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Home , Backstreets, Best Part of Me, Blinded by the Light, Bob Clearmountain, Brilliant Disguise, Bruce Springsteen

ALL THE SONGS THE STORY BEHIND EVERY TRACK

PHILIPPE MARGOTIN & JEAN-MICHEL GUESDON Springsteen was modelled on the ‘n’ roll look at the beginning of his career, something NS that shifted in later DUTCH ORIGI years as his on-stage Springsteen is of Italian, Irish, and Dutch descent. persona evolved. The Boss’s ancestors include Casper Springsteen and his wife Geertje, who were both born in Groningen, circa 1620, and left the United Provinces several years later for New Netherland (a Dutch colony between New England and ). Interesting fact: the name Springsteen is derived and steen, meaning from two Dutch words, spring “leap” and “stone.”

INTRODUCTION

A boy New Jersey, to the south of New York state with the Atlantic the production lines in the Ford factory in Edison, and was a Ocean to the east, has witnessed the arrival of successive regular in the local bars. “I was not my father’s favorite waves of Europeans, starting with the first settlers from the citizen,”1 writes in his autobiography Born United Provinces of the Netherlands in the 1630s. In the early to Run, describing their complex relationship. “He loved me 20th century, the population of the Garden State, as it is but he couldn’t stand me.”1 , his mother, worked as a known, was 90 percent white and included large Irish and legal secretary at Lawyers Title Inc. “My mother showered me Italian Catholic communities. Bruce Springsteen belongs to with affection,” he adds. “The love I missed from my father she both these groups, as well as to the Dutch community. tried to double up on and, perhaps, find the love she missed Bruce Frederick Joseph Springsteen was born on 23 from my dad.”1 in Monmouth Medical Center, Long Branch, Bruce initially lived with his parents and younger sister New Jersey, and raised in Freehold, a small town in central Virginia (born in 1950) at his paternal grandparents’ on 1 New Jersey. He is the son of Douglas Frederick “Dutch” 87 Randolph St. In 1955, the family moved to 39⁄2 Institute St, Springsteen and Adele Ann Zerilli. Douglas was descended then just before the family grew with the birth of Pamela in from the Dutch and the Irish on his father’s side (Frederick H. 1962, they moved to 68 South St. Young Bruce was educated Springsteen, son of Anthony Springsteen and Martha Ann at the St Rose of Lima Catholic school, where catechism O’Hagan) and from the Irish on his mother’s side ( Alice classes were followed by English and math. “No matter how Helena McNicolas), while Adele is of 100 percent Italian much I want to, no matter how hard I try, ‘the way things are’ descent (her family originated from Campania and Sicily). eludes me,” he writes. “I desperately want to fit in but the Bruce’s father was an apprentice in a rug factory and, during world I have created with the unwarranted freedom from my the Second World War, he sailed on the Queen Mary to grandparents has turned me into an unintentional rebel, an Europe where he took part in the Battle of the Bulge. When outcast weirdo misfit sissy boy. I am alienating, alienated, and the war ended, he returned to Freehold where he had a socially homeless…I am seven years old.”1 number of jobs, including as a bus driver. He also worked on

4 Introduction BRUCE SPRINGSTEEN, ALL THE SONGS 5 1973 26 Technical team Recording Musicians Bruce Springsteen 5’02 / Assistant recording engineer: engineer: recording Assistant engineer: Recording Producers: 11 1972 September York New 914 Blauvelt, State: Studios, Recording Sound musicians: Unidentified Lopez: Dog” “Mad Vini Clemons:Clarence Wheeler: Harold Springsteen: Bruce

COVE Blinded by the Light

G for the English rock group, ’s Earth Band. Their version went to No.1 in the in December 1976 (and No.6 in the United Kingdom in August 1976). Was this down to a change of lyrics? “Cut loose like a deuce [the hot rod]” in the original was replaced by Chris Hamlet Thompson singing “revved up like a deuce,” which many listeners heard as douche! Springsteen was clearly

R amused: “I have a feeling that that is why the song sky-rocketed to No.1.”13 But the excellent rendition by Manfred Mann should not be underestimated. A must-listen. EE

