Paroles de The Ties That Bind
Bruce Springsteen
yeah
get what we will be saying their time I was getting at this is the process for
the creative life not being enough
yeah
so by the time I was 30
well i was thinking of all these things because they seem to be this was the so
this is what was holding society together
imperfect ideas of how people connect and relate to one another or don't
I
so I want to be a part of that
no I don't want to just be outside looking in
I don't want to be a commentator I just want to be the audience I don't want to
be the observer
you know I want to be an active part of it is in some way
and so that's a lot of what i was telling myself you know
ties it by will happen how do you make and how does that happen
you know how do people come together fall apart him
you know I want to do you want to be a player
yeah and
in
so I think up to that point in my life I I really hadn't had the courage to do
that or I tried and failed so quickly that
no it didn't add up part of the river was trying to find the courage to put my
feet in jump in with both feet and experience those things myself
I wanna warm
girl
yeah
that's all birds that you never know
yeah
the ground
in your fans
two hearts good job
two hearts are
what's a spend my time
plain to see
the street
someday these childish dreams
let's do it
to become a man
to drink
to violence on
too much girl with the job
two hearts are
sometimes and I seem like a plan for you
hearted world turns you hard and cold
there's one thing
that's you
and you're not too
his world
buddy the rain
man
this one
keep surgery
yeah
my still
two rods are
to our school
- our time
haha
sorry
you are good
the job
yeah
the
better than that
yeah
ok
we moved to a large farm house until a gravel road in Holmdel New Jersey
sat on a hundred sixty acres
land i think i paid 700 bucks a month rent
that's what I want
and so I started to write
there for the river
living in the country was this very bucolic landscape
there was a lot of rural miss in the certainly in the river and the song
river
but I think sprinkled throughout the record
well darkness they have said that was kind of the samurai record that was the
record where there's a lot of isolation on it
the river i was trying to move my my characters back towards
towards a mainstream I guess
going to write for my age
and
That star really that started very consciously with darkness and continue
to the river
I was moving forward but in a funny way I was being inspired by things older
than rock music at the time and
and that was where I was finding a lot of the commonality and content
how was the music that was older than rock music so i blended those two things
are blended that sensibility with the excitement of what i did with the band
I was listening to play a bit of classic country
wake up of course Johnny Cash
George Jones Tammy Wynette I just loved it in it and I felt that you know I felt
the sympathy of it was set generally once again it was kinda small town music
roll music but it also have had adult concerns and i think i was interested in
in in going there
format from
yeah
yeah
we used too often on the tour bus and then who was gonna get married first
everybody always send
not me
yeah
yeah
how you been
where you gotta go you understand that the band the time was not very grown-up
that in the sense that people were just starting to get married and have their
kids
so you forget it was to a bunch of kids that i have my family was gone they were
in California
I wasn't much in touch with my the rest of my family in New Jersey so there was
the band you had your little you know rat pack and you know it was still very
much the lost boys you know by the time you're 30 year
you know you have a clock that's ticking here definitely operating in the adult
world and I know I was
yeah
thinking about all these things by that time you know relationships success
their failure and because my own personal history
it was a mystery to me how how people were successful like at those things and
really the writer's life is sort of excavating those mysteries
Mary
yeah
nope
working just with the acoustic guitar and a cassette tape off RB box you know
I would sit and simply sit with the cassette rewinding over and over and
over and over and over and over and over and sit there with my notebook and try
to sing some successful lyrics on top of it you know
the idea being i would write all the songs and sparus studio time and I would
have a relatively good idea what I was doing before I went in the news business
yeah
the van comes to the house it's it's our usual rehearsal situation in other words
i have a variety of specific parts that I want the guys to play
we learn those first and then guys kind of add their you know their flourishes
as as as the rehearsal goes by and we see what works
beatbox always sounds great but it's all compressed and it slashes smashing
around and it always sounds exciting
there are making my demos on my local set player and I'm rehearsing the guys
we're doing things like someone called night fires man who got away song called
under the gun and those are pretty exciting
musically so i get about 13 or 14 of these things night and we decided time
go try to make a record but we go in and we cut some cut the tracks and tracks
down green
I can't quite get the lyrics finish to them you know which is a little unusual
from you but it happens so I abandon a lot of that music and I move on
i believe almost none of them worked out as as realized pieces of music
change
I had a sense of what I could do certainly what I wanted
how broad I want the story
I was telling too big and if I didn't get it
I just didn't sleep well at night
it wasn't and this is what I was doing I wasn't doing anything else I was only
doing and we had music music and I wasn't doing that right
I just didn't know what I was doing
you have a sense of your reach and you hope that you can get there you don't
know when I took the record back from the studio
I didn't know what record i was making i was there lost again
I had to be willing to throw myself back into the wilderness hacking away not
knowing if I was going to get where I wanted to go
it will also used to the records being difficult once once we had warned around
dogs they were all hard records to make this is a continuation of the story of
the southern albums and that these were the days when we suffered tremendously
