Bruce Springsteen / Born To Run Session / 2CD

Bruce Springsteen / Born To Run Sessions / 2CD / Growin Records

Translated Text:

Recorded Date May 1974-July 1975, Studio: Record Plant In New York  City 914 Sound Studios In Blauvelt. Digitally Remastered.


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Bruce Springsteen is the United States itself. Born in the richest country in the world after the Second World War, the boys enjoyed their richness and confidence, adolescence is a society shaking in the Vietnam War, and after becoming an adult a chaotic society after the cold war, blues Life is closely linked with the history of American contemporary history. For Americans Bruce is a special artist, is not there reason to be around here? Conflict between suffering in the process of boys’ growth, contradiction to society and the reality that must live with it, the typical American public expects to send messages to the world through blues. It is exactly “yesterday’s cry”, it is a cry of that era.

The most exciting highlight of the blues concert will be “Runaway without tomorrow”. Always a representative piece of blues played like a push when the venue overheated the concert prior to the encore, also the title song of the third album of the blues released in 1975. The album “Tomorrow without Runaway” was released on August 25, 1975. This album as if it comprehensively encompasses its overwhelming power and powerfulness of songs, the present and the future of rock ‘n’ roll, runs up the chart in a blink of an eye. Until then, I did not appreciate the sales of the album, but still the first achievement point of Blues who repeatedly led the live performance has been fruited as this “runaway without tomorrow”. This work contains the session sound source of this album “Tomorrow Naked Runaway.”

“Thunder Road of Tears” is the 3 version. In Take 1 the song has already been completed perfectly. A thrilling song composition gradually rising from the intro of the piano which starts quietly. As Blues still singing and singing, it seems that the intention of making this a release version was sparse. Take 2 has saxophone inserted in the intro. Whether it is a trace of trial and error, it will eventually be omitted. Ear I got accustomed to the release version, I got a sense of incongruity, but probably this song was judged to be a simple intro by the piano was better. The acoustic version has a completely different melody, and it is a way to break it out as it is understood by lyrics.

The demo take of “Shout at night” begins with the count of blues. It is as if the blues vocal is floating up, while keeping the performance full of running performance, it seems to be sought for singing and turning. Perhaps they are singing back in front of the recording orchestra. Because it is lyrics like folding tongue quickly, I can not wipe the impression that it is still incomplete. This song also has a double track track of vocals. Here you can see that singing quite politely, so that there is no gap in the vocals.

“Back street” is recorded in this version 4 versions. The blues is already fully open from Take 1. Especially, it turns out that singing with the withered utterance of “Ha ~ Lonzaba ~ ickstreit ♪” intentionally puts other parts and shades. Take 2 starting from the count is a high degree of completeness that it is OK to release as it is. With version with credits with With Strings, the instrument which was eventually cut from the release version was left intact. From the intro guitar solo was inserted, its impression has become quite different. Since the guitar was piled up all the time from the beginning all the time, this was also cut and it was correct.

Recorded at the end of Disc 1 is a song that was recorded while being recorded at the time of recording this album. “Lonely Night In The Park” is rather a song close to the second album. “Linda Let Me Be The One” is a ballad with a beautiful melody. “Walking In The Street” is a song known also as a temporary title “Lovers In The Cold”. The lyrics seem to be incomplete yet, and blues is a part of chasing the melody with Hamming saying “Wowowo”. “A Love So Fine” is a song like Oldies ‘cover which considers the old rock’ n ‘roll of the 50’ s. Unfortunately the lyrics have not been entered yet and only the performance is recorded.

And I kept you waiting “tomorrow without a runaway”. The introduction part with the base on the front, and the impressive riff repeated with glittering performance. The way of making this strong and moderate is making this song masterpieces. It is surprising that a female chorus is included. Whether it was not good to exaggerate anything so far, whether it was overkill or not, at such a judgment it will eventually have been omitted from the release version. In addition, this song also has a double track version of vocals.

“Naruta” is a title like a light love song, while spectacular songs are overflowing with blues taste all the time. It is a masterpiece whose drums are put on the front, emphasize the rhythm, and somewhat echoed vocals are singing very rarely. Although it is recorded two take in this work, both are separate from the release version. Alternate take 2 is a vividness as if blues is singing in front of you in a closed room. This is because it eliminates all effects on vocals and it is a raw song on a single track.

“Meeting · Across the River” was called “Heist” as temporary title during recording. The two takes recorded in this work were all recorded as their working title. It is unique in Blues that the saxophone sound does not feel urban snobbing.