R T I N , Jim Cretecos Jim Appel, Mike GS F GS piano RO , backing vocal saxophone, backing vocals, acoustic , electric guitar, bass guitar, electric guitar, acoustic vocals, Louis Lahav Louis M ASB

became a huge hit drums organ, tambourine UR Larry Alexander Larry Y PA R K, N K, .J. s

dictionary, and wrote wrote and dictionary, contain not did it hits any potential that felt he because form initial its in the rejected Davis Clive song the after wrote Springsteen N.J. Park, Asbury from Light by the Blinded Genesis and lyrics record? “Because they [the they record record? “Because company] didn’t believe it a launch to month a traditionally is which February, Billboard the 1973 it into make not did but released as a single with Subterranean Homesick . Dylan’s blows”in wind the way which know to have man could weather a need don’t “You outside” go couplet: to the from safe borrowed was been it if see to chart weather the Revisited 61 Highway with ’s comparisons (“ stirrings sexual first waylescent pumps hat his into his his and YMCA the of memories includes also He oppression. of symbol shoulder”—a my on son “Teenage the diplomat” is a to reference “a with to boulder himself, alludes summer” the when team he lived in Freehold. favorite baseball in gwriter’s “Indians while Dog”), “Mad Lopez, the E known as Band Street drummer, “Mad Man” (then refers explicitly to The Vini drummers” expression “madman and set out to conquer New York. wanted to burn his bridges, oversling his guitar his shoulder, seen.” hadn’t the by I I hadn’t done tothings see I and wanted do light, things blinded get to wanted “I song: the of title the explain side.” autobiographical the on rather was a young of and of ita musician’s Kind adventures litany tale. on detail the DVD sioned of rereading his album. tion on and 2016the features which and Chapter Verse compila recorded in June 1972in New York,Studios, at Mediasound track demo the of melody the by in autobiography.his explains The song was largely inspired Blinded by the Light the by Blinded experience. own ’s the on draw also verses The impas an is album first Springsteen’s of track opening This 13 It is obvious that the boy from New Jersey Jersey New from boy the that obvious is It . “I […] came VH1 Storytellers—On Stage Storytellers—On VH1 did not originally feature on feature did not originally . “And go-cart Mozart was checkin’ out out checkin’ was Mozart go-cart “And . own adolescence. He explains this in in this explains He adolescence. own Blinded by the Light the by Blinded The (in a shortened 3’58 version) was was version) 3’58 shortened a (in Like Like Angel home, busted out my rhyming out my home, busted rhyming Bringing It All Back Home Back All It Bringing Spirit in the Night the in Spirit

on the B-side in February on the in B-side February ”). Inevitably, this invites invites this Inevitably, ”). Henry Boy Henry 13 : “So it was really He goes on to on goes He ,” 1

Springsteen charts. Why Why charts. that he had had he that Greetings Greetings the ado the , Bruce Bruce , and and - - - - tric again, for the solo parts. Was Springsteen using his Fender Fender his using Springsteen elec Was Telecaster third, neck? with the It’sEsquire a parts. hard to tell. The introduc then solo the D-28); for again, Martin (the tric guitar acoustic an second, the lick; a country-rock with starts guitar, electric an first, left it that Hence Jon no Landau’s reaction. one indifferent. conviction such showing piece, this talent into his energy all and poured Springsteen circle. inner songwriter’s the Clemons, and Harold Wheeler, a who musician was not of part Vincent were September Lopez, Clarence himself, Springsteen 11on session the recording the at present musicians because only perhaps, surprising, Rather sound. Springsteen force would that soon as become and the resonance known recognizable immediately had this already unquestionably go on to coproduce of . many his would manager, and become his meet singer the in question, note.” job to too, not track, this long that because, thanks Landau after mental a made I end. the at identified was It that? I group the bit like—a wondered, who Band. The Band, The was like sounded It record. exciting an singer, great a and song song: “I recounts. didn’t know who it was, but I thought it was a Light great particular a the by by grabbed “Blinded was he when radio car his to ning at a Jon journalist Landau, Production 1972. January 30 on Jersey, City, most in Neptune probably New at Captain’s the Garter was time first onstage—the songthe regularly performing were right.” had a to chance go The introduction is structured around three : the guitars: three around is structured introduction The 3 However, that did not stop Bruce Springsteen Springsteen Bruce stop not did that However, Top 40 Top , one of the oncuts magazine ,” explains Mike Appel. “And they they “And Appel. Mike explains ,” Greetings Blinded by the Light Light the by Blinded , was on,” he he on,” was , , was liste was , 3 poses forposes an early Good A young Bruce Bruce A young photoshoot. - - - first verse (at 0’36). 0’36). (at verse the from first appears organ the on note sustained a while 3’22, be can from heard is recording too dry. Note: A tambourine sound the because cutout” “cardboard some bit a sadly, sounds times which, part drum the on solid is Lopez Vini and others. among Simone, Nina on the some saxophone parts R&B very and Clemons contributes also who Bacharach Wheeler Burt Harold with worked excellent the by performed is It mix. too deep in the buried piano a is unfortunately by that accompaniment supported is He himself. vocals the and bass, the parts, guitar three the performing Springsteen with positive, bridge at 2’37, at 4’29. and a starting is coda result The overall 1’33). (at line last the in him with harmonizes Springsteen and voice, powerful his with vocal lead the supports Clemons Clarence chorus, the (1971). In notably from the a singer. However, there is an obvious Van influence, Morrison than to was more hout be of pejorative, wishing a storyteller not in the voice; was Springsteen a real singer, and wit Dylan, compare to him Bob but Dylan, the is resemblance definitely to rushed When critics record the was released, luminous. not or yet mastered but polished, perfectly and unique already 1972in released early September from 0’12(listen onward). tric guitar adopts a pattern similar to the one used on on used one the to similar pattern elec The Doobie smash the Brothers’ hit rhythmic a which in adopts liaison guitar short a tric by followed is This in. coming saxophone and piano, bass, drums, the with continues tion The piece continues with alternating verses/choruses, a alternating piece with The continues voice, warm a with verse first the attacks then Springsteen

