Commercially released: November 11, 2003 / 2011
Commercially revised and re-released: August 26, 2008 / October 16, 2015
Label: Columbia
Produced by Jon Landau, Brendan O'Brien, Bruce Springsteen, Chuck Plotkin,
Jimmy Cretecos, Mike Appel, Roy Bittan and Steve Van Zandt
Remastered by Bob Ludwig
Design by Fusako Chubachi, Chris Austopchuk, Dave Bett
Photography by Danny Clinch, Eric Meola, Frank Stefanko, Pellington, Neal Preston,
Tim White, Krueger and Mary Alfieri
Overview
The Essential Bruce Springsteen is a compilation album by Bruce Springsteen, released on November 11, 2003. In early 2003 Sony Music approached the Springsteen camp requesting that a Springsteen release be part of its Essential series, a group of “best of - anthology” releases from major Sony and affiliate label artists that the company had been marketing (with good commercial results) for several years. Springsteen agreed to be part of the series. Unlike Greatest Hits (1995) or Tracks - 18 Tracks (1998-9), the Essential release does not appear to have involved any associated recording sessions and very little, if any, additional mixing. So Springsteen’s involvement in this project was very minimal, which is evidenced by the fact that Jon Landau is credited as Essential's sole Producer. At its heart it is a two-CD, thirty-track package that culls cornerstone songs from all of Springsteen's original studio albums (up through The Rising), as well as 2001's Live In New York City package. It does not include any recordings from 1986's Live 1975-85 package or 1992's Live Plugged. Essential is geared towards the new or casual Springsteen fan and offers a partially duplicated but slightly broader representation than the earlier Greatest Hits package. The third disc, only available on the regular 2003, and 2008 (3.0 Edition), encompasses an additional twelve recordings of rarities - a mixture of b-sides, charity album releases, movie soundtrack items and previously un-issued studio or live recordings. The bonus CD was not included with some overseas issues, and was also dropped when the set was re-issued in Europe in 2011. Springsteen was the first artist in the Essential series that included such a bonus disc (i.e., the list price of the package is as per a two-CD set, not a three-CD set).
The Essential was reissued on October 16, 2015, this time as a 2-disc set with a radically updated track list, compiling songs from all of Springsteen's studio albums to date plus his Greatest Hits (1995 edition) collection. Not only were tracks from recent albums like Devils & Dust, Magic, Working On A Dream, Wrecking Ball, and High Hopes added, but the set has been revised from the beginning, for instance, swapping "Blinded By the Light" out, and "Growin' Up" in. This is a thoroughly remade set, and it also features remastered tracks not found in that form on other Springsteen releases. But the most notable change from the 2003 issue is the dropping of the bonus third disc which had 12 rare and previously unreleased recordings, now "de-released"? It was described as a "limited edition" bonus disc. Springsteen's involvement in this project was very minimal, which is evidenced by the fact that Jon Landau is credited as Essential's sole Producer.
Tracks Removed | Tracks Added |
|
|
Released
# | Song Title | Running Time | Release |
---|---|---|---|
1.1. | GROWIN' UP 5 | ESSENTIAL: 2015 / GREETINGS | |
1.2. | ROSALITA (COME OUT TONIGHT) | ESSENTIAL: 2015 / WIESS | |
1.3. | 4TH OF JULY, ASBURY PARK (SANDY) | ESSENTIAL: 2015 / WIESS | |
1.4. | THUNDER ROAD | ESSENTIAL: 2015 / BTR | |
1.5. | BORN TO RUN | ESSENTIAL: 2015 / BTR | |
1.6. | TENTH AVENUE FREEZE-OUT 5 | ESSENTIAL: 2015 / BTR | |
1.7. | BADLANDS | ESSENTIAL: 2015 / DARKNESS | |
1.8. | THE PROMISED LAND | ESSENTIAL: 2015 / DARKNESS | |
1.9. | PROVE IT ALL NIGHT 5 | ESSENTIAL: 2015 / DARKNESS | |
1.10. | THE RIVER | ESSENTIAL: 2015 / RIVER | |
1.11. | HUNGRY HEART | ESSENTIAL: 2015 / RIVER | |
1.12. | THE TIES THAT BIND 5 | ESSENTIAL: 2015 / RIVER | |
1.13. | OUT IN THE STREET 5 | ESSENTIAL: 2015 / RIVER | |
1.14. | ATLANTIC CITY | ESSENTIAL: 2015 / NEBRASKA | |
1.15. | JOHNNY 99 5 | ESSENTIAL: 2015 / NEBRASKA | |
1.16. | GLORY DAYS | ESSENTIAL: 2015 / BITUSA | |
1.17. | BORN IN THE U.S.A. | ESSENTIAL: 2015 / BITUSA | |
1.18. | DANCING IN THE DARK | ESSENTIAL: 2015 / BITUSA |
# | Song Title | Running Time | Release |
---|---|---|---|
2.1. | TOUGHER THAN THE REST 5 | ESSENTIAL: 2015 / TUNNEL | |
2.2. | BRILLIANT DISGUISE | ESSENTIAL: 2015 / TUNNEL | |
2.3. | ONE STEP UP 5 | ESSENTIAL: 2015 / TUNNEL | |
2.4. | HUMAN TOUCH | ESSENTIAL: 2015 / HUMAN | |
2.5. | BETTER DAYS 5 | ESSENTIAL: 2015 / LUCKY | |
2.6. | IF I SHOULD FALL BEHIND 5 | ESSENTIAL: 2015 / LUCKY | |
2.7. | STREETS OF PHILADELPHIA | ESSENTIAL: 2015 / GREATEST | |
2.8. | MURDER INCORPORATED 5 | ESSENTIAL: 2015 / GREATEST | |
2.9. | THE GHOST OF TOM JOAD | ESSENTIAL: 2015 / JOAD | |
2.10. | THE RISING | ESSENTIAL: 2015 / RISING | |
2.11. | LONESOME DAY | ESSENTIAL: 2015 / RISING | |
2.12. | DEVILS & DUST 5 | ESSENTIAL: 2015 / DEVILS | |
2.13. | LONG TIME COMIN' 5 | ESSENTIAL: 2015 / DEVILS | |
2.14. | RADIO NOWHERE 5 | ESSENTIAL: 2015 / MAGIC | |
2.15. | WORKING ON A DREAM 5 | ESSENTIAL: 2015 / DREAM | |
2.16. | MY LUCKY DAY 5 | ESSENTIAL: 2015 / DREAM | |
2.17. | THE WRESTLER 5 | ESSENTIAL: 2015 / DREAM | |
2.18. | WE TAKE CARE OF OUR OWN 5 | ESSENTIAL: 2015 / WRECKING | |
2.19. | HUNTER OF INVISIBLE GAME 5 | ESSENTIAL: 2015 / HOPES |
Total Running Time: 2:34:39
1: Previously unreleased.
2: Previously unreleased, alternate version.
3: Previously unreleased, live version.
4: Removed from the 2015 release.
5: Only on the 2015 release.
# | Song Title | Running Time | Release |
---|---|---|---|
1.1. | BLINDED BY THE LIGHT 4 | ESSENTIAL / GREETINGS | |
1.2. | FOR YOU 4 | ESSENTIAL / GREETINGS | |
1.3. | SPIRIT IN THE NIGHT 4 | ESSENTIAL / GREETINGS | |
1.4. | 4TH OF JULY, ASBURY PARK (SANDY) | ESSENTIAL / WIESS | |
1.5. | ROSALITA (COME OUT TONIGHT) | ESSENTIAL / WIESS | |
1.6. | THUNDER ROAD | ESSENTIAL / BTR | |
1.7. | BORN TO RUN | ESSENTIAL / BTR | |
1.8. | JUNGLELAND 4 | ESSENTIAL / BTR | |
1.9. | BADLANDS | ESSENTIAL / DARKNESS | |
1.10. | DARKNESS ON THE EDGE OF TOWN 4 | ESSENTIAL / DARKNESS | |
1.11. | THE PROMISED LAND | ESSENTIAL / DARKNESS | |
1.12. | THE RIVER | ESSENTIAL / RIVER | |
1.13. | HUNGRY HEART | ESSENTIAL / RIVER | |
1.14. | NEBRASKA 4 | ESSENTIAL / NEBRASKA | |
1.15. | ATLANTIC CITY | ESSENTIAL / NEBRASKA |
# | Song Title | Running Time | Release |
---|---|---|---|
2.1. | BORN IN THE U.S.A. | ESSENTIAL / BITUSA | |
2.2. | GLORY DAYS | ESSENTIAL / BITUSA | |
2.3. | DANCING IN THE DARK | ESSENTIAL / BITUSA | |
2.4. | TUNNEL OF LOVE 4 | ESSENTIAL / TUNNEL | |
2.5. | BRILLIANT DISGUISE | ESSENTIAL / TUNNEL | |
2.6. | HUMAN TOUCH | ESSENTIAL / HUMAN | |
2.7. | LIVING PROOF 4 | ESSENTIAL / LUCKY | |
2.8. | LUCKY TOWN 4 | ESSENTIAL / LUCKY | |
2.9. | STREETS OF PHILADELPHIA | ESSENTIAL / GREATEST | |
2.10. | THE GHOST OF TOM JOAD | ESSENTIAL / JOAD | |
2.11. | THE RISING | ESSENTIAL / RISING | |
2.12. | MARY'S PLACE 4 | ESSENTIAL / RISING | |
2.13. | LONESOME DAY | ESSENTIAL / RISING | |
2.14. | AMERICAN SKIN (41 SHOTS) 3 4 | ESSENTIAL | |
2.15. | LAND OF HOPE AND DREAMS 3 4 | ESSENTIAL |
# | Song Title | Running Time | Release |
---|---|---|---|
3.1. | FROM SMALL THINGS (BIG THINGS ONE DAY COME) 1 4 | ESSENTIAL: BONUS | |
3.2. | THE BIG PAYBACK 4 | ESSENTIAL: BONUS | |
3.3. | HELD UP WITHOUT A GUN 3 4 | ESSENTIAL: BONUS | |
3.4. | TRAPPED 3 4 | ESSENTIAL: BONUS | |
3.5. | NONE BUT THE BRAVE 1 4 | ESSENTIAL: BONUS | |
3.6. | MISSING 4 | ESSENTIAL: BONUS | |
3.7. | LIFT ME UP 4 | ESSENTIAL: BONUS | |
3.8. | VIVA LAS VEGAS 4 | ESSENTIAL: BONUS | |
3.9. | COUNTY FAIR 1 4 | ESSENTIAL: BONUS | |
3.10. | CODE OF SILENCE 1 3 4 | ESSENTIAL: BONUS | |
3.11. | DEAD MAN WALKIN' 4 | ESSENTIAL: BONUS | |
3.12. | COUNTIN' ON A MIRACLE 2 4 | ESSENTIAL: BONUS |
Total Running Time: 3:21:04
1: Previously unreleased.
