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Speaker 1: Quest Love Supreme is a production of iHeartRadio.

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Speaker 2: What's up?

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Speaker 1: Man? Hello?

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Speaker 2: How you doing?

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Speaker 1: What? What up? I'm good? How are we? We're good?

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Speaker 1: Doing good? Right?

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Speaker 2: Thank you for doing this for us?

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Speaker 1: Man? Of course? How are we?

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Speaker 2: We're great? Better? Now? Where you right?

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Speaker 1: Now? To see? I'm at my home. It's my studio. Okay.

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Speaker 2: I couldn't tell what it was the background. I don't know.

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Speaker 2: It's a hockey rinkor yes, I announced it's a studio.

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Speaker 1: It's a studio.

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Speaker 3: I got it all right, ladies and gentlemen. This is

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Speaker 3: Quest Love Supreme. I'm Quest Love where with Team Supreme.

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Speaker 2: Take a little brother?

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Speaker 1: How you doing good?

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Speaker 4: Man?

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Speaker 1: Good man? Sitting with the vols?

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Speaker 2: Yes?

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Speaker 1: Good, damn good?

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Speaker 2: Hello? How are you?

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Speaker 4: I am living the American dream? Friend, living the American.

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Speaker 2: In sugar Steve?

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Speaker 5: Yes, how's everybody doing? I've got a couple of bosses

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Speaker 5: in here in this so I'm going to behave.

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Speaker 3: I got a few bosses too in here. Shout out

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Speaker 3: to my boy John Landau. Who's listening? Wait is umbe Bill?

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Speaker 2: Like? Did he go off for cigarettes and didn't tell us?

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Speaker 2: Or just that man is working?

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Speaker 1: Man? I think he's just.

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Speaker 4: Working on another Tony Award winning production that's coming soon.

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Speaker 2: I think, yes, I know, okay, okay.

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Speaker 3: Well, ladies and gentlemen, this is a quest left supreme,

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Speaker 3: and I will simply say that our guest today is

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Speaker 3: one of the great master storytellers. He is one of

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Speaker 3: the most respected and well loved craftsman of song. He's

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Speaker 3: literally the embodiment of the working class hero, the everyday American,

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Speaker 3: you know, representative of the people. And he's basically giving

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Speaker 3: us the honor today of celebrating with him the release

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Speaker 3: of his twenty first twenty first album entitled Only the

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Speaker 3: Strong Survive. And if that idiom is familiar to you

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Speaker 3: and you're a soul record aficionado, and then you pretty

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Speaker 3: much know that that classic was pinned by I'm from Philadelphia,

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Speaker 3: so any chance to pick up Kenny Gamble, Leon Huff

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Speaker 3: And of course Chicago's owned the iceman Jerry Butler. That's

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Speaker 3: where that song title derived from. That classic song. And

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Speaker 3: you know, our guest today has basically been bestowed with

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Speaker 3: every honor worth having in this field. Over one hundred

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Speaker 3: and thirty five million LP sold, twenty Grammys.

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Speaker 2: He has an Oscar Tony two Golden Globes, shit. All

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Speaker 2: he needs is to Emmy to get his egot.

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Speaker 1: I sound like I'm in trouble. My wife just want

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Speaker 1: one to know she got the Emmy, all right, So

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Speaker 1: he got all right.

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Speaker 3: So as a combination, as one, we got egot status.

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Speaker 2: Here.

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Speaker 3: You're also in the Rock and Roll Hall of Fame

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Speaker 3: and Songwriters Hall of Fame Kennedy Center Honor. You receive

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Speaker 3: the Presidential Metal Freedom. All this before the ripe old age.

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Speaker 2: Of twenty one. So everything, yeah, pretty much. Let me

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Speaker 2: just say, let me just say that I literally my

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Speaker 2: very first Springsteen show.

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Speaker 3: I literally saw this man climb the speakers and the

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Speaker 3: wall of the Apollo Theater to the balcony level and

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Speaker 3: twenty years my senior. So that means I gotta step

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Speaker 3: my game up. And gentlemen, please please please please welcome

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Speaker 3: the one and only the Boss, Bruce Frederick Joseph Springsteen.

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Speaker 1: You got my Yes, you have my and you have

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Speaker 1: my confirmation name. I come from a long line of Fredericks.

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Speaker 1: That was my dad and my grandfather. We were all Fredericks. Wow.

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Speaker 3: So first, first of all, you know, congrats on the

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Speaker 3: new album. I always wanted to know, how do you

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Speaker 3: determine the pivot or the direction.

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Speaker 2: Of how an album will go.

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Speaker 3: Like, I love when artists, you know, they feed their

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Speaker 3: fan base what their fan base needs and what well,

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Speaker 3: what their fan base wants, and then sometimes you have

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Speaker 3: to give them what they need and what they don't expect,

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Speaker 3: and you're often known, you know, it's it's almost like

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Speaker 3: a push and pull where we will get that classic

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Speaker 3: Jersey Springsteen sound, but then you'll do a departure record

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Speaker 3: like a Nebraska or The Ghost of Tom Joe, that

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Speaker 3: sort of thing. So for you, what was the sort

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Speaker 3: of mind state of where you wanted to go for

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Speaker 3: this album?

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Speaker 1: Well, I knew I was done writing for a while,

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Speaker 1: so that had a lot to do with it. I

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Speaker 1: made a record with the East Street Band called A

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Speaker 1: Letter to You, and I hadn't written for the band

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Speaker 1: in quite a few years. And then I wrote most

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Speaker 1: of that record in about a week and a half

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Speaker 1: for two weeks, and we made it in four days.

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Speaker 1: And it was very Yeah, it was very summational. It

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Speaker 1: was sort of like this was my story up to

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Speaker 1: this point, and it just felt like and we made

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Speaker 1: a film that went with it, and it felt like

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Speaker 1: after that, I just felt like, well, I'm done. I

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Speaker 1: don't have anything I feel I want to write about

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Speaker 1: at the moment, so we're in the middle of COVID.

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Speaker 1: And also I enjoyed the act of recording. I like

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Speaker 1: being in the studio, you know, making sounds, and so

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Speaker 1: basically I started it was like, well, maybe i'll record

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Speaker 1: some things I haven't written, which I haven't done very much.

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Speaker 1: I did a sort of an Americana record called Secret

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Speaker 1: Sessions a while back, but I but I hadn't you know,

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Speaker 1: I'm usually writing my own material, so this was an instance.

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Speaker 1: We said, well, I'm going to try and sing some

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Speaker 1: other things, you know, and so I just started doing that.

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Speaker 1: I just coming in the studio, taking a song and

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Speaker 1: seeing what my voice sounded like like like on it.

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Speaker 1: And I made a record with basically sort of singer

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Speaker 1: songwriter overtones or some rock overtones, and I put it away.

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Speaker 1: It was pretty much I recorded all of it. We

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Speaker 1: didn't mix it, but when I listened back to it,

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Speaker 1: it wasn't focused enough. So some way or another, I

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Speaker 1: ended up recording this dude, Frank Wilson's Do I Love You?

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Speaker 1: And if people know Motown, they know Frank Wilson was

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Speaker 1: more in the back line of Motown, but he did

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Speaker 1: sing and perform, and he was a great singer, songwriter

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Speaker 1: and producer and performer. And so we had this this

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Speaker 1: cut that was a hit in the northern soul scene

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Speaker 1: in England, right where they sort of dig up a

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Speaker 1: lot of unusual motown records and unusual soul records, and

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Speaker 1: so this was a It was well known in that scene,

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Speaker 1: but in the States it really wasn't known at all.

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Speaker 1: And I said, this is an incredible song. So I'm

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Speaker 1: just gonna see if I can get up in that

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Speaker 1: vicinity where Frank Wilson was singing and see if I

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Speaker 1: can sing it, and if we can get a production

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Speaker 1: that is powerful enough to stand up to, of course

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Speaker 1: the fab incredible Motown records, you know. So we cut

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Speaker 1: that and I felt like I touched on or something.

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Speaker 1: And then we did a few other I think I

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Speaker 1: did when she was My Girl the four Tops. The

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Speaker 1: Tops record that they had a big hit after they

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Speaker 1: left Motown, and I said, oh, that's fun. I had

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Speaker 1: a little disco thing to it, and and and uh,

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Speaker 1: I'm kind of in the range of Levi, you know,

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Speaker 1: of Levi Stubbs. I mean, I can't sing like him,

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Speaker 1: but I'm in I'm in his.

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Speaker 3: Range, So yeah.

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Speaker 1: I got that gruff baritone, so I can sing those

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Speaker 1: songs in those keys. And uh so I started to

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Speaker 1: just you know, I cut two or three soul things

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Speaker 1: and and and and it felt very focused and fresh

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Speaker 1: and like I hadn't done it before. And it also

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Speaker 1: focused on my voice, which is something I haven't given

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Speaker 1: a lot of focus to. Usually on the records, I'm

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Speaker 1: I'm focusing on my songwriting, if the lyrics are any good,

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Speaker 1: if the song's powerful enough, and then my voice is

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Speaker 1: there in service of that material, of of my songwriting

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Speaker 1: and of my production, and and it's it's usually I

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Speaker 1: don't start voice first and think, oh, what's gonna sound

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Speaker 1: great me singing? But in this case, I got a

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Speaker 1: chance to say, Okay, I'm gonna just use my voice

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Speaker 1: as as the measuring stick of where I'm going to go,

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Speaker 1: and if I can sing something well in this genre,

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Speaker 1: I'm gonna take a swing at it and have some

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Speaker 1: fun with it. But it really began as a result

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Speaker 1: of sort of feeling like I was done writing for

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Speaker 1: a while and I'd finished sort of what I had

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Speaker 1: to say with with my band for a moment and

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Speaker 1: then looking just for something to do to stay active

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Speaker 1: and engaged, and and and keep the conversation going with

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Speaker 1: my audience and my fans, and and just have some fun.

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Speaker 1: Just have some fun with it. Okay.

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Speaker 3: So you mentioned something with the when you talked about

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Speaker 3: the Secret Sessions, which was that you recorded it in

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Speaker 3: four days.

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Speaker 1: Now that was a letter to you. I recorded, Yes,

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Speaker 1: secret Sessions. We actually recorded very quickly also, but but

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Speaker 1: and and live as was a letter to you.

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Speaker 3: So I have a question about that process because you know,

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Speaker 3: currently right now I'm probably in the worst place where

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Speaker 3: an art can be, which is like I'm on the

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Speaker 3: ninth year of working on the same album.

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Speaker 1: I've been there now nine I haven't been nine years,

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Speaker 1: but I've been years. So I have a little bit

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Speaker 1: of a feeling where you're coming from.

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Speaker 3: But the thing is is that when you when you

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Speaker 3: turn in an album in four days, well, first I

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Speaker 3: got to know is that your own accord or is

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Speaker 3: that John on your shoulders? Like, yo, you got a

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Speaker 3: weekend to finish this ship?

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Speaker 1: And then no, no, we never play it like that.

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Speaker 1: We we always play it like nobody cares how quick

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Speaker 1: you made that record. The day it came out. If

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Speaker 1: you rush to make a bad record, why would you

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Speaker 1: do that? You know, I mean, what a bad record?

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Speaker 1: That's all? What's it mean to your fans? And yeah,

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Speaker 1: and your your audience if you if you're hurrying up

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Speaker 1: and get a bad record out there, why so you

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Speaker 1: can go on to you know, it just doesn't. It

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Speaker 1: never made sense to me, and I never did it

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Speaker 1: right from when I was in my early twenties. If

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Speaker 1: it took me a year, I took a year. If

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Speaker 1: it took me a month, that took a month. If

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Speaker 1: it took me a few days, I made it in

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Speaker 1: a few days. And I made records all across that

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Speaker 1: spectrum where it took me years and where it took

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Speaker 1: me just days to put them out. And it depends

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Speaker 1: on the album, the record itself. It's quality. When I

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Speaker 1: feel like I've achieved what I was after, then I

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Speaker 1: put the record out.

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Speaker 3: Like at least with me, I feel like at least

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Speaker 3: need to let it simmer for maybe a month or

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Speaker 3: so before I feel different about it, Like I'm excited

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Speaker 3: about it when I you know, when you drive home

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Speaker 3: and you got bet rough picks in the final mix,

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Speaker 3: and you're excited and you played a billion times, and

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Speaker 3: you test it for everyone, and then there have been

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Speaker 3: times where like maybe two months later.

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Speaker 2: I don't I don't get those goosebumps anymore.

