Commercially Released: March 8, 2013 (Australia) / April 15, 2013 (Europe)
Label: Columbia
Recorded at Record Plant, Power Station, The Hit Factory, Thrill Hill Recording, Southern Tracks,
Henson Recording Studios, Avatar Studios, 914 Sound Studios, Very Loud House Studio, MSR Studios*
Mixed at Thrill Hill Recording*
Mastered at 914 Sound Studios, Record Plant, A&M Studios and Soundworks West*
Design by Michelle Holme
Photography by Danny Clinch, Eric Meola and Peter Cunningham
* See original releases for all credits.
Overview
Collection: 1973–2012 is a compilation album containing 18 tracks spanning forty years of Springsteen's musical career. Fourteen of the songs on the album are credited to Springsteen as a solo act and four (namely "Rosalita (Come Out Tonight)", "Hungry Heart", "Born in the U.S.A.", and "Dancing in the Dark") are credited to the formation "Bruce Springsteen & The E Street Band". Two of the tracks, namely "Badlands" and "The Promised Land", were remastered for the compilation edition.
Released
| # | Song Title | Running Time | Release |
|---|---|---|---|
| 1. | ROSALITA (COME OUT TONIGHT) | 7:01 | COLL: 7312 |
| 2. | THUNDER ROAD 2 | 4:48 | COLL: 7312 |
| 3. | BORN TO RUN | 4:30 | COLL: 7312 |
| 4. | BADLANDS | 4:04 | COLL: 7312 |
| 5. | THE PROMISED LAND 2 | 4:29 | COLL: 7312 |
| 6. | HUNGRY HEART 1 | 3:19 | COLL: 7312 |
| 7. | ATLANTIC CITY | 3:56 | COLL: 7312 |
| 8. | BORN IN THE U.S.A. 1 | 4:39 | COLL: 7312 |
| 9. | DANCING IN THE DARK 1 | 4:02 | COLL: 7312 |
| 10. | BRILLIANT DISGUISE | 4:15 | COLL: 7312 |
| 11. | HUMAN TOUCH | 5:09 | COLL: 7312 |
| 12. | STREETS OF PHILADELPHIA | 3:14 | COLL: 7312 |
| 13. | THE GHOST OF TOM JOAD | 4:22 | COLL: 7312 |
| 14. | THE RISING | 4:47 | COLL: 7312 |
| 15. | RADIO NOWHERE | 3:18 | COLL: 7312 |
| 16. | WORKING ON A DREAM | 3:28 | COLL: 7312 |
| 17. | WE TAKE CARE OF OUR OWN | 3:53 | COLL: 7312 |
| 18. | WRECKING BALL | 5:49 | COLL: 7312 |
Total Running Time: 1:24:24
1: Credited to Bruce Springsteen & The E Street Band
2: Remastered for this compilation
Additional Information
|
© All credits to the original photographer. If you want your photo to be removed, let us know, and we will remove it.
- Bruce Springsteen: Lead Vocals, Guitar, Mandolin, Harmonica, Recorder, Keyboards, Banjo, Piano, Drums, Organ, Percussion, Loops
- The E Street Band:
- Roy Bittan: Piano, Synthesizer, Keyboards, Organ, Drums, Glockenspiel, Loops, Guitar, Bass, Backing Vocals
- Clarence Clemons: Saxophone, Percussion, Backing Vocals
- Danny Federici: Piano, Keyboards, Accordion, Organ, Glockenspiel, Backing Vocals
- Nils Lofgren: Guitar, Vocals
- Patti Scialfa: Vocals, Backing Vocals
- Garry Tallent: Bass, Vocals, Backing Vocals
- Steven Van Zandt: Electric Guitar, Acoustic Guitar, Mandolin, Backing Vocals
- Max Weinberg: Drums, Percussion, Backing Vocals
Check the original retail-pages for a full listing of musicians.
