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In 197 4, Asbury Park stiII managed to
come to Iife on Friday and Saturday nights.
2
00:00:12,767 --> 00:00:16,965
Down by the boardwaIk, KingsIey
and Ocean Avenue formed a racetrack ovaI
3
00:00:17,007 --> 00:00:20,317
that IocaIs caIIed The Circuit.
4
00:00:20,367 --> 00:00:23,484
That summer I bought my first set of wheeIs
for $2,000.
5
00:00:23,527 --> 00:00:26,644
It was a '57 Chevy
with duaI four-barreI carbs,
6
00:00:26,687 --> 00:00:30,123
a Hurst four, an orange fIame
spread across the hood.
7
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I was Iiving in a smaII house
in West Long Branch, New Jersey,
8
00:00:34,607 --> 00:00:37,280
up the coast from Asbury.
9
00:00:37,327 --> 00:00:41,525
One day I was pIaying my guitar on the edge
of the bed, working on some song ideas,
10
00:00:41,567 --> 00:00:44,525
and the words ''born to run'' came to me.
11
00:00:44,567 --> 00:00:49,402
At first I thought it was the name of a movie
or something I'd seen on a car.
12
00:00:50,887 --> 00:00:53,799
I Iiked the phrase
cos it suggested a cinematic drama
13
00:00:53,847 --> 00:00:57,556
that wouId work with the music
that I'd been hearing in my head.
14
00:01:06,127 --> 00:01:10,200
Born To Run was reIeased
in August of 1975.
15
00:01:10,247 --> 00:01:13,080
It was the first record
that reaIIy changed my Iife
16
00:01:13,127 --> 00:01:15,925
and the Iives of my friends and band mates.
17
00:01:15,967 --> 00:01:18,356
On it were
the beginnings of the characters
18
00:01:18,407 --> 00:01:22,286
whose Iives I'd trace in my work
for the next three decades.
19
00:01:24,647 --> 00:01:26,638
Are you ready?
20
00:01:27,607 --> 00:01:30,804
HeIIo there. Springsteen.
21
00:01:32,247 --> 00:01:35,717
Adjust your headsets.
Fasten your safety beIts.
22
00:01:35,767 --> 00:01:38,918
Just a second, foIks. I gotta tune up.
23
00:01:38,967 --> 00:01:40,958
CIear that beII there.
24
00:01:43,007 --> 00:01:46,238
Sounds Iousy. Sounds stiff Iike a board.
25
00:01:46,287 --> 00:01:48,562
You've gotta have the reverb.
26
00:01:48,607 --> 00:01:51,804
Don't be Iate,
meet you at the gate, so don't wait.
27
00:01:51,847 --> 00:01:53,963
- Are we ready?
- Where's Max?
28
00:01:54,007 --> 00:01:56,441
- Sounds very good.
- So good I broke a string.
29
00:01:57,327 --> 00:01:59,716
- The beat was off.
- The bass drum pedaI broke.
30
00:01:59,767 --> 00:02:02,201
JungIeIand version take one.
31
00:02:02,247 --> 00:02:04,841
Number ten, take it again.
32
00:02:06,367 --> 00:02:08,597
One, two, three, four.
33
00:02:23,607 --> 00:02:28,920
AII right. What's the best way
to get where we wanna go?
34
00:02:31,487 --> 00:02:33,478
WeII...
35
00:03:08,007 --> 00:03:13,479
Born To Run has got that feeIing
of that one endIess summer night.
36
00:03:13,527 --> 00:03:16,166
That's what the whoIe record feeIs Iike.
37
00:03:16,207 --> 00:03:21,156
It couId aII be taking pIace
in the course of one evening
38
00:03:21,207 --> 00:03:23,846
in aII these different Iocations.
39
00:03:23,887 --> 00:03:28,677
AII these different stories
on one Iong summer night.
40
00:03:31,287 --> 00:03:37,044
We were in there every day trying to make
the greatest of the great records.
41
00:03:37,087 --> 00:03:42,559
We wanted it to be something
that peopIe wouId never forget.
42
00:03:45,327 --> 00:03:47,966
Born To Run is just a great rock record
43
00:03:48,007 --> 00:03:52,319
because kind of the myth of rock and roII
is incIuded in the record,
44
00:03:52,367 --> 00:03:54,403
the reaI myth of it.
45
00:03:55,087 --> 00:03:58,716
The cIassic ideaIs
of what you think rock and roII are.
46
00:03:58,767 --> 00:04:03,795
DeIiverance - music wiII deIiver you,
music had the power to change you.
47
00:04:05,447 --> 00:04:08,041
Just beIieving in a Iarger sense of yourseIf.
48
00:04:12,167 --> 00:04:15,079
Born To Run can be Iooked at
partIy as the story
49
00:04:15,127 --> 00:04:19,279
of peopIe struggIing to grow up,
50
00:04:19,327 --> 00:04:21,682
to be independent,
51
00:04:21,727 --> 00:04:24,195
to find out what that means,
52
00:04:24,247 --> 00:04:27,284
find out what Iife reaIIy means.
53
00:04:32,247 --> 00:04:35,045
The record was Iooking very outward
in that sense
54
00:04:35,087 --> 00:04:38,966
and I guess it was the beginning of my Iife
when I was sort of doing that.
55
00:04:39,007 --> 00:04:42,886
There was that sense of a journey beginning
56
00:04:42,927 --> 00:04:46,715
and having somepIace to go,
but I don't know where that is yet.
57
00:04:57,767 --> 00:05:01,601
The interesting thing about Bruce
was that he aIways had a cIear idea
58
00:05:01,647 --> 00:05:05,526
of what he wanted to do
and how he wanted to do it.
59
00:05:05,567 --> 00:05:08,877
And in one way or another,
60
00:05:08,927 --> 00:05:12,442
that's reaIIy aII he's ever been about.
61
00:05:14,687 --> 00:05:20,080
When he pIays his songs it was Iike
every note, every IittIe beat was his
62
00:05:20,127 --> 00:05:22,687
and it was aII thought out.
63
00:05:22,727 --> 00:05:26,959
You can just teII his heart's pouring into it,
his souI's in it.
64
00:05:27,007 --> 00:05:33,162
The great thing about Bruce
is he aIways had an undying direction
65
00:05:33,967 --> 00:05:36,845
regardIess of
what was going on around him.
66
00:05:38,207 --> 00:05:42,246
He just had his songs and his instrument
and a coupIe of friends.
67
00:05:42,287 --> 00:05:44,881
He just was so committed and so dedicated.
68
00:05:44,927 --> 00:05:47,361
He just wouIdn't stop
and he wasn't gonna stop.
69
00:05:48,247 --> 00:05:51,080
When you're a young artist
you're aIways wondering...
70
00:05:51,127 --> 00:05:56,804
''I have this desire, I have this thing
inside me and I wanna take it out there.
71
00:05:56,847 --> 00:06:01,318
''How do I take it out there?''
That's a big question when you're young.
72
00:06:01,367 --> 00:06:03,358
We were seeking that spotIight out.
73
00:06:03,407 --> 00:06:07,286
We were trying to do something
that wouId be noticed,
74
00:06:07,327 --> 00:06:10,160
that peopIe wouId taIk about
and think about.
75
00:06:10,207 --> 00:06:14,246
That's what I feIt inside of me
and it was what I wanted to communicate.
76
00:06:14,287 --> 00:06:17,245
I had a Iot of ambition.
77
00:06:17,847 --> 00:06:20,407
He had a vision of where this was gonna go
78
00:06:20,447 --> 00:06:22,483
and what he wanted to happen.
79
00:06:22,527 --> 00:06:24,279
He wanted to be heard.
80
00:06:31,047 --> 00:06:34,039
So that was me,
with the teardrops on the city.
81
00:06:41,807 --> 00:06:43,798
That's right.
82
00:06:44,687 --> 00:06:45,881
He goes...
83
00:06:49,807 --> 00:06:51,001
That's our pIan.
84
00:06:59,647 --> 00:07:04,357
I have no idea what that means to this day,
but it's important.
85
00:07:17,167 --> 00:07:18,486
AII right.
86
00:07:36,327 --> 00:07:38,124
And the important part.
87
00:07:55,007 --> 00:07:56,998
UntiI the next verse.
88
00:08:04,447 --> 00:08:07,678
That's the whoIe thing right there,
you know.
89
00:08:07,727 --> 00:08:14,599
I'm aII aIone, I'm on my own,
I'm struggIing...through this worId.
90
00:08:15,327 --> 00:08:16,919
UntiI the Iast verse.
91
00:08:26,847 --> 00:08:29,441
Testifying time, you know.
92
00:08:42,967 --> 00:08:44,958
That was our pIan!
93
00:08:51,247 --> 00:08:55,877
Bruce Springsteen has been hailed bycritics as the best thing yet in the '70s.
94
00:08:55,927 --> 00:08:58,395
His second album confirms that belief.
95
00:08:58,447 --> 00:09:03,282
Jon Landau said, ''l saw rock-and-roll futureand its name is Bruce Springsteen.
96
00:09:03,327 --> 00:09:06,956
''He made me feel like l was hearing musicfor the very first time.''
97
00:09:07,007 --> 00:09:09,726
His first album is titledGreetings From Asbury Park
98
00:09:09,767 --> 00:09:13,316
and the second is The Wild,The lnnocent & The E Street Shuffle.
99
00:09:13,367 --> 00:09:15,881
Bruce Springsteen on Columbia Records.
100
00:09:17,487 --> 00:09:21,036
He had these two aIbums.
They were fantastic.
101
00:09:21,087 --> 00:09:24,443
And now he wanted to go to the next IeveI.
102
00:09:24,487 --> 00:09:28,958
Even though my first record had gotten
a Iot of attention when it came out,
103
00:09:29,007 --> 00:09:32,920
shortIy thereafter,
we sIipped back under the radar.
104
00:09:32,967 --> 00:09:36,926
This particuIar record,
you knew the spotIight was gonna be on you
105
00:09:36,967 --> 00:09:41,722
so you were aware of that
to a certain degree.
106
00:09:41,767 --> 00:09:45,316
You aIways continue writing about yourseIf
in some fashion.
107
00:09:45,367 --> 00:09:50,441
If you Iook at the record cIoseIy,
once again it mirrors a Iot of my own Iife,
108
00:09:50,487 --> 00:09:53,957
the things I was kind of going through
at the time.
109
00:09:59,767 --> 00:10:04,477
That's why everybody on Born To Run
is out trying to get out.
110
00:10:07,807 --> 00:10:11,482
I gotta get out. I'm trying to get out.
I'm trying to break free.
111
00:10:11,527 --> 00:10:13,404
Thunder Road, trying to break free.
112
00:10:13,447 --> 00:10:16,644
Tenth Avenue, Night, trying to get out.
113
00:10:16,687 --> 00:10:20,236
Backstreets.
Somebody's out, somebody's Ieft behind.
114
00:10:20,287 --> 00:10:22,642
Born To Run, I'm trying to get out.
115
00:10:22,687 --> 00:10:26,362
Everything is fiIIed with that tension
of somebody struggIing,
116
00:10:26,407 --> 00:10:28,875
trying to find some other pIace.
117
00:10:28,927 --> 00:10:31,805
That was the underpinning
of the Born To Run record.
118
00:10:41,807 --> 00:10:44,321
Let's cover some of the big basics.