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Speaker 3: And then I readjust the song and then do something different.

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Speaker 3: It doesn't it doesn't scare you to quickly execute something

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Speaker 3: that fast.

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Speaker 1: And well, I listen to my ears, you know, my

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Speaker 1: ears are telling me it's good. Then I believe them,

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Speaker 1: you know. And then I have I also have John

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Speaker 1: is my is my sounding board. So I play something

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Speaker 1: for him and he'll say yeah, yes, no, He'll give

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Speaker 1: me his opinion about it. So we've had a forty

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Speaker 1: five year partnership where we've done that every single record,

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Speaker 1: you know, for a very long time, you know. And

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Speaker 1: so we you know, so we have a sort of

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Speaker 1: a system. And of course I have the band and

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Speaker 1: and you know, they have their feelings and opinions and

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Speaker 1: and so I just play it. I play it like that.

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Speaker 1: And also you have a certain amount of time it

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Speaker 1: takes just for the record company to get ready to

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Speaker 1: release it, whether it's two or three months or so.

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Speaker 1: And if I'm not sure, I'll just sit on it.

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Speaker 1: If I'm sure, I put it out. And if it's good,

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Speaker 1: then I'm sure. But if I'm not sure, if I'm

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Speaker 1: sort of like I'm in the middle, I just sit

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Speaker 1: on it and I wait. I wait for it to

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Speaker 1: speak to me. I'm always just listening, listening, listening, listening

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Speaker 1: for the music to speak to me, to tell me

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Speaker 1: what it is, what it wants to be, what's the

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Speaker 1: relationship between my fans and I that the record is

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Speaker 1: going to inspire or instigate? You know, where is it

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Speaker 1: going to take our conversation next? So I you know,

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Speaker 1: I reasonably trust my ears, and if I get it

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Speaker 1: done in a short period of times, then then it's

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Speaker 1: all all for the better, you know. But if it

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Speaker 1: takes time, I'll take.

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Speaker 2: It, okay.

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Speaker 3: So you're a band leader of not just these arbitrary

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Speaker 3: group of musicians, but you know, you're probably one of

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Speaker 3: the last acts in which your fan base knows every

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Speaker 3: last band member, almost every solo you know, like, you know,

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Speaker 3: they have their favorites and whatnot.

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Speaker 2: So, as a band leader that has a well loved fan.

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Speaker 3: Base of people that have mined your musicians, how exactly

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Speaker 3: does your band get the news.

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Speaker 2: That you wanna that you want to do a solo flight?

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Speaker 3: You know, like even though I guess the first time

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Speaker 3: you did it was with Nebraska, correct.

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Speaker 1: Yes, you know, and that was by accident, so I

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Speaker 1: didn't know I was doing it at the time, but

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Speaker 1: I did. But I mad linking that record.

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Speaker 3: Yeah, But I mean, do you just tell them like

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Speaker 3: a laid back guys, like I'm I'm gonna do this

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Speaker 3: one alone or do you have to have a meeting?

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Speaker 1: And I think this record came up where it was

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Speaker 1: like we we cut Letter to You, had an incredible time,

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Speaker 1: probably the best sessions I've ever done with the East

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Speaker 1: Street Band in the studio. We made it in no time.

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Speaker 1: We did two songs a day, every day, and we

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Speaker 1: very very minimal, minimal, minimal overdubs. A guitar solo here,

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Speaker 1: a guitar solo there. So of course, yeah, all live singing, vocals,

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Speaker 1: vocals too, everything, everything, everything is cut live in the studio,

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Speaker 1: singing playing, no overdubs. What was the reasoning behind that,

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Speaker 1: It's just how it worked out. I was assuming I

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Speaker 1: was going to re sing the vocals, and then when

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Speaker 1: I went to re sing them, they weren't as good

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Speaker 1: as what I cut live, and so I left them.

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Speaker 1: You know, it was pretty basic you know. So uh

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Speaker 1: after that, I assumed, well, I'll do something else with

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Speaker 1: the band, because you know, we had such a great time,

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Speaker 1: but the music just doesn't work like I have to.

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Speaker 1: Like I said, I'm not telling I'm listening, you know,

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Speaker 1: I'm I'm not I'm not telling my talents where to

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Speaker 1: go or or I'm listening to where they're telling me

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Speaker 1: they want to go, you know, and and what I

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Speaker 1: might be good at next. So on this record, I

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Speaker 1: remember having a little conversation with Steven just see you

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Speaker 1: know Steve. He said, well, we were gonna, you know,

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Speaker 1: we're talking about how we were gonna do a covers record.

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Speaker 1: And then I realized, well, the covers record was a

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Speaker 1: whole other thing. And it was once again I'm back

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Speaker 1: into cutting a lot of material and choosing some of it.

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Speaker 1: Like on the band record Letter to You, I used

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Speaker 1: everything I cut, but on this on this record, I

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Speaker 1: cut a lot of material and I choose just some

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Speaker 1: of it.

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Speaker 4: You said you swung a lot of times to figure

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Speaker 4: out which record you wanted. I was wondering how you

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Speaker 4: narrowed the process down.

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Speaker 1: Yeah, you know, so this was a record where I

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Speaker 1: know it was gonna take me a lot of concentrated

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Speaker 1: studio time, and the guys at this point sort of

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Speaker 1: we don't go in and spend a year in a

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Speaker 1: studio like we used to. You know that that's sort

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Speaker 1: of so. So it ended up being me and my

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Speaker 1: producer ron An Yellow and our engineer Rob Lubray, and uh,

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Speaker 1: we kind of just started doing quote of course demos

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Speaker 1: and then devilones end up being what you end up releasing,

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Speaker 1: you know. Of course this has happened to me many times.

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Speaker 1: The band is used to this happening to me at

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Speaker 1: this point, and it's a give and take a process

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Speaker 1: that we're used to recording with the band recording some

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Speaker 1: solo music, you know, and I don't know where it's

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Speaker 1: going next myself, like I said, I'm listening to find

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Speaker 1: out also, like the audience is.

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Speaker 4: I just wanted to know how many songs are on

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Speaker 4: the floor, like how many didn't make it?

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Speaker 1: A lot and probbly on this record there was probably

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Speaker 1: well there's fifteen on I don't even want to think

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Speaker 1: how many are how many were off any idea?

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Speaker 4: Rob?

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Speaker 1: Huh say that again? Forty? Yeah? Oh so there was

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Speaker 1: so there was forty. So in other words, I put

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Speaker 1: out fifteen and I left forty down. Yeah, so I

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Speaker 1: you know, trying to find out what is going to

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Speaker 1: be the best record, you know, or have to make

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Speaker 1: the most sense to me and my audience, you know.

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Speaker 1: So that's not unusual. I've made records where I've cut

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Speaker 1: seventy songs, eighty songs, and you know, they come out

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Speaker 1: on sets in different places where. But on this particular record,

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Speaker 1: there were forty songs we left we left in the can.

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Speaker 2: Okay.

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Speaker 3: So since this album is essentially kind of at least

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Speaker 3: the spirit of it is a return to the music

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Speaker 3: that you kind of fell in love with in your childhood, sure,

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Speaker 3: I guess I'll start with the first question I asked

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Speaker 3: every guest on the show, even though this is like

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Speaker 3: the fourth question.

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Speaker 2: What was your what was your very first musical memory?

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Speaker 1: My first musical memory was Disney Records. What was these

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Speaker 1: seven snow White and the seven Doors? Wow? Hi ho,

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Speaker 1: hi hole, it's we go. So my first recollection was

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Speaker 1: something like that, you know, or you know those little

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Speaker 1: yellow records that played on seventy eight speed. I don't

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Speaker 1: know if you guys are old enough to remember these,

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Speaker 1: Oh no, I remember, yeah, but they were a little

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Speaker 1: seventy eight, so it's you know, a kid colors, red, yellow, blue,

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Speaker 1: and they played at seventy eight and they were basically

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Speaker 1: themes from movies. So that would be my first real

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Speaker 1: musical memory as a child. But after that, my mother

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Speaker 1: was young, she had me when I was when she

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Speaker 1: was in her early twenties. She played the radio. She

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Speaker 1: had the radio on all time every day, you know,

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Speaker 1: in the car and in the kitchen, and she listened

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Speaker 1: to Top forty and so right from a very young age,

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Speaker 1: I was exposed to like the great music of the

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Speaker 1: fifties and that sort of was where what kind of

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Speaker 1: inspired me, you know, And really I'm basically a Top

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Speaker 1: forty influence musician. That's how I kind of grew up.

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Speaker 1: And I started there and then I went searching in

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Speaker 1: blues and folk in a lot of different other places

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Speaker 1: for influences, but really I started out just listening to

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Speaker 1: Top forty on the radio.

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Speaker 3: That's a little unusual though, because I would think, I mean,

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Speaker 3: I would consider you maybe like the second generation of

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Speaker 3: rock and roll. So you're not, I mean, you're not

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Speaker 3: exactly a greaser. And I know that you in your

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Speaker 3: teen years. You know, it was the late sixties. But

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Speaker 3: it's very unusual for me to see not not agreeable,

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Speaker 3: but at least an amicable musically amicable environment in the household,

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Speaker 3: because normally, like the music of the kid is rebellious music,

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Speaker 3: and the parents turn that shit, you know, right, But

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Speaker 3: you're you're saying that your your parents weren't like that

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Speaker 3: at all, like, babe, Well, my.

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Speaker 1: Dad was a bit like that, but my mother, no,

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Speaker 1: she was a young woman and she was into Uh,

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Speaker 1: you know, we're Southern Italians, which means we like music,

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Speaker 1: we can sing, and we can perform. Where that come

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Speaker 1: where they come from. You know, if you're coming from

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Speaker 1: Southern Italy where I'm where I'm from only a generation

382
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Speaker 1: or two removed, so I'm on that side of my family,

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Speaker 1: I'm a I'm a new American okay, and you know,

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Speaker 1: so uh, if you're coming from there, and as the

385
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Speaker 1: whole side of my family did, they were all you know,

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Speaker 1: singers and dancers and and and all of that went on.

387
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Speaker 1: You know.

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Speaker 3: So since you mentioned it, of those forty songs that

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Speaker 3: are on the floor, is one of those songs, what's

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Speaker 3: the song?

391
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Speaker 2: See wiggle waggle Oh.

392
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Speaker 1: No, wiggle wobble Man wiggle wobble. You played a hell

393
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Speaker 1: of a version of wiggle wobble on the air that night.

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Speaker 3: To this day, I'll say that, you know, I've been

395
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Speaker 3: on I've been on The Tonight Show for for you know,

396
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Speaker 3: thirteen years, and of course you and I know that.

397
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Speaker 3: What's weird because I don't think he does his Springsteen

398
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Speaker 3: impression in front of you as much as when you're

399
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Speaker 3: not there. But that that wiggle wobble moment during the commercial, Now,

400
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Speaker 3: I gotta explain back when I think you were celebrating.

401
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Speaker 2: Was it was it darkness that was born?

402
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Speaker 1: It was a box that was the anniversary of Darkness.

403
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Speaker 3: Yeah, right, And so you know, you, you and Steven

404
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Speaker 3: were basically just reminiscing of like the singles and the

405
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Speaker 3: forty fives that really bonded you two together. And that

406
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Speaker 3: to me, that was the first time that you know,

407
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Speaker 3: usually when when a guest mentions a song or that

408
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Speaker 3: sort of thing during the segment, the roots basically.

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Speaker 2: Have like one minute to learn that song, Like I'm

410
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Speaker 2: already on YouTube and we're repressed, right.

411
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Speaker 3: So, but that was such a that was such a

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Speaker 3: moment for Jimmy, Like he still tells, I hear that

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Speaker 3: I hear that story like once a week for the

414
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Speaker 3: last or like literally he only tells that story about

415
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Speaker 3: how excited you were about I was.

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Speaker 1: I mean, come on, it's not that well known a record,

417
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Speaker 1: even though it was a hit man. You guys nailed

418
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Speaker 1: it in about sixty seconds. So that for a band leader.

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Speaker 1: For a band leader, that's impressive. See.

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Speaker 3: Well, you know, I'm also a kid of hip hop,

421
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Speaker 3: in which you have to know songs, you know, as

422
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Speaker 3: a producer, and so like Herbie Hancock did a cover

423
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Speaker 3: that on one of his one of his albums. So well,

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Speaker 3: speaking of which, do you remember the first album that

425
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Speaker 3: you purchased with your own money? Not like album that's

426
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Speaker 3: already in the house, but like I gotta have this,

427
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Speaker 3: like first album and first forty.

