795K Louis Puccio's Compilation of all Springsteen Lyrics 7/97 ========================================================================= Bruce Fan, Here is the Lyric Collection for '97. I would appreciate your comments. Email to: lou1@primenet.com (Or 71051.3236@compuserve.com if mail bounces back). Many fans have contributed lyrics so I'd like you to try to add at least one new song for next year's collection - especially if you have tapes from concerts. If a song brings back special memories or you have a story about a particular song (e.g. when you heard it in concert, he played a song especially for you, etc.) email it. No last names or email addresses used (unless you want). Also needed is information on un-released songs, e.g. what tape or album it can be found on. Does it sound like any other released song; hard rocker, mellow, slow, party, fun song, etc. For what occasions would the song be played? Dates of performances are also helpful. Check for fan's stories, interview selections, Bruce's comments and other excerpts. These are highly recommended. They describe only actual songs and are in the released lyrics section. It's well worth it to page through for these excellent stories. Enjoy! - Louis Puccio ps: When distributing or uploading this file please keep this message. ============================================================================ Complete Collection of Bruce Springsteen's Lyrics 1997 Updated - July 4, 1997 Compiled from the hard work 410 Pages of many fans. Filename - BRUCELYR.97 Edited, organized by Louis Puccio. 1st edition - Nov. 1, '92 Lou1@primenet.com Compuserve: 71051,3236 "You know, I spent such a long time, you write music. And, you write it with the idea and the hope that it finds its way into people's lives and becomes a useful thing, an inspiring thing, and something that'll help get you through the day. I just wanna say thanks for lettin' my music in your life. Here, this is for you." Greetings to all Springsteen fans and music lovers. Here are the lyrics to all the songs from every released album, 'B' sides, many un-released, covers and songs Bruce has written for others. Origins of this file: After checking many file archives I found that many lyrics were scattered all over in various locations on the Internet. Some sites only had complete lyrics from a few albums and perhaps a few songs mixed in from other albums. Some members of the Backstreets email newsletter (see below for names) were kind enough to forward lyrics from sites located all over the world, and also from their own collections. I then combined everything into one large file you have now. I alphabetized, spell-checked, polished and put everything into a standard format. I made sure to include only the most complete versions of each song. All titles are in capitals and song, album information is at the end of each song. Thanks to those who contributed lyrics: (In alphabetical order, first name): Andrea Weikert - 100641.747@CompuServe.COM (German translations) Anthony Petrosino Jr. - petrosa@ctrvax.Vanderbilt.Edu alfu@arcos.org (corrected lyrics to "Many Riversto Cross") Bob Handlin - Bob_Handlin/US/3Com%3COM@smtp1.isd.3com.com Carlo Palombo (Born to Run in latin) Carsten Wich - c_wich@river.prima.ruhr.de (German translations) Cliff Rames - Cliff.Rames@public.srce.hr David Kieltyka <73200.3553@CompuServe.COM> Diego Barros - alien@yoyo.cc.monash.edu.au Elisabeth - JOYTOY@ibm.net (Danish translations) Erik van Roovert Filippo Cocco - ggg62@cisea.it (Italian translations) Gareth Waddell - gareth@esoft.uucp Gloria - 101365.2045@CompuServe.COM (Spanish translations) Hiroshi Marutani - Italian and Neopolitan translations Matt - atmrm@acad2.alaska.edu Monty Smith - montys@mapme6.map.tek.com - All around nice guy. Tireless compiler and organizer of Bruce music and live songs. Special thanks to Monty for transcribing songs and asking others to help. Pere Simon - FREECAT@BBS-CE.UAB.ES (Catalonian version - This Hard Land) Pablo Betancor Ortiz - A1319@correo.dis.ulpgc.es (Spanish translations) Paul Maclaughlan - paul@moore.com - (Proofreading, editing, excellent comments/ideas ('95 edition). Thanks for the printout. Has the true, unselfish 'Bruce spirit.' Rich McGee - rich%csusb@nic.csu.net (Way back when I started on the Internet, emailed me most of the released lyrics unselfishly each day when I didn't have ftp.) Sal - 100531.226@CompuServe.COM - (Spanish translations) Silvio Sidler - ssidler@ibm.net (German and swiss translations) Simon - Simon.brownleelee@jrc.it (Italian translations) Steve Krall Sundvis Ostling sundvis.ostling@skolor.ostersund.se Susan DeSerio - deserio@kwacha.enet.dec.com Suzy Shaw - suzshaw@nervm.nerdc.ufl.edu Tom Theaker - tomt@hpindwa.cup.hp.com tony72@galactica.it (E Street Shuffle, Italian) Tony Ruegger - truegger@wizvax.net Warren Brake - warren@irma.cs.mun.ca, warren@pooky.cs.mun.ca Also thanks to all those anonymous contributors who over the years have typed all these lyrics unselfishly. Without their efforts this compilation would have been almost impossible. "...just one thing...One thing in your whole life that you can do that makes you feel proud of yourself...And that's not too much for anybody to ask...That's not much..I don't think....." LEEDS, ENGLAND JULY 7, 1985 What's new for '96: - Better formatting - Song title listing - More excerpts from interviews - Fan's comments and stories - Foreign language translations of lyrics - Ghost of Tom Joad album lyrics New for '97: - see (97) for new songs - more fan's comments and stories - more foreign language translations - Tom Joad tour unreleased lyrics Check for fan's stories throughout the released part of the lyrics. These are highly recommended. It's well worth it to page through all the released lyrics for these excellent stories. 3/6/95 LA Times Interview: "With the E Street guys, we were like a family, like neighbors. In some ways, they were the physical realization of the community I imagined and sang about in the songs. There was a very deep symbolic importance." - Bruce How is this file organized: Alphabetically by song title. The song titles appear exactly as on the albums. Album name/year follow each song lyric. Just about every released song was typed exactly as it appeared on the album. Songs starting with 'The' are in the 'T' section. 'The River' e.g., is in the 't' section, not the 'r'. Released material (including 45rpm's) appears first. Following this are all un-released, 'outakes' and 'cover' songs that Bruce has frequently played in concert and written by others. Unreleased and also 'B' side lyrics were mainly typed after listening to the song. 'B' Side songs are in the released section. All cover songs will have the song writer's name in parenthesis. Foreign translations follow the unreleased section. You can go directly there by searching for the following: /////// All titles are listed alphabetically right before the released lyrics section. To go there search for 'ALL TITLES' (without quotes.) How do I find my favorite song or album: Just type the name exactly as it appears on the album or single using a word processor 'search' feature, of course. Or just page through until you get to the song. To find all the songs on an album do the same thing - type the album title exactly. There are many, but not all, UN-released lyrics here. To find an un-released song go to the end of the list of released songs, Or search for the word: unreleased. That will bring you to the beginning of the un-released section. A line of: ************************* seperates the realeased and unreleased listings. A line of: ////////// follows the unreleased. The foreign section begins here. Additional translations will be added as they're received. Thanks to all those who worked hard on translations. INTRODUCTION - includes some interview excerpts. 1) RELEASED 2) UNRELEASED 3) FOREIGN TRANSLATIONS (contact me if you'd like to translate a song(s) Please send any other lyrics not found here to my email address. "It's the music that keeps me alive, and my relationships with... people and places I've known...The TV, the cars, the houses--that's not the American dream...Those are the consolation prizes...for selling yourself out or lettin' the best of yourself slip away." - Bruce Does a file exist with all the lyrics grouped by album, instead of by song title? Yes, but you have to look around at the popular sites for lyrics. You, can use the lyrics in this file to create other files organized in any way you see fit. Please post it to the appropriate archives and also contact me at my internet address. What about typos or misspellings? How do I know if every word Springsteen wrote has been included? I corrected obvious misspellings. However, words such as runnin', drivin', etc. were left alone. As for missing words or lines, it would be very difficult to compare each song here word for word with the album version. However, most likely anyone that has taken time to type out a song must be a dedicated fan. Someone that truly enjoys what they're doing is not likely to make many errors. However, if you really must have total accuracy for a few songs that you truly like, compare the number of typed lines and/or the words with the album. Some rules: If mailing this file on diskette you can charge only for disk and postage. The most can only be $2. If you have a business you should not use this file to gain new business or members, subscriptions, etc.(i.e. "Membership / boot tape / subsciption includes Complete Lyric File free!". This would not be in keeping with the 'community' spirit of this work. You can, however, advertise this file in any catalog. Price can only be to cover cost of disk and postage, max. $2. Can send this file free to customers anytime as a surprise or 'thanks'. Can include this file or major parts in a special computer program or database but only as public domain or freeware. You can alter this file as you wish for private use on your own computer or for friends. Everyone contributed knowing that it's non-commercial so I cannot dissapoint anyone. Miscellaneous notes: Please send me any other lyrics you have. This will be highly appreciated! You can send entire files you have and I will sort out the one's to be included. They will be added in future updates. Also, please send any interviews and concert monologues that you may have transcribed from a live concert tape or other sources. It would be great to have other files with interviews, monos, trivia, record sources, criticisms, folklore, stories, or whatever. I hope this inspires others to be creative and come up with other files of Bruce material. Feel free to make copies of this file and send it to anyone. Please do not add lyrics or anything to this list and upload it again. Do not alter this list except for your own use. Doing so would create many different versions of this file at many archive sites and lots of confusion. Only one person (myself) should add new lyrics every few months and create an updated version yearly with a new version number. Please use the file name found on this file if uploading this to any archive site. FILE NAME for '97 Version - BRUCELYR.97 If you received this via email please remove all email 'header' information. Start of file is at: ========================================================================== "Bruce Fan," Please send ideas, suggestions, comments or a simple 'hi' to my email: Lou1@primenet.com Compuserve: 71051,3236. "The first day I can remember lookin' in the mirror and standin' what I was seein' was the day I had a guitar in my hand." All lyrics up to and including 1995's Greatest Hits and Ghost of Tom Joad are included here. On the actual albums, each new line of lyric starts with a capital letter. Some email systems move some characters to the next line so you may see lines that don't start with capitals. Those few words belong on the line above. Therefore, you may have to do your own formatting to make a song appear to your liking or as on the album lyric sheets. Following this info section is some general info about all the albums. The book 'Bruce Springsteen' by Michael Stewart, Crescent Books, has a lot of information about released and unreleased songs such as what album and single a song appears, who else recorded them, etc. >From "The Wild, The Innocent & The E Street Shuffle" by Ariel Swartley "Spanish Johnnys clothes and cornerboys shuffle are gestures falling somewhere between courage and bravado, between a hustle and a good story. Johnny plays the gallant promising Janey hell take her away from the battles on the street, but shes got his number: Those romantic young boys/All they ever want to do is fight. She knows theyre not going anywhere. The corner is the E Street Shuffle, the boardwalk in Sandy, the hometown alleys of Kittys Back, even the traveling midway of Wild Billys Circus Story, the tenement neighborhood of Incident on 57th Street, the back roads and parent-and-school-dominated world of RosalitaSpringsteens settings are territories in limbo. Satellites of the metropolis, overshadowed, robbed and ruined; resort towns begging to be invaded, dependent on other peoples leisure and mobility; home turf staked out and fought for but never owned. And adolescence itself. Like the man-child or the boy-prophet, neither one thing or the other. All of Springsteens characters live on islands close enough to shore to see the mainland, too far away to make the crossing light or easy." Since 1972, Bruce Has: - performed a total of 1039 live shows - performed 318 different songs - performed in 29 different countries, 319 different cities, and 501 different venues. note - these are approximate figures. Not including live shows during 1995 and 96. >From May 19 issue of Entertainment Weekly: On May 22, 1966, in the backseat of a '61 Mercury enroute to a recording studio in Brick Town, the 16-year-old Springsteen began his songwriting career. He and Theiss cowrote 'That's What You Get' and "Baby I.' South Street in Freehold, NJ - Spent most of childhood. Next to Doug Slattery's Sinclair station. Bruce Frederick Springsteen - born 9/23/49 Bought first guitar in a pawn shop for $18 in 1964. Jailhouse Rock was first