Sep 17 2020

Bruce Springsteen Live – Von seinem Zuhause in dein Zuhause / Volume 12

Bruce Springsteen begann die zwölfte Ausgabe seiner beliebten Radioshow auf Sirius XM E Street Radio mit dem Beach Boys Song “Caroline, No”. Die Komposition stammt aus Brian Wilson und Tony Ashers Feder und wurde im März 1966 als Single veröffentlicht.

Break my heart
I want to go and cry
It’s so sad to watch a sweet thing die
Oh, Caroline why

Could I ever find in you again
The things that made me love you so much then
Could we ever bring ’em back once they have gone
Oh, Caroline no

Die aktuelle Ausgabe des Radioformats “From My Home to Yours” stand unter dem Motto “Summer’s End” und Bruce Springsteen gab zu Protokoll, dass er den Sommer über alles liebt und ihn der Abschied von der heissen Jahreszeit schmerzt.

“E Street Nation, fans, friends, back-to-schoolers, and listeners from coast to coast: welcome to our end-of-summer spectacular! It is always a bittersweet time of year, but it is my favorite season: September and October, locals’ summer. Our Shore summer guests have headed home, and the beaches, boardwalks, and sea are ours. A blissful six weeks of summer weather. Dry air, west winds, good waves, and warm fires await”.

Während der sechzigminütigen Sendung rezitierte Bruce Springsteen aus dem Stanley Kunitz Gedicht “End Of Summer” und stellte klar, dass das Sommerende widersprüchliche Gefühle weckt: “Es ist das Ende von etwas Wunderbarem und der Beginn von etwas Neuem”.

“The end of summer stirs so many conflicting feelings. It’s the season whose end is most pronounced. It is truly the end of something wonderful and the beginning of something new. Fall, with its fair days, dry winds, and unknown-ness.”

Bruce Springsteen legte mit “Summer’s Almost Gone” einen seiner Doors Lieblingslieder auf, spielte “Summer’s Love” der Chantels sowie “Green Fields of Summer” von Peter Wolf und erzählte, wie es ist, nach einem langen Tag in der Küstenstadt Manasquan, NJ nach Hause zu kommen.

“Man, all I remember was coming home from the beach to my folks’ with sand everywhere. Sand in my pants, sand all over the car, sand in all your toys, sand in your ears, sand in your hair! This is the Drifters with “I’ve Got Sand in My Shoes,” which was an answer record by the way, to “Under the Boardwalk,” which was an answer record to “Up on the Roof” — a perfect summer triplicate”.

Darüber hinaus erinnerte er sich an eine Motorradtour im Jahre 1990 zurück und berichtete, wie man sich in der Mojave Wüste fühlt.

“In 1990, just after my 40th birthday, at the end of summer, my friends and I would motorcycle across the Mojave. I always found something endlessly reassuring and comforting in all the nothingness of the desert. My mind at ease, we’d ride for days on state roads, with nothing but Four Corner desert towns at 100-mile intervals to break our hejira — our travels”.

“With eternity laid out before you, you ride under a sun so blistering you had to cover every inch of exposed skin. With long-sleeve blue-jean shirts, full jeans, gloves, wet bandanas covering our faces, we’d ride til dark and then bunk in roadside motels. Sitting outside of our rooms, nursing beers, rehashing the day’s ride, listening to some music. Just there, in the company of smoldering heat and a few other travelers, with their own reasons for being on these deserted back roads”.

“The next morning, you’d watch Air Force jets heading for desert test ranges, leaving six-string vapor trails across the September Mojave sky. We’d bungee our backpacks to our bikes, soak our bandanas in the sink, tie one around your neck, the other around your nose and mouth, fire up some thunder, and ready to go ride straight into the featureless sky”.

Immer wieder griff Bruce Springsteen das Thema Sommerende auf und verwies auf die Schüler, die nun wieder in die Bildungsanstalten zurück kehren müssen.

“The end of summer always felt like a small death. Back to school, locked behind a desk, as the streets were still warm and basking in the freedom of the September summer sun. But come Labor Day, it was as if folks just flipped a switch and seemed determined to deny the late-summer paradise of empty beaches and perfect days, thriving at their most beautifully seductive outside the windows of their offices, factories, and schools”.

