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Album version
There's a light on yonder mountain and it's calling me to shine
There's a girl over by the water fountain and she's asking to be mine
And Jesus is standing in the doorway in a buckskin jacket, boots and spurs so fine
He says, "We need you son tonight up in Dodge City
'Cause there's just too many outlaws trying to work the same line"
Now if Jesus was a sheriff and I were the priest
If my lady was an heiress and my Mama was a thief
If Papa rode shotgun on the Fargo line
There's still too many bad boys trying to work the same line
Well sweet Virgin Mary runs the Holy Grail saloon
Well for a nickel she'll give you whiskey and a personally blessed balloon
And the Holy Ghost is the host with the most, he runs the burlesque show
Where they'll let you in for free and they hit you when you go
Mary serving Mass on Sunday and she sells her body on Monday
To the bootlegger who paid the highest price
He don't know he got stuck with a loser, she's stone junkie what's more she's a user
She's only been made once or twice by some kind of magic
If Jesus was a sheriff and I were the priest
If my lady was an heiress and my Mama was a thief
And Papa rode shotgun on the Fargo line
There's still too many outlaws trying to work the same line
Well things ain't been the same in heaven since big bad Bobby came to town
He's been known to down eleven, then ask for another round
Me I've got scabs on my knees from kneeling way too long
It's about time I played the man, took a stand where I belong
And I forget about the old friends and the old times
There's just too many new boys trying to work the same line
Well if Jesus was a sheriff and I were the priest
If my lady was an heiress and my Mama was a thief
And Papa rode shotgun on the Fargo line
There's just too many outlaws trying to work the same line
Well there's a light on yonder mountain and it's calling me to shine
There's a girl over by the water fountain 'cause she's asking to be mine
Jesus is standing in the doorway, six gun drawn and ready to fan
Said, "We need you tonight son up in Dodge City"
Told him I was already overdue for Cheyenne
If Jesus was the sheriff and I were the priest
If my lady was an heiress and my Mama was a thief
And Papa rode shotgun on the Fargo line
There's still too many bad boys trying to work the same line
If Jesus was the sheriff and I were the priest
If my lady was an heiress and my Mama was a thief
And Papa rode shotgun on the Fargo line
There's still too many bad boys trying to work the same line
If Jesus was the sheriff and I was the priest
IF I WAS THE PRIEST is a song written by Bruce Springsteen and released on his 2020 album Letter To You. The above lyrics are for Bruce Springsteen's album version of IF I WAS THE PRIEST as released in 2020.
IF I WAS THE PRIEST was written in late 1970 or early 1971 according to comments by Bruce Springsteen. Prior to its official release in 2020, three studio versions of the song were in circulation among collectors.
Bruce Springsteen performed IF I WAS THE PRIEST during an audition for Mike Appel and Jim Cretecos on 14 Feb 1972 at Appel's office at Pocketful Of Tunes. Bob Spitz was also present, and he recorded the performance on a reel-to-reel tape recorder. See the "1971-1972 Auditions" section below for more details.
The first version in circulation is a solo demo of recorded probably in April 1972 at Mike Appel's office in New York City, NY. It features Springsteen solo on vocals and piano. See the April 1972 demo version for more details.
The second version in circulation is also a solo demo performed and recorded during Springsteen's first formal studio audition for CBS Records on 03 May 1972. It features Springsteen solo on vocals and piano. See the 03 May 1972 demo version. Another solo demo was also performed the previous day, on 02 May 1972, during an informal audition for CBS Records on 02 May 1972. See the "1971-1972 Auditions" section below for more details.
The third version in circulation is a studio take likely recorded around May-Jun 1972 at Pocketful Of Tunes Studios in New York City, NY. It features Springsteen solo on vocals and piano. The May-Jun 1972 sessions at Pocketful Of Tunes Studios were produced by Mike Appel and Jim Cretecos, and Cretecos took the role of recording engineer. See the unofficial studio version for more details and for more information about the so-called "London Publishing Demos".
The album version of IF I WAS THE PRIEST, which was released on Letter To You in 2020 and from which the above lyrics are transcribed, was recorded with The E Street Band live in studio in November 2019 (see the "Letter To You" section below for more details).
