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Review: Bruce Springsteen's 'The Promise: The Darkness on the Edge of Town Story'

The boxed set shows a young Bruce Springsteen reaching for greatness his own way.


Let the broken hearts stand as the price you gotta pay — Bruce Springsteen, "Badlands"

You'd better be some kind of genius to ask the world to admire your spiral notebooks. Bruce Springsteen, who's spent a quarter-century-plus absorbing the love of people who feel his music changed their lives, can afford to be that presumptuous. "The Promise: The Darkness on the Edge of Town Story" is a boxed set disguised as a scrapbook, its packaging full of scribbled lyrics and tentative track listings and notes revealing — celebrating — the painful process of making a masterpiece.

The masterwork in question was the album that, Springsteen writes in the set's liner notes, granted him an adult voice. "More than rich, more than famous, more than happy, I wanted to be great," the 61-year-old admits, chuckling at the twentysomething egotist he was then, in Thom Zimny's fine film about the making of his 1978 album "Darkness on the Edge of Town."

This archival set goes to exhaustive lengths to prove that Springsteen accomplished his goal, though "Darkness" was neither breakthrough (that was 1975's "Born to Run") nor blockbuster (1984's "Born in the U.S.A.," icon jeans-clad derriere and all).

In three DVDs (the making-of film and two live sets, one vintage and one contemporary), a double album of rejected material, and the remastered original album, "The Promise" set illustrates how Springsteen used the circumstances surrounding "Darkness" to hone in on his Monument Valley, to reference his cinematic influence John Ford: a setting, both sonic and lyrical, that could hold the stories he needed to tell.

An ex-manager's lawsuit and the pressure to follow up the hit "Born to Run" put restrictions on the creative process; a monster writing streak, and the dedication of his E Street Band and longtime producer Jon Landau, broke it open. "What we had were our relationships and the music Bruce was writing," says the drummer Max Weinberg. This detailed, ruminative look back is not just an attempt to nab the shrinking music-buying public with a commemorative plaque; it's more like self-analysis, a long-standing creative team's attempt to understand the process it's come to take for granted.

"Darkness on the Edge of Town" is a highly focused classic that set Springsteen on a new path. In Zimny's film and the set's liner notes, Springsteen states and restates that this album revealed his major theme: the pursuit of happiness not just in youth, but within the more complicated realm of adulthood. Sharing what went into that process of revelation is a gift this collection gives Springsteen's fans; maybe it was one he wanted to give himself too.

Springsteen and his mates absorbed much as they explored this territory, which, to them, felt new. (Others had been there: Marvin Gaye, for example.) They learned from punk and Hank Williams, tried new production methods, recording styles and drum sounds. Equally important, and somewhat hidden within the narrative this boxed set presents, is what they left behind.

The two-volume rarities album "The Promise," available both in the boxed set and as a separate release, celebrates the sound from which Springsteen turned away. That sound was bewitched by radio-oriented pop — by the voice of Ronnie Spector and the seductive gestures of dandyish rock pioneers such as Elvis Presley and Roy Orbison. On "Born to Run," Springsteen and the E Street Band found a way to meld that brashly commercial sensibility with the grandiosity of classic rock.

As a set, the previously unreleased material feels experimental, not in tone but in spirit. Some songs, like the brooding hymn "Come on (Let's Go Tonight)", are the seeds of others on "Darkness." Others could stand on any Springsteen album, relating familiar tales of freedom or peril on the highway, or love in dark tenement corridors, within arrangements that lack the sharpness of the "Darkness" material but often have more warmth.

Springsteen devotees will know some of this material from bootlegs and live renditions, but to revisit it as a set — pristinely remixed by Bob Clearmountain — is to realize that Springsteen, just as much as Bob Dylan, is a great lover and thief of American pop history. These songs journey from Spanish Harlem to the punk den of CBGB, invoke murder ballads and doo wop corner serenades, and using these sources, allow Springsteen to build his own world — a sonic environment that, when streamlined on "Darkness," would seem to belong only to him.

With "Darkness," Springsteen set out for somewhere beyond that space — beyond the porch where the radio plays. He moved toward darker areas where men gather to do business or hurt each other, or set forth on journeys that they might never complete.