“That was something I was never able to do. And these were the days when that loss ached at me: unfinished summer business, lost love affairs, unrequited summer crushes, girls still waiting on quiet corners for summer boyfriends. All this hovered over me like the pungent scent of suntan oil on the tanned, unfamiliar skin of all of those out-of-state girls — who’ve now returned to school, and Mom and Pop, and chilly days and nights, and who have put you away with all the other townies, in a box labeled, SUMMER”

Zum Abschluss der Show kam Bruce Springsteen auf den am 7. April 2020 verstorbenen Countrysänger und Liedermacher John Prine zu sprechen und zitierte eine Textzeile aus einem seiner letzten Songs:

Summer’s end’s around the bend just flying
The swimming suits are on the line just drying…
Just like that ol’ house we thought was haunted
Summer’s end came faster than we wanted
(John Prine – The Tree of Forgiveness)

Bruce Springsteen bezeichnete John Prine als “nationalen Schatz” und nannte Van Morrison “Maestro”. “… but it’s Brian Wilson who’s really the patron saint of this episode” fuhr Springsteen fort und beendete die Sendung mit den beiden Beach Boys Songs “Think About the Days” und “Summers Gone”.

“By four on the beach, the weekend after Labor Day, there is a thin, drifting coolness in the air. The sun will soon be marking its late-summer season descent over the peaked beach cottages at Manasquan. My sister Ginny and I are wrapped, fully burka-like, in beach towels, changing from our bathing suits into our pajamas for one last feature at the drive-in before the beginning of school and the end of all that is good. My mother is nearby, standing guard as we reach out and hand her sand-filled swimsuits that, as we are growing now, we may never see again”.

“We grab hot dogs and ice cream for dinner at Carlson’s Corner. We watch burly men pull in striped bass and fluke off the Manasquan jetty. And we chase each other around the pavilion where today the ghost of my beautiful grandmother sits, enjoying the late-summer ocean breeze. And then, we’re all packed in the car heading off to the Shore drive-in”.

“By dusk, Ginny and I are ‘neath the arc of the huge screen and the playground below with a dozen or more other kids, holding on to the roundabout until we come uncorked, spinning off in a dizzy trance”.

“Then dusk, and here come the cartoons — classic Daffy Duck and Bugs Bunny — and it’s a run back to the car as we hear my dad leaning on the car horn, egging on the main feature. The screen clock starts ticking down, ten minutes for snacks and bathrooms before the show starts, and it’s on”.

“Tonight, we’ll see just one film — something my parents wanted to see called Blonde in a White Convertible — that has my mother telling us, “Don’t look! Don’t look!” for certain adult scenes. And then it’s an early ride home”.

“About halfway back, on a pitch-black Route 33 — slightly past the recently defunct Cowboy City theme park, where at one time you could see a cheeseball shoot-out on Main Street, any weekend afternoon — a young buck comes bolting out of the wooded Earle Naval Ammunition depot on the right side of the highway and leaps over the hood of the car, its body filling the entire windshield, its left eye shining with blood, animal spirits, and fear. And we are only measurable inches away from eternity. Before he miraculously disappears into the woods, a late-summer spirit on the far side of the highway”.

“The car is in an uproar. We have crossed paths with wild, feral magic. Summer is over. So until we meet again, stay strong, stay smart, stay healthy, stay safe, stay summer… and I’ll see you on the beach”.


The Beach Boys – “Caroline No”
The Doors – “Summer’s Almost Gone”
The Chantels – “Summer’s Love”
Stanley Kunitz’s “End of Summer” (Gedicht)
Peter Wolf und Neko Case – “The Green Fields of Summer”
Afghan Whigs – “Summer’s Kiss”
The Motels – “Suddenly Last Summer”
The Drifters – “I’ve Got Sand in My Shoes”
Beck – “Phase + Turn Away”
Iain Archer – “Summer Jets”
R.E.M. – “Summer Turns to High”
Beck – “Morning”
John Prine – “Summer’s End”
Michael Andrews – “A Long Summer Since Passed”
Van Morrison – “These Are the Days”
The Beach Boys – “Think About the Days”
The Beach Boys – “Summer’s Gone”
Frank Sinatra – “Summer Wind”

