STOLEN CAR

Official studio version

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Well I found me a little girl and I settled down
In a pretty little house in a pretty little town
We got married and promised never to part
Then little by little we drifted from each other's hearts

Now I'm driving a stolen car on a pitch-black night
And I'm doing my best to make it through
Well I'm just sitting down here at the Stanton light
I wanna get caught but I never do

At first I thought it was just restlessness
That would fade as time went by and our love grew deep
But in the end it was something more, I guess
That tore us apart and made us weep

And I'm driving a stolen car waiting on that little red light
I keep telling myself everything's gonna be alright
But I ride by night and I travel in fear
That in this darkness I might just disappear

She asked if I remembered the letters I wrote
When our love was young and we were bold
She said last night she read those letters
And they made her feel a hundred years old

There's a river that runs by that little town
Down into the sea
It was there in the shade I laid my body down
As she flowed on so effortlessly

Now there's a party tonight out at County Line
There'll be dancing down at Seven Trees
From these banks I can see those party lights shine
Maybe she's there, maybe she's looking for me

Last night I dreamed I made the call
I swore to return and stay forevermore
Once again we stood on the wedding steps at Victory Hall
And walked arm in arm through the chapel door

I can remember how good I felt inside
When the preacher said "Son, you may kiss the bride"
But as I leaned over to touch her pretty lips
I felt it all slip away through my fingertips

And I'm driving a stolen car through a pitch-black night
I keep telling myself everything's gonna be alright
But I ride by night and I travel in fear
No matter what I do or where I drive
Nobody ever sees me when I ride by

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Info

The above lyrics are for a studio take of STOLEN CAR recorded on 24 Sep 1979 at The Power Station in New York City, NY. This version is longer, features a very different arrangement, and contains several more verses than the album version.

This official studio version of STOLEN CAR was planned for release on Springsteen's 1979 album had it seen the light. See "The Ties That Bind" section below for more details. It was first released on the Tracks box set in 1998 and later included on The Ties That Bind: The River Collection box set in 2015.

On The Power Station reel-to-reel tapes (see "The Ties That Bind" section below), STOLEN CAR is marked as take #3 from 24 Sep 1979. However, according to the Tracks liner notes, the song was recorded on 26 Jul 1979 at The Power Station, but that date is likely incorrect since it's not listed on Sony's logs of Bruce Springsteen's studio sessions. It is possible that 26 Jul 1979 refer to a mixing or overdub session.

The Ties That Bind

Bruce Springsteen wrapped up the Darkness On The Edge Of Town Tour on the first day of 1979. For the next few months, he altered between composing and practicing solo demos at his home in Holmdel, NJ (between January and June 1979), rehearsing with the band at his Telegraph Hill Road property in Holmdel, NJ (between March and May 1979), and recording in studio at The Power Station in New York City, NY (from late March to late August 1979).

By early August 1979, enough quality material had been recorded at The Power Station. According to The Ties That Bind documentary, a total of twenty-four songs had been recorded. According to Clinton Heylin's 2012 book It was looking like Springsteen's fifth album might be released in Christmas 1979. E Street Shuffle: The Glory Days of Bruce Springsteen & the E Street Band, Springsteen's initial track sequence for the album was as follows:

By mid-September 1979, Springsteen replaced RICKY WANTS A MAN OF HER OWN, LOOSE ENDS, and THE MAN WHO GOT AWAY by CINDY and THE RIVER. Soon after, he removed RAMROD, restored LOOSE ENDS, and added YOU CAN LOOK (BUT YOU BETTER NOT TOUCH). A title, "The Ties That Bind", was selected for the album and wheels put in motion to produce artwork for the cover. Around September, at least ten tracks were mixed to completion. On 04 Oct 1979, the ten selected tracks were dubbed to two half-track reel-to-reel tapes at The Power Station, and labeled "side one" and "side two". As written on the reels, the producer was Jon Landau and the engineers were Neil Dorfsman and Bob Clearmountain, assisted by Jeff Hendrickson. The new track sequence for the album was as follows:

Mock covers with "The Ties That Bind" title were roughed out early in the planning. The cover shot was to be a picture of Bruce Springsteen in front of a barn, with the back cover being a shot of his face behind a screen door. In late September 1979, The Ties That Bind single album was scrapped as Springsteen's writing process continued.

Tracks

In the liner notes of his Tracks box set, Bruce Springsteen introduces the box set as follows:

During long intervals between my record releases, as I was spending more and more time in the studio, when I met a fan out on the street I was often asked, "What are you guys doing in there?" I regularly pondered that question myself.

