The Wild, The Innocent & The E Street Shuffle - Studio Sessions - Details

Details

THE E STREET SHUFFLE 4:24 WIESS

Note: Written around early/mid-1973, and first played live June 6, 1973, before David Sancious joined the band. Recorded and completed at 914 Sound Studios on June 28, 1973. Albee Tellone, the sound manager on Bruce’s road crew from November 1972-December 1973, believes it was Sancious' presence that inspired the tune. Albee says: "I went to David's house with Bruce to learn it while David played his piano. I thought that they had written it together". He goes on to say: "We all went to the studio and played 'live' together in the large room just like we had rehearsed it in the garage in Deal, NJ. Bruce sang it 'live' then too. I was told that they were going to keep only the drums and bass parts and build overdubs from there. Bruce played rhythm on his Telecaster but replaced it later as the tracks were added. I came back on another day to overdub my sax part. We also recorded the 'tune-up' intro with tuba and cornet separately when I came back to play the baritone sax part". Albee Tellone guests on baritone sax, and would be a special guest on this song during the first three months of the WIESS tour (October-December 1973).
Thanks to Albee for the information.

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.

KITTY'S BACK - V1 7:10 PS / EY / SA914 / ET
KITTY'S BACK - V2 7:16 ROOI
KITTY'S BACK - V3 7:25 US5 / BIS / ETRJ
KITTY'S BACK - V4 7:04 WIESS

Note: Written during mid-1973. In 1974 Bruce mentioned he got the idea for the title from a neon sign promoting the return of popular stripper’s show to a local Shore-area club. The E Street "Hello Dolly". we long for the days before our girl left to marry a New York City pretty-boy from Bleecker Street. All our feelings are poured out musically, bad guys are movin' in, tin cans are exploding, until we see Kitty coming from the distance. Then the ghost of Louis Armstrong fills in for the not-yet-existing Miami Horns as the celebration begins. Base track was recorded June 28, 1973 with overdubs on July 24 and September 23. David Sancious has mentioned in interviews that the organ solo on this track is his, and we can presume it was added at one of the two later sessions. The final product reflects the song writing and arranging skills of Bruce, with help from Sancious. It spent the rest of the decade in the live set. One of the final songs completed for the album. All versions are slightly different mixes or recordings.

CIRCUS TOWN - V1 uncirculating
CIRCUS SONG - V2 uncirculating
CIRCUS SONG 5:01 UBER22
WILD BILLY'S CIRCUS STORY - V3 uncirculating
WILD BILLY'S CIRCUS STORY - V4 uncirculating
WILD BILLY'S CIRCUS STORY - V5 4:38 WIESS

Note: Written in 1972 as "Circus Town", and performed live as an acoustic show opener, from December 1972 (by which time it was being called "Circus Song"), up until mid-1974. Inspired by memories of the circus that came to Freehold every summer when Bruce was young, he brilliantly describes the cast of characters as the tuba plays, "I’ve stood around carnivals at midnight when they’re clearing up and I was scared, I met some dangerous people.” Some of the descriptions are wierd or gross, but he finally loses it in last verse, when the midget or Tiny Tim get lifted above the "liars". On April 24, 1973 at the Main Point, Little Tiny Tim says, "Sampson, where's the liars? Oh, they're outside cryin' Oh, hear the liars Oh, feel their fire Hear the liars, They're so scared of dyin", after which he sings "Well, anybody wanna try the big top? All aboard, Nebraska's our next stop." Though he had performed "Circus Song" with these lyrics since January, he made a change just before appearing May 1, 1973, at the Ahmanson Theater in Los Angeles, where it was to be filmed for showing at the CBS Sales Convention in July. The final verse was changed to, "And the strong man, Sampson, lifts the midget, little Tiny Tim, way up on his shoulders, way up and carries him on down the midway, past the kids, past the sailors, to his dimly lit trailer, And the Ferris go 'round and 'round like it ain't ever gonna stop, And the circus boss is whispering into some little boy's ear, "Hey son, you wanna try the big top?" All aboard, Nebraska's our next stop!". In the blink of an eye, "Circus Song" went from the killer of every boy's dream to run away and join the circus, to something less nefarious, and that's the way it stayed. The first WIESS studio recordings V1 and V2 were made on May 14, 1973 at 914 Sound Studios, with 8 takes; it is not known if any of these recordings survived. An almost perfect recording of "Circus Song" was recorded on May 31, 1973 at WGOE Radio Alpha Studios, Richmond, Virginia. It's available on Über Series Vol 22. Work on 'Circus Song' was resumed on June 25, 26 and final dubs on the 28th, the complete album take renamed, "Wild Billy's Circus Story". When or why the title of the song was changed is not currently known, but it was June or later. This song might not exist without amazing bass player Garry Tallent on tuba and organist Danny Federici on accordian, "Ninety-five, ninety-six, ninety-seven" says the crowd with or without the ringmaster.

