Collaborations - Studio Sessions


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Table of Contents

Overview

Through Bruce's entire career he collaborated on many other artists albums.

Here we try to present a full historical overview of other artists songs on which Bruce can be heard by voice or instrument.

Released

These are the songs that Bruce collaborated on, sorted by the year the studio session for it took place, which does not have to be the same as the year of release. Next order is simply alphabetically on the song-title.

# Song Title Running Time Release
1978 STREET HASSLE 11:00 GUEST: HASSLE
1981 DEDICATION 3:11 GUEST: DEDICATION
1981 JOLÉ BLON 3:25 GUEST: DEDICATION
1981 THIS LITTLE GIRL 3:42 GUEST: DEDICATION
1981 YOUR LOVE 3:28 GUEST: DEDICATION
1982 ALL I NEED 5:10 GUEST: LINE
1982 ANGELYNE 4:03 GUEST: LINE
1982 CLUB SOUL CITY 3:36 GUEST: LINE
1982 HOLD ON (TO WHAT YOU GOT) 3:05 GUEST: LINE
1982 LOVE'S ON THE LINE 3:38 GUEST: LINE
1982 OUT OF WORK 2:53 GUEST: LINE
1982 RENDEZVOUS 2:41 GUEST: LINE
1985 SUN CITY 5:45 GUEST: SUNCITY / 1985 single
1993 HOMESTEAD 4:14 GUEST: BABYLON
1995 IDIOT'S DELIGHT 3:22 GUEST: HOME
1996 1945 5:12 GUEST: HOME
1996 CHEAP MOTEL 3:45 GUEST: HOME
1996 I'M NOT SLEEPING 3:56 GUEST: HOME
2017 THAT'S WHAT MAKES US GREAT 3:26 GUEST: YESTERDAYS / 2017 single

Details

1945 uncirculating
1945 5:12 GUEST: HOME

Note: Co-written by Springsteen and Joe Grushecky in July 1995, released by Grushecky on the album Coming Home, on February 10, 1998, without the presence of Bruce Springsteen. Unknown whether Springsteen recorded version exists.

ALL I NEED - V1 2:50 LM-7 / HNWB
ALL I NEED - V2 uncirculating

Note: V1 recorded at Springsteen's home in Colts Neck, NJ in late June 1981, later soundchecked on July 8, 1981 at Brendan Byrne Arena, East Rutherford, NJ, a recording of which can be found on 'The Lost Masters Vol. V'. Eventually given to Gary U.S. Bonds. V2 was recorded at Hit Factory in January or February 1982. Probably the same core recording as found on the US Bonds album (i.e. the E Street Band) – but with the Springsteen lead vocal.

ALL THE WAY HOME - V1 GUEST: BETTERDAYS
ALL THE WAY HOME - V2 DEVILS

Note: Written sometime in 1990 or early 1991. Springsteen donated the song to Southside Johnny and Bruce took part in the July 1991 recording session in New York that produced Southside’s cover version. Bruce re-recorded the song in 2004 and released it on the Devils & Dust album.

ANGELYNE uncirculating

Note: Recorded at Power Station on February 1, 1980. Donated to Gary U.S. Bonds for his album On The Line, released in 1982. Bonds' likely overdubbed his vocal onto an E Street backing. A version with Springsteen's vocals was included on a 1993 in-house Tracks concept album. This is not the same as the song "Oh Angelyne" that eventually became "The River".

ANOTHER THIN LINE 5:01 GUEST: CARSON

Note: Written sometime between late 1997 and early 2000. There remains some confusion whether "Another Thin Line" is a writing collaboration with Joe Grushecky, or if it was composed entirely by Springsteen. Springsteen premiered the song live on June 22, 2000. He then prefaced another performance of the song on June 29 by commenting, "here's something I wrote with Joe Grushecky." However, a publishing registration, as well as the official US Copyright filing (July 21, 2000) lists the song as a Springsteen-only composition. Still, descriptions of the song, including the one on grushecky.com, say it is a Grushecky-Springsteen songwriting collaboration, and a 'seething duet', referring to the studio version released on Grushecky's East Carson Street in 2009.