- All Versions
| ROSALITA (COME OUT TONIGHT) - V1 | 7:17 | US5 / ET / ETRJ / ROOI / SA914 |
| ROSALITA (COME OUT TONIGHT) - V2 | 7:00 | WIESS / ESSENTIAL / GH09 |
Note According to Diane Lozito, Bruce's girlfriend 1971-1975, "he wrote 'Rosalita' in bits and pieces and didn't have a title for it," she says. "My mom is Rita Lozito. Then he met my grandma. So I assume that's where he put it together." Her grandmother's full name was "Rose Lozito"; In that part of Jersey, it's pronounced Lazita, so "Rose Lazita". Apparently, the derivation of the sub-title "(Come Out Tonight)" is by an unrelated and unknown process. Also according to Diane, and confirmed independently by her sister, Carol Lisa Lozito, though the song name came from her grandmother, the song was about Diane. Carol also said her sister was 'Crazey Janey" in "Spirit In the Night", "Sandy" in "4th of July, Asbury Park", "Terry" in "Backstreets", and the girl in "Thundercrack". This has never been refuted by Springsteen. In an interview for Mojo magazine published in January 1999, Springsteen told Mark Hagen that he wrote "Rosalita (Come Out Tonight)" as a live showstopper, just as he had written "Thundercrack" before it. Rosie was performed for the first time on February 14, 1973 at Richmond, Virginia, fully-formed musically, with plenty of lyrics too, though some were unfamiliar "with her chiffon reigns" and "soft sweet samurai tongue". It was performed live at least four more times, and recorded over an untold number of sessions, with only one date discovered so far in studio logs, September 23, 1973. The final album mix, and an instrumental backing track V1, are all that is in general circulation.
| CHRISSIE'S SONG - V1 | uncirculating | |
| WINGS FOR WHEELS - V2 | uncirculating | |
| THUNDER ROAD - V3a | 4:39 | BIS / WAR / ET / BWNH / BTRCS / UBTROC |
| THUNDER ROAD - V3b | 5:12 | BTRS / BTRO |
| THUNDER ROAD - V4 | 4:35 | BIS / WAR / ET / BWNH / BTRS / BTRCS / UBTROC |
| THUNDER ROAD - V5 | 5:03 | ESR / BTRS |
| THUNDER ROAD - V6 | 5:22 | WAR / BWNH / BTRS / BTRCS / UBTROC |
| THUNDER ROAD - V7 | 4:45 | BORN TO RUN / ESSENTIAL / GREATEST |
Note: Started out as a 1972 song called "Angelina", then after further development, Bruce played V1, a solo recording in October 1974 at 914 Sound Studios, Blauvelt NY of "Chrissie’s Song", including the line "Leave what you’ve lost, leave what’s grown cold, Thunder Road". Sometime between November 1974 and January 1975, Bruce took 'Chrissie' and the following lyrics from "Walking In the Street", and combined them into a new composition, coined "Wings For Wheels" by bootleggers. V2, recorded in February. Sometime after March 9 (the last time "Wings" appeared on a set list), Bruce took the music he had written for "Walking In the Street", and patched it on to the end of "Wings for Wheels"; now his new lyric "this is a town for losers, I'm pulling out of here to win" was followed by the new instrumentral outro. "The night's bustin' open, these two lanes will take us anywhere", and a poster for a 1958 Robert Mitchum movie in the lobby of a movie theater, provided the final ingredients for "Thunder Road".
April 13, 1975 was the day Jon Landau officially joined the album #3 production team. Louis Lahav, chief engineer, and his wife Suki, the violin player, quit and returned to their native Israel in late March. Jimmy Iovine reported to work at the Record Plant on April 18, after Landau was instructed to find better accommodations. "Thunder Road" and "Jungleland" were the first two songs recorded that day, and three versions of "Thunder Road", recorded over April 18-19 and 23, 1975, would later leak out on bootlegs. V3a is a full-band version, the girl is now Chrissie, and ends with the build up, instrumental outro, two refrains led by Clarence, to a full ending with no fadeout. V3b has two extra refrains for an extra long ending. The lyrics are getting there, but the guitar is not yet talking, and "Leave what you’ve lost, leave what’s grown cold, Thunder Road" from "Chrissie's Song" is still there. V4 is a haunting acoustic solo version, the girl is now Christina, but otherwise no lyrical changes. V5, released on E Street Radio, is from April 23, starts with Roy Bittan's piano, base rhythm and Bruce's vocal and guitar (no organ or sax). "Leave what you’ve lost, leave what’s grown cold" now replaced with "Sit tight, take hold", a major change. The final refrain is led by piano, with Bruce's overdubbed guitar. V6, recorded, or at least overdubbed, on July 15 or 16, and is almost ready to open Born To Run. This take opens with saxophone and Roy's piano, the latter which is featured in the first two minutes, Bruce's now awesome vocal, introduces us to Mary, and dominated by guitar. The long outro mixes guitar, sax and piano just like the album, and has seven refrains, though one variation only has five. V7 now has piano and harmonica opening without sax, glock, the talking guitar and Mary, and after twelve hours mixing and dubbing guitars, was completed on July 16, 1975, with Mike Appel on background vocals.