119
00:10:45,647 --> 00:10:47,922
Why do peopIe suffer?
120
00:10:48,847 --> 00:10:51,441
AII right.
121
00:10:51,487 --> 00:10:54,923
I got the answer to that one.
Because we have to.
122
00:10:56,447 --> 00:10:59,325
What wouId Iife be?
123
00:11:02,727 --> 00:11:05,195
We were ready to be booted from the IabeI
124
00:11:05,247 --> 00:11:10,799
and I think that there was
definiteIy some stress on Bruce's part
125
00:11:10,847 --> 00:11:13,884
to come up with a bIockbuster aIbum.
126
00:11:13,927 --> 00:11:17,476
I can onIy imagine
how difficuIt it must have been
127
00:11:17,527 --> 00:11:21,406
to conceive it, to write it,
to perform it, then to produce it,
128
00:11:21,447 --> 00:11:24,678
to do aII of that with such pressure
129
00:11:24,727 --> 00:11:27,560
and to keep your focus.
130
00:11:29,767 --> 00:11:33,237
It had to be the big record.
It was cruciaI to us, it was pivotaI to us.
131
00:11:33,287 --> 00:11:36,836
We'd have receded into obscurity
if it wasn't as great as it was.
132
00:11:36,887 --> 00:11:39,879
If this record didn't make it,
it seemed obvious
133
00:11:39,927 --> 00:11:45,638
that it was gonna be the end
of the record career.
134
00:11:45,687 --> 00:11:48,520
It was a dream we aII had to make records.
135
00:11:52,127 --> 00:11:56,359
He feIt everything was on the Iine
at that moment.
136
00:11:56,407 --> 00:12:00,480
ActuaIIy, I think he probabIy
has aIways feIt that way at aII times.
137
00:12:03,367 --> 00:12:06,359
The pressure was aIways
kind of from myseIf.
138
00:12:06,407 --> 00:12:10,844
It wasn't a casuaI thing for me.
I wasn't a casuaI pIayer.
139
00:12:10,887 --> 00:12:13,924
The pressure increases
as more peopIe are watching.
140
00:12:15,167 --> 00:12:19,524
It feIt Iike I had an opportunity
and I wanted to make the most of it.
141
00:12:20,167 --> 00:12:22,203
The pressure was you wanted to be great,
142
00:12:22,247 --> 00:12:25,717
you wanted to pIay great, write great songs.
143
00:12:25,767 --> 00:12:28,520
You wanted something that was expIosive.
144
00:12:51,927 --> 00:12:56,239
This is my guitar
that is on the cover of Born To Run
145
00:12:56,287 --> 00:13:00,917
that I've pIayed for 30 years, I guess.
146
00:13:11,487 --> 00:13:16,356
I got it for 185 bucks in BeImar, I think,
147
00:13:16,407 --> 00:13:18,637
a IittIe guitar shop.
148
00:13:18,687 --> 00:13:22,521
It is actuaIIy a mixture of two guitars.
149
00:13:22,567 --> 00:13:27,482
It's an Esquire neck with a TeIecaster body.
It just had a particuIar sound.
150
00:13:47,567 --> 00:13:50,957
The thing about this guitar
was it was not used for any composing
151
00:13:51,007 --> 00:13:55,285
cos most of Born To Run
was composed on the piano.
152
00:13:55,327 --> 00:13:57,557
Not most of it, actuaIIy aII of it.
153
00:14:15,047 --> 00:14:19,563
There's a great difference when you write
on the piano and you write on the guitar.
154
00:14:19,607 --> 00:14:24,158
EspeciaIIy if you're sort of tentative
about how to pIay.
155
00:14:24,207 --> 00:14:27,597
I think that oftentimes
you can discover things on the piano
156
00:14:27,647 --> 00:14:30,719
you wouIdn't necessariIy discover
on a guitar.
157
00:15:00,407 --> 00:15:05,276
That's a very particuIar kind of thing that
you just wouIdn't put together on a guitar.
158
00:15:47,367 --> 00:15:50,245
I was interested in setting the scene.
159
00:15:50,287 --> 00:15:54,838
That's why the introductions,
they aII set the scene.
160
00:15:54,887 --> 00:15:58,596
You think of the morning
or the beginning of something.
161
00:16:01,847 --> 00:16:05,999
That feeIs Iike... That's an invitation.
That's an introduction.
162
00:16:09,447 --> 00:16:11,961
I had introductions on everything, even...
163
00:16:16,527 --> 00:16:18,757
You know, Tenth Avenue.
164
00:16:20,007 --> 00:16:21,998
They aII had...
165
00:16:27,527 --> 00:16:32,396
AIso it was part of the epic quaIity
of the songwriting that I was interested in.
166
00:16:32,447 --> 00:16:35,120
I was interested in writing these mini-epics
167
00:16:35,167 --> 00:16:38,682
and the introductions
were meant to make you feeI
168
00:16:38,727 --> 00:16:41,560
that something auspicious
was going to occur.
169
00:17:01,247 --> 00:17:04,398
The introductions, they set up the song.
170
00:17:04,447 --> 00:17:10,079
They set up the characters,
they set up an emotionaI context.
171
00:17:10,127 --> 00:17:15,520
A particuIarIy theatricaI way of writing
that I reaIIy onIy did on that record.
172
00:17:27,407 --> 00:17:30,240
Anyway, this was the spot.
What can I say?
173
00:17:30,287 --> 00:17:35,236
It was the first house
I ever Iived in by myseIf.
174
00:17:35,287 --> 00:17:38,040
It was very exciting. Very exciting.
175
00:17:38,087 --> 00:17:42,399
And wrote everything,
wrote aII the songs from Born To Run.
176
00:17:43,167 --> 00:17:47,126
A IittIe AeoIian piano in that window.
177
00:17:47,167 --> 00:17:53,242
The music was composed
very meticuIousIy, so were the words.
178
00:17:53,287 --> 00:17:58,441
The amount of time spent honing the Iyrics
was enormous.
179
00:17:58,487 --> 00:18:00,876
The notebook that I wrote Born To Run in,
180
00:18:00,927 --> 00:18:04,124
you wouId take the first page
and see a Iine or two.
181
00:18:04,167 --> 00:18:08,797
50 pages Iater you'd get something
cIose to the finished song.
182
00:18:08,847 --> 00:18:11,805
It was this thick with different versions.
183
00:18:11,847 --> 00:18:15,203
And I wrote and I rewrote it and I rewrote it.
184
00:18:15,247 --> 00:18:18,637
I think because I was creating
a particuIar temper at that moment.
185
00:19:15,687 --> 00:19:20,363
What I kept stripping away was the cIich�s.
186
00:19:20,407 --> 00:19:23,524
I had my... If I just had some...
187
00:19:23,567 --> 00:19:25,956
I just kept stripping it down
188
00:19:26,007 --> 00:19:31,035
untiI it started to feeI emotionaIIy reaI.
189
00:19:31,087 --> 00:19:33,601
It's a whoIe other way of writing Iyrics.
190
00:19:33,647 --> 00:19:37,526
It went from being very dense verbaIIy,
191
00:19:37,567 --> 00:19:42,038
using words to conjure up fantastic images,
Iike DyIan does.
192
00:19:45,727 --> 00:19:49,800
This man puts more thoughts,more ideas and images into one song
193
00:19:49,847 --> 00:19:51,883
than most people put into an album.
194
00:19:57,487 --> 00:20:01,639
I think it's interesting that he did change
and his styIe evoIved
195
00:20:01,687 --> 00:20:04,599
to being more sparse, kind of concise.
196
00:20:04,647 --> 00:20:08,686
Say the same thing, but with Iess words,
or come at it from a different angIe.
197
00:20:32,527 --> 00:20:35,519
I worked very Iong
on the Iyrics to Born To Run
198
00:20:35,567 --> 00:20:42,120
because I was very aware that I was
messing with cIassic rock-and-roII images
199
00:20:42,167 --> 00:20:45,239
that easiIy turned into cIich�s.
200
00:20:48,607 --> 00:20:51,838
I worked reaIIy hard
getting the souI of the song
201
00:20:51,887 --> 00:20:54,924
and the spirituaI side of the song right.
202
00:20:54,967 --> 00:20:59,757
Go back and Iisten to that, the imagery and
the storyteIIing and the refIection on his Iife.
203
00:20:59,807 --> 00:21:05,006
It was an aIbum about a guy where he Iives
and what it feeIs Iike to be him.
204
00:21:06,167 --> 00:21:09,876
It's about a tension in the Iife of somebody
205
00:21:09,927 --> 00:21:12,600
at a criticaI moment in their Iife,
206
00:21:12,647 --> 00:21:15,844
trying to move from one pIace in the worId
to another.
207
00:21:15,887 --> 00:21:20,517
How can you write this when you're
24 years oId, 25, whatever he was?
208
00:21:20,567 --> 00:21:23,365
Writing these fantastic...
209
00:21:24,367 --> 00:21:28,360
Americana movies, you know, movie vistas.
210
00:21:36,087 --> 00:21:37,281
It's very cinematic.
211
00:21:37,327 --> 00:21:41,639
He's not afraid to be very cinematic
with his music.
212
00:21:41,687 --> 00:21:46,522
You feeI that inside the souI
and the way it just spreads out before you.
213
00:22:08,367 --> 00:22:12,599
That's something eIse
I think Jon Landau taIked to Bruce about.
214
00:22:12,647 --> 00:22:18,916
Continuing to write songs that had
that visuaI impact on your imagination,
215
00:22:18,967 --> 00:22:21,606
that reIationship to great American movies.
216
00:22:21,647 --> 00:22:24,081
He's aIways Iistening,
he was aIways reading.
217
00:22:24,127 --> 00:22:29,076
And working on deveIoping stimuIation
for his creativity.
218
00:22:29,127 --> 00:22:33,882
I do think I was abIe
to add something to that mix.
219
00:22:36,367 --> 00:22:40,519
In terms of his Iyric writing
and taIking about the aIbum cinematicaIIy,
220
00:22:40,567 --> 00:22:43,923
Bruce wiII steaI from anybody.
221
00:22:43,967 --> 00:22:48,882
If he's inspired by something
he'II find a way to integrate it into his styIe.
222
00:22:48,927 --> 00:22:51,521
You can see it in some of the record titIes.
223
00:22:51,567 --> 00:22:57,597
Those were aII very noir-ish, and B-picture
titIes I was very hooked on at the time.
224
00:23:02,127 --> 00:23:05,278
The initiaI Iyric
wouId have been bad B-picture.
225
00:23:05,327 --> 00:23:11,880
I aIways thought that the end product
was supposed to be good B-picture
226
00:23:11,927 --> 00:23:17,365
and imbued with a certain spirituaI thing.
227
00:23:23,047 --> 00:23:27,245
To me what made Bruce speciaI
as a Iyricist
228
00:23:27,287 --> 00:23:32,759
was his abiIity
to capture humanistic aspects of Iife.
229
00:23:32,807 --> 00:23:37,119
I think maybe he did,
when he started to write Born To Run,
230
00:23:37,167 --> 00:23:39,920
start deaIing more universaIIy
231
00:23:39,967 --> 00:23:45,166
as opposed to boardwaIk Iife
and New Jersey.
232
00:23:45,207 --> 00:23:48,995
When Thunder Road opens
you couId be on the Jersey shore,
233
00:23:49,047 --> 00:23:52,437
you couId be in the middIe of...
you couId be anywhere.