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Speaker 1: Five first album, believe it or not. I think I

429
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Speaker 1: bought an album of surf rock because I liked the

430
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Speaker 1: picture on the cover. There was a guy surfing some

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Speaker 1: hundred foot wave and and and so it was it

432
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Speaker 1: was like a dollar ninety nine or something. It was

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Speaker 1: really it was a knockoff record and it was really

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Speaker 1: kind of cheap, and I bought it. It might have

435
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Speaker 1: had some dig Dale on it, you know, King of

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Speaker 1: It might have had some it might have had some

437
00:24:17,640 --> 00:24:20,760
Speaker 1: Dick Dale. So I brought that home and that was

438
00:24:20,800 --> 00:24:25,439
Speaker 1: my first album. I think after that, really my album

439
00:24:25,800 --> 00:24:30,840
Speaker 1: buying began with the British Invasion, I would say, you know,

440
00:24:30,960 --> 00:24:33,520
Speaker 1: that was when I started to really, you know, my

441
00:24:33,600 --> 00:24:38,160
Speaker 1: album buying began when albums began to sell really, which

442
00:24:38,200 --> 00:24:41,120
Speaker 1: really was the mid sixties. You know, when suddenly albums

443
00:24:41,160 --> 00:24:44,600
Speaker 1: became the currency of the day and of the moment,

444
00:24:45,200 --> 00:24:47,520
Speaker 1: and if you were going to make a name or

445
00:24:49,000 --> 00:24:51,560
Speaker 1: for yourself, you know, you were you were putting out

446
00:24:52,400 --> 00:24:55,760
Speaker 1: not necessarily concept records, but but full records, records that

447
00:24:56,119 --> 00:24:59,480
Speaker 1: were you know, where it wasn't filled with a lot

448
00:24:59,480 --> 00:25:04,679
Speaker 1: of fodder, you know. So and plus it was a

449
00:25:04,720 --> 00:25:06,320
Speaker 1: time when I started to have to get a little

450
00:25:06,400 --> 00:25:08,320
Speaker 1: money of my own because I was playing in the band,

451
00:25:08,680 --> 00:25:10,640
Speaker 1: so I had a few bucks and I was able

452
00:25:10,640 --> 00:25:12,600
Speaker 1: to purchase a record on my own back in the

453
00:25:12,720 --> 00:25:15,920
Speaker 1: in the mid sixties when I was fifteen sixteen years old.

454
00:25:15,960 --> 00:25:19,720
Speaker 5: Okay, since we're on records, me and questl are big

455
00:25:19,760 --> 00:25:23,639
Speaker 5: record collectors and so forth. As your the records you

456
00:25:23,680 --> 00:25:26,199
Speaker 5: bought back then, have they survived today? What does your

457
00:25:26,200 --> 00:25:28,280
Speaker 5: record collection look like now, does it include all that

458
00:25:28,359 --> 00:25:28,959
Speaker 5: old stuff?

459
00:25:29,280 --> 00:25:31,919
Speaker 1: No, you know, I had my forty fives for a

460
00:25:32,040 --> 00:25:34,560
Speaker 1: long time, and they were at my they were at

461
00:25:34,640 --> 00:25:37,600
Speaker 1: my mother's house for many many years. I could go

462
00:25:37,640 --> 00:25:40,119
Speaker 1: in and visit my little stack of forty fives. And

463
00:25:40,160 --> 00:25:43,080
Speaker 1: then at one time I had obviously a huge album collection.

464
00:25:43,440 --> 00:25:46,320
Speaker 1: I have no idea where it went, where my socks went.

465
00:25:49,200 --> 00:25:52,000
Speaker 1: Wherever my record collection is, that's where all my missing

466
00:25:52,119 --> 00:25:58,800
Speaker 1: socks are. So so it's it's somewhere, you know, it's

467
00:25:58,840 --> 00:26:01,560
Speaker 1: all gone now now I'm like a lot of people. Hey,

468
00:26:01,600 --> 00:26:04,399
Speaker 1: I got my entire record collection from when I was

469
00:26:04,480 --> 00:26:08,119
Speaker 1: thirteen to when I was seventy three in my pocket

470
00:26:08,320 --> 00:26:14,200
Speaker 1: at all times. You're a streaming guy, I I keep

471
00:26:14,240 --> 00:26:14,639
Speaker 1: it with me.

472
00:26:14,720 --> 00:26:19,960
Speaker 6: Yes, I had a specific question. Just tell me about

473
00:26:20,000 --> 00:26:23,600
Speaker 6: how you met Clarence Clemens and y'all's creative relationship over

474
00:26:23,640 --> 00:26:24,000
Speaker 6: the years.

475
00:26:24,000 --> 00:26:30,240
Speaker 1: Man, I was looking for a saxophone player because my

476
00:26:30,400 --> 00:26:33,880
Speaker 1: roots came out of, you know, out of show bands

477
00:26:34,200 --> 00:26:38,040
Speaker 1: which visited the Jersey Shore in the midsummer, because just

478
00:26:38,160 --> 00:26:41,120
Speaker 1: Asbury Park was like a cheesy sort of Fort Lauderdale,

479
00:26:41,520 --> 00:26:43,760
Speaker 1: and so there was a lot of top forty music.

480
00:26:43,960 --> 00:26:47,320
Speaker 1: There were a lot of show bands, and a lot

481
00:26:47,320 --> 00:26:49,440
Speaker 1: of our influences came and they were playing a lot

482
00:26:49,480 --> 00:26:52,320
Speaker 1: of soul music. So a lot of our influences came out,

483
00:26:52,560 --> 00:26:56,320
Speaker 1: came from those places. And so Clarence was in a

484
00:26:56,359 --> 00:27:01,560
Speaker 1: band called Little Melvin and the Invaders, and they played

485
00:27:01,600 --> 00:27:04,800
Speaker 1: in locally in clubs. I think Gary Townon played bass

486
00:27:04,840 --> 00:27:08,640
Speaker 1: with my bass player, and uh, but I was looking

487
00:27:08,680 --> 00:27:12,040
Speaker 1: for a saxophonist, and it was hard to find somebody

488
00:27:12,359 --> 00:27:17,000
Speaker 1: who was really into blowing rhythm and blue saxophone or

489
00:27:17,119 --> 00:27:21,600
Speaker 1: rocks rock and roll saxophone. Uh. And there were a

490
00:27:21,600 --> 00:27:23,520
Speaker 1: couple of guys in the area, you know, one guy's

491
00:27:23,560 --> 00:27:26,600
Speaker 1: too crazy and other guy's not quite good enough. And

492
00:27:26,800 --> 00:27:31,480
Speaker 1: uh uh, So I had sort of I had a

493
00:27:31,520 --> 00:27:34,560
Speaker 1: couple of R and B influenced tunes that Clive Davis

494
00:27:34,800 --> 00:27:37,679
Speaker 1: got me to write at the last minute before we

495
00:27:37,720 --> 00:27:39,840
Speaker 1: put my first record out, because he said I had

496
00:27:39,920 --> 00:27:42,960
Speaker 1: nothing that would be played on the radio. So I

497
00:27:43,040 --> 00:27:46,919
Speaker 1: went home and I wrote two songs from my first record,

498
00:27:47,400 --> 00:27:50,080
Speaker 1: and they were both you know, they were both R

499
00:27:50,119 --> 00:27:53,560
Speaker 1: and B influenced, and a song called Spirit the Night

500
00:27:53,560 --> 00:27:55,359
Speaker 1: and a song called Blinded by the Light. There on

501
00:27:55,440 --> 00:27:58,800
Speaker 1: my first album, and I found Clarence to play on

502
00:27:58,840 --> 00:28:02,000
Speaker 1: those two songs. He had been missing in action the

503
00:28:02,200 --> 00:28:07,280
Speaker 1: entire album until finally one night he walked into this

504
00:28:07,400 --> 00:28:09,760
Speaker 1: place I was playing called the Student Prince in Asbury

505
00:28:09,840 --> 00:28:12,320
Speaker 1: Park and he just came from the back of the room,

506
00:28:12,400 --> 00:28:14,600
Speaker 1: this big presence, and he walked up to me and

507
00:28:14,640 --> 00:28:17,160
Speaker 1: I was just on this little, tiny stage with my guitar.

508
00:28:17,200 --> 00:28:19,159
Speaker 1: I said, can I sit in? I said, sure, he

509
00:28:19,280 --> 00:28:22,760
Speaker 1: got up, he sat in. It was a stormy night,

510
00:28:22,840 --> 00:28:26,000
Speaker 1: there was nobody there in the club, you know, thirty people,

511
00:28:26,080 --> 00:28:30,480
Speaker 1: twenty people, And the minute he started playing beside me,

512
00:28:30,560 --> 00:28:35,920
Speaker 1: I said, okay, we have some there's some connection going

513
00:28:35,960 --> 00:28:38,960
Speaker 1: on here. This is the guy I've been looking for

514
00:28:38,960 --> 00:28:42,520
Speaker 1: for a large portion of my life. And maybe he

515
00:28:42,560 --> 00:28:45,240
Speaker 1: felt the same way, you know, because we just connected.

516
00:28:45,800 --> 00:28:49,440
Speaker 1: And so we just met Rainy Knight Asbury Park, and

517
00:28:49,760 --> 00:28:52,880
Speaker 1: after that he came to the studio and sat in

518
00:28:52,920 --> 00:28:55,200
Speaker 1: on those two cuts, and then you know, we eventually

519
00:28:55,320 --> 00:28:55,960
Speaker 1: joined the band.

520
00:28:56,480 --> 00:29:00,520
Speaker 3: I love how you just casually mentioned mind to buy

521
00:29:00,560 --> 00:29:03,320
Speaker 3: the Light, like that's not a staple.

522
00:29:03,920 --> 00:29:05,760
Speaker 2: It's like, yeah, you know, I had a song called

523
00:29:05,760 --> 00:29:06,360
Speaker 2: when Dove's Crow.

524
00:29:06,320 --> 00:29:09,320
Speaker 3: I don't know if you guys heard of right, right, right, No,

525
00:29:09,560 --> 00:29:14,640
Speaker 3: But I personally wanted to know, like I know, the

526
00:29:14,680 --> 00:29:21,040
Speaker 3: story of at least how the blues had an effect.

527
00:29:20,400 --> 00:29:21,320
Speaker 2: Across the pond.

528
00:29:22,000 --> 00:29:24,600
Speaker 3: You know, for a lot of your contemporaries that were

529
00:29:24,600 --> 00:29:29,200
Speaker 3: part of the British invasion. You know, these bluesmen are

530
00:29:29,200 --> 00:29:34,240
Speaker 3: now finding second when second life over touring in Europe

531
00:29:34,360 --> 00:29:36,560
Speaker 3: during the Army basis and whatnot. And of course, like

532
00:29:37,640 --> 00:29:41,360
Speaker 3: teenage Stones, teenage Beatles see this and then suddenly the

533
00:29:41,360 --> 00:29:45,080
Speaker 3: British invasion music is in foregmed. But you know, I

534
00:29:45,120 --> 00:29:49,200
Speaker 3: don't think I've ever had an interaction with someone, you know,

535
00:29:49,320 --> 00:29:54,640
Speaker 3: on American soil on how what music affected them. So

536
00:29:54,960 --> 00:29:57,520
Speaker 3: for me, it's I always wanted to know.

537
00:30:00,360 --> 00:30:02,480
Speaker 2: For your for your uh.

538
00:30:03,960 --> 00:30:11,120
Speaker 3: Formative years, at least what effect did uh Movetown and

539
00:30:11,200 --> 00:30:15,200
Speaker 3: Soul and James Brown and all of these, all these

540
00:30:15,200 --> 00:30:19,800
Speaker 3: songs by like black artists have on you in Jersey

541
00:30:19,880 --> 00:30:23,720
Speaker 3: at the time, Like was it controversial to have or

542
00:30:23,880 --> 00:30:26,720
Speaker 3: was it you know, because you know you're also coming

543
00:30:26,760 --> 00:30:28,640
Speaker 3: of age in the civil rights period as.

544
00:30:28,560 --> 00:30:31,720
Speaker 1: Well, right right, you know, And well here's how it

545
00:30:31,800 --> 00:30:35,440
Speaker 1: went on your bi monthly dance at the high school,

546
00:30:36,120 --> 00:30:39,880
Speaker 1: right you go, everybody's in their corners of the room. Right.