trying to gain the knowledge of how to make records
same thing on the river now so we're trying to make a different kind of ready
how do we make that I don't know and we get the snare to sound the way was once
again we don't know how do we get the kind of mixes we don't really know
once again we were working outside the professional auspices of the recording
industry you know we we hired ourselves and we knew we were going on an
adventure and a journey
in a quest and when you've got hired on you know that was that was the bar that
was the deal
what
you're still in the
the process of carving out our identity for most of my audience I they're still
familiar with basically just two records Born to Run darkness on the edge town so
we were still carving out who we work and I needed a record that I felt I had
a very very strong identity
yeah
yeah
yeah
yeah
yeah
yeah
yeah
down
and
where Mr
they bring to you
and
thank you been man
school
when she does
we are
thing
yeah
we go to
then I got married pregnant and my
and that was all she wrote
and for my 19th birthday
I got a union card at a wedding
code we went down to the courthouse in the judge put it all to risk
no wind a smiles no walk down the aisle no flowers no we're in juris that night
I think the biggest change when the river was I started the narrative
writing right we're having a character
do you
is a very specific narrative story
I was singing that voice character that was necessarily me it was partly me and
partly other people
so of course the Riverways that was my touchstone for all of that right and it
came later
where you simply step into account the shoes and try to get your listeners to
walk in those shoes for a while
river was the key to the record and that was a throwback well as i said to older
folk music and older voice was very adult voice that was a political voice
in the sense that it was dealing with Carter recession and its effects on
just working people
got a construction for the Giants down
come on
I
we need
so much what I can
you can
I
things that seem some born
even trend
good
I remember
come on
her body too
did not
Mary time
just
these precious
how does
let's go
there is a dream
sounds good
yeah
oh my no
this be
I think I come from down in value when you're here you're laying claim to that
characters experience
and you're trying to do right by
that's the song
you're taking a risk singing in that voice
but that's the writers job your job is to is to faithfully imagine
the world and others lives in a way
that respects them shorter honors them and record them in your own way
somewhat
yeah
yeah
I
I pick you
flowers when you get up and you don't
here it comes soon
you add on a date
the new owner
me bro
official record of the river we made it we handed in to the record company
we took that took that record back and work for another year
it was good but as I listened to it just didn't feel big enough it just didn't
have the room to let in all all of those different colors you know you didn't
have the on that particular record I need to I need more time you know to let
in all the colors and the feelings that I want to let in wasn't quite funky
enough it wasn't quite a didn't have a looseness that your darkness was a very
tight controlled record you know we want to go the other way with with this
record you know
the main thing we been still continuing to hear was it records were still not as
exciting as a live show
let me try and solve that problem if I can
this was the first record there Steve came in
officially as producer we were looking for an antidote to some of this
stability of the thought that seventies recordings have it at that time
noise that creates mystery was as being squeezed out of records for the purpose
of gaining more control over the sound was a direction we didn't feel
comfortable with the records we like to annoy z records whether it's a hound dog
record Dave Clark Five land over there
played all over this way boys and noisy records to be a we need we need that you
need need the noise of our live show
you got off the Gary moms and don't friend the party noises that wrong
the great gallery bonds records so we sort of this sort of took it from there
and just said yeah these records sound like a house party
we had we had four guys everybody was doing
once again everybody was doing something you know Steve likes things to be kind
of noisy and trashy
Laura and exciting you know John enjoys the classical sort of formality
he likes clean records that have that are very well focused and he and Steve
played off each other during this record which was what I wanted them to do you
know it's a little might have been difficult for the two of them but i
wanted them to be there supposed to be at at odds to some degree
you know and so I would kind of set them up against one another and i would find
my happy medium where where I wanted the needle to sit on this particular album
that was the way I got the most out of the people that I had
John somebody like if I wrote something like the river i play it for him you
know and she would immediately kind of process it and so will this is different
than your other songs because and that might then inspire me to go further in
that direction
Charlie kind of continued his position as a great technical advisor on how to
get the kinds of sounds that we want to get sources that Charlie want to get
something very explosive snare sound and what the band sound wild and kind of
loose you want to go back to the days when you had a limited amount of control
over the ambience in the room
you know like when they recorded some of the Elvis things with a couple of mics
you know once again we were going by you're playing it by ear so some of
those things work down some of those things created problems in the end but
I didn't have any rules now we need our sauce and slap back on the sex from me
step up here
effectivement sacks
we recorded and recording recording for your witness to your dad
there there today you know I probably worked the hardest on some of the things
that end up as outtakes you know just you never knew you didn't know where it
was going I didn't know where it was going
you think all of them are going to be on you know you whenever when you're
cutting that song you think yeah this is the one I've been waiting for
yeah
the outtakes on this on the river very complex Lee arranged
there's a lot of singing a lot of background vocals