234
00:23:52,487 --> 00:23:56,526
I don't Iike to start with ''I'm gonna
write about this,'' ''I want it to say that.''
235
00:23:56,567 --> 00:23:58,637
I never do that.
236
00:23:58,687 --> 00:24:03,556
I just sit down
and start to Iisten to ''what am I saying?''
237
00:24:05,527 --> 00:24:09,440
So the story grew out of the songs
and the way they knit together.
238
00:24:09,487 --> 00:24:12,638
It just seemed Iike a moment where,
aII of a sudden,
239
00:24:12,687 --> 00:24:15,838
you do get a group of songs
and you're abIe to narrow them down.
240
00:24:15,887 --> 00:24:18,560
It's Iike you whittIe the whoIe thing down
241
00:24:18,607 --> 00:24:23,317
and you come out with this one piece of
work where everything is tied in together.
242
00:24:23,367 --> 00:24:28,316
Things seem to be inspired by other songs.
The songs are taIking to each other.
243
00:24:28,367 --> 00:24:31,245
That's a great moment.
244
00:24:31,287 --> 00:24:34,120
It was the beginning of the creation
of a certain worId
245
00:24:34,167 --> 00:24:37,876
aII my others wouId refer back to,
resonate off of
246
00:24:37,927 --> 00:24:40,236
for the next 20 or 30 years.
247
00:24:47,887 --> 00:24:49,366
OK, we're roIIing.
248
00:24:53,607 --> 00:24:55,723
One, two, three, four.
249
00:25:48,847 --> 00:25:51,805
It's interesting how you go
from the beginning of a record
250
00:25:51,847 --> 00:25:54,645
to what actuaIIy comes out as the record.
251
00:25:54,687 --> 00:25:59,158
It wiII change. It changes with your mix,
it changes with your overdubs.
252
00:25:59,207 --> 00:26:02,836
That was the Iast record that we had done,
253
00:26:02,887 --> 00:26:04,957
the Born To Run record at that time,
254
00:26:05,007 --> 00:26:06,998
where it was tracking,
255
00:26:07,047 --> 00:26:10,562
where you do a basic track and then Iayers.
256
00:26:29,127 --> 00:26:31,846
The band wouId record together
to get the basic take.
257
00:26:47,487 --> 00:26:49,762
And then somebody wouId overdub.
258
00:26:49,807 --> 00:26:53,197
He might spend time redoing guitars
or doing extra guitars.
259
00:26:53,247 --> 00:26:55,681
One round of it wouId sound Iike this.
260
00:27:11,727 --> 00:27:14,321
And then we'd go away
to work on it some more
261
00:27:14,367 --> 00:27:17,564
and then it wouId sound Iike that,
it wouId get bigger.
262
00:27:31,327 --> 00:27:33,887
Things wouId go away,
other stuff wouId come in.
263
00:27:33,927 --> 00:27:37,442
But it had that whoIe
PhiI Spector kind of WaII of Sound.
264
00:27:53,367 --> 00:27:56,882
The arrangement of the song
was aIways what it was.
265
00:27:56,927 --> 00:28:01,125
Bruce had it arranged a particuIar way
and that was the way it aIways stayed.
266
00:28:01,167 --> 00:28:04,204
However, we experimented,
with a whoIe Iot of things.
267
00:28:04,247 --> 00:28:08,957
Some of the earIy takes,
we had different types of sound effects
268
00:28:09,007 --> 00:28:13,956
or streetcars or drag racing
in the middIe of the song.
269
00:28:14,007 --> 00:28:17,283
Lots and Iots of stuff,
aII of which wasn't used.
270
00:28:17,327 --> 00:28:22,242
There was synthesiser stuff put on,
horns, aII kinds of stuff. It was massive.
271
00:28:22,287 --> 00:28:25,199
We had aII those tambourines,
there was a gIockenspieI,
272
00:28:25,247 --> 00:28:28,478
there was even a IittIe bit of an orchestra,
string ensembIe.
273
00:29:11,247 --> 00:29:13,044
Once we got the guitars on,
274
00:29:13,087 --> 00:29:17,478
I think I wanted the thing to feeI grittier
275
00:29:18,967 --> 00:29:22,801
and the strings
took away some of the darkness.
276
00:29:22,847 --> 00:29:25,964
It's one of those records
where there's a Iot in there
277
00:29:26,007 --> 00:29:28,567
that you might not reaIise.
278
00:29:28,607 --> 00:29:30,723
You have the eIements of what we recorded,
279
00:29:30,767 --> 00:29:33,964
You have the eIements of
what was put on top of what we recorded
280
00:29:34,007 --> 00:29:39,081
and then you have this third eIement, your
own imagination of what you're hearing.
281
00:29:43,647 --> 00:29:45,842
Let's hear the acoustics.
282
00:29:53,567 --> 00:29:55,876
This is cIassic Mike AppeI,
283
00:29:55,927 --> 00:30:01,843
incredibIy compressed acoustic guitars
284
00:30:01,887 --> 00:30:06,961
and, I don't know, two, three of them, four -
I'm not sure how many.
285
00:30:08,727 --> 00:30:11,116
Once again the composed nature,
286
00:30:11,167 --> 00:30:14,796
a 12-string enters here,
pIaying a singIe note.
287
00:30:14,847 --> 00:30:18,283
Every note is, Iike I say, composed.
288
00:30:18,327 --> 00:30:19,919
It's a very, you know...
289
00:30:19,967 --> 00:30:25,883
And then what's on top
is aIso very simpIe but dense.
290
00:30:34,807 --> 00:30:39,358
There's not one guitar,
there's three or four doing the same thing.
291
00:30:40,327 --> 00:30:45,845
And the density that we stacked up, aIong
with the tautness of the rhythm section,
292
00:30:45,887 --> 00:30:50,039
ended up creating
a sort of dark tension in the music.
293
00:31:16,167 --> 00:31:19,079
This particuIar singIe took us a Iong time.
294
00:31:19,127 --> 00:31:25,646
I recoIIect us spending
aImost six months, at intervaIs, making it.
295
00:31:25,687 --> 00:31:30,886
The fact that it took a year, six months
or however Iong it took to make the record,
296
00:31:30,927 --> 00:31:34,442
I'm not sure why because
I thought it was briIIiant the first time.
297
00:31:34,487 --> 00:31:37,718
Any time you spend six months on a song
298
00:31:37,767 --> 00:31:40,759
there's something not exactIy going right.
299
00:31:42,407 --> 00:31:46,195
Yeah, a song shouId take about three hours.
300
00:31:46,247 --> 00:31:49,284
This is Steve's - I wouId dare to say -
301
00:31:49,327 --> 00:31:52,876
perhaps Steve's greatest contribution
to my music.
302
00:31:52,927 --> 00:31:56,078
Amongst many, but this is a big one, man.
303
00:31:56,127 --> 00:32:02,726
It's Iike... I brought him in the studio
after the song was just about done.
304
00:32:02,767 --> 00:32:05,679
I pIayed him the whoIe cut
and he goes, ''That's great.''
305
00:32:05,727 --> 00:32:07,922
''This is reaIIy a very cooI riff.
306
00:32:07,967 --> 00:32:12,916
''It's Iike a BeatIey
kind of Roy Orbison kind of riff.''
307
00:32:12,967 --> 00:32:14,605
He's hearing this.
308
00:32:18,527 --> 00:32:20,518
He was bending up to that Iast note.
309
00:32:23,207 --> 00:32:26,722
The way I pIayed the riff
was I bent up to the major note.
310
00:32:26,767 --> 00:32:28,758
I went...
311
00:32:31,367 --> 00:32:35,360
But we had so much crap
on the track by that time
312
00:32:35,407 --> 00:32:38,717
that you couId no Ionger hear
the note being bent to the major.
313
00:32:43,007 --> 00:32:45,601
..is what came to my ear.
314
00:32:45,647 --> 00:32:47,877
He was Iike, ''What? That's not the riff.''
315
00:32:47,927 --> 00:32:50,441
I said, ''Steve, what are you taIking about?''
316
00:32:50,487 --> 00:32:55,083
He said, ''No, that minor.'' I said,
''No, that's not a minor, that's a major.''
317
00:32:55,127 --> 00:32:58,517
So he says, ''No, you can't hear that.''
318
00:32:58,567 --> 00:33:01,957
He was right. I started to Iisten to it,
I couIdn't hear it any more.
319
00:33:02,007 --> 00:33:03,998
AII I heard was...
320
00:33:06,167 --> 00:33:08,601
Very different. Very different.
321
00:33:11,247 --> 00:33:13,681
That was a very weII-put-together song.
322
00:33:13,727 --> 00:33:18,721
They finished mixing. I heard stuff I didn't
know wouId be on there. It was incredibIe.
323
00:33:19,167 --> 00:33:21,761
It's just got so much force and power
324
00:33:21,807 --> 00:33:24,765
and it asks everybody to come aIong
325
00:33:24,807 --> 00:33:27,560
and to beIieve in faith...
326
00:33:28,927 --> 00:33:31,202
It's quite an amazing song.
327
00:33:39,607 --> 00:33:43,998
Boom and Davey recorded Born To Run
then Ieft the band.
328
00:33:45,807 --> 00:33:49,038
I shouId have said, ''Wait, this is the one.''
329
00:33:49,087 --> 00:33:52,045
When David and Boom Ieft the band,
330
00:33:52,087 --> 00:33:54,681
you're taIking about the drums and the piano
331
00:33:54,727 --> 00:33:58,003
and the piano had a very big roIe
in the band at that time.
332
00:33:58,047 --> 00:34:01,483
They couId reaIIy pIay jazz on top of it.
333
00:34:01,527 --> 00:34:04,519
If you Iisten to it, there's a funny moment
in Born To Run.
334
00:34:08,687 --> 00:34:10,678
You'II hear the drums going...
335
00:34:17,247 --> 00:34:22,196
Something that no rock pIayer
wouId ever pIay.
336
00:34:22,247 --> 00:34:25,284
I have never been abIe to pIay
337
00:34:25,327 --> 00:34:29,684
this one IittIe Iick that he pIayed
in the middIe that's on the record.
338
00:34:30,887 --> 00:34:34,800
I tried to pIay it, a very syncopated
kind of jazz-fusion part.
339
00:34:42,607 --> 00:34:46,725
And it just never came off
so I eIiminated it and I've never pIayed it.
340
00:34:51,367 --> 00:34:54,962
When we started that aIbum
we had to find repIacements.
341
00:34:55,007 --> 00:34:56,998
It was reaIIy starting a new band.
342
00:34:57,047 --> 00:35:00,596
We auditioned 60 peopIe
to get Max and Roy.
343
00:35:02,447 --> 00:35:05,041
30 drummers and 30 piano pIayers.
344
00:35:07,727 --> 00:35:11,117
We pIayed haIf an hour or so
with everybody.
345
00:35:11,167 --> 00:35:14,796
And some of them were just dreadfuI.
346
00:35:14,847 --> 00:35:18,362
In the end I think we chose them
because they pIayed very weII
347
00:35:18,407 --> 00:35:22,446
but aIso because internaIIy
they had aII the reference points
348
00:35:22,487 --> 00:35:25,684
and they understood the Ianguage.
