Chapter And Verse - Studio Sessions


flickr:38517876910
Commercially Released: September 23, 2016
Produced by: Bruce Springsteen
Recording Engineer: 
Recorded at:
Label: Columbia LC 00162
Total Time: 01:17:48
Table of Contents

Overview

Chapter and Verse is the musical companion to Bruce Springsteen’s autobiography ‘Born To Run.’ The album is a collection of 18 songs chosen by Springsteen that trace his musical history from its earliest days and tell a story that parallels the one in the book. Chapter and Verse includes five previously unreleased tracks including two tracks from The Castiles, featuring a teenaged Springsteen on guitar and vocals.

# Song Title Running Time Release
1. BABY I 1:56 CHAPTER
2. YOU CAN'T JUDGE A BOOK BY THE COVER 2:55 CHAPTER
3. HE'S GUILTY (THE JUDGE SONG) 4:39 CHAPTER
4. THE BALLAD OF JESSE JAMES 5:31 CHAPTER
5. HENRY BOY 3:17 CHAPTER
6. GROWIN' UP 2:43 CHAPTER
7. 4TH OF JULY, ASBURY PARK (SANDY) 5:35 CHAPTER
8. BORN TO RUN 4:30 CHAPTER
9. BADLANDS 4:02 CHAPTER
10. THE RIVER 5:00 CHAPTER
11. MY FATHER'S HOUSE 5:04 CHAPTER
12. BORN IN THE U.S.A. 4:38 CHAPTER
13. BRILLIANT DISGUISE 4:15 CHAPTER
14. LIVING PROOF 4:45 CHAPTER
15. THE GHOST OF TOM JOAD 4:21 CHAPTER
16. THE RISING 4:47 CHAPTER
17. LONG TIME COMIN' 4:14 CHAPTER
18. WRECKING BALL 5:50 CHAPTER

Details

Note: If the song is not listed here, please go to the specific session era from which these tracks emanate for details on each track.

BABY I 2:05 DDITV / BSS2 / SFEM
BABY I 1:56 CHAPTER

Note: Written (Springsteen / Theiss) in May 1966 and recorded at Mr. Music in Bricktown, NJ. Performed in concert regularly during 1966 and early 1967. Officially released in September 2016 on Chapter And Verse, the companion album to Springsteen's autobiography Born To Run.

HE'S GUILTY (THE JUDGE SONG) 5:57 BSS3 / US1 / VAFH
HE'S GUILTY (THE JUDGE SONG) 4:39 CHAPTER

Note: Written in the summer of 1969 and performed in concert regularly during the second half of 1969 and throughout 1970. After Robbin Thompson joined the band the song tended to be slotted into the final stages of the show. Several live performances are in circulation. One of three songs recorded at Pacific Recording Studio, San Mateo, CA on February 22, 1970 and officially released in September 2016 on Chapter And Verse, the companion album to Springsteen's autobiography Born To Run. This version has been edited, reducing the length to 4:39 by cutting some of the instrumental segments short. Former Steel Mill vocalist Robbin Thompson released a cover version in 1986. Sometimes listed as “Guilty” or “Send That Boy To Jail”.

BALLAD OF JESSE JAMES 6:57 UBER26 / DDITV / TFTV
BALLAD OF JESSE JAMES 5:31 CHAPTER

Note: Written in mid-1971. Sometimes referred to by the title “Don't You Want To Be An Outlaw” or “Billy”. This ode to Jesse James and Billy The Kid was played live often and there are multiple live performances from the second half of 1971 in circulation. The studio rehearsal take from Challenger Eastern Surfboards, Highlands, NJ on March 14, 1972, is in far better quality than any of the available live versions, and was officially released in September 2016 on Chapter And Verse, the companion album to Springsteen's autobiography Born To Run. This release has been edited, reducing the length to 5:31 by removing some of the verses in the middle of the song.