INCIDENT ON THE W SIDE - V1 uncirculating
INCIDENT ON 57TH STREET - V2 7:46 WIESS

Note: Nobody bought WIESS until after "Born To Run" came out, but forty years later, it is not uncommon to read a review describing side two as one of the greatest in rock and roll history, an operetta, a masterpiece. It starts with "Incident on 57th Street" (Incident), then a piano seguay into "Rosalita", and finally "New York City Serenade". "Incident" was composed in 1973, with an early title, "Incident On the W. Side" V1. It was the last song recorded, on September 23, 1973, Springsteen's 24th birthday. In fact, all takes and dubs for Incident and Rosalita were completed on that date, according to Sony logs (Serenade was completed on August 7). While the latter two songs had been written and worked on for over six months, Incident was apparently written and brought to the studio quickly. It was not attempted on August 9, the second-to-last studio session, but it was ready to go on September 23 V2.

With historical perspective, perhaps this is Jungleland Jr., a warm up to his BTR masterpiece, which will take him nineteen months to finish!

ROSALITA (COME OUT TONIGHT) - V1 7:17 US5 / ET / ETRJ / ROOI / SA914
ROSALITA (COME OUT TONIGHT) - V2 7:00 WIESS / ESSENTIAL / GH09

Note According to Diane Lozito, Bruce's girlfriend 1971-1975, "he wrote 'Rosalita' in bits and pieces and didn't have a title for it," she says. "My mom is Rita Lozito. Then he met my grandma. So I assume that's where he put it together." Her grandmother's full name was "Rose Lozito"; In that part of Jersey, it's pronounced Lazita, so "Rose Lazita". Apparently, the derivation of the sub-title "(Come Out Tonight)" is by an unrelated and unknown process. Also according to Diane, and confirmed independently by her sister, Carol Lisa Lozito, though the song name came from her grandmother, the song was about Diane. Carol also said her sister was 'Crazey Janey" in "Spirit In the Night", "Sandy" in "4th of July, Asbury Park", "Terry" in "Backstreets", and the girl in "Thundercrack". This has never been refuted by Springsteen. In an interview for Mojo magazine published in January 1999, Springsteen told Mark Hagen that he wrote "Rosalita (Come Out Tonight)" as a live showstopper, just as he had written "Thundercrack" before it.

Rosie was performed for the first time on February 14, 1973 at Richmond, Virginia, fully-formed musically, with plenty of lyrics too, though some were unfamiliar "with her chiffon reigns" and "soft sweet samurai tongue". It was performed live at least four more times, until it was recorded V2 on September 23, 1973 at 914 Sound Studios, Blauvelt, NY. Other than an instrumental backing track V1 from the same day, no other outtakes or alternates are known to exist.

NEW YORK CITY SONG 5:28 UBER22
NEW YORK CITY SONG - V1 uncirculating
NEW YORK CITY SERENADE - V2 9:58 PS / EY / SA914 / GT / ROOI
NEW YORK CITY SERENADE - V3 9:53 WIESS

Note: "New York Song" aka "New York City Song", was composed in 1972, and played live from January 3 - June 2, 1973. It was recorded on May 31, 1973 at Alpha Sound Studios, Richmond, Virginia for live broadcast on WGOE-FM, and can be found on Über Series Vol 22. On June 22, V1 was recorded for Album #2 at 914 Sound Studios, Blauvelt, New York. In the following week, an idea to combine it with elements of "Vibes Man", another 1972 composition, was hatched, and "New York City Serenade" V2 was recorded on June 28, 1973. Blame or credit has been assigned to David Sancious, who made the arrangement suggestions, though he tried to side-step by saying ‘I don’t think they constituted the arrangement.’ On July 18, 1973, it was performed live at Max's Kansas City, New York, where Sancious added the West Side Story piano introduction. V3 (presumably overdubbed on August 7) includes the addition of strings, group vocals and congas.
Courtesy Richard Blackwell.