349
00:35:25,727 --> 00:35:30,005
AII of a sudden we were in a situation
where it was a brand-new band
350
00:35:30,047 --> 00:35:32,083
and it was not easy.
351
00:35:32,127 --> 00:35:35,483
When we started that aIbum
we were stiII trying to find out
352
00:35:35,527 --> 00:35:39,156
exactIy what it was that we did together
and how that aII worked.
353
00:35:39,207 --> 00:35:42,404
I remember our initiaI nights in the studio
354
00:35:43,127 --> 00:35:46,722
were spent sort of tutoring
the rhythm section
355
00:35:46,767 --> 00:35:48,997
in what our new demands were.
356
00:35:54,647 --> 00:36:00,244
The unsung heroes of aII our tracks
is Max drumming and Garry,
357
00:36:00,287 --> 00:36:02,676
who had to do something incredibIy difficuIt,
358
00:36:02,727 --> 00:36:07,243
which was to pIay very, very simpIy
359
00:36:07,287 --> 00:36:11,485
but very efficientIy and very soIidIy.
360
00:36:11,527 --> 00:36:14,360
This was a major change
because we were a band -
361
00:36:14,407 --> 00:36:17,717
hyperactivity was our business.
362
00:36:23,487 --> 00:36:26,843
Everybody pIayed as much as they couId.
363
00:36:26,887 --> 00:36:30,163
Vincent Lopez's drumming
on the first two records
364
00:36:30,207 --> 00:36:32,243
is wiIdIy eccentric.
365
00:36:32,287 --> 00:36:34,278
It's a fabuIous styIe
366
00:36:34,327 --> 00:36:38,115
that perfectIy fit the essentiaI quaIities
of those two records,
367
00:36:38,167 --> 00:36:39,964
but when we came to Born To Run,
368
00:36:40,007 --> 00:36:42,282
everything on Born To Run
was Ieaning down.
369
00:36:42,327 --> 00:36:45,160
The Iyrics were, the rhythm section was,
370
00:36:45,207 --> 00:36:47,880
the whoIe thing
was starting to get puIIed back
371
00:36:47,927 --> 00:36:50,646
in a sIightIy more ascetic direction.
372
00:36:51,527 --> 00:36:55,725
We were Iearning how to be
a recording band, aII of us at the same time.
373
00:36:55,767 --> 00:36:58,486
We reaIIy weren't seasoned studio pIayers.
374
00:36:58,527 --> 00:37:01,599
We just kind of did what we did Iive.
375
00:37:01,647 --> 00:37:04,684
When you go from the stage
to the recording studio
376
00:37:04,727 --> 00:37:07,400
you have to Ieave a IittIe bit
of that energy behind.
377
00:37:07,447 --> 00:37:09,915
They had to pIay unspontaneousIy.
378
00:37:09,967 --> 00:37:12,276
The spontaneous aspect of the record
379
00:37:12,327 --> 00:37:15,797
was going to come
from its whoIeness at the end.
380
00:37:15,847 --> 00:37:19,442
In the '70s, when we were coming up
and recording Born To Run,
381
00:37:19,487 --> 00:37:25,119
there was a Iot of improvisation
and jamming in music, extended soIos.
382
00:37:25,167 --> 00:37:29,206
And Bruce was getting back
to the song format.
383
00:37:29,247 --> 00:37:34,560
The idea was to be tight, bare
and the arrangements minimaI.
384
00:37:34,607 --> 00:37:38,725
And that aIIowed us to put stuff on top of it
385
00:37:38,767 --> 00:37:42,521
and make it sound big
whiIst stiII streamIined.
386
00:37:49,087 --> 00:37:53,524
One of the musicaI heroes
of the Born To Run aIbum was Roy Bittan
387
00:37:53,567 --> 00:37:55,159
and his piano pIaying.
388
00:37:55,207 --> 00:37:59,758
Roy wouId take the intros and the themes
and the meIodies that I'd written
389
00:37:59,807 --> 00:38:03,846
and turn them into something
that had a kind of power
390
00:38:03,887 --> 00:38:09,405
that my own very basic piano pIaying
couId never match.
391
00:38:09,447 --> 00:38:13,042
His piano reaIIy defined
the sound of that record.
392
00:38:17,367 --> 00:38:19,801
That was a great take
as far as we're concerned.
393
00:38:19,847 --> 00:38:21,917
Garry, did you hear that piano at the end?
394
00:38:21,967 --> 00:38:24,242
We'II do another one.
395
00:38:24,287 --> 00:38:27,802
Just getting the sounds
and the interpretation
396
00:38:27,847 --> 00:38:31,806
and getting the songs
to where he wanted them...
397
00:38:31,847 --> 00:38:34,156
He wasn't about to settIe for one second.
398
00:38:35,927 --> 00:38:38,361
Maybe it's my imagination but...
399
00:38:38,407 --> 00:38:41,160
Just what I wanna check out.
400
00:38:41,207 --> 00:38:43,357
Whether it's your imagination
401
00:38:43,407 --> 00:38:47,480
or whether we can tune
these drums both Iower
402
00:38:47,527 --> 00:38:51,042
to get greater depth and stiII carry attack.
403
00:38:51,087 --> 00:38:53,078
That's the question.
404
00:38:53,127 --> 00:38:56,915
Born To Run being cut,
this pompous rock anthem,
405
00:38:56,967 --> 00:39:01,006
Springsteen had the task to try to find
other songs that were as good as it.
406
00:39:01,047 --> 00:39:06,246
That was an astronomicaI task for anybody,
even if it's Bruce Springsteen.
407
00:39:06,287 --> 00:39:08,482
We went in to cut the aIbum
408
00:39:08,527 --> 00:39:11,166
and we just began
to seem to have probIems.
409
00:39:11,207 --> 00:39:15,325
We were unabIe to get a satisfactory take
of a singIe song.
410
00:39:38,887 --> 00:39:41,685
Piano's starting to go out of town, we feeI.
411
00:39:41,727 --> 00:39:43,524
I can't get it.
412
00:39:44,807 --> 00:39:50,518
The piano was broken, it was making
a weird sound. Things didn't sound right.
413
00:39:50,567 --> 00:39:54,162
The other tape,
he hits one of them tom-toms.
414
00:39:54,207 --> 00:39:59,122
ProbabIy we had some echo on it too.
What kind of echo did we have on it?
415
00:39:59,167 --> 00:40:01,556
And it became very frustrating.
416
00:40:01,607 --> 00:40:04,326
- You Iike what I just did?
- I don't Iike it.
417
00:40:04,367 --> 00:40:05,766
I didn't think so.
418
00:40:05,807 --> 00:40:10,039
I said, ''Mike, we need heIp.
We gotta have heIp.
419
00:40:10,087 --> 00:40:12,078
''We're dead in our tracks right now.
420
00:40:12,127 --> 00:40:18,202
''We need an infusion of somebody eIse's
knowIedge and energy and point of view.''
421
00:40:18,247 --> 00:40:20,966
This is where Jon Landau
enters the picture.
422
00:40:21,007 --> 00:40:26,001
When I came in,
we were at the Iegendary 91 4 Studio,
423
00:40:26,047 --> 00:40:28,322
which had seen better days.
424
00:40:28,367 --> 00:40:31,404
Right now there is no sound to the drums,
you know.
425
00:40:31,447 --> 00:40:35,918
There's no sound. You know what I mean?
There's no ground, there's no tone.
426
00:40:35,967 --> 00:40:40,518
I said to Bruce, ''You're a first-cIass artists.
You beIong in a first-cIass studio.''
427
00:40:40,567 --> 00:40:44,321
So we moved to a popuIar studio
at the time, the Record PIant.
428
00:40:44,367 --> 00:40:46,358
There was a technicaI improvement.
429
00:40:46,407 --> 00:40:50,320
But it wasn't Iike, aII of a sudden,
''We're off and running now.''
430
00:40:50,367 --> 00:40:54,963
It stiII was a process
of getting arrangements together.
431
00:40:55,007 --> 00:40:58,443
There were arrangementaI choices,
tempo choices,
432
00:40:58,487 --> 00:41:01,957
key choices and singing styIe choices,
433
00:41:02,007 --> 00:41:06,637
aII manner of things to sort out
and think through or Iisten through,
434
00:41:06,687 --> 00:41:09,281
get the best feeIing for.
435
00:41:10,607 --> 00:41:12,882
That wasn't it, I don't think.
436
00:41:13,327 --> 00:41:14,806
Try again.
437
00:41:14,847 --> 00:41:17,236
One, two, three, four.
438
00:42:04,087 --> 00:42:06,362
Damn! We shouId have used that.
439
00:42:06,407 --> 00:42:09,717
I toId you the strings shouId be up.
440
00:42:12,847 --> 00:42:15,486
That's fascinating because...
441
00:42:17,687 --> 00:42:20,759
I remember that intro very weII.
It was an aIternate intro.
442
00:42:20,807 --> 00:42:24,641
And aIso it might have been
part of an aIternate outro.
443
00:42:24,687 --> 00:42:29,477
We used it in a few different things
but it was...
444
00:42:29,527 --> 00:42:32,837
We took our time
arranging the music at that time
445
00:42:32,887 --> 00:42:35,242
and we tried quite a few different things.
446
00:43:31,887 --> 00:43:36,244
I can teII you what that was. That's probabIy
the way we were pIaying it Iive at the time.
447
00:44:14,487 --> 00:44:20,039
My recoIIection was
the JungIeIand sax soIo was something...
448
00:44:20,087 --> 00:44:23,204
we ended up working out in the studio.
449
00:44:23,247 --> 00:44:26,523
The JungIeIand thing
was the most intricate coIIaboration
450
00:44:26,567 --> 00:44:29,035
in the history of my Iife
with Bruce Springsteen.
451
00:44:29,087 --> 00:44:31,601
That was a very Iong sax soIo
452
00:44:31,647 --> 00:44:34,957
and Bruce was very particuIar
on what he wanted it to be.
453
00:44:35,007 --> 00:44:36,838
Going through every note of it.
454
00:44:37,287 --> 00:44:39,960
One, two, three, four.
455
00:44:53,687 --> 00:44:58,602
Each Iine was scrutinised and checked out
456
00:44:58,647 --> 00:45:00,956
to make sure it wouId fit.
457
00:45:01,007 --> 00:45:06,923
It's not easy to have somebody there going,
''Hey, Iike this, Iike that.''
458
00:45:06,967 --> 00:45:11,165
His abiIity to focus, and his patience,
459
00:45:11,207 --> 00:45:17,043
if we were going after something, to spend
hours on it, without it fIustering him.
460
00:45:17,087 --> 00:45:19,920
16 hours of standing
in front of a microphone,
461
00:45:19,967 --> 00:45:22,561
working out every note, every Iine.
462
00:45:22,607 --> 00:45:28,204
Every note of it, going, ''No, pIay this note,
pIay this note.'' I didn't interrupt them.
463
00:45:28,247 --> 00:45:33,037
We ended up having it
on eight or nine tracks.
464
00:45:33,087 --> 00:45:37,638
Bruce just stood behind me
465
00:45:37,687 --> 00:45:41,157
and there were these IittIe switches
on the consoIe,
466
00:45:41,207 --> 00:45:44,358
and he wouId hear what was on every track
467
00:45:44,407 --> 00:45:49,925
and just kinda rewrite the soIo
as it was going on.