I can remember the exasperated that we couldn't get it together to get
something next to produce an album out of that rains and reams of material that
we had I had set set myself up certain standards and I just had to sit tight
until i felt like i was there
yeah
anytime you're writing 70 songs i've lost count of how many
you're just searching for something you're searching for something i always
say one
how do I end up making a regular life finally come out with 10 songs i can
stand i don't i don't have the control it says okay I have this this is tony is
this particular aesthetic there's this thing and i'm just going to write in
this very mad you know usually I mean you may end up with something like that
you may end up with something very austere or something very particular but
i splashed on a river i splashed around for a year to trying to trying to find
out what that might be so there wasn't a lot of I didn't have a lot of control
over it to be honest with me
well I've would play a wide variety of material from some jokey things comedy
things to deadly serious things so I need and maybe i need the space to do
that
you know maybe i need I didn't know I don't believe we don't believe I took
the record back with idea of making a double record but I had some ideas about
what the record needed to contain and I think the night that we said well we're
making a double album that was a big leap forward as far as giving me the
freedom to go where I needed to go
you know I could stop worrying about taking space up with stuff that sounded
like just good bar band music it would be room for that and that was a big that
was a big decision
yeah
scope of the record was enough to contain an actual its single but we have
never had before the campus of the record was broad enough to go to go
there
it's over rows at the fast lane and asbury park and they were great
backstage and this SAT around talking he's at these guys the song ended up
writing hungry heart before I went to bed that night
you know it was one of those songs where you write it in the time it takes you to
sing it practical
yeah
yeah
- yeah well I was trying to lay down all the the variations on relationships
the various outcomes I think and so
the character while he's going through something has somewhat tragic is
whimsical about it you know
yeah
down
they're little
that's funny
he just thought with the heart of an accompanist you know he never stepped on
anybody's toes never gotten away
singer there is one of the most natural company sent
I've ever heard my recollection see just one any sediment sediment the b3 and he
just that just fell out of his fingers
the river was much more was wasn't a lot wider open in other words a lot of
different kinds of things were going to fit in a Cadillac right answers Shari
don't know those things we're now going to fit onto the record I decided you
know how I chose in the end you know I couldn't
that was a record where I could have switched a lot of things around a lot of
things that ended up as outtakes easily could have made it onto the record and I
could have taken some things on the record off you know
yeah
I know there's a lot about a lot of outtakes
I mean obviously you ever let you know that was them that was the big oversight
on that was the one that say instead of questions I get the perfect let's look
at the back and a lot of them got your got dumped me loose ends was on the
first record be true was on the first record I never made it to the second
record
I'm not sure why I mean I like all the the outtakes from this record but a lot
of them seem like they would be on a different record down
I wanted two things that represented the band as the glorified barb and that we
that we are
I wanted to get that stuff for one and I wanted to get and then I had a lot of
ballots
now the balance with a kind of the heart and soul of the record . blank stolen
car river independence day
and those are those are the ones that are very cinematic but they're all slow
they're all slow you know and so you couldn't you know you couldn't have that
many slow songs on a single album you had to spread it out over a couple of
albums you know and then in turn i was able to get fun things on my trashy
single sort of thing that the band did and that we needed for exciting live
concert
the end the decision to take the record back make a double album allowed me to
get closer to what I thought
fans were asking for which was a record I felt like the band show live
allow me to sort of create a large canvas where I could create the world
that I wanted to talk to people about
funny when I went out on the road was too enormous relief
no I always said the I always felt river was the kind of captured my characters
independence day . blank river
stolen car and then I also gave you the music they were listening to when they
went out at night and in the bars are in the clubs you know it out in the street
was the
it's like a friday on my mind was my rewrite of of a weekend
what
the moment you got to play live everything expands you know what it is
the minute you step out onto your before the audience comes in and he just go to
get the band together on a rehearsal stage
suddenly you hear the arrangements begin to blow up and expand into something
that's going to reach out and grab the audience
we need a break after the last quarter more formal songs he would tend to stick
a little closer to the record arrangement and the more things that
were based on sort of soul R&B Rock ability
those were things that you could you could then to take on stage and and blow
up into a showpiece
I studied the great band leaders as i said in the past us and more from sam &
dave brown
they set the band up as an incredibly expressive in extension of themselves so
that the band could respond to the every breath that was what was exciting stage
that was the essence of
great been dating I want to incorporate that into Russia
because we have so many soul influences that was what that was at what we aspire
to inspire playing like this great fans but as a rock thing
new part of that constitutes a lot of jewelry and a lot of fun
that was important
sometimes I write something just to hear clients play a particular type of
soldier
it was schooled on the sax solos from the Dion records and very very specific
you know melodically we want those kind of classics axles where you come away
come away humming him after you heard the man three times the songs were