| BORN TO RUN - V1 | uncirculating | |
| BORN TO RUN - V2a | 4:24 | ESR / BTRS |
| BORN TO RUN - V2b | 4:28 | BTRS |
| BORN TO RUN - V3 | 4:27 | BTRS |
| BORN TO RUN - V4a | 4:40 | BIS / BTRS |
| BORN TO RUN - V4b | 4:38 | WAR / BTRS |
| BORN TO RUN - V4c | 4:34 | ETRJ / BWNH / BTRS / BTRCS / BIS / ROOI / WAR |
| BORN TO RUN - V4d | 4:30 | BIS / ROOI / ETRJ / ETRV / BTRS / BTRCS |
| BORN TO RUN - V4e | 4:23 | BTRS |
| BORN TO RUN - V4f | 4:21 | BTRS |
| BORN TO RUN - V4g | 4:30 | BTRS |
| BORN TO RUN - V4h | 4:23 | BTRS |
| BORN TO RUN - V4i | 4:21 | BIS / BTRCS |
| BORN TO RUN - V4j | 4:21 | BTRS |
| BORN TO RUN - V4k | 3:20 | Ktel-CBS |
| BORN TO RUN - V5a | 4:28 | BORN TO RUN / ESSENTIAL / GREATEST / CHAPTER |
| BORN TO RUN - V5b | 4:28 | ETRJ / ETRV / BTRS |
| BORN TO RUN - V5c | 5:27 | RTT |
| BORN TO RUN - V6 | uncirculating |
Note: In his 2012 biography, Bruce, Peter Ames Carlin wrote that "While on the road in the Mid-South late in 1973, Springsteen awoke suddenly one morning, grabbed his notebook, and inked in the title "Born To Run". A few weeks later, "Bruce, the band, and Appel got back to work at the 914 Sound Studios on January 8, 1974, spending a couple of days fiddling with rudimentary versions of both 'Born To Run' V1 and "Jungleland"." According to Springsteen, the entire writing and recording process for the song took six months, while he was living at a rented cottage at 7½ West End Court in West Long Branch, New Jersey. Though recordings from early 1974 have never surfaced, early lyric sheets of "Glory Road" contain many lines that would be used in "Born To Run", including the title.
V2a is the original backing track recorded on May 21, 1974, after rehearsal in prior sessions. V2b is from June 26, 1974, dubbing Bruce's vocal to the V2a track. Work continued, adding lyrics and overdubs, at 914 Sound Studios, both in June and then after starting a week's residency at the studio on August 1, 1974. Finally, on August 6, 1974, seventy-two tracks were mixed down to the sixteen available by engineer Louis Lahav. The core backing track is V3. The variants of V4 are numerous test mixes and arrangements, with backing vocals, double-tracked vocals and strings: V4a has a double tracked vocal, strings and hard organ stop; V4b has double tracked vocals. swirling strings, female chorus, and hard organ stop; V4c has a female chorus and delayed organ end. V4d has a female chorus that does not start until third verse, with funky dead stop. V4e is an alternative mix with only basic instrumental backing; V4f has only guitars in the instrumental backing; V4g does not have a drum track. V4h is Bruce's vocal without any backing instruments; V4i features string and enhanced high end; V4j has less overdubbing; V4k does not include the middle verse and the sax solo and was released by Ktel-CBS in Australia-only in early 1976 on a multi-artist LP called Supersounds.
In a 2006 interview, Louis Lahav described the mixing process: "Springsteen kept changing the lyrics and the song got finished only when he was pleased with the text. But we weren't working only on the vocals that entire time. We were tweaking, over-dubbing and pre-mixing until the last moment. In addition to the rhythm section there were strings, glockenspiel, piano, electric guitars, brasses, about four or five acoustic guitars, there are probably thousands of parts and instruments in it. For example, the sax solo was edited from about seven different solo tracks … it took me hours punching in and out what you can do these days in seconds". The final mix chosen for release is V5a. In late October 1974, an advanced tape release of the official version (V5b) was sent to selected radio stations by Mike Appel and Springsteen. V5c is a live recording from WMMR Studios in Philadelphia on November 3, 1974, with Ed Sciaky and Bruce playing v5b on the air. The tape was broadcast by several USA radio stations from November 1974 to July 1975. There is little difference between V5a and V5b, except v5b is pre-brickwalled for radio broadcast. V6 is a studio log entry for March 17, 1975, an attempted mix session at Columbia Studios, 49 East 52nd Street, New York. Jon Landau is quoted in Down Thunder Road: "Sometime later Bruce … decided to go in and attempt to remix [the single] "Born To Run". Bruce called me and told me. He asked if I would be able to drop by. They were doing this work at CBS Studios in Manhattan". Bruce similarly wrote in his autobiography, "We took it to a New York studio one evening and in a half hour realized the impossibility of our task. We would never corral that sound again".