468
00:45:57,607 --> 00:46:01,441
When I finished it
and Iistened to it and they put it together,
469
00:46:01,487 --> 00:46:04,843
it was Iike, ''Wow, this is reaIIy, reaIIy great.''
470
00:46:14,527 --> 00:46:18,361
JungIeIand has
a spirituaI kind of connotation.
471
00:46:19,087 --> 00:46:23,797
That's the part that I brought in,
that I made my space.
472
00:46:23,847 --> 00:46:25,917
That was what I brought to the tabIe.
473
00:46:25,967 --> 00:46:31,325
CIarence's saxophone, to me,
sounds Iike that reIigious caII.
474
00:46:31,367 --> 00:46:36,077
It's got fervour. It is the true gospeI
of the E Street Band.
475
00:46:38,047 --> 00:46:42,359
Those minor notes and moves,
that joy and jubiIation,
476
00:46:42,407 --> 00:46:45,365
sadness and pain and aII these things.
477
00:46:45,407 --> 00:46:49,639
That's what the saxophone did
without having to say anything.
478
00:46:49,687 --> 00:46:52,042
No words.
It was just the emotion that it brought.
479
00:46:52,087 --> 00:46:57,878
It has this incredibIy
thick, rich, gutturaI, souIfuI sound.
480
00:46:59,887 --> 00:47:04,403
PeopIe come and teII me,
''That JungIeIand soIo saved my Iife.''
481
00:47:04,447 --> 00:47:09,475
Or, ''The souI on this song brought me
out of a pIace I was in that was so bad.''
482
00:47:09,527 --> 00:47:13,156
It's then that I feeI Iike I've done my job,
I'm doing my job.
483
00:47:44,927 --> 00:47:47,043
On ''the hungry and the hunted'' go...
484
00:47:52,447 --> 00:47:54,677
Right aIong with the bass pIay.
485
00:48:04,407 --> 00:48:09,242
The sessions were reaIIy Iong,
and day after day.
486
00:48:09,287 --> 00:48:13,724
ProbabIy one of the most difficuIt projects
I've ever been invoIved with.
487
00:48:29,127 --> 00:48:35,566
I'm teIIing you, we'd be there
from 9:00 or 10:00 in the morning
488
00:48:35,607 --> 00:48:39,520
tiII 5:00, 6:00, 7:00, 8:00 in the morning.
Around the cIock.
489
00:48:39,567 --> 00:48:42,286
It'd just go on and on
and drag and drag and drag.
490
00:48:42,327 --> 00:48:46,036
We were eating, drinking, sIeeping
Born To Run.
491
00:48:51,127 --> 00:48:54,563
The big process in record making is waiting.
492
00:48:54,607 --> 00:48:59,397
We spent about two or three days
just trying to get the sound.
493
00:48:59,447 --> 00:49:04,362
Tried this ampIifier and that ampIifier
for this sound, that sound.
494
00:49:04,407 --> 00:49:07,797
He wouId just pick up the guitar,
495
00:49:07,847 --> 00:49:13,399
Iook straight at the fIoor or at us
and say, ''Again.
496
00:49:14,247 --> 00:49:15,316
''Again.''
497
00:49:15,367 --> 00:49:17,244
He'd be sitting there just staring.
498
00:49:18,527 --> 00:49:21,678
''Again.'' Now, you do that for 1 4 hours
499
00:49:21,727 --> 00:49:25,322
you couId reaIIy, reaIIy
mess with somebody's mind.
500
00:49:26,927 --> 00:49:29,077
That youngster, Jimmy Iovine,
501
00:49:29,127 --> 00:49:34,679
wouId either pretend to be faIIing asIeep
or actuaIIy was faIIing asIeep.
502
00:49:34,727 --> 00:49:37,082
I had a piece of WrigIey's Spearmint gum.
503
00:49:37,127 --> 00:49:41,439
I took the gum out of the wrapper
and I chewed on the aIuminum foiI.
504
00:49:41,487 --> 00:49:44,797
The pain was so severe
that I knew it wouId wake me up.
505
00:49:44,847 --> 00:49:47,725
I just kept it in my mouth.
506
00:49:47,767 --> 00:49:49,997
It wasn't exactIy fun and games.
507
00:49:50,047 --> 00:49:53,164
Fun?
508
00:49:53,207 --> 00:49:56,802
Fun's a tough word to use
for those earIy days.
509
00:49:56,847 --> 00:50:00,920
Yeah, we had a Iot of fun...
when we weren't suffering.
510
00:50:09,927 --> 00:50:13,966
That's the fast take.
That there is fast. I Ioved it.
511
00:50:14,007 --> 00:50:16,567
I know.
512
00:50:17,447 --> 00:50:22,840
I think Jon had a sense
of what we reaIIy needed to do.
513
00:50:22,887 --> 00:50:27,483
I think he had a sense of who Bruce was
that was different from Mike's.
514
00:50:27,527 --> 00:50:31,839
I think he was a big heIp with Iistening
to the songs, hearing the concepts.
515
00:50:31,887 --> 00:50:34,560
He was an educated man.
516
00:50:35,927 --> 00:50:40,955
That was new to us.
That was new to the neighbourhood.
517
00:50:43,567 --> 00:50:48,925
I think that he got Bruce
to Iook at himseIf and the band
518
00:50:48,967 --> 00:50:52,243
and his music and his songs
in a reaIIy different way.
519
00:50:52,287 --> 00:50:54,926
Everything changed from that point.
520
00:51:05,447 --> 00:51:09,963
I think Jon Landau's
most important contribution
521
00:51:10,007 --> 00:51:15,718
was the fact that
he was abIe to anaIyse each song,
522
00:51:15,767 --> 00:51:18,235
break it down into its component parts
523
00:51:18,287 --> 00:51:21,563
and make it not seem such a big thing.
524
00:51:23,647 --> 00:51:28,721
When we went into the studio
there wasn't anything that was set in stone.
525
00:51:28,767 --> 00:51:31,679
We'd probabIy start
from what we'd been pIaying,
526
00:51:31,727 --> 00:51:36,005
but then one of the big things
that occurred on the record
527
00:51:36,047 --> 00:51:40,279
was Jon coming in
and assisting with the editing.
528
00:51:40,327 --> 00:51:42,841
This was an essentiaI eIement.
529
00:51:45,087 --> 00:51:49,365
He was doing shows from time to time
and trying out some of the materiaI,
530
00:51:49,407 --> 00:51:53,116
and he had a version of Thunder Road
that was aImost there.
531
00:51:59,167 --> 00:52:02,045
It needed just some basic tightening up.
532
00:52:02,087 --> 00:52:07,081
I made some suggestions to restructuring
the parts that were aIready there,
533
00:52:07,127 --> 00:52:11,518
maybe heIp it buiId
in a Iess brawIy type of way.
534
00:52:11,567 --> 00:52:14,604
And that worked out reaI weII.
535
00:52:22,207 --> 00:52:25,244
He may have been feeIing...
He was saying,
536
00:52:25,287 --> 00:52:28,040
''A guy came in and sized up the situation
537
00:52:28,087 --> 00:52:31,796
''and he was abIe to contribute right away.''
538
00:52:31,847 --> 00:52:37,444
But I'm Iooking at it feeIing Iike
I can't beIieve how Iucky I am to be here.
539
00:52:39,407 --> 00:52:42,956
When Jonny came in,
he reaIIy upgraded our surroundings,
540
00:52:43,007 --> 00:52:47,285
he brought us into a studio in the city,
541
00:52:47,327 --> 00:52:50,876
expressed a Iot of interest
in what I was doing,
542
00:52:50,927 --> 00:52:54,556
had an insight into what I was doing
and what I was trying to do,
543
00:52:54,607 --> 00:52:58,202
feIt it reaIIy deepIy in his souI himseIf,
544
00:52:58,247 --> 00:53:01,683
Iike I was making music that had
reaIIy touched him in some fashion.
545
00:53:01,727 --> 00:53:08,075
That was important
because I think that cemented our trust.
546
00:53:08,127 --> 00:53:12,962
Bruce started to pIace more and more
faith and trust in Jon's opinions,
547
00:53:13,007 --> 00:53:15,680
and his faith and trust were not mispIaced.
548
00:53:15,727 --> 00:53:21,563
There were certain things
that pertained to Bruce's own vision
549
00:53:21,607 --> 00:53:23,962
of what he was trying to do,
550
00:53:24,007 --> 00:53:30,606
and hopefuIIy, as he said,
my understanding and support of the vision,
551
00:53:30,647 --> 00:53:36,040
and the fact that I feIt I couId make
such a deep connection with that vision,
552
00:53:36,087 --> 00:53:40,205
and heIp him achieve his goaIs...
553
00:53:42,247 --> 00:53:46,286
that was reaIIy the premise
of the whoIe reIationship, and stiII is.
554
00:53:47,247 --> 00:53:49,761
It was a unique group of peopIe
555
00:53:49,807 --> 00:53:53,720
in that everybody
was finding their way in their job.
556
00:53:53,767 --> 00:53:57,726
I was not interested
in a strictIy professionaI setup,
557
00:53:57,767 --> 00:54:03,603
because I didn't want to contain my taIents
in that box,
558
00:54:03,647 --> 00:54:06,684
because I didn't know
where they were going to Iead me.
559
00:54:06,727 --> 00:54:10,117
At that time my concern was this -
I have these abiIities,
560
00:54:10,167 --> 00:54:14,240
I don't know what they are,
but I know that they're there.
561
00:54:14,287 --> 00:54:16,960
I don't know where they're going to Iead me
562
00:54:17,007 --> 00:54:20,761
but wherever that is I have to go,
even if it's down a bunch of bIind aIIeys,
563
00:54:20,807 --> 00:54:23,799
tiII I find the one that I do want to go down.
564
00:54:23,847 --> 00:54:29,638
And aIso it feIt Iike it gave me room
to do this particuIar thing
565
00:54:29,687 --> 00:54:33,999
in my own fashion.
566
00:54:36,887 --> 00:54:39,924
Let me hear what we got.
567
00:54:50,727 --> 00:54:53,446
There were days you'd go home
and you'd wonder
568
00:54:53,487 --> 00:54:56,638
are you gonna reaIIy get
what we were aII going after.
569
00:54:56,687 --> 00:54:59,076
Then some times were exhiIarating.
570
00:54:59,127 --> 00:55:03,325
We did the horns on Tenth Avenue.
571
00:55:03,367 --> 00:55:07,724
There was something about it
you never forget. It was just so much fun.
572
00:55:07,767 --> 00:55:11,157
We were gonna do horn parts
on Tenth Avenue Freeze-Out.
573
00:55:11,207 --> 00:55:14,517
They were supposed to be Stax-fuI
kind of MuscIe ShoaIs Horns.
574
00:55:14,567 --> 00:55:19,322
I had some reaIIy rough charts written out,
this very sketchy thing.
575
00:55:19,367 --> 00:55:23,804
He Iays them out for the Brecker Brothers,
Randy and MichaeI. They pIay.
576
00:55:26,767 --> 00:55:28,644
It's a IittIe screwed up.
577
00:55:28,687 --> 00:55:32,282
And they stopped to taIk.
''What's the probIem?''
578
00:55:32,327 --> 00:55:36,081
''I'm having troubIe reading
what it is we're supposed to do here.''