VIBES MAN 3:07 US4 / DT / US2

Note: Historically considered to have been recorded at Mediasound Studio, New York in May-June, 1972, but February 19-20, 1973 at 914 Sound seems more likely. Bruce on piano. All mentioned bootlegs feature the same recording, except that on the US2 version audience clapping has been spliced onto the end of the song (by a bootlegger many years ago) in order to fake a live performance. Bruce would later merge “Vibes Man” with his early 1973 composition “New York Song” to create the mid 1973 mini-epic “New York City Serenade”.

PHANTOMS - V1 backing track 6:04 BIS / ROOI / ATMF
PHANTOMS - V2 5:44 US5 / ROOI / SA914
PHANTOMS - V3 5:37 uncirculating
ZERO AND BLIND TERRY - V4 5:53 SA914 / EY / BTF / PS / FOTF
PHANTOMS - V5 5:37 DDITV / MT1 / ROOI / SA914
ZERO AND BLIND TERRY - V6 5:54 TRACKS

Note: "Phantoms", also known by the titles, "Over The Hills Of St George" and "Over The Hills Of St Croix", was written during early 1973, and apparently performed live several times during May and June, of note the recorded performance on June 13 at Binghampton, NY. Sony logs during the Wild, Innocent sessions show Phantoms worked on June 22 and 26, V1, the backing track of both final studio tracks of "Phantoms" and "Zero And Blind Terry", and V2, an unreleased instrumental take, were recorded on one, or both of these dates. On June 28, vocal tracks and instrumentation were added to V1 for both "Phantoms" V3, and "Zero and Blind Terry" V4, completing each. But on July 1, 1973, Bruce added additional dubs to Phantoms V5, making that the final take. It also looks very much like while he was singing "To be free is to be lonely", Bruce had been writing another song with the Phantoms backing track, "Zero and Blind Terry", with lyrics about "the kid they just call Zero", and a wild love story ("Pack your bags baby and together they ran like reindeer through the streets"). This was an E Street version of "West Side Story", the kind of music that would vanish with "Jungleland", followed by his bitter lawsuit with Mike Appel in 1976; of course, Bruce denies everything. Zero and Blind Terry was first played live on July 18, 1973, at Max's Kansas City, New York, NY. Sony studio logs only mention "Zero" on June 28 and August 7, 1973. V1, the unreleased backing track sometimes called "Wild Zero" by bootleggers, but NEVER called Phantoms, except in the Official Sony logs we rely on. Along with V2, a shorter, alternate backing track that was not used, it is reasonable to assume one or both were recorded June 22 and June 26, 1973, any number of times, under the name "Phantoms" only. The first take of "Zero and Blind Terry" did not occur until June 28, the rock on which these statements are made. Then the studio logs list one or more takes of both of our titles on June 28, 1973, which we designate as the never heard V3 (Phantoms), and the standard version of "Zero" V4. beloved for years until 1998. It was pressed to acetate, used as the publishing demo, but not included on album #2. It has circulated on various boots for many years, much loved by collectors and hardcore fans.

According to the Tracks session data, V6, the version on the 1998 set comes from the June 28 session. That is like saying the tracks on "The Promise" 2010 all come from 1977. We would be overlooking the significant time and energy applied in 2010, overdubbing most of the 1977 tracks with strings, violins, horns, angelic voices and so on. The logs show the June 28 version was referenced on November 5, 1997, but we could not identify the source and dates of the overdubs applied to the version on Tracks. Sancious’s piano was certainly not recorded on June 28, nor were the backing vocals by Suki Lahav. The June 28 basic track was sent out as a publishing demo, in an early mix from June 28 or earlier. An overdubbed flute that had been removed by June 28 was still there. Most, and possibly all of the overdubs described here were done by and included in the August 7 session, mixed and stored away with the invisible title of V6, never circulating until being released on Tracks. Suki Lahav is also not credited in the Tracks booklet, which may indicate some bitterness remains, based on her husband Louis whisking her away after the final March 1975 E Street Band gig, to a one-way El-Al flight to Tel-Aviv, never to return. According to Mike Appel, "Quite simply, Bruce fell in love with Suki and she with him. She then had to get out to try and save the marriage." This was presumably the fraught situation that prompted Louis to comment in 2010, "I prefer not to say [why I left the States] … [but] I felt a Mack truck might have run me over if I'd stayed one more day." The Lahavs have been interviewed about this ad nauseum, over the years, in Israeli newspapers, for further information. We not aware of a comment by Bruce, but there is a Fredo theory based on Godfather Part 2 that would not be appropriate to discuss here.