547
00:30:39,960 --> 00:30:43,840
Speaker 1: You got the raw Ras, the college bound kids over here,

548
00:30:44,280 --> 00:30:47,040
Speaker 1: you got your your black kids over here, you got

549
00:30:47,040 --> 00:30:52,360
Speaker 1: your leather greasers over here there over there, you know,

550
00:30:52,920 --> 00:30:56,440
Speaker 1: And so U du Opkis play, the greasers come out

551
00:30:56,480 --> 00:30:58,480
Speaker 1: and they got their girls and they're on the floor.

552
00:30:58,840 --> 00:31:01,440
Speaker 1: You get surf music are some of the top forty

553
00:31:01,480 --> 00:31:03,680
Speaker 1: early beatles. You get the raw Rose come out on

554
00:31:03,680 --> 00:31:10,480
Speaker 1: the floor. You know. But when Motown played, everybody came out,

555
00:31:11,040 --> 00:31:14,400
Speaker 1: everybody dance. It was the miracle of that music. It

556
00:31:14,440 --> 00:31:18,120
Speaker 1: remains a miracle of that music to this day. Everybody danced,

557
00:31:18,160 --> 00:31:22,440
Speaker 1: you know. So and our job at the times, we're

558
00:31:22,480 --> 00:31:24,920
Speaker 1: top forty cover band, just like everybody else. You know,

559
00:31:25,120 --> 00:31:27,720
Speaker 1: we're not necessarily playing all the top forty. We're playing

560
00:31:27,760 --> 00:31:29,160
Speaker 1: a lot of blues, and we're playing a lot of

561
00:31:29,200 --> 00:31:32,920
Speaker 1: soul music and things that we're just picking up from

562
00:31:32,960 --> 00:31:36,200
Speaker 1: our albums also, but we're also playing a reasonable amount

563
00:31:36,280 --> 00:31:39,200
Speaker 1: of top forty music just to get gig book that

564
00:31:39,200 --> 00:31:42,040
Speaker 1: your high school dances. When they would call you to

565
00:31:42,160 --> 00:31:45,840
Speaker 1: book you, they would say, can you play soul man?

566
00:31:46,160 --> 00:31:50,200
Speaker 1: Can you play satisfaction? Then if you can't play those songs,

567
00:31:50,400 --> 00:31:52,520
Speaker 1: you're not gonna get the gig. You know, somebody else

568
00:31:52,560 --> 00:31:54,640
Speaker 1: who can play them is gonna get them get it.

569
00:31:54,720 --> 00:31:59,280
Speaker 1: And so, you know, every week you learned a two

570
00:31:59,360 --> 00:32:03,680
Speaker 1: or evolving door of two or three new things, depending

571
00:32:03,720 --> 00:32:06,840
Speaker 1: on what hit that week, and whether it was black

572
00:32:07,000 --> 00:32:09,880
Speaker 1: white music or white music. You just learned what was hitting,

573
00:32:10,360 --> 00:32:12,800
Speaker 1: you know. And of course you know, so Motown was had.

574
00:32:13,040 --> 00:32:16,560
Speaker 1: I mean, Holland does your Holland and they had incredible

575
00:32:16,960 --> 00:32:20,400
Speaker 1: you know, so so uh uh it was. It was

576
00:32:21,000 --> 00:32:24,280
Speaker 1: kind of basically like that it it. You didn't even

577
00:32:24,320 --> 00:32:26,800
Speaker 1: give that much thought to it at the time. You

578
00:32:26,920 --> 00:32:30,920
Speaker 1: just played what was hitting and uh and but through

579
00:32:31,040 --> 00:32:35,200
Speaker 1: doing that, you learn how Holland does your Holland. You

580
00:32:35,280 --> 00:32:38,320
Speaker 1: learned Lenen Lennon and McCartney a gamble and huff. You

581
00:32:38,320 --> 00:32:42,840
Speaker 1: had to learn the songs, that's it. You learned their structure,

582
00:32:42,920 --> 00:32:46,520
Speaker 1: you learn their chord structure, you learn their production techniques.

583
00:32:46,840 --> 00:32:50,120
Speaker 1: You learned you know, and and so uh one of

584
00:32:50,120 --> 00:32:54,240
Speaker 1: the greatest times we had on making this record was

585
00:32:54,280 --> 00:32:57,320
Speaker 1: we had to produce them all again. We had to

586
00:32:57,400 --> 00:32:59,680
Speaker 1: and and I didn't try to make them different. I

587
00:32:59,760 --> 00:33:03,040
Speaker 1: tried to make them the same, you know. I was

588
00:33:03,080 --> 00:33:07,080
Speaker 1: sticking to the original string parts, the original horn parts,

589
00:33:07,320 --> 00:33:12,280
Speaker 1: the original vocal parts. You know, really we changed obviously

590
00:33:12,480 --> 00:33:15,040
Speaker 1: you get a chance for a greater sound quality today

591
00:33:15,080 --> 00:33:17,480
Speaker 1: and my singer, and that was all we really did differently.

592
00:33:17,720 --> 00:33:20,800
Speaker 1: I wasn't interested in reinventing the wheel. That was kind

593
00:33:20,800 --> 00:33:24,520
Speaker 1: of perfect as it was, you know. So, so learning

594
00:33:24,560 --> 00:33:29,840
Speaker 1: your craft came through studying and learning week after week

595
00:33:29,880 --> 00:33:33,280
Speaker 1: after week all of these songs. The best bands to

596
00:33:33,360 --> 00:33:36,720
Speaker 1: this day are bands that that maybe began as cover

597
00:33:36,840 --> 00:33:41,560
Speaker 1: bands almost because you had to learn all different kinds

598
00:33:41,560 --> 00:33:46,400
Speaker 1: of music. Everybody's different writing techniques, everybody's different production techniques.

599
00:33:46,920 --> 00:33:50,760
Speaker 1: And we had so much fun making this record because

600
00:33:50,760 --> 00:33:53,600
Speaker 1: we were just remaking that. We got to remake those

601
00:33:53,920 --> 00:33:56,360
Speaker 1: records and going in and do a big string section

602
00:33:56,480 --> 00:33:59,800
Speaker 1: with a you know, players from the New York Philharmonica

603
00:34:00,040 --> 00:34:04,040
Speaker 1: and washing them play uh uh, only the strong survive

604
00:34:04,280 --> 00:34:07,840
Speaker 1: or or or or or some someday we'll be together,

605
00:34:08,000 --> 00:34:11,799
Speaker 1: you know. So it was just a tremendous, tremendously good

606
00:34:11,840 --> 00:34:17,359
Speaker 1: time just relearning that those incredible records. Again, did you.

607
00:34:17,880 --> 00:34:22,360
Speaker 2: Track and mix your entire album in your home studio?

608
00:34:23,320 --> 00:34:23,600
Speaker 1: Yes?

609
00:34:24,440 --> 00:34:26,279
Speaker 3: All right, I gotta know what kind of board are

610
00:34:26,360 --> 00:34:30,400
Speaker 3: you using because even with the mixing of the album,

611
00:34:30,719 --> 00:34:35,560
Speaker 3: it hints towards one could say, a vintage sound to it.

612
00:34:35,800 --> 00:34:37,719
Speaker 1: What are we working on most of the time, Rob,

613
00:34:38,920 --> 00:34:41,640
Speaker 1: this SSL? Yeah, on our SSL board.

614
00:34:42,280 --> 00:34:43,960
Speaker 2: Really I thought it.

615
00:34:43,880 --> 00:34:46,960
Speaker 1: Was okay, you thought what I thought?

616
00:34:46,960 --> 00:34:47,480
Speaker 2: It was a need?

617
00:34:48,400 --> 00:34:50,759
Speaker 1: Yeah, I was gonna say that, but I've worked on

618
00:34:50,840 --> 00:34:53,759
Speaker 1: many needs. But this is an SSL you know. So uh.

619
00:34:54,120 --> 00:34:57,000
Speaker 1: But the guys were really good at getting good sounds,

620
00:34:57,040 --> 00:35:02,040
Speaker 1: you know, and and getting authentic sounds. And the whole

621
00:35:02,080 --> 00:35:06,720
Speaker 1: record is it's just us three guys in the studio. Wow.

622
00:35:07,160 --> 00:35:08,040
Speaker 2: Can I ask a question.

623
00:35:08,080 --> 00:35:10,960
Speaker 4: I'm curious because I know that in the process usually

624
00:35:11,040 --> 00:35:13,680
Speaker 4: when people do cover songs, there's no contact between the

625
00:35:13,680 --> 00:35:16,120
Speaker 4: initial writers or artists or anything. But this is you.

626
00:35:16,480 --> 00:35:20,479
Speaker 4: This is Bruce Springsteen doing covers of Motown, gamble Huff

627
00:35:20,480 --> 00:35:23,279
Speaker 4: and everything. So I'm curious if And shout out to

628
00:35:23,560 --> 00:35:25,600
Speaker 4: Deanna Williams who kind of put this in perspective in

629
00:35:25,640 --> 00:35:27,919
Speaker 4: the sense of this being a beautiful homage because also

630
00:35:28,000 --> 00:35:31,120
Speaker 4: all these writers are receiving the royalties from this, you know,

631
00:35:31,160 --> 00:35:33,440
Speaker 4: this project, which is a beautiful thing. But yet, but

632
00:35:33,480 --> 00:35:35,720
Speaker 4: has there been any contact did they know, like ahead

633
00:35:35,719 --> 00:35:37,360
Speaker 4: of time that you were doing anything.

634
00:35:38,280 --> 00:35:41,680
Speaker 1: No one knew ahead of time, because I'm afraid of

635
00:35:41,719 --> 00:35:44,560
Speaker 1: telling anybody what I'm doing because I'll record something and

636
00:35:44,560 --> 00:35:46,439
Speaker 1: then i'll throw it out a month or two later

637
00:35:46,719 --> 00:35:48,880
Speaker 1: and it doesn't happen, you know. So I don't like

638
00:35:48,920 --> 00:35:53,000
Speaker 1: to tell anybody I've received a little connection with Gambling huff.

639
00:35:53,200 --> 00:35:55,000
Speaker 1: So I'm gonna I haven't met them, but I'm going

640
00:35:55,040 --> 00:35:58,640
Speaker 1: to meet them because they they they heard the kind

641
00:35:58,640 --> 00:36:00,719
Speaker 1: of record I was making, and some of their and

642
00:36:00,719 --> 00:36:04,200
Speaker 1: their influence of courses is well on it, you know.

643
00:36:04,800 --> 00:36:07,479
Speaker 1: So it's it's no, it's mostly it's just just three

644
00:36:07,480 --> 00:36:09,799
Speaker 1: guys in a room, you know.

645
00:36:15,680 --> 00:36:17,680
Speaker 6: I was I was curious to know, Bruce. You worked

646
00:36:17,680 --> 00:36:20,440
Speaker 6: with Jimmy Ivien very early in his career as a producer.

647
00:36:20,640 --> 00:36:23,160
Speaker 6: Were there any lessons that you kind of learned from

648
00:36:23,280 --> 00:36:25,439
Speaker 6: him that you carried either into this record or any

649
00:36:25,440 --> 00:36:27,400
Speaker 6: of your other records that you produced.

650
00:36:28,040 --> 00:36:30,160
Speaker 1: No, Jimmy learned all those lessons from me.

651
00:36:30,680 --> 00:36:33,040
Speaker 2: Yeah, say that, say that.

652
00:36:36,560 --> 00:36:41,240
Speaker 1: Man, not just me, John. And then Jimmy was a sponge.

653
00:36:41,360 --> 00:36:45,200
Speaker 1: He's a sponge for learning. He always was. He was

654
00:36:45,320 --> 00:36:49,400
Speaker 1: just one of the smartest, one of the quietest, quietly smartest,

655
00:36:49,440 --> 00:36:52,520
Speaker 1: guys in the room is Jimmy Iven. You know, it's

656
00:36:52,520 --> 00:36:56,960
Speaker 1: still my great, great friend. And uh, but when Jimmy started,

657
00:36:57,000 --> 00:36:59,360
Speaker 1: you have understand when I walked in to do my

658
00:36:59,440 --> 00:37:02,520
Speaker 1: first session at the Record Plan, all Jimmy was doing

659
00:37:02,640 --> 00:37:05,279
Speaker 1: was pushing pushing the start and stop button and putting

660
00:37:05,280 --> 00:37:08,360
Speaker 1: the tape on it off. He wasn't engineering or producing

661
00:37:08,360 --> 00:37:09,960
Speaker 1: any records. He hadn't done that yet.