Mehr Infos:


Sep 3 2020

Bruce Springsteen Live – Von seinem Zuhause in dein Zuhause / Volume 11

Am ersten Montag im September wird in den Vereinigten Staaten der “Labor Day” begangen. Der “Tag der Arbeit” erinnert an den Gewerkschaftsvertreter Terence Vincent Powderly, der im Jahre 1869 die “Knights of Labor” (Ritter der Arbeit) gründete und sich als Wortführer der Arbeitnehmer für einen Achtstundentag einsetzte. Darüber hinaus vertrat der Visionär die Meinung, dass alle Menschen, unabhängig von Rasse und Geschlecht, für die gleiche Arbeit auch den gleichen Lohn erhalten sollten.

Das “Labor Day” Wochenende läutet gleichzeitig das Ende der Summer Holidays (Sommerferien) ein. Besonders Familien nutzen diesen staatlichen Feiertag, um noch einmal die Strände zu besuchen und Sonne zu tanken. Tags drauf sind alle schulpflichtigen Jugendlichen aufgerufen, in die High Schools, Colleges und Elementary Schools zurückzukehren.

Bruce Springsteen präsentierte am 1. September 2020 die elfte Ausgabe seiner Radioshow “From My Home to Yours” auf Sirius XM E Street Radio und ging der Frage nach, ob er als Rock Star über die Sorgen der Arbeiterklasse sprechen und urteilen darf. Bruce Springsteen sagte, dass die Arbeiter arbeiten und die Autoren schreiben. Trotzdem spiegeln sich in Bruce Springsteens Lieder immer wieder die Anliegen der Arbeiter wieder.

“Greetings E Street Nation, friends, fans and listeners from coast to coast! Welcome to our Labor Day extravaganza. Today we are celebrating the American working man and woman — all the folks that keep our world spinning ’round and ’round”.

Bruce Springsteen spielte während der zweistündigen Show viele Songs und nutzte die Gelegenheit, um einige Gedichte und Texte zu rezitieren. Unter anderem erinnerte Springsteen an den im Jahre 1879 in Schweden geborenen Emmanuel Häggling, der anno 1902 mit seiner Familie nach New York emigrierte. Dort angekommen gab er sich den Namen Joe Hill und zog nach Westen, um in Kalifornien heimisch zu werden und sich der radikalen Gewerkschaft “Industrial Workers of the World” anzuschliessen. Joe Hill organisierte in der Folgezeit Streiks und arbeitete an einer neuen Lohnskala, die den Arbeitern kürzere Arbeitszeiten und bessere Lebensumstände versprach.

Am 10. Januar 1914 wurde Joe Hill der Prozess gemacht. Er wurde trotz mangelnder Beweise angeklagt, einen Lebensmittelhändler ermordet und ausgeraubt zu haben. Obwohl der schwedische Generalkonsul als auch US Präsident Woodrow Wilson Einspruch einlegten, wurde er vom obersten Gerichtshof des Staates Utah zum Tode verurteilt und am 19. November 1915 hingerichtet.

Am Tag vor seiner Hinrichtung schrieb Joe Hill in seinem Testament folgendes:

My will is easy to decide
For there is nothing to divide
My kin don’t need to fuss and moan
“Moss does not cling to rolling stone”

My body? Oh, if I could choose
I would to ashes it reduce
And let the merry breezes blow
My dust to where some flowers grow
Perhaps some fading flower then
Would come to life and bloom again.

This is my Last and final Will.
Good Luck to All of you
– Joe Hill

Nachdem Bruce Springsteen Joe Hills Testament verlesen und seine Liveversion der Pete Seeger Komposition “Joe Hill”, den Public Enemy Klassiker “Fight the Power” sowie andere Protestlieder gespielt hat, wendete er sich Donna Summer zu und erzählte, dass er Mitte der 1980er Jahre “Cover Me” für sie geschrieben hat:

“She works hard for the money! I had the pleasure of writing a song and doing a session with Donna and Quincy Jones in the mid-’80s. She was absolutely lovely. I originally wrote “Cover Me” for her, and then Mr. Landau heard it and, doing his duty as my manager, advised me to keep it. So I wrote a song “Protection” for her and recorded it with her. Good… but no “Cover Me”.