2: Previously unreleased, alternate version.
3: Previously unreleased, live version.
4: Removed from the 2015 release.
5: Only on the 2015 release.
Additional Information
- Artwork
- Personnel
- Media
- Related Releases
- On The Tracks
- Recording 'Live' Dates
- Performance
- Gallery/News
- Lyrics
© All credits to the original photographer. We do not monetize a photo in any way, but if you want your photo to be removed, let us know, and we will remove it.
- Bruce Springsteen: Lead Vocals, Backing Vocals, Acoustic Guitar, Electric Guitar, Harmonica, Bass, Handclaps, Recorder, Mandolin
- The E Street Band:
- Roy Bittan: Piano, Electric Piano, Synthesizer, Keyboards, Mellotron, Synthesizer, Organ, Glockenspiel, Backing Vocals
- Ernest "Boom" Carter: Drums
- Clarence Clemons: Saxophone, Percussion, Handclaps, Backing Vocals
- Danny Federici: Accordion, Organ, Piano, Glockenspiel, Backing Vocals
- Nils Lofgren: Guitar, Slide Guitar, Banjo, Dobro, Backing Vocals
- Vini Lopez: Drums, Backing Vocals
- David Sancious: Piano, Electric Piano, Organ, Clavinet
- Patti Scialfa: Guitar, Vocals, Harmony Vocals
- Garry Tallent: Bass, Tuba, Backing Vocals
- Steven Van Zandt: Guitar, Mandolin, Backing Vocals
- Max Weinberg: Drums, Backing Vocals
- Tiffeny Andrews: Choir Vocals
- Mike Appel: Backing Vocals
- Richard Blackwell: Percussion, Congas
- Corinda Carford: Choir Vocals
- Jere Flint: Cello
- Bob Glaub: Bass
- Jim Hanson: Bass
- Randy Jackson: Bass
- Suki Lahav: Violin
- Antonio Lawrence: Choir Vocals
- Larry Lemaster: Cello
- Ed Manion: Baritone Saxophone
- Gary Mallaber: Drums, Percussion
- Ian McLagan: Piano, Organ
- Antoinette Moore: Choir Vocals
- Michelle Moore: Choir Vocals
- Jesse Moorer: Choir Vocals
- Mark Pender: Trumpet
- Jeff Porcaro: Drums, Percussion
- Marty Rifkin: Pedal Steel Guitar
- Rich Rosenberg: Trombone
- Jane Scarpantoni: Cello
- Mike Spengler: Trumpet
- Soozie Tyrell: Backing Vocals
- Jerry Vivino: Tenor Saxophone
- Harold Wheeler: Piano
- All Versions
- Single
- Trapped (Promo, 2003)
Song Title | Running Time | Release |
---|
4TH OF JULY, ASBURY PARK (SANDY) - V1 | 5:47 | US5 / BIS / ROOI / SA914 / ET / ETRJ |
4TH OF JULY, ASBURY PARK (SANDY) - V2 | 5:35 | PS / EY / ROOI / SA914 |
4TH OF JULY, ASBURY PARK (SANDY) - V3 | 5:31 | WIESS / ESSENTIAL / CHAPTER / BESTOF / 1975 single |
Note: The only dates recorded in Sony's logs are on August 9 and September 23, 1973 at 914 Sound Studios. V1 is the instrumental backing track, and V2 is the original vocal take, with the final verse beginning "Now, Sandy, them northern angels lost their desire for us…". V1 or V2, or possibly both, may have been recorded at the August 9 session. V3, the album version, uses the original backing track, but with overdubs and mixing probably from September 23, including Bruce adding a new final verse, reimagining the northern angels as a singular waitress. Written in early 1973 at Diane Lozito's (Bruce's girlfriend at time) Bradley Beach house, it was, according to Springsteen, "a good-bye to my adopted hometown and the life I'd lived there before I recorded. Sandy was a composite of some of the girls I'd known along the Shore. I used the boardwalk and the closing down of the town as a metaphor for the end of a summer romance and the changes I was experiencing in my own life." Diane says she was Sandy, along with the "Thundercrack" girl and Rosalita, too. The earliest live performances see Bruce using the original "angels" verse, but he switched to the "waitress" lyrics by late October, 1973 before reverting back to "angels" around April 1974. He continued to use "angels" until 2005, when he returned to "waitress". He interchanged between the two in 2008, but since then "waitress" is ever present.
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 / GREATEST / ESSENTIAL / BESTOF |
ATLANTIC CITY - V6b - take 3 - stereo mix | 3:43 | NEBRASKA |
ATLANTIC CITY - V7 | uncirculating |
Note: Two demos (V1 & V2) were recorded in April 1981, under the title "Fist Full Of Dollars", 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. Some lyrics would remain for "Atlantic City", including the opening lines "Well they blew up the chicken man in Philly last night / Now that town sets in for a fight."
The story continues in late 1981, still at Colts Neck with V3. The lyrics are getting into shape; The rest is Bruce trying variations of the chorus. V4, V5 and 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." And indeed, Bruce went into the studio for two weeks from late April 1982 and spent the first day working on "Atlantic City", and a number of takes were cut at the Power Station over three days on April 26–28, 1982. However these recordings remain unheard; information from various sources suggests this was with the band, but we can't confirm.
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 take 23 | 3:59 | DARKNESS / GREATEST / ESSENTIAL / GREATEST: 2009 / PROMISE: DELUXE / CHAPTER / BESTOF |
Note: Unfortunately, very few outtakes circulate of "Badlands", although given Springsteen's recording methods at the time far more likely exists in the vault. The title came from Terrence Malick's 1973 movie Badlands (though Bruce 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; 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 on June 27, 30, 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 lyric "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" borrowed from "Iceman", about which Bruce later 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: "Poor man wanna be rich, rich man wanna be king, and a king ain't satisfied till he rules everything." 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 "Breakout".
V3 was recorded, perhaps 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 has less double-tracked vocals than V4c, a last moment dubbing of Clarence Clemons's sax solo on April 11, which was pressed to acetate on April 12, 1978. 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 "that would have been a major error."
BETTER DAYS | 4:04 | LUCKY / ESSENTIAL: 2015 / GREATEST / 1992 single |
Note: Recorded sometime from July to December 1991 at A&M Studios, Los Angeles. Springsteen handles all guitars, keyboards and lead vocals and his 2-man backing band on this recording is Randy Jackson (bass) and Gary Mallaber (drums). Female background vocalists are Patti Scialfa, Lisa Lowell and Soozie Tyrell.
BLINDED BY THE LIGHT - V1a | 5:03 | GREETINGS / ESSENTIAL: 2003 / GREATEST: 2009 |
BLINDED BY THE LIGHT - V1b | 3:58 | 1973 Single |
Note: According to Springsteen in Songs, both "Blinded By The Light" and "Spirit In The Night" were written to order after Clive Davis told him in mid-August 1972, there was nothing on Greetings From Asbury Park, N.J. which could get radio play. Bruce's response was to go home with a rhyming dictionary, which is what he used to write "Madman’s Bummers", which he changed to "Blinded By the Light", and without delay, "Spirit In The Night" and "Blinded By The Light" were both recorded on September 11, 1972.
After the Greetings sessions were completed, and the master submitted on August 10, most of the not-yet-called The E Street Band had dispersed to other obligations; David Sancious and Danny Federici were in Virginia, and Miami Steve was playing with the Dovells. Bruce found his drummer, Vini "Mad Dog" Lopez, special guest star Clarence Clemons, who had not played in the June sessions, and Harold Wheeler to play piano; he played the rest of the instruments. It is not known how many takes were needed to finish "Blinded By The Light", but it was completed in one day. Before it was released as a single on February 23, 1973, coupled with "The Angel", the engineers at Columbia edited out a verse, reducing the time below four minutes. It was given an extremely limited commercial release in the United States. The lyrics on the back of the 7" picture sleeve are also missing a verse. A stereo fold down mono version is available as the b-side of the white label promo 45.
