The Ties That Bind - 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. MEET ME IN THE CITY 5 modern lead vocal 2015 + June 14, 1979 Power Station
2. THE MAN WHO GOT AWAY 1 vintage vocal June 13 and July 5, 1979 Power Station
3. LITTLE WHITE LIES 1 vintage vocal June 13, 1979 Power Station
4. THE TIME THAT NEVER WAS 4 background vocals and instruments, doubtful 2015 + June 27, 1979 and March 16, 1980 Power Station
5. NIGHT FIRE 5 modern lead vocals June 13, 1979 Power Station + 2015
6. WHITETOWN 5 modern lead vocals March 16, 1980 Power Station
7. CHAIN LIGHTNING 1 vintage February 17, 1980 Power Station
8. PARTY LIGHTS 1 vintage vocal October 8, 1979 Power Station
9. PARADISE BY THE "C" 4 edited 2015 live or rehearsal 1978
10. STRAY BULLET 4 vintage vocals, modern elements 2014 - 2015 (2 takes exist 1980)
11. MR. OUTSIDE 1 vintage Fall 1979, Telegraph Hill Studios, Holmdel, NJ
12. ROULETTE 1 vintage April 3-4, 1979 Power Station
13. RESTLESS NIGHTS 1 vintage January 14, 1980 Power Station
14. WHERE THE BANDS ARE 1 vintage October 9, 1979 Power Station
15. DOLLHOUSE 1 vintage August 20-21, 1979 Power Station
16. LIVING ON THE EDGE OF THE WORLD 1 vintage December 7, 1979 Power Station
17. TAKE 'EM AS THEY COME 1 vintage Dec 5, 1979 + April 10, 1980 (vocal) Power Station
18. RICKY WANTS A MAN OF HER OWN 1 vintage July 16, 1979 Power Station
19. I WANNA BE WITH YOU 1 vintage May 31, 1979 Power Station
20. MARY LOU 1 vintage July 13, 1979 Power Station
21. HELD UP WITHOUT A GUN 1 vintage February 23, 1980 Power Station
22. FROM SMALL THINGS (BIG THINGS ONE DAY COME) 1 vintage September 2, 1979 Power Station

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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