create a very kind of classic melody and it would be more they composed written
piece very similar to the way we do
don't solos on once around the gardens on the edge talent
the other band was was sophisticated by that point in other people's playing
have gotten people playing in the band playing together had gotten very good
and so it was a nice place in our development also
that was a was a powerful toward the river tour
I think at the time I was pouring through a variety of history books just
to contextualise myself understand you know where I came from and what that
meant I wanted to write songs of breath that had some some breadth and depth to
them and i knew i wanted to write about the place I lived and want to write
about my own history of history of my family and i want to write about social
forces and I felt played played and through that history and so I devoured
quite a few history books at the time just trying to get a sense of where
everything came from
yeah
yeah
you're running on a very late night
intimate conversation between two people so that brings you in right away
probably go to bed now kidding me
another witness says gonna change anything
I believe in the morning from say merry men
we wouldn't changes
even though
good
he's got
this -
dr. service turn
us too
they can't touch me
you can't touch me
it's kind of a part of the series of songs I wrote about my my dad supporting
completely autobiographical but we're a pretty emotional ER diagram its
independence nail
yeah
yeah
its independence
independence
this time
he chose and we do know
yeah
was just know this house
his illegal just
yeah
poor boys in this room
come into
yeah
all men must make come into play
he's leaving but he's looking for something
he's leaving purpose
trying to find those things given impact your presence and mass
the rooms are empty down Frankie is to him
highway she's deserved lead down to break is born
a lot of people even turn now even the friends
not the war
ok
have a go to bed non-skid me
yeah
nothing we can say is gonna change anything now
yeah
this is different people coming down
they see things in different ways
soon everything
we'll just be so every 30
yeah
and
you that he could not see it
and
say
I swear Nick
take the
understand
it was just a discussion you've read some understanding
who your parents are in there
humanity and then and your own also and that you're going to take a different
paths
it's a song it is it's it's
quite without bitterness some regret and some
some sad understand
and also the acceleration being cut free
so is public and personal I guess simultaneously for me
I don't ascribe to myself any great political conscience or social
conscience for that matter but and I always believe I'm trying to write my
way out of some box that i found myself caught in when i was younger
myself and my parents caught in and so really a the most of the writing I've
done this it's always it's always personal in some way and then it
connects to the outside world and connects to the issues of the day but it
begins as a personal conversation between me and myself about something
that still digging at me from even my past or the present used to sleep
you go
the idea of losing someone
in that way we all lost friends partners
yeah
you know somebody's there and then they're just gone in
we go back
you know
I would
that's all makes its bones in the last first you know it really
well I think it really grabs
grabs people once the dream Lee would get again be
we used to be
I was standing at the bar is hard to hear
bands playing loudly shouting something in my eye
my jacket all
I'm account
grab my hand boom
just today we start pulled you time
slow and let you know so it's not now
faces in the shadows but I was standing in the door
yeah
yeah
call
just
not just in the string way
yeah
yeah
bad between us
yeah
yeah
right
hmm
so that was just livid you know when
yeah
yeah
ok
when I when I nailed that verse I nailed the song all the for so long as the on
the last side of the record are all summation all you know they all they're
all our goodbyes and in 11 style or another was one of those songs he wrote
didn't know what to do with it seem like a small piece
it was just this little little gem and
and then it kind of came up and ended up closing a record
it was love and death life and death
I'm one of the record
yeah
to break down to that at the end at the very end we have your love song drive
all night
yeah
and then there's just this quiet reckoning that this character has
internally
you know with them with themselves on
on a particular evening
when kind of the
what's at stake in life
yeah
this made vivid
yeah
there is now
yeah
I'm going home
working
yeah
that was her and long
the drizzling way
on deserted streets Annie 29
her go
there was blood
bleh
so
Oh
there was no
nobody there
Zuri tumble down
cool see me on landline
sad
OMG
kill me
play
ambulance fire
thank you
still game to you in person
yeah
yeah
yeah
yeah
girl
yeah
stay true
not
the night
soon
here it go
sometimes
yeah
you know watch my
you seriously
and I climb then
I'll time just leery we in the middle of it
her go
yeah
so that was a I just wanted to leave listeners with their thoughts you know
that
the state's the record sort of boil down to life death love
you know time limited amount of time that you have
it felt right
I felt right
first record dealing with men women marriage children all the mundane things
don't turn life into life
i think i was thinking about how to make these things more than aesthetic ideas
in my home life you know
you know how do i practically how do I practically live a life like this you
know where I make the kind of connections that I'm very frightened of
but that I feel that if I don't make i'm going to disappear get lost you know the
creative life and imagine life is not a life
it's it's it's merely
something you've created and it's merely a story you know story is not a life
story is just a story
so I was trying to link this stuff up in a way where I thought I could save
myself you know from my darker inclination by moving into an imagined
community where people were struggling with all those things in a very real way
and that was the community that i created on the river
yeah
triple
just two
you know
yeah
yes
yes
yeah
yeah
InterprèteBruce Springsteen
LabelSMI
Paroles ajoutées par nos membresAds300x600
Traduction de The Ties That Bind
