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

Details

THE E STREET SHUFFLE - V1 uncirculating
THE E STREET SHUFFLE - V2 4:24 WIESS / 1975 b-side

Note: Written around early/mid-1973, and first played live June 6, 1973, before David Sancious joined the band. V1 was recorded at 914 Sound Studios on June 28, 1973, and another recording session was logged on September 22, but it is certain there were more in between. Albee Tellone, sound manager and roadie for Bruce 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". "Albany" Al Tellone guests on baritone sax, and would appear as a special guest on this song during the final three months of 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 / 1975 single

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. First known studio take on August 9, 1973, which turned out to be the second to last session for The Wild, The Innocent. Recorded were 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 Harley's 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! He changed the words in the live set at The Main Point on October 31. Written in early 1973 at Diane Lozito's Bradley Beach house, it was, according to Bruce, "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". At Bushnell Memorial Hall, Hartford, CT, on April 23, 1973, "4th Of July, Asbury Park (Sandy)" opened the set, the earliest confirmed performance of the song. Diane says she was Sandy, along with the "Thundercrack" girl and Rosalita, too.

KITTY'S BACK - V1 7:10 PS / EY / SA914 / ET
KITTY'S BACK - V2 7:16 uncirculating
KITTY'S BACK - V3 7:25 ROOI
KITTY'S BACK - V4 7:25 US5 / BIS / ETRJ
KITTY'S BACK - V5 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. Base track was recorded June 28, 1973 with overdubs on July 11, 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 three 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, V1-V4 could be from any or all of the recording dates confirmed.

CIRCUS TOWN - V1 uncirculating
CIRCUS SONG - V2 uncirculating
CIRCUS SONG 5:01 UBER22
CIRCUS SONG - V3 uncirculating
CIRCUS SONG - 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.” 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. Click this link for further details. The first WIESS studio recordings V1 and V2 were made on May 14, 1973 at 914 Sound Studios, with eight 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 bass player Garry Tallent on tuba and organist Danny Federici on accordion.

INCIDENT ON THE W SIDE - V1 uncirculating
INCIDENT ON 57TH STREET - V2 uncirculating
INCIDENT ON 57TH STREET - V3 7:46 WIESS

Note: Nobody bought The Wild, The Innocent 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", then a piano segue into "Rosalita (Come Out Tonight)", 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 22-23, 1973, the latter Springsteen's 24th birthday, the final days of sessions.

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

Note According to Diane Lozito, Bruce's girlfriend 1971-1975, "he wrote 'Rosalita' in bits and pieces and didn't have a title for it," she says. "My mom is Rita Lozito. Then he met my grandma. So I assume that's where he put it together." Her grandmother's full name was "Rose Lozito"; In that part of Jersey, it's pronounced Lazita, so "Rose Lazita". Apparently, the derivation of the sub-title "(Come Out Tonight)" is by an unrelated and unknown process. Also according to Diane, and confirmed independently by her sister, Carol Lisa Lozito, though the song name came from her grandmother, the song was about Diane. Carol also said her sister was 'Crazey Janey" in "Spirit In the Night", "Sandy" in "4th of July, Asbury Park", "Terry" in "Backstreets", and the girl in "Thundercrack". This has never been refuted by Springsteen. In an interview for Mojo magazine published in January 1999, Springsteen told Mark Hagen that he wrote "Rosalita (Come Out Tonight)" as a live showstopper, just as he had written "Thundercrack" before it. Rosie was performed for the first time on February 14, 1973 at Richmond, Virginia, fully-formed musically, with plenty of lyrics too, though some were unfamiliar "with her chiffon reigns" and "soft sweet samurai tongue". It was performed live at least four more times, and recorded over an untold number of sessions, with only one date discovered so far in studio logs, September 23, 1973. The final album mix, and an instrumental backing track V1, are all that is in general circulation.