| BADLANDS - V1 | 4:07 | LM-2 / DDO / DDOC / DO-3 / AM / UP |
| BADLANDS - V2 | 3:47 | LM-3 / DDO / DDOC / DO-2 / UP |
| BADLANDS - V3 | 3:40 | LM-3 / UP / AM / LMEC1 |
| BADLANDS - V4a | 3:57 | ODM / HOD / AM |
| BADLANDS - V4b | 3:59 | uncirculating |
| BADLANDS - V4c | 3:59 | uncirculating |
| BADLANDS - V5 take 23 | 3:59 | DARKNESS / ESSENTIAL / GREATEST / CHAPTER / 1978 SINGLE |
Note: Unfortunately, very few outtakes circulate of "Badlands", the anthem he opened concerts with for years, although there must be some good stuff waiting in the vaults. Remember, title, music, lyrics, the Springsteen method of songwriting. The title came from Terrence Malick's 1973 movie, Badlands (he had not seen the movie). In late June, the music had been composed, and was first played by the E Street Band on June 27, 1977 at Atlantic Studios. The song's opening riff, Springsteen revealed years later, is a major-key twist on the minor-key intro to the Animals' 1965 hit 'Don't Let Me Be Misunderstood'. V1 is an instrumental backing track, recorded on June 27 and 30. Max Weinberg said his opening drum part was suggested by Steve Van Zandt, and inspired by Motown. Bruce had a routine with his engineers to create 'Ruffs' tapes for him, so he could take instrumental or early recordings home and write lyrics. V2 had to be recorded in late June, or on July 11 or 13 at Atlantic Studios. Springsteen was working at Atlantic Studios on July 13, 1977, when the twenty-five-hour-long New York City blackout began; soon after, the opening line "Lights Out Tonight", came into being. New takes, with developing lyrics, were recorded on August 24 and 30, 1977, but contrary to Lost Masters liner notes and many other sources, no outtakes circulate from these sessions.
It wasn't until November 1977, that Badlands was re-written with new lines, including, "I wanna go out tonight, I wanna find out what I got" from 'Iceman', about which he later honestly recalled, "That whole record was a record where I felt like I was going to have to test myself, and that was what I wanted to know, so that line ended up in a few different songs"—Los Angeles Times interview, 1998. Next, from a song by Elvis Presley from the 1962 movie, Kid Galahad, King Of The Whole Wide World: "A poor man wants to be a rich man, A rich man wants to be a king, But the man who can sing when he hasn't got a thing, He's the king of the whole wide world". Bruce translated this to these Verse 2 lines: "You better get it straight, darling, Poor man wanna be rich, rich man wanna be king, And a king ain't satisfied till he rules everything, I wanna go out tonight, I wanna find out what I got". Verse 3 was strengthened by, "For the ones who once had a notion, it ain't no sin to be glad you're alive" from Break Out.
V3 was recorded on December 12, 1977 at the Record Plant, with many new pieces in place. Bruce is still yelling at 'the man on the TV', but "Badlands" has started to take shape. The vocals for V4, the album version, were dubbed in during a three-day mixing marathon on February 22, 24 and 25, 1978. V4b is an alternate, with less double-tracked vocals than the Darkness version, and V4c was the final mix from April 11, which was pressed to acetate on April 12, 1978. V5 take 23 was a last moment dubbing, on May 5, 1978, of Clarence Clemons' sax solo. Springsteen's initial excuse for almost leaving it off was that he believed the instrument evoked the city, leaving it out of place on an album set in something more like "the heartland"; he later admitted, "that would have been a major error".
| THE PROMISED LAND - V1 | 1:01 | PROMISE: DOCUMENTARY |
| THE PROMISED LAND - V2 | uncirculating | |
| THE PROMISED LAND - V3 | uncirculating | |
| THE PROMISED LAND - V4a take 5 | 4:14 | ODM / HOD / UP |
| THE PROMISED LAND - V4b | 4:25 | DARKNESS / ESSENTIAL |
Note: One of the last songs written and recorded for the album, it's genesis was from a short trip taken by Bruce, Steve Van Zandt and photographer Eric Meola on August 17, 1977, two days after breaking from recording for a week. Their plan was to fly into Salt Lake City, Utah, rent a vintage American car, and drive to Reno, Nevada, by way of the Utah and Nevada wilderness. The fruits of their journey were "Rattlesnake speedway in the Utah desert", "the dogs on Main Street howl because they understand" (based on real dogs howling on a Main Street), and Eric's photographs, which appeared throughout The Promise: The Darkness On The Edge Of Town Story box set. Upon returning, Bruce composed "The Promised Land", and introduced it to the band on September 30, 1977, with 3 takes attempted V1 backing track. Recording resumed on October 27 at the Record Plant, with 20 takes, including V2 and V3 take 19, marked "long ending". V4 take 5 was recorded on December 1 or 27, 1977, and pressed to metal acetate on April 12, 1978. V4a was the final version without the guitar solo. On or about May 10, 1978, Bruce decided a guitar intro was needed before Clarence Clemons's powerful sax solo. After Steve Van Zandt recorded it in New York, Side 2 was mastered for a second time, at The Mastering Lab, Los Angeles, which briefly delayed the album release to June 2.