BECAUSE THE NIGHT (Belongs To Lovers) - V1 3:17 DO-3 / UP / AM
BECAUSE THE NIGHT - V2 - fade in 2:32 LM-3 / UP / AM
BECAUSE THE NIGHT - V3 3:19 DO-2 / DDO / DDOC / ESR / O711S
BECAUSE THE NIGHT - V4 3:22 PROMISE / 2010 SINGLE

Note: First appeared on pre-sessions song list as "The Night Belongs To Lovers". V1 "Because the Night (Belongs To Lovers)", was recorded at Atlantic Studios, New York on June 1, 1977 with the lyrics not finished. V2 was recorded July 1, 1977 at Atlantic Studios, and is less embryonic but still with some unfinished lyrics. Springsteen cut his last take on September 27, 1977 V3. It is not clear if this was a demo for Patti Smith. The transfer of the song was orchestrated by Jimmy Iovine, who, in his own words, "was engineering Darkness and producing Easter at the same time. Now, Bruce was very understanding and very flexible, because he realized that this was my first real break as a producer. Anyway, one night whilst we were lounging around the Hotel Navarro in New York I told Bruce I desperately wanted a hit with Patti, that she deserved one. He agreed. As he had no immediate plans to put "Because The Night" on an album, I said why not give it to Patti. Bruce replied, If she can do it, she can have it." Iovine brought Smith the September 27 demo of the song, and Smith added her own lyrics, recording it for her album Easter, and scoring her first and biggest hit single. The officially released V4 uses Smith's lyrics and is a modern vocal take, recorded 2010 in the Record Plant Studio truck parked on his Colts Neck, NJ property.

CAN'T TEACH AN OLD DOG NEW TRICKS - V1 uncirculating
CAN'T TEACH AN OLD DOG NEW TRICKS - V2 4:19 BACKIN20

Note: Gary U.S. Bonds and his daughter Laurie Anderson, Jr., sent a tape of their composition "Can't Teach An Old Dog New Tricks" to Bruce Springsteen, requesting he contribute to Gary's album Back In 20. In response, Springsteen recorded guitar and vocal tracks in a Protools session on November 19, 2003, at Boxwood Studios, Colts Neck, NJ. The completed track, released June 1, 2004 on "Back In 20", also featured harmonica by Southside Johnny Lyon.

CHEAP MOTEL uncirculating
CHEAP MOTEL 3:45 GUEST: HOME

Note: Co-written by Springsteen and Joe Grushecky in July 1995, released by Grushecky on the album Coming Home, on February 10, 1998, without the presence of Bruce Springsteen. Unknown whether Springsteen recorded version exists.

CLUB SOUL CITY - V1 0:55 FFOD / HNWB
CLUB SOUL CITY - V2 uncirculating

Note: V1 recorded at Springsteen's home in Colts Neck, NJ from mid-September to December 1981, short take of not much more than the title, repeated. V2 recorded at The Hit Factory in January or February 1982. Probably the same core recording as found on the Gary U.S. Bonds album (i.e. the E Street Band) – but with the Springsteen lead vocal. Known to have been soundchecked twice in 1992 (June 21 in Milan and July 25 in East Rutherford) but never performed live.

CODE OF SILENCE - V1 uncirculating
CODE OF SILENCE - V2 4:08 GUEST: GOODLIFE

Note: Co-written by Bruce Springsteen and [Grushecky] during December 1997 and January 1998. Springsteen premiered the song live on June 12, 2000 with the E Street Band, and another version recorded on June 29 was released on The Essential Bruce Springsteen in 2003. Bruce and Joe recorded a studio version together at Thrill Hill Recording, New Jersey, released on the Joe Grushecky album, A Good Life in July 2006.