On 04 Nov 1971, Carl "Tinker" West, then-manager of The Bruce Springsteen Band, drove Bruce Springsteen to New York City to introduce him to Mike Appel, a songwriter who carried on his songwriting activities jointly with Jim Cretecos. Appel was then employed at Pocketful Of Tunes Inc., Wes Farrell's publishing company in New York City, NY, and the meeting took place at Pocketful Of Tunes. Springsteen performed two or three songs, some on piano and some on acoustic guitar. Only Appel and West were present at this first meeting. Appel has stated in interview that he was not particularly impressed by what he heard at this initial audition but did see raw creativity in the lyrics of BABY DOLL. That performance was not recorded and the titles of the other song(s) performed remain unclear. Appel indicated an interest in promoting them in some way and the meeting ended with an agreement to keep in touch but no commitments from either party.
Meanwhile Springsteen continued gigging with The Bruce Springsteen Band in New Jersey and Virginia and visited his family in California for a few weeks around the holidays. The next meeting between Springsteen and Appel took place on 14 Feb 1972. Springsteen performed a set of seven songs at Appel's office at Pocketful Of Tunes. The songs were performed live solo on acoustic guitar to an audience of three: Mike Appel, Jim Cretecos, and Bob Spitz. Spitz recorded the performance on a reel-to-reel tape recorder. IT'S HARD TO BE A SAINT IN THE CITY was performed a second time at the request of Appel who reportedly was dazzled the lyrics. After that performance Appel and Cretecos began putting the wheels in motion to sign Springsteen to a comprehensive range of contracts.
In March 1972, it was agreed that Appel and Cretecos would promote Springsteen's interests. For that purpose, Appel and Cretecos formed three partnerships owned equally by the two: Laurel Canyon Management to act as Springsteen's manager, Laurel Canyon Productions to cover his recording activities, and Sioux City Music Inc to cover his songwriting activities. In the meantime, Springsteen entered into an "Exclusive Management Contract" with Laurel Canyon Management and an "Exclusive Recording Contract" with Laurel Canyon Productions, but did not sign any songwriting agreement at this time, apparently wishing to think this matter over a bit longer. The two contracts were signed at Appel's office.
Appel wanted to sign Springsteen to Columbia Records. He could not arrange a meeting with label head Clive Davis but was able to arrange one with CBS A&R Manager and talent scout John Hammond. An informal private audition took place around 10:30 AM on 02 May 1972 in Hammond's office in the A&R Department at Columbia Records in New York City. John Hammond and Mike Appel were the only two present at the audition. All songs were performed on acoustic guitar and the performance, which lasted about 30 to 40 minutes, was not recorded but based on the collective recollections of the attendees at least the following four songs were played:
In a 1980 interview, Hammond mentioned he wasn't all that enamored with MARY QUEEN OF ARKANSAS, but that he loved all the other songs that Springsteen performed that morning. "It was a big, big day for me," Springsteen told Mark Hagen in an interview for Mojo magazine published in January 1999. "I was twenty-two and came up on the bus with an acoustic guitar with no case which I'd borrowed from the drummer from The Castiles. I was embarrassed carrying it around the city. I walked into [John Hammond's] office and had the audition and I played a couple of songs and he said, 'You've got to be on Columbia Records. But I need to see you play. And I need to hear how you sound on tape.'"
Springsteen said that he and Mike Appel "walked all around the Village trying to find some place that would let somebody just get up on stage and play. We went to the Bitter End, it didn't work out. We went to another club. And finally we went to the old Gaslight on MacDougal Street and the guy says, 'Yeah, we have an open night where you can come down and play for half an hour'. There were about 10 people in the place and I played for about half an hour." The performance took place at the Gaslight Au Go Go club in New York City. No recording has emanated from this club appearance which lasted about 30 minutes and included just 4 or 5 songs. Both Springsteen and Appel have mentioned these two tracks as having been played:
John Hammond was impressed. "The kid absolutely knocked me out," he told Newsweek in 1975. "I only hear somebody really good once every ten years, and not only was Bruce the best, he was a lot better than Dylan when I first heard him." As Springsteen recalled, Hammond said, "Gee, that was great. I want you to come to the Columbia Recording Studio and make a demo tape". He invited Springsteen back to CBS to make a studio demo audition tape the following day. Springsteen said, "A demo I made at Bill Graham's studio in San Francisco in '69 was the only other time I'd ever been in a real recording studio. Columbia was very old-fashioned: everybody in ties and shirts; the engineer was in a white shirt and a tie and was probably 50, 55 years old, it was just him and John and Mike Appel there, and he just hits the button and gives you your serial number, and off you go. I was excited. I felt I'd written some good songs and this was my shot. I had nothing to lose and it was like the beginning of something."