Bruce Springsteen verbindete in seiner elften Radioshow traditionelle Arbeiterlieder mit kommerziellen Heartland Rock und lies sich sich nicht nehmen, Songs von John Mellencamp und Bob Seger zu spielen.

Die Sendung endete mit folgenden Worten:

“That’s our show for today, folks. Until we meet again, stay strong, stay healthy, stay safe… and have a wonderful Labor Day”.


Aaron Copland – “Fanfare for the Common Man”
Roy Orbison – “Workin’ for the Man”
Joe Ely – “Working on the Highway”
Mick Flavin – “Working Woman”
Jimmy Tingle – “Labor Day”
Langston Hughes’s “Steel Mills” (Gedicht)
Bruce Springsteen – “Youngstown”
Woody Guthrie – “Union Maid”
Hazel Dickens – “Rebel Girl”
Joe Hill’s “My Last Will” (Gedicht)
Bruce Springsteen – “Joe Hill” (Live in Tampa, FL, 2014)
Public Enemy – “Fight the Power”
Bruce Springsteen – “Clampdown” (Live in Sunrise, FL 2014)
Bruce Springsteen – “Badlands” (Live in Tempe, AZ, 1980)
Philip Levine’s “What Work Is” (Gedicht)
Rage Against the Machine – “The Ghost of Tom Joad”
Donna Summer – “She Works Hard for the Money”
Valerie June – “Workin’ Woman Blues”
Patti Smith – “Piss Factory”
John Mellencamp – “Pink Houses”
Peter Gabriel – “Don’t Give Up”
Bob Seger – “Like a Rock”
Instrumental: Ola Gjello – “Crystal Sky”
Walt Whitman “I Hear America Singing” (Gedicht)

Mehr Infos:


Aug 15 2020

Bruce Springsteen Live – Von seinem Zuhause in dein Zuhause / Volume 10

Am 12. August 2020 war Bruce Springsteen erneut im Sirius Studio zu Gast und präsentierte die zehnte Ausgabe seiner Radiosendung “From My Home to Yours”. Diesmal stand die Show unter dem Motto “In Dreams”.

Die Sendung startete gegen Mitternacht und Bruce Springsteen erzählte, dass er die meiste Zeit in seinem Leben keine grosse Vorliebe für den Tag hatte. “Als Kind war ich ein Nachtkrieger und der Sonnenaufgang brachte nur Hindernisse”.

“For most of my life, I had no great fondness for the day. A born night crawler, up till 3 a.m. as a young child. Waking too early, schoolwork, and somebody else running my life. But at night I found my mind came to life. I felt a stimulation, and a creative excitement, a freedom, that eluded me in the day. At night, I felt most like myself.”

Als ersten Song präsentierte Bruce Springsteen das Instrumental “Man With a Harmonica” des kürzlich verstorbenen italienischen Komponisten Ennio Morricone.

Bruce Springsteen sagte:

“Man With a Harmonica helped dim the lights and strike a cinematic vibe”.

“Man With a Harmonica” wurde für den Sergio Leone Western “Spiel mir das Lied vom Tod” im Jahre 1968 verwendet und machte Ennio Morricone zu einer Legende.

Bruce Springsteen fuhr fort:

“All that night was just something that came naturally to me. There was just something I loved about being awake as the straight world slept. It excited me. It sparked my creativity. And it gave me the uninterrupted peace and quiet I needed to work.

Occasionally, I’d break curfew, just to get out of the house. I’d take a 2 or 3 a.m. night drive in my ’60 ‘Vette, over the local roads of Monmouth County; the darkness and shadows of the highway at night was where I lived. I was a wandering spirit, barely there, looking briefly into the dimly lit homes where I could be living any one of a thousand other lives, filled with family and friends. But I wasn’t. For now, the life I chose was here: the life of words, the life of song, the life of these roads, of these evenings. This life — and all it gave, and all it withheld — was my life”.