| HUNGRY HEART - V1a | 2:53 | DROC2 / PYP |
| HUNGRY HEART - V1b | 3:30 | LM-6 |
| HUNGRY HEART - V1c | 3:32 | LM-6 |
| HUNGRY HEART - V2a | 3:28 | LM-6 / RRR |
| HUNGRY HEART - V2b | 3:47 | DROC2 / ATMF |
| HUNGRY HEART - V2c | 3:31 | private cdr |
| HUNGRY HEART - V2d take 2 | 3:21 | TTTBR / TTTBJ / LEK |
| HUNGRY HEART - V2e take 2 | 3:21 | RIVER: SINGLE |
| HUNGRY HEART - V3 | 3:15 | RIVER / 1980 Single / ESSENTIAL / GREATEST |
Note: "Hungry Heart"" was apparently penned after Joey Ramone asked Bruce to write a song for the Ramones after he attended a Ramones show at The Fast Lane in Asbury Park in March 1979; this may be apocryphal. In any case, Springsteen has confirmed that it was written with the Ramones in mind, and was considering giving the song away. He played it for Jon Landau, who convinced Bruce to keep it for himself. The mixes listed above show the progression from backing track v1a to completed track v2. V2c has heavy echo added to Springsteen's vocal. Recorded at Power Station on June 14 and 21, 1979, with mixing for The Ties That Bind single album by Bob Clearmountain, v2d on September 5, 1979. Dubbing and mixing sessions for the mix found on The River v3 took place on March 24 and April 10, 1980. The version released on The River has been pitch adjusted, raising the pitch of Springsteen's vocal to achieve a more radio friendly sound. Flo & Eddie (Mark Volman and Howard Kaylan of the Turtles) contributed backing vocals during one of those sessions.
| FIST FULL OF DOLLARS - V1 | 3:44 | FFOD / HNWB / MT2 |
| FIST FULL OF DOLLARS - V2 | 2:24 | FFOD / HNWB |
| ATLANTIC CITY - V3 | 1:40 | FFOD / HNWB |
| ATLANTIC CITY - V4 take 1 | uncirculating | |
| ATLANTIC CITY - V5 - take 4 | 4:00 | LM-1 |
| ATLANTIC CITY - V6a - take 3 | 3:56 | NEBRASKA / ESSENTIAL / GREATEST |
| ATLANTIC CITY - V6b - take 3 | 3:43 | NEBRASKA (stereo mix) |
| ATLANTIC CITY - V7 | uncirculating | |
| ATLANTIC CITY - V8 | uncirculating | |
| ATLANTIC CITY - V9 | uncirculating | |
| ATLANTIC CITY - V10 | uncirculating |
Note: Before he writes the music, and lastly the lyrics, the first thing Bruce Springsteen does is choose a title! This is how he writes many of his songs, and he chose Fistfull of Dollars from the Clint Eastwood movie. The two demos (V1 & V2) he recorded in April 1981, had the title in them, but they also had quite a few verses written, all about Atlantic City. You can hear him turning pages of his notebook as he worked on them. FFOD never went anywhere, but as for Atlantic City…..
The story continues in late 1981, still at Colts Neck, V3 lines are getting into shape; The rest is Bruce trying variations of the chorus. V4, V5 V6 were recorded on his Portastudio at Colts Neck during a two-week period, December 17 to January 3, 1982, with V6 take 3 chosen for Nebraska. Take 1 v4 is the only outtake from this session. In a letter to Jon Landau, Springsteen noted that "this song should probably be done with the whole band really rockin' out". V7-V10 were cut at Power Station studios on April 26-28, 1982 (April 26 - all day was spent working on this song), with the band during the 'Electric Nebraska' sessions. Landau insisted on releasing the solo version, "No way was it as good as what he had goin' on that demo tape". The three days working on the full-band arrangement, however, paid off handsomely for years after taking it on the road.