Springsteen's first "formal" studio audition for CBS took place on 03 May 1972 at CBS Studios in New York City. The session consisted of 12 songs. Click on any of the below links for more details.
Four of the tracks recorded during that demo session would be officially released in 1998 on the Tracks box set. John Hammond's introduction of the audition was kept intact at the start of MARY QUEEN OF ARKANSAS which opens the box set. Hammond was prepared to sign Bruce on the spot but administrative formalities within CBS meant that it would take several weeks for that to become reality. According to Clinton Heylin's 2012 book E Street Shuffle: The Glory Days of Bruce Springsteen & the E Street Band, Hammond send Clive Davis a dub of the audition and a memo saying: "Here is a copy of a couple of the reels of Bruce Springsteen, a very talented kid who recorded these twelve songs in a period of around two hours last Wednesday... I think we better act quickly because many people heard the boy at The Gaslight so that his fame is beginning to spread." Davis responded the next day, "I love Bruce Springsteen! He's an original in every respect. I'd like to meet him if you can arrange it."
Springsteen told Mark Hagen, "I knew a lot about John Hammond, the work he'd done, the people he'd discovered, his importance in music and it was very exciting to feel you were worth his time. No matter what happened afterwards, even it was just for this one night, you were worth his time. That meant a lot to me. He was very encouraging – simply being in that room with him at the board was one of my greatest recording experiences."
According to Heylin, Hammond thought that Springsteen might be better off on the Epic subsidiary, but Mike Appel intercepted: "[Hammond] decided that Bruce should be with the younger people at Epic and not with the stodgier, older people at Columbia – and he got this in his head. I always felt that Columbia was the classiest label on the planet. I just always saw [Bruce's] record going round on that red label, just like Dylan's did."
About a week following the audition, Springsteen entered into an "Exclusive Songwriting Contract" with Sioux City Music Inc and a new/revised "Exclusive Management Contract" with Laurel Canyon Management. The two contracts were signed at the office of New York attorney Jules Kurz, a sole practitioner specializing in music and entertainment law who was then handling Appel and Cretecos' business affairs. This new management agreement replaced the one from March and made changes in remuneration and compensation rates between the parties; it was a better deal for Springsteen than the previous one.
Following the signing of the agreements, Springsteen began a series of demo sessions for Sioux City Music Inc in May and June 1972. The session took place at two locations in New York City: Wes Farrell's Pocketful Of Sounds Studios where Appel was then still employed, and the apartment of Jim Cretecos. There were multiple sessions held at each location and the session dates at the two locations may have actually intertwined. Cretecos' apartment was utilized due to the limited availability of the studio at Pocketful Of Sounds. Cretecos was an electronics engineer and was able to emulate a reasonable recording environment in his apartment, so much so that it is difficult to distinguish some of the recordings Bruce made in Cretecos' apartment from those made in a professional studio.
On 09 Jun 1972 Laurel Canyon Productions (describing itself as Laurel Canyon Productions Inc) entered into a recording agreement with CBS Records. This meant that Springsteen was not signed directly to CBS, but his services were subcontracted to CBS by Laurel Canyon. Under the recording agreement, all individual recordings made by Springsteen under the CBS agreement remained the property of Laurel Canyon Productions until such point that they were assigned and transferred to CBS. This contract was signed by CBS at CBS Records offices and by Mike Appel at Laurel Canyon Productions offices. Bruce Springsteen signed it too, on the hood of a car in a dimly lit bar parking lot in New York City. Appel had him sign it as a matter of courtesy and as a matter of endorsement – from a legal standpoint it was not necessary that Springsteen signs this agreement as the "Exclusive Recording Agreement" between him and Laurel Canyon Productions did not grant him the right to block or refuse this contract between Laurel Canyon Productions and CBS. The contract was varied in August 1972 to also cover the master tapes of certain songs which had been recorded prior to the date of the agreement.
