Note: Only one outtake of "Adam Raised A Cain" circulates, and the 'Lost Masters III' liner notes say tracks 1–5 are all from August 1977, but this information is likely incorrect since 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 according to studios logs and a "Ruffs" tape label reproduced in The Promise facsimile book, "Adam Raised A Cain" was not recorded until November at the earliest.
The aforementioned tape label shows a single take dated November 11, 1977, with the engineer perhaps mishearing the lyrics and writing "Daddy Raised A Cane". Meanwhile, studios logs indicate that takes were recorded on November 9 and December 15, 1977 - V1 could date from either. The lyrics are very similar to the final version, with only the lines "She knows you didn't come back to join their little games" and "Now he haunts these empty rooms rattling these chains" altered. The final album take, V2, resulted from three consecutive days dubbing, mixing and editing on February 15, 16 and 17, 1978.
Note: Unfortunately, very few outtakes circulate of "Badlands", although given Springsteen's recording methods at the time far more likely exists in the vault. The title came from Terrence Malick's 1973 movie Badlands (though Bruce 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; 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 on June 27, 30, 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 lyric "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" borrowed from "Iceman", about which Bruce later 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: "Poor man wanna be rich, rich man wanna be king, and a king ain't satisfied till he rules everything." 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 "Breakout".
V3 was recorded, perhaps 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, 23, and 25, 1978. V4b has less double-tracked vocals than V4c, a last moment dubbing of Clarence Clemons's sax solo on April 11, which was pressed to acetate on April 12, 1978. 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 "that would have been a major error."
Note: "The Fast Song", alternately named "God's Angels", was a fast-paced melody that eventually evolved into "Candy's Room". Shortly after sessions began at Atlantic Studios on June 1, 1977 a recording of "The Fast Song" was included on a "Atlantic Demo Tape" cassette (prepared by engineer Thom Panunzio for Bruce to take with him after sessions) with tracks from the first days at Atlantic. This recording was subtitled (Candy's Room) on the label, suggesting Springsteen had his title as early as June, despite "The Fast Song" remaining in use for months after.
V1 is a backing track that was recorded in early June, while V2a-d are different variances of lyrics and guitar tracks recorded over the original backing track. The distinctive hi-hat introduction was inspired by a number of Barry White records, according to Max Weinberg. A lyric in the first verse, "I wish God's angels would tear this town down and blow it into the sea," was first used in live performances of "Something In The Night" in February 1977, and then the "Backstreets" interlude in March 1977. 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" stayed with the song perhaps until the final takes and mixing of "Candy's Room" in March 1978, when it was removed. Work on "The Fast Song" was logged on June 6, 9, 10, 13, 14, 20 and 24 (V1 and V2a-d are probably from these dates), and again on August 24 and September 1–2, 1977, with lyrics slightly changing throughout.
After September 2, 1977, the last time "The Fast Song" and "Candy's Boy" would appear on session logs, Bruce decided to re-organize them into "New Fast Song", which was recorded on September 27–28. A handwritten lyric sheet titled "New Fast Song (Candy)" illustrates this. He took the first verse of "Candy's Boy", the second verse from "The Fast Song", lines from "Frankie", and added new 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". These lyrics contain several lines that did not survive to the album track V5, eventually titled "Candy's Room". "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".
A film clip shot by Barry Rebo on September 30, 1977 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 from the Record Plant of Bruce playing "Candy's Room Demo" (V4) on the piano for Jon Landau. The lyrics are entirely different, and describe a magical house at the edge of town, with Candy waiting for him in the window. The next dates are October 27 and December 12, 1977 (the final vocal track was probably recorded on one of these two days), and then a marathon overdub/mixing session, from March 3 to March 5, 1978, which finally concluded with mix take 42 (V5b) selected for Darkness On The Edge Of Town. Chuck Plotkin struggled to find a good mix that balanced the vocal and backing perfectly, perhaps explaining why it took a minimum of 42 mixes before they were satisfied.
Note: Bruce began writing "Darkness On The Edge Of Town" right after Born To Run, according to a 1978 interview. Indeed, the title can be found in two lists of songs that were penned some time in 1976, supporting his recollection. It is rumored that band rehearsals during 1976 at Bruce's home at Holmdel, NJ included versions of "Darkness On The Edge Of Town" (listed here as V1). With music and some lyrics written by February 1976, the song was subtitled "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. Bruce then put "Darkness On The Edge Of Town" aside for the rest of the year. It was not included on the 'Badlands' album sequence from October, nor the January 16, 1978 sequence. On March 8, he suddenly called his forces together, and over three days, they re-recorded 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. V2a 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.
| 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 / PROMISE: DELUXE |
| 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 likely cut on June 1, 1977, complete with Vox [organ], at Atlantic Studios, on the first night of the Darkness sessions. V2 is the earliest take in circulation, a rough workout, probably 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, let's go tonight." Two out of three verses had "death in their eyes." V3 represented a sudden shift as the song began its metamorphosis into "Factory"; though it retained its original 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." 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. On September 8 a "ruff mixs" cassette was dubbed that included two takes of "Come On Come On", the first marked "1 violin", the second "2 violins". These takes are likely the result of a violin overdub by David Lindley. Further work was undertaken on November 2, 7, and 8, and December 9, 27, 1977. 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)". The vocal is vintage, but the recording date has not been determined. 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 V6b. Bruce recorded new vocals over the "Come On (Let's Go Tonight) backing track 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. By the time the album was released however, the title was simply "Factory".