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 uncirculating
NEW YORK CITY SERENADE - V4 9:53 WIESS

Note: "New York Song" aka "New York City Song", was composed 1972-1973, 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-V4 were presumably overdubs on August 7 and September 13, 1973, including addition of strings, group vocals and congas to the final mix.
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 aka WILD ZERO AND BLIND TERRY - V1 backing track 6:04 BIS / ROOI / ATMF
PHANTOMS - V2 backing track#2 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, The Innocent sessions show "Phantoms" was worked on June 22 and 26, V1, the backing track of both final studio tracks of "Phantoms" and "Zero And Blind Terry", also dubbed "Wild Zero and Blind Terry" out in bootleg world later on. V2, an alternate and unreleased instrumental take, was recorded on one, or both of these dates. Up until June 28, these takes were referred to as "Phantoms"; at that session, 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 V3, making V5 the final take. The date of the circulating version is either June 28 or July 1. "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. 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 collection, comes from the June 28 session. 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 credited in the Tracks booklet. Statements referring to "Phantoms" as an early or work-in-progress version of "Zero" are incorrect. These are two different songs, with no overlapping lyrics.

THUNDERCRACK - V1 uncirculating
THUNDERCRACK - V2 uncirculating
THUNDERCRACK - V3 uncirculating
THUNDERCRACK - V4 uncirculating
THUNDERCRACK - V5 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. "It ended three or four different times -you didn't know where it was going to go. It was just a big, epic show-ender that was meant to leave the audience gasping a little bit for their breath - "Hey, who was that guy? That was pretty good…", Bruce said at a 1999 interview for Mojo magazine. On the first known day of WIESS sessions, May 14, 1973, at 914 Sound Studios, the band recorded V1 of "Thundercrack", before moving on to 8 takes of "Circus Song". Work was resumed with V2, on June 22, 1973, then additional takes, overdubs or mixing took place on August 7 V3, and August 9, V4, but they were not completed to Springsteen's satisfaction. V5 for Tracks added overdubs, including background vocals by Vini Lopez cut in 1997, to approximate the sound of live performances. "I found a version which was actually pretty good, called up Vini Lopez and I said, "Vini, I have some singing for you to do" and Vini - he's a caddy master at a golf course - he just comes by and I said, "Remember this song?" He came in and sang all his parts completely unprompted, like he remembered it exactly from 25 years ago", he added at the Mojo interview.

JOHNNY & THE HURRICANES SONG - V1 uncirculating
JOHNNY & THE HURRICANES SONG - V2 uncirculating
SEASIDE BAR SONG - V3a 3:37 UNE / PS / EY / US5 / FOTF
SEASIDE BAR SONG - V3b uncirculating
SEASIDE BAR SONG - V3c 3:29 TRACKS

Note: Written in late 1972 or early 1973. V1 and V2 are early takes, logged as "Johnny & The Hurricanes Song", on June 22 and 26. V3a was a completed take on June 28, 1973, under the title "Seaside Bar Song". Two more sessions, most likely involving overdubs and mixing, took place on July 1 V3b and July 24, 1973 V3c. The version released on Tracks in 1998 is certainly a different mix, with 8 seconds trimmed, despite adding a countin. However, a countin by Bruce at 0:35 of V3a is gone from v3c, and Vini's drumming is a different track.

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

Note: "Santa Ana", referenced in 1973 Sony logs as "Hey Santa Anna", possibly received the former name for it's inclusion on "Tracks" in 1998. Also known as "My Contessa" and "The Guns of Kid Cole", thanks to bootleggers with unknown motives. Written in late 1972 or early 1973, and performed live regularly during 1973. Both V1 and V2 are early recordings from June 22 and 26, 1973, and remain uncirculated. V3 was recorded on June 28, 1973, and for many years was considered a complete, though unofficial, version. However, V4 released on Tracks, is an embellished mix, with overdubs added on July 1, 1973, including piano (David Sancious), a layer of acoustic guitar (Bruce), calypso percussion (Richard Blackwell) and Suki Lahav (vocals). The flute heard in V3 (courtesy of Clarence Clemons), has been entirely removed from V4. Mixing was done by Louis Lahav (1973) and Thom Panunzio (1998). 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 / FEVER / FS / RES / GT / MT1

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". 'The Fever' was all but forgotten after it was recorded, dropped from the live set in mid-1973, and not included in any track sequences for album #2. After the album was released in November, it received little promotion by Columbia Records, and Springsteen himself was in danger of also being forgotten.