Wild Wild Night B RUCE SP track on the the on track RI N Listen to the Music the to Listen GS T EE N , ALL T , ALL Tupelo Honey Tupelo HE S , which was was which , ON album album GS 27 - - - ALBUM

BORN TO RUN

Thunder Road . Tenth Avenue Freeze Out . Night . . . She’s The One . Meeting Across The River . Outtakes : Walking In The Street (aka Lovers In The Cold) . Lonely Night In The Park . A Love So Fine . A Night Like This . Janey Needs A Shooter . Linda Let Me Be The One . So Young And In Love

RELEASE DATE United States: 25 August 1975 Reference: – PC 33795 No.1 in Record World magazine and No.3 in the Billboard chart, No.17 in the United Kingdom 1978 136 Technical team Recording Musicians Bruce Springsteen 4’28 / DARKNESS ON OF TOWN Mixing: engineer: recording Assistant engineer: Recording producer: Assistant Producers: 1977December (?); 8–10 1978 March New York: St, 44th West 321 Plant, Record The Weinberg: Max Tallent:Garry Federici: Danny Bittan: Roy Clemons:Clarence Van Zandt: Steve Springsteen: Bruce

Darkness on the Edge of Town songs performed most often in by the and its Boss. DA R Chuck Plotkin, K N , Springsteen Bruce piano T ON ESS bass guitar bass drums organ, guitar tambourine vocals, guitars Steve Van Zandt Jimmy Iovine HE E HE D GE O GE Thom Panunzio Thom