And “Jungle Land” decorating the end of the album. Take 1 starts with a murmuring count of Blues, and suddenly the orchestra has been extensively fascinated. It is an orchestration where there seems to be no whereabouts. Take 2 begins with a clunky count of Blues, again from the voice that I think as stuff somehow. While the song is nearly completed, it is as though singing has not been fixed and trying various singing methods. Take 3 also begins counting, but I am surprised to start with the sound of a string instrument like a suspense drama. Because it was too unfavorable, there is a voice that blues is laughing behind. The last take is a sound source that is rehearsing with concentrating only on the part whether it was not able to decide the ending part of this magnificent song. The woman staff in the studio is doing a suggestion and also shows how it is done. It is surprising that women’s soprano solo is given. Of course it will eventually be cut, but in the process of trial and error it can not be forbidden to be surprised that such an idea without such a fly has been tried.

It is a set of 2 covering the studio / sound source of the famous board “Tomorrow Naki Runaway” engraved in the rock history as the third album by Bruce Springsteen. Permanent preservation of a beautiful picture / disk specification A tightly pressed board.





「裏通り」は本作に4バージョン収録されている。Take1から既にブルースが全開している。特に「ハァ~ロンザバ~ックストリーッ♪」の部分の枯れた発声での歌いまわしが、意図的にそれ以外の部分と濃淡をつけているのがわかる。カウントから始まるtake2は、このままリリースしても構わないような完成度の高いものである。With Stringsとクレジットされた2バージョンは、最終的にリリース・バージョンからカットされた楽器がそのまま残されたものである。イントロからしてギター・ソロが挿入され、その印象はかなり異なったものとなっている。なにせ終始ギターが縦横無尽に重ねられているので、これもまたカットして正解であったろう。

ディスク1の最後に収録されているのは、このアルバムのレコーディング時に収録されておりながら、お蔵入りとなった楽曲である。「Lonely Night In The Park」はどちらかといえばセカンド・アルバムに近い曲調である。「Linda Let Me Be The One」は美しいメロディを持つバラードである。「Walking In The Street」は「Lovers In The Cold」という仮タイトルでも知られている曲である。歌詞がまだ未完成なようで、ブルースはウォウォウォ~というハミングでメロディを追う部分が散見される。「A Love So Fine」は50年代ふうの古いロックンロールを意識したオールディーズのカバーのような曲である。残念ながら歌詞はまだ入っておらず演奏のみの収録である。


「彼女でなけりゃ」はタイトルこそ軽いラヴ・ソング的なものでありながら、壮大な曲はいかにもブルースのテイストであふれている。ドラムを前面に出しリズムを強調し、いくぶんエコーをかけたヴォーカルが実にのびのびと歌われている名曲である。本作には2テイク収録されているが、いずれもリリース・バージョンとは別のものである。Alternate take2は密室でブルースが目の前で歌っているかのような生々しさである。これはヴォーカルに一切のエフェクトを排除し、シングル・トラックで生のままの歌であるからだろう。


そしてアルバム最後を飾る「ジャングルランド」である。Take 1はブルースの呟くようなカウントから始まり、いきなりオーケストラが大々的にフューチャーされたものとなっている。そこか居場所がなさそうなオーケストレーションである。Take2は何やらスタッフと思しき声から、やはりブルースの呟くようなカウントから始まる。曲はほぼ完成ながら、歌いまわしが固定されておらず、様々な歌い方を試しているかのようだ。Take3も同じくカウントから始まるが、サスペンス・ドラマのような弦楽器の音で始まるのには驚いてしまう。あまりに不似合いだったからか、後ろでブルースが笑っている声が入っている。最後のテイクは、この壮大な曲のエンディング部分を決めかねていたのか、その箇所だけ集中してリハーサルをしている音源である。スタジオにいる女性スタッフがサジェスチョンをしたりする様子も収録されている。驚くのは女性のソプラノ・ソロが付与されている点である。もちろん最終的にはカットされてしまうのだが、試行錯誤の過程においてはこのような突飛もないアイデアまで試されていたということに驚きを禁じ得ない。


01. take 1
02. take 2
03. take 3
04. acoustic version

05. demo
06. double vocal track

07. take 1
08. take 2
09. with strings #1
10. with strings #2

11. Lonely Night In The Park #1
12. Lonely Night In The Park #2
13. Linda Let Me Be The One
14. Walking In The Street a.k.a. Lovers In The Cold
15. A Love So Fine

01. with strings
02. with strings & double vocal
03. instrumental basic track

04. alternate take 1
05. alternate take 2

06. working title “Heist” take 16
07. working title “Heist”

08. alternate take #1
09. alternate take #2
10. alternate take #3
11. rehearsal for the ending

Growin Records. GW18/19

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