In late 1973, Appel and partner Jim Cretecos included it on an acetate of unreleased masters sent to UK Publisher Intersong Music. At the same time, cassettes of 7:41 track of "The Fever" were prepared, and sent to radio stations known to be supportive of young Springsteen's music, a rather short list. However, the song became 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. Meanwhile, the publishing acetate fell into the hands of bootleggers, and soon "Fever" and "Resurrected" were being sold under the counter at record stores.

"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 a song we haven't done in about a year but we found out that they sent a demo down here … we're gonna give it a try for you, hope we'll remember … it's a song we did about a year ago, no, we did it when we were recording the second album … 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 the band left Texas, "The Fever" was not played again live until they returned on July 14, 1978 to San Antonio. Springsteen had "gifted" the song to his friend Southside Johnny in December 1975 for his debut album, so he no longer considered it for his setlists. But his hardcore fans had other ideas, persuading him to play it on the Darkness tour in many cities because, according to Bruce, "people would jump onstage and grab me by the head and scream, ‘Bruce! Fever!" It was played at Sam Houston Coliseum in Houston the next evening, and twenty-two more times to the end of the Darkness tour. Though he joined Southside Johnny for duets many times, it was not released or played by Springsteen for the next 20 years. In 1998, a huge uproar ensued when it was omitted from "Tracks", forcing it's official release on 18 Tracks the following year. The fans have made "The Fever" one of Springsteen's greatest hits. It has also become Southside Johnny and the Asbury Jukes' GREATEST hit, performed over 1,000 times since 1976.

In early 1977, a bootleg 7" demo (the studio take from 1973) of "The Fever" was released on "Bruce Records", 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!". In 1979, The Pointer Sisters recorded the song under the title "(She Got) The Fever", for their album Priority. 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 as "When She Sings To Me"; title was changed to "You Mean So Much To Me" later in the year. Bruce introduced the song as "When She Sings To Me" in July 1971. Rehearsed at Challenger East Surfboard Factory, though apparently not on the evening of March 14, 1972, because it was absent from the tapes recorded by Tinker West. It was performed throughout 1971, although the circulating live versions mostly stem from the middle months. First caught on tape July 10, 1971 by The Bruce Springsteen Band. 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 continued to perform it live (in an acoustical arrangement) regularly throughout 1973 and 1974. On May 31, 1973, what many consider the definitive version was cut at the recording studio for WGOE-FM radio, Richmond’s Alpha Sound Studios. There are no records of it being recorded at 914 Sound Studios for Greetings or The Wild, The Innocent, but many undocumented sessions are known to exist during mid-1973, held between 12 midnight and dawn, to avoid having to pay the studio. It is likely most of the base tracks for The Wild were recorded in mid-June 1973 in this fashion, and would explain why most of that information is also missing. However, perhaps the biggest mystery is how the money-conscious Mike Appel, and his partner Jimmy Cretecos, could fail to record a demo for publishing purposes, unless they used the May 31 WGOE tape. 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. Inspired, he quickly wrote an arrangement for "You Mean So Much To Me" as a duet for Ronnie and Southside Johnny (borrowing from his BSB days), which became the closing song on side 2 of the Jukes' debut album, I Don't Want To Go Home. 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 Spector 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
EVACUATION OF THE WEST - V3 uncirculating

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 track, recorded on June 22, 28 and July 11, 1973 at 914 Sound Studios. It is not known if this is a single take from one of these dates, or a combination of instrument and vocal tracks.

SONG TO THE ORPHANS - V1 uncirculating
SONG TO THE ORPHANS - V2 uncirculating
SONG FOR ORPHANS - V3 6:34 BTF / UNE / PS / EY / US4 / DT / ATMF
SONG FOR ORPHANS - V4 uncirculating

Note: Written in the fall of 1971, "Song To the Orphans" V1 was played for Mike Appel, following Baby Doll, on November 4, 1971, at their first meeting at Pocketful of Tunes, 39 West 55th Street, New York, NY. Appel described it as the most boring song he ever heard. V2 recorded at Mediasound Studios, 311 West 57th Street, New York, NY, June-July 1972. V3 recorded at 914 Sound Studios on February 19, 1973, V4 recorded next day. Found on a proposed track-listing document for the Greetings album. "Song For Orphans" first played live on August 10, 1972 at Max's Kansas City, New York City, NY, and was an occasional inclusion in Bruce’s opening solo segment during the first three months of the Greetings album tour. A couple of 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 in 1974, that were candidates for inclusion on his third album (see BTR seq 2-5), and "Song For Orphans" made several. More information.