BORN IN THE U.S.A. - V1 | 2:22 | FFOD / HNWB / MT2 |
BORN IN THE U.S.A. - V2 | 0:30 | FFOD / HNWB |
BORN IN THE U.S.A. - V3 | 4:45 | FFOD / HNWB |
BORN IN THE U.S.A. - V4 | 3:10 | FFOD / HNWB |
BORN IN THE U.S.A. - V5 | 2:55 | FFOD / HNWB |
BORN IN THE U.S.A. - V6 | 4:00 | FFOD / HNWB |
BORN IN THE U.S.A. - V7a (take 1) | 3:06 | LM-1 / HNWB |
BORN IN THE U.S.A. - V7b (take 1 mix 2) | 3:06 | TRACKS |
BORN IN THE U.S.A. - V8 (take 2) | private | |
BORN IN THE U.S.A. - V9 (take 3) | private | |
BORN IN THE U.S.A. - V10 (take 4) | private | |
BORN IN THE U.S.A. - V11 (takes 5-8) | uncirculating | |
BORN IN THE U.S.A. - V12 (take 9) | 8:09 | THLBB / UH / GS / BUERM / MI |
BORN IN THE U.S.A. - V12a (take 9 edit 1) | 4:34 | BITUSA / GREATEST / ESSENTIAL / GREATEST: 2009 / CHAPTER / BESTOF |
BORN IN THE U.S.A. - V12b (take 9 edit 2) | 4:52 | LM-19 / THLBP |
BORN IN THE U.S.A. - V13 (take 10) | 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 |
Note: Writing and recording began at Springsteen's house in Colts Neck, NJ during the fall of 1981 with a set of acoustic demos. V1 evolved, both musically and lyrically, from the bluesy demo "Vietnam". V1 includes the chorus "born in the USA" that Springsteen lifted from the title of a script of a Paul Schrader movie given to him by Jon Landau, as well as many lyrical elements that would remain in the final released version. The demo begins its transition with V2, a brief snippet of the "Born In The U.S.A." riff, the opening verse, and then the sardonic chorus "Born baby in the USA / I believe in the American way". V3-V6 were all recorded soon after, and see Springsteen developing the lyrics with every take. V7 was recorded between December 17, 1981 and January 3, 1982 on the TEAC Portastudio that Mike Batlan had set up in Bruce's home, and was included on the demo cassette tape 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 via Batlan and was pressed on 'Lost Masters I' in 1996, before V7b was mixed in 1998 and officially released on Tracks.
When Bruce and the E Street Band entered Power Station on April 26, 1982, the aim was to re-record the songs on his demo tape in a professional studio environment. Logs indicate that work on "Born In The U.S.A." began on the second day, and continued on April 28 and May 3. What work was done on what day is unclear, but it appears that the bulk of the song was recorded across ten takes on a single night, most likely May 3. A Power Station mixsheet dated to May 3 exists, which supports this position. We know that Springsteen initially attempted to re-record his demo tape alone, which may have occurred on April 27 and 28.
On May 3, Springsteen and the band cut a number of takes of a rocking electric reimagining of that original acoustic demo. In take 2 Bruce sung the first verse over his electric guitar, before bass and drum joined in. Take 3 sees Max accompanying Bruce right from the opening, yet the famous organ riff is nowhere to be found. Take 4 begins with Springsteen singing the first verse a cappella, before the band join in. We now skip ahead to take 9, where the riff is now in place alongside other new elements, some of which did not make the final track. Brief audio of the opening verse of takes 2, 3, 4, and the multitracks of take 9 first emerged in April 2022, played by Toby Scott at a public event in Mexico City. Recollections vary as to the origin of the riff; Roy Bittan remembers Springsteen demonstrating the song on acoustic guitar before he improvised the organ riff on a new Yamaha CS-80 synth, and the first take evolved from there. Max Weinberg, however, recalls the first recording was as "a country trio" with a country beat (Max may have been referring to the arrangement found in takes 2-4 above), and the main riff came from Springsteen's guitar. Weinberg doesn't dispute Bittan's memories though.
The eight minute V12 is the full length of take 9. With some edits, including using all or parts of take 10 (V13) for the ending, this take eventually became the first song on side one of Born In The U.S.A (V12b). V12c continues where V12b fades out with an extended synthesizer ending. Toby Scott recalls a total of eight to ten takes, with take six (or nine, recollections seem to vary) as the master. V14a-V14c are 12" dance remixes by Arthur Baker that were recorded at Shakedown Studios in New York City in September 1984. Toby Scott was the recording engineer for the remixes (which include additional vocals by The Latin Rascals), and all were mixed by Bob Clearmountain. The remixes were first released in December 1984. Baker utilized several aspects of the original mixes that were removed for the final album take.
BORN TO RUN - V1a | 4:24 | ESR / BTRS |
BORN TO RUN - V1b | 4:28 | BTRS |
BORN TO RUN - V2 | 4:27 | BTRS |
BORN TO RUN - V3a | 4:40 | BIS / BTRS |
BORN TO RUN - V3b | 4:38 | WAR / BTRS |
BORN TO RUN - V3c | 4:34 | ETRJ / BWNH / BTRS / BTRCS / BIS / ROOI / WAR |
BORN TO RUN - V3d | 4:30 | BIS / ROOI / ETRJ / ETRV / BTRS / BTRCS |
BORN TO RUN - V3e | 4:23 | BTRS |
BORN TO RUN - V3f | 4:21 | BTRS |
BORN TO RUN - V3g | 4:30 | BTRS |
BORN TO RUN - V3h | 4:23 | BTRS |
BORN TO RUN - V3i | 4:21 | BIS / BTRCS |
BORN TO RUN - V3j | 4:21 | BTRS |
BORN TO RUN - V3k | 3:20 | Ktel-CBS |
BORN TO RUN - V4a | 4:28 | BTR / GREATEST / ESSENTIAL / BTR: 30 / GREATEST: 2009 / CHAPTER / BESTOF |
BORN TO RUN - V4b | 4:28 | ETRJ / ETRV / BTRS |
BORN TO RUN - V4c | 5:27 | RTT |
BORN TO RUN - V5 | 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" 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.
V1a is the original backing track recorded on May 21, 1974, after rehearsal in prior sessions. V1b is from June 26, 1974, dubbing Bruce's vocal to the V1a track. Work continued, adding lyrics, overdubs, and layer upon layer of sound, at 914 Sound Studios, both in June and then after starting a week's residency at the studio on August 1, 1974. Finally, on or about August 6, 1974, "Born To Run" was completed. 72 tracks were down-mixed to 16 by engineer Louis Lahav. "We only had 16 tracks to work with and they were packed, because he had had so much going on in the songs," Lahav remembers. "I had to ping-pong between tracks all the time to get everything in. Clarence Clemons's sax solo on "Born to Run" was recorded in different parts and I had to edit them to make it a whole solo. It was a really long voyage on that song."
The core backing track is V2. The variants of V3 are numerous test mixes and arrangements, with female choir vocals, double-tracked lead vocals, strings, and hard stop organ endings. These are all from the original multi-tracks, and released as downloadable content for the video game Guitar Hero World Tour on January 27, 2009, and subsequently bootlegged. V3a has a double tracked vocal, strings and hard organ stop; V3b has double tracked vocals, swirling strings, female chorus, and hard organ stop; V3c has a female chorus and delayed organ end. V3d has a female chorus that does not start until third verse, with funky dead stop. V3e is an alternative mix with only basic instrumental backing; V3f has only guitars in the instrumental backing; V3g does not have a drum track. V3h is Bruce's vocal without any backing instruments; V3i features string and enhanced high end; V3j has less overdubbing; V3k 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, overdubbing 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 V4a. In late October 1974, an advanced tape release of the official version (V4b) was sent to selected radio stations by Mike Appel and Springsteen. V4c is a live recording from WMMR Studios in Philadelphia on November 3, 1974, with Ed Sciaky and Bruce playing V4b on the air. The tape was broadcast by several USA radio stations from November 1974 to July 1975. There is little difference between V4a and V4b, except V4b is pre-brickwalled for radio broadcast. V5 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."
IS THAT YOU? - V1 | uncirculating | |
BRILLIANT DISGUISE - V2 | uncirculating | |
BRILLIANT DISGUISE - V3 | 4:12 | TUNNEL / GREATEST / ESSENTIAL / CHAPTER / BESTOF / 1987 single |
Note: Released as a single ahead of the Tunnel Of Love album on September 17, 1987. Began life as "Is That You?", recorded February 5, 1987, but became "Brilliant Disguise" by the end of that 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). The video was filmed on October 8, 1987 at Fort Hancock, Sandy Hook, New Jersey.
COUNTIN' ON A MIRACLE - V1 | 4:44 | RISING |
COUNTIN' ON A MIRACLE - V2 | 5:01 | ESSENTIAL: BONUS |
Note: Written in 2000. These are two different recordings, both emanating from Southern Tracks Studios in Atlanta in February–March, 2002. V1 is with E Street Band and the Nashville String Machine backing. V2 (which was also videoed on Super8 film) is a country-blues arrangement performed solo by Springsteen on acoustic guitar.
COUNTY FAIR - V1 | 4:58 | LM-17 |
COUNTY FAIR - V2a | 5:02 | LM-19 / UH |
COUNTY FAIR - V2b | 4:50 | ESSENTIAL: BONUS |
Note: V1 was recorded at Springsteen's home studio on March 24, 1983 by Springsteen alone on all instruments. V2 was recorded two months later on May 23, 1983 at The Hit Factory, and uses Springsteen's original vocal and guitar track over a new band backing. The November 9, 1983 date given in the Lost Masters liner notes appears to be incorrect, and may be a mixing or overdub date, or merely the date that the recording was dubbed to the original tape used for the bootleg. V2 also features Ruth Jackson (wife of Bruce Jackson) on backing vocals - presumably these are the ethereal vocals over the closing coda. This overdub was likely recorded at the same session as "My Hometown", which also features Jackson. V2a and b are very similar, and in fact may be identical, with the only differences in flaws and variations in the bootleg source.
