Note: Unfortunately, very few outtakes circulate of "Badlands", the anthem he opened concerts with for years, although there must be some good stuff waiting in the vaults. Remember, title, music, lyrics, the Springsteen method of songwriting. The title came from Terrence Malick's 1973 movie, Badlands (he had not seen the movie). In late June, the music had been composed, and was first played by the E Street Band on June 27, 1977 at Atlantic Studios. The song's opening riff, Springsteen revealed years later, is a major-key twist on the minor-key intro to the Animals' 1965 hit 'Don't Let Me Be Misunderstood'. V1 is an instrumental backing track, recorded on June 27 and 30. Max Weinberg said his opening drum part was suggested by Steve Van Zandt, and inspired by Motown. Bruce had a routine with his engineers to create 'Ruffs' tapes for him, so he could take instrumental or early recordings home and write lyrics. V2 had to be recorded in late June, or on July 11 or 13 at Atlantic Studios. Springsteen was working at Atlantic Studios on July 13, 1977, when the twenty-five-hour-long New York City blackout began; soon after, the opening line "Lights Out Tonight", came into being. New takes, with developing lyrics, were recorded on August 24 and 30, 1977, but contrary to Lost Masters liner notes and many other sources, no outtakes circulate from these sessions.
It wasn't until November 1977, that Badlands was re-written with new lines, including, "I wanna go out tonight, I wanna find out what I got" from 'Iceman', about which he later honestly recalled, "That whole record was a record where I felt like I was going to have to test myself, and that was what I wanted to know, so that line ended up in a few different songs"—Los Angeles Times interview, 1998. Next, from a song by Elvis Presley from the 1962 movie, Kid Galahad, King Of The Whole Wide World: "A poor man wants to be a rich man, A rich man wants to be a king, But the man who can sing when he hasn't got a thing, He's the king of the whole wide world". Bruce translated this to these Verse 2 lines: "You better get it straight, darling, Poor man wanna be rich, rich man wanna be king, And a king ain't satisfied till he rules everything, I wanna go out tonight, I wanna find out what I got". Verse 3 was strengthened by, "For the ones who once had a notion, it ain't no sin to be glad you're alive" from Break Out.
V3 was recorded on December 12, 1977 at the Record Plant, with many new pieces in place. Bruce is still yelling at 'the man on the TV', but "Badlands" has started to take shape. The vocals for V4, the album version, were dubbed in during a three-day mixing marathon on February 22, 24 and 25, 1978. V4b is an alternate, with less double-tracked vocals than the Darkness version, and V4c was the final mix from April 11, which was pressed to acetate on April 12, 1978. V5 take 23 was a last moment dubbing, on May 5, 1978, of Clarence Clemons' sax solo. Springsteen's initial excuse for almost leaving it off was that he believed the instrument evoked the city, leaving it out of place on an album set in something more like "the heartland"; he later admitted, "that would have been a major error".
| DADDY RAISED A CAIN - V1 |
|
uncirculating |
| ADAM RAISED A CAIN - V2 |
4:12 |
LM-3 / UP / AM / LMEC1 |
| ADAM RAISED A CAIN - V3 |
4:34 |
DARKNESS |
Note: 'Lost Masters III' liner notes say tracks 1-5 are all from August 1977, but Sony logs say track 5, "Prove It All Night" was first cut September 12, 1977, track 3, "Factory", was not even called "Factory" until 1978, and the first take of "Daddy Raised A Cain", was on November 9, 1977, with "Adam Raised A Cain" V2 on December 15, 1977. The Darkness album take, V3, resulted from three consecutive days dubbing, mixing and editing, on February 15, 16 and 17, 1978. Before his death in 1998, Doug Springsteen was asked which of his son's songs he liked best. "The ones about me", he answered.
