Most of all I hated the town for what they did I hated the lies and I hated the truth that ran us down That scent is about to get a lot stronger: If we can get past its awkwardness, though, there are a couple of interesting things to note: first, the obvious reference to another destined-for-legend Springsteen song second, a whiff of “Backstreets” in the wasted/street line. That may be a contender for the worst verse Bruce has ever written. Wasted, burning right there in the streetĪ ghost like dust, oh baby with that smile That time we pushed real hard and baby I got beat It was a date last night and a lover’s fight Well it was not distance, and it was not length
It isn’t just that we’re used to hearing the final lyrics–these early lyrics are clunky and awkward, especially the second verse: Bruce’s original lyrics were spiteful and vituperative. That original version of “She’s the One” (which Bruce performed regularly in concert right up until the spring of 1975) wasn’t the romantic meditation we know and love today. It still happens on occasion.”īruce’s admission was in answer to Flanagan’s observation that “She’s the One” (even in its final version) included a French cream/French kisses couplet lifted straight from Bruce’s 1973 outtake, “ Santa Ana” (which at the time of Flanagan’s interview was still more than a decade away from an official release on Tracks.)īut if you listened carefully to the outtake and early live performance above, you probably had a strong sense of déjà vu from a completely different song. I do it a little bit now, but not as much as I used to. You could do it with a lot of that stuff. In those days, I used to switch and trade all the time. I knew they were good lines but they never found exactly the right setting. “Sometimes I’ll have a couple of lines that can sit around for four or five years. I think that later on I tended to get a little more lyric-oriented first.” “I sort of went back and wrote the words to it just ’cause I wanted to hear that beat and hear Clarence play that… Things can be compelling just musically. Regardless of when he took it into the studio, Bruce had built a song completely around a beat and a solo the lyrics were an afterthought. The lyrics are the same as in the Boston performance on the 29th, but Clarence’s solo is more restrained, lending credence to placing it in mid-October. Ĭlinton Heylin’s excellent documentation of Bruce’s recording sessions in E Street Shuffle pins Bruce’s first studio cut at “She’s the One” on October 16th, and I’m inclined to believe it based on the recording.
“I sort of went back and wrote the words to it just ’cause I wanted to hear that beat and hear Clarence play that… I wanted that sax solo and I wanted the guys to play the beat and I had a production idea.”īruce debuted “She’s the One” in concert on Octo(more than ten months before it would be released on album), and in those early performances, Clarence did indeed get a workout–like in this recording from Boston’s Music Hall on October 29th.
“I wrote ‘She’s the One’ because I wanted to hear Clarence play the sax in that solo,” Bruce admitted to author Bill Flanagan in 1987. In The Stories Behind the Songs, Brian Hiatt reports that “She’s the One” had more of an “ Up on Cripple Creek” vibe to it until Max infused it with the Bo Diddley beat, and in so doing Max transformed “She’s the One” into one of the most electrifying songs in Bruce’s catalog.
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