DANCING IN THE DARK - V1a | 4:31 | BUERM / 1984AC |
DANCING IN THE DARK - V1b | 3:57 | BITUSA / GREATEST / ESSENTIAL / GREATEST: 2009 / BESTOF |
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 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, essentially writing about his frustrations, sick of "trying to write this book." Six takes were cut on February 14, 1984 at The Hit Factory, utilizing a new Yamaha synthesizer, but the track was not completed until March 8, after 58 mixes. Just the one outtake of "Dancing In The Dark" circulates, V1a, that contains a longer sax solo and a hard-ending (no fade-out) at the end that was cut short for the official album version. Curiously, the final synthesizer note is held for a few seconds at the conclusion of the song. This take is sourced from a March 1984 rough cut of the album. The 7" and 12" singles were released on May 9, 1984, and the 12" finished as the biggest seller in the U.S.A. that year.
V2a thru V2c are extended, radio friendly dance/disco remixes cut at the Power Station in April or early May 1984 by Arthur Baker, at the request of Columbia Records. The recording engineer for the remixes was Chris Lord-Alge. Providing the backing female vocals are Cindy Mizelle, Jocelyn Brown, and Baker's then-wife Tina B. Mizelle would later join the Sessions Band in 2006, and then become an E Street regular as a member of the E Street Choir between 2009 and 2014. These remixes were released on June 29, 1984.
DARKNESS ON THE EDGE OF TOWN - V1a | 4:26 | DO-3 / DDO / UP / DDOC |
DARKNESS ON THE EDGE OF TOWN - V1b | 4:43 | RTT |
DARKNESS ON THE EDGE OF TOWN - V2a | 4:23 | ODM / HOD / UP / AM |
DARKNESS ON THE EDGE OF TOWN - V2b | 4:23 | DARKNESS / ESSENTIAL: 2003 / GREATEST: 2009 / PROMISE: DELUXE |
Note: Bruce began writing "Darkness On The Edge Of Town" right after Born To Run, according to a 1978 interview. Indeed, the title can be found in two lists of songs that were penned some time in 1976, supporting his recollection. It is rumored that band rehearsals during 1976 at Bruce's home at Holmdel, NJ included versions of "Darkness On The Edge Of Town". With music and some lyrics written by February 1976, the song was subtitled "The Racer" for a time.
Though it is listed on the 'Star Wars' demo tape of June 1, 1977, pictured below, V1a was not cut until June 6. V1b is the full length, speed-corrected version. Sony logs show takes recorded on June 8, 9, 20 and 23, 1977 at Atlantic Studios. Work on the lyrics was needed. Bruce then put "Darkness On The Edge Of Town" aside for the rest of the year. It was not included on the 'Badlands' album sequence from October, nor the January 16, 1978 sequence. On March 8, he suddenly called his forces together, and over three days, they re-recorded from scratch and completed what would become the title track of the album. The March takes were cut in a studio with bare concrete walls, after the room was gutted prior to renovation. V2a and V2b are the album track recording, with a slight difference. V2a can be identified by the addition of the word "ready" to the line "I'll be there on time ready to pay the cost." V2b is mix take #28 from March 30, 1978, and was pressed to metal acetate on April 12.
DEAD MAN WALKIN' | 2:43 | OST: DEADMAN / ESSENTIAL: BONUS / 1995 single |
Note: Written in spring 1995 upon request of friend and director Tim Robbins for his movie Dead Man Walking. First released on December 30, 1995 on the film's soundtrack CD and then as a single in early 1996 in some countries. Recorded sometime April–May 1995 at Thrill Hill West (Bruce's Los Angeles home studio). Springsteen handles guitar and vocals and his three-man backing band on this recording is Danny Federici (keyboards), Jim Hanson (bass), and Gary Mallaber (drums).
DEVILS & DUST | 4:58 | DEVILS / ESSENTIAL: 2015 |
Note: Song written in mid-2003 (first known from appearances at soundchecks in April 2003) and the only song on Devils & Dust positively verified to have been composed after 2001. Springsteen handles vocals, guitar and keyboards, with Brendan O'Brien on bass and Steve Jordan on drums. The strings (Nashville String Machine) and horns (Susan Welty and Thomas Witte) were added later. Recorded at Thrill Hill Recording, Los Angeles & New Jersey with additional recording at Southern Tracks Recording, Atlanta, GA. Strings recorded at Masterphonics, Nashville, TN, Mixed at Southern Tracks, additional Mix at Thrill Hill Recording Los Angeles.
FOR YOU - V1 | uncirculating | |
FOR YOU - V2a | 4:43 | PS / EY |
FOR YOU - V2b | 4:40 | GREETINGS / ESSENTIAL: 2003 |
FOR YOU - V2c | 4:40 | uncirculating |
Note: V1 was recorded on February 14, 1972 at Pocketful of Tunes, 39 West 55th Street, New York, NY, at the audition for Mike Appel and Jim Cretecos. V2a was recorded June 27, 1972 at 914 Sound Studios for Greetings. V2b was an overdub session on October 26, 1972, when the track was completed. V2c features slide guitar overdubs recorded by Steven Van Zandt, ultimately rejected by Appel as "too busy."
FROM SMALL THINGS (BIG THINGS ONE DAY COME) - V1a | 2:33 | SO / DROC2 / ATMF |
FROM SMALL THINGS (BIG THINGS ONE DAY COME) - V1b | 2:42 | ESSENTIAL: BONUS / RIVER: OUTTAKES |
FROM SMALL THINGS (BIG THINGS ONE DAY COME) - V2 | uncirculating |
Note: V1a and V1b are two slightly different mixes of the same take, recorded at Power Station on September 2, 1979. The song was included in an archival concept list compiled by a Sony engineer in 1993, and also on a early six-CD Tracks sampler from June 1998 but ultimately not released until Essential in 2003. V2 is a rough take with just Bruce on guitar and vocals, which he recorded for Dave Edmunds after offering him the song to record in 1981.
GLORY DAYS - V1 | 1:59 | LM-10 |
GLORY DAYS - V2 | 4:24 | private |
GLORY DAYS - V3a | 4:54 | THLBP / THLBB |
GLORY DAYS - V3b | 5:18 | LM-19 / UH / GS / MI / BUERM / TDB / RTT |
GLORY DAYS - V3c | 5:05 | private cdr |
GLORY DAYS - V3d | 4:11 | BITUSA / GREATEST / ESSENTIAL / GREATEST: 2009 / BESTOF |
Note: V1 is a very early solo acoustic demo recorded sometime between September 1981 and April 1982. It includes an early version of the verse about Springsteen's father that was cut from the final album version but appears in most circulating bootlegs. V2 is a Colts Neck band rehearsal that can be dated to around the same period, but after V1. The verse about his father is there, Bruce can be heard calling out instructions occasionally, there are minor lyrical variations throughout, and it lacks the entire call-and-response ending. V3 is recorded at Power Station on May 5, 1982; four different mixes are known. V3a only appears on 'This Hard Land' issues and 'Roll The Tapes', and is unique because of the serious audio distortion that runs throughout. V3b is unedited and contains the extra verse cut from the officially released version. The wild variations in track length appear to be due to tape speed, and there are two variations in the count-in. An alternative source of V3b includes an engineer identifying the take as #11.
ELOISE - V1 | 1:05 | BTF / UNE / PS / EY / EDR |
GROWIN' UP - V2 | uncirculating | |
GROWIN' UP take 1 - V3a | uncirculating | |
GROWIN' UP take 2 - V3b | 2:35 | TRACKS / CHAPTER / US3 / HDT / EDR |
GROWIN' UP - V4 | uncirculating | |
GROWIN' UP - V5 | 3:18 | PS / EY |
GROWIN' UP - V6 | 3:05 | GREETINGS / ESSENTIAL: 2015 / BESTOF |
Note: V1 is 'Eloise', a work-in-progress take with soon to be discarded lyrics, recorded at Mediasound Studios in April 1972. V2 was recorded in John Hammond's office on May 2, 1972, and V3 was cut the next day at Columbia Studio E for his Columbia audition tape, and V3b was officially released 26 years later on Tracks. V4 was an acoustic take, recorded without the band at the first Greetings session on June 7, 1972, and does not circulate. V5 was cut on June 27, 1972, and V6, the final take from that session, was chosen for release on Greetings.
HUMAN TOUCH – V1a | 6:41 | private cdr |
HUMAN TOUCH – V1b | 6:28 | HUMAN / 1992 single |
HUMAN TOUCH – V1c | 5:09 | GREATEST / ESSENTIAL / BESTOF / 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.
