The Promise - Studio Sessions - Modern Elements

Modern Elements

Brucebase Modern Elements Identification System

Even though we attempt to inject some humor into the situation, for some, modern overdubs are no laughing matter.

For now, this is our system, and remember, all evaluations are subject to change. Though we reserve the last word on all matters on our website, this is no easy task, and this is an issue that concerns many of us. Whether you send an email or go ranting on one of the message boards, we are listening carefully. If you find an obscure interview by Garry W. Tallent with some details about i.e. modern glockenspiels, please send us a copy or a link, or the best description you can. If you send us information that we can't verify, it will be discarded. Also, if you disagree with any detail expressed here, please try to describe it as best you can, write until there is nothing left in your head (on the subject).

This phenomenon only concerns archived material released years later, usually on compilations like The Promise, The Ties That Bind (The River Collection), Tracks, The Essential, Greatest Hits, etc. The most overt example is a previously released track (official or unofficial) that has plainly been altered, sometimes without any details or liner notes. Sometimes there are valid reasons, but it is still good to discuss it, and have a place for anybody with a question to go for information. Then there is previously unreleased material with obvious modern elements or embellishments, that may also lack documentation. Remember, overdubbing is a normal part of creating music, and sometimes it is just of interest. When an artist releases archived material, advertising "unreleased tracks" from "so-and-so", and we find that any portion of the material is not from "so-and-so", and there are no liner notes or media discussions, then some people get upset and disappointed.

There are reasons why Bruce does not release all his outtakes the way the purists within us would like it, mostly related to the high personal standards he puts on himself. He appreciates his fans and followers very much, but he doesn't want incomplete and rehearsal materials released, because he only wants us to have his best, a professional, polished product, not him humming or la-la ing. He finds it embarrassing and upsetting that what he thought was private, is being listened to by thousands or millions. Unfortunately, his 1979 voice and his 2015 voice are different, and replacing or overdubbing one with the other can be very noticeable, and sound out-of-place. Always remember that if he didn't modify some of these tracks, he would not release them, and then we might not get to hear them at all, so count your blessings.

Lastly, though this information has been researched and reviewed for accuracy, there may remain elements of subjectivity or opinion. Please don't hesitate to inform us, so we can make this as factual as possible.

# Song Title Modern Element(s) Recording Date / Location
1.1. RACING IN THE STREET ('78) 4 violin Nov 28-30, 1977 + 2010
1.2. GOTTA GET THAT FEELING 5 lead vocal / Mexican horns/backing vocals-unidentified males August 30, 1977 the Record Plant + July 2010 Stone Hill Studio
1.3. OUTSIDE LOOKING IN 2 poss guitar, organ, backing vocals-unidentified males September 27, 1977
1.4. SOMEDAY (WE'LL BE TOGETHER) 6 lead vocal / guitar / choir vocals July 18, 2010 Stone Hill Studio
1.5. ONE WAY STREET 4 horns, possible vocal sections overdubbed June 17, 1977 Atlantic Studios + 2010 Stone Hill Studio
1.6. BECAUSE THE NIGHT 5 lead vocal September 27, 1977 + 2010 Stone Hill Studio
1.7. WRONG SIDE OF THE STREET 5 lead vocal October 14, 1977 + 2010 Stone Hill Studio
1.8. THE BROKENHEARTED 5 some lead vocal / horns November 29, 1977 + 2010 Stone Hill Studio
1.9. RENDEZVOUS 4 background vocals. other instruments, poss roy piano overdub June 8 or 17, 1977 + 2010 Stone Hill Studio
1.10. CANDY'S BOY 1 June 27, 1977
2.1. SAVE MY LOVE 6 new recording July 22, 2010 Stone Hill Studio, Colts Neck, New Jersey
2.2. AIN'T GOOD ENOUGH FOR YOU 1 after September 26, 1977 at The Record Plant
2.3. FIRE 2 June 17, 1977 Atlantic Studios
2.4. SPANISH EYES 5 lead vocal July 13, 1977 Atlantic Studios + 2010 Stone Hill Studio
2.5. IT'S A SHAME 4 horns, background vocals June 14, 1977 Atlantic Studios + 2010 Stone Hill Studio
2.6. COME ON (LET'S GO TONIGHT) 4 violin August 30, 1977 + 2010 Stone Hill Studio
2.7. TALK TO ME 4 horns, vintage Bruce, not sure about ending October 14, 1977 + 2010 Stone Hill Studio
2.8. THE LITTLE THINGS (MY BABY DOES) 5 sounds like doubletracked vocals-modern and vintage Bruce-prob both modern August 15, 1977 + 2010 Stone Hill Studio
2.9. BREAKAWAY 5 horns / backing vocals / possible lead vocal June 1, 1977 + 2010 Stone Hill Studio
2.10. THE PROMISE 6 modern string arrangement Ken Asher, overdubbed guitars, glock, double tracked vocals, and backing vocals. 2 lines of last verse edited out September 28, 1977 + 2010 Stone Hill Studio
2.11. CITY OF NIGHT 4 Intro section is edited, two reps instead of four, organ added 3rd verse (don't know if this is modern or a different take or mix from 1977), sax turned up in this mix October 14, 1977 + 2010 Stone Hill Studio
2.12. THE WAY 1 August 15, 1977

1 Sounds untouched, we pray that we didn't miss anything.
2 Possibly clean vintage, but not sure; we have awoken in the night in a cold sweat at least once
3 Possibly clean vintage, the artist or the liner notes say it is, but not sure; we have awoken in the night in a cold sweat at least once
4 A Category 4 Overdub is severely tinkered with, but not unredeemable. Examples are Racing In the Streets '78, where David Lindley's violin was added, or Come On (Let's Go Tonight), where modern violin again was added. Modern vocals never qualify for this rating.
5 A Category 5 Overdub means the track has been modified beyond recognition or has been partly or completely recorded in the present, which is not an outtake at all, it is a new recording.
6 Not An Outtake.

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