662
00:37:10,440 --> 00:37:14,319
Speaker 3: Is it shocking to you to see, like, hell, he's

663
00:37:14,400 --> 00:37:19,239
Speaker 3: now like a supermogal or you know this guy that

664
00:37:19,280 --> 00:37:22,080
Speaker 3: one's like got your coffee and whatever, like and now he's.

665
00:37:21,840 --> 00:37:27,000
Speaker 1: Like it's it's totally shocking, and it's remained shocking to

666
00:37:27,120 --> 00:37:29,440
Speaker 1: all of us to this day. You know, Is that

667
00:37:29,960 --> 00:37:37,160
Speaker 1: okay Jimmy? I mean he's doing what he made what right, Right,

668
00:37:37,920 --> 00:37:43,759
Speaker 1: He's got what There's a lot of that that goes on.

669
00:37:43,840 --> 00:37:46,279
Speaker 1: But but Jimmy was just a super talented guy, you

670
00:37:46,320 --> 00:37:50,960
Speaker 1: know he was and he was a brave thinker, you know. Uh,

671
00:37:51,200 --> 00:37:55,560
Speaker 1: his partnership with Dre incredible, you know, and uh, you

672
00:37:55,600 --> 00:37:58,080
Speaker 1: know he was just h he was just a smart

673
00:37:58,120 --> 00:38:01,080
Speaker 1: young guy, you know. And and so I walked in

674
00:38:01,120 --> 00:38:04,319
Speaker 1: one night and he went from the uh pressing the

675
00:38:04,320 --> 00:38:06,920
Speaker 1: start and stop button on the tape deck to uh

676
00:38:07,239 --> 00:38:10,160
Speaker 1: sitting at the board, and I said, John, what's he

677
00:38:10,239 --> 00:38:14,640
Speaker 1: doing at the board man, you know? And John says, well,

678
00:38:15,480 --> 00:38:19,759
Speaker 1: he says he can do it, so and and that

679
00:38:19,880 --> 00:38:22,239
Speaker 1: was it. Jimmy Ivean ends up engineering Born to Run.

680
00:38:22,760 --> 00:38:23,720
Speaker 2: Did you like his mixing?

681
00:38:24,880 --> 00:38:28,880
Speaker 1: Yeah, yeah, I liked Jimmy. Jimmy's technique was very simple.

682
00:38:29,280 --> 00:38:33,040
Speaker 1: He mixed until you like the way it sounded, you know,

683
00:38:33,280 --> 00:38:38,440
Speaker 1: And that's right. He mixes and he just mixes until

684
00:38:38,480 --> 00:38:41,239
Speaker 1: you like the way it sounds. And and he just

685
00:38:42,000 --> 00:38:45,319
Speaker 1: figured it out, you know. So uh you know. But

686
00:38:45,320 --> 00:38:49,160
Speaker 1: but so Jimmy, we were all really beginners together, you know,

687
00:38:49,239 --> 00:38:52,520
Speaker 1: honestly we we we and he like the first time

688
00:38:52,560 --> 00:38:54,399
Speaker 1: he was at that board, I walked in, I said,

689
00:38:54,760 --> 00:38:57,560
Speaker 1: wasn't this guy like overre just can he do it?

690
00:38:57,640 --> 00:38:59,480
Speaker 1: You know? But obviously he could.

691
00:38:59,520 --> 00:39:04,960
Speaker 3: You know, oftentimes I'll say that, you know, most artists,

692
00:39:05,239 --> 00:39:06,240
Speaker 3: and I'm one.

693
00:39:06,120 --> 00:39:07,440
Speaker 2: Of those, like I'm so.

694
00:39:09,560 --> 00:39:15,080
Speaker 3: Uber obsessed with writers that you know, this is basically

695
00:39:15,160 --> 00:39:19,400
Speaker 3: my chance to play journalists. But you know, oftentimes artists

696
00:39:19,440 --> 00:39:24,520
Speaker 3: really aren't aware of their critical claim and you know,

697
00:39:24,560 --> 00:39:29,920
Speaker 3: of course the main narrative of your journey into rock

698
00:39:29,960 --> 00:39:34,040
Speaker 3: stardom was definitely through a connection of you know, our pal.

699
00:39:34,120 --> 00:39:35,920
Speaker 2: John Landau, who's your manager.

700
00:39:37,080 --> 00:39:40,280
Speaker 3: Landau course famously, you know, wrote for Prime, Rolling Stone,

701
00:39:40,360 --> 00:39:43,040
Speaker 3: and you know, all these publications, and you know, he's

702
00:39:43,239 --> 00:39:47,480
Speaker 3: definitely the one of the first generation critical thinking journalists

703
00:39:47,480 --> 00:39:51,640
Speaker 3: out there. And of course he famously wrote that, you know,

704
00:39:51,840 --> 00:39:53,680
Speaker 3: he saw the future of rock and roll back when

705
00:39:53,680 --> 00:39:55,959
Speaker 3: you first saw you play. I don't know, Boston whatever,

706
00:39:56,080 --> 00:39:58,080
Speaker 3: but he saw the future of rock and roll. And

707
00:39:58,120 --> 00:40:01,760
Speaker 3: his name is Bruce Springsteen. I always wanted to know, like, okay,

708
00:40:01,800 --> 00:40:05,680
Speaker 3: So from my side of the fence, those words in

709
00:40:05,760 --> 00:40:12,239
Speaker 3: print could be super crippling to an artist. I've known

710
00:40:12,400 --> 00:40:16,480
Speaker 3: artists that are, you know, twenty seven years, twenty eight

711
00:40:16,560 --> 00:40:19,040
Speaker 3: years in the game, and they might have three records

712
00:40:19,080 --> 00:40:21,120
Speaker 3: out I know artists that have.

713
00:40:21,120 --> 00:40:22,560
Speaker 2: Given up after their first record.

714
00:40:23,400 --> 00:40:28,880
Speaker 3: For you, at the time when literally the entire world

715
00:40:29,320 --> 00:40:34,360
Speaker 3: is declaring that you're going to pick up this this betime,

716
00:40:34,480 --> 00:40:38,560
Speaker 3: this betime, that's sort of like the remnant leftover of

717
00:40:38,280 --> 00:40:42,480
Speaker 3: the folk movement and the singer songwriter movement and the

718
00:40:42,600 --> 00:40:46,319
Speaker 3: rock movement and whatnot. Was that any pressure in you

719
00:40:46,440 --> 00:40:49,080
Speaker 3: or were you just shrugging it off like, oh, okay,

720
00:40:49,080 --> 00:40:49,840
Speaker 3: that's cool.

721
00:40:49,880 --> 00:40:52,799
Speaker 1: Now as a twenty five year old kid, So I

722
00:40:52,840 --> 00:40:56,160
Speaker 1: felt tremendous pressure, you know. But I felt two things,

723
00:40:56,200 --> 00:40:58,480
Speaker 1: you know, I think good artists always feel in the

724
00:40:58,520 --> 00:41:02,120
Speaker 1: same way. One and they go, I am a complete phony.

725
00:41:02,600 --> 00:41:05,800
Speaker 1: Two they go, I am the greatest thing you've ever seen.

726
00:41:06,400 --> 00:41:10,439
Speaker 1: And they believe both things right now, Believing that they're

727
00:41:10,440 --> 00:41:14,960
Speaker 1: a complete phony keeps them working, right, It keeps you

728
00:41:15,239 --> 00:41:20,040
Speaker 1: chasing your craft and trying to get better and keep

729
00:41:20,080 --> 00:41:22,440
Speaker 1: you working after it, you know, and thinking you're the

730
00:41:22,440 --> 00:41:24,279
Speaker 1: greatest thing you ever said. Well, you need you gotta

731
00:41:24,320 --> 00:41:26,399
Speaker 1: have some of that swagger, man, if you're gonna make it,

732
00:41:26,760 --> 00:41:30,160
Speaker 1: And no matter how humble you're gonna fake it, you're

733
00:41:30,160 --> 00:41:32,160
Speaker 1: gonna need some of that swagger to make to get

734
00:41:32,160 --> 00:41:36,359
Speaker 1: yourself through, you know. So. Uh but at the time,

735
00:41:36,400 --> 00:41:40,120
Speaker 1: I felt tremendous pressure around it, and it shook my world.

736
00:41:40,239 --> 00:41:43,200
Speaker 1: And uh, you know, I just hunkered down, sat in

737
00:41:43,680 --> 00:41:47,240
Speaker 1: and we just played night after night after night after

738
00:41:47,360 --> 00:41:50,600
Speaker 1: night after night after night. We played our hearts out

739
00:41:50,600 --> 00:41:53,120
Speaker 1: and the best we could for year after year after

740
00:41:53,239 --> 00:41:55,600
Speaker 1: year after year. At the end of the day, I

741
00:41:55,640 --> 00:41:58,239
Speaker 1: was gonna let the work speak for itself, you know,

742
00:41:58,360 --> 00:42:00,719
Speaker 1: come and see me, come and listen to me, check

743
00:42:00,760 --> 00:42:04,320
Speaker 1: my songs. And that's pretty much. That was my approach

744
00:42:04,320 --> 00:42:05,759
Speaker 1: to it. But there was a lot of pressure at

745
00:42:05,800 --> 00:42:09,360
Speaker 1: the time, and I went through a lot of you know,

746
00:42:11,200 --> 00:42:12,680
Speaker 1: mental anguish about it.

747
00:42:13,640 --> 00:42:16,320
Speaker 6: One question I had man was regarding one of my

748
00:42:16,360 --> 00:42:18,480
Speaker 6: favorite records you did as a song you wrote for

749
00:42:18,520 --> 00:42:23,520
Speaker 6: the wrestler Micky Roy. He talked to me about like,

750
00:42:23,640 --> 00:42:26,480
Speaker 6: when you're writing for film, do you get a copy

751
00:42:26,480 --> 00:42:28,000
Speaker 6: of the film that they show it to you beforehand?

752
00:42:28,040 --> 00:42:30,560
Speaker 6: Do they sing you notes? How do you approach writing

753
00:42:30,719 --> 00:42:31,760
Speaker 6: songs for film?

754
00:42:32,520 --> 00:42:36,759
Speaker 1: Well? It varies, you know. Jonathan Demi called me in

755
00:42:36,840 --> 00:42:40,160
Speaker 1: one time and said he was making a film I

756
00:42:40,239 --> 00:42:42,279
Speaker 1: was dealing with the AIDS crisis, and he was looking

757
00:42:42,320 --> 00:42:45,560
Speaker 1: for a song. So I didn't see the film. I

758
00:42:45,600 --> 00:42:48,879
Speaker 1: think I saw a few minutes of its opening because

759
00:42:48,880 --> 00:42:51,479
Speaker 1: that's where he was looking for a song for Wow.

760
00:42:51,600 --> 00:42:55,160
Speaker 1: So I spent a couple of days and I ended

761
00:42:55,239 --> 00:42:58,759
Speaker 1: up writing and recording the song Streets of Philadelphia. That

762
00:42:58,960 --> 00:43:02,880
Speaker 1: was one approach to the other approach. I just sometimes

763
00:43:02,880 --> 00:43:05,239
Speaker 1: somebody will send me a small piece of film and

764
00:43:05,239 --> 00:43:08,040
Speaker 1: they'll say this is the ambiance of the movie, or

765
00:43:08,080 --> 00:43:10,520
Speaker 1: this is where we're thinking of a song coming in.

766
00:43:10,920 --> 00:43:14,640
Speaker 1: And and in Mickey's case, Mickey Rourke, you know, i'd

767
00:43:14,640 --> 00:43:17,759
Speaker 1: been friends with him for quite a while, and he said, man,

768
00:43:17,800 --> 00:43:21,080
Speaker 1: this is this is a big movie for me, and

769
00:43:21,080 --> 00:43:23,760
Speaker 1: and and do you think you'd have anything that might work?

770
00:43:23,840 --> 00:43:26,279
Speaker 1: You know? So I said, okay, what is this a

771
00:43:26,320 --> 00:43:28,720
Speaker 1: guy about? This is a song about a guy whose

772
00:43:28,800 --> 00:43:32,960
Speaker 1: the whole thing is living with pain, you know, living

773
00:43:33,160 --> 00:43:37,000
Speaker 1: with pain. That that that's how uh, that's how he

774
00:43:37,160 --> 00:43:41,480
Speaker 1: processes his life. And so with that in mind, I

775
00:43:42,680 --> 00:43:45,799
Speaker 1: just sat down and I think I wrote the song

776
00:43:45,840 --> 00:43:46,520
Speaker 1: pretty quickly.