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 | RIVER: SINGLE / TTTBR / TTTBJ |
HUNGRY HEART - V3 | 3:15 | RIVER / GREATEST / ESSENTIAL / GREATEST: 2009 / BESTOF / 1980 single |
Note: "Hungry Heart"" was supposedly penned after Joey Ramone asked Bruce to write a song for the Ramones, after he attended a show at The Fast Lane, Asbury Park, in March 1979. Springsteen has confirmed that it was written with the Ramones in mind, and he was considering giving the song away, but after he played it for Jon Landau, Jon convinced Bruce to keep it for himself. Engineer Neil Dorfsman recalls "Hungry Heart" was recorded "live" in the studio, on June 14 and again on June 21, 1979. Flo & Eddie (Mark Volman and Howard Kaylan of the Turtles) contributed backing vocals during one of these sessions. V2c has heavy echo added to Springsteen's vocal. Mixing by Bob Clearmountain for The Ties That Bind single album took place in September, and there is a session logged on September 5, but it is not clear what occurred on that date. Additional sessions took place on March 24 and April 10, 1980, but it is confirmed that Clearmountain's mix from 1979 was not tampered with, making it the first of many Springsteen releases he would go on to mix. However, "Hungry Heart" was pitch adjusted, raising the pitch of Springsteen's vocal to achieve a more radio friendly sound. That is why The River track is slightly shorter than The River: Single Album version.
HUNTER OF INVISIBLE GAME - V1 | uncirculating | |
HUNTER OF INVISIBLE GAME - V2 | 4:42 | HOPES / ESSENTIAL: 2015 |
Note: With Tom Morello. Produced by Brendan O'Brien, suggesting this recording dates from 2004–2008, presumably with a Morello overdub. Morello has stated in an interview that he heard O'Brien tinkering with a recording of the song in 2007 or 2008, and being credited on High Hopes release, after he had parted with Springsteen, proves it was recorded prior to 2009.
IF I SHOULD FALL BEHIND | 2:53 | LUCKY / ESSENTIAL: 2015 / BESTOF |
Note: Recorded sometime from July to December 1991 at Thrill Hill West (Springsteen's Los Angeles home studio). Springsteen handles all guitars, keyboards and vocals and his one-man backing band is Gary Mallaber (drums).
JOHNNY 99 - V1 | 3:50 | FFOD / HNWB |
JOHNNY 99 - V2 | 3:26 | FFOD / HNWB |
JOHNNY 99 - V3 | uncirculating | |
JOHNNY 99 - V4 take 1 | uncirculating | |
JOHNNY 99 - V5a take 2 | 3:30 | LM-1 |
JOHNNY 99 - V5b take 2 | 3:36 | NEBRASKA / ESSENTIAL: 2015 |
JOHNNY 99 - V5c take 2 stereo mix | 3:36 | NEBRASKA |
JOHNNY 99 - V6 take 3 | uncirculating | |
JOHNNY 99 - V7 | uncirculating |
Note: V1 is similar to the released version, with some lyrical variations. V2 is closer still. Both are acoustic demos recorded at Springsteen's home in Colts Neck, NJ from mid-September to December 1981. Three different, complete, recordings were made on January 3, 1982, but only one has surfaced (V5), in three alternative mixes. One of the recordings has a different ending verse. In late April 1982 Bruce recorded takes at the Power Station on April 27–28 and May 3, 1982. These cuts may be solo or with the band.
JUNGLELAND - V1 | uncirculating | |
JUNGLELAND - V2 (August 1, 1974) | uncirculating | |
JUNGLELAND - V3 (poss. October 16, 1974) | 1:33 | BIS / WAR / ET / BTRS |
JUNGLELAND - V4 (early 1975) | 9:44 | ESR / BTRO |
JUNGLELAND - V5 (probably April 1975) | 9:37 | DDITV / BTRS / BTRCS / UBTROC / WAR / URT1 / ROOI |
JUNGLELAND - V6 (April - July 1975) | 9:14 | ROOI / UBTROC |
JUNGLELAND - V7 (finished around July 20, 1975) | 9:32 | BTR / ESSENTIAL: 2003 / BTR: 30 |
Note: In his book Bruce, Peter Ames Carlin claims that from January 8, 1974 Springsteen and the band spent "a couple of days fiddling with rudimentary versions of both "Born To Run" and "Jungleland"" at 914 Studios. The accuracy of this statement is unverified, but we've included it here for reference. V1 above represents those sessions. The first circulating live performance of "Jungleland" is from the July 12, 1974 show at the Bottom Line in New York City, over seven months later. V2 is a complete take in the studio, cut August 1, 1974 and known from a Record Plant log sheet. It's likely that this is the January 8, 1974 recording referred to by Ames Carlin, with the day/month reversed in the European format on the worksheet (right) by Louis Lahav. V2 was recorded before David Sancious and Ernest Carter left the band, and took inspiration from "Zero And Blind Terry".
Through 1974 and early 1975, Bruce continued to play and develop "Jungleland" on stage, and worked on it the studio; V3 is a segment of Bruce and Suki Lahav recording vocals for dubbing, and the recording captures her talking to Bruce and singing the song coda with heavy echo. Suki recorded the violin intro at some point at 914 Sound Studios, later overdubbed to the final master at the Record Plant in 1975. Bootleg sources have dated this brief recording to October 16, 1974. During the second half of 1974 and the first half of 1975, lyrics included "there’s a crazy kind of light tonight, brighter than the one that sparked the prophets" which were changed in July 1975 to "the midnight gang's assembled and picked a rendezvous for the night." Similarly, the 1974/early-1975 lyrics "the street's alive with tough-kid Jets in Nova-light machines, boys flash guitars like bayonets and rip holes in their jeans" later became "the street's alive as secret debts are paid, contacts made, they vanished unseen, kids flash guitars just like switchblades hustling for the record machine."
These lyrics can be heard in V4, probably from 914 Studios. Take 16 was first heard in a memorable scene on the Wings For Wheels documentary in 2005, as Bruce hears the introduction for the first time in many years, and can be easily identified by Suki's unique, dramatic viola performance. The take was later broadcast in its entirety on E Street Radio. Aside from the introduction, the lyrics and instrumentation are almost identical to the performance at the Main Point in February 1975, potentially dating this recording to around the same time. Given Lahav's presence, it must date from before late March 1975, when she returned to her native Israel.
Jon Landau relocated the Born To Run sessions to the Record Plant on April 18, 1975, the studio from which the other circulating versions emanate. These sessions did not include Suki Lahav, but her violin overdubs survived. Much of the first day was devoted to "Jungleland", and in the first week there were more sessions on April 23 and 25. It's likely that V5 was recorded during this period, using a guide vocal by Bruce, strings and no sax. The "sparked the prophets" lyrics are still in place. According to the incomplete logs, Springsteen didn't give any more attention to "Jungleland" until July 14, with new vocal overdubs, but still lacking a lead guitar track and the sax solo (V6). Work was finally completed over two days from July 19, and it all came down to the last minute on July 20, according to Bruce: "Clarence and I finishing the "Jungleland" sax solo, phrase by phrase, in one (room), while we mixed "Thunder Road" in another, singing "Backstreets" in a third as the band rehearsed [for the tour that was to begin that evening] in a spare room upstairs."
LIFT ME UP | 5:16 | OST: LIMBO / ESSENTIAL: BONUS |
Note: Recorded at Thrill Hill East (Bruce's New Jersey home studio) in March 1999. Produced by Springsteen (alone). Bruce handles vocals and all instruments. Written by Bruce specifically for the John Sayles movie Limbo and first released on the movie soundtrack album in June 1999.
LIVING PROOF | 4:42 | LUCKY / ESSENTIAL: 2003 / CHAPTER / BESTOF |
Note: Recorded sometime from July to December 1991 at A&M Studios, Los Angeles. Springsteen handles all guitars and vocals and his two-man backing band on this recording is Roy Bittan (keyboards) and Gary Mallaber (drums). Bittan is credited as a co-producer of this recording.
LONESOME DAY - V1a | 4:08 | RISING / ESSENTIAL / GREATEST: 2009 |
LONESOME DAY - V1b | 3:34 | promo CD |
Note: It remains unclear if this composition was written before or after 9/11. Recorded at Southern Tracks, Atlanta, during February–March, 2002. Soozie Tyrell contributes violin and background vocals, Larry Lemaster and Jere Flint play the cello. V1b is a shorter radio edit issued on a US-only 1-track promotional single in 2002.
LONG TIME COMIN' - V1 | uncirculating | |
LONG TIME COMIN' - V2 | 4:17 | DEVILS / ESSENTIAL: 2015 / CHAPTER / BESTOF |
Note: Written by Bruce in the summer or early autumn of 1996 while on the Ghost Of Tom Joad Tour and premiered live on October 16, 1996. The Devils & Dust recording is a hybrid of two sessions quite some years apart. The basic track (V1) with Danny Federici, Marty Rifkin, Soozie Tyrell and Patti Scialfa emanates from 1997 or 1998 and was cut at Thrill Hill West, Beverly Hills. CA. It was recorded by Toby Scott and produced by Springsteen and Chuck Plotkin. The drums (Steve Jordan) and bass guitar (Brendan O’Brien) were added to the mix in 2004, at Masterphonics, Nashville, Tennessee, and Southern Tracks Recording, Atlanta, Georgia, which is the likely reason why this released version is credited as a Springsteen-Plotkin-O'Brien production, and issued on Devils & Dust.
An early Tracks six-CD sample set from June 1998 indicates that "Long Time Comin'" was considered for Tracks, but ultimately rejected. It's highly likely that this is V1, perhaps with some additional overdubs to complete the song. The sample set listed the song as "version 2", indicating there may have been a "version 1" that had already been rejected. This could have been V1 without overdubs, or an even earlier recording we are unaware of.
LUCKY TOWN | 3:21 | LUCKY / ESSENTIAL: 2003 / 1993 single |
Note: Recorded sometime from July to December 1991 at Thrill Hill West (Springsteen's Los Angeles home studio). Springsteen handles all guitars, keyboards and vocals and his one-man backing band is Gary Mallaber (drums).
