The Promise: The Darkness on the Edge of Town Story is a three-CD/three-DVD deluxe collection that includes a completely remastered version of the
Darkness album and two more discs entitled
The Promise, containing 21 unreleased songs recorded during the period.
The remastered version of the album by
Bob Ludwig is sonically righteous; it resists the temptation of the era's technology to make everything sound flat. Its dynamics and warmth mirror those on the original vinyl edition. The two discs of unreleased material (available separately as well) offer an aural view as to what might have happened had
Springsteen been able to record immediately after
Born to Run. (He was barred from doing so for two years due to a lawsuit with his former manager.) While many lyric themes here reflect the brokenness and hard choices found on
Darkness, others sound more triumphant. All of these songs contain a more maximal attitude in production. They also lack the knife-edge, searing, angry guitar work 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 remains definitive) and the soulful, gritty
"Fire" given to the
Pointer Sisters.
"Gotta Get That Feeling" summons
Jack Nitzsche's production ears with its big mariachi brass. Many others openly recall
Phil Spector's "sha-na-na-na" backing choruses.
Clarence Clemons' saxophone is much more prevalent here than on
Darkness. His meaty tone adds heft and groove to these songs.
"Ain't Good Enough for You" is pure handclap, call-and-response, verse-and-chorus joy, 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 Lieber's
"Spanish Harlem." "Candy's Boy" begins lyrically in the same place as
"Candy's Room," but becomes a very different song.
"Racing in the Street" contains some different words and
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 emotionally devastating.
"The Promise" is the only cut that may 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' more skeletal purview, underscoring that
Darkness is perfect as it is.
The first of the three DVDs features a full-length documentary directed by
Thom Zimny on the making of the album, with fantastic, amazing archival studio and performance video footage by
Barry Rebo. The narration by
Springsteen and interviews with producer
Jon Landau, bandmembers,
Patti Smith, engineer
Jimmy Iovine, and even
Mike Appel provide an intimate look at an intense and often frustrating period in the career of
Springsteen & the E Street Band. The viewer can feel the places where confusion reigned given the sheer amount of material -- over 70 songs were written and demoed; piles of notebooks from which song lyrics and ideas were cobbled are perched everywhere. The fact that a single album came from this mountain is amazing in itself; that
Darkness on the Edge of Town emerged is a miracle. The second DVD here contains a complete 2009 performance of the album at
the Paramount Theatre in Asbury Park, NJ on the first half. While the performance is flawless and stirring, the lack of interaction with an audience feels a bit strange. That said, hearing
Springsteen play the hell out of his guitar again, making it scream and snarl as it did during the tour for
Darkness, is not only welcome, but akin to the sound of an old friend's voice after a prolonged absence.
Bob Clearmountain's mix is stellar. The band's instinctive playing is tight and intuitive. The rest of the disc features footage from the Thrill Hill Vault, including rehearsal footage, recording snippets, and some concert performances from New Jersey, New York, and Phoenix from the tour. The final DVD is a complete three-hour concert by
Springsteen & the E Street Band from Houston in 1978. It's called a "bootleg cut" on the cover for a reason; the video is fine, but the audio is basically board sound and a bit thin. That said, the performance is dynamic and riveting, and only audiophiles are gonna care -- it rocks top to bottom. This box set also includes an 80-page spiral-bound reproduction of
Springsteen's notebooks documenting the album sessions, plus an original, insightful essay. It's the ultimate fetish item for hardcore fans and rock historians. ~ Thom Jurek
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