And he abandoned romance.

What he turned from was specific: the flirtatious, dreamy, deeply feminine spirit of the pop music he loved. Working to make what his producer Landau then called "the highest thing in rock" — a concept-driven album — Springsteen found his mojo by going to a masculine extreme.

"It's a bit tragic," says the E Street Band guitarist Steven Van Zandt in the film. "He would have been one of the great pop songwriters of all time." "The Promise" album, with gems like the Crystals' homage "Ain't Good Enough for You" and the lilting ballad "Candy's Boy" (a far cry from "Darkness' " aggressively lustful revision "Candy's Room") showcases the danceability, catchiness and even sentimentality Springsteen had to rein in to create "Darkness."

In Zimny's film, Springsteen's wife and band mate, Patti Scialfa, zeroes in on what this shift meant. "When you look at 'Darkness,' the person's not really attached to anybody else on that record," she says. "There are no love songs on that record."

On the surface, Scialfa's words seem wrong. What about songs like the sweaty vow "Prove It All Night"? Or "Racing in the Street," with its tender mention of "the wrinkles round my baby's eyes"? Or "Candy's Room," the sexiest Springsteen song next to "I'm on Fire"?

But Zimny's film and the sound of "The Promise" outtakes support Scialfa's insight. Not one female appears in the old footage from the Jersey farmhouse where the Boss and the band recorded those 70 songs. Van Zandt recalls that no one involved had a girlfriend that mattered; Springsteen says he had "no life," and cajoled his collaborators into a similar monk-like state.

The sound this band of brothers worked toward turned away from the feminine within Springsteen's earlier work. The warm embrace of Clarence Clemons' saxophone became a sparer element punctuating the music's movements like sniper shots. Giving what love songs he did write to other (female) artists, Springsteen filled "Darkness" with elegies and work songs, stuff that reminded him of punk and country. He clearly preferred Hank Williams to Loretta Lynn.

Then there are the lyrics, so crucial to Springsteen. Only one woman, the hardened Candy, has a name on "Darkness." These songs express an isolation that can't be remedied by pop's love potions.

Two years later Springsteen would open himself back up to other sounds and subjects. "The River" album puts seductions like "Crush on You" next to starker meditations like "Wreck on the Highway." He'd never completely return to that imaginary space of "Darkness." But for a time, like the hero whose character he inhabited, Springsteen made a sacrifice. The man he imagined had to stand alone. That meant leaving your woman behind.

-- Ann Powers

Photo: A young Bruce Springsteen is seen and heard on "The Promise: The Darkness On The Edge Of Town Story." Credit: Frank Stefanko

Comments () | Archives (19)

Some guys they just give up living
And start dying little by little, piece by piece,
Some guys come home from work and wash up,
And go racin' in the street.

Nothing better.

Christmas comes tomorrow for Bruce fans... I can't wait!

McCartney just released a box-set something or other of "Band on the Run." What's going on? It was a good album, but no classic. Now Springsteen. "Darkness" was a very good album, but is it really worth such a thorough review? This is a lot of re-packaging that should never have happened.

Born down in a dead man's town
The first kick I took was when I hit the ground
You end up like a dog that's been beat too much
'Til you spend half your life just covering up...

Well....you know the rest....

In 1978 I was a skeptic with regards to Bruce Springsteen. My girlfriend ( soon to be wife) was a huge fan already and through her I became aware of the album "Born To Run." But it was "Darkness On the Edge of Town" and a concert at the Inglewood Forum that June that made me a believer. It's still my favorite album of his. I can't wait to get the new box set ( it's on the top of my Christmas list!)
Michael Connor

Nice piece. Thanks

As always, from Ann Powers, a wonderfully comprehensive summary of the multi-faceted new release, & the making-of movie, and an interesting look at the time & tenor that spawned "Darkness." I think it fails to take into consideration the extent to which the effort to find freedom from the ties that bind, particularly those of family & place, are such an imporant thematic thread throughout.