is one of the ten F TO W N

September to whatever that may be. be. may that whatever to committed and determined are but holds, they the future what of unsure are they when characters Springsteen’s of lives the in point a hill…”—marks that on be I’ll “Tonight with song—starting this of verse final The album. fourth enough, concludes track the Springsteen’s Bruce title Logically Genesis and lyrics result is exquisite. The other instruments join in as songjoin the instruments other is The result exquisite. Tallent’s the byguitar, bass Supported of Garry fade-out. the gimmick) (or phrase melodic a at the which bars keyboard, the he final until regularly plays repeats he introduction the From song not has been as released a single. New Buffalo, Center in Arts Performing Shea’s at concert the since times 700 than end the by that explaining of the autobiography, his in this on touches Springsteen Bruce there? way to transcendence the found on edge the refuge “darkness in the of town”? heMight have my all through shot it’s and record.” that, this music, including to drawn always was I in? ling place you lose your and soul, how do I fal get without there background; it’s me. just what Like, fascinates hey, where’s the spiritual the in interested “I always was 2007). December toldyears,” Springsteen the over music my in imagery much so for that to back go “I grew up and I Catholic, suppose I spirituality: songwriter’s spot out ’neath Abram’s Bridge.” the words all express These hope: “You can tell her I’mthat found/Tell easily her there’s a sings Springsteen verse. maintain,” to first the in trying she’s style a Fairview/In in up house a got she’s hear I “Now loves. he woman the Street of to to narrator the seems be alluding tainly here he cer of Manhattan, classes toopposed privileged the bars—as the in with shoulders rubbed father his kers that lived alongside in him Freehold, as well as the wor blue-collar workers Jersey—the manual and employees low-ranking who The The song also rests on ’s piano part. sumptuous on the Edge of TownDarkness found character central the has noir, film a of hero The is still there narrator—but the befallen has Misfortune New of folk humble the describes songwriter the While , who still has the company of Sonny, but no longer of of longer no but Sonny, of company the has still who , Darkness album he felt he had found his adult voice. adult his found had he felt he album York on state, 23 May 1978, but the Spin 67 magazine’s Steve Kandell (in (in Kandell Steve magazine’s has been performed more has been performed Racing in the the in Racing - - - to roar from the second verse (starting at 0’36). The phrase that that phrase The 0’36). at (starting verse second the from only roar to pianissimo, starting do, to likes he as performance, his by jingles in that the reverb. plays a played tambourine metronomic probably in, comes guitar heSteve Vanfor As from Clemons, start Zandt. the Clarence rhythm a and insistently); returns G—which verse note—a following crystalline the delicate, a in (beating dance second the the joins in appear glockenspiel organ his his verse; and Federici Danny develops: themes. deeper, complex reveals this more as such songs to listen acloser But millions people. of for spirit American the embodied Springsteen stripes, and stars enormous by an Back As regards the singing, Springsteen varies the intensity of the intensity varies the As regards singing, Springsteen nation of melancholy passages and sudden bursts of passion. passion. of bursts sudden and passages melancholy of nation Town of Edge the on song.” itimpression the of on has listener. the beauty The samurai my was “It confessed. once Steve’s. Miami would it is seem this that his voice, voices; overdubbed, and two not by his voice with harmonized is chorus a as functions “That was a very important song to me,” the songwriter songwriter the me,” to song important very a was “That B RUCE SP lies as much in its starkness as in the alter the in as starkness its in much as lies

RI N GS T EE N , ALL T , ALL 73 And that is indeed indeed is that And HE S ON Darkness GS 137 - SINGLE

SIDE B SIDE B

LUCKY MAN TWO FOR THE ROAD Bruce Springsteen / 3’30 Bruce Springsteen / 1’59 Single: /Lucky Man Reference: Columbia Records – 38-07595 Release date: United States, 3 October 1987 Musician Bruce Single: Tunnel of Love/Two for the Road Reference: Columbia Records – 38-07663 Release date: United States, 17 October 1987 Musician Springsteen: vocals, guitars, bass, synthesizers, drum machine programming, cabasa Recording Thrill Hill East, Rumson, New Jersey: 4 April 1987 Bruce Springsteen: vocals, guitars, synthesizer Recording Thrill Hill East, Rumson, New Jersey: February 1987 Technical team Producers: Bruce Technical team Producers: Bruce Springsteen, Jon Landau, Chuck Plotkin Recording engineer: Mixing: Springsteen, Jon Landau, Chuck Plotkin Recording engineer: Toby Scott Mixing: Bob Clearmountain