record he bought. The Backstreets email newsletter has many loyal fans that discuss anything to do with Bruce. To subscribe send a note with your email address to: luckytown@netcom.com The site to obtain chords for some songs: ftp.nevada.edu (131.216.1.11) cd pub/guitar mget *.crd Feel free to send me any spare concert tickets! :> "If my work was about anything, it was about the search for identity, for personal recognition, for acceptance, for communion, and for a big country. I've always felt that's why people come to my shows, because they *feel* that big country in their hearts." - from an interview >From "Musician" No. 169, November 1992: "I guess," he says softly. "Yeah, yeah. I believe everybody who writes has an audience in his head, whether it's an imaginary audience or your real audience. I had a feeling who my audience was most of the time and why people came to my music or bought my records or came to my shows. I felt I knew what I was delivering that drew people to those things. At least a core of the people that have come. I always write with an audience in mind. Not in terms of if it'll be a big hit, but in terms of what the music's delivering. It's pretty simple -- I try to write really well, I try to write emotionally. And if I feel that coming back at me then I feel like I'm doing my job. That's why people come to my music -- for some emotional experience or a perspective, either on their own lives or on the world that they're living in, or on their relationships. For a perspective. "Until I get some perspective on it, I can't find it. Once I find a point of view, that's where I'm standing and that's when the records are released. That's what gives me the motivation to come out and travel and tour and work and try to stay a part of the thread of people's lives, just by doing my job." "Q" magazine, August 1992 Cover story on "Bruce - The Q Interview" On 'Lucky Town,' one of the two albums he released in April, he offers 'Local Hero,' a song which has some fun with his own mythic status, describing the sensation of finding a portrait of himself in a shop "between the Doberman and Bruce Lee." "The first verse of that song is completely true," he confesses. "I was driving through a town I grew up in and I looked over and there was a five and ten cent store with a black velvet painting of Bruce Lee, a picture of me on 'Born In The USA' and a picture of a dog next to me! I said Wow, I gotta get a photo of that! It was on sale for $19.99." But did he invest? "Actually, I did." He shakes his head with some wonderment at the notion of a songwriter ending up as a plaster saint. "You get to a point where you're like Santa Claus at the North Pole." 'With Every Wish' he soberly describes as about "growing up and realizing what a life with consequences is all about. When you're a kid, you have a dream and the way you imagine it is really a life without complications. When you get older, the trickiest thing is not to give in to cynicism, and you get to an age, particularly in 1992 in this country or in England, where you don't have the time to spare. You have to understand the limitations of your own life and keep pushing through it. That's what 'With Every Wish' is about, keeping on moving forward." If you go back to 'Cautious Man' on 'Tunnel Of Love' about the guy who has love and fear tattooed on his hands-- that's about the story for most people. There's a world of love there and there's a world of fear too and it's standing right in front of you and very often that fear feels a lot realer and certainly more urgent than the feeling of love. The night my son was born, I got close to a feeling of a real, pure, unconditional love with all the walls down. All of a sudden, what was happening was so immense that it just stomped all the fear away for a little while and I remember feeling overwhelmed. But I also understood why you're so frightened. When that world of love comes rushing in, a world of fear comes in with it. To open yourself up to one thing, you've got to embrace the other thing as well. My music over the last five years has dealt with those almost primitive issues; it's about somebody walking through that world of fear so that he can live in the world of love." Describes the desolation at the heart of 'I Wish I Were Blind.' "It's about that sinking feeling," he says, with the same hoarse, amazed whisper he uses to introduce songs on stage. "There's a world of love, a world of beauty, a world of fear and a world of loss and they are the same world and that person is wending his way through that maze and at that moment he's very in touch with both of those things. That song gets that picture. Most of the stuff does. That's where its universality lies. There's a limited interest in your accoutrements, whatever they may be. Success makes life easier. It doesn't make living easier. I've enjoyed it and I've had great fun with it, but there have been very tough times and it's the lucky seat, you know? On stage, I talk a lot about community but it's very difficult for me to connect up with anything. From my youth, I had a tendency to be isolated psychologically. All my music is a journey towards some sort of connection with both people at large and then a person, whether it's in your family or your girlfriend or your wife. That's how you remain vital and don't get lost in the furniture that comes with making a few bucks. That's what I've pursued. For me, this music is about trying to get closer, trying to take down the walls that I had left up. Everybody does that. Everybody struggles towards feeling good enough about themselves to connect up with someone who can shine something good about themselves back on to them. And then to invest in it and not be afraid of that investment and not be afraid of its commitment or its responsibilities. Bruce radio interview: D. So there's no truth in the rumour that 57 Channels was written for Bono, was there? (laughs) S. (Laughs) I don't think so, no. Hey, I wrote it as a joke one night sitting in front of the TV. >From "Follow That Dream" -- the Italian fanzine -- The interview was given to Riccardo Pandolfi of Italian National Radio on May 5th, 1993 and broadcast a few days before Bruce's show in Rome last May: R.P.: You are going to be in Rome for a few days. You know that people really love you in Italy. We love you like a brother, some love you like a father. B.S.: You know, we came very late... I think the first time we came it was '85, which was late. You know, we toured Europe a little bit in '81 and people always said, "Gee, you have great fans in Italy, you know, you're very popular there." So, when we came to Milan, as I told you last night, I think we had what I think was one of the Top 5 shows of my career, one of the best shows we've ever done. I think the one we did there at that time is one I always remember, it always comes to mind. I don't know why, it was a certain sort of intensity, you know, a certain sort of passion that was unique to the Italian fans. I couldn't tell you what it is, all I know is that it's there when I get there, you know. Interview with Dave Marsh from the February 1981 "Musician" : On Halloween, the second night in L.A., he cooked up a version of "Haunted House," the old Jumpin' Gene Simmons hit, at soundcheck, and opened the set with it -- after appearing from a coffin, and being chased around the stage by ghoul-robed roadies during the guitar break. On Saturday, Bruce added an acoustic guitar and accordion version of "The Price You Pay," and debuted "Fade Away," the one song from "The River" he'd avoided. On Monday night, with Bob Dylan in the house for a second night (he'd come with Jim Keltner on Thursday, and been impressed), Springsteen put "The Price You Pay" back in and dedicated it to his "inspiration." Plus a lengthy version of "Growing Up," from his first album. On both nights, he ended the encores with Jackson Browne, dueting on "Sweet Little Sixteen." On neither night did the inclusion of the additional songs mean the removal of any of the others. "Yeah, but you really missed it in St. Paul," said Van Zandt. "He turned around and called 'Midnight Hour,' and we all just about fainted. Funky (bassist Garry Tallent) didn't even believe we were doing it until about the second chorus." The band had not rehearsed the song, and it's unlikely that the E Street Band's present lineup had ever played it before in its five years together. But even the musicians thought that it sounded great. I've seen at least 1OO shows in the past six or seven years. The worst of them was fascinating, but maybe the most awesome have been the times when, after four or five nights of hell raising action, he manages to make it different again. This guy does not know the meaning of anticlimax. "Roulette," the song he wrote right after Three Mile Island, is the scariest piece of music he's ever done, for my money more frightening that even the last lines of "Stolen Car," and unmistakably based on the event. MUSICIAN: Earlier, you said that "Ramrod" was one of the saddest things you'd written. Why? SPRINGSTEEN: (Laughs) Well, it's so anachronistic, you know. The character -- it's impossible, what he wants to do. One of the ideas of it, when I wrote it, it was sort of like a partner to "Cadillac Ranch" and a few things, it's got that old big engine sound. That song is a goddam gas guzzler (laughing). And that was the sound I wanted, that big, rumbling, big engine sound. And this guy, he's there, but he's really not there no more. He's the guy in "Wreck on the Highway" -- either guy, actually. But he's also the guy, in the end, who says, "I'll give you the word, now, sugar, we'll go ramroddin' forevermore." I don't know; that's a real sad line to me, sometimes. MUSICIAN: You mentioned something similar about "Out in the Street," that it was too much of a fantasy to possibly believe it. SPRINGSTEEN: I was just wary of it at that time, I guess for some of the same reasons. It always seemed anachronistic, and at the time, I was demanding of all the songs that they be able to translate. All the characters, they're part of the past, they're part of the future and they're part of the present. And I guess there was a certain frightening aspect to seeing one that wasn't part of the future. He was part of the past. To me, that was the conflict of that particular song. I loved it, we used to play it all the time. And there was that confusion too. Well, if I love playing the damn thing so much, why the hell don't I want to put it on the record? I guess I always made sure that the characters always had that foot planted up ahead somewhere. Not just the one back there. That's what makes 'em viable, or real, today. But I also knew a lotta people who were exactly like this. To do that, I go back, back further all the time. Back into Hank Williams, back into Jimmy Rodgers. Because the human thing in those records, that should be at least the heart of it. The human thing that's in those records is just beautiful and awesome. I put on that Hank Williams and Jimmy Rodgers stuff and Wow! What inspiration! It's got that beauty and the purity. The same thing with a lot of the great Fifties records, and the early rockabilly. I went back and dug up all the early rockabilly stuff because... what mysterious people they were. There's this song, "Jungle Rock" by Hank Mizell. Where is Hank Mizell? What happened to him? What a mysterious person, what a ghost. And you put that thing on and you can see him. You can see him standing in some little studio, way back when, and just singing that song. No reason. (Laughs) Nothing gonna come out of it. Didn't sell. That wasn't no Number One record, and he wasn't playin' no big arena after it, either. But what a moment, what a mythic moment, what a mystery. Those records are filled with mystery: they're shrouded with mystery. Like these wild men came out from somewhere, and man, they were so alive. The joy and the abandon. Inspirational, inspirational records, those records. MUSICIAN: The way the stage show is organized is that the first half is about work and struggling: the second half is about joy, release, transcending a lot of those things in the first half. Is that conscious? SPRINGSTEEN: I knew that I wanted a certain feeling for the first set. That's sorta the way it stacks up. "That guy at the end of "Darkness" has reached a point where you just have to strip yourself of everything, to get yourself together. For a minute, sometimes, you just have to get rid of everything, just to get yourself together inside, be able to push everything away. And I think that's what happened at the end of the record. And then there was the thing where the guy comes back." MUSICIAN: And "The River" is what he sees? SPRINGSTEEN: Yeah, these are his feelings. it's pretty much there, and in the shows MUSICIAN: Do you like "Born to Run" and "Darkness" better now? SPRINGSTEEN: Not particularly. On "Darkness," I like the ideas. I'm not crazy about the performances. We play all those songs ten times better live. But I like the idea. "Born to Run," I like the performances and the sound. Sometimes, it sounds funny. MUSICIAN: Young and innocent? SPRINGSTEEN: Yeah, yeah. Same thing with "The Wild and the Innocent." I have a hard time listening to any of those records. Certain things on each record I can listen to: "Racing in the Street," "Backstreets," "Prove it All Night," "Darkness on the Edge of Town." But not a lot, because either the performance doesn't sound right to me, or the ideas sound like a long time ago. MUSICIAN: You look awful before a show, and then those hours up there, which exhaust everyone else, refresh you. SPRINGSTEEN: I always look terrible before the show. That's when I feel worst. And after the show it's like a million bucks. Simple as that. You feel a little tired but you never feel better. Nothing makes me feel as good as those hours between when you walk offstage, until I go to bed. That's the hours that I live for. As feelings go, that's ten on a scale of ten. I just feel like talking to people, going back and meeting those kids, doing any damn thing. Most times I just come back and eat and lay down and feel good. Most people, I don't think, get to feel that good, doing whatever they do. "Rolling Stone," February 28, 1985, Issue No. 442 Cover story on the "Rolling Stone" 1984 Readers Poll And so now I go out onstage and I feel like there's people dying out there, there's people really hurt -- you know because you feel the same thing. And this is your chance to do something about it. So when I go out onstage at night, I feel like there's really something at stake, that it has some meaning. It's not just another night. I think on a night when we're really good, you can come and hopefully you can see your relationships with your parents, brothers, sisters, your town, your country, your friends, everything -- sexual, political, the whole social thing. It should be a combination of a circus, a political thing and a spiritual event, And hopefully you'll come and your life will flash before your eyes. That's kind of what I'm out there trying to do, you know?" "Beats" cover story, August 1992, Volume 16, Issue 174: "Stockholm and Sweden have been fantastic to us," he says. "I will never forget the Konserthuset in 1975. That was my first tour outside the States. We had started off in London, which was pretty tough going; the audience was sheer ice. Then we came to Stockholm and the audience went completely wild. It was the first time that I had stood in front of a truly enthusiastic audience. Unforgettable. Keyboardist Bittan is the only member from the E Street Band who's included in the new group. He'd written some instrumental music that Bruce took to his garage apartment to work on. "And the words started coming to me," Springsteen says. "It became 'Roll Of The Dice,' and the start of the Human Touch album. I remember I was so happy when I finished it that I ran into the house and woke Patti up to get her to listen to it. It was three o'clock in the morning. In that song I suddenly felt some sort of energy, and it was like, 'Yeah, this is what I've been searching for.' My life had really changed a lot, with Patti and the kids. So I wrote the song 'Living Proof' about it. And I felt like, 'Yeah, this is really me, with my feet firmly in the present." That breakthrough led to the quick writing of a whole new album. The lyrics to that one, Lucky Town, are very private and read almost as an open diary. "Well, people tend to believe that everything an artist sings is self-experienced, but in reality that's only a part of what you're singing," he explains. "But yeah, I guess my whole work is an emotional diary. The guy in 'Living Proof' is the same guy as the one in 'Born To Run,' except he's covered a lot of miles in between." Discussing the track "My Beautiful Reward," Bruce says, "It just came out! The best stuff is generally the stuff that you don't know how you did, like 'Highway Patrolman' on Nebraska. It just came to me; I felt it coming, I started to write it down... You tend to try and make some changes afterwards, but it never gets as good." "Musician" cover story on "The Confessions of Bruce Springsteen" from "Musician" No. 169, November 1992. On "Local Hero," one of the cornerstones of his concerts and his "Lucky Town" album, Springsteen tells the story of a man who finds his way home from a debilitating life of fame and travel. He is rescued by a "gypsy girl," he settles down with her, but lying in bed he still hears the highway call. It's a funnier version of the story he told in "Cautious Man" on "Tunnel of Love." No matter how happy domestic life gets, the character still hears temptation whispering. "Oh yeah!" Springsteen says. "You got to! You don't ever not hear that. That never goes away. That's the point. That's what makes your choice mean something." Maybe what Springsteen's figured out that the Local Hero and the Cautious Man haven't is that it's a false choice: When the family man hears the road calling he can go to it -- and take the wife and kids along. Springsteen is closing most of his shows with "My Beautiful Reward," a song of vague dislocation, in which the narrator surveys everything he has and wonders why he still has not found complete satisfaction. In the final verse, in an unusual flight of poetry, the singer turns into a black bird and soars over gray fields and rivers, still searching. "I think I saw the image somewhere in a book," Springsteen says. "When I started I planned to write a nice song about my kids. It just took a funny turn. It was one of these songs like 'Highway Patrolman' in that there was a certain inconclusiveness to it that always made me feel like it wasn't finished. I kept trying to make it nice and neat, to tie up the ending and make it more concrete. After I recorded it I thought, 'I didn't quite get it on this one.' But then it started to come out and I realized it was right the way it was. It's one of those songs you don't consciously write -- it comes up out of your unconscious or subconscious. That's why it's better than the stuff you slave over. I haven't tried to really interpret it. It was dealing with death in some fashion." It suggests both the possibility of finally finding your beautiful reward, and also the chance that even when your soul is floating out of your body you'll still be looking for it in vain. Springsteen answers, "I think it's that there is no concrete 'it,' that idea that you reach a point where a) everything's okay, b) you're going to be happy now forever, c) you figure out everything. That's not the way life is lived, that's not the human experience. I think that when you begin to deal concretely with your own mortality and your family and your partner, death becomes a big part of that equation. You see your children. Well, your children are your afterlife, there they are. And your love with your partner is, too. That lives on through your kids. That's your afterlife. That was a good song to finish the record with because I wasn't trying to make an 'Everything's Coming Up Roses' kind of record. I was trying to make a record that was really strongly positive and had a feeling of real love in it and real hope. That song expresses a little bit of the part of everybody that's always alone. "It's not like any of my early road songs, it's not about escape. It's about coming to terms with different realities. Sort of a confrontation with your own individual soul or spirit. But I think it was an important end for that record. I was trying to write about -- like in 'Big Muddy' -- moral ambivalence and moral ambiguousness. Hey, morality is something a lot of people can't afford." The guy on 'Beautiful Reward' is the guy on 'Born to Run.' Hey, that's where life has taken these people. "That's what you're trying to do, to get the audience to sit down and understand, to bring them together and make them realise they have things in common, so that people hopefully feel less distance from one another. That's my job." Finally, this entire file is dedicated to everyone who has enjoyed Bruce's music over the years and in the future. You all know the special meaning he and his music has for us. Following is information about each album, in alphabetical order: BORN IN THE U.S.A. 1984 Roy Bittan - synthesizer, piano, background vocals Clarence Clemmons - saxaphone, percussion, background vocals Danny Federici - organ, glockenspiel, piano on "Born In The USA" Garry Tallent - bass, horn, background vocals Steve van Zandt - acoustic guitar, mandolin, harmony vocals Bruce Springsteen - lead vocals, guitar, harmonica Max Weinberg - drums, background vocals Richie Rosenberg - Trombone La Bamba - background vocals on "Cover Me" and "No Surrender" Ruth Jackson - background vocals on "My Hometown" All songs words and music by Bruce Springsteen (1984) Charts : Billboard #001, entered Jun 23, 1984 BORN IN THE USA BOBBY JEAN NO SURRENDER BORN IN THE U.S.A. I'M ON FIRE DANCING IN THE DARK GLORY DAYS I'M GOIN' DOWN COVER ME WORKING ON THE HIGHWAY DARLINGTON COUNTY DOWNBOUND TRAIN MY HOMETOWN BORN TO RUN 1975 All songs written and arranged by Bruce Springsteen. Produced by Bruce Springsteen, Jon Landau, and Mike Appel. Recorded, mixed and masterd at Record Plant Studio, NYC. Born To Run recorded at 914 Sound Studio, Blauvelt NY. Wayne Andre - Trombone Mike Appel - Vocal Roy Bittan - Keyboards Michael Brecker - Horn Randy Brecker - Horn Ernest Carter - Drums Clarence Clemons - Sax, Vocal Richard Davis - Bass Danny Federici - Keyboards, Vocal David Sanborn - Sax David Sancious - Keyboards, Sax Bruce Springsteen - g/v/hrc/b Garry Tallent - Bass, Horn Steve Van Zandt - Guitar, Vocal Max Weinberg - Drums BORN TO RUN JUNGLELAND THUNDER ROAD NIGHT SHE'S THE ONE MEETING ACROSS THE RIVER TENTH AVENUE FREEZE-OUT BORN TO RUN BACKSTREETS CHIMES OF FREEDOM 1988 Words and music by Bruce Springsteen except Chimes of Freedom - words by Bob Dylan. Roy Bittan - synthesizer, piano Clarence Clemmons - saxaphone, percussion Danny Federici - organ, synthesizer Garry Tallent - bass Patty Scialfa - vocals, guitar Bruce Springsteen - lead vocals, guitar Max Weinberg - drums Some of the proceeds of this album were donated to Amnesty International. DARKNESS ON THE EDGE OF TOWN 1978 Roy Bittan - Keyboards Clarence Clemons - Sax, Vocal Danny Federici - Keyboards, Vocal Bruce Springsteen - g/v/hrc/b Garry Tallent - Bass, Horn Steve Van Zandt - Guitar, Vocal Max Weinberg - Drums All songs by Bruce Springsteen Charts : Billboard #005, entered Jun 17, 1978 FACTORY SOMETHING IN THE NIGHT STREETS OF FIRE PROVE IT ALL NIGHT ADAM RAISED A CAIN BADLANDS DARKNESS ON THE EDGE OF TOWN CANDY'S ROOM THE PROMISED LAND RACING IN THE STREET GREATEST HITS 1995 (New songs) SECRET GARDEN MURDER INCORPORATED* BLOOD BROTHERS THIS HARD LAND Produced by Bruce Springsteen, Jon Landau, Chuck Plotkin, Steve Van Zandt (*only) Recorded by Toby Scott Mixed by Bob Clearmountain Mastered by Bob Ludwig Recorded at The Hit Factory Assistant engineers: Carl Glanville and Pete Keppler Mixed at Right Track and The Hit Factory Assistant engineers: Ryan Freeland, Jay Militscher, Tony Duino-Black Mastered at Gateway Mastering Studios, Portland, Maine Sequence editing: Brian Lee Thrill Hill assistant: Nico X. German 1995 Bruce Springsteen Columbia Records GREETINGS FROM ASBURY PARK N.J. 1973 All selections written and arranged by Bruce Springsteen. Recorded at 914 Sound Studios, Blauvelt, NY. Vincent "Loper" Lopez, Clarence Clemmons, Garry Tallent, David Sancious, Harold Wheeler (Piano on Blinded By The Light and Spirit In The Night). Clarence Clemons - Sax, Vocal Richard Davis - Bass Vini Lopez - d/v/hrn David Sancious - Keyboards, Sax Bruce Springsteen - g/v/hrc/b Garry Tallent - Bass, Horn Harold Wheeler - Piano THE ANGEL SPIRIT IN THE NIGHT DOES THIS BUS STOP AT 82nd STREET? IT'S HARD TO BE A SAINT IN THE CITY FOR YOU GROWIN' UP LOST IN THE FLOOD BLINDED BY THE LIGHT MARY QUEEN OF ARKANSAS HUMAN TOUCH 1992 Musicians (except where noted): Roy Bittan - Keyboards, Producer Michael Fisher - Percussion Bobby Hatfield - vbc Mark Isham - Trumpet Randy Jackson - Bass Bobby King - vbc Jon Landau - Producer Douglas Lunn - Bass Ian McLagan - Piano Samuel Moore - vbc Tim Pierce - vbc Chuck Plotkin - Producer Jeff Porcaro - Drums, Percussion David Sancious - Organ (Hammond) Toby Scott - Engineer Bruce Springsteen - g/v/b Kurt Wortman - Drums All songs by Bruce Springsteen (1992) except "Cross My Heart" - music by Bruce Springsteen, lyrics by Bruce Springsteen and Sonny Boy Williamson "Roll of the Dice" and "Real World" - by Bruce Springsteen and Roy Bittan "Pony Boy" - traditional, arrangement & additional lyrics by Springsteen. Charts : Billboard #001, entered Nov 29, 1986 REAL WORLD 57 CHANNELS (AND NOTHIN' ON) HUMAN TOUCH I WISH I WERE BLIND MAN'S JOB ROLL OF THE DICE SOUL DRIVER ALL OR NOTHIN' AT ALL CROSS MY HEART GLORIA'S EYES PONY BOY REAL MAN THE LONG GOODBYE WITH EVERY WISH LUCKY TOWN 1992 All songs by Bruce Springsteen Produced by Bruce Springsteen with Jon Landau and Chuck Plotkin Additional production by Roy Bittan: "Leap of Faith", "The Big Muddy", "Living Proof" Recorded by Toby Scott Mixed by Bob Clearmountain Mastered by Bob Ludwing Roy Bittan - Keyboards, Bass Randy Jackson - Bass Jon Landau - Producer Lisa Lowell - vbc Gary Mallabar - Drums Ian McLagan - Organ (Hammond) Chuck Plotkin - Producer Patti Scialfa - vbc Toby Scott - Engineer Bruce Springsteen - v/g/b/prd Soozie Tyrell - vbc Artist : Bruce Springsteen Charts : Billboard #003, entered Oct 9, 1982 LIVING PROOF BETTER DAYS IF I SHOULD FALL BEHIND LEAP OF FAITH LOCAL HERO LUCKY TOWN MY BEAUTIFUL REWARD BOOK OF DREAMS THE BIG MUDDY SOULS OF THE DEPARTED NEBRASKA 1982 All words and music written by Bruce Springsteen Mastered at Atlantic Studios by Dennis King REASON TO BELIEVE NEBRASKA MY FATHER'S HOUSE STATE TROOPER OPEN ALL NIGHT USED CARS MANSION ON THE HILL ATLANTIC CITY HIGHWAY PATROLMAN JOHNNY 99 THE GHOST OF TOM JOAD 1995 STRAIGHT TIME HIGHWAY 29 YOUNGSTOWN SINALOA COWBOYS THE LINE BALBOA PARK DRY LIGHTNING THE NEW TIMER ACROSS THE BORDER GALVESTON BAY MY BEST WAS NEVER GOOD ENOUGH Bruce Springsteen: Vocal, Guitar, Keyboard Produced by Bruce Springsteen and Chuck Plotkin Recorded and mixed by Toby Scott Mastered by Dave Collins @ A&M Mastering Studios, L.A. Recorded and mixed at Thrill Hill Technical maintenance: Gary Myerberg Recording assistant: Greg Goldman Musician contracts: Shari Sutcliff Research: Terry Magovern 1995 Bruce Springsteen. THE RIVER 1980 All words and music by Bruce Springsteen. Recorded at The Power Station, NYC. Mixed at Clover Recording Studios, LA. Roy Bittan - Keyboards Clarence Clemons - Sax, Vocal Danny Federici - Keyboards, Vocal Howard "Eddie" Kaylan - Vocal Bruce Springsteen - g/v/hrc/b Garry Tallent - Bass, Horn Steve Van Zandt - Guitar, Vocal Mark Volman - Vocal Max Weinberg - Drums Charts : Billboard #001, entered Nov 1 , 1980 THE RIVER CADILLAC RANCH YOU CAN LOOK (BUT YOU BETTER NOT TOUCH) DRIVE ALL NIGHT I'M A ROCKER CRUSH ON YOU FADE AWAY HUNGRY HEART I WANNA MARRY YOU INDEPENDENCE DAY JACKSON CAGE OUT IN THE STREET RAMROD SHERRY DARLING STOLEN CAR THE PRICE YOU PAY THE TIES THAT BIND TWO HEARTS POINT BLANK WRECK ON THE HIGHWAY THE WILD, THE INNOCENT & THE E STREET SHUFFLE 1973 All songs written and arranged by Bruce Springsteen. Recorded at 914 Sound Studios, Blauvelt, NY Richard Blackwell - Percussion Clarence Clemons - Sax, Vocal Danny Federici - Keyboards, Vocal Vini Lopez - d/v/hrn David Sancious - Keyboards, Sax Bruce Springsteen - g/v/hrc/b Garry Tallent - Bass, Horn Albany Tellone - Sax THE E STREET SHUFFLE INCIDENT ON 57th STREET KITTY'S BACK NEW YORK CITY SERENADE WILD BILLY'S CIRCUS STORY ROSALITA (COME OUT TONIGHT) 4TH OF JULY, ASBURY PARK (SANDY) TUNNEL OF LOVE 1987 All words and music by Bruce Springsteen (1987). Recorded in New Jersey ("One Step Up" recorded at A&M Studios. LA, CA) Mixed at A&M Studios, LA, CA. Tunnel Of Love, Mixed at The Hit Factory - NYC. Roy Bittan - Keyboards Clarence Clemons - Sax, Vocal Danny Federici - Keyboards, Vocal Nils Lofgren - Guitar, Vocal Bruce Springsteen - g/v/hrc/b Garry Tallent - Bass, Horn Max Weinberg - Drums James Wood - Harmonica CAUTIOUS MAN SPARE PARTS AIN'T GOT YOU TOUGHER THAN THE REST TUNNEL OF LOVE TWO FACES ALL THAT HEAVEN WILL ALLOW VALENTINE'S DAY BRILLIANT DISGUISE WHEN YOU'RE ALONE ONE STEP UP WALK LIKE A MAN Mar 1973 Greetings From Asbury Park, NJ Feb 1974 The Wild, The Innocent And The E-Street Shuffle Oct 1975 Born To Run May 1978 Darkness On The Edge Of Town Dec 1979 No Nukes - Various Artists Concert - Includes Two Springsteen Tracks : "Devil With The Blue Dress On" and "Stay" - with Jackson Browne Oct 1980 The River - Double album Sep 1982 Nebraska Jun 1984 Born In The USA May 1985 We Are The World - Various Artists Compilation - Includes Springsteen's - "Trapped." Dec 1986 Live 1975-85 5 LP's - 3 CD's - 3 Tapes Of Live Tracks In Box Set - with Color Booklet Oct 1987 Tunnel Of Love Oct 1987 A Very Special Xmas - Various Compilations - Includes "Santa Claus Is Coming To Town" Nov 1987 Tunnel Of Love - Picture Disc CD 1988 Interview Picture Disc Oct 1988 Folkways: A Vision Shared - Various Compilations - Includes "Vigilante Man" and "I Ain't Got No Home" 1988 Chimes of Freedom special 4 track 12" album 1990 The Last Temptation Of Elvis - Various Artists Compilation - Includes "Viva Las Vegas" Mar 1992 Human Touch Mar 1992 Lucky Town Feb 1995 Greatest Hits (with 4 new songs) Chronological Album List |Date| Label | Number ===============================+====+==========+======== Greatest Hits 1995 Columbia In Concert/MTV Plugged 1993 Phantom Unplugged 1992 Lucky Town 1992 Columbia 53001 Human Touch 1992 Columbia 53000 57 Channels (And Nothin' On) 1992 CBS 74416 Video Anthology 1978-1988 1989 CBS 49010 Conversation 1988 Audio Visu 018 Chimes of Freedom 1988 CBS 44445 Tunnel of Love 1987 Columbia 40999 Live 1975-1985 1986 Columbia 40558 Born in the U.S.A. 1984 Columbia 38653 Nebraska 1982 Columbia 38358 Requested Around the World 1981 CBS 978 River, The 1980 Columbia 36854 Bruce Springsteen 1979 CBS 66353 Darkness on the Edge of Town 1978 Columbia 35318 Born to Run 1975 Columbia 33795 Wild, the Innocent and the E St 1973 Columbia 32432 Greetings from Asbury Park NJ 1973 Columbia 31903 Video Anthology '78-'88 Z CBS 49010 Plugged: In Concert 199 Z Alx 3322 Human Touch/Better Days Z CBS 74273 Anthology 1978-88 Z Sony 6325 Other albums where a Springsteen song appeared: For Our Children "Chicken Lips and Lizard Hips" Roy Orbison and Friends: A black and White Night Harry Chapin Tribute "Remember When The Music" The heart of rock 1988. Columbia: C 44381 (on container: 6C 44381). Songs, performed by various artists. "Brilliant disguise (4:12)" Ruthless people: the original motion picture soundtrack. Epic - 1986. E 40398 (container: SE 40398). "Stand on it" (2:30) "That's at the core of what I'm trying to do. It's a search for beauty, and in beauty there is hope, and in hope there is some sense of divine love, of faith, of community and possibility, of things that would combat the brutality and the violence and the suffering. That's what I'm trying to lay out there. It's a survival guide." Here is a story that Bruce told about his first guitar: 12/20/78 Seattle "Every day about five o'clock this girl walked by the house. She was the kind of girl you would see but you would never go up and talk to her or nothing you know, like we were never gonna talk to nobody cause our noses were so big. Something like that can happen to you in life you know, if you let it get to you. But so anyway we sat there on the stoop...with our big noses...and we watch this girl walk by every single day for I don't know how long. All summer long, and we decided that we were gonna try and get some guitars...go down to the Western Auto store...got my first guitar at the Western Auto store. It was hanging up beside the mufflers. It was $18.95...'Give me that one Mister'. I got the thing and we came back and I played the guitar...he played the tambourine but she'd walk by and wouldn't even notice, wouldn't even look. We'd be out there doing 'Twist and Shout', doing with our moves. That's how I got all these moves. Every day I'd be out in front of my house, you know. Nothing. We'd be sitting there and we'd see Clarence, who we didn't know at all at the time, come by riding on his bicycle with no hands playing a saxophone. We said 'Man if that cat can't get her attention we ain't got a chance'. And I was right. We didn't and we never did. So I don't know where she is now back home maybe." Bruce interview to RAI (Italian radio), May 1993: R.P.: Can you still look at your audiences and see yourself? Bruce: First of all, you never lose any part of yourself, you know... anything you have ever been, or dreamed about is... always remains a part of you whether your life changes or not, wherever you go... The bottom line is, anywhere I wanna get on stage, I get on stage. For the same reason I got on stage in a little bar in New Jersey when I was eighteen years old. It was just the passion. I always say that the key to the relationship between a band and its audience is that you have to be able to walk out on stage and see yourself in the faces of the crowd, and they gotta be able to see some part of them in you. That seems to cement the relationship in some fashion, that's what rock'n'roll music is all about. I guess the reason why people come to my shows is not so much to find out about me, but to find out about them. You know... it's sorta like you're a storyteller, you come up with a variety of stories that are part of your own experience, part of your own dreams, or your imagination, and something that hopefully bonds everyone that comes to see you together. I always said that the world has become such a brutal place, and I think that people go to art, they go to music and they go to films to get in touch with their own humaness and their own humanity. And I always thought that's why people came to my shows, and that's why I go on stage and play. That's a kind of a life raft, or a life boat, in the world out there, and I think people spend so much time feeling apart from each other and feeling different and feeling isolated from their communities or society. Rock'n'roll holds up a promise of a certain type of community, it's an ideal, it may never be realizable except for those few hours in a show. But it's an important ideal, and it's important that that ideal continues to be manifested so people can sorta say, "hey, if this is possible here maybe I can stay more connected when I go home with my lover or my wife." I know, it's a long answer to a short question but I think that's a lot of what happens at night at the show. "Rolling Stone," February 28, 1985, Issue No. 442 "When I sit down to write, I try to write something that feels real to me. Like, what does it feel like to be thirty-five or something right now, at this point in time, living in America? It's not much more conscious than that. I generally try to write songs that are about real life, not fantasy material. I try to reflect people's lives back to them in some fashion. And if the show is really good, your life should flash before your eyes in some way -- the show's long enough, that's for sure! I think on a night when we're really good, you can come and hopefully you can see your relationships with your parents, brothers, sisters, your town, your country, your friends, everything -- sexual, political, the whole social thing. It should be a combination of a circus, a political thing and a spiritual event, And hopefully you'll come and your life will flash before your eyes. That's kind of what I'm out there trying to do, you know?" Bruce tallks about his band: "Musicians are funny. When you're home, you're never a real connected part of your own community, so you create one of your own. So I created the band and that was your family and that was the living manifestation of whatever community you imagine and sing about, and I think that's what they were to my fans. I think that's what they represented and that's why the band has power and why it is important and has been important. "That sense of friendship, loyalty, everybody's different but somehow together; that's why the whole idea of the band has always been a central idea of rock music; that's why bands keep coming. Whether it's the brothers in Oasis or whoever, everybody's fascinated because IT FEELS LIKE REAL LIFE. People trying to make it, to get together and do something together. That's why bands are powerful." "As far as the other stuff goes, it was really I had a lot of fuel. I always felt the E Street powering me. We had a lot of *desperate* fun; I think that's what gave the fun, that the band presented an edge. There were always two sides to that particular band, there was a lot of dark material and yet there was this explosion of actual joy; real, real happiness -- whether it was being alive or being with your friends or the audience on a given night. That was real but it was the devil-on-your-heels sort of fun -- laughing and running." Following are the song titles in alphabetical order: 30 DAYS OUT 4TH OF JULY, ASBURY PARK (SANDY) 57 CHANNELS (AND NOTHIN' ON) ACROSS THE BORDER ACTION IN THE STREETS ADAM RAISED A CAIN AFTER THE THUNDER AIN'T GOT YOU ALL NIGHT LONG BREAKOUT ALL THE WAY HOME ALL OR NOTHIN' AT ALL ALL I NEED ALL OR NOTHIN' AT ALL ALL THAT HEAVEN WILL ALLOW AND THE BAND PLAYED ANGELYNE ARABIAN NIGHTS ATLANTIC CITY BABY I (97) BACK IN YOUR ARMS AGAIN BACKSTREETS BADLANDS BALBOA PARK BALLAD OF THE SELF-LOADING PISTOL BE TRUE BECAUSE THE NIGHT BETTER DAYS BISHOP DANCE BLINDED BY THE LIGHT BLOOD BROTHERS BLOWIN' IN THE WIND BLOWING IN THE WIND BOBBY JEAN BOOK OF DREAMS BOOK OF DREAMS BOOM BOOM BOOM BORDERLINE A LOVE SO FINE BORN IN THE U.S.A. BORN TO RUN BRILLIANT DISGUISE BROTHERS UNDER THE BRIDGE (97) BYE BYE JOHNNY CADILLAC RANCH CAMILLA HORNE CANDY'S ROOM CAUTIOUS MAN CHEVROLET DELUXE CHICKEN LIPS AND LIZARD HIPS CHILD BRIDE (97) CHIMES OF FREEDOM CINDY CLUB SOUL CITY COVER ME COWBOYS OF THE SEA CROSS MY HEART CRUSH ON YOU CYNTHIA DANCING IN THE DARK DARKNESS ON THE EDGE OF TOWN DARLINGTON COUNTY DEAD MAN WALKING DEDICATION DEPORTEE (97) DOES THIS BUS STOP AT 82nd STREET? DON'T LOOK BACK DOWNBOUND TRAIN DRIVE ALL NIGHT DROP ON DOWN AND COVER ME DRY LIGHTNING ELOUISE (to the Tune of Growin' Up) ENGLISH SONS EVACUATION OF THE WEST EVERYBODY'S LOOKING FOR SOMEBODY FACTORY FADE AWAY FAMILY SONG FEVER FIRE FOLLOW THAT DREAM, FOR ME BUT YOU (97) FOR YOU FOREVER YOUNG FORTUNATE SON FRANKIE FROM SMALL THINGS BIG THINGS COME GALVESTON BAY GET THAT FEELING GET UP STAND UP GLORIA'S EYES GLORY DAYS (w/ extra verse) GLORY DAYS GOOD ROCKIN' TONIGHT GROWIN' UP GYPSY WOMAN HEART FULL OF SOUL HEARTBREAK HOTEL HEARTS OF STONE HELD UP WITHOUT A GUN HENRY BOY HIGH HOPES HIGHWAY PATROLMAN HIGHWAY 61 REVISITED HIGHWAY 29 HOLD ON TO WHAT YOU GOT HUMAN TOUCH HUNGRY HEART I SOLD MY HEART TO THE JUNKMAN I WANNA MARRY YOU I WANNA BE WHERE THE BANDS ARE I WANT YOU I WISH I WERE BLIND I AIN'T GOT NO HOME I WANNA BE WITH YOU I CAN'T HELP FALLING IN LOVE I'M GOIN' DOWN I'M ON FIRE I'M A COWARD (WHEN IT COMES TO LOVE) I'M A ROCKER IF I WAS THE PRIEST IF I SHOULD FALL BEHIND IN FREEHOLD (97) IN MICHIGAN (97) INCIDENT ON 57th STREET INDEPENDENCE DAY IT'S THE LITTLE THINGS THAT COUNT IT'S HARD TO BE A SAINT IN THE CITY JACKSON CAGE JANEY NEEDS A SHOOTER JANEY, DON'T YOU LOSE HEART JAZZ MUSICIAN JEANNY NEEDS A SHOOTER JERSEY GIRL JESSE JOHNNY 99 JOHNNY BYE BYE JUNGLELAND JUST LIKE A WOMAN KITTY'S BACK LADY AND THE DOCTOR LEAP OF FAITH LET'S GO TONIGHT (JOHNNY BYE BYE) LET'S GO LIGHT OF DAY LIKE A ROLLING STONE LINDA LET ME BE THE ONE LITTLE GIRL SO FINE LITTLE THINGS THAT COUNT LIVING PROOF LOCAL HERO LONG TIME COMING (97) LOOK TO THE LAND LOOKING OUT FOR NO. 1 (Mr. Outside) LOOSE ENDS LOST IN THE FLOOD LOVE ON THE WRONG SIDE OF TOWN LOVE'S ON THE LINE LUCKY TOWN MAN AT THE TOP MAN'S JOB MANSION ON THE HILL MANY RIVERS TO CROSS MARIE MARY QUEEN OF ARKANSAS MARY LOU MEETING ACROSS THE RIVER MERRY CHRISTMAS BABY MISSING (97) MURDER INCORPORATED MY BEAUTIFUL REWARD MY FATHER'S HOUSE MY HOMETOWN MY LOVE WILL NOT LET YOU DOWN MY BEST WAS NEVER GOOD ENOUGH NATIVE AMERICAN NEBRASKA NEW JERSEY IS MY HOME NEW YORK CITY SERENADE NIGHT (alternate) NIGHT NO NEED NO SURRENDER NONE BUT THE BRAVE ON THE PROWL ONE STEP UP OPEN ALL NIGHT OUT IN THE STREET OUT OF WORK OUTSIDE LOOKING IN PART MAN PART MONKEY PILGRIM IN THE TEMPLE OF LOVE (97) PINK CADILLAC POINT BLANK PONY BOY PREACHER'S DAUGHTER PRODIGAL SON PROTECTION PROVE IT ALL NIGHT RACING IN THE STREET RAISE YOUR HAND RAMROD RANDOLPH STREET (MASTER OF REAL WORLD REAL MAN REASON TO BELIEVE RED-HEADED WOMAN REMEMBER WHEN THE MUSIC RENDEZVOUS RESTLESS NIGHTS RICKIE ROCKIN' ALL OVER THE WORLD ROLL OF THE DICE ROSALITA (COME OUT TONIGHT) ROULETTE SAD EYES SANTA ANA SANTA CLAUS IS COMING TO TOWN SAVIN' UP SAY SONS SEASIDE BAR SONG SECRET GARDEN SEEDS SELL IT AND THEY WILL COME (97) SHE'S LEAVING SHE'S SO FINE SHE'S THE ONE SHERRY DARLING SHUT OUT THE LIGHT SINALOA COWBOYS SOMETHING IN THE NIGHT SONG TO THE ORPHANS SOUL DRIVER SOULS OF THE DEPARTED SOUTHERN SON SPANISH HARLEM SPANISH EYES SPARE PARTS SPIRIT IN THE NIGHT STAND ON IT STATE TROOPER STOLEN CAR STOLEN CAR (SON YOU MAY KISS THE BRIDE) STRAIGHT TIME STREET QUEEN STREETS OF PHILADELPHIA STREETS OF FIRE SUGARLAND SWEET SOUL MUSIC TAKE EM AS THEY COME TALK TO ME TAXI CAB TENTH AVENUE FREEZE-OUT THAT'S WHAT YOU GET THE WORD THE BIG PAYBACK THE BIG PAYBACK THE E STREET SHUFFLE THE GHOST OF TOM JOAD THE BIG MUDDY THE ANGEL THE TIES THAT BIND THE WISH THE GHOST OF TOM JOAD (FINNISH) (97) THE LINE THE PROMISED LAND THE RIVER THE LONG GOODBYE THE PRICE YOU PAY THE HITTER (97) THE NEW TIMER THE ICEMAN THE BALLAD OF THE ARCHITECT ANGEL THE PROMISE II THE WAY THE PROMISE THERE WILL NEVER BE ANOTHER THIS HARD LAND THIS LITTLE GIRL THIS HARD LAND THIS LAND IS YOUR LAND THUNDER ROAD THUNDERCRACK TOKYO TONIGHT TOUGHER THAN THE REST TRAPPED TRAPPED AGAIN TROUBLE RIVER (I CAN'T KEEP FROM TUNNEL OF LOVE TWEETER AND THE MONKEY MAN TWO FACES TWO HEARTS TWO HEARTS IN TRUE WALTZ TIME TWO FOR THE ROAD USED CARS VALENTINE'S DAY VIBES MAN VIGILANTE MAN VISITATION AT FORT HORN VIVA LAS VEGAS WALK LIKE A MAN WALKING THROUGH MIDNIGHT (PARADISE WALKING IN THE STREET WAR WAR NURSE WHEN THE LIGHTS GO OUT WHEN YOU DANCE ACROSS THE WHEN YOU DANCE WHEN YOU'RE ALONE WHITE TOWN WHITE LIES WHO'LL STOP THE RAIN WILD BILLY'S CIRCUS STORY WILD KISSES WINGS FOR WHEELS (THUNDER ROAD) WINTER SONG WITH EVERY WISH WITHOUT YOU (97) WORKING ON THE HIGHWAY WRECK ON THE HIGHWAY YOU CAN LOOK (BUT YOU BETTER NOT TOUCH) YOU MEAN SO MUCH TO ME BABY YOU GOTTA FIGHT YOUNGSTOWN YOUR LOVE ZERO AND BLIND TERRY "Ladies and gentlemen, Bruce Springsteen and the E Street Band....." 4TH OF JULY, ASBURY PARK (SANDY) Sandy the fireworks are hailin' over Little Eden tonight Forcin' a light into all those stoned-out faces left stranded on this Fourth of July Down in town the circuit's full with switchblade lovers so fast so shiny so sharp And the wizards play down on Pinball Way on the boardwalk way past dark And the boys from the casino dance with their shirts open like Latin lovers along the shore Chasin' all them silly New York girls Sandy the aurora is risin' behind us, the pier lights our carnival life forever Love me tonight for I may never see you again, hey Sandy girl Now the greasers they tramp the streets or get busted for trying to sleep on the beach all night Them boys in their spiked high heels ah Sandy their skins are so white And me I just got tired of hangin' in them dusty arcades bangin' them pleasure machines Chasin' the factory girls underneath the boardwalk where they promise to unsnap their jeans And you know that tilt-a-whirl down on the south beach drag I got on it last night and my shirt got caught And that Joey kept me spinnin' I didn't think I'd ever get off Oh Sandy the aurora is risin' behind us The pier lights our carnival life on the water Runnin' down the beach at night with my boss's daughter Well he ain't my boss no more Sandy Sandy the angels have lost their desire for us I spoke to `em just last night and they said they won't set themselves on fire for us anymore Every summer when the weather gets hot they ride that road down from heaven on their Harleys they come and they go And you can see `em dressed like stars in all the cheap little seashore bars parked making love with their babies out on the Kokomo Well the cops finally busted Madame Marie for tellin' fortunes better than they do This boardwalk life for me is through You know you ought to quit this scene too Sandy the aurora's rising behind us, the pier lights our carnival life forever Oh love me tonight and I promise I'll love you forever From "The Wild, the Innocent and the E Street Shuffle" 1973 "So when I go out onstage at night, I feel like there's really something at stake, that it has some meaning. It's not just another night." Here's a story from a fan: I posted to the list my story about meeting Bruce on my 21st birthday at work. Anyway, as he was leaving that day, his bodyguard told us how much his kids loved the amusement park and how much he liked the fact that he didn't get hassled. Anyway, I felt kinda bad that day because I asked him for the autograph after his bodyguard had told my friend Chris (one of the other park managers) that he would take care of us before he left. On the 14th of June, he came back. I was talking to his bodyguard and apologizing for my behavior, when I heard a voice telling me that it was alright, Roy, "it was your birthday." Turns out that Bruce had been listening to my conversation. I was stunned that he remembered my name, though the first time we met, his bodyguard was telling me how he always remembered everyone he met. 31-Aug-1993 Roy 57 CHANNELS (AND NOTHIN' ON) I bought a bourgeois house in the Hollywood hills With a truckload of hundred thousand dollar bills Man came by to hook up my cable TV We settled in for the night my baby and me We switched 'round and 'round 'til half-past dawn There was fifty-seven channels and nothin' on Well now home entertainment was my baby's wish So I hopped into town for a satellite dish I tied it to the top of my Japanese car I came home and I pointed it out into the stars A message came back from the great beyond There's fifty-seven channels and nothin' on Well we might'a made some friends with some billionaires We might'a got all nice and friendly if we'd made it upstairs All I got was a note that said "Bye-bye John Our love is fifty-seven channels and nothin' on" So I bought a .44 magnum it was solid steel cast And in the blessed name of Elvis well I just let it blast 'Til my TV lay in pieces there at my feet And they busted me for disturbing the almighty peace Judge said "What you got in your defense son?" "Fifty-seven channels and nothin' on" I can see by your eyes friend you're just about gone Fifty-seven channels and nothin' on... Bruce Springsteen - bass Human Touch 1992 ACROSS THE BORDER Tonight my bag is packed Tomorrow I'll walk these tracks That will lead me across the border Tomorrow my love and I Will sleep 'neath auburn skies Somewhere across the border We'll leave behind my dear The pain and sadness we found here And we'll drink from the Bravo's muddy water Where the sky grows grey and wide We'll meet on the other side There across the border For you I'll build a house High upon a grassy hill Somewhere across the border Where pain and memory Pain and memory have been stilled There across the border And sweet blossoms fill the air Pastures of gold and green Roll down into cool clear waters And in your arms 'neath open skies I'll kiss the sorrow from your eyes There across the border Tonight we'll sing the songs I'll dream of you my coraz_n And tomorrow my heart will be strong And may the saints' blessing and grace Carry me safely into your arms There across the border For what are we Without hope in our hearts That someday we'll drink from God's blessed waters And eat the fruit from the vine I know love and fortune will be mine Somewhere across the border Jennifer Condos: Bass Danny Federici: Keyboard, Accordion Lisa Lowell: Backing vocal Gary Mallaber: Drums Marty Rifkin: Pedal steel guitar Patti Scialfa: Backing vocalBruce Springsteen: Vocal, Guitar, Harmonica Soosie Tyrell: Violin, Backing vocal Ghost of Tom Joad 1995 AIN'T GOT YOU I got a fortune of heaven in diamonds and gold I got all the bonds baby that the bank could hold I got houses 'cross the country honey end to end And everybody buddy wants to be my friend Well I got all the riches honey any man every knew But the only thing I ain't got honey I ain't got you I got a house full of Rembrandt and priceless art And all the little girls they wanna tear me apart When I walk down the street people stop and stare Well you think I might be thrilled but baby I don't care Cause I got more good luck honey than old King Farouk But the only thing I ain't got baby I ain't got you I got a big diamond watch sittin' on my wrist I try to tempt you baby but you just resist I made a deal with the devil babe I won't deny Until I got you in my arms I can't be satisfied I got a pound of caviar sitting home on ice I got a fancy foreign car that rides like paradise I got a hundred pretty women knockin' down my door And folks wanna kiss me I ain't even seen before I been around the world and all across the seven seas Been paid a king's ransom for doin' what comes naturally But I'm still the biggest fool honey this world ever knew 'Cause the only thing I ain't got baby I ain't got you Tunnel Of Love 1987 "The details in the songs are always secondary, which doesn't mean they aren't important to get right. But detail alone is just detail. I have a lot of songs sitting in my notebook that are full of detail, but missing the emotion which ties the whole thing together and breathes life into it. The emotion is what makes a song real and breathes life into it. The detail gives you the grit of living. That's omportant, but the emotion gives you the feel of living. That's what I find in songs like Nebraska, My Hometown, Stolen Car, Wreck On The Highway. A lot of those songs are connected. Take Adam Raised a Cain, Independence day, My Father's House, - if you play those three songs together, you'll see somebody growing up." ADAM RAISED A CAIN In the summer that I was baptized my father held me to his side As they put me to the water he said how on that day I cried We were prisoners of love a love in chains He was standin' in the door I was standin' in the rain With the same hot blood burning in our veins Adam raised a Cain All of the old faces ask you why you're back They fit you with position and the keys to your daddy's Cadillac In the darkness of your room your mother calls you by your true name You remember the faces the places the names You know it's never over it's relentless as the rain Adam raised a Cain In the Bible Cain slew Abel and East of Eden he was cast You're born into this life paying for the sins of somebody else's past Daddy worked his whole life for nothing but the pain Now he walks these empty rooms looking for something to blame You inherit the sins you inherit the flames Adam raised a Cain Lost but not forgotten from the dark heart of a dream Adam raised a Cain Darkness on the Edge of Town 1978 ALL OR NOTHIN' AT ALL Said you'd give me just a little kiss And you'd rock me for a little while Well you'd slip me just a piece of it Listen up little child I Want it all or nothin' at all I Want it all or nothin' at all Said you'd take me for a little dance If you had a little time on your hands Well all I do is push and shove Just to get a little piece of your love I want it all or nothin' at all I want it all or nothin' at all Well now I don't wanna be greedy But when it comes to love there ain't no doubt You just ain't gonna get what you want With one foot in and one foot out You got to give it all or nothin' at all All or nothin' at all Now I only got a little time So if you're gonna change your mind Then shout out what you're thinking of If what you're thinkin' of is love I want it all or nothin' at all I want it all or nothin' at all Human Touch 1992 ALL THAT HEAVEN WILL ALLOW I got a dollar in my pocket there ain't a cloud up above I got a picture in a locket that says baby I love you Well if you didn't look then boys then fellas don't go lookin' now Well here she comes a-walkin' all that heaven will allow Say hey there mister bouncer now all I wanna dance But I swear I left my wallet back home in my workin' pants C'mon Slim slip me in man I'll make it up to you somehow I can't be late I got a date with all that heaven will allow Rain and storm and dark skies well now they don't mean a thing If you got a girl that loves you and who wants to wear your ring So c'mon mister trouble we'll make it through you somehow We'll fill this house with all the love all that heaven will allow Now some may wanna die young man young and gloriously Get it straight now mister hey buddy that ain't me 'Cause I got something on my mind that sets me straight and walking proud And I want all the time all that heaven will allow Max Weinberg - percussion Tunnel Of Love 1987 ATLANTIC CITY Well, they blew up the chicken man in Philly last night Now, they blew up his house, too Down on the boardwalk they're gettin' ready for a fight Gonna see what them racket boys can do Now, there's trouble bustin' in from outta state And the D.A. can't get no relief Gonna be a rumble out on the promenade And the gamblin' commission's hangin' on by the skin of his teeth Well now, ev'rything dies, baby, that's a fact But maybe ev'rything that dies someday comes back Put your makeup on, fix your hair up pretty And meet me tonight in Atlantic City Well, I got a job and tried to put my money away But I got debts that no honest man can pay So I drew what I had from the Central Trust And I bought us two tickets on that Coast City bus Now, baby, ev'rything dies, honey, that's a fact... Now our luck may have died and our love may be cold But with you forever I'll stay We're goin' out where the sand's turnin' to gold Put on your stockin's baby, `cause the night's getting cold And maybe ev'rything dies, baby, that's a fact But maybe ev'rything that dies someday comes back Now, I been lookin' for a job, but it's hard to find Down here it's just winners and losers and don't get caught on the wrong side of that line Well, I'm tired of comin' out on the losin' end So, honey, last night I met this guy and I'm gonna do a little favor for him Well, I guess everything dies, baby, that's a fact... Nebraska 1982 BACKSTREETS One soft infested summer me and Terry became friends Trying in vain to breathe the fire we was born in Catching rides to the outskirts tying faith between our teeth Sleeping in that old abandoned beach house getting wasted in the heat And hiding on the backstreets, hiding on the backstreets With a love so hard and filled with defeat Running for our lives at night on them backstreets Slow dancing in the dark on the beach at Stockton's Wing Where desperate lovers park we sat with the last of the Duke Street Kings Huddled in our cars waiting for the bells that ring In the deep heart of the night to set us loose from everything to go running on the backstreets, running on the backstreets We swore we'd live forever on the backstreets we take it together Endless juke joints and Valentino drag where dancers scraped the tears Up off the street dressed down in rags running into the darkness Some hurt bad some really dying at night sometimes it seemed You could hear the whole damn city crying blame it on the lies that killed us Blame it on the truth that ran us down you can blame it all on me Terry It don't matter to me now when the breakdown hit at midnight There was nothing left to say but I hated him and I hated you when you went away Laying here in the dark you're like an angel on my chest Just another tramp of hearts crying tears of faithlessness Remember all the movies, Terry, we'd go see Trying to learn how to walk like heroes we thought we had to be And after all this time to find we're just like all the rest Stranded in the park and forced to confess To hiding on the backstreets, hiding on the backstreets We swore forever friends on the backstreets until the end Hiding on the backstreets, hiding on the backstreets Born to Run 1976 Here's a story from a fan: Thu, 1 Sep 94 Living in New York City, and having worked various jobs in the film and music businesses, I've met literally scores of celebrities. No encounter stands out in my mind like the time I met the Boss. Was it 1981 or 1982? I can't quite remember. I was driving the cab across 57th Street, and I see this guy looking to hail a cab about a block away. From that far away, it looked like Bruce! I checked and there were no cabs between him and me, I was going to pick him up. "I just don't have this kind of luck," I told myself. So I come to the corner of 57th & Lex and stop, the guy jumps in, says "18th Street between 5th & 6th" and there was no mistaking that voice. I turned around and yelled, "IT'S YOU!!!!!" and he just cracked up. Finally, in an attempt to say something vaguely meaningful, I told him what his music meant to me. I told him that when I listened to his more current stuff, songs from "The River," I realized that although I might be down, as long as I held onto my dreams, there was some chance that I might achieve them. "Your music gives me hope," I told him, and he seemed to like that. I told him that the best tip he could give me was an autograph. I handed him a sheet of paper, and he wrote, in large letters across the entire sheet, "To Steve: Thanks for the lift. P.S. And the support. Bruce Springsteen." - Steve BADLANDS Lights out tonight trouble in the heartland Got a head-on collision smashin' in my guts man I'm caught in a crossfire that I don't understand But there's one thing I know for sure I don't give a damn For the same old played out scenes I don't give a damn For just the in-betweens honey I want the heart I want the soul I want control right now talk about a dream Try to make it real you wake up in the night With a fear so real spend your life waiting For a moment that just don't come Well don't waste your time waiting Badlands you gotta live it every day Let the broken hearts stand As the price you've gotta pay We'll keep pushin' till it's understood And these badlands start treating us good Workin' in the field till you get your back burned Workin' `neath the wheels till you get your facts learned Baby I got my facts learned real good right now You better get it straight darling Poor man wanna be rich, rich man wanna be king And a king ain't satisfied till he rules everything I wanna go out tonight, I wanna find out what I got Now I believe in the love that you gave me I believe in the faith that could save me I believe in the hope and I pray that some day It will raise me above these Badlands... For the ones who had a notion, a notion deep inside That it ain't no sin to be glad you're alive I wanna find one face that ain't looking through me I wanna find one place, I wanna spit in the face of these Badlands... Roy Bittan: fender Rhodes, glockenspiel Clarence Clemons: saxophones Bruce Springsteen: guitar, vocal, harmonica Garry Tallent: bass guitar Max Weinberg: drums Background vocals: Roy Bittan, Mike Appel, Steve Van Zandt, Bruce Springsteen Produced by Bruce Springsteen, Jon Landau, Mike Appel Engineered and mixed by Jimmy Iovine Mastered by Greg Calbi Remastered by Bob Ludwig Darkness on the Edge of Town 1980 BALBOA PARK He lay his blanket underneath the freeway As the evening sky grew dark Took a sniff of toncho from his cocaine And headed thru Balboa Park Where the men in their Mercedes Come nightly to employ In the cool San Diego evening The services of the border boys He grew up near the Zona Norte With the hustlers and smugglers he hung out with He swallowed their balloons of cocaine Brought them across to the 12th streetstrip Sleepin' in a shelter If the night got to cold Runnin' from the migra Of the border patrol Past the salvage yard 'cross the train tracks And in thru the storm drain They stretched their blankets out 'neath the freeway And each one took a name There was X-man and Cochise Little Spider his sneakers covered in river mud They come north to California End up with the poison in their blood He did what he had to for the money Sometimes he sent home what he could spare The rest went to high-top sneakers and toncho And jeans like the gavachos wear One night the border patrol swept 12th Street A big car came fast down the Boulevard Spider stood caught in its headlights Got hit and went down hard As the car sped away=20 Spider held his stomachLimped to his blanket 'neath the freeway Lay there tasting his own blood on his tongue Closed his eyes and listened to he cars Rushin' by so fast Bruce Springsteen: Vocal, Guitar, Keyboard Ghost of Tom Joad 1995 BECAUSE THE NIGHT (Also recorded by Patti Smith) Take me now baby here as I am Pull me close try an understand I work all day out in the hot sun Stay with me now till the mornin' comes Come on now try and understand The way I feel when I'm in your hands Take me now as the sun descends They can't hurt you now They can't hurt you now They can't hurt you now Because the night belongs to lovers Because the night belongs to us Because the night belongs to lovers Because the night belongs to us What I got I have earned What I'm not I have learned Desire and hunger is the fire I breathe Just stay in my bed till the morning comes Come on now try and understand The way I feel when I'm in your hands Take me now as the sun descends They can't hurt you now They can't hurt you now They can't hurt you now Because the night... Your love is here and now The vicious circle turns and burns without Though I cannot live forgive me now The time has come to take this moment and They can't hurt you now Because the night... Springsteen-Patti Smith 1978 Originially written for 'Darkness' album. BETTER DAYS Well my soul checked out missing as I sat listening To the hours and minutes tickin' away Yeah, just sittin' around waitin' for my life to begin While it was all just slippin' away. I'm tired of waitin' for tomorrow to come Or that train to come roarin' 'round the bend. I got a new suit of clothes a pretty red rose And a woman I can call my friend These are better days baby Yeah there's better days shining through These are better days baby Better days with a girl like you Well I took a piss at fortune's sweet kiss It's like eatin' caviar and dirt It's a sad funny ending to find yourself pretending A rich man in a poor man's shirt Now my ass was draggin' when from a passin' gypsy wagon Your heart like a diamond shone Tonight I'm layin' in your arms carvin' lucky charms Out of these heard luck bones These are better days baby These are better days it's true These are better days There's better days shining through Now a life of leisure and a pirate's treasure Don't make much for tragedy But it's a sad man my friend who's livin' in his own skin And can't stand the company Every fool's got a reason to feelin' sorry for himself And turn his heart to stone Tonight this fool's halfway to heaven and just a mile outta hell And I feel like I'm comin' home These are better days baby There's better days shining through These are better days Better days with a girl like you These are better days baby These are better days it's true These are better days Better days are shining through Randy Jackson, bass Lisa Lowell, backing vocals Patti Scialfa, backing vocals Soozie Tyrell, backing vocals Lucky Town 1992 BLINDED BY THE LIGHT Madman drummers bummers and Indians in the summer with a teenage diplomat In the dumps with the mumps as the adolescent pumps his way into his hat With a boulder on my shoulder feelin' kinda older I tripped the merry-go-round With this very unpleasing sneezing and wheezing the calliope crashed to the ground Some all-hot half-shot was headin' for the hot spot snappin' his fingers clappin' his hands And some fleshpot mascot was tied into a lover's knot with a whatnot in her hand And now young Scott with a slingshot finally found a tender spot and throws his lover in the sand And some bloodshot forget-menot whispers daddy's within earshot save the buckshot turn up the band And she was blinded by the light. Cut loose like a deuce Another runner in the night. Blinded by the light She got down but she never got tight, but she'll make it alright Some brimstone baritone anticyclone rolling stone preacher from the east He says: "Dethrone the dictaphone, hit it in its funny bone, that's where they expect it least" And some new-mown chaperone was standin' in the corner all alone watchin' the young girls dance And some fresh-sown moonstone was messin' with his frozen zone to remind him of the feeling of romance Yeah he was blinded by the light. Cut loose like a deuce Another runner in the night. Blinded by the light He got down but she never got tight, but he's gonna make it tonight Some silicone sister with her manager's mister told me I got what it takes She said I'll turn you on sonny to something strong if you play that song with the funky break And go-cart Mozart was checkin' out the weather chart to see if it was safe to go outside And little Early-Pearly came in by her curly-wurly and asked me if I needed a ride Oh, some hazard from Harvard was skunked on beer playin' backyard bombardier Yes and Scotland Yard was trying hard, they sent a dude with a calling card, he said, do what you like, but don't do it here Well I jumped up, spit in the air, fell on the ground, asked wich was the way back home He said take a right at the light, keep going straight until right, and then boy you're on your own And now in Zanzibar a shootin' star was ridin' in a side car hummin' a lunar tune Yes, and the avatar said blow the bar but first remove the cookie jar, we're gonna teach those boys to laugh too soon And some kidnapped handicap was complaining that he caught the clap from some mousetrap he bought last night Well I unsnapped his skull cap and between his ears I saw a gap but he'd figured he'd be all right He was just blinded by the light. Cut loose like a deuce Another runner in the night. Blinded by the light Mama always told me not to look into the sights of the sun Oh but mama that's where the fun is Greetings from Asbury Park - N.J. 1975 BLOOD BROTHERS We played king of the mountain out on the end The world come chargin' up the hill, and we were women and men Now there's so much that time, time and memory fade away We got our own roads to ride and chances we gotta take We stood side by side each one fightin' for the other We said until we died we'd always be blood brothers Now the hardness of this world slowly grinds your dreams away Makin' a fool's joke out of the promises we make And what once seemed black and white turns to so many shades of gray We lose ourselves in work to do and bills to pay And it's a ride, ride, ride, and there ain't much cover With no one runnin' by your side my blood brother On through the houses of the dead past those fallen in their tracks Always movin' ahead and never lookin' back Now I don't know how I feel, I don't know how I feel tonight If I've fallen 'neath the wheel, if I've lost or I've gained sight I don't even know why, I don't know why I made this call Or if any of this matters anymore after all But the stars are burnin' bright like some mystery uncovered I'll keep movin' through the dark with you in my heart My blood brother - GREATEST HITS, 1995 BOBBY JEAN Well I came by your house the other day, your mother said you went away She said there was nothing that I could have done There was nothing nobody could say Me and you we've known each other ever since we were sixteen I wished I would have known I wished I could have called you Just to say goodbye Bobby Jean Now you hung with me when all the others turned away turned up their noise We liked the same music we liked the same bands we liked the same clothes We told each other that we were the wildest, the wildest things we'd ever seen Now I wished you would have told me I wished I could have talked to you Just to say goodbye Bobby Jean Now we went walking in the rain talking about the pain from the world we hid Now there ain't nobody nowhere nohow gonna ever understand me the way you did Maybe you'll be out there on that road somewhere In some bus or train traveling along In some motel room there'll be a radio playing And you'll hear me sing this song Well if you do you'll know I'm thinking of you and all the miles in between And I'm just calling one last time not to change your mind But just to say I miss you baby, good luck goodbye, Bobby Jean Born In The USA 1984 BOOK OF DREAMS I'm standing in the backyard Listening to the party Inside Tonight I'm drinkin' in the forgiveness This life provides The scars we carry remain but the pain slips away it seems Oh won't you baby be in my book of dreams I'm watchin' you through the window With your girlfriends from back home You 're showin' off your dress There's laughter and a toast From your daddy to the prettiest bride he's ever seen Oh won't you baby be in my book of dreams In the darkness my fingers slip across your skin I feel your sweet reply The room fades away and suddenly I'm way up high Just holdin' you to me As through the window the moonlight streams Oh won't you baby be in my book of dreams Now the ritual begins 'Neath the wedding garland we meet as strangers The dance floor is alive with beauty Mystery and danger We dance out 'neath the stars' ancient light into the darkening trees Oh won't you baby be in my book of dreams Lucky Town 1992 BORN IN THE U.S.A. Born down in a dead man's town The first kick I took was when I hit the ground You end up like a dog that's been beat too much Till you spend half your life just covering up Born in the U.S.A., I was born in the U.S.A. I was born in the U.S.A., born in the U.S.A. Got in a little hometown jam So they put a rifle in my hand Sent me off to a foreign land To go and kill the yellow man Born in the U.S..A.... Come back home to the refinery Hiring man said "Son if it was up to me" Went down to see my V.A. man He said "Son, don't you understand" I had a brother at Khe Sahn Fighting off the Viet Cong They're still there, he's all gone He had a woman he loved in Saigon I got a picture of him in her arms now Down in the shadow of the penitentiary Out by the gas fires of the refinery I'm ten years burning down the road Nowhere to run ain't got nowhere to go Born in the U.S.A., I was born in the U.S.A. Born in the U.S.A., I'm a long gone Daddy in the U.S.A. Born in the U.S.A., Born in the U.S.A. Born in the U.S.A., I'm a cool rocking Daddy in the U.S.A. Born In The USA 1984 Thu, 29 Dec 94 23:40:04 PST LONDON (Reuter) - Bruce Springsteen's 20-year-old anthem ``Born to Run'' just beat out Bob Dylan's ``Like a Rolling Stone'' as the greatest pop song of all time in a poll of British music experts. ``Born to Run'' topped a poll Saturday of the ``Greatest Songs of All Time'' compiled for The Times newspaper and the BBC's pop radio station by music journalists and songwriters. (Editor's Note: I thought the following excerpt would be a great way to introduce Bruce's most well-known song. All of you who have seen him perform this live can never forget the sheer thrill, power and excitement felt as the crowd erupts in sheer joy.) Following is taken from an interview on the 'Soundbite' program on Radio 1 (England) on Thursday 5th January. It was in relation to Born To Run being voted No. 1 pop song of all time by a panel of music critics: Trevor Dann : Can you remember writing the song and what was on your mind at the time ? Bruce : I think I wrote it in about '74 and I was living in a little house in a town called Long Branch New Jersey and it was a block or two in off the beach. And I think I had this title and I was trying to come up with something around that title and the only thing I remember was that it took me a really long time to write it. I think it took me like months to get it. I worked everyday. I had this little notebook and I like, if you opened up the first page you see the like, first few lines and then page after page finally by the end of the notebook the song was kind of intact, which was a lot for just a few verses you know. But it took me a long time to write. It was really hard to write that's all I remember about and then trying to pull it off so it sounded right. We were working on a 16 track board up in a town up in Blauvelt New York and we were overdubbing and overdubbing and doubling everything and mixing everything down and it seemed like it went on forever. On the sleevenote to your 'Hits' collection you describe 'Born To Run' as your shot at the title, a 25-year-old's attempt to craft "the greatest record ever made". How do you feel about it today? "It's a really good song. the way I would record it now would be a lot different, probably not as good, because I would be afraid of going over the top, and there's a moment to go completely over the top and push the edge of things." - from an interview "From the very beginning, I always used an archetypal kind of language in my songs - the river, the valley, the highway, the car," he says. "I picked those images deliberately, because they're images that might mean something to you wherever you come from. I guess Born To Run was when I really explored that idea to its fullest. - (January 11th) The Melbourne Age and Sydney Morning Herald BORN TO RUN In the day we sweat it out in the streets of a runaway American dream At night we ride through mansions of glory in suicide machines Sprung from cages out on highway 9, Chrome wheeled, fuel injected and steppin' out over the line Baby this town rips the bones from your back It's a death trap, it's a suicide rap We gotta get out while we're young `Cause tramps like us, baby we were born to run Wendy let me in I wanna be your friend I want to guard your dreams and visions Just wrap your legs round these velvet rims and strap your hands across my engines Together we could break this trap We'll run till we drop, baby we'll never go back Will you walk with me out on the wire `Cause baby I'm just a scared and lonely rider But I gotta find out how it feels I want to know if love is wild, girl I want to know if love is real Beyond the Palace hemi-powered drones scream down the boulevard The girls comb their hair in rearview mirrors And the boys try to look so hard The amusement park rises bold and stark Kids are huddled on the beach in a mist I wanna die with you Wendy on the streets tonight In an everlasting kiss The highway's jammed with broken heroes on a last chance power drive Everybody's out on the run tonight but there's no place left to hide Together Wendy we'll live with the sadness I'll love you with all the madness in my soul Someday girl I don't know when we're gonna get to that place Where we really want to go and we'll walk in the sun But till then tramps like us baby we were born to run Born to Run 1976 (Live, acoustic version appears on Chimes of Freedom album, 1988.) "Everybody had it but most people just never figure it out. You've got to be able to see yourself for what you are, and not until then can you be what you want to be." BRILLIANT DISGUISE I hold you in my arms as the band plays What are those words whispered baby just as you turn away I saw you last night out on the edge of town I wanna read your mind and know just what I've got in this new thing I've found So tell me what I see when I look in your eyes Is that you baby or just a brilliant disguise I heard somebody call your name from underneath our willow I saw something tucked in shame underneath your pillow Well I've tried so hard baby but I just can't see What a woman like you is doing with me So tell me what I see when I look in your eyes Is that you baby or just a brilliant disguise Now look at me baby struggling to do everything right And then it all falls apart when out go the lights I'm just a lonely pilgrim I walk this world in wealth I want to know if it's you I don't trust 'cause I damn sure don't trust myself Now you play the loving woman I'll play the faithful man But just don't look too close into the palm of my hand We stood at the alter the gypsy swore our future was right But come the wee wee hours maybe baby the gypsy lied So when you look at me you better look hard and look twice Is that me baby or just a brilliant disguise Tonight our bed is cold I'm lost in the darkness of our love God have mercy on the man Who doubts what he's sure of Roy Bittan - piano Max Weinberg - percussion Danny Federici - organ Tunnel Of Love 1987 CADILLAC RANCH Well there she sits buddy just a-gleaming in the sun There to greet a working man when his day is done I'm gonna pack my pa and I'm gonna pack my aunt I'm gonna take them down to the Cadillac Ranch Eldorado fins, whitewalls and skirts Rides just like a little bit of heaven here on earth Well buddy when I die throw my body in the back And drive me to the junkyard in my Cadillac Cadillac, Cadillac Long and dark shiny and black Open up your engines let `em roar Tearing up the highway like a big old dinosaur James Dean in that Mercury `49 Junior Johnson runnin' through the woods of Caroline Even Burt Reynolds in that black Trans Am All gonna meet down at the Cadillac Ranch Cadillac, Cadillac... Hey little girlie in the blue jeans so tight Drivin' alone through the Wisconsin night You're my last love you're my last chance Don't let `em take me to the Cadillac Ranch Cadillac, Cadillac... The River 1980 CANDY'S ROOM In Candy's room there are pictures of her heroes on the wall But to get to Candy's room you gotta walk the darkness of Candy's hall Strangers from the city call my baby's number and they bring her toys When I come knocking she smiles pretty she knows I wanna be Candy's boy There's a sadness hidden in that pretty face A sadness all her own from which no man can keep Candy safe We kiss my heart's pumpin' to my brain The blood rushes in my veins fire rushes towards the sky We go driving driving deep into the night I go driving deep into the light in Candy's eyes She says baby if you wanna be wild you got a lot to learn, close your eyes Let them melt let them fire let them burn `Cause in the darkness there'll be hidden worlds that shine When I hold Candy close she makes these hidden worlds mine She has fancy clothes and diamond rings She has men who'll give her anything she wants but they don't see That what she wants is me, oh and I want her so I'll never let her go no no no She knows that I'd give all that I got to live All that I want all that I live to make Candy mine Tonight Darkness on the Edge of Town 1978 CAUTIOUS MAN Bill Horton was a cautious man of the road He walked lookin' over his shoulder and remained faithful to its code When something caught his eye he'd measure his need And then very carefully he'd proceed Billy met a young girl in the early days of May It was there in her arms he let his cautiousness slip away In their lovers twilight as the evening sky grew dim He'd lay back in her arms and laugh what had happened to him On his right hand Billy tattooed the word love and on his left hand was the word fear And in which hand he held his fate was never clear Come Indian summer he took his young lover for his bride And with own hands built a great house down by the riverside Now Billy was an honest man he wanted to do what was right He worked hard to fill their lives with happy days and loving nights Alone on his knees in the darkness for steadiness he'd pray For he knew in a restless heart the seed of betrayal lay One night Billy awoke from a terrible dream callin' his wife's name She lay breathing beside him in a peaceful sleep a thousand miles away He got dressed in the moonlight and down to the highway he strode When he got there he didn't find nothing but road Billy felt a coldness rise up inside him that he couldn't name Just as the words tattooed 'cross his knuckles he knew would always remain At their bedside he brushed the hair from his wife's face as the moon shone on her skin so white Filling their room with the beauty of God's fallen light Tunnel Of Love 1987 COVER ME The times are tough now, just getting tougher This old world is rough, it's just getting rougher Cover me, come on baby, cover me Well I'm looking for a lover who will come on in and cover me Promise me baby you won't let them find us Hold me in your arms, let's let our love blind us Cover me, shut the door and cover me Well I'm looking for a lover who will come on in and cover me Outside's the rain, the driving snow I can hear the wild wind blowing Turn out the light, bolt the door I ain't going out there no more This whole world is out there just trying to score I've seen enough I don't want to see any more, Cover me, come on and cover me I'm looking for a lover who will come on in and cover me Looking for a lover who will come on in and cover me >From "Born in the U.S.A" 1984 CROSS MY HEART First time I crossed my heart I was beggin' baby, please At your bedside, down on my knees When I crossed my heart When I crossed my heart I crossed my heart, pretty baby over you Second time I crossed my heart rain came in from the south I was lyin' there with something sweet and salty in my mouth When I crossed my heart When I crossed my heart When I crossed my heart, pretty darlin' over you Well, you may think the world's black and white And you're dirty or you're clean You better watch out you don't slip Through them spaces in between Where the night gets sticky and the sky gets black I grabbed you, baby, and you grabbed me back And we crossed our hearts We crossed our hearts Yeah, I crossed my heart... Little boys, little girls They know their wrongs from their rights Once you cross your heart You ain't ever supposed to lie Well, life ain't nothin' but a cold hard ride I ain't leavin' 'til I'm satisfied I cross my heart Yeah, I cross my heart Well, I cross my heart, pretty darlin' over you Human Touch 1992 CRUSH ON YOU My feets were flyin' down the street just the other night When a Hong Kong special pulled up at the light What was inside, man, was just c'est magnifique I wanted to hold the bumper and let her drag me down the street (Chorus) Ooh, ooh, I gotta crush on you Ooh, ooh, I gotta crush on you Ooh, ooh, I gotta crush on you tonight Sometimes I spot a little stranger standing 'cross the room My brain takes a vacation just to give my heart more room For one kiss, darling I swear everything I would give Cause you're a walking, talking reason to live (Chorus) Well now she might be the talk of high society She's probably got a lousy personality She might be a heiress to Rockefeller She might be a waitress or a bank teller She makes the Venus de Milo look like she's got no style She make Sheena of the Jungle look meek and mild I need a quick shot, Doc, knock me off my feet Cause I'll be minding my own business walking down the street... watchout! (Chorus) The River 1980 DANCING IN THE DARK I get up in the evening, and I ain't got nothing to say I come home in the morning, I go to bed feeling the same way I ain't nothing but tired, man I'm just tired and bored with myself Hey there baby, I could use just a little help You can't start a fire, you can't start a fire without a spark This gun's for hire even if we're just dancing in the dark Message keeps getting clearer, radio's on and I'm moving round the place I check myself out in the mirror I wanna change my clothes my hair my face Man I ain't getting nowhere just sitting in a dump like this There's something happening somewhere baby I just know that there is You can't start a fire... You sit around getting older there's a joke here somewhere and it's on me I'll shake this world off my shoulders come baby this laughs on me Stay on the streets of this town and they'll be carving you up