What we were doing in there was making a lot of music, a lot more music than I could use at any one time. As a result, my albums became a series of choices — what to include, what to leave out? I based my decisions on my creative point of view at the moment — the subject I was trying to focus on, something musical or emotional I was trying to express. In certain instances, as on Darkness on the Edge of Town, Nebraska, and The Ghost of Tom Joad, these choices crystallized the album I was making. On some of my other records the reasons I had for choosing one song over another, in hindsight, feel a good deal less significant. One of the results of working like this was that a lot of music, including some of my favorite things, remained unreleased.

This collection contains everything from the first notes I sang in the Columbia recording studio, my early and later work with the E Street Band, through to my music in the 90s. It's the alternate route to some of the destinations I travelled to on my records, an invitation into the studio on the many nights we spent making music in search of the records we presented to you. I'm glad to finally be able to share this music; here are some of the ones that got away.

- Bruce Springsteen, September 1998

Bruce Springsteen's albums were thematically linked even if they were not strictly concept albums; so some tracks that didn't fit the theme of the album ended up orphaned, not necessarily because they didn't meet his high standards, but because, he says, they didn't fit in with the tone or themes he mined for each set. Many of these unreleased studio outtakes got under the hands of bootleggers. Discussing that issue in 1984, Springsteen told Rolling Stone's Kurt Loder, "We record a lot of material, but we just don't release it all. [...] I always tell myself that some day I'm gonna put an album out with all this stuff on it that didn't fit in. I think there's some good material there that should come out. Maybe at some point, I'll do that."

During a break in The Ghost Of Tom Joad Solo Acoustic Tour, Springsteen thought that "if it's gonna be a year or longer in between records, I have all this music that I know is very good that I never released and I should release some of it whether it was just a CD or something. In that period of time, I should put something out because people would like to have it and I'd like to see it get out." He told Toby Scott (his audio archivist and recording engineer), "send me all the archives, send everything that we recorded". Scott then went to work gathering the potential material from Springsteen's massive audio library (located, along with Sony's sound archives, in the high-tech Iron Mountain facility near Buffalo, NY). "For a week or so," he told Billboard in a Nov 1998 interview, "I just listened to everything that I'd done that we hadn't put out. I made some very brief notes in a notebook, and then I just put it away. It was something that I could do at some point when I get to that place in a new project where I'm not sure how long it's going to take and it would be nice to sort of fill the gap so the fans wouldn't be so long without hearing any music from me".

Springsteen told Mark Hagen in an interview for Mojo magazine published in January 1999, "So it began just with that idea and we listened to about 250 songs, maybe more, I made quick notes in a notebook and put it away. A year went by, more maybe, and I came off the Tom Joad tour and I began to write acoustically again and I wrote about half a record. Then I got stuck and said, 'Well, I'm going to put this aside for a while.' Then I wrote half of an electric record, and hit the same place. So I thought, instead of waiting for another year to put something out I'll put some of this music together. So once again I went back to the archives." According to interview comments made by engineer Toby Scott (Springsteen's audio archivist and recording engineer), it was in February 1998 during solo sessions being conducted at Thrill Hill Recording (Springsteen's home studio) in Colts Neck, NJ, that Springsteen told Scott that the time was right to proceed with the long-anticipated box set of archived, unreleased studio takes. Thrill Hill Recording served as the main operational center for all Tracks project activities. Note that the "Thrill Hill Recording" name is used for whatever home studio Springsteen is recording at, whether it's in Rumson, NJ, Colts, NJ, or Beverly Hills, CA.

Springsteen told Billboard that the songs were culled from between 200 and 300 tunes. According to Toby Scott, the number was down to about 128 songs by late June 1998. It was then narrowed down yet again in July to about 100 songs that were prepped for the Tracks release. Although the project was originally projected to be a 6-disc set, there was a commercial decision made later in the summer to reduce the size of the release to a 4-disc (66-track) set. The package was delivered to Sony in mid-September in order to facilitate the mid-November 1998 release schedule.

Unreleased songs from the Greetings From Asbury Park, NJ sessions were not included on the box set due to ongoing and still-unresolved court proceedings involving most of these unreleased 1972 recordings. The court battle wasn't resolved until in 2001 (April 2001 in the UK and June 2001 in the U.S.), and those recordings are now free for release at any time. The opening four tracks of the box set — which were culled from Springsteen's 03 May 1972 Columbia Records audition — were not part of the court proceedings.

On 16 Jul 1998, Springsteen attended a convention for Sony Music Entertainment Inc. in Miami, FL, where he officially announced that a box set was the works and he played a tape of three songs: WHERE THE BANDS ARE, LOOSE ENDS, and I WANNA BE WITH YOU.