Paroles en Anglais
Traduction en FrançaisThe Ties That Bind
Les liens qui unissent
yeah
get what we will be saying their time I was getting at this is the process for
the creative life not being enough
yeah
so by the time I was 30
well i was thinking of all these things because they seem to be this was the so
this is what was holding society together
imperfect ideas of how people connect and relate to one another or don't
I
so I want to be a part of that
no I don't want to just be outside looking in
I don't want to be a commentator I just want to be the audience I don't want to
be the observer
you know I want to be an active part of it is in some way
and so that's a lot of what i was telling myself you know
ties it by will happen how do you make and how does that happen
you know how do people come together fall apart him
you know I want to do you want to be a player
yeah and
in
so I think up to that point in my life I I really hadn't had the courage to do
that or I tried and failed so quickly that
no it didn't add up part of the river was trying to find the courage to put my
feet in jump in with both feet and experience those things myself
I wanna warm
girl
yeah
that's all birds that you never know
yeah
the ground
in your fans
two hearts good job
two hearts are
what's a spend my time
plain to see
the street
someday these childish dreams
let's do it
to become a man
to drink
to violence on
too much girl with the job
two hearts are
sometimes and I seem like a plan for you
hearted world turns you hard and cold
there's one thing
that's you
and you're not too
his world
buddy the rain
man
this one
keep surgery
yeah
my still
two rods are
to our school
- our time
haha
sorry
you are good
the job
yeah
the
better than that
yeah
ok
we moved to a large farm house until a gravel road in Holmdel New Jersey
sat on a hundred sixty acres
land i think i paid 700 bucks a month rent
that's what I want
and so I started to write
there for the river
living in the country was this very bucolic landscape
there was a lot of rural miss in the certainly in the river and the song
river
but I think sprinkled throughout the record
well darkness they have said that was kind of the samurai record that was the
record where there's a lot of isolation on it
the river i was trying to move my my characters back towards
towards a mainstream I guess
going to write for my age
and
That star really that started very consciously with darkness and continue
to the river
I was moving forward but in a funny way I was being inspired by things older
than rock music at the time and
and that was where I was finding a lot of the commonality and content
how was the music that was older than rock music so i blended those two things
are blended that sensibility with the excitement of what i did with the band
I was listening to play a bit of classic country
wake up of course Johnny Cash
George Jones Tammy Wynette I just loved it in it and I felt that you know I felt
the sympathy of it was set generally once again it was kinda small town music
roll music but it also have had adult concerns and i think i was interested in
in in going there
format from
yeah
yeah
we used too often on the tour bus and then who was gonna get married first
everybody always send
not me
yeah
yeah
how you been
where you gotta go you understand that the band the time was not very grown-up
that in the sense that people were just starting to get married and have their
kids
so you forget it was to a bunch of kids that i have my family was gone they were
in California
I wasn't much in touch with my the rest of my family in New Jersey so there was
the band you had your little you know rat pack and you know it was still very
much the lost boys you know by the time you're 30 year
you know you have a clock that's ticking here definitely operating in the adult
world and I know I was
yeah
thinking about all these things by that time you know relationships success
their failure and because my own personal history
it was a mystery to me how how people were successful like at those things and
really the writer's life is sort of excavating those mysteries
Mary
yeah
nope
working just with the acoustic guitar and a cassette tape off RB box you know
I would sit and simply sit with the cassette rewinding over and over and
over and over and over and over and over and sit there with my notebook and try
to sing some successful lyrics on top of it you know
the idea being i would write all the songs and sparus studio time and I would
have a relatively good idea what I was doing before I went in the news business
yeah
the van comes to the house it's it's our usual rehearsal situation in other words
i have a variety of specific parts that I want the guys to play
we learn those first and then guys kind of add their you know their flourishes
as as as the rehearsal goes by and we see what works
beatbox always sounds great but it's all compressed and it slashes smashing
around and it always sounds exciting
there are making my demos on my local set player and I'm rehearsing the guys
we're doing things like someone called night fires man who got away song called
under the gun and those are pretty exciting
musically so i get about 13 or 14 of these things night and we decided time
go try to make a record but we go in and we cut some cut the tracks and tracks
down green
I can't quite get the lyrics finish to them you know which is a little unusual
from you but it happens so I abandon a lot of that music and I move on
i believe almost none of them worked out as as realized pieces of music
change
I had a sense of what I could do certainly what I wanted
how broad I want the story
I was telling too big and if I didn't get it
I just didn't sleep well at night
it wasn't and this is what I was doing I wasn't doing anything else I was only
doing and we had music music and I wasn't doing that right
I just didn't know what I was doing
you have a sense of your reach and you hope that you can get there you don't
know when I took the record back from the studio
I didn't know what record i was making i was there lost again
I had to be willing to throw myself back into the wilderness hacking away not
knowing if I was going to get where I wanted to go
it will also used to the records being difficult once once we had warned around
dogs they were all hard records to make this is a continuation of the story of
the southern albums and that these were the days when we suffered tremendously