HENRY BOY 3:13 US4 / DT / EY / CHAPTER

Note: "Henry Boy" was recorded as a demo at MediaSound Studios, 311 West 57th Street, New York, NY 10019 in June 1972. It has been described as an "early version of what would evolve into 'Blinded By The Light'", which would explain why it vanished after being played live in August 1972, while 'Blinded By the Light' was composed and recorded in record time on September 11, 1972, then released on 'Greetings From Asbury Park, New Jersey', and became the first single from the album. 'Henry Boy' was officially released on September 23, 2016 in the album "Chapter and Verse", the companion to Springsteen's autobiography "Born To Run". It was dated only as "June 1972" in the liner notes, suggesting the studio logs from the time are not complete, which is a well known fact. Possibly of greater interest are the live shows in August 1972 described below. These shows were performed just after Bruce thought he was done recording 'Greetings From Asbury Park, New Jersey', only to be informed by Clive Davis, president of Columbia Records, that the album submitted was not acceptable to Columbia, mainly because there was no "single material" that could be released to generate radio airplay. As he recounted in "Songs", Bruce took this to heart, and without delay, composed "Spirit In the Night" and "Blinded By the Light", recording both on September 11, 1972, much to the satisfaction of his record label, who were pleased with the songs, and even more by their new artists' response to their implied request. Unnoticed was "Henry Boy", which garnered respectable attention during the August Max's Kansas City residency, but was never played again. Perhaps Bruce used most of the song in creating 'Blinded By the Light', just like he did with 'Walking In the Street' when creating 'Thunder Road'.

A video of "Henry Boy", filmed in August 1972 at Max’s Kansas City, is in circulation. Springsteen introduces the song as, "a song about being new in town. Now everybody's been new in town, once, or twice. And uh… that's what this next song's about, I think." Very brief audio-video excerpts of both "Henry Boy" and "Growin' Up" from one of the twelve shows during this August 1972 Max's residency first surfaced in a 1990 documentary about John Hammond called From Bessie Smith To Bruce Springsteen. The complete audio-video of both songs has since leaked out and is circulating among collectors. These complete takes represent what was originally supplied to the Hammond film producers by CBS. The producers were only allowed to use brief excerpts of the two songs in the documentary and were not supplied any footage of the rest of the show. The remainder of the show (probably only a couple of songs, for a total of around thirty minutes) exists in CBS's vault but has never circulated. Definitely one, probably two, and possibly several of Bruce's shows during this residency were audio and video recorded in their entirety, utilizing Max's (crude by today's standards) in-house video camera. It is believed the recording was carried out at the behest of Columbia, who wanted footage of Bruce for potential promotional use.

Please check the Brucebase live accounts from August 10, 1972 and August 14, 1972, for information on "Henry Boy", and the film work done at Max's Kansas City in New York. Be sure to click on the "Recording" tab on each gig page for important additional information.

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 / US3 / HDT / CHAPTER / EDR
GROWIN' UP - V4 uncirculating
GROWIN' UP - V5 3:18 PS / EY
GROWIN' UP - V6 3:05 GREETINGS / ESSENTIAL: 2015

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'.

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

Note: A song destined to be special to all people of New Jersey, especially those who remember the summers of the mid-70s at the Jersey shore. Written in mid-1973, after being evicted from his Asbury Park apartment and moving in with his girlfriend Diane in Bradley Beach. Played live at Max's Kansas City, New York, on July 18, 1973, three weeks before he recorded the first studio take, on August 9, 1973, which turned out to be the second to last session. Recorded V1, the instrumental backing track, and V2, the original take, with "Now, Sandy, them northern angels lost their desire for us, I spoke with them last night, they won't set themselves on fire for us anymore, still, when the weather gets hot, they ride that crazy road down from heaven on their Harleys every season they come and they go, dressed like stars in all them cheap little seaside bars, they're parked with their babies out on the Kokomo…love me tonight and I promise I'll love you forever….". V3 is the album version, mostly from August 9, but with overdubs and mixing on September 23, 1973, including Bruce adding a new final verse, with "nicer" lyrics. When he played back, "I promise you I'll love you—forever?", he must have instantly decided it had to be redone…but then he did it again on the overdub! No wonder she dumped him. He changed the words in the live set at The Main Point on October 31.

BORN TO RUN - V1 uncirculating
BORN TO RUN - V2a 4:24 ESRR / 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
BORN TO RUN - V7 uncirculating

Note: On the road in the Mid-South late in 1973, he 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 V1."-Bruce by Peter Ames Carlin. According to Bruce, the entire writing and recording process took six months while he was living at a rented cottage at 7½ West End Court in West Long Branch, which suggests it began in late 1973. V2a is the original backing track recorded at 914 Sound Studios on May 21, 1974, after obviously being rehearsed and practiced in prior days. V2b from June 26, 1974 dubs in Bruce's vocals to the V2a track. Bruce continued work on the song, adding lyrics and overdubs, at 914 Sound Studios, both in June and then starting a week's residency on August 1, 1974. Finally, on August 6, 1974. the final version was mixed down from seventy-two tracks to the sixteen available at 914 Studios, including strings, more than one dozen guitar tracks, sax, drums, glockenspiel, bass, multiple keyboards and a variety of voices. The core backing track V3 was mixed, along with numerous test arrangements V4x, with backing vocals, double-tracked vocals and strings, and finally the one chosen for release V5a. An advanced tape release of the official version V5b, first aired on WMMR in Philadelphia on November 3, 1974 (V5c), and subsequently broadcast by several USA radio stations during November 74-July 75. There is little difference between these versions.