Mike Appel and Jimmy Cretecos later decided to change their business structure and model. They wanted to cease the partnership model and incorporate their businesses with the two having a 50/50 split in shares of the new incorporated business entities. These matters did not involve Springsteen – his signature or permission was not required. Laurel Canyon Productions (the sound recordings partnership) became Laurel Canyon Limited (incorporated) on 28 Jun 1972, Sioux City Music Inc (the songwriting partnership) became Sioux City Music Limited (incorporated) on 05 Oct 1972, and Laurel Canyon Management (the management partnership) became Laurel Canyon Management Limited (incorporated) on 05 Mar 1973. The three new companies were incorporated in New York and Appel and Cretecos were appointed the first directors. Appel and Cretecos wanted to change the name of Sioux City to Laurel Canyon in order to have name consistency among their family of companies, so on 24 Apr 1973 Sioux City Music Limited changed its name to Laurel Canyon Music Limited. In January 1974 Jimmy Cretecos sold his 50% shareholding in each of the Laurel Canyon companies to Mike Appel, thus Appel becoming the sole owner of the companies.
Letter To You is Bruce Springsteen's twentieth studio album. It was officially released on 23 Oct 2020 on Columbia Records. It consists of 12 tracks, all written by Springsteen, and clocks at 58:17. The album was officially announced on 10 Sep 2020. In the press release, it was described as "a rock album fueled by the band's heart-stopping, house-rocking signature sound."
Three of the album's twelve tracks are new recordings of unreleased songs that Springsteen wrote in the early seventies. The remaining nine were "recently written," as per the album's press release. On 05 May 2019, during the opening night of Netflix's third annual FYSEE event in Los Angeles, Springsteen sat down for a long conversation with director Martin Scorsese. "I've spent about seven years without writing anything for the band," Springsteen told Scorsese at one point. "I couldn't write anything for the band. [...] And then about a month or so ago, I wrote almost an album's worth of material for the band. And it came out of just... I mean, I know where it came from, but at the same time, it just came out of almost nowhere. And it was good, you know. I had about two weeks of those little daily visitations, and it was so nice. It makes you so happy."
In 2017 or 2018, when Springsteen was coming out from one of his Springsteen On Broadway shows, a young fan, from Italy Springsteen thinks, handed him an acoustic guitar. As Springsteen recounted to AARP's Robert Love, the fan told him, "Hey, Bruce, this is for you. We had this built for you. It's very special." The guitar had no case and was made by a company that Springsteen never heard of. "I said, 'Geez, you know, thanks,'" Springsteen told Rolling Stone's Brian Hiatt. "And I just took a quick glance at it and it looked like a nice guitar, so I jumped in the car with it." The Rolling Stone article and the AARP article give two conflicting timelines as to when Springsteen was gifted the guitar. This took place "sometime before Theiss' passing" according to the former and "shortly after Theiss' death" according to the latter. The Springsteen On Broadway concert residency officially opened on 12 Oct 2017 and ran through 15 Dec 2018. Former Castiles member George Theiss passed away on 13 Jul 2018.
The guitar ended up sitting in Springsteen's living room for months, until he picked it up around April 2019. "All the [new] songs from the album came out of it," Springsteen told Rolling Stone's Brian Hiatt. "In perhaps less than 10 days. I just wandered around the house in different rooms, and I wrote a song each day. I wrote a song in the bedroom. I wrote a song in our bar. I wrote a song in the living room." "Sometimes instruments have some magic in them," Springsteen told AARP's Robert Love. "The songs for the album were in the guitar that the kid gave me. You try for seven years and you write an album in a week." However, at least three songs were written or partially written at least 15 years earlier. These are ONE MINUTE YOU'RE HERE, BURNIN' TRAIN, and RAINMAKER.
Soon after he wrote the new songs, sometime during summer 2018 as Roy Bittan remembers, Springsteen met Bittan for lunch in New York City while he was performing on Broadway. "He said, 'I wrote a whole bunch of songs for E Street,'" Bittan told Uncut's Peter Watts. "He said, 'Yeah, I did it in about two weeks.' That wasn't the first time he had done something in a quick burst, but I was taken aback as he had been so involved with the Broadway show, the book, and this Western Stars project had been on and off for years. To hear that in the middle of all this he had written a bunch of E Street songs was terribly exciting. So the first thing I said was, 'Great, now don't demo them.' Because when you demo, it's carved in stone. Then you have to play 'beat the demo'." Springsteen knew that Bittan was right. "When I demo, I start putting things on to see if it works," he told Hiatt. "And suddenly, I'm locked into an arrangement. And then the band has to fit themselves into an arrangement. And suddenly, we don't have an E Street Band album. So I intentionally did not demo anything." Springsteen did not touch the songs before he taught them to the band during the recording sessions. He simply played them solo acoustic and captured them on his iPhone just to make sure he remembered them.