| SOMETHING IN THE NIGHT - V1 |
|
uncirculating |
| SOMETHING IN THE NIGHT - V2a |
5:06 |
DDOC / UP / DDO / LUTHER |
| SOMETHING IN THE NIGHT - V2b |
5:05 |
DO-3 / UP / AM |
| SOMETHING IN THE NIGHT - V2c |
5:05 |
ODM / HOD / UP / AM |
| SOMETHING IN THE NIGHT - V2d |
5:11 |
DARKNESS |
| SOMETHING IN THE NIGHT - V3 |
4:38 |
DO-2 / GT / LUTHER / LM-2 / SOTE |
Note: "Something In the Night" was written in 1976, rehearsed at Thrill Hill Studio, the barn at his new rental in Holmdel, New Jersey, and premiered live on August 1, 1976. It was played 31 of 54 shows on the Lawsuit Tour 1976-1977, which gave Springsteen opportunities to revise lyrics and modify arrangements. The tour featured a full-time horn section, the Miami Horns, and they were also used in several arrangements. V1 represents all the unidentified takes from Thrill Hill Studio. When the Darkness sessions began on June 1, 1977, several cuts of "Something In the Night" were recorded that evening, and the album take was chosen from these. According to Sony logs, there were two subsequent recording sessions on June 14 and 16, and that was it, until mixing sessions began in 1978. There are five circulating versions, four (V2) which are based on the June 1 take, and one V3 (formerly V1), that was recorded on any of the June dates. Godfatherecords release G.R. BOX 01, 'The Unbroken Promise: Lighting Up The Darkness Sessions', a 6 CD compilation of outtakes from the Darkness sessions, describes in it's extensive liner notes that "Something In The Night" appears in three versions, Version 2a being recorded in June-July 1977 at Atlantic Studios and versions 2b and 2c during September-October 1977. Unfortunately, the Sony logs specify only three days in 1977 when sessions were held. The final notation is Mix take #42 (V2d), from February 27, 1978, was pressed to metal acetate on April 12, 1978, and became track 3 on Darkness On the Edge of Town.
Note: "God's Angels", alternately named "The Fast Song", was a fast-paced melody written over several months, starting in Spring 1977. For many nights on the last legs of the Lawsuit Tour, Bruce interpolated the lyrics of "God's Angels" into "Backstreets". When he got to Atlantic Studios, New York on June 1, he had music and additional lyrics written. Though studio logs show the first take was on June 6, evidence exists that it was recorded on June 1, the first day of sessions (see 'Star Wars' tape below). Instrumental track V1 was worked on in early June. The lyrics heard in V2a can only be found in very poor quality on 'Darkness Outtakes Volume 3 (The Promise)', but features an incredible searing guitar solo, strangely never to be heard again. "I wish God's Angels would tear this town down, blow it into the sea, and that's okay with me because I don't care" stayed with the song, perhaps until the final takes and mixing of "Candy's Room" in March 1978, but it was deleted, and now only heard in bootlegs. V1, 2a-2d were worked on June 6, 9, 10, 13, 14, 20 and 24, and again on August 24, September 1 and 2, 1977, and lyrics slightly change, such as God's Angels alternate "man that's alright with me I don't care anymore". The only song he worked on harder was "Racing In the Street". All of the lines were blown into the sea, starting with changes at the end of September 1977.
The evidence is a bit confusing, but it is not hard to conclude that "Candy's Room" was around since at least May 1977, and was connected to "The Fast Song", as evidenced by the Ampex cassette jacket ('The Star Wars' tape), dated June 1, 1977. Springsteen's mind at this point was turning faster than ever with song ideas; an early concept album, Badlands was set to be released in October 1977, but he postponed it until June 1978. Nothing illustrates his process as well as "Candy's Room". After September 2, 1977, the last time "The Fast Song" and "Candy's Boy" would appear on the logs, Bruce decided to re-organize them into a new 'Fast Song', giving his obsession (Candy) the home she deserves. On September 27, "The New Fast Song" V3 appeared for the first time on studio logs; we don't have an outtake, but we do have the words, on a handwritten lyric sheet titled "The New Fast Song (Candy)". He took the first verse of "Candy's Boy", the second verse from the "Fast Song", lines from "Frankie", and fresh lyrics (i.e. "we kiss", instead of "I got caught" at the start of Max's drum roll). The third verse was mainly adapted from "The Fast Song". The lyrics contain several lines that did not survive to the album track V5. "I get visions of avenging angels of eden with their white horses and flaming swords can blow this whole town into the sea" is from "God's Angels-Fast Song", and "they cant touch Candy and me, our love they cannot destroy, I will forever be Candy's boy" is mostly from "Candy's Boy". According to author Clinton Heylin, the band worked on this extensively over the next two days. Of great interest is the film clip shot by Barry Rebo from September 30, 1977, which appeared on the Thrill Hill Vault DVD/Blu-ray of The Promise: The Darkness On The Edge Of Town Story box set. It is a short segment, with Bruce and Jon Landau at the Record Plant, as Bruce plays for Jon new lyrics he has written for "Candy's Room Demo" V4; these are entirely different, and describe a magical house at the edge of town, with Candy waiting for him in the window. The date here is also from Sony Archives, which shows another take on December 12, 1977, and then a marathon overdub-mixing session, from March 3 to March 5, 1978, which finally concluded when take 42 (v5b) was selected for Darkness On The Edge Of Town.