Nach der Eigenkompositon “Stolen Car” und dem The War On Drugs Lied “Strangest Thing” erzählte Bruce Springsteen aus seiner Jugend und gab zu Protokoll, dass er eine Persona non grate im Zuhause seiner ersten Freundin war. Ich wurde von der Mutter meiner Freundin als unerwünscht eingestuft.

“I was persona non grata at my first real girlfriend’s house. It was 1965. Maybe it was the hair, my cultivated look of dishevelment, but whatever it was, I was marked as an undesirable by my perfect girlfriend’s mother.

Now, I was 15, and my gal was a year younger than me, 14. But though a year younger, she had a surprising, burgeoning sexuality that showed me up for being as inexperienced as I was at that age. But, I had one thing going for me: I was forbidden. I was not to be had. I was not to be touched. And she had a bit of a closeted rebellious streak of her own. So when mom was away, we ventured to mom’s bedroom, where she introduced me, for the first time, to what I think was full-on sex — though due to the fog of war, 55 years later, I can’t be completely sure. All I remember was she was beautiful, with a softness and a kindness cut by a streak of cruelty I should have took more notice of.

Now, in the shadows always lurked a major problem to our paradise. You see, she was solidly middle class: perfect plaid skirt, blouse with the Peter Pan collar, white socks, long blond tresses. I was a denizen from the far side of nowhere, where blacks intermingled with whites, where a man never left his house in a suit unless he was going to church or in trouble. Where the firemen, and the truck drivers, and the auto workers gathered around each other’s porches on summer nights and passed beers and stories of the week around.

Well, her mother could not help but be disappointed in and disapprove of who she thought I was. So the word came down, and she theatrically threatened to get a restraining order that would forbid me from seeing her perfect daughter.

Now, her perfect daughter had plenty of “Fuck you, Mom” in her, so we began to meet at night, at the Broad Street schoolyard. And there, amongst the empty monkey bars and sliding boards and swings and seesaws, stood an oak tree that became our rendezvous and redemption point. We worked and leaned hard against that oak’s trunk on many a summer and fall night, trying to find whatever pleasure and satisfaction we could there. She stole time from Mama, girlfriends, and homework to meet me there. It was always too short, and a little painful. But at least she’d come, and we were there together.

Then one night she didn’t come. Or the next night, either. So I sat on the swings with the rest of the ghosts, dragging my feet through stones and dirt, until 2 a.m. Then I went home. The revolution was over. Whatever use I had been, I was needed no longer. I had engaged the enemy on the field of the battle of love, and I had been defeated. Or maybe she just got tired of it all — became too much of a hassle.

Well, I finally caught her at her locker in school, one morning, and she tried to be kind, but I wouldn’t let her. I wanted to hear her say it was all over. So she said it. I went home, and I decided to rid myself of her, to relieve my heart of her, to release my mind of the burden of thinking of her. It didn’t work. I’d see her in my dreams”.

Im weiteren Verlauf der knapp zweistündigen Sendung rezitiert Springsteen unter anderem aus dem Robert Louis Stevenson Gedicht “The Land of Nod” und zeichnet Barszenen nach, die an den Song “Tougher Than The Rest” erinnern.

Bruce Springsteen beendete die Sendung mit folgenden Worten:

“How do we live beneath the beauty of God’s hand? How do we become worthy of the love that he’s made possible for us on Earth? And how do we light and carry our own lamp through the darkness? How do we be brave in His name and in our love?”


Ennio Morricone – “Man With a Harmonica”
Lee Hazelwood und Nancy Sinatra – “Some Velvet Morning”
Ludovico Einaudi – “Night”
Lana Del Rey – “American”
Moby – “Fireworks”
Bruce Springsteen – “Stolen Car”
The War on Drugs: “Strangest Thing”
Brian Eno – “Always Returning”
Leonard Cohen – “In My Secret Life”
Bruce Springsteen – “Breakaway”
Bruce Springsteen – “Meeting Across the River”
Ry Cooder – “Cancion Mixteca”
Bruce Springsteen – “Sad Eyes”
Ola Gjeilo – “Before Dawn”
Bruce Springsteen – “Something in the Night”
Sigur Rós – “Ágaetis byrjun”
Roy Orbison – “In Dreams”
Mark Isham und Marianne Faithfull – “The Hawk (El Gavilan)”
Robert Shaw – “Beautiful Dreamer”
Reverend Horton Heat – “In Your Wildest Dreams”

Mehr Infos:


Aug 12 2020

Bruce Springsteens Radioshow kommt nach Deutschland

RBB Radio Eins bringt Bruce Springsteens Radioshow “From My Home To Yours” nach Deutschland. Die achtteilige Sendung wir im Rahmen von “Radio Eins Experience” jeweils montags ab 23:00 Uhr auf radioeins zu hören sein.

