Monmouth University’s culture encompasses many things, but at the forefront is the love for New Jersey’s music history and Bruce Springsteen, aside from “Annie,” of course. So it was no surprise that our student record label, Blue Hawk Records (BHR) had teased a release over the summer seemingly paying homage to the singer’s 50th anniversary of “Born to Run.” As a back-to-school gift to the student body, the album was released on Sept. 5.
The extended play’s official title is “Runaway American Dream: Innovative Interpretations of Springsteen 50 Years Later.” The collaborative team consists of eight vocalists, eight producers, and eight musicians that all tie back to the university. Each track is incredibly unique and specific to the vocalist’s styles, while also preserving The Boss’s original work. Even the album cover has nods to Springsteen’s original, down to the font and position. It’s nothing short of brilliant bringing new, modern life into these classics.
Opening the album is “Backstreets” performed by 2025 alum, Amani Lillian. The song opens up with a funk, choiresque sound and the repetition of, “Backstreets/Hiding on the backstreets/Hiding on the backstreets/Hiding on the backstreets.” Not only does it provide a great introduction, but it has a super welcoming sound. Lillian is well versed in R&B and Soul styles having clearly found her artistic sound through releasing her original music like, “Take Up Everything (oblivious)” featured on BHR’s “Vol. 23: Chapter XXIII.”
The laid-back gospel, funk, soul sound influences are the perfect contrast to Springsteen’s original dramatic piano and storyteller music arc. The original recording has so many elements that were included in BHR’s version like the organ, guitar progressions, and vocal homage. It was sped up which fits the genre and lyrics perfectly, cutting it down to about three minutes, instead of six.
It is by no means the original and that’s good because it’s not meant to be. Lillian’s “Backstreets” tells the story of friends coming together figuratively and with actual vocals on the track, just how Springsteen intended it to come across.
The second track, “Thunder Road” was also performed by a 2025 alum, Abigail Garcia. Garcia’s voice takes on this pop country style with a hint of folk, making her interpretation beautiful and powerful. What makes “Thunder Road” an iconic Springsteen song is his storyteller ability of dropping us into a scene and making us feel like we’re a part of it. Hitting play is like stepping on the actual street and following the characters around “Thunder Road.”
Springsteen has us on the edge of our musical seat in the 1975 original track. As we eagerly hold onto every word, he sings: “We got one last chance to make it real/To trade in these wings on some wheels/ Climb in back, heaven’s waiting down on the tracks/Oh, come take my hand/We’re riding out tonight to case the promised land/Oh, Thunder Road.” If this song isn’t about being in the present moment, then I don’t know what is. Garcia’s however, is reminiscent and dreamy, it’s like “Thunder Road” is in the past and she’s looking back on it. I urge you to listen to both tracks back-to-back and appreciate each story.
The next track is certainly a treat, featuring Elijah Elias and 2021 alumni, Kristen Wilczewski in their interpretation of “Born to Run.” If there’s one song that captivates music fans, far and wide it’s “Born
to Run.” Who hasn’t blasted this song at full volume? This new imagined version is just as captivating in its lighter pop rock vibe. Elias and Wilczewski’s voices take on that gritty and soulful feel just like Springsteen’s original.
This song is an American classic so to have two youthful voices of our generation singing, “We gotta get out while we’re young/‘Cause tramps like us/Baby, we were born to run,” is a new level of nostalgia. It truly has that cinematic feel as Springsteen describes and BHR’s interpretation does it justice. Even including the iconic count off of, “One, two, three, four/The highway’s jammed with broken heroes/On a last chance power drive.” If Springsteen’s song is the cinematic movie version, then BHR has created the “coming-of-age” film version.
The fourth track is “She’s The One” sung by another 2025 alum, Michael Anthony Rocks (MAR) and once again, Wilczewski. Talk about taking a track and completely making it something new! While this track pays homage to the original, the students have taken it from folk rock to funk pop with a hint of hip hop.
MAR’s vocals have a great edge to them while also maintaining that Springsteen hopefulness. Wilczewski also adds a great feminine touch to the song making it much more dynamic. They sing, “Never gonna leave her (Oh, oh, oh)/Never gonna leave me now (You’re the one)/All I wanna do, all I wanna do, all I wanna do/Is love you/She’s the one.” Their vocalizing together, especially at the end, is my favorite. In my opinion they made the song more catchy and upped the ante of the production.
And finally, the album ends with “Tenth Avenue Freeze Out” performed by Lillian, Antonia Bongiorno, John Terista, and Taylor Wichterman. “Tenth Avenue Freeze Out” just so happens to be one of my favorite Springsteen songs. So, hearing this new interpretation of the song, I was pleasantly surprised. Who would’ve thought this song would translate well in a doo wop format? It’s as if the Springsteen hit existed solely in the 50s.
This album exceeded all my expectations. BHR captured Springsteen’s spirit, youthfulness, and history in a completely reimagined way. Everyone knows what an inspiration Springsteen was and is in music culture. But “Runaway American Dream” shows how influential the singer is to our community. After all, Springsteen once performed on the very steps of our Great Hall. With the old history combined with the construction of The Bruce Springsteen Archives and Center for American Music building and this tribute album, he’s present in our university culture now more than ever.