777
00:43:47,560 --> 00:43:48,520
Speaker 2: That's what's up now.

778
00:43:48,920 --> 00:43:50,759
Speaker 6: That song it f hit the movie perfectly, man, like

779
00:43:50,840 --> 00:43:51,680
Speaker 6: you did a great job.

780
00:43:51,719 --> 00:43:52,880
Speaker 1: It really spoke to the character.

781
00:43:53,360 --> 00:44:00,759
Speaker 3: Wait was was that song nominated for an Oscar or there?

782
00:44:01,560 --> 00:44:01,880
Speaker 2: Could you?

783
00:44:02,400 --> 00:44:05,640
Speaker 1: All right? I'm only asking what happened to be honest

784
00:44:05,680 --> 00:44:09,680
Speaker 1: with you, because I won a Golden Globe for it, right, okay, right,

785
00:44:09,840 --> 00:44:11,960
Speaker 1: I want to go and Mickey won the Golden Globe

786
00:44:11,960 --> 00:44:14,400
Speaker 1: for acting, you know, so I.

787
00:44:14,239 --> 00:44:18,719
Speaker 3: Had my thoughts on why Mickey, you know, when when

788
00:44:18,719 --> 00:44:21,600
Speaker 3: Mickey Rooke gave his speech at the Golden globes about

789
00:44:21,640 --> 00:44:25,400
Speaker 3: his dog dying and everything. I knew instantly that was

790
00:44:25,440 --> 00:44:29,000
Speaker 3: going to freak out the Academy, and thus no, I

791
00:44:29,080 --> 00:44:31,640
Speaker 3: still say that Mickey Rooke should have won that award,

792
00:44:31,920 --> 00:44:34,640
Speaker 3: but I know how the Academy thinks. They're like, he

793
00:44:34,640 --> 00:44:36,239
Speaker 3: ain't making a full of us on our stage. We're

794
00:44:36,239 --> 00:44:37,640
Speaker 3: going to give that to the swamp pinn.

795
00:44:38,239 --> 00:44:40,640
Speaker 2: But I I was wondering, okay, but.

796
00:44:40,600 --> 00:44:43,520
Speaker 3: I wanted to know why because they only have three

797
00:44:43,920 --> 00:44:46,600
Speaker 3: songs in the category, and I was like, what the

798
00:44:46,640 --> 00:44:47,600
Speaker 3: fuck is Bruce's song?

799
00:44:47,640 --> 00:44:50,120
Speaker 2: And why is that? Did you how many writers.

800
00:44:49,680 --> 00:44:53,440
Speaker 1: Were I was told something at the time that if

801
00:44:53,440 --> 00:44:56,759
Speaker 1: the song wasn't within the body of the movie, it

802
00:44:56,800 --> 00:44:59,240
Speaker 1: couldn't be nominated if it was just in the credit.

803
00:44:59,400 --> 00:45:01,600
Speaker 1: I mean I I got told some sort of thing

804
00:45:01,760 --> 00:45:04,879
Speaker 1: like that. Whether that's true or not, I don't know.

805
00:45:05,200 --> 00:45:08,239
Speaker 1: All I know is it didn't get nominated, So I

806
00:45:08,280 --> 00:45:08,759
Speaker 1: thought you were.

807
00:45:08,680 --> 00:45:13,399
Speaker 3: Showing for that, So okay, there's I don't know, if

808
00:45:13,600 --> 00:45:17,200
Speaker 3: you read the friendship of you and Little Steven, to

809
00:45:17,280 --> 00:45:20,480
Speaker 3: me is like, you know, one one for the history

810
00:45:20,520 --> 00:45:23,160
Speaker 3: books and the relationship that you two have with each

811
00:45:23,200 --> 00:45:28,120
Speaker 3: other and the way that he you know, when his

812
00:45:28,200 --> 00:45:31,759
Speaker 3: book came out. It was one of my favorite rock

813
00:45:31,840 --> 00:45:37,920
Speaker 3: memoirs ever because he's almost a poet in describing, like,

814
00:45:38,239 --> 00:45:41,719
Speaker 3: especially the early days where you guys were playing these

815
00:45:41,719 --> 00:45:48,520
Speaker 3: teen clubs like the Halloah, yeah, so can you. Because

816
00:45:48,520 --> 00:45:51,080
Speaker 3: the thing is we don't necessarily have that today. But

817
00:45:51,719 --> 00:45:54,279
Speaker 3: what were the teen First of all, were these teen

818
00:45:54,360 --> 00:45:57,040
Speaker 3: night clubs at night or were they like afternoon things

819
00:45:57,080 --> 00:46:00,399
Speaker 3: where you guys would play these night clubs with teenage them.

820
00:46:00,719 --> 00:46:02,719
Speaker 1: That's what it was. Here was the shocking thing, and

821
00:46:02,760 --> 00:46:05,280
Speaker 1: it remains to me shocking to this day is that

822
00:46:05,280 --> 00:46:09,000
Speaker 1: that doesn't exist anymore. Right, But there's there's kind of

823
00:46:09,000 --> 00:46:12,000
Speaker 1: a reason. And if you think about it, like nineteen

824
00:46:12,080 --> 00:46:17,040
Speaker 1: sixty six, Pallablue on TV, Shindig on TV. You know,

825
00:46:17,160 --> 00:46:19,520
Speaker 1: American band stipt Worthy. You know, there's all sorts of

826
00:46:19,719 --> 00:46:21,920
Speaker 1: Soul Train, you know it's coming in, There's all sorts

827
00:46:21,960 --> 00:46:27,760
Speaker 1: of different music shows on and but at that time,

828
00:46:28,239 --> 00:46:30,840
Speaker 1: if you wanted to hire a rock and roll band,

829
00:46:31,800 --> 00:46:37,320
Speaker 1: you had to hire children. Teenagers really yeah, yeah, teenagers

830
00:46:37,360 --> 00:46:39,520
Speaker 1: are who played rock and roll. There wasn't the forty

831
00:46:39,600 --> 00:46:45,000
Speaker 1: year old men playing rock and roll in nineteen sixty six. Ah, right,

832
00:46:45,320 --> 00:46:49,399
Speaker 1: It was just fourteen year old men, not forty. Now,

833
00:46:49,520 --> 00:46:50,880
Speaker 1: you want to hire a rock and roll band, you

834
00:46:50,880 --> 00:46:54,400
Speaker 1: got to hire fifty year old men, you know. But

835
00:46:55,320 --> 00:46:59,120
Speaker 1: at that time, at that time, you know, you, it

836
00:46:59,200 --> 00:47:03,239
Speaker 1: was it was you. It was youth oriented. And so

837
00:47:03,280 --> 00:47:07,120
Speaker 1: there were all of these clubs that were on either

838
00:47:07,560 --> 00:47:09,719
Speaker 1: two or three nights a week. Sometimes it certainly open

839
00:47:09,760 --> 00:47:13,240
Speaker 1: on the weekends. And they were for teenagers only. Really,

840
00:47:13,560 --> 00:47:15,920
Speaker 1: there weren't even people in their twenties in them, and

841
00:47:15,960 --> 00:47:19,320
Speaker 1: there was no booz served. But there were rock bands playing,

842
00:47:19,880 --> 00:47:22,760
Speaker 1: you know, there were local rock bands and sometimes national

843
00:47:22,800 --> 00:47:27,360
Speaker 1: acts where you honed your craft night after night. You know,

844
00:47:27,440 --> 00:47:30,879
Speaker 1: I played, and Stephen and I both played, and who

845
00:47:30,920 --> 00:47:33,399
Speaker 1: knows how many of these places, but they were all

846
00:47:33,400 --> 00:47:37,360
Speaker 1: over the shore, probably all over the country at that time,

847
00:47:37,800 --> 00:47:40,960
Speaker 1: you know. But what people forget is rock and roll

848
00:47:40,960 --> 00:47:44,040
Speaker 1: bands were teenagers in those days, and and and there

849
00:47:44,040 --> 00:47:46,279
Speaker 1: weren't there was no such thing as like I say,

850
00:47:46,360 --> 00:47:49,319
Speaker 1: the fourty or fifty year old played rock music, you know.

851
00:47:49,680 --> 00:47:54,520
Speaker 1: But but what shocks me now is that sort of

852
00:47:54,640 --> 00:47:58,720
Speaker 1: venue no longer exists. These were places where everybody made

853
00:47:58,760 --> 00:48:02,200
Speaker 1: their bones. Everybody, you know, everybody played, You played five

854
00:48:02,400 --> 00:48:05,960
Speaker 1: hours a night you played five sets. You know, you

855
00:48:06,080 --> 00:48:09,720
Speaker 1: played fifteen minutes on and ten minutes off for five

856
00:48:09,760 --> 00:48:13,120
Speaker 1: sets in a row. And you did this, you know,

857
00:48:13,239 --> 00:48:16,680
Speaker 1: weekend after week after week after week after week. And so,

858
00:48:17,520 --> 00:48:20,959
Speaker 1: you know, Steve and I were craftsmen. You know, we're

859
00:48:21,040 --> 00:48:26,800
Speaker 1: old school craftsmen, like shoemakers, you know, or like seamstresses

860
00:48:27,160 --> 00:48:30,280
Speaker 1: or or you know, we're we're we're we're those kinds

861
00:48:30,320 --> 00:48:33,239
Speaker 1: of guys. You know. We we learned our craft bit

862
00:48:33,360 --> 00:48:39,120
Speaker 1: by bit, piece by piece, song by song, and and

863
00:48:39,120 --> 00:48:42,560
Speaker 1: and basically that's how we perform on stage two this day.

864
00:48:42,760 --> 00:48:46,160
Speaker 1: The East Street Band is a band filled full of craftsmen,

865
00:48:46,480 --> 00:48:50,600
Speaker 1: guys who came up, you know, learning their craft from

866
00:48:51,000 --> 00:48:52,680
Speaker 1: first how to put it on the two and four

867
00:48:53,239 --> 00:48:58,440
Speaker 1: and uh so that's that's different. Today we have a

868
00:48:58,560 --> 00:49:01,360
Speaker 1: kid in his bedroom. Two months later, he's got the

869
00:49:01,360 --> 00:49:03,960
Speaker 1: biggest hit in the United States. He's on the radio.

870
00:49:04,800 --> 00:49:07,200
Speaker 1: He may have never played a gig in his life.

871
00:49:07,239 --> 00:49:11,560
Speaker 1: You know, there's something cool about that, and that's sort

872
00:49:11,600 --> 00:49:14,680
Speaker 1: of it. It being there available to all is a

873
00:49:14,719 --> 00:49:17,880
Speaker 1: wonderful thing, you know, And it was totally out of

874
00:49:17,960 --> 00:49:21,080
Speaker 1: any type of you couldn't even record yourself in nineteen

875
00:49:21,120 --> 00:49:25,000
Speaker 1: sixty six unless people didn't have studios or they didn't

876
00:49:25,040 --> 00:49:25,960
Speaker 1: have tape players.

877
00:49:26,239 --> 00:49:29,080
Speaker 3: I was gonna ask, do you feel as though you're

878
00:49:29,200 --> 00:49:32,359
Speaker 3: the father or the yes? And I know like Todd

879
00:49:32,440 --> 00:49:36,480
Speaker 3: Rundren and slid Stone and Stevie Wonder were all like whatever,

880
00:49:37,080 --> 00:49:41,080
Speaker 3: the bedroom musician or whatever. But the kind of legacy

881
00:49:41,400 --> 00:49:44,360
Speaker 3: that is the Nebraska record, even though you said it

882
00:49:44,400 --> 00:49:47,080
Speaker 3: was an accident and you were just right, you know,

883
00:49:47,320 --> 00:49:50,080
Speaker 3: just putting some songs down on tape, But do you

884
00:49:50,160 --> 00:49:53,560
Speaker 3: sometimes credit yourself with the Nebraska album being like the

885
00:49:53,640 --> 00:49:57,000
Speaker 3: really one of the first early examples of that type

886
00:49:57,040 --> 00:49:59,600
Speaker 3: of lo fi home recording.

