After four long and relatively tireless decades, Bruce Springsteen is still releasing quality music — and his new album, “High Hopes,” released on Jan. 14 and does not disappoint.

On the album, Springsteen uses his signature sound, often laden with the description of “heartland rock,” comprised of grinded vocal pitches and often catchy brass and string hooks. The album is comprised of out-take songs, alternate versions of past songs and cover songs.

Since his debut album in 1973, “Greetings from Ashbury Park, NJ,” comparisons of his vocal arrangements have been derived from the sounds of many songwriters, including Bob Dylan. However, his mainstream breakthrough had about it a similar appeal, though as if laced with an almost Elvis Presley feel.

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Interestingly enough, this blend is exhibited well from many popular tracks from “Born to Run” of 1975. From the eponymous title track, to “Tenth Avenue Freeze-Out” and the epic “Jungleland,” the mix of melody is extraordinarily present.

The dramatics in his voice, however, are really on display in “High Hopes.” The album is perfectly balanced amid the backing band’s pop rhythms and memorable arrangements. It is quite clear Springsteen is determined to indulge his heartland rock and roll melodies.

Intriguingly, the opening track of “High Hopes” harks back to 1975, its first track ringing out ironically eponymous as well. “Born to Run” was a release that increased Springsteen’s popularity immensely, and perhaps this album may serve itself in some form as a revitalization.

To open, viewers should mark first the discordant atmosphere of drum taps and rhythmic shucking of the guitar, and then ultimately note the maturity in the sound of the now 64-year-old vocalist.

The song’s chorus produces a fanfare of brass, sings reminiscently of past efforts, and does so nostalgically. It sustains and reiterates this throughout, with mild guitar refrains culminating into a pronounced string arrangement three-quarters of the way through.

Springsteen, no matter how the song is assembled, manages it with a professional collectiveness. His voice peaks, though never finds a breaking point as found in such classics as “Drive All Night.” Grant Springsteen forgiveness, however, as the album is utterly a pure rock deluge and intended to be collected calmly and aligned perfectly with a metronome. Where there may be a lacking in the past performance of the young Springsteen, the revisited songs identify still the classic poeticism of his Americana lyrics.

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The second track, “Harry’s Place” has a unique wistfulness of 1980’s memories. The guitar and melodic and building accompaniment distort and resound clamorously against the gritty and slow vocal path. The brass, as usual, finds perfectly a fit once more through a well-placed arrangement.

http://www.youtube.com/watch?v=t3sX-yNhTK0

The album proceeds along rather expectedly. It follows its working formula of strange assortments of guitar and voice; nevertheless, when the brass, and occasionally other back instruments, begin to chime, all eventually sing in completed measure.

There is no longing and there is no want. What is delivered is sufficient and true to Springsteen and his deep and rugged croon. The highlight  is the “Grapes of Wrath” inspired song “The Ghost of Tom Joad,” with its steady climax and voice, and the instrumental arrangements are most agreeable.

If one thing leaves listeners wanting, it is the lack of the raw of vocal tenacity past, and even for the songs written a few short years ago, the illustrious tales of the classics remain. There is always the Springsteen of rock and roll, of Americana – the Boss.

“High Hopes” can be purchased on Amazon by clicking here, on iTunes or streaming on Spotify.

Jake Saunders can be reached at [email protected], on Twitter at @saundersfj, or by phone at 536-3311 ext. 254.