Sifting through all the information and "fake news" on 'Born To Run' is agony; it is obvious many records of studio takes, dubbing and mixing work are missing. V6 was an unreleased tape from October 16 cancelled by Columbia. There is a studio log entry on March 17, 1975, which was not a dub or mix session. We will mark that V7. Over the years, more than ten alternative mixes of Born To Run have leaked out, and this a short list and description of those we could identify. V4a has a double tracked vocal and strings; V4b has double tracked vocals. strings, and a female chorus; V4c also has a female chorus. V4d has a female chorus that doesn't kick in until the 3rd verse; 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; this was released by Ktel-CBS in Australia-only in early 1976 on a multi-artist LP called Supersounds.

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 - V4d take 23 3:59 DARKNESS / ESSENTIAL / GREATEST / CHAPTER

Note: Unfortunately, very few outtakes circulate of Badlands, one of Springsteen's greatest songs and anthems, that 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. However, V4d, the mix #23 that went on the album, was from February 24 or 25, restoring one of Clarence Clemons' great sax solos. Springsteen's initial excuse 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".

OH ANGELYNE - V1 1:35 LM-6 / DROC1 / RRR
OH ANGELYNE - V2 0:49 LM-6
OH ANGELYNE - V3 2:59 LM-6
OH ANGELYNE - V4 2:20 LM-6 / MT2
THE RIVER - V5a - take 5 4:45 TTTBR / TTTBJ / RIVER: SINGLE / PYP / LEK / ATMF
THE RIVER - V5b 4:56 RIVER / ESSENTIAL / GREATEST / CHAPTER
THE RIVER - V6 0:36 TTTB: DOCUMENTARY

Note: Evolved from "Oh Angelyne", four takes of a solo demo recorded by Bruce at home January-May, 1979. V5, now known as "The River", was recorded at The Power Station on August 26 and 29, 1979. V5a, take 5, was the mix set to go on "The Ties That Bind" album, but after that fell through, ooo-ooos by Bruce and Steve were overdubbed on the end coda, and that, V5b, went on Disc 1 of the River double album. Studio logs indicate January 21 and April 12 and 24, 1980, as dates where additional takes, overdubs and mixing took place. 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. V6 are brief snippets of an acoustic demo heard in Thom Zimny's documentary about the making of The River, and include some well-known verses, including "is a dream a lie that don't come true, or is it something worse".

MY FATHER'S HOUSE - V1 uncirculating
MY FATHER'S HOUSE - V2a uncirculating
MY FATHER'S HOUSE - V2b 5:35 NEBRASKA (stereo mix) / SFEM / HNWB
MY FATHER'S HOUSE - V2c 5:07 NEBRASKA / CHAPTER

Note: Two different, complete, recordings on separate cassettes were made on May 25, 1982, over five months after the vast majority of the Nebraska tracks were cut. Only one take has surfaced (three mixes). V1 and V2a do not include any synthesizer (the synthesizer was likely added at The Power Station). V2b includes an additional 28 seconds of synthesizer at the end that was cut from the official release. The master tape for this longer version was accidentally sent to Japan in 1985 and released on the first-ever CD print run of the album, as well as a second pressing of the Japanese CD in 1986-87. The long version was also utilized on original 1986-7 export editions of the Japanese CD sent to Europe and the USA. The mistake was eventually corrected on all versions. The long version has not been officially available anywhere since 1995. Some early promotional copies of the album sent to press and radio stations (certainly in the UK, and perhaps worldwide) also included the synth coda.

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 mix 2 3:06 LM-1 / HNWB
BORN IN THE U.S.A. - V7b take 1 mix 1 3:06 TRACKS
BORN IN THE U.S.A. - V8 take 2 8:09 THLBB / UH / GS / BUERM / MI
BORN IN THE U.S.A. - V9a take 9 mix 2 4:34 BITUSA / ESSENTIAL / GREATEST / CHAPTER
BORN IN THE U.S.A. - V9b take 9 mix 1 4:52 LM-19 / THLBP
BORN IN THE U.S.A. - V9c - freedom mix 7:20 1984 EP
BORN IN THE U.S.A. - V9d - radio mix 6:10 1984 EP
BORN IN THE U.S.A. - V9e - dub mix 7:36 1984 EP

flickr:48561776307
Track-sheet from a recording of 'Born In The U.S.A.', dated May 3, 1982.

Note: V1 is rough demo from 1981. V2 is when things start to get familiar, featuring the lyrics "Born baby in the USA, I believe in the American way". A fascinating glimpse at the development of a classic. Recorded at Springsteen’s home in Colts Neck, NJ from mid-September to December 1981. V3 - V6 are demos written after Jon Landau sent Springsteen a Paul Schrader script called "Born In the USA" in 1981, evolving from an earlier song he wrote called "Vietnam". V7 was recorded on January 3, 1982, and Bruce included it on the "Nebraska" demos cassette tape he sent to Jon Landau. In his notes to Landau, Bruce describes the song as "[a] little ditty. should be done very hard rockin". It was officially released with the "Tracks" compilation in 1998. V8 and V9 recorded in just four takes (two complete), at The Power Station with the E Street Band, during the "Electric Nebraska Sessions". V8 take 2 was completed on April 27-28, 1982, and contains a different Springsteen vocal overdub and a very long, extended jam ending. V9a (take 9) was completed on May 3, and became the first song on side one of the album, "Born In the USA". V9b continues where 9a fades out, with an extended synthesizer ending; it was leaked out of the sessions, and released unofficially on one of the permutations of the bootleg, "This Hard Land". V9c thru V9e are dance remixes of V9b, undertaken by Producer/Mixer Arthur Baker, and recorded at Shakedown Studio in New York City around 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.

BRILLIANT DISGUISE 4:12 TUNNEL / ESSENTIAL / GREATEST / CHAPTER

Note: Began life as "Is That You?", which was recorded February 5, 1987. Became "Brilliant Disguise" by the end of that month. Recorded at Thrill Hill East (Springsteen’s NJ home studio). Springsteen handles multiple instruments and his three-man backing band on this recording is Roy Bittan (keyboards), Danny Federici (organ) and Max Weinberg (percussion).

LIVING PROOF 4:42 LUCKY / ESSENTIAL: 2003 / CHAPTER

Note: Recorded sometime from July to December 1991 at A&M Studios, Los Angeles. Springsteen handles all guitars and vocals and his 2-man backing band on this recording is Roy Bittan (keyboards) and Gary Mallaber (drums). Bittan is credited as a co-producer of this recording.

THE GHOST OF TOM JOAD - V1 4:20 JOAD / ESSENTIAL / CHAPTER
THE GHOST OF TOM JOAD - V2 2007 compilation
THE GHOST OF TOM JOAD - V3 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 West (Bruce's Los Angeles home studio). 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. V2 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 his NJ home studio 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. The additional musicians are Mark Dann (acoustic guitar), David Hamburger (dobro), Mike Visceglia (bass), Tim Carbone (fiddle) and Ken Lovelett (percussion). Produced by Springsteen, Jim Musselman and David Seitz. The recording was first released on September 11, 2007 on the Various Artists charity compilation Sowing The Seeds (Appleseed). V3 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. Musician credits are Springsteen (lead vocal, guitar), Roy Bittan (piano), Nils Lofgren (pedal steel, mandolin), Max Weinberg (drums), Tom Morello (lead vocal, guitar), Soozie Tyrell (violin), Charlie Giordano (accordion) and Ron Aniello (bass, synth).

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.

LONG TIME COMIN' - V1 uncirculating
LONG TIME COMIN' - V2 4:17 DEVILS / ESSENTIAL: 2015 / CHAPTER

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. This recording is a hybrid of two sessions quite some years apart. The basic track (Bruce, Danny Federici, Marty Rifkin, Soozie Tyrell and Patti Scialfa) emanates from 1997 or 1998, Thrill Hill West, Beverly Hills. CA. 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.

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.


Disclaimer | © 1996 - 2019 | Brucebase

icon_facebook.png icon_twitter.png icon_flickr.png icon_youtube.png icon_google_plus.png
Unless otherwise stated, the content of this page is licensed under Creative Commons Attribution-ShareAlike 3.0 License