Die Pressemeldung:

Bruce Springsteens Radiosendungen “From My Home To Yours” wurden vom US-amerikanischen Sender Sirius FM ausgestrahlt und jetzt gibt es sie exklusiv auf radioeins zu hören.

In den acht Folgen präsentiert der Boss nicht nur seine persönliche Favoriten wie zum Beispiel Roy Orbison, Lucinda Williams und Bob Dylan, sondern geht auch auf tagespolitische Ereignisse ein. So hat sich Bruce Springsteen natürlich auch mit dem Mord an George Floyd auseinandergesetzt.

“Bruce Springsteen: From My Home to Yours” ab dem 17. August 2020 im Rahmen von “Experience”, jeweils montags ab 23:00 Uhr exklusiv auf radioeins. Der Boss wird jeden Abend von Helmut Heimann begleitet.

Die zehnte Ausgabe des Sendeformats “From My Home To Yours” läuft übrigens heute Abend – 12. August 2020 – auf Sirius XM E Street Radio.

Mehr Infos:


Jul 31 2020

Bruce Springsteen Live – Von seinem Zuhause in dein Zuhause / Volume 9

Patti Scialfa feierte am 29. Juli 2020 ihren 67. Geburtstag (wir berichteten hier).

Tags darauf – am 30. Juli 2020 – war Bruce Springsteen auf Sirius XM E Street Radio “On Air” und präsentierte eine 113minütige Radioshow, die unter dem Titel “Rumble Doll” stand. Der “Boss” begrüsste als Special-Guest seine Frau Patti Scialfa und lies es sich nicht nehmen, aus der Karriere seiner “First Lady Of Love” zu berichten.

Die Sendung begann mit dem Song “Tell Him” der im Jahre 1962 in Queens gegründeten Band “The Exciters”. Bruce Springsteen erzählte, dass diese Komposition für beide sehr bedeutsam ist. Ausserdem begrüsste er die Zuhörer mit folgenden Worten:

Bruce Springsteen:
“Today we will be featuring the music of my red-headed Jersey girl, and her great albums – ‘Rumble Doll’, ’23rd Street Lullaby’, ‘Play It As It Lays’, and whaddya say we get started?”

Nachdem das titelgebende Lied des Patti Scialfa Debütalbums gespielt wurde, erinnerte sich Patti Scialfa an das Jahr 1993 zurück und gab zu Protokoll, dass “Rumble Doll” analog in der Garage des Produzenten Mike Campbell aufgenommen und abgemischt wurde.

Patti Scialfa:
“We recorded on analog in his garage, and I felt we had a really organic approach to the record — which I think was really fitting for the material. Mike Campbell was very sensitive to how I wrote the songs — I would always play him the song on the instrument I wrote it on, and he basically copied that muted triplet on the guitar”

Im weiteren Verlauf dieser Aufnahmesession teilte Patti Scialfa dem Produzenten mit, dass sie mit ihrem ersten Sohn schwanger sei. Bruce Springsteen meldete sich zu Wort und fuhr fort, dass Patti nicht nur ein Album gemacht, sondern auch Essen für einen Arschlochmusiker zubereiten musste.

Bruce Springsteen:
“So Patti made this album while pregnant, while rushing home to cook some asshole musician dinner”

Patti Scialfa:
“I will never do that again!. while he sat his fat ass on the couch and watched television all night”

Bruce Springsteen und Patti Scialfa unterhielten sich auch über Musiker, die das Songwriting der Patti Scialfa Platten geprägt hatten. Bruce erinnert unter anderem an an die im Jahre 1997 verstorbene Sängerin und Komponistin Laura Nyro, die grossen Einfluss auf die Popmusik der späten 1960er und der 1970er Jahre hatte.