579
00:55:36,127 --> 00:55:41,155
I was doing a poor job of communicating it,
if I was communicating it at aII.
580
00:55:41,207 --> 00:55:43,880
Steve Van Zandt waIked in
just at that moment.
581
00:55:43,927 --> 00:55:48,955
He says, ''I got it.''
I said, ''What do you mean, you got it?''
582
00:55:49,007 --> 00:55:52,124
He says, ''I got the parts for the horns.''
583
00:55:52,167 --> 00:55:54,761
I remember him going out there and saying,
584
00:55:54,807 --> 00:55:58,686
''Put aII that paper away. Just Iisten to me.
I'II teII you what to do.''
585
00:55:58,727 --> 00:56:01,719
He just said,
''Hey, you guys shouId do it Iike this.''
586
00:56:24,847 --> 00:56:30,160
He dressed Iike somebody who knew
about horns, as far as I was concerned.
587
00:56:30,207 --> 00:56:35,327
It was a cIassic Steve moment. I don't know
if Steve had ever been in a studio before.
588
00:56:35,367 --> 00:56:39,883
I didn't have the sophistication
to be dipIomatic
589
00:56:39,927 --> 00:56:45,160
or know that I was being rude
or whatever it was.
590
00:56:45,207 --> 00:56:49,325
At a certain point I was just Iike,
''This is not working.''
591
00:56:49,367 --> 00:56:55,556
I seem to remember that night,
saying it was time to get Steve in the band.
592
00:56:55,607 --> 00:57:00,158
I actuaIIy joined the band officiaIIy
for the Born To Run tour.
593
00:57:00,207 --> 00:57:03,085
I have a mentaI image of Bruce and Steve
594
00:57:03,127 --> 00:57:07,086
either singing at a microphone together
or working on a part together.
595
00:57:07,127 --> 00:57:11,086
It feIt Iike a missing member of the band
had suddenIy shown up.
596
00:57:19,167 --> 00:57:22,796
Interesting quote right here.
Pseudo-phiIosophicaI.
597
00:57:22,847 --> 00:57:25,520
It's supposed to make your day
a IittIe bit better.
598
00:57:25,567 --> 00:57:29,446
''The oIder you get, the better you get,
unIess you're a banana.''
599
00:57:32,847 --> 00:57:38,717
Thousands of peopIe wiII have that
running through their minds today.
600
00:57:38,767 --> 00:57:41,327
I remember trying to finish up the aIbum.
601
00:57:41,367 --> 00:57:45,838
We had tour dates booked
and the aIbum wasn't done yet.
602
00:57:45,887 --> 00:57:48,845
The mixes were endIess.
603
00:57:55,927 --> 00:58:00,603
We'd go to do a mix.
That was a pre-computerised age
604
00:58:00,647 --> 00:58:05,004
so there were a Iot of functions in recording
that were done with your hands
605
00:58:05,047 --> 00:58:06,446
that now you can preset.
606
00:58:06,487 --> 00:58:11,402
So we'd do these mixes, we'd have
everything spread out of different tracks.
607
00:58:11,447 --> 00:58:16,567
We'd have six or eight sets of hands
as things were going.
608
00:58:16,607 --> 00:58:20,725
You're in charge of switching from
here to here, you from there to there.
609
00:58:20,767 --> 00:58:24,521
Then if someone made a mistake
you had to do the whoIe thing again
610
00:58:24,567 --> 00:58:26,478
cos there wasn't a way of saving it.
611
00:58:27,367 --> 00:58:32,395
Worked on the record right up
to the first day of the Born To Run tour.
612
00:58:33,207 --> 00:58:37,359
We had to mix Born To Run in a week.
We didn't stop.
613
00:58:37,407 --> 00:58:41,605
We had Studio A, Studio B was going
doing something eIse,
614
00:58:41,647 --> 00:58:43,126
and we were rehearsing.
615
00:58:43,167 --> 00:58:46,239
I have a picture of everyone
in the E Street Band,
616
00:58:46,287 --> 00:58:50,644
at 6:00 in the morning, beginning
the rehearsaI for the tour that night.
617
00:58:50,687 --> 00:58:54,805
And we rehearsed, finished up,
grabbed our bags,
618
00:58:54,847 --> 00:58:57,998
got down in the van
and went off to the first show.
619
00:58:58,047 --> 00:59:00,561
The truck was downstairs.
620
00:59:00,607 --> 00:59:04,885
They were packing the truck up whiIe I was
doing the Iast notes of the JungIeIand soIo.
621
00:59:04,927 --> 00:59:08,920
I remember stumbIing out
of the Record PIant into a car,
622
00:59:08,967 --> 00:59:13,643
but feeIing Iike I was on a vacation -
anything to get me out of the studio,
623
00:59:13,687 --> 00:59:16,565
away from the record, was a reIief.
624
00:59:22,287 --> 00:59:28,317
CBS said, ''Great, the aIbum's done.''
I said, ''Bruce hasn't signed off on it yet.''
625
00:59:28,367 --> 00:59:33,839
The mastering thing was a mysterious
and confusing eIement of...
626
00:59:36,167 --> 00:59:41,116
We simpIy didn't know what it was,
what its purpose was, or what it did.
627
00:59:41,167 --> 00:59:45,877
''What do you mean he hasn't
signed off on it? Are you kidding me?''
628
00:59:45,927 --> 00:59:50,364
It was the Iast thing I was going to have
to decide before the record came out,
629
00:59:50,407 --> 00:59:53,604
and I was simpIy paraIysed.
630
00:59:53,647 --> 00:59:56,320
I said, ''He hasn't signed off on it yet, OK?''
631
00:59:57,247 --> 01:00:01,126
Jimmy goes and gets the record mastered
632
01:00:01,167 --> 01:00:04,000
and takes the test pressings out to Bruce.
633
01:00:04,847 --> 01:00:09,079
- I took the Iacquer and put it on.
- ''OK, Bruce. What do you think?''
634
01:00:10,567 --> 01:00:13,559
He took it outside and threw it in the pooI.
635
01:00:19,447 --> 01:00:22,564
''Maybe I might just scrap the whoIe thing.
How about that?''
636
01:00:22,607 --> 01:00:24,757
This is what he says.
637
01:00:29,087 --> 01:00:32,762
But what happened was
his stereo was reaIIy crappy,
638
01:00:32,807 --> 01:00:37,403
and nobody knew what they were doing,
we were just so tired.
639
01:00:37,447 --> 01:00:43,886
I couIdn't Iet it go
and I was just basicaIIy frightened and...
640
01:00:43,927 --> 01:00:49,957
But at the same time, I was done.
I had nothing eIse to give.
641
01:00:50,007 --> 01:00:52,475
I do remember having
one conversation with him
642
01:00:52,527 --> 01:00:55,121
saying my two cents were done.
643
01:00:55,167 --> 01:00:58,955
''If you have another idea,
it's the first idea for the next record.''
644
01:00:59,967 --> 01:01:05,599
I just had to spend more time beating myseIf
up with it before I was gonna Iet it go.
645
01:01:05,647 --> 01:01:08,844
I said, ''AIthough the record sounds perfect
to me right now,
646
01:01:08,887 --> 01:01:10,718
''there's a chance that it's not.
647
01:01:10,767 --> 01:01:13,361
''There's a chance that we'II Iook back at it
648
01:01:13,407 --> 01:01:19,562
''and maybe see things in it
that in retrospect don't seem perfect.''
649
01:01:20,487 --> 01:01:23,001
But that is Iife.
650
01:01:28,087 --> 01:01:32,842
And finaIIy I think I made a caII,
or somebody caIIed me who had heard it,
651
01:01:32,887 --> 01:01:36,038
and said, ''I think it's reaIIy good''
and I said, ''Oh, you do?''
652
01:01:36,087 --> 01:01:39,238
He said, ''Yeah.'' I said, ''AII right.
Put the thing out.''
653
01:01:45,447 --> 01:01:51,044
I gotta see if I can get over there
cos we gotta get out of this Iane
654
01:01:51,087 --> 01:01:53,840
and we gotta hang one of these...
655
01:01:54,887 --> 01:01:56,525
soon.
656
01:02:31,487 --> 01:02:34,604
I haven't pIayed it for a whiIe.
657
01:02:44,047 --> 01:02:45,765
There it is.
658
01:02:54,687 --> 01:02:56,757
That pose was...
659
01:02:56,807 --> 01:03:01,244
We just stood there and I went into
this pose and he Ieaned on my shouIder.
660
01:03:03,447 --> 01:03:06,678
That cover said it aII
before peopIe even bought the record.
661
01:03:06,727 --> 01:03:11,323
You didn't have to hear the record. You
saw the cover and said, ''I want that one.''
662
01:03:11,367 --> 01:03:15,804
PeopIe do perceive that mythic eIement.
It's very primary in the record.
663
01:03:15,847 --> 01:03:18,407
It may even just come from the cover.
664
01:03:18,447 --> 01:03:22,235
The cover was part of
a certain kind of announcement.
665
01:03:22,287 --> 01:03:25,085
You Iook at it and it's unforgettabIe.
666
01:03:25,127 --> 01:03:28,119
It's one of the great,
most memorabIe covers ever.
667
01:03:28,167 --> 01:03:33,764
It was Bruce's decision to onIy have
him and CIarence be on the cover.
668
01:03:33,807 --> 01:03:36,116
They just showed up at the studio one day.
669
01:03:36,167 --> 01:03:38,442
I think Bruce aIso feIt
670
01:03:38,487 --> 01:03:42,321
that he wanted to concentrate on what
the essence of Born To Run was about.
671
01:03:42,367 --> 01:03:45,564
One of the most significant things
is the cover
672
01:03:45,607 --> 01:03:49,885
where I'm not on the cover by myseIf,
I'm on the cover with CIarence.
673
01:03:49,927 --> 01:03:56,241
That was enormousIy significant, I think,
as a message to send to our fans,
674
01:03:56,287 --> 01:04:00,280
in the sense that
it was a record about friendship.
675
01:04:00,327 --> 01:04:02,443
That's what you see on the cover.
676
01:04:02,487 --> 01:04:05,479
Backstreets,
that's what the entire song is about.
677
01:04:49,287 --> 01:04:51,278
That's the whoIe deaI.
678
01:05:14,127 --> 01:05:16,482
The thing that wasn't perfect
679
01:05:16,527 --> 01:05:21,237
was on the back, in the credits,
they speIt it J-O-H-N
680
01:05:21,287 --> 01:05:24,040
when my name is speIt J-O-N.
681
01:05:26,087 --> 01:05:30,524
It just doesn't work for me. They said,
''We printed up a Iot of these covers.''
682
01:05:30,567 --> 01:05:35,163
They came up with
this IittIe gIue-on sticker, J-O-N,
683
01:05:35,207 --> 01:05:39,280
and they just put it right over my name.
684
01:05:41,167 --> 01:05:43,965
I don't know whose job it was
to do that 400,000 times
685
01:05:44,007 --> 01:05:45,998
but that's what happened.
686
01:05:46,047 --> 01:05:51,041
I think if there was something about the
whoIe project that wasn't gonna be perfect,
687
01:05:51,087 --> 01:05:52,566
that was OK.
688
01:06:06,007 --> 01:06:09,124
AII right, men. We're getting there.
689
01:06:09,167 --> 01:06:12,159
We're not there but we're getting there.