According to Rolling Stone's Brian Hiatt, Roy Bittan's advice had deep implications for Letter To You and echoed what Steven Van Zandt had been telling Springsteen for years. "We have an ongoing conversation and one of the regular topics is that if we do make another record, let's do it the old way," Van Zandt told Uncut. "The old way" is how Darkness On The Edge Of Town, The River, and Born In The U.S.A. were recorded. "Bruce walks in with an acoustic guitar, plays his songs and everybody has a chance to give their input," Van Zandt told Forbes' Steve Baltin. "The great thing about the E Street Band is they really do produce themselves." Until 1984, as Uncut's Peter Watts put it, "Van Zandt had acted as something like a conduit ― or consigliere ― between Springsteen and the rest of the group." But after his departure from the E Street Band following the recording of Born In The U.S.A., Springsteen's albums stopped being recorded live in studio. On some recordings Springsteen handled all or almost all instruments or musicians recorded their parts separately ― sometimes in different studios around the country ― and producers and engineers assembled the recordings to make up the final songs. Letter To You would be different.
In 2019, while working through his archives for a follow-up to his 1998 Tracks box set, Springsteen came across JANEY NEEDS A SHOOTER, IF I WAS THE PRIEST, and SONG FOR ORPHANS. He decided to record them again for Letter To You. He told The New York Times' Lindsay Zoladz: "It's fun to go back and see how wild my lyric writing was, and how uninhibited it was at a certain moment, and to be able to take that and bring it into the present with the band, and sing it in my voice right now, was a bit of a joy ride. The thing about those songs, every line is insane! And somehow they end up making sense about something. I'm not sure how I did it at the time."
Springsteen has long had recording facilities set up at different properties he owns or owned at some point in the United States. These were named "Thrill Hill Recording", or sometimes referred to as "Thrill Hill East" or "Thrill Hill West" depending on whether it's on the East Coast or on the West Coast. In 2009, he set up Stone Hill Studio, a permanent recording facility at Stone Hill Farm, his horse ranch in Colts Neck, NJ. Letter To You was recorded at Stone Hill Studio and all or almost all of the songs on the album were cut between 11 and 15 Nov 2019. Springsteen told The New York Times' Lindsay Zoladz: "My blueprint for what I was doing was basically the two songs that we'd done in the past that were cut completely live, 'Darkness On The Edge Of Town' and 'Born In The U.S.A.,' which is like two takes." "We basically cut the album in four days," Steven Van Zandt told Rolling Stone's Brian Hiatt. "We booked five days and on the fifth day we had nothing to do, so we just listened to it." There were some discussions that Springsteen and the band reconvene later that year or early in 2020 to record more material, but Springsteen felt he had enough for the album.
The band had not heard the songs they were going to record when they arrived in studio. Springsteen had a stack of maybe as many as 15 songs according to Uncut's Peter Watts. Springsteen would first play a song for them on acoustic guitar while they listened and noted chord changes, each writing down a preliminary arrangement, and then they all contributed ideas and discussed the arrangement. Then they played the song live, making further alterations until they were satisfied with the take. Then the same process starts all over with the next song and so on until the album was finished. Each song was completed within half-a-dozen tries. "It's natural, organic with a lot of improvisation but within the structure of the written song," Nils Lofgren told Uncut's Peter Watts. "You aren't just trying to place your part on a great track, you are all there together. It's interactive and you have to focus and adapt to what the others are doing. [...] We had no preconceived notions or parts to chase. We'd just start from scratch." "Sometimes [Springsteen will] give us the cue but we have freedom to try things and use our instincts," Charles Giordano told Watts. "He'll let us know if he doesn't like it and is very good at letting us know what he appreciates."