Genesis and lyrics Genesis and lyrics The sound of Louisiana blues permeates this song about a very and the only percussion part in the song (a cabasa from 1’37). Two for the Road and Lucky Man convey opposing messages: piano to the synthesizer, a Yamaha DX7 or Roland D-50 (on lucky truck driver. A gypsy has read his palm and told him, Two elements in particular give Lucky Man its bluesy feel: where solitude is the ultimate expression of freedom in Lucky the right). He harmonizes his vocals with a second vocal part “You’re a lucky man.” A lucky man compared to those around first, the songwriter’s properly rough voice, with its hints of Man, in this song the happiness of being in a couple is what in the second verse and performs a solo on his Telecaster- him, like his Pa who came back from the army to work in a fac- Louisiana Red; then, his Telecaster-Esquire, which is played gives meaning to life. “One thousand dreams whispered in the Esquire (enhanced by a chorus/flanger and a reverb), which tory; a lucky man because he left his girlfriend in Calgary in sparingly and surrounded by a deep reverberation, creating dark/But a dream’s just a dream in one empty heart,” sings he doubles with whistling (from 0’46). order to avoid emotional attachments. He has no shortage of long phrasing in the arrangements (on the left). Only the Springsteen in the second verse. By the same token, two are Although likeable, Two for the Road could never be on the girls and no need of a home. What he wants is to travel for life, LinnDrum (which runs in the same pattern throughout) and better than one when it comes to facing the hardships and dif- tracklisting for Tunnel of Love. and so he travels alone. the synth pads tie Lucky Man to its era. An excellent B-side. ficulties of life. This is exactly what the narrator tells his partner Although Lucky Man was recorded during sessions for when he says, “I’ll stand beside you, we’re two for the road.” Tunnel of Love, it was not included on that album. This was As with Lucky Man, Two for the Road was recorded during not so much because it is a tribute to freedom and lone travel, sessions for Tunnel of Love. It was released as the B-side of the but as a result of its sound, which contrasts sharply with the Tunnel of Love single, then it was revived for the Tracks box other songs on this eighth album. However, it was chosen as set (1998). Bruce Springsteen sang it four times during the is also a the B-side of Brilliant Disguise, the first single fromTunnel of Devils & Dust Tour. Two for the Road 1967 British film directed by Love, and for the third CD of the Tracks box set (1998). Production Stanley Donen and starring and Albert Production Although the first line ofTwo for the Road is an adaptation of Finney. The score, by the same Lucky Man clashes with the other songs onTunnel of Love: the the lyrics to Blue Suede Shoes, one of the greatest rock songs name, was composed by piece is centered around a low, hypnotic bass line that develops of all time, written by Carl Perkins in 1955 and immortalized . into a bluesy, dark, and intense atmosphere. It had initially been Springsteen was not the only one to call a song by Elvis the following year, this B-side is a sweet and vaguely intended for the album instead of the song Tunnel of Love, but Lucky Man: Emerson, Lake & Palmer and The Verge country-and-western song, sung by a Bruce Springsteen Springsteen changed his mind at the last moment, to did so as well, in 1970 and 1997, respectively. gushing with tenderness and romanticism. preserve a consistency of sound. Springsteen is once again the only musician in the recor- The Boss is alone at the controls, taking on the various gui- ding room: he accompanies himself on the acoustic guitar, tars, the bass, the LinnDrum programming, the synthesizers, adding an electric guitar (on the left, at 0’17) and an electric

292 TUNNEL OF LOVE BRUCE SPRINGSTEEN, ALL THE SONGS 293 2002 446 Musicians Bruce Springsteen 4’50 / RISING THE Technical team and mixing Recording Mastering: Mastering: Mixing: engineers: recording Assistant engineer: Recording Producer: 2002 March Georgia: Tracks Atlanta, Southern Studio, Recording : Tyrell: Soozie Weinberg: Max Tallent:Garry Federici: Danny Bittan: Roy Clemons:Clarence Lofgren: Nils Van Zandt: Steve Scialfa: Patti Springsteen: Bruce

For Springsteen Addicts A mysterious video apparently aired once only on the Australian channel ABC, on the show Rage recording at the Southern Tracks studio in Atlanta and playing, among other instruments, an orangey Gretsch—probably the one he uses in the solo. This video was never officially recognized, by either the songwriter or his team. T HE R