trying to gain the knowledge of how to make records
same thing on the river now so we're trying to make a different kind of ready
how do we make that I don't know and we get the snare to sound the way was once
again we don't know how do we get the kind of mixes we don't really know
once again we were working outside the professional auspices of the recording
industry you know we we hired ourselves and we knew we were going on an
adventure and a journey
in a quest and when you've got hired on you know that was that was the bar that
was the deal
what
you're still in the
the process of carving out our identity for most of my audience I they're still
familiar with basically just two records Born to Run darkness on the edge town so
we were still carving out who we work and I needed a record that I felt I had
a very very strong identity
yeah
yeah
yeah
yeah
yeah
yeah
yeah
down
and
where Mr
they bring to you
and
thank you been man
school
when she does
we are
thing
yeah
we go to
then I got married pregnant and my
and that was all she wrote
and for my 19th birthday
I got a union card at a wedding
code we went down to the courthouse in the judge put it all to risk
no wind a smiles no walk down the aisle no flowers no we're in juris that night
I think the biggest change when the river was I started the narrative
writing right we're having a character
do you
is a very specific narrative story
I was singing that voice character that was necessarily me it was partly me and
partly other people
so of course the Riverways that was my touchstone for all of that right and it
came later
where you simply step into account the shoes and try to get your listeners to
walk in those shoes for a while
river was the key to the record and that was a throwback well as i said to older
folk music and older voice was very adult voice that was a political voice
in the sense that it was dealing with Carter recession and its effects on
just working people
got a construction for the Giants down
come on
I
we need
so much what I can
you can
I
things that seem some born
even trend
good
I remember
come on
her body too
did not
Mary time
just
these precious
how does
let's go
there is a dream
sounds good
yeah
oh my no
this be
I think I come from down in value when you're here you're laying claim to that
characters experience
and you're trying to do right by
that's the song
you're taking a risk singing in that voice
but that's the writers job your job is to is to faithfully imagine
the world and others lives in a way
that respects them shorter honors them and record them in your own way
somewhat
yeah
yeah
I
I pick you
flowers when you get up and you don't
here it comes soon
you add on a date
the new owner
me bro
official record of the river we made it we handed in to the record company
we took that took that record back and work for another year
it was good but as I listened to it just didn't feel big enough it just didn't
have the room to let in all all of those different colors you know you didn't
have the on that particular record I need to I need more time you know to let
in all the colors and the feelings that I want to let in wasn't quite funky
enough it wasn't quite a didn't have a looseness that your darkness was a very
tight controlled record you know we want to go the other way with with this
record you know
the main thing we been still continuing to hear was it records were still not as
exciting as a live show
let me try and solve that problem if I can
this was the first record there Steve came in
officially as producer we were looking for an antidote to some of this
stability of the thought that seventies recordings have it at that time
noise that creates mystery was as being squeezed out of records for the purpose
of gaining more control over the sound was a direction we didn't feel
comfortable with the records we like to annoy z records whether it's a hound dog
record Dave Clark Five land over there
played all over this way boys and noisy records to be a we need we need that you
need need the noise of our live show
you got off the Gary moms and don't friend the party noises that wrong
the great gallery bonds records so we sort of this sort of took it from there
and just said yeah these records sound like a house party
we had we had four guys everybody was doing
once again everybody was doing something you know Steve likes things to be kind
of noisy and trashy
Laura and exciting you know John enjoys the classical sort of formality
he likes clean records that have that are very well focused and he and Steve
played off each other during this record which was what I wanted them to do you
know it's a little might have been difficult for the two of them but i
wanted them to be there supposed to be at at odds to some degree
you know and so I would kind of set them up against one another and i would find
my happy medium where where I wanted the needle to sit on this particular album
that was the way I got the most out of the people that I had
John somebody like if I wrote something like the river i play it for him you
know and she would immediately kind of process it and so will this is different
than your other songs because and that might then inspire me to go further in
that direction
Charlie kind of continued his position as a great technical advisor on how to
get the kinds of sounds that we want to get sources that Charlie want to get
something very explosive snare sound and what the band sound wild and kind of
loose you want to go back to the days when you had a limited amount of control
over the ambience in the room
you know like when they recorded some of the Elvis things with a couple of mics
you know once again we were going by you're playing it by ear so some of
those things work down some of those things created problems in the end but
I didn't have any rules now we need our sauce and slap back on the sex from me
step up here
effectivement sacks
we recorded and recording recording for your witness to your dad
there there today you know I probably worked the hardest on some of the things
that end up as outtakes you know just you never knew you didn't know where it
was going I didn't know where it was going
you think all of them are going to be on you know you whenever when you're
cutting that song you think yeah this is the one I've been waiting for
yeah
the outtakes on this on the river very complex Lee arranged
there's a lot of singing a lot of background vocals