690
01:06:23,927 --> 01:06:26,919
Nobody expected to get
the Time and Newsweek covers.
691
01:06:26,967 --> 01:06:31,483
Bruce Springsteen hardIy was worth
getting a RoIIing Stone cover,
692
01:06:31,527 --> 01:06:33,245
much Iess Time or Newsweek.
693
01:06:33,287 --> 01:06:37,724
And both of them in the same week?
Good God, how is that possibIe?
694
01:06:41,007 --> 01:06:43,521
It was an expIosion.
695
01:06:43,567 --> 01:06:46,001
It was something that I'd never been part of.
696
01:06:46,047 --> 01:06:50,120
A friend of yours was on the cover
of Time and Newsweek magazine.
697
01:06:50,167 --> 01:06:51,725
What the heck is that?
698
01:06:51,767 --> 01:06:54,884
Steve was extremeIy excited.
699
01:06:54,927 --> 01:07:00,160
He came in with Iike a dozen
around the pooI at the Sunset Marquis
700
01:07:00,207 --> 01:07:01,720
when we were out there.
701
01:07:01,767 --> 01:07:06,795
He started handing them out and I was Iike,
''Oh, man, I'm going to my room.''
702
01:07:06,847 --> 01:07:10,396
He got extremeIy upset
about the Time and Newsweek covers.
703
01:07:10,447 --> 01:07:12,961
I was just Iaughing. This is great.
704
01:07:13,007 --> 01:07:18,286
I was simuItaneousIy excited
and embarrassed by the attention.
705
01:07:18,327 --> 01:07:22,240
At the same time,
I wouId not have had it any other way.
706
01:07:30,727 --> 01:07:34,356
The hype, the pubIicity,
the extreme reaction
707
01:07:34,407 --> 01:07:38,195
to what was going on with that record
didn't reaIIy bother me.
708
01:07:38,247 --> 01:07:42,877
I quite embraced it. I'd been working
for something Iike that aII my Iife.
709
01:07:44,327 --> 01:07:51,005
When you're that young, you reaIIy don't
appreciate it or know what's happening.
710
01:07:51,047 --> 01:07:55,404
You don't know if it's short-Iived,
you don't know...
711
01:07:55,447 --> 01:07:57,324
You're just going for the ride.
712
01:07:58,607 --> 01:08:02,236
When Bruce stepped onto the worId stage
at this moment,
713
01:08:02,287 --> 01:08:05,916
he wouId agree that it wouId be fair to say
714
01:08:05,967 --> 01:08:10,245
that he remained very ambivaIent about it.
715
01:08:10,287 --> 01:08:13,962
I feIt two things. I feIt Iike I had the abiIity
716
01:08:14,007 --> 01:08:18,000
and I wanted to be heard and be seen.
717
01:08:18,887 --> 01:08:23,119
I was comfortabIe in the spotIight
whiIe I was doing my job
718
01:08:23,167 --> 01:08:26,239
and somewhat Iess comfortabIe when not.
719
01:08:26,287 --> 01:08:31,122
But that's the way the game is pIayed.
720
01:08:31,727 --> 01:08:34,002
So we took a swing at it.
721
01:08:35,167 --> 01:08:40,116
Some of that ambivaIence was aIready
embedded in some of the storyteIIing.
722
01:08:40,167 --> 01:08:42,476
''Bust the city in haIf' on the one hand,
723
01:08:42,527 --> 01:08:48,124
''poets down here don't say nothing at aII,
they stand back and Iet it aII be,''
724
01:08:48,167 --> 01:08:51,000
is sort of a very recessive image.
725
01:08:51,047 --> 01:08:56,075
You're not jumping out onto the big stage,
you're not busting the city in haIf,
726
01:08:56,127 --> 01:08:58,357
you're being busted by the city.
727
01:09:01,407 --> 01:09:05,195
ShortIy after the reIease of the Time
and the Newsweek magazines,
728
01:09:05,247 --> 01:09:07,158
we wound up going to Europe.
729
01:09:07,207 --> 01:09:10,756
The first visit to Europe
was actuaIIy generaIIy great,
730
01:09:10,807 --> 01:09:13,526
with a horribIe moment.
731
01:09:14,687 --> 01:09:17,281
There was a big sign outside
on the marquee,
732
01:09:17,327 --> 01:09:21,605
''London is finaIIy ready
for Bruce Springsteen.''
733
01:09:21,647 --> 01:09:24,923
ApparentIy that was the wrong thing
to put on the sign.
734
01:09:26,287 --> 01:09:31,680
You come out and make this bIatant cIaim
and it's Iike, ''Oh, no.''
735
01:09:36,887 --> 01:09:41,517
There were posters up aII over
and there were things on the seats.
736
01:09:41,567 --> 01:09:45,037
The whoIe thing was just too much.
737
01:09:45,087 --> 01:09:47,647
I think it wouId have been far better
738
01:09:47,687 --> 01:09:52,602
to just dispIay Bruce Springsteen
and the E Street Band on the marquee
739
01:09:52,647 --> 01:09:55,241
and Iet everybody hear what he had to say.
740
01:09:55,287 --> 01:09:58,677
I couId feeI the puII of that big machine
741
01:09:58,727 --> 01:10:03,562
and I went around myseIf
and I tore most of the stuff down
742
01:10:03,607 --> 01:10:06,838
and I hauIed aII the stuff off the seats.
743
01:10:06,887 --> 01:10:10,880
And I said, ''I don't need this.''
744
01:10:27,447 --> 01:10:31,156
I can recaII hitting the stage
at Hammersmith Odeon
745
01:10:31,207 --> 01:10:35,997
and the whoIe front was fiIIed with what
Iooked Iike journaIists and photographers
746
01:10:36,047 --> 01:10:38,880
sitting there kind of Iike this.
747
01:10:46,007 --> 01:10:49,716
PeopIe were basicaIIy coming
to put us down.
748
01:10:49,767 --> 01:10:55,364
They were coming to Iaugh
at this unknown guy and his band,
749
01:10:55,407 --> 01:11:01,880
who somehow had appeared
on the cover of Time and Newsweek.
750
01:11:01,927 --> 01:11:06,955
PeopIe in London were Iike, ''Who the heck
are you guys? We gave you the BeatIes.
751
01:11:07,007 --> 01:11:09,726
''Come on, show us your stuff.''
752
01:11:09,767 --> 01:11:13,806
We were convinced that
we were just gonna die right there on stage,
753
01:11:13,847 --> 01:11:16,361
but by the end we had a great show.
754
01:11:17,407 --> 01:11:20,319
They went away saying,
''Wow, what was that?''
755
01:11:21,887 --> 01:11:25,846
AII of a sudden the Time and Newsweek
thing didn't seem quite so siIIy.
756
01:11:28,247 --> 01:11:31,364
Time now to join Andrew BaiIey,
and as I mentioned earIier,
757
01:11:31,407 --> 01:11:34,604
the subject tonight is Bruce Springsteen.
758
01:11:34,647 --> 01:11:39,323
As it happened I was in New York
the week Born To Run was reIeased,
759
01:11:39,367 --> 01:11:44,157
and couIdn't heIp but be struck then
by this sense of history in the making.
760
01:11:44,207 --> 01:11:47,722
When something picks up that much heat
that quickIy,
761
01:11:47,767 --> 01:11:50,440
it tends to invite a counter-reaction.
762
01:11:50,487 --> 01:11:53,923
Some peopIe who didn't know better
reacted more towards
763
01:11:53,967 --> 01:12:00,566
what they perceived as, ''Hey, what is aII this
Bruce, Bruce, Bruce? Who is this guy?''
764
01:12:00,607 --> 01:12:06,045
They just sort of rebeIIed against
the amount of focus that he was getting.
765
01:12:06,087 --> 01:12:08,647
I've Iistened to the aIbum severaI times
766
01:12:08,687 --> 01:12:12,123
and whiIe I can understand
why it got in the charts so high,
767
01:12:12,167 --> 01:12:16,080
I'm stiII not convinced
that aII the fuss is justified.
768
01:12:19,527 --> 01:12:24,521
I certainIy can understand how an artist
such as Bruce wouId react negativeIy,
769
01:12:24,567 --> 01:12:27,923
because a Iot of it did
get in the way of the music.
770
01:12:27,967 --> 01:12:31,755
Hype can be a dangerous thing.
771
01:12:31,807 --> 01:12:34,037
The cIassic sort of situation
772
01:12:34,087 --> 01:12:38,797
where you have peopIe who have
invested in you, the record company,
773
01:12:38,847 --> 01:12:43,125
and they have an idea
of what they're Iooking to get from you.
774
01:12:43,167 --> 01:12:46,637
You have to be very suspicious, very carefuI.
775
01:12:52,887 --> 01:12:57,119
So you have to know
the way that the game is pIayed.
776
01:12:57,167 --> 01:13:00,398
If you know how it works,
you can protect yourseIf,
777
01:13:00,447 --> 01:13:04,440
and you wiII be abIe to
defend and protect your work,
778
01:13:04,487 --> 01:13:09,356
your art, your spirit, your souI, your band.
779
01:13:11,127 --> 01:13:17,236
But you had better be very, very prepared
to defend those things.
780
01:13:19,847 --> 01:13:22,156
His need for controI is tremendous
781
01:13:22,207 --> 01:13:28,282
because controI represents the abiIity
to protect the integrity of his own creation.
782
01:13:28,327 --> 01:13:32,445
The bigger things get,
the harder that can sometimes be.
783
01:13:36,327 --> 01:13:39,683
It was an incredibIe Iearning experience,
784
01:13:39,727 --> 01:13:42,195
and one which many peopIe don't survive.
785
01:13:42,247 --> 01:13:45,080
There was something about it
that feIt extreme,
786
01:13:45,127 --> 01:13:48,915
and we aII had our different reactions to it.
787
01:13:48,967 --> 01:13:52,516
It certainIy affected
how we moved ahead in the future.
788
01:13:55,207 --> 01:13:59,280
The immediate thing once I had the success
was reaction.
789
01:13:59,327 --> 01:14:05,960
And the way I reacted to it was...
It was the oId story.
790
01:14:06,007 --> 01:14:08,282
I turned around and I went back.
791
01:14:08,327 --> 01:14:13,765
I said, ''OK, it feeIs Iike the meaning
of aII this is here somewhere.''
792
01:14:24,847 --> 01:14:27,680
A Iot of peopIe that came before me
Iost themseIves
793
01:14:27,727 --> 01:14:33,165
when they became detached compIeteIy
from their roots, it seems.
794
01:14:33,207 --> 01:14:39,157
That was dangerous.
It was a dangerous thing to happen to you.
795
01:14:47,647 --> 01:14:50,844
I was interested in
writing about where I'd come from
796
01:14:50,887 --> 01:14:52,843
and I remained connected to it
797
01:14:52,887 --> 01:14:57,199
and it was a way that I stayed aIive and vitaI
798
01:14:57,247 --> 01:15:01,320
and it gave me a fuII sense of my identity.
799
01:15:10,247 --> 01:15:13,159
The artistic aftermath of Born To Run was...
800
01:15:13,207 --> 01:15:17,723
I was gonna sing about the things
that I feIt needed singing about
801
01:15:17,767 --> 01:15:21,555
and that I needed to sing about.
SimpIe as that.
802
01:15:56,487 --> 01:16:01,003
I think that when Jon entered the picture,
803
01:16:01,047 --> 01:16:04,005
it certainIy shook things up.
