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GREETINGS FROM ASBURY PARK

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GREETINGS FROM ASBURY PARK, NJ
Produced by Mike Appel and Jim Cretecos
Recording Engineer: Louis Lahav
Commercially Released: Jan 5, 1973

PART 1 – GREETINGS SESSIONS OVERVIEW

Laurel Canyon Productions (Mike Appel and Jim Cretecos) signed a recording contract with CBS (“the CBS Agreement”) on June 9, 1972. Springsteen’s services were subcontracted to Columbia Records by Laurel Canyon (i.e. Bruce was not signed directly to CBS/Columbia). Laurel Canyon was to receive an immediate cash advance from CBS and this money was to be used to pay for the studio time at 914 Sound Studios to record the LP. A delay by CBS in delivering the advance money to Laurel Canyon resulted in the sessions at 914 not starting until early July. During June Springsteen had finalized the selection of the musicians that would be used for the initial sessions at 914 Sound. The musicians chosen (with an ok from Appel-Cretecos) constituted the entire lineup of the former BRUCE SPRINGSTEEN BAND - David Sancious, Gary Tallent, Vini Lopez and Steve Van Zandt (Steve ended up partaking in almost none of the 914 Sound band sessions because of a prior commitment to tour as a member of The Dovells backing group)

Recording sessions for the Greetings LP spanned a 2-month period, from early July to early September 1972. All sessions took place at 914 Sound Studios in Blauvelt, N.Y. The initial sessions at 914 Sound Studios involved the recording of the “band” material. Apparently Springsteen had pretty much decided what songs were going to be given a band arrangement before entering the studio. So the core “band” sessions were completed in only about 2 weeks. No unreleased band recordings from the debut LP sessions have surfaced. Following these band sessions the various band members scattered (keeping in mind Bruce had not decided to form a touring band at this stage).

Springsteen spent the next few weeks recording solo material. It was during this period that differences of opinion surfaced about what material (band vs solo) was going to dominate the eventually released LP. There were two sides in this disagreement. Mike Appel and John Hammond wanted a solo-dominated LP. Springsteen and Jimmy Cretecos preferred a band-dominated LP. During early August a compromise was reached and the album track selection was decided upon – featuring 5 band recordings (“Bus Driver”, “Growin’ Up, “Saint In The City”, “For You” and “Lost In The Flood”) and 5 solo recordings (“The Angel”, “Mary Queen Of Arkansas”, “Jazz Musician”, “Arabian Nights” and “Visitation At Fort Horn”). On Aug 10, 1972 Laurel Canyon transferred the sound recording copyrights to these 10 songs to CBS. So it seemed the album was finalized. However when then-CBS President Clive Davis listened to the 10 tracks he commented that not only did he prefer the band tracks, but he also felt the album lacked a potential hit single. In essence Davis was siding with Springsteen’s vision of the album as being more rock-orientated.

In August that Springsteen composed two more commercial-sounding songs, “Blinded By The Light” and “Spirit In The Night”. Consequently a further “band” session was required. However both Sancious and Tallent, then-employed at Alpha Sound Studios in Richmond, were unable to return to New York to record. Bruce wished to incorporate saxophone in both new songs and contacted Clarence Clemons, a then-member of Norman Seldin & The Joyful Noyze. So the studio session lineup for these two songs was Clemons, Lopez and Springsteen (who played all other instruments, except for the piano on “Blinded” (handled by Harold Wheeler). “Blinded’ and “Spirit” were completed by early September. These two band recordings bumped the three solo recordings (“Visitation”, “Arabian Nights” and “Jazz Musician”) that had been shortlisted. Therefore the final album was reduced from 10 tracks to 9, encompassing 7 band tracks and 2 solo tracks. Columbia Records original intention was to release the album in late November 1972. However the company decided the album might get overlooked among the massive amount of pre-Christmas releases so the LP was held back for until early January.

PART 2 – GREETINGS SESSIONS DETAILS

COMMENTS: Both V1a and V1b are the same basic recording. V1b contains a harmonica overdub by Bruce that was added later in the sessions. V1a does not include the any harmonica.

COMMENTS: All three are the same basic recording. V1a is just acoustic guitar and vocals. Near the end of the sessions Bruce had Richard Davis overdub Upright Bass onto the track. V1b and V1c (both which contain the bass) are the same recording (i.e. same instrumentation and vocal). V1b is allegedly a different mix than V1c but the difference, if there is one, is not perceptible. Running time variation is at fade out.

COMMENTS: V1a and V1b are the same recording (i.e. same instrumentation and vocal). V1a is allegedly a different mix but the difference, if there is one, is not perceptible. Running time variation is only at fade out.

COMMENTS: V1a and V1b are the same core recording (i.e. same instrumentation and vocal). V1 is allegedly a different mix but the difference, if there is one, is not perceptible. Running time variation is only at fade out.

COMMENTS: V1a and V1b are the same core recording (i.e. the same instrumental and vocal take). The only difference is that Bruce’s vocal on V1b is faded out several seconds earlier than in V1a, which reveals that there were a few “street rapping” words spoken by Bruce that were cut from the officially released version.

COMMENTS: V1a and V1b are the same core recording (i.e. same instrumentation and vocal). V1a is allegedly a different mix but the difference, if there is one, is not perceptible. Running time variation is at fade out.

COMMENTS: Both V1a and V1b are the same core recording. V1b contains sound effects (courtesy of Steve Van Zandt) that were added on late in the sessions. V1a does not include the dubbed sound effects.

COMMENTS: the band lineup for this track was Springsteen-Clemons-Lopez, plus sessionman Harold Wheeler on piano. Both V1a and V1b are the same recording, however V2 has been edited (with an entire verse removed). The lyrics on the back of the rare 7” picture sleeve are also missing this edited verse.

COMMENTS: the band lineup for this track was Springsteen, Clemons and Lopez, with Bruce playing multiple instruments.

COMMENTS: Stunning solo acoustic number left off the album. This very same recording was later utilized as a publishing demo by Laurel Canyon – as such it has a dual history. Therefore this recording is also included in the ON THE TRACKS section under “Demo Recordings”. The DT recording is from a downstream source and of weaker sound quality.

COMMENTS: Solo acoustic number left off the album. This very same recording was later utilized as a publishing demo by Laurel Canyon – as such it has a dual history. Therefore this recording is also included in the ON THE TRACKS section under “Demo Recordings”.

COMMENTS: Piano solo number left off the album. This very same recording was later utilized as a publishing demo by Laurel Canyon – as such it has a dual history. Therefore this recording is also included and examined in greater detail in the ON THE TRACKS section under “Demo Recordings”

COMMENTS: Solo acoustic number left off the album. Also included in the ON THE TRACKS section under “Demo Recordings”.

COMMENTS: Solo acoustic number left off the album. Also included in the ON THE TRACKS section under “Demo Recordings”.

COMMENTS: Solo acoustic number left off the album. Also included in the ON THE TRACKS section under “Demo Recordings”.

PART 3 – ADDITIONAL INFORMATION:
In addition to what was released on the official Greetings LP, Springsteen recorded other songs (most in solo mode) at 914 Sound Studios during the Greetings sessions. Some of these recordings were later utilized as copyright/publishing demos – and therefore can be categorized as both Greetings session outtakes and publishing demos. It is difficult to distinguish in every case between the Greetings LP session solo outtakes recorded at 914 Sound Studios and some demo recordings made slightly earlier at other locations. Please refer to the ON THE TRACKS section under “Demo Recordings” for a detailed listing of all known demo recordings and the best available information as to the timing and location of when/where these recordings emanate.