I played in front of every conceivable audience you could face: an all-black audience, all-white, firemen's fairs, policemen's balls, in front of supermarkets, bar mitzvahs, weddings, drive-in theaters. I'd seen it all before I ever walked into a recording studio.
The wonderful thing about rock music is even if you hate the other person, sometimes you need him more, you know. In other words if he's the guy that made that sound, he's the guy that made that sound, and without that guy making that sound, you don't have a band, you know.
Steve Van Zandt, the poor guy, doesn't get to play enough as it is with me hogging a lot of the solos. Steve has always been a fabulous guitarist. Back from the day when we were both teenagers together, he led his band and played lead and was always a hot guitar player.
Yeah, my son likes a lot of guitar bands. He gave me something the other day which was really good. He'll burn a CD for me full of things that he has, so he's a pretty good call if I want to check some of that stuff out... The other two aren't quite into that yet.
Most bands don't work out. A small unit democracy is very, very difficult.
Most bands don't work out. A small unit democracy is very, very difficult. Very, very difficult.
My only general rule was to steer away from things I played with the band over the past couple of tours. I was interested in re-shaping the Rising material for live shows, so people could hear the bare bones of that.
The drummer in my first band was killed in Vietnam. He kind of signed up and joined the marines. Bart Hanes was his name. He was one of those guys that was jokin' all the time, always playin' the clown.
I think you can get to a point where nihilism, if that's the right word, is overwhelming, and the basic laws that society has set up - either religious or social laws - become meaningless.
Basically, I was pretty ostracized in my hometown. Me and a few other guys were the town freaks- and there were many occasions when we were dodging getting beaten up ourselves.
If you listen to the great Beatle records, the earliest ones where the lyrics are incredibly simple. Why are they still beautiful? Well, they're beautifully sung, beautifully played, and the mathematics in them is elegant. They retain their elegance.
I've had an experience through music that has touched almost every part of me. It educated me in ways that I didn't get educated in school. So we try to lay on a bit of that, through being funny, being serious, playing hard.
I have my ideas, I have my music and I also just enjoy showing off, so that's a big part of it. Also, I like to get up onstage and behave insanely or express myself physically, and the band can get pretty silly.
Your spoken voice is a part of it - not a big part of it, but it's something. It puts people at ease, and once again kind of reaches out and makes a bridge for what's otherwise difficult music.
Blind faith in your leaders, or in anything, will get you killed.
You can go from doing something quite silly to something dead serious in the blink of an eye, and if you're making those connections with your audience then they're going to go right along with it.
Some of the greatest blues music is some of the darkest music you've ever heard.
I had a ten-piece band when I was 21 years old, the Bruce Springsteen Band. This is just a slightly expanded version of a band I had before I ever signed a record contract. We had singers and horns.
I tend to be a subscriber to the idea that you have everything you need by the time you're 12 years old to do interesting writing for most of the rest of your life - certainly by the time you're 18.
The E Street band casts a pretty wide net. Our influences go all the way back to the early primitive garage music, and also, we've had everything in the band from jazz players to Kansas City trumpet players to Nils Lofgren, one of the great rock guitarists in the world.