| VIETNAM - V1 | 3:15 | FFOD / HNWB / MT2 |
| VIETNAM BLUES - V2 | 2:00 | FFOD / HNWB / MT2 |
| BORN IN THE U.S.A. BLUES - V3 | 2:22 | FFOD / HNWB / MT2 |
| BORN IN THE U.S.A. - V4 | 0:30 | FFOD / HNWB |
| BORN IN THE U.S.A. - V5 | 4:45 | FFOD / HNWB |
| BORN IN THE U.S.A. - V6 | 3:10 | FFOD / HNWB |
| BORN IN THE U.S.A. - V7 | 2:55 | FFOD / HNWB |
| BORN IN THE U.S.A. - V8 | 4:00 | FFOD / HNWB |
| BORN IN THE U.S.A. - V9a take 1 | 3:06 | LM-1 / HNWB |
| BORN IN THE U.S.A. - V9b take 1 mix 2 | 3:06 | TRACKS |
| BORN IN THE U.S.A. - V10 take 2 | 8:09 | THLBB / UH / GS / BUERM / MI |
| BORN IN THE U.S.A. - V11a take 4 mix 1 | 4:34 | BITUSA / ESSENTIAL / GREATEST / CHAPTER |
| BORN IN THE U.S.A. - V11b take 4 mix 2 | 4:52 | LM-19 / THLBP |
| BORN IN THE U.S.A. - V12 | uncirculating | |
| BORN IN THE U.S.A. - V13 take 9 | uncirculating | |
| BORN IN THE U.S.A. - V14a freedom mix | 7:20 | 1984 EP |
| BORN IN THE U.S.A. - V14b radio mix | 6:10 | 1984 EP |
| BORN IN THE U.S.A. - V14c dub mix | 7:36 | 1984 EP |
“I’m a long gone daddy I don’t need you anyhow. ”
—Hank Williams 1948
Note: Writing and recording began at Springsteen's home in Colts Neck, New Jersey during October 1981 as the demo, "Vietnam" or "Vietnam Blues". V3 is now titled "Born In the U.S.A. Blues", re-titled after Jon Landau sent Springsteen a Paul Schrader script called "Born In the U.S.A.". V4 is a taken from November 1981, with the lyrics "Born baby in the USA, I believe in the American way". V5 thru V8 were recorded in December, and V9 was recorded on the portastudio Mike Batlan had setup on January 3, 1982. Bruce included it on the "Nebraska demos" cassette tape he sent to Jon Landau. In his notes to Landau, Bruce described the song as a "little ditty. should be done very hard rockin". A copy leaked to bootleggers from Batlan, then V9b was mixed in 1997 and officially released on Tracks in 1998. V10 and V11 were recorded in just four takes (two complete), at The Power Station with the E Street Band, on April 27, 1982. V10 is the 8 minute+ extended jam ending, where Max Weinberg takes his shot at the title, as Bruce would say. V11a (take 4) became the first song on side one of the album, "Born In the USA". V11b continues where 11a fades out, with an extended synthesizer ending; it was leaked out of the sessions, and released unofficially on the bootleg, 'This Hard Land'. V12 represents takes 5-8 on April 28, 1982, and V13 is take 9 on May 3, 1982. V14a thru V14c are dance remixes of V11, undertaken by Arthur Baker, and recorded at Shakedown Studio in New York City in September 1984. Toby Scott was the recording engineer for the remixes (which include additional vocals by The Latin Rascals), which were first released in December 1984.
| DANCING IN THE DARK - V1a | 4:31 | BUERM / 1984AC |
| DANCING IN THE DARK - V1b | 3:57 | BITUSA / ESSENTIAL / GREATEST |
| DANCING IN THE DARK - V2a - blaster mix | 6:09 | 1984 EP |
| DANCING IN THE DARK - V2b - radio mix | 4:50 | 1984 EP |
| DANCING IN THE DARK - V2c - dub mix | 5:30 | 1984 EP |
Note: The last song on Born In The U.S.A. to be recorded. Written in no time at all after Jon Landau convinced Bruce that the album needed a single. According to Dave Marsh in Glory Days, Bruce was not impressed with Landau's approach. "Look", he snarled, "I've written seventy songs. You want another one, you write it." Despite this reaction, Bruce sat in his hotel room and wrote the song in a single night. It sums up his state of mind, his feeling of isolation after the success of The River, and his frustrations of trying to write a hit-single. Six takes were cut on February 14, 1984 at The Hit Factory, then 58 mixes, completed on March 8. V1a contains a longer sax solo at the end that was shortened (cut) for the official album version. V2a thru V2c are dance/disco remixes done at The Power Station in April or early May 1984 by Arthur Baker. The recording engineer for the remixes was Chris Lord-Alge. These remixes were released on June 29, 1984. The 7" and 12" singles were released on May 9, 1984, and the 12" finished as the biggest selling in the U.S.A. that year.