The Tracks box set was released on Columbia Records on 10 Nov 1998. It was issued on both compact disc and audio cassette formats. It's a 4-disc (or 4-cassette) set consisting of a total of 66 tracks (almost 4.5 hours long), 10 of which were heretofore unavailable single B-sides, 6 were demos and alternate versions of already-released material, and 50 (48 studio and 2 live) were never-before-released songs recorded during the sessions for Springsteen's many albums. Some tracks were treated with a recent touch-up here or there to give the older recordings a fresh polish.

• Disc 1 consists of material from 1972 to 1980, including Springsteen's very first Columbia Records audition for legendary A & R executive John Hammond. This disc also features additional songs most of which recorded for (but never released on) Springsteen's first four albums.
• Disc 2 consists of material from 1979 to 1983, taken primarily from the recording sessions of The River, Nebraska, and Born In The U.S.A.. Springsteen describes this disc as "almost the completely other album from 'The River'."
• Disc 3 consists of material from 1982 to 1987, taken primarily from the recording sessions of Born In The U.S.A. and Tunnel Of Love.
• Disc 4 consists of material from 1989 to 1998, taken primarily from the recording sessions of Human Touch.

The Ties That Bind: The River Collection

The Ties That Bind: The River Collection is a Bruce Springsteen box set released in 2015 on Columbia Records to celebrate the 35th anniversary of The River album. The 10"x12" box set contains four CDs, two Blu-Ray discs or three DVDs, and a hardcover 148-page coffee table book featuring 200 mostly unseen studio and live photographs, pages from Springsteen's notebooks, single covers, images and outtakes from the original album package, and other memorabilia documenting the album, plus a new essay by Mikal Gilmore. The box set was announced on 16 Oct 2015 and released to retail on 04 Dec 2015.

The first two discs consist of the 2014 remastered version of The River album. The third disc contains The River: Single Album, a 10-track album originally planned for release in 1979, under the title "The Ties That Bind". "The songs lacked the kind of unity and conceptual intensity I liked my music to have. So we went back in the studio," Springsteen wrote in his 1998 book Songs. He scrapped the project and went on to rework some of the songs and write and record some others, leading to the double-disc release the following year. All but one of these ten tracks were previously released.

The fourth discs contains The River: Outtakes, a 22-track album collection consisting of outtakes from the 1979-1980 sessions that didn't make the cut for either the single- or double-album versions of The River. The CD is divided into two parts, "Record One" (the first 11 tracks) and "Record Two" (the remaining 10 tracks). The former consists of unreleased songs while the latter consists of previously released songs.

The fifth disc contains the 60-minute documentary, The Ties That Bind, produced and directed by Grammy and Emmy-winning filmmaker Thom Zimny. The documentary features an intimate interview with Bruce Springsteen as he reflects on writing and recording of The River. The film transitions between Springsteen telling the stories behind the music ─ and illustrating them with solo acoustic guitar performances ─ interspersed with period concert footage and rare photos of him and the band in and out of the studio.

The sixth disc (on the Blu-Ray release) or sixth and seventh disc (on the DVD release) feature(s) The River Tour, Tempe 1980, a new professionally shot film consisting of 24 songs from Bruce Springsteen & The E Street Band's 05 Nov 1980 concert at Arizona State University in Tempe, AZ. The film uses four cameras and is recorded in multitrack audio and clocks at 2 hours and 40 minutes. The tapes were edited by Thom Zimny and the audio was mixed by Bob Clearmountain and mastered by Bob Ludwig.

The last disc also contains The River Tour Rehearsals, which consists of a 5-song 20-minute bonus footage from Bruce Springsteen & The E Street Band's private rehearsals in late September 1980 at Clair Brothers Audio in Lititz, PA. Springsteen and the band can be seen working through live arrangements of what was then unreleased material from the upcoming album.

Bootleg Releases

Prior to its release on Tracks, this official studio version of STOLEN CAR appeared on several bootlegs, including The Ties That Bind (unknown label) [track 04] and The Definitive River Outtakes Collection Volume 2 (E. St. Records) [disc 2, track 04].

Available Versions

List of available versions of STOLEN CAR on this website:

STOLEN CAR [Album version]
STOLEN CAR [Official studio version]
STOLEN CAR [Unofficial studio version 1]
STOLEN CAR [Unofficial studio version 2]
STOLEN CAR [Home demo version]
STOLEN CAR [Band rehearsal #1]
STOLEN CAR [Band rehearsal #2]
STOLEN CAR [Band rehearsal #3]
STOLEN CAR [Band rehearsal #4]
STOLEN CAR [Band rehearsal #5]
STOLEN CAR [Band rehearsal #6]
STOLEN CAR [Band rehearsal #7]
STOLEN CAR [Band rehearsal #8]
STOLEN CAR [Band rehearsal #9]
STOLEN CAR [Live 05 Nov 1980 version]
STOLEN CAR [Live 12 Nov 2012 version]

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Page last updated: 01 Dec 2015