DARK AND BLOODY GROUND 5:39 GUEST: BABYLON

Note: Co-written by Springsteen and Joe Grushecky in 1994-95. Recorded by Bruce Springsteen, Joe Grushecky & The Houserockers at Thrill Hill Recording, Beverly Hills, March 1995. Released on Grushecky's album, American Babylon, in October 1995.

DEDICATION uncirculating

Note: "Dedication" was recorded at Power Station studios on December 4 and 6, 1979, during the River sessions, and later donated to Gary U.S. Bonds as the title track for his 1981 album. According to comments by Bonds, Bruce brought him this song as something from //The River // session arsenal that Bruce felt suited Bonds' style. It seems likely that Bonds overdubbed his vocal onto the E Street Band backing.

FASTER AND LOUDER 2:48 GUEST: BLOODBROTHERS

On the heels of completing "Don't Look Back", "Candy's Room", "Darkness On the Edge of Town", and "The Factory Song" in the first half of March 1978, Springsteen could finally take a breather. In adjoining studio A at the Record Plant, New York proto-punk band The Dictators were working on their third album, Bloodbrothers. So when Bruce stopped by for a visit, one thing led to another, and he made another undocumented recording appearance, on the opening track, "Faster And Louder". Listen at the 2:10 mark, when Bruce counts the band back in preceding the final verse, "One! Two! One, two, three, four!" Dictators: "I can scream, faster and louder, I can jive faster and louder…Hot Pants! faster and louder." The "reigning king of street rock" and the "Bronx Bombers" (monickers assigned by rock critics of the day) seemed to feed off each other; for more details on Bruce and the Dictators, see the recording session listing.

GYPSY WOMAN - V1a 4:20 COMP: CURTIS
GYPSY WOMAN - V1b 3:28 BACK

Note: Written by Curtis Mayfield in 1961. Recorded by Bruce during September or October 1993 at Thrill Hill Recording, Beverly Hills, California. Co-produced by Springsteen and Tommy Sims. This features Bruce on lead vocals and guitars and Tommy Sims on bass, keyboards, percussion and background vocals. First released in February 1994 on the Curtis Mayfield tribute album.

HOLD ON (TO WHAT YOU GOT) uncirculating

Note: Recorded at The Hit Factory in January or February 1982. Probably the same core recording as found on the U.S. Bonds album (i.e. the E Street Band) – but with the Springsteen lead vocal.

HOMESTEAD - V1 4:14 SA
HOMESTEAD - V2 4:11 GUEST: BABYLON

Note: Co-written by Springsteen and Joe Grushecky at Thrill Hill Recording, Beverly Hills, California, in late 1993. Recorded by Joe Grushecky at the Hit Factory, New York during November 1993. Released on American Babylon album in October 1995. Springsteen's version surfaced in November 2013, broadcast on E Street Radio.

HYMN TO HIM 4:30 GUEST: BLUES / 2020 single

Note: The original version of "Hymn To Him" was recorded for Dion's 1987 gospel album Velvet & Steel. As songs are never finished, Dion kept hearing it with Patti's voice, and he asked her to help remake the song. Bruce joined in the studio with his guitar and played a solo.

I'M NOT SLEEPING uncirculating
I'M NOT SLEEPING 3:56 GUEST: HOME

Note: Co-written by Springsteen and Joe Grushecky in July 1995, released by Grushecky on the album Coming Home, on February 10, 1998, without the presence of Bruce Springsteen. Springsteen first performed the song live on November 4, 2010, with Joe Grushecky and the Houserockers.

IDIOT'S DELIGHT - V1 3:58 GUEST: HOME
IDIOT'S DELIGHT - V2 3:22 ESR

Note: Co-written by Springsteen and Joe Grushecky in July 1995, first released by Grushecky on the album Coming Home, on February 10, 1998. Bruce Springsteen and the E Street Band V2 first broadcast during episode five of 'From His Home To Yours' on E Street Radio on June 3, 2020.