| IS THAT YOU? - V1 | uncirculating | |
| BRILLIANT DISGUISE - V2 | 4:12 | TUNNEL / GREATEST / ESSENTIAL / CHAPTER |
Note: Released as a single ahead of the album on September 17, 1987. Began life as "Is That You?", recorded February 5, 1987, but became "Brilliant Disguise" by the end of the month. Recorded at Springsteen’s home studio in Rumson, New Jersey, with overdubs in April by Roy Bittan (keyboards), Danny Federici (organ) and Max Weinberg (percussion).
| HUMAN TOUCH – V1a | 6:41 | private cdr |
| HUMAN TOUCH – V1b | 6:28 | HUMAN / 1992 single |
| HUMAN TOUCH – V1c | 5:09 | GREATEST / ESSENTIAL / promo cd |
Note: Written in the Spring of 1990. Springsteen handles guitar and vocals and his three-man backing band on this recording is Randy Jackson (bass), Roy Bittan (keyboards) and Jeff Porcaro (drums). Additional background vocal overdub by Patti Scialfa. All of the above are different mix/edits of the same core recording. V1a features an extended intro and an extra guitar break mid song. V1c is merely an edited version of V1b and was officially released as a promo single in some countries and later on the official Greatest Hits and Essential packages.
| STREETS OF PHILADELPHIA - V1a | 4:13 | uncirculating |
| STREETS OF PHILADELPHIA - V1b | 4:11 | BACK / ASOBS / OST: PHILADELHPIA |
| STREETS OF PHILADELPHIA - V1c | 3:49 | 1994 single |
| STREETS OF PHILADELPHIA - V1d | 3:17 | GREATEST / ESSENTIAL |
| STREETS OF PHILADELPHIA - V1e | 2:53 | DDITV / 1994 b-side |
| STREETS OF PHILADELPHIA - V1f | 4:13 | promo-only cd |
| STREETS OF PHILADELPHIA - V1g | 3:43 | TOTP video mix |
| STREETS OF PHILADELPHIA - V2 | uncirculating |
Note: Written in mid-1993, and registered at the US Copyright office on August 27. 1993. Released on December 30, 1993, as part of the Motion Picture 'Philadelphia' soundtrack, then issued as a single in the U.S., on February 2, 1994. However, this is a song with a complex recording and release history. All recordings were co-produced by Springsteen and Chuck Plotkin. V1a was recorded during August 1993 at Bellevue Studios (the house next to the residence) at Thrill Hill Recording, 40 Bellevue, Rumson, New Jersey. Springsteen was on vocals, guitar, bass, synthesizer and drum machine. V1b added background vocals and bass by Tommy Sims, and in December, would become the album soundtrack version. V1c, the single mix, only adds Sims vocals to V1a, and is trimmed under four minutes. V1d is a significantly edited (one minute shorter) version of v1b, mixed for Bruce Springsteen's Greatest Hits album, released on February 28, 1995. V1e is the version used for the commercially released video – it is the same base recording as V1b except that it features an alternate (“live”) Springsteen vocal. V1f was released as a promotion-only single in the UK and Austria and this is allegedly yet another slightly different mix of V1b. V1g is the audio released as part of a black & white video shot in early 1994 at CBS TV Soundstage studios in New York and originally broadcast on the UK TV show ‘Top Of The Pops’. It is alleged this is yet another slight, but unique, mix variation. V2 is a different recording of the song made in October 1993, apparently at A&M Studios in Los Angeles. It features Bruce on lead vocal, instrumentation provided by Springsteen and jazz virtuoso Ornette Coleman, bass and background vocals by Tommy Sims and additional background vocals by Little Jimmy Scott. V2 was allegedly scheduled to be the officially released version up to early December 1993, when it was nixed at the last second, even after the song’s video (which featured Little Jimmy extensively) was shot. The video had to be re-shot. A brief snippet of V2 (including the tell-tale vocals of Little Jimmy Scott) is actually heard about halfway through the movie (but it’s V1b that is heard in the opening sequence of the movie).