Bruce Springsteen:
“I can hear her voice in your beautiful song, ‘Young in the City’. That is just some incredible lyric-writing and a beautiful classic New York City urban arrangement. Those city songs of yours remind me of who you were when we first met. You were a stone cold city girl, nineteen years living in the city!”

Patti Scialfa:
“I loved New York City, I had a massive love affair with the city”

Bruce Springsteen:
“I used to steal up there and sit on a park bench, waiting for my gal to meet me with a six-pack of beer”

Patti Scialfa:
“This is true. We got engaged on that park bench”

Bruce Springsteen spielte im Anschluss den Song “Talk To Me Like The Rain” aus dem “Rumble Doll” Album und beteuerte, dass dieses Lied zu seinen Favoriten zählt. Patti Scialfa fällt ihrem Ehemann prompt ins Wort und erinnert, dass er sämtliche Instrumente zu diesem Song beigesteuert hat.

Bruce Springsteen:
“We’ve been concentrating mostly on Rumble Doll; for your next two records you took a bit of a turn. You embraced more southern soul and R&B influences, even some blues. You had a new producer”.

Patti Scialfa:
“23rd St. Lullaby was Steve Jordan”.

Als nächstes rezensierte Bruce Springsteen die im Jahr 2004 bzw. 2007 erschienenen Alben “23rd. Street Lullaby” sowie “Play It As It Lays” und informiert, dass Patti Scalfa einen Wandel vollzogen und mehr Soul, Blues und RnB in das Songwriting hat einfliessen lassen.

Die Sendung endete überraschend intim und persönlich. Bruce und Patti tauschten sich über den Song “Valerie” aus:

Bruce Springsteen:
“Let’s move to ‘Valerie’. This is a very heavy song in our history, because my recollection was, I was visiting you in your apartment in New York, probably when I shouldn’t have been visiting you in your apartment in New York”

Patti Scialfa:
“We were actually rehearsing…”

Bruce Springsteen:
“Under the guise of rehearsing for Tunnel of Love, and teaching you the guitar parts. But anyway, somehow you got around to playing me this next song, and I remember thinking, this woman can write, and it totally made me twice as scared as I was anyway.”

Patti Scialfa:
“That’s so sweet!”

Bruce Springsteen:
“It was like, Whoa. I think I saw your talent for the first time outside of your voice”

Patti Scialfa:
“I remember that very … explicitly”

Als letzte Songs wurden “Spanish Dancer” und “Rose” gespielt.

Bruce Springsteen:
“And these were all written for you at the time when love feels very dangerous. Yes it did. Yes, it did. So — let’s play it. When I pass away, just take these [‘Spanish Dancer’] lyrics and slap ’em up on my headstone! That’s all they need to know about me”

Mit den Worten “That’s it for this week. Stay smart, stay safe, stay healthy, stay strong — and stay in love!” beendet Bruce Springsteen die mittlerweile neunte Ausgabe seiner Radioshow.


The Exciters – “Tell Him”
Patti Scialfa – “Rumble Doll”
Patti Scialfa – “Lucky Girl
Laura Nyro – “I Met Him on a Sunday”
Laura Nyro – “The Bells
Patti Scialfa – “Young In The City”
Wanda Jackson – “Fujiyama Mama”
Patti Scialfa – “City Boys”
Patti Scialfa – “As Long as I Can Be With You”
The Ronettes – “Walking in the Rain”
Patti Scialfa – “Talk to Me Like the Rain”
Irma Thomas – “Ruler of My Heart”
Patti Scialfa – “You’re a Big Girl Now” (previously unreleased)
Patti Scialfa – “Like Any Woman Would”
Al Green – “So Tired of Being Alone”
Ike & Tina Turner – “River Deep Mountain High”
Patti Scialfa – “Town Called Heartbreak”
Patti Scialfa – “Valerie”
Patti Scialfa – “Looking for Elvis”
Marianne Faithfull – “Trouble in Mind (The Return)”
Patti Scialfa – “Spanish Dancer”
Patti Scialfa – “Rose”

Mehr Infos: