In September, Bruce Springsteen released his autobiography, titled Born to Run. He also released Chapter and Verse, the audio companion to the book that has been described as an “extraordinary” work.
The album features 18 tracks, five of which have not been previously released.
As Springsteen’s website states, the Boss selected the songs on Chapter and Verse to reflect the themes and sections of the book Born to Run.
“The compilation begins with two tracks from The Castiles, featuring a teenaged Springsteen on guitar and vocals, and ends with the title track from 2012’s Wrecking Ball. The collected songs trace Springsteen’s musical history from its earliest days, telling a story that parallels the one in the book.
Recordings from Steel Mill and The Bruce Springsteen Band feature musicians who would go on to play in The E Street Band. Solo demos of “Henry Boy” and “Growin’ Up” were cut in 1972 shortly before Springsteen began recording his debut album, Greetings From Asbury Park, N.J.”
Here’s the tracklist:
1. Baby I — The Castiles (recorded May 2, 1966, at Mr. Music, Bricktown, NJ; written by Bruce Springsteen and George Theiss; previously unreleased)
2. You Can’t Judge a Book by the Cover — The Castiles (recorded Sept. 16, 1967, at The Left Foot, Freehold, NJ; written by Willie Dixon; previously unreleased)
3. He’s Guilty (The Judge Song) — Steel Mill (recorded Feb. 22, 1970, at Pacific Recording Studio, San Mateo, CA; previously unreleased)
4. Ballad of Jesse James — The Bruce Springsteen Band (recorded March 14, 1972, at Challenger Eastern Surfboards, Highland, NJ; previously unreleased)
5. Henry Boy (recorded June 1972, at Mediasound Studios, New York, NY; previously unreleased)
6. Growin’ Up (recorded May 3, 1972, at Columbia Records Recordings Studios, New York, NY; previously appeared on ‘Tracks’)
7. 4th of July, Asbury Park (Sandy) (1973, ‘The Wild, The Innocent & the E Street Shuffle’)
8. Born to Run (1975, ‘Born to Run’)
9. Badlands (1977, ‘Darkness on the Edge of Town’)
10. The River (1980, ‘The River’)
11. My Father’s House (1982, ‘Nebraska’)
12. Born in the U.S.A. (1984, ‘Born in the U.S.A.’)
13. Brilliant Disguise (1987, ‘Tunnel of Love’)
14. Living Proof (1992, ‘Lucky Town’)
15. The Ghost of Tom Joad (1995, ‘The Ghost of Tom Joad’)
16. The Rising (2002, ‘The Rising’)
17. Long Time Comin’ (2005, ‘Devils & Dust’)
18. Wrecking Ball (2012, ‘Wrecking Ball’)
by Cat Johnson
The other day we threw the latest Bruce Springsteen album, entitled Wrecking Ball, on the stereo and a conversation ensued about who it was playing the saxophone. A look at the liner notes revealed that the sax work on two tracks was the last recorded work of the late, great Clarence Clemons who passed away in 2011. It also revealed something that made me tear up a bit, and if there’s something I try really hard not to do, it’s tearing up at Streetlight. Especially over liner notes. But every once in a while something comes around that reminds me that we are more than this life. We are more than our work, and our stuff, and our drama; that there is a connectedness between us that transcends earthly chatter and exists on another plane. The last page of the notes has a tribute to Clarence from Bruce. It is touching and sweet and if you’re not in a place that you feel comfortable tearing up, you might want to save this for later. Here it is:
“…standing together we were badass, on any given night, on our turf, some of the baddest on the planet. We were united, we were strong, we were righteous, we were unmovable, we were funny, we were corny as hell and serious as death itself. And we were coming to your town to shake you and to wake you up. Together, we told an older, richer story about the possibilities of friendship that transcended those I’d written about in my songs and in my music. Clarence carried it in his heart. It was a story where the Scooter and the Big Man not only busted the city in half, but we kicked ass and remade the city, shaping it into the kind of place where our friendship would not be such an anomaly.
…I’ll miss my friend, his sax and the force of nature that was his sound. But his love and his story–the story that he gave to me, that he whispered in my ear, and that he gave to you–is going to carry on.
Clarence was big and he made me feel, think, love and dream big. How big was the Big Man? Too fucking big to die. You can put it on his gravestone, you can tattoo it over your heart.
Clarence doesn’t leave the E Street Band when he dies. He leaves when we die.”
Last night, E Street Band saxophonist Clarence Clemons suffered a stroke. Initially, there was no word on his condition; only that it was serious. This morning an update was posted on Backstreets.com.
“The latest out of Florida has Clarence Clemons in better condition than anyone expected, a close friend tells Backstreets: ‘Yesterday, it did not look good at all. Today… miracles are happening. His vital signs are improving. He’s responsive. His eyes are welling up when we’re talking to him. He was paralyzed on his left side, but now he’s squeezing with his left hand. This is the best news we’ve heard since [the stroke] happened — it’s nothing short of miraculous. The next five days will still be critical. But he’s a fighter.'”
UPDATE: Sad to report that Clarence passed away today (6/18/2011).
Here’s what’s up:
There’s a new Springsteen double album out. It is packed with lost recordings from the Darkness On the Edge of Town album. But, from what I’ve been hearing, these are all songs that stand up on their own, and are not throwaways and outtakes. Here’s what Bruce and the E Street Band have to say about it:
As labels start gearing up for the holiday rush on music, the box sets start pouring in. They do make great presents for that fan who has everything else. We carry cd and vinyl versions whenever possible. Here are a few of the biggies, though there are probably more worthy mentionables, and there will be more coming down the pipe, so stay tuned and we’ll let you know when we receive them.