JOLÉ BLON - V1 4:44 LM-13
JOLÉ BLON - V2 1:29 LM-13
JOLÉ BLON - V3 3:44 LM-13
JOLÉ BLON - V4 uncirculating
JOLÉ BLON - V5 3:25 GUEST: DEDICATION

Note: Based on a traditional Cajun waltz and adapted by Springsteen from Roy Acuff and his Smoky Mountain Boys' 1947 recording. The song was a big hit for the first time in 1947 for Harry Choates (recorded in 1946), and also for Red Foley & the Cumberland Valley Boys, who had a no. 1 Folk hit (formerly referred to as Hillbilly and by 1958 Country & Western charts) in January 1947 with New Jolé Blon, and again a year later for Moon Mullican. "Jolé Blon" ("Pretty Blonde") was considered for the album once it became a two-LP set. V1–V3 are from Telegraph Hill rehearsals on January 11, 1980. V4 was recorded at Power Station studios on January 14, 1980, and the backing track may have been used by Gary U.S. Bonds on his 1981 album Dedication. V5 is the duet recorded with Gary U.S. Bonds for Dedication.

LITTLE GIRL OF MINE - V1 uncirculating
LITTLE GIRL OF MINE GUEST: EARLY
LITTLE GIRL SO FINE - V2 uncirculating
LITTLE GIRL SO FINE GUEST: REAL

Note: V1 by Bruce Springsteen 1976. V2 co-written by Springsteen and Jukes producer "Sugar" Miami Steve Van Zandt in December 1976 during sessions for Southside Johnny's second album (issued in May 1977). Not in the studio logs for Darkness On The Edge Of Town, which started after This Time It's For Real was released. Early title was "Little Girl Of Mine", which can be heard in a rehearsal take by Van Zandt recorded in late 1976, and released on his 2019 album, The Early Work. Though the track is now named "Little Girl So Fine", the final hook, title and lyric had yet to be composed, as evidenced by the refrain with the early title. Springsteen included "Little Girl Of Mine" V1 on an early 1976 list for Album IV; it could be this song, or another composition with the same title.

LOVE ON THE WRONG SIDE OF TOWN uncirculating

Note: Co-written by Springsteen and Van Zandt in December 1976 during sessions for Southside Johnny’s second album (issued in May 1977). Not recorded during the sessions for Darkness On The Edge Of Town.

LOVE'S ON THE LINE uncirculating

Note: Recorded at The Hit Factory in January or February 1982. Probably the same core recording as found on the U.S. Bonds album (i.e. the E Street Band) – but with the Springsteen lead vocal.

NOW AND FOREVER - V1 uncirculating
SUMMER ON SIGNAL HILL - V2 uncirculating

Note: "Summer On Signal Hill" was recorded as an instrumental by Clarence Clemons & The Red Bank Rockers, at the Record Plant, New York, in 1983, the same sessions that produced "Savin' Up". Both tracks were produced by Bruce Springsteen, and released as a UK single, with "Summer On Signal Hill" the b-side. Springsteen's music publisher in Australia was accidentally sent the wrong information, so Clarence's instrumental was published and released there in 1983 as "Now And Forever", which was it's original title. It was composed by Springsteen, with lyrics, and played during band rehearsals in April 1982, at his home studio in Colts Neck, New Jersey. Bruce Springsteen and The E Street Band may have recorded it in the spring of 1983 at The Hit Factory in New York City, but it does not appear in Sony's database of Springsteen recording sessions. It was also recorded and released by Killer Joe on their 1991 album Scene Of The Crime. Moreover, Max Weinberg stated that "The E Street Band played the song but never recorded it." in the liner notes for Killer Joe's cover version.

OUT OF WORK uncirculating

Note: Recorded at The Hit Factory in January or February 1982. Probably the same core recording as found on the U.S. Bonds album (i.e. the E Street Band) – but with the Springsteen lead vocal.