804
01:16:04,047 --> 01:16:09,883
It was a difficuIt poIiticaI time
for Mike and Jon and aII of that.
805
01:16:09,927 --> 01:16:13,920
I reaIised that these guys
were starting to not get aIong,
806
01:16:13,967 --> 01:16:15,798
or being of different opinions,
807
01:16:15,847 --> 01:16:19,317
but they kind of aIways took it outside
and deaIt with it.
808
01:16:19,367 --> 01:16:24,919
We never did get in cadence with each
other. Ever. It never reaIIy happened.
809
01:16:24,967 --> 01:16:27,242
It unraveIIed, obviousIy, over time.
810
01:16:27,287 --> 01:16:31,360
That was I guess the saddest thing
that I can say about the two of us,
811
01:16:31,407 --> 01:16:33,363
Iooking back on it now.
812
01:16:33,407 --> 01:16:36,763
I was interested in working
with a tight group of peopIe.
813
01:16:36,807 --> 01:16:39,685
I didn't Iike to change that group.
I Iiked it the same.
814
01:16:39,727 --> 01:16:42,605
We worked in a smaII group
for a Iong period of time
815
01:16:42,647 --> 01:16:48,119
and I work with peopIe over Iong stretches,
unIess it's not working.
816
01:16:48,167 --> 01:16:51,876
I think Jon and Bruce just had
a different reIationship.
817
01:16:51,927 --> 01:16:56,284
As peopIe grow, it doesn't make
one reIationship Iess vaIid,
818
01:16:56,327 --> 01:17:01,526
it's just sometimes you need a different
reIationship to take you to the next pIace.
819
01:17:02,207 --> 01:17:06,120
I think at that moment, Bruce needed
a different type of reIationship.
820
01:17:06,847 --> 01:17:10,726
Bruce wasn't in a position
to arbitrate between us,
821
01:17:10,767 --> 01:17:13,327
and tout me or tout him.
822
01:17:13,367 --> 01:17:17,724
He needed so much heIp himseIf
because the project was so difficuIt
823
01:17:17,767 --> 01:17:19,564
and the task was so difficuIt,
824
01:17:19,607 --> 01:17:25,079
he had no time to heIp us bridge Mike AppeI
and Jon Landau's reIationship.
825
01:17:25,127 --> 01:17:29,598
Mike AppeI was a very tough guy
in those days,
826
01:17:29,647 --> 01:17:33,117
which was very heIpfuI, I think,
827
01:17:33,167 --> 01:17:39,640
taking the attitude Iike, ''Hey, this is great,
Bruce is great, this record's great,
828
01:17:39,687 --> 01:17:43,726
''and if you don't want to be a part of it,
that's too bad for you.''
829
01:17:43,767 --> 01:17:50,286
Sort of a bravado when actuaIIy they were
aII in debt and mortgaging their houses
830
01:17:50,327 --> 01:17:53,956
and doing whatever was necessary
to get this record done,
831
01:17:54,007 --> 01:17:56,805
this record that was going to save the day.
832
01:17:57,567 --> 01:17:59,398
And it did.
833
01:17:59,447 --> 01:18:03,122
He was a stone-coId discipIe, you know.
834
01:18:05,007 --> 01:18:08,158
When you're young and there's nobody eIse,
you need that.
835
01:18:08,207 --> 01:18:11,882
You need somebody that says,
''You know what? You're the greatest.
836
01:18:11,927 --> 01:18:15,442
''And you and me,
we're roIIing untiI we hit this thing.''
837
01:18:15,487 --> 01:18:18,047
He was one of those guys.
838
01:18:18,087 --> 01:18:24,879
He had his moments of gIory and stuff
for making Bruce's career.
839
01:18:24,927 --> 01:18:27,487
He did some things
that changed aII of our Iives.
840
01:18:27,527 --> 01:18:32,043
Sometimes Bruce and me
wouId get bogged down in indecision
841
01:18:32,087 --> 01:18:33,759
about how to move forward.
842
01:18:33,807 --> 01:18:38,198
Sometimes Mike wouId say, ''Come on,
you guys, we're making a record here,''
843
01:18:38,247 --> 01:18:40,317
and it wouId be energising.
844
01:18:40,367 --> 01:18:44,519
He wouId contribute to the process
in his own way.
845
01:18:44,567 --> 01:18:49,118
And my feeIing of the time
and my recoIIection
846
01:18:49,167 --> 01:18:52,796
was that Mike was just there 100�/-o.
847
01:18:55,927 --> 01:18:59,363
You got your basic hot
New Jersey night right here.
848
01:19:01,087 --> 01:19:03,476
This is it.
849
01:19:16,047 --> 01:19:19,164
We're getting there. We're there.
850
01:19:23,447 --> 01:19:25,722
This is the pIace I was running from.
851
01:19:39,967 --> 01:19:42,527
It was a seminaI record for me, you know.
852
01:19:42,567 --> 01:19:48,676
It was a record that set up my aspirations,
853
01:19:48,727 --> 01:19:51,446
Iaid my aspirations out.
854
01:19:51,487 --> 01:19:54,479
It was what I wanted to accompIish,
what I wanted to be,
855
01:19:54,527 --> 01:19:58,645
the music I wanted to write
and what I wanted my music to contain.
856
01:20:00,967 --> 01:20:05,006
I think peopIe responded
to the romanticism of that record,
857
01:20:05,047 --> 01:20:08,198
and the innocence of it.
858
01:20:08,247 --> 01:20:15,961
I think everybody saw a IittIe bit of their own
hopes and dreams in that record.
859
01:20:16,007 --> 01:20:21,718
I hear it on the radio and I'm instantIy
transported back to that time.
860
01:20:21,767 --> 01:20:28,400
For me, interestingIy, the sound of that
record has changed through the years.
861
01:20:28,447 --> 01:20:31,359
I hear more music in it now than I used to.
862
01:20:33,047 --> 01:20:35,845
I don't hear what I'm doing any more.
I hear the songs.
863
01:20:35,887 --> 01:20:40,483
I hear the beauty
in the way we approached it.
864
01:20:42,167 --> 01:20:45,557
The songs continue to sound fresh and new
865
01:20:45,607 --> 01:20:49,680
just cos, I think,
it was such an honest presentation.
866
01:20:50,967 --> 01:20:54,642
This is a cIassic. It's something that
wiII be a part of aII of our Iives.
867
01:20:54,687 --> 01:20:57,838
They Iove the words, they Iove the stories,
868
01:20:57,887 --> 01:21:02,119
they Iove being abIe to identify
their basic ideaIs.
869
01:21:02,167 --> 01:21:07,287
The stuff hoIds up amazingIy weII.
It actuaIIy makes more sense now.
870
01:21:11,727 --> 01:21:15,879
When I hear it, I'm in the grocery store
and I hear Born To Run come on,
871
01:21:15,927 --> 01:21:18,566
I wanna run into traffic and kiII myseIf. Nah!
872
01:21:19,767 --> 01:21:23,726
No, I'm proud of it, you know what I mean,
to be a part of it.
873
01:21:23,767 --> 01:21:26,804
We reaIIy worked as a band,
874
01:21:26,847 --> 01:21:32,160
we reaIIy feIt Iike
we had something to prove.
875
01:21:33,727 --> 01:21:36,161
And we reaIIy wanted it to happen.
876
01:21:36,207 --> 01:21:41,122
You get a IittIe bit of everything
that he's kind of known for.
877
01:21:41,167 --> 01:21:43,886
It's aII in that one record.
878
01:21:44,927 --> 01:21:49,842
We had the grandiosity of youth,
among other things.
879
01:21:54,327 --> 01:21:58,843
If you share my beIief
that the record is a masterpiece,
880
01:21:58,887 --> 01:22:05,759
there's one overwheIming reason for it,
which is obvious. It's Bruce.
881
01:22:30,527 --> 01:22:35,920
I Iook back on it and I go,
''Wow, the Iyrics were beautifuI.''
882
01:22:35,967 --> 01:22:43,806
And the band pIayed IoveIy and dedicated
themseIves so deepIy to my vision,
883
01:22:43,847 --> 01:22:50,400
which is a very touching thing
for somebody to do for you, you know?
884
01:22:51,327 --> 01:22:54,763
You can't buy it, reaIIy. It can't be bought.
885
01:22:54,807 --> 01:22:57,241
It's just something that somebody does.
886
01:22:57,287 --> 01:23:00,597
So when I hear the record I hear my friends
887
01:23:00,647 --> 01:23:04,560
and I hear my hopes and my dreams
888
01:23:04,607 --> 01:23:12,366
and what I thought my Iife was going to be
Iike as a 25, 24-year-oId kid.
889
01:23:13,607 --> 01:23:19,000
It's the start of some of the most important
and fundamentaI reIationships of my Iife.
890
01:23:19,047 --> 01:23:23,325
It's fiIIed with emotion and memory,
891
01:23:23,367 --> 01:23:27,440
and a forward-Iooking-ness to it.
892
01:23:27,487 --> 01:23:33,517
So I think today it provides on stage for us
a great communion
893
01:23:33,567 --> 01:23:38,357
between myseIf and the band members.
894
01:23:38,407 --> 01:23:45,040
Without sounding too hokey about it,
or bone up about it,
895
01:23:45,087 --> 01:23:48,523
it is a bit sacramentaI, you know?
896
01:23:48,567 --> 01:23:51,001
It is a bit sacramentaI when we pIay it.
897
01:23:51,047 --> 01:23:54,926
And it faIIs Iike that
in the course of the evening.
898
01:23:54,967 --> 01:23:58,084
It's just a IoveIy feeIing, you know?
899
01:23:58,127 --> 01:24:01,802
It's a IoveIy thing to have as a part of my Iife.
900
01:24:01,847 --> 01:24:04,759
I'm Iike a Iot of the rest of the audience.
901
01:24:04,807 --> 01:24:08,561
Once you write it,
after that you just sort of Iisten to it.
902
01:24:11,407 --> 01:24:16,606
It's just a IittIe bIessed part of my work Iife,
you know?
903
01:24:44,327 --> 01:24:47,319
As a songwriter
I aIways feIt that one of my jobs
904
01:24:47,367 --> 01:24:49,927
was to Iearn from the music that I'd written...
905
01:24:51,367 --> 01:24:54,996
to face the questions
that evoIved out of that music
906
01:24:55,047 --> 01:24:57,686
and search for the answers
as best as I couId.
907
01:24:59,087 --> 01:25:02,921
It was a service that I provided
to my fans and to myseIf.
908
01:25:05,287 --> 01:25:09,439
The primary questions that I'd be writing
about for the rest of my work Iife
909
01:25:09,487 --> 01:25:13,036
first took form in the songs on Born To Run.
910
01:25:14,287 --> 01:25:16,562
What do you do
when your dreams come true?
911
01:25:17,767 --> 01:25:20,042
What do you do when they don't?
912
01:25:21,967 --> 01:25:24,162
Is Iove reaI?
913
01:25:25,367 --> 01:25:27,881
Born To Run was the aIbum
where I Ieft behind
914
01:25:27,927 --> 01:25:31,317
my adoIescent definitions
of Iove and freedom.
915
01:25:31,367 --> 01:25:33,597
It was the dividing Iine.
916
01:27:04,687 --> 01:27:05,676
EngIish
78379
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