I can remember the exasperated that we couldn't get it together to get
something next to produce an album out of that rains and reams of material that
we had I had set set myself up certain standards and I just had to sit tight
until i felt like i was there
yeah
anytime you're writing 70 songs i've lost count of how many
you're just searching for something you're searching for something i always
say one
how do I end up making a regular life finally come out with 10 songs i can
stand i don't i don't have the control it says okay I have this this is tony is
this particular aesthetic there's this thing and i'm just going to write in
this very mad you know usually I mean you may end up with something like that
you may end up with something very austere or something very particular but
i splashed on a river i splashed around for a year to trying to trying to find
out what that might be so there wasn't a lot of I didn't have a lot of control
over it to be honest with me
well I've would play a wide variety of material from some jokey things comedy
things to deadly serious things so I need and maybe i need the space to do
that
you know maybe i need I didn't know I don't believe we don't believe I took
the record back with idea of making a double record but I had some ideas about
what the record needed to contain and I think the night that we said well we're
making a double album that was a big leap forward as far as giving me the
freedom to go where I needed to go
you know I could stop worrying about taking space up with stuff that sounded
like just good bar band music it would be room for that and that was a big that
was a big decision
yeah
scope of the record was enough to contain an actual its single but we have
never had before the campus of the record was broad enough to go to go
there
it's over rows at the fast lane and asbury park and they were great
backstage and this SAT around talking he's at these guys the song ended up
writing hungry heart before I went to bed that night
you know it was one of those songs where you write it in the time it takes you to
sing it practical
yeah
yeah
- yeah well I was trying to lay down all the the variations on relationships
the various outcomes I think and so
the character while he's going through something has somewhat tragic is
whimsical about it you know
yeah
down
they're little
that's funny
he just thought with the heart of an accompanist you know he never stepped on
anybody's toes never gotten away
singer there is one of the most natural company sent
I've ever heard my recollection see just one any sediment sediment the b3 and he
just that just fell out of his fingers
the river was much more was wasn't a lot wider open in other words a lot of
different kinds of things were going to fit in a Cadillac right answers Shari
don't know those things we're now going to fit onto the record I decided you
know how I chose in the end you know I couldn't
that was a record where I could have switched a lot of things around a lot of
things that ended up as outtakes easily could have made it onto the record and I
could have taken some things on the record off you know
yeah
I know there's a lot about a lot of outtakes
I mean obviously you ever let you know that was them that was the big oversight
on that was the one that say instead of questions I get the perfect let's look
at the back and a lot of them got your got dumped me loose ends was on the
first record be true was on the first record I never made it to the second
record
I'm not sure why I mean I like all the the outtakes from this record but a lot
of them seem like they would be on a different record down
I wanted two things that represented the band as the glorified barb and that we
that we are
I wanted to get that stuff for one and I wanted to get and then I had a lot of
ballots
now the balance with a kind of the heart and soul of the record . blank stolen
car river independence day
and those are those are the ones that are very cinematic but they're all slow
they're all slow you know and so you couldn't you know you couldn't have that
many slow songs on a single album you had to spread it out over a couple of
albums you know and then in turn i was able to get fun things on my trashy
single sort of thing that the band did and that we needed for exciting live
concert
the end the decision to take the record back make a double album allowed me to
get closer to what I thought
fans were asking for which was a record I felt like the band show live
allow me to sort of create a large canvas where I could create the world
that I wanted to talk to people about
funny when I went out on the road was too enormous relief
no I always said the I always felt river was the kind of captured my characters
independence day . blank river
stolen car and then I also gave you the music they were listening to when they
went out at night and in the bars are in the clubs you know it out in the street
was the
it's like a friday on my mind was my rewrite of of a weekend
what
the moment you got to play live everything expands you know what it is
the minute you step out onto your before the audience comes in and he just go to
get the band together on a rehearsal stage
suddenly you hear the arrangements begin to blow up and expand into something
that's going to reach out and grab the audience
we need a break after the last quarter more formal songs he would tend to stick
a little closer to the record arrangement and the more things that
were based on sort of soul R&B Rock ability
those were things that you could you could then to take on stage and and blow
up into a showpiece
I studied the great band leaders as i said in the past us and more from sam &
dave brown
they set the band up as an incredibly expressive in extension of themselves so
that the band could respond to the every breath that was what was exciting stage
that was the essence of
great been dating I want to incorporate that into Russia
because we have so many soul influences that was what that was at what we aspire
to inspire playing like this great fans but as a rock thing
new part of that constitutes a lot of jewelry and a lot of fun
that was important
sometimes I write something just to hear clients play a particular type of
soldier
it was schooled on the sax solos from the Dion records and very very specific
you know melodically we want those kind of classics axles where you come away