Letter To You marks the first time that Bruce Springsteen and The E Street Band recorded an album together as a unit since Born In The U.S.A.. As Springsteen explained to AARP's Robert Love, "[the album] was all live, no overdub vocals and just a few overdub instruments. It's the first truly live, in-the-studio record of the band we've ever made." According to Rolling Stone's Brian Hiatt, "a few of Springsteen's twangy guitar leads, played on a Gretsch, are among the only exceptions." Jake Clemons came in on the fifth day to overdub his saxophone parts.
Letter To You was produced by Ron Aniello with Springsteen, mixed by Bob Clearmountain, and mastered by Bob Ludwig. Springsteen (lead vocals, guitar, harmonica) is joined on the album by Steven Van Zandt (guitar, backing vocals), Nils Lofgren (guitar, backing vocals), Charles Giordano (organ, backing vocals), Roy Bittan (piano, backing vocals), Garry Tallent (bass guitar, backing vocals), Max Weinberg (drums, backing vocals), Jake Clemons (saxophone), and Patti Scialfa (backing vocals). The album is available as a single-disc CD and as a two-disc LP set, as well as digital download and streaming. Three editions of the vinyl release were issued: a regular edition on black vinyl, a limited edition on black with white splatter vinyl exclusive to Bruce Springsteen's official webstore, and a limited edition on gray vinyl exclusive to independent retailers.
Letter To You topped the charts in many countries. In the United States, it debuted and peaked at number 2. This makes it Springsteen's 21st U.S. top 5 album. It also makes Springsteen the first act with new top five-charting albums in each of the last six decades.
| Country | Chart | Peak position |
| Australia | Aria Top 50 Albums | 1 |
| Austria | Ö3 Austria Top 40 Longplay | 1 |
| Belgium (Flanders) | Ultratop 200 Albums | 1 |
| Belgium (Wallonia) | Ultratop 200 Albums | 3 |
| Canada | Billboard Canadian Albums | 2 |
| Czech Republic | ČNS IFPI - CZ Albums Top 100 | 6 |
| Denmark | Hitlisten Album Top-40 | 1 |
| Finland | Suomen Virallinen Albumilista | 2 |
| France | Top Albums (SNEP) | 4 |
| Germany | Offizielle Deutsche Charts - Top 100 Album | 2 |
| Greece | IFPI Top-75 Albums | 4 |
| Hungary | MAHASZ Album Top 40 Slágerlista | 11 |
| Ireland | Official Irish Albums Chart Top 50 | 1 |
| Italy | FIMI Top Album | 1 |
| Japan | Oricon Albums Chart | 23 |
| New Zealand | Official Top 40 Albums | 1 |
| Norway | VG-lista Topp 40 Album | 1 |
| Poland | ZPAV Oficjalna Lista Sprzedaży | 6 |
| Portugal | AFP Top 50 Albums | 1 |
| Scotland | OCC Official Scottish Albums Chart Top 100 | 1 |
| Spain | Promusicae Top 100 Albumes | 2 |
| Sweden | Sverigetopplistan - Albums Top 60 | 1 |
| Switzerland | Schweizer Hitparade - Alben Top 100 | 1 |
| The Netherlands | Dutch Album Top 100 | 1 |
| UK | OCC Official Albums Chart Top 100 | 1 |
| USA | Billboard 200 | 2 |
In a 03 Nov 1974 interview with DJ Ed Sciaky on Philadelphia's WMMR-FM, Bruce Springsteen talked in detail about IF I WAS THE PRIEST and commented that he played it live, full-band, in the fall of 1971 during The Bruce Springsteen Band residency at Student Prince in Asbury Park, NJ. Garry Tallent's presence during the interview would tend to support Springsteen's recollection. The specific gig (or gigs) on which the song was performed is not known and there is no circulating audio of the performance.
IF I WAS THE PRIEST is known to have been performed at least once in Bruce Springsteen's early years (pre-October 1972), on 02 May 1972 at the Gaslight Au Go Go club in New York City (read the "1971-1972 Auditions" section above for more details). Very little is known about shows from this early period, and therefore, the song may have been played on some more dates.
At least one artist has recorded and released Bruce Springsteen's IF I WAS THE PRIEST.
If you have any corrections or additional info, please contact me via the below form or by email: .
List of available versions of IF I WAS THE PRIEST on this website:
IF I WAS THE PRIEST [Album version]