THUNDERCRACK - V1 uncirculating
THUNDERCRACK - V2 uncirculating
THUNDERCRACK - V3 uncirculating
THUNDERCRACK - V4 8:23 TRACKS

Note: Written in mid-1972. This was performed live regularly, usually as the big show closer, from October 1972 right up until Vini Lopez’ departure from the band in February 1974. The basic recording of V1 on June 22, with further work undertaken on V2 August 7 and V3 August 9, 1973 – but not completed to Springsteen's satisfaction. In 1997, Springsteen V4 completed the overdubbing and mixing for Tracks, calling in Vini Mad Dog to add his trademark vocals, true to his original intention. Someday we hope the outtakes of this track from 1973 will be released.

SEASIDE BAR SONG - V1 uncirculating
SEASIDE BAR SONG - V2 uncirculating
SEASIDE BAR SONG - V3a 3:37 UNE / PS / EY / US5 / FOTF
SEASIDE BAR SONG - V3b 3:29 TRACKS

Note: Written in late 1972 or early 1973. Performed live by Bruce during the April-June, 1973 period. V1 and V2 are early takes. V3a and V3b are the final recordings completed on July 24, 1973, mixed slightly differently. Recorded at 914 Sound on June 22, 26 and 28, as well as July 1 and 24, 1973. Frequently logged as "Johnny & The Hurricanes Song".

SANTA ANA - V1 uncirculating
SANTA ANA - V2 uncirculating
SANTA ANA - V3 4:50 UNE / PS / EY / US5 / SA914 / FOTF
SANTA ANA - V4 4:33 TRACKS

Note: Also known as "Hey Santa Ana", "My Contessa", and "The Guns of Kid Cole". Written in late 1972 or early 1973, performed live by Bruce at a few shows during April-June 1973. Both V1 and V2 are early recordings from June 22 and 26, 1973, that remain uncirculated. V3 was recorded and completed on June 28, and for many years was considered a complete, though unofficial, version. However V4 is an embellished mix and was completed on June 28 or July 1, or perhaps in 1997. overdubs includes piano (courtesy David Sancious), a layer of acoustic guitar (Bruce), calypso percussion (Richard Blackwell) and the addition of Suki Lahav’s voice in the group vocal mix. However the flute playing heard in V3 (courtesy of Clarence) has been entirely removed from the V4 mix, which had never circulated prior to its emergence on Tracks. Look for the lines “French cream won’t soften those boots, baby French kisses will not break your heart”; since this track was never released, Bruce later put them to good use in "She’s the One".

THE FEVER 7:41 18TRACKS / SA914 / FS

Note: Written in late 1971, as evidenced by a dated lyric sheet titled "(I Got The) Fever For The Girl", on display at the Hard Rock Cafe, Sydney, Australia. It is believed the earliest known live performance was during a March 1973 residency at Oliver’s in Boston, though rumors of 1972 performances exist. It was played live several more times into May. The studio version was recorded (in one take) on May 16, 1973 at 914 Sound Studios, though rumors have persisted for years that it dates from WGOE Studios, Richmond, VA on May 31. The recording features the Springsteen-Federici-Tallent-Clemons-Lopez lineup (pre-Sancious) and doesn’t include any overdubs. Mike Appel requested the studio take for publishing purposes, and Laurel Canyon Publishing company registered it as "Fever For The Girl". It does not appear that Springsteen had the song seriously in mind for his next album. In late 1973, Appel sent the demo to UK Publisher Intersong Music, and in early 1974, he sent cassettes to several USA radio stations. The song was an underground hit in places like Houston, Phoenix and Boston. In Philadelphia, according to a listener, “the song exploded!” With vigorous backing by influential Philly DJ and Bruce fan, Ed Sciaky, the song was played on WMMR as part of their regular rotation. Phone-in requests would have had the song played at least 4 times daily.

