Bruce Springsteen likely would have made it to superstardom even if he had chosen to be a solo act during his career. But there’s little doubt that the E Street Band, a benevolent gang of musical warriors, helped maximize his talent.
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The strength of the E Street Band was tested in 1974 when a pair of key members departed. But two new members appeared whose skills dovetailed with Springsteen’s musical transformation from bohemian hepcat to rock and roll hero.
Less Population on E Street
Bruce Springsteen was billed as the “New Dylan” by executives at Columbia Records, which gave unknowing fans the impression that he was a solo act. But his stalwart band was all over his first two albums (and his live shows). They lent the music a soulful swagger that provided excellent counterpoint to Bruce’s wordy tales.
You could make an argument that the keyboard work of David Sancious ranked right up there with Clarence Clemons’ saxophone as the most distinctive musical elements on those first two records. But Sancious always held ambitions to become a recording act in his own right.
In 1974, after helping Springsteen record the single “Born To Run”, Sancious gained a record deal of his own. For his new project, known as David Sancious and Tone, Sancious took drummer Ernest “Boom” Carter, who had also briefly served as Bruce’s drummer (that’s him playing the crazy fills on “Born To Run”), with him. Springsteen had some holes to fill.
The Professor and Mighty Max
Ironically, Springsteen didn’t start calling his group the E Street Band until after Sancious left, even though the name came from the street where Sancious lived. Many thought Springsteen might choose session musicians to fill the positions left by Carter and Sancious, especially since he had an album to record.
Luckily, auditions turned up two absolute gems. Max Weinberg, who had done everything from playing in rock bands to drumming in the pits of Broadway shows, took over for Carter. And Roy Bittan, a keyboardist who also mixed some rock experience with other far-flung musical outlets, joined in Sancious’ role.
The two soon found themselves in the studio helping to record the album that would become Born To Run. And it’s not like Springsteen eased them into their roles. Instead, Bittan and Weinberg ended up doing some heavy lifting on what would become one of the most hallowed albums in rock and roll history.
The E Street Band Re-‘Born’
One of the first sounds you hear on Born To Run is Roy Bittan’s piano. Plinking away in conjunction with Springsteen’s harmonica, Bittan helps to establish the foundation of the album in the beginning of “Thunder Road”. Throughout the album, Springsteen would take advantage of the dramatic, almost classical flourishes that Bittan brought to the table.
Meanwhile, Weinberg was essential in helping Springsteen move in a rock direction. It’s impossible to imagine “Backstreets” without Weinberg’s battering approach. Nor could “Tenth Avenue Freeze Out” have reached its playful peaks without the “Mighty Max’s” touch and swing.
Bittan and Weinberg hit the ground running with the E Street Band. And they haven’t stopped since, 50 years after their first impact. Not bad at all for two then-unknown replacements.
Photo by Michael Ochs Archives/Getty Images
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