Note: Springsteen started writing "Racing In The Street" shortly after New Years Eve at the Tower Theatre, back in 1975, along with "Darkness On The Edge Of Town" and "The Promise", and court proceedings prevented him from working on it in a recording studio until July 1977. But after he moved into Telegraph Hill in the Summer of 1976, Bruce and the band practiced daily. Unfortunately, it seems that almost none of this was documented, except for Barry Rebo's films (100% owned by Bruce), and what can be inferred by studying the live shows. V1 was recorded July 2, 1977 at Atlantic Studios. According to the Lost Masters III liner notes, V2 was recorded in August 1977, and studio logs show takes on 8 different days at either Atlantic Studios or The Record Plant during the month. The comp. reel for the official album release V3b came on August 30, 1977. However, Bruce returned to his composition in V4a ,with an alternate band arrangement with wailing harmonica and tremendous vocal, recorded between November28 and 30, 1977 at The Record Plant. The officially released V4b, titled "Racing In The Street ('78)" on The Promise, utilizes a different 1977 vocal take and runs longer, but uses the V4 base tracks recorded at the end of November 1977, which have little in common with Racing Part I from August. David Lindley plays modern violin, as he did on "Come On", back in 1977. Work continued on December 6 and 9; studio logs also show mixing sessions at The Record Plant from March 21 thru 23, 1978. Mix take 46 went on Darkness. Bruce adapted the lines "summer's here and the time is right / for goin' racing in the street" from Martha and the Vandellas' "Dancing In The Street".
| THE PROMISED LAND - V1 |
|
uncirculating |
| THE PROMISED LAND - V2 |
|
uncirculating |
| THE PROMISED LAND - V3a take 5 |
4:14 |
ODM / HOD / UP |
| THE PROMISED LAND - V3b |
4:25 |
DARKNESS / ESSENTIAL |
Note: One of the last songs written and recorded for the album, it's genesis was from a short trip taken by Bruce, Steve Van Zandt and photographer Eric Meola on August 17, 1977, two days after breaking from recording for a week. Their plan was to fly into Salt Lake City, Utah, rent a vintage American car, and drive to Reno, Nevada, by way of the Utah and Nevada wilderness. The fruits of their journey were "Rattlesnake speedway in the Utah desert", "the dogs on Main Street howl because they understand" (based on real dogs howling on a Main Street), and Eric's photographs, which appeared throughout The Promise: The Darkness On The Edge Of Town Story box set. Upon returning, Bruce composed "The Promised Land", and introduced it to the band on September 30, 1977, with 3 takes V1 attempted. Recording resumed on October 27 at the Record Plant, with 20 takes, including V2 take 19, marked "long ending". V3 take 5 on December 1, 1977, which was later pressed to metal acetate on April 12, 1978, is V3a, the final version without the guitar solo. On or about May 12, 1978, Bruce decided a guitar solo by Steve Van Zandt was needed before Clarence Clemons's powerful sax solo. After recording the guitar track, Chuck Plotkin had "The Promised Land" remixed, Side 2 was re-mastered, which briefly delayed album release to June 2.
