Bruce Springsteen ‎– The Wild, The Innocent & The E Street Shuffle

unfortunately this album was not made by ifesa or another company in Ecuador

I highly doubt this version was issued in 1973. Nice Price stickers as pictured on the front weren't around until much later. This is most likely a 1980 reissue, just like the 1980-issued promo copy listed with the same catalogue number.

It can’t be 1979 if it had Born In The USA and Nebraska on the back of the OBI

I have a version that is BL-32432. It also has a barcode on the back, which the search tool can't find. So it is obviously not a 1973 version. Anyone know what it could be?

Hi, I have a version that has these numbers on the runout, but the side 1 label reads "KC 32432" while the side 2 label reads "PC 32432" -- does anyone know if there is a separate entry for this error? (i can't find it).

What a great album! Having given The Boss a wide berth for over 40 years I "discovered" him via his Seger Sessions release a few years ago, but was still not tempted to go deeper due to my perception of his overly commercial stuff in the 80s (Born to Run etc). Finding this album for a couple of quid in a second hand record store I thought "why not". Got home and have played it pretty much non-stop every since. Lots going on, every track is a killer, the band clearly having fun - I imagine New York in the 70s sounded just like this....

Have it, but how can it be '78, when there are album covers on obi, which were recorded after?

If you even remotely considered “Greetings From Asbury Park” to be Springsteen’s “Bringing It All Back Home,” you knew you were in for the time of your life with the release of “The Wild The Innocent & The E Street Shuffle.”

“Greetings” was both a romantic and artistic success, yet delightfully disjointed, and manic, with Bruce playing and singing to the high heavens for no other reason than to make a joyful noise. On “The Wide The Innocent,” Springsteen takes a massive step forward, presenting a collection of songs that are longer, more ambitious, and darkly romantic, in a way that “Greetings” was not. Yet though it all Bruce and his band never lose a single spark, rocking back and delivering the likes of which I have never heard.

The most obvious reason for the success of both of these albums is that Bruce is speaking from the heart, from what he knows and understands, from dreams he’s kept tucked in his back pocket, and a vision that will lead him full throttle into our hearts. On second look, there’s even more success with “The Wild The Innocent” due to the savvy razor edged wordplay that is far more complex and encompassing than one would ever expect from a man of his young years ... and this instantly allowed him to become the voice of American youth, at a time when we [those of us who were young at the time] needed it most. And finally, Springsteen seems to have literally stepped out of the contemporary novels we were reading, where he created bigger than life characters out of mere nobodies, emphasizing the fact that we should take nothing for granted, that each breath is to be savored, remembered, watched over, and nourished.

Just listen to Bruce in a nearly hushed voice sing, “those romantic young boys,” ... it still sends shivers down my spine. He’s melodramatic, his juxtapositions cut like switchblades, he’s ragged around the edges, but his shoes are highly polished, marking him as a rock n’ roll force to be reckoned with.

Review by Jenell Kesler