"The Fever" became a legendary 70s progressive FM-radio hit, but nowhere as big as in Houston, Texas, thanks to the March 1974 Liberty Hall shows, and several radio broadcasts. After a successful interview by KLOL-FM's Ed Beauchamp on March 8, Springsteen was invited back the next day with the E Street Band, for a lengthy afternoon radio performance that included highlights from both his albums, plus a rendition of “The Fever.” That night at Liberty Hall, a fan yelled "The Fever" and Bruce responded with "it's a weird thing 'The Fever'… that song 'Fever' we did as a demo tape about a year ago… and Mike here… sent it down to just this radio station, you know…. and it's a song we never even did but uh like we did it on the radio today, but I promise if we'll come back, we'll work it up for you." At the late show the next day, Springsteen introduced the song by saying: "We're gonna try something now, this is something… this is a song we haven't done in about a year but we found out that they sent a demo down here… yeah, let me bring out the rest of the band - we're gonna give it a try for you, hope we'll remember… you know but I'm gonna send this to the boys out here… it's a song we did about a year ago, no, we did it when we were recording the second album… as a demo tape for… to demo, I don't know what for (chuckles) and I know he knows it and uh… and uh, they sent the tape, they sent the tape down here and I guess KLOF has been playing it you know… who?… is that wrong? Sorry, folks but whoever, the radio station." David Sancious later said he had been under the impression it was an old Sam Cooke classic.

After they left Texas, "The Fever" was not played again until they returned on July 14, 1978 to San Antonio. Springsteen has said he never liked “The Fever,” but played it on the Darkness tour in many cities because, "people would jump onstage and grab me by the head and scream, ‘Bruce! Fever!'" It was played at Hofheinz Pavilion in Houston, TX, the next evening, and 22 more times to the end of the Darkness tour, including 12x in December. Though he joined Southside Johnny for duets many times, and it was rehearsed during soundchecks for the 1999-2000 Reunion tour, it was not performed again until September 24, 1999 in Philadelphia, PA.

First released by UK singer Allan Rich in 1975 but failed to make much impact. In June 1976, it was included on Southside Johnny and the Asbury Jukes' debut album, "I Don't Want to Go Home", under the title "The Fever", and became a Jukes classic. In early 1977, a 7" demo (studio take from 1973) of “The Fever” was released, coupled with “Rendezvous”, recorded live on November 4, 1976, at the Palladium, New York, which opens with Bruce calling out "New York! Go ahead, Max!". The single was released by the artist “The Jersey Devil” and was pressed on Bruce Records, which was Springsteen's independent label for his band. Whether Bruce was actually behind this is unverified. He was broke because of the lawsuit, but this record looked like a vinyl bootleg of the day, with one solid color and little printing. In 1979, The Pointer Sisters recorded the song under the title "(She Got) The Fever", for their album Priority. Finally, after being left off "Tracks", along with "The Promise" in 1998, to great dismay, it was officially released in April 1999 on 18 Tracks. The song was part of the movie soundtrack to the 2007 film "Lucky You".

YOU MEAN SO MUCH TO ME - V1 uncirculating
YOU MEAN SO MUCH TO ME - V2 DDITV / ESRR / MT1 / UBER22
YOU MEAN SO MUCH TO ME - V3 uncirculating

Note: Written in early 1971 and performed throughout that year, although the circulating live versions from 1971 stem from the middle months. Another song that would be ranked in the top tier of Springsteen’s pre-CBS portfolio. Bruce obviously felt this was one of his best early creations, as he performed it live numerous times during 1973-74. On May 31, 1973, what many consider the definitive version of "You Mean So Much To Me" was cut at a recording studio for WGOE-FM radio, Richmond’s Alpha Sound Studios. Never officially released, it was first bootlegged on 'Deep Down In The Vaults' in the 1990s. In late 1975, Steve Van Zandt and Bruce Springsteen decided to get their friend John Lyon and his band Southside Johnny and the Asbury Jukes a contract and record an album. Bruce helped out by donating two of his compositions to the effort, “You Mean So Much To Me” and “The Fever”. At the Record Plant one day, he ran into Ronnie Spector, who had been invited by Van Zandt. He wrote an arrangement for "You Mean So Much To Me" as a duet for Ronnie and Southside Johnny, which became the closing song on side 2 of their debut album. Ronnie agreed to tour with the Jukes throughout 1976-1977, and their duet was a regular encore and show closer. On May 12-13, 1977, when Bruce filled in for Southside, out because of illness, he sang the duet with Ronnie three times in two nights at the Monmouth County Arts Center.