SAVIN' UP uncirculating

Note: Recorded at The Hit Factory on January 25 and/or February 23, 1982. Song considered for Gary U.S. Bonds but not used – donated in 1983 to Clarence Clemons & The Red Bank Rockers for their debut album.

STREET HASSLE 11:00 GUEST: HASSLE

Around September or October 1977, when Lou Reed found himself working at Record Plant studios, trying to complete "Street Hassle". At the same time, Bruce Springsteen and the E Street Band were hard at work in a studio downstairs, recording album #4. There are multiple narratives on what happened next, but Rod O'Brien, Reed's engineer, recalls working on the "Slipaway" section of the song. After Reed recorded "this thing, I hit the talkback, and I said, 'Uh. You realize what you just stole?' And Lou, deadpan, said, 'Whaddaya mean?' And then he started to crack up laughing. Then Lou says, 'But I gotta use it.' I said, 'Okay, but let’s go downstairs.' I said to Bruce, 'Lou wants to play you something, he just wants to make sure that you're not going to be upset.' So Bruce says, 'Okay,' and he comes up, and we play him the piece, and he says 'Oh, that's fine that's no problem…' And then Lou looks at him, and I didn't know Lou was going to do this, but he says: 'Would you do it?' And Bruce is like, '…what, me?' Lou says, 'Yeah.' And Bruce says, 'Okay, but you can't put my name on it, because I don't want to go through all the hassles that would mean…' And Lou’s like, 'No problem.' So, Lou wrote the little part out, and as far as I remember, Bruce went out and did it one take." For more information on Springsteen and Reed, see the recording session listing.

THAT'S WHAT MAKES US GREAT 3:26 GUEST: YESTERDAYS / 2017 single

Note: "That's What Makes Us Great" was composed by Joe Grushecky, and features a guest appearance by Bruce Springsteen on duet vocals. Bruce recorded his parts at his home studio in Colts Neck, NJ. Feb 2017. The song debuted on Sirius XM's E Street Radio channel on April 19, 2017.

THIS LITTLE GIRL uncirculating

Note: Recorded at Power Station studios, possibly in late January 1980, and in June to August 1980 during sessions for Gary U.S. Bonds. A Springsteen vocal rendition from these sessions is likely to exist. "This Little Girl" became Bonds' biggest hit after release in 1981.

TRAPPED AGAIN uncirculating

Note: Co-written by Southside Johnny, Springsteen and Van Zandt in early 1978 during sessions for Southside Johnny’s third album. According to Southside he predominantly wrote the song, with Bruce and Steve merely adding bits and pieces. So a Springsteen studio recording of this song is highly unlikely to exist.

YOUR LOVE uncirculating

Note: Recorded at Power Station sometime July to August 1980 during sessions for Gary U.S. Bonds. A Springsteen vocal rendition from these sessions is likely to exist.

WORKIN' ON IT uncirculating

Note: Recorded at The Hit Factory on January 25, 1982. An uncirculated song from the same session that gave us "Cover Me" and the Gary U.S. Bonds tracks.

