Bruce Springsteen – The Promise (2010) [Official Digital Download 24bit/44,1kHz]

(Last Updated On: September 14, 2022)

Bruce Springsteen – The Promise (2010)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:28:37 minutes | 1013 MB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © Columbia

The Promise is a compilation album by the American rock singer Bruce Springsteen, released November 16, 2010 on Columbia Records. It is both a triple vinyl and a double CD compilation of previously unreleased songs drawing from the Darkness on the Edge of Town sessions. The album is also available as part of the box set The Promise: The Darkness on the Edge of Town Story. The two-CD version of the release entered the UK Albums Chart at number 7. It had been in production for many years and was originally scheduled to be released for the 30th anniversary in 2008. The Promise debuted at #16 on the Billboard 200, while the box set, The Promise: The Darkness on the Edge of Town Story, debuted at #27. Upon its release, The Promise received acclaim from most music critics. “Ain’t Good Enough for You”, a track from the album, was added to BBC Radio 2 and 96.2 The Revolution’s playlists at the end of 2010.
The album features one of the last appearances of Clarence Clemons before his death in June 2011. Clemons is featured on the song “Save My Love”, which was the only song on the album completely re-recorded by Springsteen and the E Street Band for the project.

Following Born to Run, Bruce Springsteen was proclaimed the savior of rock & roll classicism; it was hype that threatened to derail his career. In a bitter lawsuit with his former manager, he was locked out of a studio for two years but continued writing songs at fever pitch and rehearsing them on a farm in rural New Jersey. Some of these tunes — composed during an economic recession — reflect the tension between following one’s dreams and her/his responsibilities. Still others reveal the deep influence of early rock & roll on Springsteen. When he was finally able to record, he cut enough material for four albums, and then pared it down to one. Darkness on the Edge of Town proved that Springsteen was no mere revivalist. The album was assembled from more sparsely produced, claustrophobic, and desperate “sound picture” songs, about lives broken by work, family and perceived societal obligations, and are haunted by questions of “what if?” They were a world away from the epic, busting-out-for-freedom maximalist tracks found on Born to Run.
The Promise collects 21 unreleased songs written (and mostly) recorded between 1976 and 1978. They offer an aural view as to what might have been had Springsteen been able to record immediately after Born to Run. While some lyric themes here reflect the brokenness and hard choices found on Darkness, others are substantially more triumphant in their worldview; and musically, all the songs here contain more substantially production. These selections also lack the knife-edge, searing, angry guitar that saturates Darkness. Included are his versions of singles farmed out to other artists — “Because the Night” (and while this version is terrific, it means something else in the end; Patti Smith’s version remains definitive), the gritty, soulful “Fire,” which eventually given to the Pointer Sisters who scored big with their classy version. The galloping “Gotta Get That Feeling” summons Jack Nietszche’s production ears with its big mariachi brass. This tune and numerous others contain open homages to Phil Spector’s “sha-na-na-na” choruses. Clarence Clemons’ saxophone is much more prevalent on the songs of The Promise than it is on Darkness. His meat-and-potatoes tone adds heft and groove to these selctions. “Ain’t Good Enough for You” is pure handclap, call-and-response, verse and chorus, approaching a doo wop celebration. The poignant love poetry in “The Brokenhearted” and “Spanish Eyes” could have been written by Doc Pomus, and reveals the influence of Jerry Leiber’s “Spanish Harlem.” “Candy’s Boy” begins lyrically in the same place as “Candy’s Room,” but is a very different song melodically and thematically. “Racing in the Street” features different words; David Lindley’s violin makes the track a bit less personal, more anthemic; it’s absent the shadow of doubt that makes the Darkness version so devastating emotionally. “Come On (Let’s Go Tonight)” is an early version of “Factory.” “The Promise” is the only cut that might have added something to Darkness that isn’t already there. Its sense of bewilderment, betrayal, uncertainty, and regret is total. That said, the addition of strings draws it outside Darkness’ skeletal purview, underscoring the fact that Darkness is perfect as it is. The Promise stands on its own as a great Bruce Springsteen record; it feels finished, focused, and above all, offers definitive proof that Springsteen was even at that early date, one of the greatest rock and pop songwriters America had to offer. –AllMusic Review by Thom Jurek

1-01. Bruce Springsteen – Racing in the Street (’78) (06:49)
1-02. Bruce Springsteen – Gotta Get That Feeling (03:19)
1-03. Bruce Springsteen – Outside Looking In (02:18)
1-04. Bruce Springsteen – Someday (We’ll Be Together) (05:38)
1-05. Bruce Springsteen – One Way Street (04:20)
1-06. Bruce Springsteen – Because the Night (03:25)
1-07. Bruce Springsteen – Wrong Side of the Street (03:36)
1-08. Bruce Springsteen – The Brokenhearted (05:19)
1-09. Bruce Springsteen – Rendezvous (02:39)
1-10. Bruce Springsteen – Candy’s Boy (04:37)
2-01. Bruce Springsteen – Save My Love (02:37)
2-02. Bruce Springsteen – Ain’t Good Enough for You (04:03)
2-03. Bruce Springsteen – Fire (04:09)
2-04. Bruce Springsteen – Spanish Eyes (03:50)
2-05. Bruce Springsteen – It’s a Shame (03:16)
2-06. Bruce Springsteen – Come On (Let’s Go Tonight) (02:20)
2-07. Bruce Springsteen – Talk to Me (04:21)
2-08. Bruce Springsteen – The Little Things (My Baby Does) (03:19)
2-09. Bruce Springsteen – Breakaway (05:32)
2-10. Bruce Springsteen – The Promise (05:54)
2-11. Bruce Springsteen – City of Night (07:05)

Bruce Springsteen – lead vocals, lead guitar, harmonica
Roy Bittan – piano, vocals
Clarence Clemons – saxophone, vocals
Danny Federici – organ, glockenspiel
Patti Scialfa – backing vocals on “Someday (We’ll Be Together)” and “Breakaway”
Garry Tallent – bass guitar
Steve Van Zandt – rhythm guitar, vocals
Max Weinberg – drums
Tiffany Andrews – backing vocals on “Someday (We’ll Be Together)” and “Breakaway”
Corinda Crawford – backing vocals on “Someday (We’ll Be Together)” and “Breakaway”
Barry Danielian – trumpet on “The Brokenhearted”, “It’s A Shame” and “Breakaway”
Rick Gazda – trumpet on “Talk To Me”
Stan Harrison – tenor saxophone on “The Brokenhearted”, “It’s A Shame”, “Talk To Me” and “Breakaway”
Dan Levine – trombone on “The Brokenhearted”, “It’s A Shame” and “Breakaway”
David Lindley – fiddle on “Racing in the Street” (’78)
Ed Manion – baritone saxophone on “The Brokenhearted”, “It’s A Shame”, “Talk To Me” and “Breakaway”
Michelle Moore – backing vocals on “Someday (We’ll Be Together)” and “Breakaway”
Bob Muckin – trumpet on “Talk To Me”
Curt Ramm – trumpet on “The Brokenhearted”, “It’s A Shame” and “Breakaway”
Richie “La Bamba” Rosenberg – trombone on “Talk To Me”
Antionette Savage – backing vocals on “Someday (We’ll Be Together)” and “Breakaway”
Soozie Tyrell – backing vocals on “Someday (We’ll Be Together)” and “Breakaway”


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