887
00:49:59,719 --> 00:50:03,839
Speaker 1: Yeah, yeah, it just you know, I can't claim any

888
00:50:03,840 --> 00:50:06,880
Speaker 1: credit for it because I wasn't planning on doing anything

889
00:50:07,000 --> 00:50:09,320
Speaker 1: that was unusual at the time. I was simply trying

890
00:50:09,640 --> 00:50:13,319
Speaker 1: to hear if I had any any good songs to

891
00:50:13,360 --> 00:50:15,920
Speaker 1: record with the E Street Band when we went in

892
00:50:15,960 --> 00:50:18,279
Speaker 1: the studio, and I was sick of wasting all my

893
00:50:18,360 --> 00:50:23,160
Speaker 1: money with endless hours of studio time throwing out forty songs,

894
00:50:23,520 --> 00:50:26,920
Speaker 1: leaving them on the floor, and so I said, well,

895
00:50:27,080 --> 00:50:29,240
Speaker 1: I'm gonna find out if I have some good songs

896
00:50:29,239 --> 00:50:31,680
Speaker 1: that I'm gonna go in and record those songs. But

897
00:50:31,840 --> 00:50:37,240
Speaker 1: of course, the minute you hit the start button, things happen,

898
00:50:37,960 --> 00:50:40,799
Speaker 1: and things happen that aren't gonna happen again. They're only

899
00:50:40,840 --> 00:50:44,120
Speaker 1: happening right now in this particular moment in time. So

900
00:50:44,200 --> 00:50:46,840
Speaker 1: I'm in my bedroom and I just sent my guitar

901
00:50:46,920 --> 00:50:50,120
Speaker 1: tick out to get a little four track TX cassette player,

902
00:50:50,600 --> 00:50:53,239
Speaker 1: which you know, previous to that, all I had was

903
00:50:53,280 --> 00:50:57,239
Speaker 1: my boombox to record the rehearsals on. You know, we're

904
00:50:57,440 --> 00:51:01,319
Speaker 1: recording rehearsals on the boombox. And so I sat down

905
00:51:01,360 --> 00:51:04,400
Speaker 1: and I started to play off these songs, and you know,

906
00:51:04,640 --> 00:51:06,880
Speaker 1: I played a certain and then suddenly I went to

907
00:51:06,920 --> 00:51:10,000
Speaker 1: record it with the band. Didn't sound as good. I

908
00:51:10,040 --> 00:51:12,720
Speaker 1: went to record it by myself in the studio. Didn't

909
00:51:12,920 --> 00:51:16,160
Speaker 1: sounded better, but was worse. And suddenly I realized that

910
00:51:16,200 --> 00:51:18,040
Speaker 1: the little cassette I had in my pocket, that was

911
00:51:18,080 --> 00:51:18,600
Speaker 1: my album.

912
00:51:18,920 --> 00:51:22,000
Speaker 3: You know who talked you into so you yourself said

913
00:51:22,960 --> 00:51:25,440
Speaker 3: the cassette this is this is the final album.

914
00:51:25,719 --> 00:51:27,560
Speaker 1: This is all debated, but if you read Steves books,

915
00:51:27,560 --> 00:51:29,200
Speaker 1: Steve says he said it was. If you read it,

916
00:51:29,200 --> 00:51:32,120
Speaker 1: I'm sure thinks he said it was. And I think

917
00:51:32,360 --> 00:51:34,839
Speaker 1: I think it was my credit, That's right. I think

918
00:51:34,840 --> 00:51:36,960
Speaker 1: it was my idea. But who knows.

919
00:51:37,000 --> 00:51:42,160
Speaker 3: You know, the promise of a rock god is is

920
00:51:42,840 --> 00:51:45,840
Speaker 3: coming in the seventies, and you know, I mean you

921
00:51:45,920 --> 00:51:49,719
Speaker 3: delivered with these records, you know, the River and Born

922
00:51:49,760 --> 00:51:55,080
Speaker 3: to Run and and and Darkness. But do you often

923
00:51:55,200 --> 00:51:59,920
Speaker 3: find and especially with how Born in the USA was received,

924
00:52:00,160 --> 00:52:04,000
Speaker 3: do you often find that sometimes you might have a

925
00:52:04,000 --> 00:52:08,360
Speaker 3: fan that's more in love with the idea of Bruce

926
00:52:08,400 --> 00:52:11,520
Speaker 3: Springsteen than the actual Bruce Springsteen. I mean, I know

927
00:52:11,560 --> 00:52:17,759
Speaker 3: that you've had many a situation where like this particular

928
00:52:18,400 --> 00:52:22,560
Speaker 3: unsavory political figure wants to use Born in the USA

929
00:52:22,800 --> 00:52:26,800
Speaker 3: sure fully missing the fact that the song has nothing

930
00:52:26,800 --> 00:52:32,040
Speaker 3: to do with type of patriotism. So you know, when

931
00:52:32,080 --> 00:52:36,839
Speaker 3: this album comes out, are you at all aware or

932
00:52:36,920 --> 00:52:41,600
Speaker 3: are you even in the mind space of knowing that

933
00:52:41,719 --> 00:52:45,439
Speaker 3: you're about to go to like god levels that Born

934
00:52:45,480 --> 00:52:49,719
Speaker 3: to Run wasn't taking you yet? Like before Born in

935
00:52:49,719 --> 00:52:53,279
Speaker 3: the USA, did you just think like, okay, well I'll

936
00:52:53,320 --> 00:52:56,560
Speaker 3: just coast out and do whatever, or was there still

937
00:52:56,680 --> 00:52:59,279
Speaker 3: hunger in you to grab the brass ring?

938
00:53:00,280 --> 00:53:03,440
Speaker 1: Yeah, that's that's been that's never gone away, you know,

939
00:53:03,680 --> 00:53:08,719
Speaker 1: and started when I was a young kid, and I

940
00:53:08,719 --> 00:53:13,360
Speaker 1: always tell people more than rich, more than good looking,

941
00:53:14,080 --> 00:53:17,560
Speaker 1: more than I wanted to be great. I wanted to

942
00:53:17,600 --> 00:53:20,480
Speaker 1: make great music. I wanted to inspire people the way

943
00:53:20,480 --> 00:53:23,200
Speaker 1: that I felt inspired. And if I could do that,

944
00:53:23,200 --> 00:53:26,640
Speaker 1: that's my life's work, you know. I once just want

945
00:53:26,640 --> 00:53:29,840
Speaker 1: to inspire you with with what I created in my music,

946
00:53:30,080 --> 00:53:32,160
Speaker 1: the way that I was inspired by the people who

947
00:53:32,160 --> 00:53:34,319
Speaker 1: touched my heart and my soul and my life with

948
00:53:34,360 --> 00:53:37,880
Speaker 1: their music. That's really what I like doing. You know,

949
00:53:38,239 --> 00:53:41,439
Speaker 1: everything else great. You know, you want like to throw

950
00:53:41,480 --> 00:53:44,120
Speaker 1: the money at me back dynamite, you know, that's all

951
00:53:44,320 --> 00:53:48,640
Speaker 1: fabulous too, But uh, I just love. I love doing

952
00:53:48,680 --> 00:53:51,520
Speaker 1: what I'm doing, and I love I still love pursuing

953
00:53:51,560 --> 00:53:54,200
Speaker 1: that golden Ring. It takes a lot of different shapes

954
00:53:54,239 --> 00:53:58,040
Speaker 1: as life. As life goes on, you know, sometimes it's

955
00:53:58,040 --> 00:54:00,440
Speaker 1: in Nebraska, or it's it Born in the US, or

956
00:54:00,680 --> 00:54:04,200
Speaker 1: it's The Rising or something else or some other record, you.

957
00:54:04,120 --> 00:54:07,440
Speaker 6: Know, speaking speaking of Born in the USA, what were

958
00:54:07,480 --> 00:54:08,880
Speaker 6: your thoughts on Band in the USA?

959
00:54:09,000 --> 00:54:13,800
Speaker 1: By two? Me what they asked me about this, and

960
00:54:13,880 --> 00:54:18,319
Speaker 1: I forgot that. Yes, come on, they asked me about it,

961
00:54:18,320 --> 00:54:22,320
Speaker 1: and I said, sure, go ahead, you know, wait.

962
00:54:23,120 --> 00:54:26,120
Speaker 3: The reason the reason why I asked you that question

963
00:54:26,320 --> 00:54:30,799
Speaker 3: about were you trying to grab the brass ring or

964
00:54:30,960 --> 00:54:31,319
Speaker 3: did it.

965
00:54:31,360 --> 00:54:34,960
Speaker 2: Just happen and it.

966
00:54:34,080 --> 00:54:37,800
Speaker 3: Occurred, you know, without your planning, is because I ought

967
00:54:37,920 --> 00:54:40,040
Speaker 3: so this this one. Of course, you know, I'm one

968
00:54:40,040 --> 00:54:42,000
Speaker 3: of the twelve million. This is the first Springsteen Now'm

969
00:54:42,040 --> 00:54:45,440
Speaker 3: I ever owned, and I always wanted to know. So,

970
00:54:45,680 --> 00:54:49,560
Speaker 3: you know, there's six singles from this record, but for me,

971
00:54:50,040 --> 00:54:54,000
Speaker 3: I always wanted to know why the monster ones were

972
00:54:54,040 --> 00:54:58,560
Speaker 3: always just at the end of side too, Like in

973
00:54:58,600 --> 00:55:02,320
Speaker 3: my mind, like Glory Day Dancing in the Dark. Yeah,

974
00:55:02,640 --> 00:55:06,200
Speaker 3: even my hometown closes it like that's buried at the

975
00:55:06,320 --> 00:55:08,600
Speaker 3: end of side to it. Normally, the way that albums

976
00:55:08,600 --> 00:55:13,120
Speaker 3: are structured, it's like your heavy hitters are first, and

977
00:55:13,239 --> 00:55:15,960
Speaker 3: you're okay, I'll let you write your song or whatever.

978
00:55:15,840 --> 00:55:19,400
Speaker 1: Like right, that will be the Landaus to the Landau

979
00:55:19,520 --> 00:55:22,960
Speaker 1: theory is heavy hitters come first usually. You know. My

980
00:55:23,160 --> 00:55:25,960
Speaker 1: theory is, I'm looking for a narrative in the record.

981
00:55:26,040 --> 00:55:29,560
Speaker 1: I'm I'm taking the intellectual I'm taking the intellectual point

982
00:55:29,560 --> 00:55:32,880
Speaker 1: of view. I know John John in this instance is

983
00:55:32,920 --> 00:55:37,800
Speaker 1: taking the gut, is using his gut to make his judgments.

984
00:55:38,000 --> 00:55:40,239
Speaker 1: And I'm going the other way. I'm thinking, like, well,

985
00:55:40,280 --> 00:55:42,960
Speaker 1: what's kind of what am I trying to say? How

986
00:55:42,960 --> 00:55:45,279
Speaker 1: am I saying? What's song? I knew my hometown was

987
00:55:45,320 --> 00:55:47,320
Speaker 1: going to close it. I knew Born in the USA

988
00:55:47,520 --> 00:55:51,320
Speaker 1: was going to open it and everything else, but I

989
00:55:51,680 --> 00:55:53,319
Speaker 1: don't know how it ended up where it was. It

990
00:55:53,480 --> 00:55:55,600
Speaker 1: just did. Just man, it just.

991
00:55:55,600 --> 00:56:00,280
Speaker 3: Always to this day, like I just I've never seeing

992
00:56:00,280 --> 00:56:02,040
Speaker 3: an album.

993
00:56:01,840 --> 00:56:04,799
Speaker 2: I'm I'm a guy that that obsessed over sequencing and.

994
00:56:04,800 --> 00:56:06,680
Speaker 1: Songs and oh yeah, yeah, yeah, it's important.

995
00:56:06,719 --> 00:56:09,759
Speaker 3: I've just never seen an album built that way that

996
00:56:10,520 --> 00:56:16,280
Speaker 3: it's such a staple of yours. But it's almost like whatever,

997
00:56:16,480 --> 00:56:19,040
Speaker 3: just thow a song where I always wanted to know why,

998
00:56:19,200 --> 00:56:21,520
Speaker 3: Like your heavy hitters were like way buried at the

999
00:56:21,640 --> 00:56:23,160
Speaker 3: end of the the album, but.

1000
00:56:23,280 --> 00:56:25,279
Speaker 1: I probably didn't know they were heavy hitters. I just

1001
00:56:25,320 --> 00:56:27,480
Speaker 1: thought they were another it was another cut, you know.

