I made some very brief notes in a notebook, and then I just put it away. "For a week or so," he told Billboard in a Nov 1998 interview, "I just listened to everything that I'd done that we hadn't put out. Scott then went to work gathering the potential material from Springsteen's massive audio library (located, along with Sony's sound archives, in the high-tech Iron Mountain facility near Buffalo, NY).
In that period of time, I should put something out because people would like to have it and I'd like to see it get out." He told Toby Scott (his audio archivist and recording engineer), "send me all the archives, send everything that we recorded". Maybe at some point, I'll do that."ĭuring a break in The Ghost Of Tom Joad Solo Acoustic Tour, Springsteen thought that "if it's gonna be a year or longer in between records, I have all this music that I know is very good that I never released and I should release some of it whether it was just a CD or something. I think there's some good material there that should come out. I always tell myself that some day I'm gonna put an album out with all this stuff on it that didn't fit in. Discussing that issue in 1984, Springsteen told Rolling Stone's Kurt Loder, "We record a lot of material, but we just don't release it all. Many of these unreleased studio outtakes got under the hands of bootleggers. I'm glad to finally be able to share this music here are some of the ones that got away.īruce Springsteen's albums were thematically linked even if they were not strictly concept albums so some tracks that didn't fit the theme of the album ended up orphaned, not necessarily because they didn't meet his high standards, but because, he says, they didn't fit in with the tone or themes he mined for each set. It's the alternate route to some of the destinations I travelled to on my records, an invitation into the studio on the many nights we spent making music in search of the records we presented to you. This collection contains everything from the first notes I sang in the Columbia recording studio, my early and later work with the E Street Band, through to my music in the 90s. One of the results of working like this was that a lot of music, including some of my favorite things, remained unreleased. On some of my other records the reasons I had for choosing one song over another, in hindsight, feel a good deal less significant. In certain instances, as on Darkness on the Edge of Town, Nebraska, and The Ghost of Tom Joad, these choices crystallized the album I was making.
#I WANNA BE WITH YOU LYRICS SERIES#
As a result, my albums became a series of choices - what to include, what to leave out? I based my decisions on my creative point of view at the moment - the subject I was trying to focus on, something musical or emotional I was trying to express. What we were doing in there was making a lot of music, a lot more music than I could use at any one time.
In the liner notes of his Tracks box set, Bruce Springsteen introduces the box set as follows:ĭuring long intervals between my record releases, as I was spending more and more time in the studio, when I met a fan out on the street I was often asked, "What are you guys doing in there?" I regularly pondered that question myself. Oh oh, I wanna be with you, I wanna be with you When I see you on the street I fall on my face I just can't understand it, you're not pretty at allīut I come when you whisper, I run when you call I don't care what they say, go ahead and let 'em all talk 'Cause all I wanna do is be seen with you I got thrown out of my house, I got such a bad reputation 'Cause instead of pumping gas I'd dream of you (I wanna be with you), I wanna be with you I can't sleep at night, I got one thing on my mind Well that's just fine, that's alright with me Now let the frozen cities crumble, crumble and fall
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