| THE GHOST OF TOM JOAD - V1 | uncirculating | |
| THE GHOST OF TOM JOAD - V2 | 4:20 | JOAD / ESSENTIAL / CHAPTER |
| THE GHOST OF TOM JOAD - V3 | 2007 compilation | |
| THE GHOST OF TOM JOAD - V4 | 7:34 | HOPES |
Note: Written as a rock song for the Greatest Hits project, but abandoned when Springsteen couldn't find an arrangement. Re-imagined as an acoustic song, and recorded May 23, 1995 at Thrill Hill Recording, Beverly Hills, California. Springsteen handles guitar and vocals and his four-man backing band on this recording is Danny Federici (keyboards), Garry Tallent (bass), Marty Rifkin (pedal steel, dobro) and Gary Mallaber (drums). The rock arrangement was premiered live on April 7, 2008 in Anaheim, CA, performed with Tom Morello sharing lead vocals. V3 is an entirely re-recorded version, but was not recorded during any of the three Seeger Sessions. It was recorded at various stages and studio locations during the mid-late 2006 period. Bruce’s parts (vocal, harmonica) were recorded at Thrill Hill Recording, Rumson, New Jersey in August 2006. Pete Seeger’s vocals were recorded at Seeger’s cabin in Beacon, NY on July 4, 2006. The backing band’s individual parts were recorded at various locations around the USA during mid-late 2006 and then everything was mixed together at Shelter Island Sound Studios in NYC by David Seitz, and produced by Springsteen, Jim Musselman and Seitz. The recording was first released on September 11, 2007 on the Various Artists charity compilation Sowing The Seeds (Appleseed). V4 was recorded in March 2013 in Los Angeles, the day before a flight to Australia for the Australian leg of the Wrecking Ball Tour. Produced by Ron Aniello and Springsteen.
| THE RISING | 4:50 | RISING / ESSENTIAL / GH09 / CHAPTER |
Note: Song composed post 9/11, November 2001 - 2002. Recorded at Southern Tracks, Atlanta, during February-March, 2002. Soozie Tyrell contributes violin and background vocals, Jane Scarpantoni plays the cello.
| RADIO NOWHERE - V1 | uncirculating | |
| RADIO NOWHERE - V2 | 3:18 | MAGIC / ESSENTIAL: 2015 / GH09 |
Note: V1 was recorded late 2006 in New Jersey. V2 recorded March 2007 at Southern Tracks studio, and released as a single ahead of the album, after it had leaked out the previous week, resulting in several cease and desist letters to radio stations. On August 28, 2007, it was officially released by Sony as a free limited-time download on iTunes, to go with pre-orders of Magic.
| WORKING ON A DREAM | 3:30 | DREAM / ESSENTIAL: 2015 |
Note: Premiered November 2, 2008 in Cleveland, Ohio at a Barack Obama election rally, and released November 21 as the album's first single. Winner of the 2010 Grammy Award for "Best Solo Rock Vocal Performance".
| WE TAKE CARE OF OUR OWN | 3:53 | WRECKING / ESSENTIAL: 2015 |
Note: the first song written for the album and the first single from the album, released digitally on January 19th 2012. Features Springsteen on vocals, guitars, banjo, piano, organ, drums, percussion and loops and Ron Aniello on some combination of guitar, bass, keyboards, percussion, drums and/or loops. Soozie Tyrell, Patti Scialfa and Lisa Lowell provide backing vocals. The New York Chamber Consort contribute strings.
| WRECKING BALL | 5:49 | WRECKING / CHAPTER |
Note: features Springsteen, Ron Aniello (some combination of bass, keyboards, drums, percussion and/or loops, plus backing vocals), Max Weinberg (drums), Charlie Giordano (piano, B-3 organ), Rob Lebret (electric guitar, backing vocals), Curt Ramm (trumpet, cornet), Clarence Clemons (saxophone solo), Soozie Tyrell (violin & backing vocal) and backing vocals from Patti Scialfa, Lisa Lowell, Ross Peterson, Clif Norrell and Steve Van Zandt (uncredited). The New York Chamber Consort provide the strings. Written in September 2009 and premiered on September 30th 2009, performed as a tribute to the soon-to-be-demolished Giants Stadium. Recorded by Ron Aniello at Very Loud House Studio, Woodland Hills, California. Recorded by Toby Scott, Project Supervisor and Rob Lebret, Assistant Engineer at Stone Hill Studio, New Jersey. Also Clif Norrell and Ross Peterson, MSR Studio B, New York, New York. Mixed by Bob Clearmountain at Mix This!, Pacific Palisades, California.
Studio Sessions: None
|
|
Count |
| Rosalita (Come Out Tonight) | 812 |
| Thunder Road | 1417 |
| Born To Run | 1726 |
| Badlands | 1204 |
| The Promised Land | 1374 |
| Hungry Heart | 738 |
| Atlantic City | 364 |
| Born In The U.S.A. | 992 |
| Dancing In The Dark | 1025 |
| Brilliant Disguise | 437 |
| Human Touch | 126 |
| Streets Of Philadelphia | 98 |
| The Ghost Of Tom Joad | 450 |
| The Rising | 864 |
| Radio Nowhere | 181 |
| Working On A Dream | 92 |
| We Take Care Of Our Own | 127 |
| Wrecking Ball | 193 |
Full Album Performances
Performed live as a full album 0 times.
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