apart, as listeners could no longer channel themselves into these songs, this was Bruce singing about himself. Leaving listeners with nothing to say but, “Hey, I’m happy for you,” but your life is not my life, and listeners were looking for that communal collective atmosphere of the ‘every man’, which sadly is missing.

Human Touch was Springsteen’s ninth album, where he’d delivered endlessly great material, and with that in mind, I will confess that this is where Bruce took a turn for me. Perhaps he was effected by the lackluster response to this album and Lucky Town, as he changed his overall musical direction and aspirations, where albums such as The Promise, Working On A Dream, Magic, Devils & Dust and The Rising offered up only a few good songs per record, almost as if Bruce where saying, “Well, if that’s how you feel,” and went off down a path he found interesting with little concern for the listener’s at this point.

Review by Jenell Kesler