| COME ON (LET'S GO TONIGHT) - V1 |
|
uncirculating |
| COME ON (LET'S GO TONIGHT) - V2 |
2:07 |
DO-3 / UP / SC / LUTHER |
| COME ON (LET'S GO TONIGHT) - V3 |
2:12 |
LM-3 / LMEC2 / AM / UP |
| COME ON (LET'S GO TONIGHT) - V4 |
2:09 |
DDO / DO-1 / UP / DDOC / LES |
| COME ON (LET'S GO TONIGHT) - V5 |
|
uncirculating |
| THE FACTORY SONG - V6a |
2:15 |
ODM / HOD / UP / AM |
| FACTORY - V6b |
2:15 |
DARKNESS |
| COME ON (LET'S GO TONIGHT) - V7 |
2:16 |
PROMISE |
Note: "Come On (Let’s Go Tonight)" was written in the Spring of 1977, and V1 was cut on June 1, 1977, complete with Vox [organ], at Atlantic Studios, on the first night of the Darkness sessions. The band picked up the rhythm quickly, but Bruce had much work to do on the lyrics. V2 is the earliest take we have in circulation, a rough workout, from either July 2 or 13 at Atlantic Studios, but further progress was needed on the lyrics. At this point, Bruce had written, "Everybody wants heaven, but nobody wants to die, Come on, come on, lets go tonight". Two out of three verses had "death in their eyes". "Come On (Let's Go Tonight)" V3 represented a sudden shift; though it retained it's name (Sony logs show all sessions to the end of 1977 under this name), the lyrics were radically rewritten to the story of Douglas Springsteen, Bruce's father, who worked at a machine factory under harsh conditions. An interview quoted Bruce, "I remember my old man was working in this plastics factory… and all I remember, when we used to go in that place, was him standing near 'em loud fucking machines". Now he sang "Factory takes his hearing, but he understands", but the third verse was the outcome of working under these conditions, "somebody's gonna get hurt tonight". It is possible that Bruce worked with both ideas for a while, but after September, all energies went toward "The Factory Song", though it was not named this until January 2, 1978. Sessions took place on August 23, 24 and 30, and September 8, 1977 at the Record Plant. Roy Bittan played his piano Floyd Cramer style to give it a Chet Atkins produced-country feel, and an organ was not in the mix at this point. V4 from November 2, 7, and 8, 1977 features violin overdubs by David Lindley, a well-known musician who played with Jackson Browne. V7, released on the The Promise: The Darkness On The Edge Of Town Story box set in 2010, is the finished take of "Come On (Let's Go Tonight)", with 2010 overdubs of David Lindley's violin. The vocal is vintage, but the recording date has not been determined, and it is unknown if there is a 1977 version of "Come On" with Lindley. V5 came from December 9 and 29, 1977, and January 2, 1978. V6 was the result of overdub/mixing sessions on March 10 and 14, 1978, all at the Record Plant. The 1978 sessions were under the name "The Factory Song". Danny recorded new organ tracks, which featured prominently in the final album version 6b. Bruce recorded new vocals, and changed, "Factory takes his hearing, but he understands" to "Factory takes his hearing, factory gives him life". V6c is mix take 28 from April 3, 1978, and it was pressed to metal acetate with the title "Factory Song" on April 12, 1978.
What ever happened to "Come On (Let's Go Tonight)"? In March 1981, Bruce wrote new music and recorded a demo at his home in Colts Neck, NJ with the original name. However, he decided to rearrange it once more, combining several lines with new verses, and the first two lines from Chuck Berry's 'Bye Bye Johnny', to create "Johnny Bye-Bye".