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

Note: Written in 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 uncirculating
TOKYO - V2 3:50 BTF / US4 / MT1 / VAFH / URT2 / GT / MPD / EDR
TOKYO - V3 uncirculating
TOKYO (AND THE BAND PLAYED) - V4 uncirculating

Note: Written Spring 1972. V1 was early demo at Pocketful of Tunes, 39 West 55th Street, New York, NY, April-May 1972. V2 recorded February 19, 1973 at 914 Sound Studios, Blauvelt, New York with Bruce on piano. V3 logged following day. It is possible the circulating audio is V1 or V3. No record of V4 cut in studio, which featured addition of new lyrics and a refrain, "And The Band Played", and 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". Though this was played live sporadically during the next year, studio takes of "Tokyo (And The Band Played)" have not been located. Springsteen copyrighted it as "Tokyo" in 1999, after winning his lawsuit against bootleggers.

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.

TALKING ABOUT MY BABY - V1 uncirculating
JANEY NEEDS A SHOOTER - V2 6:02 US6 / EY / ATMF
JANEY NEEDS A SHOOTER - V3 uncirculating
JANEY NEEDS A SHOOTER - V4 uncirculating
JANEY NEEDS A SHOOTER - V5 uncirculating
JANEY NEEDS A SHOOTER - V6 4:30 uncirculating
JANEY NEEDS A SHOOTER - V7 1:34 LM-8
JANEY NEEDS A SHOOTER - V8 2:34 LM-8 / PYP
JANEY NEEDS A SHOOTER - V9 6:50 DDO / DO-1 / EC / ATMF

Note: "Janey Needs A Shooter" has a long complicated history. V2 was recorded in a solo piano arrangement at 914 Sound Studios, Blauvelt, NY, on January 29, 1973, with additional takes on January 30. The lyrics were written during 1972, although the melody was culled from a mid-1971 Springsteen composition, performed by the Bruce Springsteen Band only once live, from a Richmond show in October 1971, called "Talking About My Baby" V1. It appeared on provisional lists for The Wild, The Innocent, and the E Street Shuffle album, but did not make the final cut. Also 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 May 1974 (V4), October 1974 (V5), and again in February 1975 (V6), but it was bypassed for Born To Run.

V7 and V8 are acoustic demos Bruce recorded around March-April 1979, at Telegraph Hill. V9 is a magnificent 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. "Janey Needs A Shooter" was also included on a very early tracklist for what became The River, but in all likelihood never seriously considered. 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. Bruce agreed, and 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.

FIRE ON THE WING - V1 uncirculating
FIRE ON THE WING - V2 uncirculating

Note: A completely uncirculated track from the Wild & Innocent sessions. Recorded at 914 Sound Studios on August 7 and September 13, 1973, apparently considered for Tracks - the song was transferred from the 16-track master in early November 1997.

NEVER ON A SUNDAY uncirculating

Note: Recorded at 914 Sound Studios on September 22, 1973. Was this a cover, like Bruce played with the Castiles back in 1965, or a new composition? The title is not an error.

BISHOP DANCED studio version uncirculating
BISHOP DANCED 4:21 TRACKS

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 kind of nonsense song. 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 Arythmatic Knows How To Take A Fall".

I MET HER AT A TOURIST TRAP IN TIJUANA 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. Tijuana is a border city in Mexico, south of California, and the song was perhaps inspired by his 1972 trip to the country.

THE BAND'S JUST BOPPIN' THE BLUES - V1 uncirculating
SECRET TO THE BLUES - V2 uncirculating

Note: "The Band's Just Boppin' The Blues" V1 was written in 1971 for the Bruce Springsteen Band, and was played live often during late 1971 and early 1972. New lyrics written by Bruce in late 1972-early 1973, and song reappeared live as "Secret to the Blues". Unknown if either was recorded in the studio. There are two verified live performances of "Secret To The Blues" in May-June 1973, and a third unconfirmed performance from January 1973.

SHOOTOUT IN CHINATOWN - V1 uncirculating
SHOOTOUT IN CHINATOWN - V2 uncirculating

Note: V1 from 1973. V2 appears in a song/album sequence dated to August-October 1974.

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