MARY'S PLACE | 6:03 | RISING / ESSENTIAL: 2003 |
Note: It remains unclear if this composition was written before or after 9/11. Recorded at Southern Tracks, Atlanta, during February–March, 2002. The lyrics of the chorus allude directly to Sam Cooke's 1964 song "Meet Me At Mary's Place".
MISSING - V1a | 5:06 | 1995 single / 1999 b-side |
MISSING - V1b | 5:06 | ESSENTIAL: BONUS / DDITV |
Note: Recorded in April 1994 at a rented house in Los Angeles after Springsteen was forced to relocate his home studio following the January 1994 Northridge earthquake. Produced by Springsteen (no co-producer) and recorded by Toby Scott; Bruce handles all vocals and instruments. Springsteen didn't write "Missing" with a film in mind – he played the recording for actor/director Sean Penn in late 1994 and Penn asked if he could use it in a film he was directing, which turned out to be the November 1995 movie The Crossing Guard. First issued on the movie soundtrack in November 1995 and then as a Springsteen single in some countries in early 1996. V1a and V1b are slightly different mixes of the same recording. The versions circulated on bootlegs have about a minute total cut at the beginning and end of the track but are from an identical recording and mix to the official release.
MURDER INCORPORATED - V1a | 4:03 | MI / GS / MILM / LM-19 / TDB / UH |
MURDER INCORPORATED - V1b | 4:27 | RTT |
MURDER INCORPORATED - V1c | 4:22 | RTT / THLBP / THLBB |
MURDER INCORPORATED - V1d | 4:13 | private cdr |
MURDER INCORPORATED - V1e | 3:59 | MI / GS / MILM / UH |
MURDER INCORPORATED - V1f | 3:52 | GREATEST / ESSENTIAL: 2015 / 1995 single |
Note: Recorded at Power Station by Toby Scott on May 3–4, 1982 and considered for an early album track listing as the second song, to follow "Born In The U.S.A". According to Brian Hiatt in The Stories Behind The Songs, "Murder Incorporated" was rehearsed in Roy Bittan's living room, and a tape of that rehearsal is highly admired by Max Weinberg: "the best version I've ever heard," he told Hiatt. All of the above are different mixes of the same core recording. V1a has been in circulation for many years, and is the most commonly bootlegged version. V1b is the full recording, with hard stop ending. When compensated for speed and empty space, the recording found on track 3 of the LP 'This Hard Land' (Boss Productions) is V1c, found at correct pitch on 'Roll the Tracks', with no backing vocals in the first verse. V1d deletes the saxophone solo after the second verse, and V1e is an alternate mix, featuring Roy Bittan on piano. The officially released V1f was remixed by Bob Clearmountain in 1994 for the Greatest Hits album. It includes the saxophone solo, but fades out earlier than the outtakes, explaining the ten second difference in track length. Inclusion on a six-CD sampler dated from June 1998 indicates that the song was considered for Tracks. This is peculiar, since the original 1982 recording had already been issued at this point, and no further recordings are known.
MY LUCKY DAY - V1 | uncirculating | |
MY LUCKY DAY - V2 | uncirculating | |
MY LUCKY DAY - V3 | 4:01 | DREAM / ESSENTIAL: 2015 |
Note: Written in June, 2007 during the mixing stages of Magic, and demoed before sessions completed. Album version completed in summer 2008, and single released November 28, 2008. One of two songs, along with "Born To Run", that was made available as downloadable content for the video game Guitar Hero World Tour on January 29, 2009.
STARKWEATHER - V1 | 1:09 | LM-1(17) / HNWB |
STARKWEATHER - V2 | 1:05 | LM-1(18) / HNWB |
STARKWEATHER - V3 take 1 | uncirculating | |
STARKWEATHER - V4 take 2 | uncirculating | |
STARKWEATHER - V5 take 3 | uncirculating | |
STARKWEATHER - V6a take 4 m | 4:25 | LM-1(1) |
NEBRASKA - V6b take 4 mix 1 | 4:25 | NEBRASKA / ESSENTIAL: 2003 |
NEBRASKA - V6c take 4 mix 2 early fade | 4:25 | uncirculating |
NEBRASKA - V6d take 4 mix 3 bad harp | 4:25 | uncirculating |
NEBRASKA - V6e take 4 mix 4 glock | 4:25 | uncirculating |
NEBRASKA - V6f stereo mix | 4:16 | NEBRASKA |
NEBRASKA - V7 | uncirculating |
Note: The first song recorded, and the first song in the final running order, for Nebraska. V1 and V2 are takes of the introduction and first two lines, recorded in late 1981 at Springsteen's home in Colts Neck, NJ. Six takes were recorded on January 3, 1982, including V6b take 4, the title track of the album. V6 above are alternate mixes. Mix #1 is complete, with a 12-string guitar. #2 fades early, #3 is noted as "bad harp no good". Take #4 is with glock. Listed as "Starkweather" in an early song line-up, the song is about the Charles Starkweather murder spree in the 1950s. "Nebraska" was later recorded over three days at Power Station on April 27, 28 and 30, 1982; these recordings could be either solo or with the band, or possibly both.
NONE BUT THE BRAVE - V1a | 5:24 | BUERM / UH / MAT / MILM / RTT |
NONE BUT THE BRAVE - V1b | 5:12 | SO / GT |
NONE BUT THE BRAVE - V2 | 5:29 | ESSENTIAL: BONUS |
Note: "None But The Brave" was cut on June 6, 1983 at The Hit Factory, with follow-up sessions on June 13 and 27. V1a and V1b appear to be almost finished recordings with double-track vocals. They are said to be different mixes but are very similar, and any differences may be down to tape speed and recording source. V2 was a fresh vocal on June 27, and Miami Steve Van Zandt cutting loose on guitar that was probably added as a subsequent overdub. The lyrics are the same as V1a/b, aside from a small change in the third verse, replacing 'Something that ain't there no more' with 'Just waitin' to see you come walkin' through that door'. This alternate take was released on the bonus third CD of The Essential Bruce Springsteen in November 2003, and then played live for the first time at the 2003 Christmas shows in Asbury Park the following month.
ONE STEP UP - V1 | uncirculating | |
ONE STEP UP - V2 | 4:16 | TUNNEL / ESSENTIAL: 2015 / 1988 single |
Note: Recorded late May to early June 1987 at A&M Studios, Los Angeles, with Bruce on most of the instruments, and Patti Scialfa adding backup vocals. Music video filmed on February 15, 1988, at The Wonder Bar, Asbury Park, New Jersey, directed by Meiert Avis. Single released February 27.
I’M GONNA BE THERE TONIGHT - V1 | 2:13 | DROC2 |
I’M GONNA BE THERE TONIGHT - V2 | 3:27 | DROC2 / RRR |
OUT IN THE STREET - V3a | 4:13 | DROC2 / ATMF |
OUT IN THE STREET - V3b | 4:14 | DROC2 / RRR |
OUT IN THE STREET - V3c | 4:15 | RIVER / ESSENTIAL: 2015 |
Note: V1 and V2 are both Telegraph Hill band rehearsals from January 11, 1980. By March, Bruce had completed the lyrics to "Out In The Street", and on March 21, 1980 at Power Station, the band was ready to finish the song. V3 was recorded that night, as sessions were drawing to a close. Neil Dorfsman said it was "a beast" of a track to record. Everybody left on vacation after it was done.
PROVE IT ALL NIGHT - V1 | 3:28 | LM-3 / UP / AM / LMEC2 |
PROVE IT ALL NIGHT - V2a | 4:00 | ODM / HOD / UP / AM |
PROVE IT ALL NIGHT - V2b | 3:54 | ODM / HOD / UP / AM |
PROVE IT ALL NIGHT - V2c | 3:54 | DARKNESS / ESSENTIAL / PROMISE: DELUXE / BESTOF / 1978 single |
Note: Springsteen has said that "Prove It All Night" was adapted from "It's A Shame", a.k.a. "Jon's Jam", which was written, recorded, and set aside in June, 1977. He later said (live as an introduction to the song) that he got the idea from a cabbie in New York City while he was making the album. The cabbie was "raving about how all day long you gotta prove it to your boss driving around in a cab and all night you gotta go home and prove it to your wife, on the weekends you gotta prove it to your kids." The earliest circulating take from 'Lost Masters III' has an overdubbed sax solo and double tracked vocals, but the lyrics are a fusion of both "Prove It All Night" and "Something In The Night". Studio logs show takes were recorded on September 12, and over three straight days from September 14–16. It's likely that V1 is from one of those dates, but could potentially be earlier.
"Prove It All Night" never failed to be included on tentative album sequences, from October 1977 through May 1978. The song was completed with V2 (take 49), mixed in spring 1978 by Toby Scott, Chuck Plotkin's chief engineer. V2a is an alternate mix that runs to a hard stop ending, with Max's energetic performance and Danny's organ dominating. V2b features the vocal track above the organ and drums and runs shorter. while the final mix, V2c, was also released as the first single ahead of the album, on May 23, 1978 in the United States.
RADIO NOWHERE - V1 | uncirculating | |
RADIO NOWHERE - V2 | 3:18 | MAGIC / ESSENTIAL: 2015 / GREATEST: 2009 |
Note: V1 was recorded in late 2006 in New Jersey. V2 was 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.