, on 20 December 2003. Springsteen is seen Brendan O’Brien Brendan Brendan O’Brien Brendan ISI Bob keyboard guitars, backing vocals vocals backing guitars, backing vocals backing violin, backing vocals backing violin, bass NG drums organ guitar, backing vocals backing guitar, cello percussion instruments (?), backing vocals vocals (?), backing instruments percussion vocals, guitars Nick DiDia Karl Egsieker, Billy Bowers Egsieker, Billy Karl February to February about the ultimate sacrifice, the one that leads to death, because because death, to leads that one the it is by dictated a supreme sense of duty. “I sacrifice, got down toward the ultimate song.” the another about wants it says you inside “something after that explains Springsteen to a DVD close. On the VH1 as was The Rising recording written for the album was coming Genesis and lyrics The Rising Rising The Springsteen’s can be confusing: art while the lyrics to Production “Best for one and Vocal Male Performance.” Song” Rock “Best for one Awards, Grammy reached No.5 No.6and Norway in Italy.in wonIt also two 2002. Dreams March 4 on Florida, in (with asingle out as song came The Coliseum, Memorial Jacksonville musicians. popular America’sof inspired most theinranks thou firmly a Springsteen of garden Bruce landed the song this “In that is Mary certain What’s and sighs.” sand Lord the of light” “fiery the of aspect spiritual Christ. Jesus of crucifixion (thecross symbol of since courage firefighter 1865) theand to refers both of Maltese the cross my “the calling” Similarly, Way to towers—a real-life rise the heaven. of Cross—and the chorus the from twin line the of stairs the up climb This the meanings: two has rising.” the for up on “Come Center. rubbleandtheof flames in the deaths Worldto their Trade the of hundreds firefighters who, on2001, 11 September went rise.” souls the when sing-over point. moveverses of cros slowlydifferent kind The toward that of then left And at those just your large, I children. think think. to speaking his wife. Who would dunno, you want to speak to? Your basically…I wife, and you’d character main the imagined the living,” someone who and died, I wanted to have a voice addresses that for end I voicethe of was searching record the of and I think Springsteen performed performed Springsteen The second of part the song leaves us in no doubt as to the in The character main ) in July. It went to No.24 in the United States, but but States, United the in No.24 to went It July. in ) 119 seem to call for a rather serious and collected music, music, collected and serious rather a for call to seem he explained to to explained he The Rising The The Rising The 119 The Rising The —that was it, that was the moment moment the was that it, was —that The Rising The Uncut , as the narrator says that he sees sees he that says narrator the as , Storytellers Into the Fire the Into magazine. “So I just sort of of sort just I “So magazine. , or main characters, , are or characters, main for the first time at the the at time first the for of Hope and of Hope Land —On Stage, Bruce Bruce Stage, —On , it was like itwas , 13

It’s a song song a It’s - -

again, showcases his considerable talent. The second chorus chorus second The talent. considerable his showcases again, once which, guitar, slide saturated Lofgren’s Nils notably guitars, various and maracas) (tambourine, parts cussion as if weto Watts!), almost Charlie followedare listening by (it’s per several swing clear a with beat strong a providing mer lives on 11 their 2001. September A real success. sacrificed who those honor to hymn rock a hymn, a like immediately sound chorus the makes performance first (at the drum bass 0’35). his with chorus Springsteen’s incredible emphasizes line—he bass powerful Tallent’s Garry then—supported his with hi-hat, accompanies his bandmates Max mention to not layers, Weinberg verse, second From the Weinberg’s cymbals. keyboard some and left), the guitar, (on tar electric an guitar, acoustic a pronounced very quaver an (on the gui right), rhythm another cello, Scarpantoni’s Jane by a slight bydelay and accompanied Tyrell’sSoozie violin, hisThus, voice measure. opens the first grows the note. that last progressively until emotion, which is by enhanced a feeling elevation of spiritual Whatever words. his down weigh the song case, this extraordinary to and expresses communicates not as so pathos, all avoids efficacy. and a energy He frightening an infectious has hard, particularly not while that, song rock a wrote songwriter the The The song takes really off in the following verse, the drum in vocals lead the launches Boss the move, unusual an In

T You could say that the Boss “has a subscription” to the Grammy Award for best vocal performance by a male artist: before hitting the jackpot with The Rising already won one for HE B in the Dark Streets of 1995—not to mention six other nominations in this category between 1980 and 2002.

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The Rising Rising The Performing at a charity acharity at Performing concert, Springsteen concert, experienced artist. looked every inch inch every looked the confident, confident, the modified modified - - -

first African-American president,’I’d haveAfrican-American ‘Huh?’” said, first that ‘you’re 2001 going in to me sing song this told at concert for the inaugural the had someone If […] itself off feeds it ting, of ment wri kind from doing Boss: “Oncethe that you start Singers, JoyceaThe gospel choir. com Garrett amused An by accompanied on The guitar Rising the acoustic performed to investiture brate the White his House. imminent Springsteen which was held at Memorial, Celebration tothe Lincoln cele Inaugural who Obama The One: We Are at 2009 Obama, January Barack with 18 on perform artists—to other especially Springsteen—and asked politics, American within 2002. in artist male a by performance vocal dly among the best of his career—hence the forGrammy best The rest of the the Boss’ssong are decide vocals is dazzling, a belonging to Gretsch producer his (athis guitar—likely 1’44). from bar whammy the deploying generously and vocals solo, up picking melody the and inspired from the heated, short, a sings then Springsteen rock. gospel a it call even 1’12). backing superb by and organ and TyrellSoozie Scialfa (at most from notably Patti vocals, Federici’s Danny by enhanced is The message from The Rising resonated particularly well The message particularly from resonated The Rising The Rising The has the intrinsic power has the of intrinsic gospel—one might B RUCE SP RI N GS T EE N , ALL T , ALL HE S ON GS 120 447 - - - - 2006 488 Musicians Traditional/ Arrangements Bruce Springsteen 4’32 / Technical team Recording Mastering: Mastering: assistant: Mixing Mixing: engineers: recording Assistant engineer: Recording Producer: Jersey: New Studios, Thrill Hill, Boxwood Eagle: Larry Chatzky: Jeremy Bamba” Rosenberg: Richie “La Pender: Mark Eddie Manion: Giordano: Charles Mark Clifford: Bruno: Frank Bardfeld: Sam Tyrell: Soozie Scialfa: Patti Springsteen: Bruce