EVACUATION OF THE WEST - V1 uncirculating
EVACUATION OF THE WEST - V2 4:31 BTF / UNE / PS / EY / ROOI / ATMF

Note: This is another reason why Bruce Springsteen will continue to amaze long after he is gone. Many current fans are unfamiliar with this forgotten performance that failed to make it on two albums, and was never played live, yet in November 1997, it was considered for Tracks, probably because it is a remarkable song. Written late 1972-early 1973, it was originally titled "There Are No Kings In Texas", and that would have been it's title here, had Bruce not applied for copyright under the title "Evacuation Of the West". Springsteen has never released a sample from his personal collection, but fortunately, we have this excellent take, recorded on either June 22 or 28, 1973 at 914 Sound Studios. The band was without David Sancious, and there are no instrumental or vocal overdubs, neither which seem to harm the outcome. Step right up folks and hear the mighty Bruce Springsteen turn the American cowboy into the Knights Templar!

SONG FOR ORPHANS - V1 uncirculating
SONG FOR ORPHANS - V2 6:34 BTF / UNE / PS / EY / US4 / DT / ATMF

Note: Thought to be played by Bruce (on piano) to Mike Appel at Pocketful of Tunes, 39 West 55th Street, New York, NY during their first meeting on November 4, 1971, but little evidence exists. V1 London Publishing demo recorded April-July 1972. V2 recorded at 914 Sound Studios on February 19-20, 1973. Written soon after the May 2 audition for John Hammond and found on a proposed track-listing document for the Greetings album. "Song For Orphans" was an occasional inclusion in Bruce’s opening solo segment during the first three months of the Greetings album tour. A couple live audio performances from that period are circulating. Occasionally written as "Song To Orphans", "Song To The Orphans" and variations thereof. Although not considered for Album #2, Springsteen composed several lists of songs that were candidates for inclusion on his third album, and "Song For Orphans" made several. Read this page on springsteenlyrics.com for more information.

SAGA OF THE ARCHITECT ANGEL - V1 uncirculating
SAGA OF THE ARCHITECT ANGEL - V2 4:18 US6 / EY / MT1 / GT / EDR

Note: written 1972, using melody from 1971 Bruce Springsteen Band song, "Talkin’About My Baby". Both versions recorded January 29 and 30, 1973, at 914 Sound Studios, then introduced live the following evening at Max's Kansas City in New York, where Bruce announced he "wrote it for John Wayne". The song ended with a snip of "How the West Was Won", but left no doubt this was the Springsteen version of how it was won. Did not lead to a meeting with the Duke, and did not make it on the Wild, the Innocent and the E Street Shuffle.

BALLAD OF A SELF-LOADING PISTOL - V1 uncirculating
BALLAD OF A SELF-LOADING PISTOL - V2 5:08 US6 / EY / MT1 / EDR

Note: Both takes from 914 Sound Studios, Blauvelt, NY on January 29 and 30, 1973. Also known as "The Story Of The Self-Loading Pistol" and "Shootout In Chinatown", and variations thereof.

TOKYO - V1 3:50 BTF / US4 / MT1 / VAFH / URT2 / GT / MPD / EDR
AND THE BAND PLAYED - V2 uncirculating

Note: Recorded February 19, 1973 at 914 Sound Studios, though historically considered to have been cut at Mediasound Studios, New York in May-June, 1972. Bruce on piano. Performed live occasionally by Bruce during 1973 and early 1974. At some point in 1974 Springsteen composed a list of ten songs that were candidates for inclusion on his third album. A song with the title "Shanghai" is the ninth song on that list, and based on the lyrics we assume that it is actually "Tokyo". In April 1973, Bruce added new lyrics and a refrain, "And The Band Played". Though this was played live sporadically during the next year, studio takes have not been located.