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: Springsteen has said that "Prove It All Night" was adapted from "It's A Shame", a.k.a. "Jon's Jam", which was written, recorded, and set aside in June, 1977. He later said (live as an introduction to the song) that he got the idea from a cabbie in New York City while he was making the album. The cabbie was "raving about how all day long you gotta prove it to your boss driving around in a cab and all night you gotta go home and prove it to your wife, on the weekends you gotta prove it to your kids." The earliest circulating take from 'Lost Masters III' has an overdubbed sax solo and double tracked vocals, but the lyrics are a fusion of both "Prove It All Night" and "Something In The Night". Studio logs show takes were recorded on September 12, and over three straight days from September 14–16. It's likely that V1 is from one of those dates, but could potentially be earlier.
"Prove It All Night" never failed to be included on tentative album sequences, from October 1977 through May 1978. The song was completed with V2 (take 49), mixed in spring 1978 by Toby Scott, Chuck Plotkin's chief engineer. V2a is an alternate mix that runs to a hard stop ending, with Max's energetic performance and Danny's organ dominating. V2b features the vocal track above the organ and drums and runs shorter. while the final mix, V2c, was also released as the first single ahead of the album, on May 23, 1978 in the United States.
Note: Composition of "Racing In The Street" possibly began as early as 1976, with working titles including "'32 Ford" (found in a document titled "New Songs" that was reproduced in The Promise facsimile book) and "Dying In The Street", according to author Clinton Heylin. The latter phrase appears twice in the earliest known circulating recording (V1), a slow solo piano arrangement from July 2, 1977 at Atlantic Studios, verified in Sony's studio logs. This take uses an incomplete version of the alternate "Got a '32 Ford, she's a 318…" lyrics, and is also missing verse three, perhaps not yet written, alongside the Darkness On The Edge Of Town album melody. Note that the Lost Masters source fades out early, and the alternative source found on Scorpio's Darkness Outtakes Vol. 3 is of lower quality. At least two takes (one with no guitars) were recorded on July 29, and dubbed to a single reel. Efforts resumed on August 1, with four consecutive days working on the song. Which arrangements were worked in this period is unclear. V2a was likely from one of these sessions, as indicated in the 'Lost Masters III' liner notes, and this take would eventually be utilized for Darkness On The Edge Of Town (V2c), with a vocal overdub in the second verse. Heylin recounts its "transfer to a 'comp.' reel at August's end," which, according to studio logs, was August 30, 1977.
V3, sometimes known as the 'rock' or 'alternative' version of "Racing In The Street", with wailing harmonica and tremendous vocal, was recorded on August 10, 1977 at Atlantic Studios. Bruce has also referred to this as "the rock version." This arrangement still features the '32 Ford, and perhaps originated before Springsteen refined the lyrics and settled on the Darkness album arrangement by month's end. There was more work undertaken on August 12. The officially released V3b, titled "Racing In The Street ('78)" on The Promise, uses the same 1977 vocal take from V3a, apart from a small overdub, replacing a slurred line in the third verse (that ends "…just to make it alright") with a modern vocal. David Lindley plays violin; there is a reference in Sony's documentation to January 2, 1978 for "Racing In The Street" and "The Factory Song" and is possibly the day Lindley recorded his violin tracks for both songs, but that is not yet confirmed.
There is little doubt that more work was done on this song than any other during the sessions, except perhaps "The Promise". From the evidence we have, it appears that Springsteen was working on both arrangements simultaneously, and therefore it would perhaps be inaccurate to claim that either arrangement preceded the other. Assistant engineer Thom Panunzio kept a detailed record of the tape reels, the various mixes and takes, with alternate lyrics, with or without the band, or certain instruments. Eight days were spent during August, until completed masters were transferred to a reel on August 30. Springsteen returned to "Racing In The Street" several months later; on November 28, 29, 30 and December 6 and 9, 1977. As of December 9, two more completed masters were transferred to a stereo rough mix reel; one is a mix of take 16 of reel 5 that was recorded on November 29, 1977, the other is a mix of take 12 of reel 5 recorded the following day, November 30. It is unknown which arrangements are on this reel. Mixing and overdub sessions were held, with Chuck Plotkin, on March 21–23, 1978, and mix take 46 went on Darkness On The Edge Of Town. Bruce adapted the lines "summer's here and the time is right / for goin' racing in the street" from Martha and the Vandellas' 1964 hit "Dancing In The Street", as well as The Rolling Stones' "Street Fighting Man". He has also acknowledged the Beach Boys' 1964 "Don't Worry Baby", and it has been said the instrumental break is a tribute to that song.
Note: "Something In The Night" was written in 1976, rehearsed in the barn at Bruce's new rental in Holmdel, New Jersey, and premiered live on August 1, 1976. It was played extensively during 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. 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 of which which are based on the June 1 take, and one, that could have been 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 its extensive liner notes that "Something In The Night" appears in three versions, with one version recorded in June–July 1977 at Atlantic Studios and two 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 three on Darkness On The Edge of Town.
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. Springsteen says it was recorded "mostly live." The logs show that the song was also worked on at either Atlantic or 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) and "Prove It All Night" (September 16) were completed before "Streets Of Fire". "The Promised Land" gave up its 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 seven second double count-in deducted, while 'Luther' only had one second of it included.
Note: One of the last songs written and recorded for the album, "The Promised Land" had its genesis in 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 three takes attempted (including V1). Recording resumed on October 27 at the Record Plant with twenty takes (including V2, take 19, marked "long ending"). V3 (take 5) was completed on December 1 or 27, 1977, and pressed to metal acetate on April 12, 1978. V3a was the final version without the guitar solo. On or about May 10, Bruce decided a guitar intro was needed before Clarence Clemons's powerful sax solo. After Steve Van Zandt recorded it in New York, Side 2 was mastered for a second time, at The Mastering Lab, Los Angeles, which briefly delayed the album release to June 2.
