In the midst of the Born to Run Tour, Bruce Springsteen and his former manager Mike Appel filed mutual lawsuits that precluded Springsteen from entering a recording studio for almost a year.<\/p>\n
By the time the dust finally settled in May 1977, Bruce had quite a backlog of material. He wasted no time getting back into the studio with the band, and over the months that followed they recorded at least sixty songs, only ten of which would see release a year later on Darkness on the Edge of Town<\/a>.<\/em><\/p>\n If we were to judge by the finished album only, we’d conclude that Bruce left his Born to Run<\/em> romanticism by the wayside in favor of a more cynical yet defiant vein of songwriting. In truth, Springsteen was still writing the big romantic ballads that typified his setlists from 1975 through 1977. He just locked them away for decades until he finally set them free on The Promise <\/em>in 2010.<\/p>\n One such song was “Spanish Eyes,” a bright confection that would have stuck out like a sore thumb amongst the embattled set of songs that comprise\u00a0Darkness.<\/em><\/p>\n