ROSALITA (COME OUT TONIGHT) - V1 | 7:17 | US5 / ET / ETRJ / ROOI / SA914 |
ROSALITA (COME OUT TONIGHT) - V2 | 7:00 | WIESS / ESSENTIAL / GREATEST: 2009 / BESTOF |
Note According to Diane Lozito, his girlfriend from 1971 to 1975, Bruce "wrote "Rosalita (Come Out Tonight)" in bits and pieces and didn't have a title for it. My mom is Rita Lozito. Then he met my grandma. So I assume that's where he put it together." Diane's grandmother's full name was "Rose Lozito"; In that part of Jersey, it's pronounced Lazita, so "Rose Lazita". 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 Crazy Janey in "Spirit In The Night", Sandy in "4th Of July, Asbury Park (Sandy)", Terry in "Backstreets", and the girl in "Thundercrack". This has never been refuted by Springsteen. In an interview for Mojo 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. The song 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, e.g. "with her chiffon reigns" and "soft sweet samurai tongue." According to roadie and baritone sax player "Albany" Al Tellone, the song's layered sound was recorded over numerous sessions at 914 Sound Studios, culminating on Bruce's birthday, September 23, 1973, also the last known date of the Wild & Innocent sessions. The final album mix and an instrumental backing track (V1) are all that is in general circulation.
SPIRIT IN THE NIGHT - V1a | uncirculating | |
SPIRIT IN THE NIGHT - V1b | 4:57 | GREETINGS / ESSENTIAL: 2003 / BESTOF / 1973 single |
Note: "Spirit In The Night" was written in mid-August, 1972 in response to Clive Davis's request for some radio material. Springsteen first tried using the music from "The Fever", but quickly thought otherwise and composed a fresh melody. V1a was recorded on September 11, 1972 at 914 Sound Studios, Blauvelt, New York. The Greetings take had Bruce playing multiple instruments, alongside Clarence Clemons, Vini Lopez, and session man Harold Wheeler (providing additional piano). Final dubs and mixing were completed on October 26, 1972, and the song was issued as a single, backed with "For You" and hard on the heels of "Blinded By The Light", on May 11, 1973, produced by Bruce Springsteen, Mike Appel, and Jim Cretecos. A stereo fold down mono version is available as the b-side of the white label promo 45.
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 / BESTOF |
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 U.S. Copyright office on August 27, 1993. Released on December 30, 1993, as part of the 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.
The base track, 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's vocals to V1a, and is trimmed to under four minutes. V1d is a significantly edited (one minute shorter) version of V1b, mixed for Greatest Hits, 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-and-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).
TENTH AVENUE FREEZE-OUT - V1 | 0:34 | private cdr |
TENTH AVENUE FREEZE-OUT - V2 | 3:25 | BTRS |
TENTH AVENUE FREEZE-OUT - V3a | 3:08 | BTR / ESSENTIAL: 2015 / BTR: 30 / BESTOF |
TENTH AVENUE FREEZE-OUT - V3b | 3:18 | private |
Note: Work on this song began May 5, 1975. V1 is a brief snippet of the tail section of what appears to be a unique performance. V2 is an early, complete take that was originally broadcast on E Street Radio in late 2005; this take has some considerable lyrical differences to the released version and has Springsteen vocalizing the horn parts during the opening. V3a was recorded on July 13, 1975 at the Record Plant, featuring Randy and Michael Brecker on horns, in a last-minute arrangement by Steven Van Zandt. V3b has a cold ending (no fadeout) and includes only bass, drums, horns and vocal. A stereo fold down mono version is also available as the b-side of the white label promo 45.
THE BIG PAYBACK - V1 | 1:56 | MT2 |
THE BIG PAYBACK - V2 | 1:55 | ESSENTIAL / 1982 b-side / HNWB |
Note: Two different recordings were "cut at home shortly after the Nebraska album," according to Springsteen's Essential liner notes. Only one has surfaced. Likely recorded January–April 1982, the exact date is not listed in the studio logs.
THE GHOST OF TOM JOAD - V1 | uncirculating | |
THE GHOST OF TOM JOAD - V2 | 4:20 | JOAD / ESSENTIAL / CHAPTER / BESTOF |
THE GHOST OF TOM JOAD - V3 | 4:26 | COMP: APPLESEED10 |
THE GHOST OF TOM JOAD - V4 | 4:44 | OST: PEOPLESPEAK |
THE GHOST OF TOM JOAD - V5 | 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). 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 mid-/late-2006. 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 United States during mid-/late-2006 and then everything was mixed together at Shelter Island Sound Studios in New York City 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, most likely early 2009, in his home studio for the The People Speak documentary. V5 was recorded in March 2013 in Los Angeles, the day before a flight to Australia for the Australian leg of the Wrecking Ball Tour, and was produced by Ron Aniello and Springsteen.
THE PROMISED LAND - V1 | uncirculating | |
THE PROMISED LAND - V2 | uncirculating | |
THE PROMISED LAND - V3a | 4:14 | ODM / HOD / UP |
THE PROMISED LAND - V3b | 4:25 | DARKNESS / ESSENTIAL / PROMISE: DELUXE |
Note: One of the last songs written and recorded for the album, "The Promised Land" had its genesis in 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 three takes attempted (including V1). Recording resumed on October 27 at the Record Plant with twenty takes (including V2, take 19, marked "long ending"). V3 (take 5) was completed on December 1 or 27, 1977, and pressed to metal acetate on April 12, 1978. V3a was the final version without the guitar solo. On or about May 10, 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.
THE RISING | 4:50 | RISING / ESSENTIAL / GREATEST: 2009 / CHAPTER / BESTOF |
Note: Song composed post-9/11, November 2001–February 2002. Recorded at Southern Tracks, Atlanta, during February–March, 2002. Soozie Tyrell contributes violin and background vocals, Jane Scarpantoni plays the cello.
OH ANGELYNE - V1 | 1:35 | LM-6 / DROC1 / RRR |
OH ANGELYNE - V2 | 0:47 | LM-6 |
OH ANGELYNE - V3 | 2:52 | LM-6 |
OH ANGELYNE - V4 | 2:13 | LM-6 / MT2 |
THE RIVER - V5 take 5 | 4:48 | RIVER: SINGLE / TTTBR / TTTBJ / PYP / LEK / ATMF |
THE RIVER - V6 | 5:01 | RIVER / GREATEST / ESSENTIAL / TTTB: RIVER / GREATEST: 2009 / CHAPTER / BESTOF |
THE RIVER - V7 | 0:36 | TTTB: DOCUMENTARY |
Note: Springsteen kicked around the verses of "Oh Angelyne" for six months until he received inspiration from Hank Williams' "Long Gone Lonesome Blues" that includes the lyric 'I jumped in the river, but the doggone river was dry', and added a chorus in August 1979. The original inspiration had been the economic situation his sister Ginny and her husband found themselves in during the late 1970s. Thanks to 'Lost Masters', we have four takes of a solo demo recorded by Bruce at home in February–May, 1979.
"The River" was first recorded at the Power Station on August 26, 1979, with the completed take 5 (V5) selected for The Ties That Bind and mixed by Bob Clearmountain. Bruce changed his mind in October, and the single album fell through. In September he performed "The River" live twice at Madison Square Garden, New York at the No Nukes MUSE benefits. The version finally released on The River double album had a number of embellishments to the single album mix. For instance, the ethereal vocalisations by Bruce and Steve over the closing coda were added, possibly recorded on January 21, 1980. Mixing took place on April 12 and 24, and the result was sequenced as the final track on the first LP of The River. Studio logs give us those three dates in 1980, but don't specify what was done. In an interview, engineer Neil Dorfsman says he recalls cutting several versions of the song, trying out different tempos and a more embellished rock 'n' roll arrangement. None of these alternative arrangements circulate, and it is not known whether they exist in the vaults. V7 is a brief snippet of an acoustic demo heard in Thom Zimny's documentary about the making of The River, included in the The Ties That Bind (The River Collection) box set.
THE TIES THAT BIND - V1 | 3:30 | US6 / URT-1M / RRR |
THE TIES THAT BIND - V2 | 3:38 | URT-1M / US6 / DROC1 |
THE TIES THAT BIND - V3 | 0:45 | URT-1M |
THE TIES THAT BIND - V4 | 4:02 | LM-14 |
THE TIES THAT BIND - V5 | 3:40 | private |
THE TIES THAT BIND - V6a take 8 | 3:25 | LM-6 |
THE TIES THAT BIND - V6b take 8 | 3:29 | RIVER: SINGLE / TTTBJ / DROC2 / PYP |
THE TIES THAT BIND - V6c take 8 | 3:29 | RIVER / ESSENTIAL: 2015 |
Note: First known from a soundcheck performance on September 20, 1978 at the Capitol Theatre in Passaic. While it shares some lyrics with the finished article, the soundcheck version otherwise bears little resemblance. This first incarnation of "The Ties That Bind" is a minor-key blues driven hard rock song with some searing lead guitar work. Another soundcheck performance of this arrangement circulates, a partial recording said to have been taped from outside the Capitol Theatre the following day, although this is in some doubt. A faster, more confident performance. This original arrangement was extensively revised by October 26, 1978, when V1–V3 were recorded at Telegraph Hill in a rehearsal a few days before the final leg of the Darkness Tour. Although still a work-in-progress, it is much closer to the final arrangement, and now in the major key. It was premiered live six days later at Princeton University and played regularly for the remainder of the tour, eventually taking a prominent spot as the opening song of the second set.