For Springsteen Addicts On 23 June 2006, Bruce Springsteen and the E Street Band performed show presenter on guitar. WE SHALL O SHALL WE

Late Night with O’Brien Bob Clearmountain (Mix This! ) Los This! (Mix Clearmountain Bob Bruce Springsteen Bruce Bob Ludwig (Gateway Mastering &DVD, Portland) Mastering (Gateway Ludwig Bob drums, percussion, backing vocals backing percussion, drums, backing vocals backing guitar, backing vocals backing guitar, violin, backing vocals backing violin, trumpet, backing vocals backing trumpet, banjo, backing vocals banjo, backing saxophone, backing vocals saxophone, backing violin, backing vocals backing violin, double bass, backing vocals double backing bass, Brandon Duncan Brandon

Pay Me My Money Down VE , vocals backing vocals, guitar Toby Scott Toby RCO ME: T ME: Kevin Buell, Ross Peterson Ross Buell, Kevin HE SEEGE HE trombone, backing vocals backing trombone,

, with the show’s

on the NBC 19 2005 March R SESSI ON S Me My Money Down Me My Money folk songs, notably (1942) and African-American many she listed history local for her In book passion tunes. a developed and Islands, Sea Maxfield painter the of oneon St of Island, spent winters Simons many the wife Parrish, (1871–1953), Parrish Austin Lydia Genesis and lyrics sion had immortalized with . The with immortalized had Seeger Pete sion album’sthe gems, and probably to superior versuperb the to G” back now, to homethe key, by songwriter: the demanded also by (atSpringsteen 1’57)—from G to members B flat, followed by band a return all which in let rip (at 3’58). a piece The key features a change—requested then and 2’33), (at accents dion, which launches into a superb with Cajun improvisation ting: theviolins (atfirst 0’47),Boss reques trumpet—the thethen lead vocals are that both warm and Solo relaxed. follows solo: he listener while delivers enthusiasm, to exuberant with Springsteen the invites that groove to tap foot their and clap The hands. vocals backing their reply infectious an producing drums cho first the of end (at doublethe rus and bass is irresistible, 0’25). the rhythm The from band, whole the by joined soon is and guitar, J-45 Gibson with alone song the begins Boss cover of energe and tic, exhilarating excellent, an made Band Seeger his and Springsteen Production 1955. in York, Hall, New Carnegie at concert their during it sang who Weavers, rise gave This workers. their to to the slogan: dollar a paying without night, fol the ships the lowing day. would they Very unloaded leavedead often, in the of port or loaded who dockers American African- the paid only captains ships’ Carolina, South and sailors. Caribbean by adopted This song has often been revisited, most by notably The revisited, been song often has This The story is quite in simple. of the Especially ports Georgia “Let’s “Let’s hear the trumpet!” “Pay “Pay Me My Down.” Money (at 3’10). Slave Songs of the Georgia Sea Islands Sea Georgia the of Songs Slave , a dockers’ that was later later was that song work dockers’ a , Pay Pay Me Down My Money (at 1’41)—followed by the accor the by 1’41)—followed (at Pay Me My Money Down. Pay Me Down. My Money is one of of one is “Alright The The Pay Pay ------