alright They say you got to stay hungry hey baby I'm just about starving tonight I'm dying for some action I'm sick of sitting 'round here trying to write this book I need a love reaction come on now baby give me just one look You can't start a fire.. Born In The USA 1984 DARLINGTON COUNTY Driving in to Darlington County Me and Wayne on the Fourth of July Driving in to Darlington County Looking for some work on the county line We drove down from New York City Where the girls are pretty but they just want to know your name Driving in to Darlington City Got a union connection with an uncle of Wayne's We drove eight hundred miles without seeing a cop We got rock and roll music blasting off the T-top singing Sha la la la la la la la la, Sha la la la la la la Hey little girl standing on the corner Today's your lucky day for sure all right Me and my buddy we're from New York City We got two hundred dollars we want to rock all night Girl you're looking at two big spenders Why the world don't know what me and Wayne might do Our pa's each own one of the World Trade Centers For a kiss and a smile I'll give mine all to you Come on baby take a seat on my fender It's a long night and tell me what else were you gonna do Just me and you we could Sha la la... Little girl sitting in the window Ain't seen my buddy in seven days County man tells me the same thing He don't work and he don't get paid Little girl you're so young and pretty Walk with me and you can have your way And we'll leave this Darlington City For a ride down that Dixie Highway Driving out of Darlington County My eyes seen the glory of the coming of the Lord Driving out of Darlington County Seen Wayne handcuffed to the bumper of a state trooper's Ford Sha la la... >From "Born in the U.S.A." 1984 DEAD MAN WALKING There's a pale horse coming And I'm going to ride it I'll rise in the morning My fate decided I'm a dead man walking I'm a dead man walking In St James' Parish I was born and christened I've got my story Mister Ain't no need for you to listen It's just a dead man talking Once I had a job I had a a girl Between our dreams and actions lies this world In the deep forest their blood and tears rushed over me All I could feel was the drugs and the shotgun And my fear up inside of me Like a dead man talkin' 'Neath the summer sky my eyes went black Sister I won't ask for forgiveness My sins are all I have Now the clouds above my prisonMove slowly across the sky There's a new day coming and my dreams are full to-night The title track from the motion picture dead man walking. DOWNBOUND TRAIN I had a job, I had a girl I had something going mister in this world I got laid off down at the lumber yard Our love went bad, times got hard Now I work down at the carwash Where all it ever does is rain Don't you feel like you're a rider on a downbound train She just said "Joe I gotta go We had it once we ain't got it any more" She packed her bags left me behind She bought a ticket on the Central Line Nights as I sleep, I hear that whistle whining I feel her kiss in the misty rain And I feel like I'm a rider on a downbound train Last night I heard your voice You were crying, crying, you were so alone You said your love had never died You were waiting for me at home Put on my jacket, I ran through the woods I ran till I thought my chest would explode There in the clearing, beyond the highway In the moonlight, our wedding house shone I rushed through the yard, I burst through the front door My head pounding hard, up the stairs I climbed The room was dark, our bed was empty Then I heard that long whistle whine And I dropped to my knees, hung my head and cried Now I swing a sledge hammer on a railroad gang Knocking down them cross ties, working in the rain Now don't it feel like you're a rider on a downbound train >From "Born in the U.S.A." 1984 Subject: Indy strippers Date: Sun, 24 Nov 1996 The 1978 show at the Indianapolis Convention Center was the day his record "Darkness on the Edge of Town" was released. During his encore, two strippers from the Red Garter Lounge, a club nearby, came out on stage and began dancing and undressing. Bruce was surprised and then he laughed and said that they were "friends" of the Big Man. A wonderful show I got to enjoy from the fifth row with only about 2-3 thousand folks in attendance. DARKNESS ON THE EDGE OF TOWN They're still racing out at the Trestles But that blood it never burned in her veins Now I hear she's got a house up in Fairview And a style she's trying to maintain Well if she wants to see me You can tell her that I'm easily found Tell her there's a spot out `neath Abram's Bridge And tell her there's a darkness on the edge of town Everybody's got a secret Sonny Something that they just can't face Some folks spend their whole lives trying to keep it They carry it with them every step that they take Till some day they just cut it loose Cut it loose or let it drag `em down Where no one asks any questions Or looks too long in your face In the darkness on the edge of town Some folks are born into a good life Other folks get it anyway anyhow I lost my money and I lost my wife Them things don't seem to matter much to me now Tonight I'll be on that hill `cause I can't stop I'll be on that hill with everything I got Lives on the line where dreams are found and lost I'll be there on time and I'll pay the cost For wanting things that can only be found In the darkness on the edge of town >From "Darkness on the Edge of Town" 1978 DOES THIS BUS STOP AT 82nd STREET? Hey bus driver keep the change, bless your children, give them names, Don't trust men who walk with canes, drink this and you'll grow wings on your feet Broadway Mary, Joan Fontaine, advertiser on a downtown train Christmas crier bustin' cane, He's in love again. Where dock worker's dreams mix with panther's schemes to someday own the rodeo Tainted women in Vistavision perform for out-of-state kids at the late show. Wizard imps and sweat sock pimps, interstellar mongrel nymphs Rex said that lady left him limp. Love's like that (sure it is). Queen of diamonds, ace of spades newly discovered lovers of the everglades They take out a full page ad in the trades to announce their arrival And Mary Lou she found out how to cope, she rides to heaven on a gyroscope The Daily News asks her for the dope She says "Man, the dope's that there's still hope" Senorita, Spanish rose, wipes her eyes and blows her nose Uptown in Harlem she throw a rose to some lucky, young matador. Greetings from Asbury Park - N.J. 1975 A fan's comment: "I awoke one morning to the sound of Drive All Night which surprised me as they almost never play it. It seems to be rarely played live in concert. One good thing about following an artist is that we can re-awaken to songs over and over. Like a diamond we find a new facet each time we look - but you have to look close, listen closely, at different angles. The sense of dedication, loyalty, love, devotion is powerful. Anyone who ever has someone, or something, that they truly believe in has this song to spell it out. For those restless souls who still search for something to believe in this gives you something to help on your voyage. If the music and words makes you feel strongly deep inside then you'll know how you'll feel when you've finally found what you're truly dedicated to. This is for all you lovers...and searchers..........." - Louis 1/12/95 Fan's comment 2: Mon: "I wanted to respond to Louis' post about "Driving". I love it too and think it's one of Bruce's most passionate songs. I was glad to hear that someone else felt the same. Not too many people that I play it for feel *anything* when they hear it, which I could never understand." DRIVE ALL NIGHT When I lost you honey sometimes I think I lost my guts too And I wish God would send me a word send me something I'm afraid to lose Lying in the heat of the night like prisoners all our lives I get shivers down my spine and all I wanna do is hold you tight (Chorus) I swear I'll drive all night just to buy you some shoes And to taste your tender charms And I just wanna sleep tonight again in your arms Tonight there's fallen angels and they're waiting for us down in the street Tonight there's calling strangers, hear them crying in defeat. Let them go, let them go, let them go, do their dances of the dead (let'em go right ahead) You just dry your eyes girl, and c'mon c'mon c'mon let's go to bed, baby, baby, baby (Chorus) There's machines and there's fire waiting on the edge of town They're out there for hire but baby they can't hurt us now Cause you've got, you've got, you've got, you've got my love, you've got my love Through the wind, through the rain, the snow, the wind, the rain You've got, you've got my, my love heart and soul The River 1980 FACTORY Early in the morning factory whistle blows, Man rises from bed and puts on his clothes, Man takes his lunch, walks out in the morning light, It's the working, the working, just the working life. Through the mansions of fear, through the mansions of pain, I see my daddy walking through them factory gates in the rain, Factory takes his hearing, factory gives him life, The working, the working, just the working life. End of the day, factory whistle cries, Men walk through these gates with death in their eyes. And you just better believe, boy, somebody's gonna get hurt tonight, It's the working, the working, just the working life. Darkness On The Edge of Town 1978 DRY LIGHTNING I threw my robe on in the morning Watched the ring on the stove turn red Stared hypnotized into a cup of coffee Pulled on my boots and made the bed Screen door hangin' off its hinges Kept bangin' me awake all night As I look out the window The only thing in site Is dry lightning on the horizon line Just dry lightning and and you on my mind I chased the heat of her blood Like it was the holy grail Descend beautiful spirit Into the evening pale Her appaloosa's Kickin' in the corral smelling rain There's a low thunder rolling'Cross the mesquite plain But there's just dry lightning on the horizon line It's just dry lightning and and you on my mind I'd drive down to Alvarado Street Where she'd dance to make ends meet I'd spend the night over my gin As she'd talk to her men Well the piss yellow sun Comes bringin' up the day She said 'Ain't nobody can give nobody What they really need anyway.' Well you get so sick of the fightin' You lose your fear of the end But I can't lose your memory And the sweet smell of your skin And it's just dry lightning on the horizonline Just dry lightning and and you on my mind Danny Federici: Keyboard Gary Mallaber: Drums Bruce Springsteen: Vocal, Guitar Gary Tallent: Bass Soosie Tyrell: Violin Ghost of Tom Joad 1995 "Music saved me. From the beginning, my guitar was something I could go to. If I hadn't found music, I don't know what I would have done." FADE AWAY Well now you say you've found another man who does things to you that I can't And that no matter what I do it's all over now between me and you girl But I can't believe what you say No I can't believe what you say 'cause baby (Chorus) I don't wanna fade away Oh I don't wanna fade away Tell me what can I do what can I say Cause darlin' I don't wanna fade away Well now you say that you've made up your mind it's been such a long, long time since it's been good with us And that somewhere back along the line you lost your love and I lost your trust Now rooms that once were so bright are filled with the coming night, darlin' (Chorus) You say it's not easy for you And that you've been so lonely While other girls go out doing what they want to do You say that you miss the nights when we'd go out dancing The days when you and I walked as two Well girl I miss them too Oh I swear that I do Oh girl Now baby I don't wanna be just another useless memory holding you tight Or just some other ghost out on the street to whom you stop and politely speak when you pass on by vanishing into the night left to vanish into the night No baby (Chorus) The River 1980 According to the Bruce trivia book, "Prove It All Night", the song "Fire" was recorded by Bruce in 1977 for none other than Elvis. Was originally to be on Darkness album. FIRE I'm driving in my car, I turn on the radio I'm pulling you close, you just say no You say you don't like it, but girl I know you're a liar `Cause when we kiss, Fire Late at night I'm takin' you home I say I wanna stay, you say you wanna be alone You say you don't love me, girl you can't hide your desire `Cause when we kiss, Fire You had a hold on me, right from the start A grip so tight I couldn't tear it apart My nerves all jumpin' actin' like a fool Well your kisses they burn but your heart stays cool Romeo and Juliet, Samson and Delilah Baby you can bet their love they didn't deny Your words say split but your words they lie `Cause when we kiss, Fire On 'Live Album 1975-1985' 1978 (also recorded by Robert Gordon (album - Fresh Fish Special) and Pointer Sisters in 1978. FOR YOU Princess cards she sends me with her regards Barroom eyes shine vacancy, to see her you gotta look hard Wounded deep in battle, I stand stuffed like some soldier undaunted To her Cheshire smile. I'll stand on file, she's all I ever wanted But you let your blue walls get in the way of these facts Honey, get your carpetbaggers off my back You wouldn't even give me time to cover my tracks You said "Here's your mirror and your ball and jacks" But they're not what I came for, and I'm sure you see that too I came for you, for you, I came for you, but you did not need my urgency I came for you, for you, I came for you, but your life was one long emergency And your cloud line urges me, and my electric surges free Crawl into my ambulance, your pulse is getting weak Reveal yourself all now to me girl while you've got the strength to speak `Cause they're waiting for you at Bellevue with their oxygen masks But I could give it all to you now if only you could ask And don't call for your surgeon even he says it's too late It's not your lungs this time, it's your heart that holds your fate Don't give me money, honey, I don't want it back You and your pony face and your union jack Well take your local joker and teach him how to act I swear I was