come away humming him after you heard the man three times the songs were
create a very kind of classic melody and it would be more they composed written
piece very similar to the way we do
don't solos on once around the gardens on the edge talent
the other band was was sophisticated by that point in other people's playing
have gotten people playing in the band playing together had gotten very good
and so it was a nice place in our development also
that was a was a powerful toward the river tour
I think at the time I was pouring through a variety of history books just
to contextualise myself understand you know where I came from and what that
meant I wanted to write songs of breath that had some some breadth and depth to
them and i knew i wanted to write about the place I lived and want to write
about my own history of history of my family and i want to write about social
forces and I felt played played and through that history and so I devoured
quite a few history books at the time just trying to get a sense of where
everything came from
yeah
yeah
you're running on a very late night
intimate conversation between two people so that brings you in right away
probably go to bed now kidding me
another witness says gonna change anything
I believe in the morning from say merry men
we wouldn't changes
even though
good
he's got
this -
dr. service turn
us too
they can't touch me
you can't touch me
it's kind of a part of the series of songs I wrote about my my dad supporting
completely autobiographical but we're a pretty emotional ER diagram its
independence nail
yeah
yeah
its independence
independence
this time
he chose and we do know
yeah
was just know this house
his illegal just
yeah
poor boys in this room
come into
yeah
all men must make come into play
he's leaving but he's looking for something
he's leaving purpose
trying to find those things given impact your presence and mass
the rooms are empty down Frankie is to him
highway she's deserved lead down to break is born
a lot of people even turn now even the friends
not the war
ok
have a go to bed non-skid me
yeah
nothing we can say is gonna change anything now
yeah
this is different people coming down
they see things in different ways
soon everything
we'll just be so every 30
yeah
and
you that he could not see it
and
say
I swear Nick
take the
understand
it was just a discussion you've read some understanding
who your parents are in there
humanity and then and your own also and that you're going to take a different
paths
it's a song it is it's it's
quite without bitterness some regret and some
some sad understand
and also the acceleration being cut free
so is public and personal I guess simultaneously for me
I don't ascribe to myself any great political conscience or social
conscience for that matter but and I always believe I'm trying to write my
way out of some box that i found myself caught in when i was younger
myself and my parents caught in and so really a the most of the writing I've
done this it's always it's always personal in some way and then it
connects to the outside world and connects to the issues of the day but it
begins as a personal conversation between me and myself about something
that still digging at me from even my past or the present used to sleep
you go
the idea of losing someone
in that way we all lost friends partners
yeah
you know somebody's there and then they're just gone in
we go back
you know
I would
that's all makes its bones in the last first you know it really
well I think it really grabs
grabs people once the dream Lee would get again be
we used to be
I was standing at the bar is hard to hear
bands playing loudly shouting something in my eye
my jacket all
I'm account
grab my hand boom
just today we start pulled you time
slow and let you know so it's not now
faces in the shadows but I was standing in the door
yeah
yeah
call
just
not just in the string way
yeah
yeah
bad between us
yeah
yeah
right
hmm
so that was just livid you know when
yeah
yeah
ok
when I when I nailed that verse I nailed the song all the for so long as the on
the last side of the record are all summation all you know they all they're
all our goodbyes and in 11 style or another was one of those songs he wrote
didn't know what to do with it seem like a small piece
it was just this little little gem and
and then it kind of came up and ended up closing a record
it was love and death life and death
I'm one of the record
yeah
to break down to that at the end at the very end we have your love song drive
all night
yeah
and then there's just this quiet reckoning that this character has
internally
you know with them with themselves on
on a particular evening
when kind of the
what's at stake in life
yeah
this made vivid
yeah
there is now
yeah
I'm going home
working
yeah
that was her and long
the drizzling way
on deserted streets Annie 29
her go
there was blood
bleh
so
Oh
there was no
nobody there
Zuri tumble down
cool see me on landline
sad
OMG
kill me
play
ambulance fire
thank you
still game to you in person
yeah
yeah
yeah
yeah
girl
yeah
stay true
not
the night
soon
here it go
sometimes
yeah
you know watch my
you seriously
and I climb then
I'll time just leery we in the middle of it
her go
yeah
so that was a I just wanted to leave listeners with their thoughts you know
that
the state's the record sort of boil down to life death love
you know time limited amount of time that you have
it felt right
I felt right
first record dealing with men women marriage children all the mundane things
don't turn life into life
i think i was thinking about how to make these things more than aesthetic ideas
in my home life you know
you know how do i practically how do I practically live a life like this you
know where I make the kind of connections that I'm very frightened of
but that I feel that if I don't make i'm going to disappear get lost you know the
creative life and imagine life is not a life
it's it's it's merely
something you've created and it's merely a story you know story is not a life
story is just a story
so I was trying to link this stuff up in a way where I thought I could save
myself you know from my darker inclination by moving into an imagined
community where people were struggling with all those things in a very real way
and that was the community that i created on the river
yeah
triple
just two
you know
yeah
yes
yes
yeah
yeah
InterprèteBruce Springsteen
LabelSMI
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