Guy Carawan, Frank Hamilton, Zilphia Horton, Pete Seeger /4’53 OVERCOME SHALL WE Technical team Recording Musicians Mastering: Mastering: assistant: Mixing Mixing: engineers: recording Assistant engineer: Recording Producer: Jersey: New Studios, Thrill Hill, Boxwood Eagle: Larry Chatzky: Jeremy Bamba” Rosenberg: Richie “La Pender: Mark Eddie Manion: Giordano: Charles Mark Clifford: Bruno: Frank Bardfeld: Sam Tyrell: Soozie Scialfa: Patti Springsteen: Bruce

The version of Bruce Springsteen’s album is the same as the one on the 1998 recording for Where Have All the Flowers Gone: The Songs of Pete Seeger. Only the mixing is slightly different, and the counting-in only features on the 1998 record. Bob Clearmountain (Mix This! Los Angeles) Los This! (Mix Clearmountain Bob Bruce Springsteen Bruce Bob Ludwig (Gateway Mastering &DVD, Portland) Mastering (Gateway Ludwig Bob drums, percussion backing vocals backing guitar violin, backing vocals backing violin, trumpet, backing vocals backing trumpet, banjo saxophone, backing vocals saxophone, backing violin

We Shall Overcome double bass Brandon Duncan Brandon piano, accordion vocals, guitar, organ (?), tambourine (?) (?), organ guitar, tambourine vocals, Toby Scott Toby Kevin Buell, Ross Peterson Ross Buell, Kevin trombone, backing vocals backing trombone,

that features on 2 November 19972 November in the original lyrics had been changed to “shall.” But federal federal But “shall.” to changed been had lyrics original the in 1963,its based case on the essentially fact the that word “will” sher, to copyrights the song had which registered in 1960 and ging the copyright Ludlow protection The publi was claiming. from them for demanding the using song movie in their and were challen was also Ludlow that $100,000 of sum the to ting movie Daniels’ Lee of producers a history—and made song’s had the about Gamboa—who Isaias by Overcome, of publishers the We Shall Organization, and Richmond The Ludlow In 2016,Music wereagainst legal begun proceedings acopyright issue peace—and for anthem An Springsteen Bruce by version the is the most famous. Baez, Joan and Seeger Pete by those After non-violent dozens of of anthem. recordings this the to it sang Baez Joan 1969 in flowerat gathered children Woodstock. Finally, chorus. in it sang Mary Jobs , and and Peter,Freedom, Bob Dylan, Paul & 1963the during on March Also, forWashington Bob Dylan. Freedom the Singers, Peter,with time Paul this & Mary, and at and Hall Folk subsequently the Carnegie Newport Festival, in concert famous his during it 1963, performed PeteSeeger In 1960s. the throughout anthems protest great the of title published the in lyrics the journal by modified PeteSeeger,quently who thesong recorded and were rights these lyrics; subse Horton the rewrote Zilphia activist civil and folklorist the 1946, In 1945). October mon from five ths for strike on went (they Carolina South Charleston, of Tobacco in Company American the the workers of message of a striking cry into battle the as evolved adopted was it when dimension notably protest, spiritual strictly its years, Block for Me, a work song predates that the War.Civil Over the comes Nofrom More framework Auction musical the while (published Tindley in 1900),Albert is the source for the lyrics, Allright) Be I’ll (and/or Day Some Overcome Shall has its in origins two spirituals. One of the most famous songs in America’s folk Werepertoire, Genesis and lyrics “We shall “Weovercome shall […] We in peace.” shall are There From then on, . Shall We

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mentary made by NBC on the September 11attacks. September the on NBC by made mentary

was chosen to feature on the soundtrack of the docu the of soundtrack the on feature to chosen was

Bruce Springsteen’s version of of version Springsteen’s Bruce For Springsteen Addicts Springsteen For B (released in 2013). were objec The plaintiffs We Shall Overcome We Overcome Shall RUCE SP RI N GS Sing Out! Sing , written by the Rev. Charles Charles Rev. the by written , T

EE We Shall Overcome Shall We N was established as one one as established was , ALL T , ALL in 1959, under the the under 1959, in HE S I’ll Overcome

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GS

489 - - - - - This is the full story behind every single song that Bruce Springsteen has ever released. Spanning nearly 50 years of albums, EPs, B-sides, and more, All the Songs contains fascinating stories and detailed information on every track. Arranged chronologically and packed with photographs, this is the definitive story of one of music’s true greats.

uk £45 | us $60 | can $65

ISBN 978-1-78472-649-2

9 781784 726492

www.octopusbooks.co.uk www.octopusbooksusa.com