WINTER SONG 5:57 US6 / MT1 / EY / ATMF / EDR

Note: Recorded at 914 Sound Studios, Blauvelt on January 29-30, 1973. Bruce on piano. Haunting.

JANEY NEEDS A SHOOTER - V1 6:02 US6 / EY / ATMF
JANEY NEEDS A SHOOTER - V2 uncirculating
JANEY NEEDS A SHOOTER - V3 uncirculating
JANEY NEEDS A SHOOTER - V4a 6:50 DDO / DO-1 / EC / ATMF
JANEY NEEDS A SHOOTER - V4b 6:50 uncirculating
JEANNIE NEEDS A SHOOTER - V5 1:34 LM-8
JEANNIE NEEDS A SHOOTER - V6 2:34 LM-8 / PYP

Note: V1 recorded in a solo piano arrangement at 914 Sound Studios, Blauvelt, NY, on January 29-30, 1973. The lyrics were written during 1972, although the melody was culled from a 1971 Springsteen composition, performed by the Bruce Springsteen Band called “Talking About My Baby”. After 1973 studio take, it appeared on provisional lists for The Wild, The Innocent, and the E Street Shuffle album, but did not make the final cut. Listed on the earliest known album #3 sequence, from spring 1974. Session log documents indicate that a Spanish-flavored, full-band arrangement was recorded at 914 Sound Studios in October 1974 (V2), and again in February 1975 (V3), but again was bypassed for Born To Run. V4 is a full band recording originally attributed to the Darkness On The Edge Of Town sessions, and later to the October 1978 rehearsal session at Telegraph Hill, Holmdel, NJ. Given the evidence (including audio not circulating), we can confirm it is a Telegraph Hill rehearsal from May 1979. The quality of the private audio is far superior to that found on the 'Definitive Darkness Outtakes' or 'Iceman' CDs, and includes the count-in and runs at the correct speed. Included on a very early tracklist for the upcoming album, 'The River'. Warren Zevon has said that he became obsessed with the title line after Jon Landau mentioned it along with other songs that Springsteen was intending to record. Zevon pestered Bruce, pleading to hear the song. He ended up working on his own version of the song, his interpretation of "Jeannie Needs A Shooter" (he had misheard the name), and played an incomplete version to Bruce sometime in the Spring of 1979. Springsteen loved the arrangement, and they wrote the remainder of "Jeannie Needs A Shooter" together. The Zevon/Springsteen version is "a romantic saga of an outlaw pursuing a maiden while her father tries to gun him down," the opposite of Springsteen's original. Zevon's studio take of "Jeannie Needs A Shooter" from the Bad Luck Streak album was recorded during the summer of '79. V5 and V6 are acoustic demos Bruce recorded during March - April 1979, at Telegraph Hill.

BISHOP DANCED 4:25 studio version uncirculating / FOTF

Note: Bishop Danced had a short life span, from December 5, 1972 to March 2, 1973. When it was chosen for Tracks, a live recording from January 31, 1973 was used. Bruce explained before the song, "Uh, this next song is a, uh… a nonsense… a kind of nonsense song. It's ah… I'll give you a quick rundown…It's about a bishop and his wife and this violin player in West Virginia. It's about how their daughter lost her mother to mathematics out on a business trip in Detroit." Which explains why some forgotten vinyl bootlegger titled it, "MAMA KNOWS RITHMATIC".

I MET HER AT A TOURIST TRAP IN TIGUARA 2:28 uncirculating

Note: Recorded at the same January 29-30, 1973 session as "Ballad Of A Self-Loading Pistol", "Saga Of The Architect Angel", "Janey Needs A Shooter" and "Winter Song", but it's the only one of the five that remains uncirculated.

FIRE ON THE WING uncirculating

Note: A completely uncirculated track from the Wild & Innocent sessions. Recorded at 914 Studios on August 7, 1973 and apparently considered for Tracks - the song was transferred from the 16-track master in early November 1997.

SECRET TO THE BLUES uncirculating

Note: Lyrics written by Bruce in late 1972-early 1973. The melody and some of the lyrics are lifted from a 1971 Bruce Springsteen Band-era song called “The Band’s Just Boppin’ The Blues”. There are two verified live performances of “Secret To The Blues” in May-June 1973, and a third unconfirmed performance from January 1973.

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