The band picked it back up in the Spring of 1979 at Telegraph Hill with V4 and V5, still needing work on the second and third verses. V5 is more advanced, and both still retain the drum introduction from the Darkness Tour arrangement that was dropped for the final take. In April, sessions commenced at Power Station studios for album #5, with engineer Bob Clearmountain. After finishing "Roulette", work began on finishing "The Ties That Bind", with takes recorded on April 9, 10, and 11. V6 is take 8, chosen as the title track for an album to be released later in the year. V6a was an early mix with different vocals. V6b was mixed by Clearmountain in September 1979, but after the album came back from mastering in October, Bruce called a halt to the release, and resumed writing and recording. Jon Landau helped to sell him on the double album idea, and The River was released in 1980. The first track on side one was V6c with a freshly recorded vocal track over the 1979 base and possible overdubs and mixing on April 10, 1980. Final mixing by Toby Scott took place at Clover Studios in Los Angeles, during May–July.
THE WRESTLER - V1a | 3:50 | OST: WRESTLER / DREAM / ESSENTIAL: 2015 / BESTOF / 2008 single |
THE WRESTLER - V1b | 5:20 | promo CD |
Note: Written at the request of Mickey Rourke for his film The Wrestler, debuted August 2008 at the Venice International Film Festival. Features Springsteen on all instruments. V1a is the version included on the Working On A Dream album, released as a single December 16, 2008. V1b is on a US-only 1-track promotional CDR in slimline jewel case without artwork, issued exclusively to Academy Award voters by film distributors "Fox Searchlight Pictures" for consideration in the "Best Original Song" category. This rare disc exclusively contains the full, unedited 5:20 version with longer intro and intact piano coda, which was omitted for the song's widespread release as a "bonus track" on the album. Some copies feature a misprint of "For Your Consiceration".
CHRISSIE'S SONG - V1 | uncirculating | |
ANGELINA - V2 | uncirculating | |
THUNDER ROAD - V3a | 4:39 | BIS / WAR / ET / BWNH / BTRCS |
THUNDER ROAD - V3b | 5:12 | BTRS / BTRO |
THUNDER ROAD - V4 | 4:35 | BIS / WAR / ET / BWNH / BTRS / BTRCS |
THUNDER ROAD - V5 | 5:03 | ESR / BTRS |
THUNDER ROAD - V6 | 5:22 | WAR / BWNH / BTRS / BTRCS / UBTROC |
THUNDER ROAD - V7 | 4:45 | BTR / GREATEST / ESSENTIAL / BTR: 30 / GREATEST: 2009 / BESTOF |
Note: According to Backstreets: Springsteen, The Man And His Music by Charles R. Cross, a 1972 song called "Angelina" contains the first two lines of "Thunder Road". This may have been the basis of a solo recording from October 1974 at 914 Sound Studios of "Chrissie's Song" (or this was a new composition), which includes the line "Leave what you’ve lost, leave what’s grown cold, Thunder Road." Some time between November 1974 and January 1975, Bruce took "Chrissie", lyrics from "Walking In The Street", and combined them into "Angelina" V2, possibly also known as "Wings For Wheels", the bootleg title of contemporary performances. 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 "Angelina"/"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 lines "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." 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.
TOUGHER THAN THE REST | 4:32 | TUNNEL / ESSENTIAL: 2015 / BESTOF / 1988 single |
Note: Recorded some time between January and April 1987 at Thrill Hill Recording, Rumson, New Jersey (Springsteen's home studio). Springsteen handles multiple instruments, with overdubs by Danny Federici (organ) and Max Weinberg (percussion). Originally written as a rockabilly song.
TUNNEL OF LOVE | 5:06 | TUNNEL / ESSENTIAL: 2003 / 1987 single |
Note: In late June or early July 1987, Springsteen called Toby Scott to the Carriage House to record one last song for the still unnamed album. Bruce played all instruments, including drums, even though the complex pattern for the drum box was programmed by Scott. Next, Toby was sent to get "carnival sounds," which were recorded at Point Pleasant Amusement Park, New Jersey. The first take failed to get the proper screams and sounds, so when he returned a few days later, he enlisted the help of the owner, and successfully recorded a train full of young teenagers on the "mouse" roller coaster. After choreographing the screaming, he brought the tape back, which filled the spots where Bruce wanted the amusement sounds. Overdubs were added by Nils Lofgren (lead guitar), Roy Bittan (synthesizers), Max Weinberg (percussion), and Patti Scialfa (vocals) to the song, now called "Tunnel Of Love". While Bob Clearmountain mixed it in New York, Springsteen decided to remove "Lucky Man" from the unnamed album's track sequence, to make room the new song. Then he decided to name the album Tunnel Of Love, and Lucky Man became the b-side of the first single, "Brilliant Disguise".
VIVA LAS VEGAS – V1a | 3:11 | COMP: LASTTEMPTATION |
VIVA LAS VEGAS – V1b | 3:03 | ESSENTIAL: BONUS / OST: ELVIS / BACK |
Note: Recorded September 13–14, 1989 at One On One Studio, North Hollywood. First released in the UK in February 1990 on The Last Temptation Of Elvis, a Various Artists charity album. Both above are the same recording. V1a is the charity album version and includes some brief Presley dialogue prior to the start of the song. V1b deletes that dialogue.
WE TAKE CARE OF OUR OWN | 3:53 | WRECKING / ESSENTIAL: 2015 / BESTOF |
Note: The first song written for Wrecking Ball and the first single from the album, "We Take Care Of Our Own" was released digitally on January 19, 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.
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 Working On A Dream's first single. Winner of the 2010 Grammy Award for "Best Solo Rock Vocal Performance".
Studio Sessions: a.o. The Essential
Media | Song Title | Recording Date | Location |
---|---|---|---|
D2/14. | American Skin (41 Shots) | July 01, 2000 | Madison Square Garden, New York City, New York |
D2/15. | Land Of Hope And Dreams | July 01, 2000 | Madison Square Garden, New York City, New York |
D3/3. | Held Up Without A Gun | December 31, 1980 | Nassau Coliseum, Uniondale, New York |
D3/4. | Trapped | August 6, 1984 | Meadowlands Arena, East Rutherford, New Jersey |
D3/10. | Code Of Silence | June 29, 2000 | Madison Square Garden, New York City, New York |
2003 Edition |
Count |
Limited Edition 3.0 (Bonus Disc Only) |
Count |
Blinded By The Light | 82 |
From Small Things (Big Things One Day Come) | 44 |
For You | 234 |
The Big Payback | 0 |
Spirit In The Night | 615 |
Held Up Without A Gun | 5 |
4th Of July, Asbury Park (Sandy) | 280 |
Trapped | 267 |
Rosalita (Come Out Tonight) | 875 |
None But The Brave | 9 |
Thunder Road | 1562 |
Missing | 0 |
Born To Run | 1851 |
Lift Me Up | 1 |
Jungleland | 642 |
Viva Las Vegas | 8 |
Badlands | 1321 |
County Fair | 2 |
Darkness On The Edge Of Town | 727 |
Code Of Silence | 23 |
The Promised Land | 1531 |
Dead Man Walkin’ | 22 |
The River | 716 |
Countin’ On A Miracle | 66 |
Hungry Heart | 784 |
||
Nebraska | 116 |
||
Atlantic City | 391 |
||
Born In The U.S.A. | 1061 |
||
Glory Days | 638 |
||
Dancing In The Dark | 1181 |
||
Tunnel Of Love | 90 |
||
Brilliant Disguise | 440 |
||
Human Touch | 128 |
||
Living Proof | 98 |
||
Lucky Town | 142 |
||
Streets Of Philadelphia | 92 |
||
The Ghost Of Tom Joad | 454 |
||
The Rising | 1011 |
||
Mary's Place | 237 |
||
Lonesome Day | 426 |
||
American Skin (41 Shots) | 115 |
||
Land Of Hope And Dreams | 752 |
2015 Edition |
Count |
Growin' Up | 628 |
Rosalita (Come Out Tonight) | 875 |
4th Of July, Asbury Park (Sandy) | 280 |
Thunder Road | 1562 |
Born To Run | 1851 |
Tenth Avenue Freeze-Out | 1242 |
Badlands | 1321 |
The Promised Land | 1531 |
Prove It All Night | 768 |
The River | 716 |
Hungry Heart | 784 |
The Ties That Bind | 315 |
Out In The Street | 757 |
Atlantic City | 391 |
Johnny 99 | 428 |
Glory Days | 638 |
Born In The U.S.A. | 1061 |
Dancing In The Dark | 1181 |
Tougher Than The Rest | 383 |
Brilliant Disguise | 440 |
One Step Up | 59 |
Human Touch | 128 |
Better Days | 125 |
If I Should Fall Behind | 295 |
Streets Of Philadelphia | 92 |
Murder Incorporated | 272 |
The Ghost Of Tom Joad | 454 |
The Rising | 1011 |
Lonesome Day | 426 |
Devils & Dust | 98 |
Long Time Comin' | 161 |
Radio Nowhere | 183 |
Working On A Dream | 96 |
My Lucky Day | 30 |
The Wrestler | 21 |
We Take Care Of Our Own | 127 |
Hunter Of Invisible Game | 1 |
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- 4th Of July, Asbury Park (Sandy)
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- Code Of Silence
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- Darkness On The Edge Of Town
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- For You
- From Small Things (Big Things One Day Come)
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- Held Up Without A Gun
- Human Touch
- Hungry Heart
- Jungleland
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- Lonesome Day
- Long Time Comin'
- Lucky Town
- Mary's Place
- Missing
- Nebraska
- None But The Brave
- Rosalita (Come Out Tonight)
- Spirit In The Night
- Streets Of Philadelphia
- The Big Payback
- The Ghost Of Tom Joad
- The Promised Land
- The Rising
- The River
- Thunder Road
- Trapped
- Tunnel Of Love
- Viva Las Vegas
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