Bruce Springsteen’s new album “Wrecking Ball” is a resounding fanfare of social awareness smartly nestled in his signature sound of blazing original rock n’ roll. Not since his 2002 album “The Rising” has The Boss issued such a robust collection of original tracks – and this time, the 99% tone seems crafted with the aim of arming today’s generation with a new cast of protest songs.

The album begins like the 2012 Grammy Award music presentation did, with “We Take Care Of Our Own” (sans the Whitney Houston prayer by L.L. Cool J.), a vivacious rallying cry against American injustice in 4/4 time that sets the mood for the album. What follows is a tapestry of contemporary American folklore played through a blend of genres including R&B, Gospel, Mariachi, Celtic and Rap.

Aside from incredible sonic support by the E Street Band, notable additions include Rage Against The Machine guitarist Tom Morello’s artful ballad “Jack Of All Trades” and the cry-in-your-beer song “The Depression,” which he plays  to weepy perfection. Another treat is the final sax solo (when was the last time you heard that in a rock song?) by brotherman Clarence Clemmons (1942-2011) on “Land Of Hopes And Dreams.”

When Wrecking Ball debuted at #1 on the Billboard 200 for the tenth time, it matched Elvis Presley’s record, making The King and The Boss the only two male solo rock artists to achieve that feat. But Springsteen wants to go further, tying his inimitable sound to the developments of our era: wealth inequality, public outrage and a demand for profound social and economic change.

Check out Springsteen’s keynote speech at the recent SXSW conference, where he spoke about his creative process in the humble Jersey-guy-in-a-garage-band voice we’ve come to expect. Then Occupy his album.