Note: According to Jimmy Iovine and Jon Landau, "Streets of Fire" was nailed early in the sessions in a live performance on June 24, 1977, with only minor overdubs added later. Minor parts were recorded at either Atlantic or The Record Plant on August 24 and 30. It was sequenced as track two on side one for the aborted "Badlands" release in October. There are no alternate versions, but the guitar solo and the vocals for the final verse and outro were overdubbed on December 6, 12 and 29, 1977 at The Record Plant, with work completed in 28 takes. Mixing was completed on April 5, 1978 by Chuck Plotkin. Of the ten final tracks, only "Something In the Night" (June 1), Racing In the Street" (August 30) and "Prove It All Night" (September 16) were completed before "Streets of Fire". "The Promised Land" gave up it's spot, when Bruce had Steve Van Zandt add his guitar solo in May 1978. Mixes without the December overdubs make up version 1. Note that v1b from 'Lost Masters Vol. III' and 'The Unbroken Promise' were both clocked at 3:36, because both faded in 14 seconds into the track, while v1c, 'Original Darkness Mixes' and it's clone, 'Heart of Darkness' both had a 7 second double count-in deducted, while 'Luther' only had 1 second of it included.
Note: Bruce came up with the title, "Prove It All Night", and says he adapted "It's A Shame" aka "Jon's Jam", (which was written, recorded and set aside in June), but the lyrics were a work in progress when he arrived at the Record Plant on September 12, 1977. He later said (live as an intro to the song) "that he got the idea from a cabbie, who was moanin' about having to prove it to your boss and your wife everyday". The E Street Band learned the chords quickly, and to go ahead and record a take, Bruce had worked up a lyric sheet using the first verse from "Something In The Night", V1 released on the 'Lost Masters Volume III'. Work continued on September 14, 15 and 16, completed with V2c (take 49), with the final mix in Spring 1978 by Toby Scott, Chuck Plotkin's Chief Engineer, the start of a long association with Springsteen. "Prove It All Night" never failed to be included on tentative album sequences, from October thru May 1978. Version 2a is an alternate mix that runs to a hard stop ending, with Max's energetic performance and danny's organ dominating. Version 2b features the vocal track above the organ and drums , and runs shorter. v2c was released as the first single, ahead of the album, on May 23, 1978 in the United States.
| DARKNESS ON THE EDGE OF TOWN - V1 |
|
uncirculating |
| DARKNESS ON THE EDGE OF TOWN - V2a |
4:26 |
DO-3 / DDO / UP / DDOC |
| DARKNESS ON THE EDGE OF TOWN - V2b |
4:43 |
RTT / DDITV |
| DARKNESS ON THE EDGE OF TOWN - V3a |
4:23 |
ODM / HOD / UP / AM |
| DARKNESS ON THE EDGE OF TOWN - V3b |
4:23 |
DARKNESS / ESSENTIAL: 2003 / GH09 |
Note: Bruce began writing "Darkness On The Edge Of Town" right after "Born To Run", according to a 1978 interview. Down in the Alternative Album Sequence-section, you can see "Darkness" listed on the first two 1976 'album' sequences Springsteen prepared, supporting his recollection. V1 represents multiple takes reported at Bruce's home, Telegraph Hill, Holmdel, New Jersey, during 1976, even though the odds of recovering any material seem low at this time. Then again, few were aware that Barry Rebo had the film footage released from the Thrill Hill Vault on Blu-Ray/DVD No. 2 from The Promise: The Darkness On The Edge Of Town Story box set. No doubt Bruce and the E Street Band worked extensively on "Rendezvous", "Something In the Night", "The Promise", "Frankie", "Candy's Boy", and "Darkness". Music and some lyrics written by February 1976, was sub-titled "The Racer" for a time. Though it is listed on the 'Star Wars' demo tape of June 1, 1977, pictured below, V2a was not cut until June 6. V2b is the full length, speed corrected version. Sony logs show takes recorded on June 8, 9, 20 and 23, 1977 at Atlantic Studios. Work on the lyrics was needed. Then, after putting forth such a good effort (5 days), Bruce put "Darkness" aside for the rest of the year. It was not included on the 'Badlands' album sequence from October, or the January 16, 1978 seq. On March 8, he suddenly called his forces together, and over three days, they re-recorded "Darkness" from scratch and completed what would become the title track of the album. The March takes were cut in a studio with bare concrete walls, after the room was gutted prior to renovation. V3a and V3b are the album track recording, with a slight difference. V3a can be identified by the addition of the word "ready" to the line "I'll be there on time ready to pay the cost". V3b is mix take #28 from March 30, 1978, and was pressed to metal acetate on April 12.
Studio Sessions: Darkness On The Edge Of Town