While Patti's certainly right that no connection is apparent, no love songs, no life, but much of the point of the album, what struck such an obvious universal chord for so many, is the search for new, adult connections to replace those that had failed or pained Springsteen's childhood and teen years. "Blow away the dreams that break your heart . . . the lies that leave you nothing but lost and brokenhearted." "I wanna find one face
that ain't looking through me, I wanna find one place,
I wanna spit in the face of these badlands."

The search for love & romance would be chronicled later, survival as an artist & man, excising the worst of the past, moving beyond the darkness on the edge of town, is the undeniable strength and lasting legacy of what many consider Springsteen's finest effort.

In 1978 Springsteen was still fairly new and innovative. He put on a hell of a live show, no doubt about it. Now and for the last 25 years he has become a boring, preachy, hack. His singing has never improved, and his working class prole far left wing politics are as phony & uninformed as his stints with fellow Jersey hack Bon Jovi.

I think the dark themes on 'The Promise' will be particularly strong since times are so dark in America right now. With high unemployment, high crime and so many enemies attempting to dismantle the American dream, this album could well be the soundtrack for our times.

Screw the music, I want that car.

Is this a newspaper or the Utne Reader?
I don't get Springsteen and his hold on music "critics".
Nice enough fellow I'm sure but really just an average singer/ songwriter in the scheme of things.
Methinks some hellacious greasin' goin' on back in the day.

This will be my Christmas present from my husband who was out of work for 14 months. Some things we can't do without!

I still prefer the album Born to Run, and possibly even The Wild, the Innocent and the E Street Shuffle, but there is something about this period of Springsteen's career that has made me more excited for this release than anything Springsteen has put out in 10 years, and that isn't a cheap shot to his more recent original material.

Darkness contains such a conflict between the artist that Springsteen was before 1978 and what he became later that it may be his most defining album, and it is likely why many of these songs are the highlights of his concerts over 20 years later.

I could see a casual fan looking at this and saying it's another example the old rocker cashing in one more time, but coming from a big Springsteen fan, I am happy to see Darkness get this much attention.

"Van Zandt recalls that no one involved had a girlfriend that mattered" - actually, BRUCE did: photographer Lynn Goldsmith, who, like Jon Landau, was cultured and college-educated and certainly helped with Bruce's need to know more about... everything. He certainly saw other women while dating her, but check the photo credits on anything from the Darkness time period; 90% of the time the photographer is Goldsmith; she was THERE.

While it's understandable why she has been deleted from the official transcript of the Darkness years (the romance ended badly, to be sure) it is nonetheless bothersome that Scialfa is interviewed repeatedly about an era she was not present for, while Goldsmith's insight and stories would have been QUITE interesting to hear.

Michael, I believe that concert in '78 was in July (5th or 6th)at the Forum before Bruce played at the Roxy where a few of his songs were on the live album. That show didn't sell out and most the crowd left during the break thinking he was done after an hour and a half. That was my 1st of 40 concerts.

Did I miss something? When was “Darkness” anointed a “masterpiece”? As a New Jersey teenage romantic in the Seventies, I ate, slept and breathed everything “Bruce.” But for me, then and now, “Born to Run” stands as his lone masterpiece. “Darkness” sounds narrow in focus, repetitive in its themes, and, oh, SO serious!
Dylan, on the other hand, tossed off his Sixties masterpieces with great scope, humor, and warmth. His greatness sounds natural, not labored or self conscious.
Not saying Bruce ain’t great, but “Darkness” is the sound of a man trying too hard.

Great great new box set. check out the companion book to the new box set, packed with incredible photos and stories... http://www.thelightinDarkness.com

Nice review, but your closer is wrong: "met her on the strip three years ago
In a Camaro with this dude from L.A.
I blew that Camaro off my back and drove that little girl away
But now there's wrinkles around my baby's eyes
And she cries herself to sleep at night
When I come home the house is dark
She sighs "Baby did you make it all right"
She sits on the porch of her daddy's house
But all her pretty dreams are torn
She stares off alone into the night "
As The Promise, points out, had to close with the one with girl. A lonesome album, yes;the angle of 'sans women'; wrong.

Awesome review, Ann.



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