The Promise - Studio Sessions - Modern Elements

Modern Elements

Brucebase Modern Elements Identification System

Even though we attempt to inject some humor into the situation, 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 all 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 modern glockenspiels, please send us a copy or a link, or the best description you can. If you send us some shaky story that we don't hear, and can't verify, you are wasting everybody's time. 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 is becoming a global problem with archived material, mostly concerning 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 there is a valid reason, 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. 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, usually the most loyal, hardcore fans, who feel betrayed, or at the very least, disappointed that they are still without what they thought they were getting.

There are reasons why Bruce does not release all his outtakes the way we would like it. If he didn't modify some of these tracks, then he would not release them at all, and we would have a fraction of what we have now. 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 listening to the official outtake of "Night Fire" is…a shock to the system.

# Song Title (in Album Order) 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 FEELING4 lead vocal / Mexican horns/backing vocals-unidentified males August 30, 1977 the Record Plant + 2010
1.3. OUTSIDE LOOKING IN2 poss guitar, organ, backing vocals-unidentified males September 27, 1977
1.4. SOMEDAY (We'll Be Together)5 lead vocal / guitar / Mormon Tabernacle Choir 2010 overproduction drowns anything else out
1.5. ONE WAY STREET lead vocal / horns June 17, 1977 Atlantic Studios + mostly 2010
1.6. BECAUSE THE NIGHT5 lead vocal September 27, 1977 + mostly 2010
1.7. WRONG SIDE OF THE STREET lead vocal October 14, 1977 + 2010
1.8. THE BROKENHEARTED some lead vocal / horns November 29, 1977 + mostly 2010
1.9. RENDEZVOUS4 background vocals. other instruments, poss roy piano overdub June 8 or 17, 1977 + 2010
1.10. CANDY'S BOY1 June 27, 1977
2.1. SAVE MY LOVE5 all July 22, 2010
2.2. AIN'T GOOD ENOUGH FOR YOU1 gettin cool just like Jimmy Iovine-IT'S REAL! sometime after September 26, 1977 at The Record Plant
2.3. FIRE lead vocal June 17, 1977 Atlantic Studios + 2010
2.4. SPANISH EYES lead vocal July 13, 1977 Atlantic Studios + 2010
2.5. IT'S A SHAME horns, Southside? June 14, 1977 Atlantic Studios + 2010
2.6. COME ON (LET'S GO TONIGHT)4 violin December 9 and 29, 1977 + 2010
2.7. TALK TO ME horns, vintage Bruce with Southside at the end October 14, 1977 + 2010
2.8. THE LITTLE THINGS (MY BABY DOES)2 sounds like doubletracked vocals-modern and vintage Bruce-prob both modern August 15, 1977
2.9. BREAKAWAY5 lead vocal / horns / backing vocals June 1, 1977 + 2010
2.10. THE PROMISE5 modern string arrangement Ken Asher, overdubbed guitars, glock, double tracked vocals, and backing vocals by himself. The final verse, with 'backseat of a borrowed car', edited out, September 28, 1977 + 2010
2.11. CITY OF NIGHT4 Intro section is chopped in half, 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
2.12. THE WAY1 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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