WE ARE THE WORLD 7:02 GUEST: WORLD
WE ARE THE WORLD 6:22 1985 single

Note: After "Do They Know It's Christmas" was released in late 1984, it was veteran singer Harry Belafonte who spoke up and asked why American performers weren't doing something similar. Just before Christmas, Belafonte called his manager Ken Kragen, who handled such stars as Lionel Richie and Kenny Rogers. They contacted several musicians before it was agreed that Michael Jackson and Lionel Richie would write the song. Bruce Springsteen also agreed to participate, and according to Kragen, "The turning point was Bruce Springsteen's commitment, that legitimized the project in the eyes of the rock community." Once Kragen could tell other artists that Bruce was in, there were so many offers to sing that some were turned down. According to Quincy Jones, Springsteen's first reaction to the project was, "You sure you really want me to do this?" Richie and Jackson started writing "We Are the World" January 12, 1985, completing it on January 21, the night before sessions began. Michael provided the initial draft, then Lionel polished the structure and lyrics. The following evening, Richie, Jackson, Stevie Wonder, and producer Jones started work at Kenny Rogers' Lion Share Recording Studio in Los Angeles. Session musicians, engineers, video crews and other support staff were already on hand. Richie and Jackson recorded a guide vocal, and along with Stevie, created the basic instrumental track. On January 24, Jones shipped the demo tape to all artists who would be involved in the recording. Springsteen landed at Los Angeles International Airport, rented a Corvette, and drove to A&M Studios in Hollywood. "I swear I walked out to the gate just as he was coming in", said an amazed Ken Kragen. "I was looking to see if there were any hangups out there, and in walked Bruce… by himself". He said, "What do you want me to do?" He spent the next few hours getting cozy in the control room with the Pointer Sisters, whom he used to be angry at for taking "Fire" to no. 2 in 1979, when he was still stuck at no. 23 (Born To Run). Now that Dancing In the Dark had evened the score, and they were looking sexy and cute in person, that hatchet was buried without a doubt. He barely had time to nod to Bob Dylan and Billy Joel. By ten thirty everyone was there, the cameras were rolling, and Jones was ready to begin. Bruce never sang more than two nights running, because his concerts simply took too much out of him to do more. The two shows in Syracuse were more strenuous than average, and on this, the third night in a row, his voice was raw. Springsteen was a soloist, a had a duet with Wonder. By the time they got to his spot it was 5:30 in the morning. "You sounded fantastic, Dylan," he called to the man who’d just finished, then stepped to the mike. Dylan, Bette Midler, and a few others remained to watch him work. Sticking his sheet music in his back pocket, he wailed, "We are the world, we are the children", and according to Dave Marsh "blew everyone away". Later, with his voice dubbed into a duet with Wonder's, the same line provided the single's climax. Finishing that first take, Springsteen looked up shyly. "Something like that?" he asked. Quincy Jones had to laugh. "Exactly like that", he said. The song was released on March 7, 1985, as the first single from the album. The estimated global sales of "We Are the World" are said to be 20 million units, the biggest selling single in both US and pop music history. more details.

WE'VE GOT THE LOVE 4:20 GUEST: JAM / 1986 single

Note: Late in 1985, after the conclusion of The Born In the U.S.A. Tour, Garry Tallent and Tim Ryan organized a large group of New Jersey musicians to raise money for charity to fight hunger, inspired by projects like, "USA For Africa". They created a non-profit organization called Jersey Artists For Mankind (a.k.a. J.A.M. '86), then invited representatives from bands based in New Jersey to sing two songs that had been prepared. "We've Got the Love", composed by Joel Krauss and Bob Bandiera, and "Save Love, Save Life", by Ryan and Ed Testa, had been previously chosen, and a core group of musicians had recorded the base tracks. After a brief rehearsal, more than 450 artists recorded their parts at The Stone Pony, Asbury Park, New Jersey, on January 13, 1986, the largest gathering of New Jersey rock artists ever. Vocal solos were contributed by Krauss, Bandiera, Southside Johnny Lyon, former "Castille" George Theiss, and many others. The "J.A.M. Band" assembled included Bandiera on guitar, drummers Max Weinberg and Ernest "Boom" Carter, and a horn section dominated by…Richie "LaBamba" Rosenberg, along with the rest of the Jukes' horns. Instrumental solos were performed by an all-star cast, lead by Clarence Clemons and the guitarist Bruce Springsteen, who tried his best to concentrate on his craft, despite what sounded like booing from those present, until everybody realized it was his first name being shouted by enthusiasic well-wishers. 'We've Got the Love' was mixed by Bob Clearmountain, and 'Save Love, Save Life' by Bob Cohen. Engineer was Jan Topoleski.


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