The bigger, the shinier Bruce Springsteen career album, 1984 He was born in the USA., has a shadowy, equally classic twin — the lo-fi, solo-acoustic Nebraska, released two years earlier. Albums are inextricably linked, starting with the fact that multiple He was born in the USA tracks – the title track, “Downbound Train”, “Working on the Highway” (via an earlier song called “Child Bride”) and the B-side “Pink Cadillac” – were originally part of the acoustic demo sessions that eventually became Nebraska. The first sessions for He was born in the USA, in early 1982, began as attempts to record full versions of Nebraska songs. Springsteen and the E Street Band did it for eight of the ten tracks on this album, minus “My Father's House” and “State Trooper.”
In our new interviews Rolling Stone Music now podcast for its 40th anniversary He was born in the USA., two E Street Band legends — drummer Max Weinberg and keyboardist Roy Bittan — look back on the recording of this album, as well as their efforts to record the Nebraska material. Here are some highlights. for much more, check out the entire podcast at Apple Podcasts the Spotifyor just press play above.
His first E Street Band rehearsal Nebraska the material was in Roy's living room. What do you remember from that and after any studio sessions?
Roy Bittan: I had a very modern house. My living room was literally wood, brick and huge glass windows. And so we settled in there, and the sound was fantastic. We went through a bunch of the Nebraska songs, getting ready to go to the recording studio. And I remember the releases were really fantastic. Of course, I haven't heard them since, I think, 1981. So I could be completely wrong about this.
We went into the studio sometime after that and tried to record [that material], but you know, Bruce had caught something very unusual, just using the Tascam he was doing in his room — his intimacy and being alone. And as usual, when you do a demo, the recording process is always “beat the demo”. Even if these recordings were excellent and could form an album. I think the vibe he had on his little tape was something to be reckoned with. In the end it turned out that he chose what he did in his bedroom. But I'm dying to hear the recordings from the studio… It eluded us. Maybe, at some point, Bruce will get into it.
Max Weinberg: He had all the songs on the demo playing for everyone, which he was Nebraska. And also “Work on the highway.” I remember working on “Working on the Highway” very similar to the way it came out Born in USA rrecording. And I remember it was Steve's idea to do the drum part that I did. I used to record all our rehearsals on a professional Walkman and I have everything on tape including [the eventually released outtake] “Murder Incorporated,” which was on that tape… I remember recording all of that [Nebraska] material and it was very E Street Band style and very similar to what we do now when we play those songs, and it was great. And it was a rock record… [Springsteen’s manager/producer] Jon Landau, during his writing [Nebraska]suggested I listen John Wesley Harding, the Bob Dylan record. And that said, Bruce seems to be going more in that direction. And there were some shots like that, with brushes, just a minimal rhythmic approach. And there were rock versions of it too [some of] The Nebraska material.
At some point, the 1982 sessions turned into the recording of what became eight of his twelve songs He was born in the USA How clear was this change?
Weinberg: I can remember one night, there must have been a conversation with Steve and Jon and I guess [producer] Caress [Plotkin] in a small lounge at the Electric Station. And Bruce came out and said, “Guys, we're going to try something different.” And he had all these other songs that he was sitting in the corner working on a little bit. We were in and eight of the 12 songs that ended up on the final record were made. And of course, we recorded probably 60 or 70 more songs over the next 14 months or so in various configurations in the studio.
Bitten: What I remember, strictly from my narrow point of view, was that I decided to try importing synthesizers. I came into the studio with a Yamaha CS-80, which didn't generate much warmth from the rest of the band. [laughs]
You said when you brought that synthesizer, it was like you killed someone.
Bitten: It was funny because synthesizers were used so much in pop music at that particular time that there was a reactionary effect to seeing one of those things in the flesh, but for me the instrument in the band I think was the most expressive of his songs. I recognized that the synthesizer could very well expand the landscape for him by creating a backdrop for his lyrics. When you talk about Bruce, you have to remember that he is a poet. But that for me was the beginning He was born in the USA I think I played a lot more synthesizers on this album than I did actual piano.
What do you remember about the recording of the “Dancing in the Dark” video, some of which was during a concert in St. Paul, Minnesota?
Bitten: Oh! Yes. A big theater. And Courteney [Cox]. It was an interesting approach and something different for us. The way it went up was probably not our wheelhouse, but it sure made a big impression on MTV. I think, of course, the song was so great that we probably could have made several different videos and had the same result.
Weinberg: Most of it was recorded before the concert. It was recorded the night before, like a real Hollywood production. They brought in about 500 people and we did it over and over again. I had headphones, because I was playing the song. And during the show they did it again, with a packed audience. Courteney Cox was there. We must have played it 15 or 20 times in a row. We basically did the gig and we stopped and Bruce announced to the audience, “We're going to do a video.”
The next video we did was “Born in the USA” And that was, I think, at the LA Sports Arena. And Bruce actually told everybody, “Don't shave. Do not attempt to play the file. Almost to the point of, “Don't shower! I want this to look so garage-like.”
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