1002
00:56:27,600 --> 00:56:29,680
Speaker 1: I mean, I knew when I wrote I knew when

1003
00:56:29,719 --> 00:56:31,920
Speaker 1: I wrote Dancing in the Dark that that sounded like

1004
00:56:32,280 --> 00:56:34,319
Speaker 1: what I thought was a hit for me, you know,

1005
00:56:34,719 --> 00:56:36,680
Speaker 1: And I don't you know, in which I do not

1006
00:56:37,280 --> 00:56:39,520
Speaker 1: have many other records I've cut where I said, oh yeah,

1007
00:56:39,520 --> 00:56:41,600
Speaker 1: that's gonna be a top forty I'm generally not a

1008
00:56:41,640 --> 00:56:44,680
Speaker 1: top forty hit artist. I'm more of an album artist,

1009
00:56:44,719 --> 00:56:47,200
Speaker 1: you know. But I knew when I cut that, when

1010
00:56:47,239 --> 00:56:49,960
Speaker 1: I said, well, if I was ever to have a hit,

1011
00:56:50,080 --> 00:56:52,440
Speaker 1: it would sound like it's gonna be that one. Yeah, yeah,

1012
00:56:52,480 --> 00:56:58,919
Speaker 1: that's right. And so it's sort of that's a song

1013
00:56:58,960 --> 00:57:02,160
Speaker 1: that's just sustained for the John Legend does a version

1014
00:57:02,200 --> 00:57:05,600
Speaker 1: of it. Sounds like Gershwin incredible. He does a beautiful

1015
00:57:05,680 --> 00:57:08,960
Speaker 1: version of it, you know. And uh, but I'm so,

1016
00:57:09,280 --> 00:57:11,200
Speaker 1: but why the thing ended up at the bottom of

1017
00:57:11,200 --> 00:57:14,080
Speaker 1: the second side, I really don't know. It doesn't make

1018
00:57:14,080 --> 00:57:14,640
Speaker 1: any sense.

1019
00:57:17,560 --> 00:57:20,160
Speaker 2: Lastly, I'm gonna ask you.

1020
00:57:20,160 --> 00:57:23,000
Speaker 3: You know you did You did a You did a

1021
00:57:23,000 --> 00:57:25,560
Speaker 3: string of dates at Massive Square Garden and I got

1022
00:57:25,560 --> 00:57:31,240
Speaker 3: to witness about five of them. Wow, And each show was,

1023
00:57:32,440 --> 00:57:34,920
Speaker 3: you know, your your typical gargantu Win three and a

1024
00:57:34,960 --> 00:57:39,160
Speaker 3: half hour fair whatnot. All the songs were different orders.

1025
00:57:39,200 --> 00:57:39,920
Speaker 1: It's almost like.

1026
00:57:39,920 --> 00:57:43,320
Speaker 2: A new show every night. How how how are you

1027
00:57:43,480 --> 00:57:44,880
Speaker 2: able to to to.

1028
00:57:46,400 --> 00:57:49,960
Speaker 3: All that text, all those core changes, all those arrangements,

1029
00:57:50,000 --> 00:57:53,240
Speaker 3: And you know, at one point I decided, I think

1030
00:57:53,280 --> 00:57:55,720
Speaker 3: on the third night, I decided I'm just gonna walk

1031
00:57:55,720 --> 00:57:59,280
Speaker 3: in the stadium and watch the audience watch you, and

1032
00:58:00,000 --> 00:58:02,640
Speaker 3: I'm singing everything verbatim, so it wasn't even like you

1033
00:58:02,680 --> 00:58:05,040
Speaker 3: were missing a step or missing a lyric or anything.

1034
00:58:05,640 --> 00:58:08,400
Speaker 2: How much pressure is it in putting those shows together,

1035
00:58:08,440 --> 00:58:11,880
Speaker 2: in those songs, and how to even crap your show?

1036
00:58:12,560 --> 00:58:15,560
Speaker 1: Well, two years, my band will have been together for

1037
00:58:15,600 --> 00:58:19,840
Speaker 1: fifty years. Okay, So we've got a lot of history

1038
00:58:20,200 --> 00:58:23,560
Speaker 1: and we've got a lot of experience, all right. And

1039
00:58:24,240 --> 00:58:28,120
Speaker 1: on the last tour, we played two hundred songs, two hundred,

1040
00:58:28,520 --> 00:58:31,680
Speaker 1: two hundred different songs. You know, we'll pull things out

1041
00:58:31,720 --> 00:58:35,120
Speaker 1: of the audience or or you know, I'll just my

1042
00:58:35,440 --> 00:58:39,240
Speaker 1: thing is on. Usually once the tour gets rolling, the

1043
00:58:39,320 --> 00:58:42,680
Speaker 1: show is regularly different on a night to night basis,

1044
00:58:43,160 --> 00:58:46,400
Speaker 1: you know, And I'll you know, I'll get with the guys.

1045
00:58:46,760 --> 00:58:50,120
Speaker 1: I'll send notes into the guys before showtime. I'll say,

1046
00:58:50,800 --> 00:58:53,880
Speaker 1: refresh yourself on this one from that album, this one

1047
00:58:53,880 --> 00:58:55,920
Speaker 1: from that album, this one from that album, because we

1048
00:58:56,000 --> 00:58:58,520
Speaker 1: might play it tonight. So the guys will have, you know,

1049
00:58:58,640 --> 00:59:01,560
Speaker 1: hopefully they'll have an hour or half hour to prepare

1050
00:59:01,600 --> 00:59:04,760
Speaker 1: themselves a little bit, and then we rehearsed in the afternoon. Also,

1051
00:59:04,800 --> 00:59:06,960
Speaker 1: we don't just play three and a half hours at night.

1052
00:59:07,000 --> 00:59:09,640
Speaker 1: We're we're there in the afternoon and I've we'll do

1053
00:59:10,120 --> 00:59:13,560
Speaker 1: we have done two hour sound checks just just trying

1054
00:59:13,560 --> 00:59:16,840
Speaker 1: to learn something new or or you know, the sound

1055
00:59:16,960 --> 00:59:19,640
Speaker 1: checks can go from ten minutes to two hours. You know.

1056
00:59:19,960 --> 00:59:24,280
Speaker 1: But it's it's just because it's fun, you know, it's

1057
00:59:24,360 --> 00:59:28,160
Speaker 1: just all it's just it's still all just fun, playing,

1058
00:59:28,520 --> 00:59:33,320
Speaker 1: playing surprising that audience here and there is is just

1059
00:59:33,520 --> 00:59:35,880
Speaker 1: it's fun to do. It's wonderful, you know, it's wonderful.

1060
00:59:36,080 --> 00:59:38,480
Speaker 1: I look what am I doing. I'm standing looking in

1061
00:59:38,600 --> 00:59:42,760
Speaker 1: your face all night long every night. I'm watching how

1062
00:59:42,800 --> 00:59:46,560
Speaker 1: you're responding to what I'm doing, and then I'm responding

1063
00:59:46,640 --> 00:59:50,440
Speaker 1: to you. So there's this huge circle of energy going on.

1064
00:59:51,320 --> 00:59:55,200
Speaker 1: I'm You're watching me, I'm watching you, You're watching me,

1065
00:59:55,560 --> 00:59:57,880
Speaker 1: and then I'm watching you. And this is going on

1066
00:59:58,240 --> 01:00:01,240
Speaker 1: all night long with the with the beautiful faces in

1067
01:00:01,280 --> 01:00:05,480
Speaker 1: front of you. And it remains an honor to play

1068
01:00:05,480 --> 01:00:07,720
Speaker 1: for our audience. And that's the way that I approach it,

1069
01:00:07,760 --> 01:00:09,440
Speaker 1: and that's what I insist from the band on a

1070
01:00:09,520 --> 01:00:12,600
Speaker 1: nightly basis. As you come out, your name is on

1071
01:00:12,640 --> 01:00:15,160
Speaker 1: the line every single night. I don't care how long

1072
01:00:15,160 --> 01:00:17,720
Speaker 1: you've been doing it. Right, your name is on the

1073
01:00:17,760 --> 01:00:21,320
Speaker 1: line that night. You have an opportunity to impact somebody's

1074
01:00:21,760 --> 01:00:24,880
Speaker 1: somebody's life tonight, I don't care how long you've been

1075
01:00:24,880 --> 01:00:25,200
Speaker 1: doing it.

1076
01:00:25,240 --> 01:00:26,840
Speaker 2: And it's somebody's first time seeing you.

1077
01:00:26,880 --> 01:00:28,720
Speaker 6: There could be someone's first time seeing you that night.

1078
01:00:28,920 --> 01:00:33,400
Speaker 1: It's somebody's first time. That's right. Every night is somebody's

1079
01:00:33,840 --> 01:00:36,439
Speaker 1: first night. I want to play like it's my first night.

1080
01:00:38,080 --> 01:00:41,280
Speaker 2: Yeah, So that's that's a mic drop right there. I'll

1081
01:00:41,280 --> 01:00:42,720
Speaker 2: say to our audience.

1082
01:00:42,360 --> 01:00:47,800
Speaker 3: That you know, if there's ever a show or a

1083
01:00:47,840 --> 01:00:50,920
Speaker 3: comfort zone that you have to leave and see someone

1084
01:00:50,960 --> 01:00:54,920
Speaker 3: that you've never seen before or someone outside of your zone,

1085
01:00:55,200 --> 01:01:01,640
Speaker 3: I absolutely twelvey twelve million percent record men that you

1086
01:01:01,760 --> 01:01:06,680
Speaker 3: see a Springsteen show because literally the show like you perform,

1087
01:01:06,880 --> 01:01:10,320
Speaker 3: like your life depends on it. And I've seen you

1088
01:01:10,760 --> 01:01:12,280
Speaker 3: at least in the last ten years.

1089
01:01:12,280 --> 01:01:14,640
Speaker 2: I've seen you about fifteen times and like.

1090
01:01:15,560 --> 01:01:18,800
Speaker 3: Each each And I'm the guy that doesn't know everything

1091
01:01:18,840 --> 01:01:22,600
Speaker 3: by heart, like I'm I I've learned stuff backwards.

1092
01:01:23,880 --> 01:01:25,800
Speaker 2: I know well enough to now say, yes, I'm a

1093
01:01:25,800 --> 01:01:26,600
Speaker 2: Springsteam fan.

1094
01:01:26,680 --> 01:01:29,080
Speaker 3: But even at the time when you know when I

1095
01:01:29,120 --> 01:01:31,880
Speaker 3: first saw you, like I only know a few albums

1096
01:01:31,880 --> 01:01:36,360
Speaker 3: and a few cuts, but yeah, I highly recommend. It's

1097
01:01:36,400 --> 01:01:42,320
Speaker 3: an education just to watch someone that passionate about their

1098
01:01:42,400 --> 01:01:45,680
Speaker 3: craft service.

1099
01:01:46,920 --> 01:01:50,480
Speaker 2: A bunch of fans in the audience, which you.

1100
01:01:49,640 --> 01:01:52,000
Speaker 3: Know, And I'm going to shows now and I'm not

1101
01:01:52,040 --> 01:01:54,400
Speaker 3: trying to be the old guy that's just like a man,

1102
01:01:54,440 --> 01:01:58,360
Speaker 3: I'm not not connecting anymore like I used to. But yeah,

1103
01:01:58,400 --> 01:02:01,480
Speaker 3: for me, you know, you're You're one of the last

1104
01:02:01,520 --> 01:02:04,880
Speaker 3: Mohicans left. So I highly recommend it, and I thank

1105
01:02:04,920 --> 01:02:06,160
Speaker 3: you for doing this with us.

1106
01:02:06,160 --> 01:02:09,080
Speaker 1: Thank you, Thanks, thank you, Thanks guys, thank.

1107
01:02:08,800 --> 01:02:10,680
Speaker 2: You, Thank you.

1108
01:02:10,720 --> 01:02:15,320
Speaker 3: Man On behalf of us, fan Tikolo and Sugar Steve

1109
01:02:15,560 --> 01:02:16,400
Speaker 3: and Unpaid Bill.

1110
01:02:16,520 --> 01:02:18,880
Speaker 2: This is Questlove and we will see your next go

1111
01:02:18,960 --> 01:02:19,440
Speaker 2: round of.

1112
01:02:19,440 --> 01:02:20,320
Speaker 1: West Love Supreme.

1113
01:02:20,440 --> 01:02:21,560
Speaker 2: And thank you Bruce Springsteen.

1114
01:02:21,680 --> 01:02:22,000
Speaker 1: All right.

1115
01:02:31,120 --> 01:02:34,000
Speaker 2: West Love Supreme is a production of iHeart Radio.

1116
01:02:37,880 --> 01:02:41,160
Speaker 3: For more podcasts from iHeart Radio, visit the iHeart Radio app,

1117
01:02:41,360 --> 01:02:44,800
Speaker 3: Apple Podcasts, or wherever you listen to your favorite shows.