Under Springsteen fans is considerable debate as to whether one finds it good that the songs were considerably reworked part. But: Many of the songs were never completed, and there were not so completely. And the original production of Darkness album was anyway m. E. extremely lousy. Sound and production of The Promise contrast are excellent.
The Promise once again proves that Springsteen one of - if not the - greatest singer / songwriters in the rock / pop business is. The quality of every single song on this double album is so high that every other wannabe rock superstar would be awestruck. Nice that more and more bands that are hipp today recognize this and Bruce Springsteen - and rightly - regarded as their great role model (Arcade Fire, U2, The Gaslight Anthem, Kings Of Leon, The Killers, Pearl Jam, Amy MacDonald to to name a few).
Here the Player Ratings:
Racing In The Street (Rock Version): Fields with Harmonica like Thunder Road and the original (slow) version in anything is to. Text is almost the same, yet it is a completely new song. A wonderful violin accompanies the instrumental part of the song. 10/10
Gotta Get That Feeling: Very catchy, sounds very much like a Working on a Dream-outtake. Many background vocals, brass and class sax solo from the Big Man. The perfect power-pop song! 9/10
Outside Looking In: yet so catchy. The song can be heard at once that he comes from the Darkness-time. Largely original vocals of 1978. Again a solo from the Big Man. 10/10
Someday (We'll Be Together): The first ballad with background choir and very orchestral. Beautiful melody (the me however in the chorus part of 'If I Was' by Midge Ure reminded ;-), which might be something one way or another too shallow, I like it. 8/10
One Way Street: A next slower song. Again wonderfully melodic, very soulful through the wind and the Sax. And since even say someone (including Bruce himself), he could not write love songs. Madness song! 10/10
Because The Night: The best-known song from the Darkness sessions, which was a hit for Patti Smith. Here at last the very successful studio version, even if compared to the known live version rocks less. 9/10
Wrong Side Of The Street: Would also fit well on The River. Rocking, quickie with class guitar and typical sax solo. Vocals extensively reworked, unfortunately carried the fade-out m. E. bit early. 9/10!
The Brokenhearted: Elvis says hello! What a tearjerker! Incredibly, Elvis and Roy Orbison could have done it any better. And who says Bruce can not sing? The song is accompanied by a trumpet, which gives the song a little Mexican. Wonderful! 10/10
Rendezvous: Knowing a live version of tracks. Typical Bruce-feel-good song. Did he at that time also issued (to Greg Kihn Band), why? 8/10
Candy's Boy: Beautiful ballad! The lyrics are similar to those of Candy's Room, but the melody is completely different and the organ solo (by Roy Bittan and not as suspected of Danny Federici) for last - a dream! Another highlight. 10/10
Save My Love: Completely revised song, sounds most clearly as woad-outtake. Incredibly catchy. Annoying that the song disappears much too early (by 2:17 !!!), actually you'd expect as a sax or guitar solo. On the DVD of the box a recording from 1977 can be seen, which ends with a magnificent guitar solo. The version I would have liked better, but it remains a class song. 7/10
Is not Good Enough For You: Super Party song that would have fit well on The Wild, the Innocent .... Much Handclapping, much Buddy Holly, original vocals! 10/10
Fire: Another song that was submitted (to the Pointer Sisters). The Bruce-studio version is significantly faster than the well-known live version. Further evidence of Bruce's enthusiasm for Elvis. 8/10
Spanish Eyes: Another ballad, again much Schnulz-Elvis. Stark revised with vocals today. The lyrics are partly the same as the later 'I'm on Fire', very nice! 9/10
It's A Shame: Party Rocker, very soulful and 'dirty' with many wind instruments. Little Steven is clearly heard as a background Krächz singer. 8/10
Come On (Let's Go Out Tonight): An earlier version of Factory. Melody is almost identical, Lyrics partly different. Particularly stands out the violin - David Lindley - out where in the organ factory is clearly in the foreground. Hard to say, like that Factory more. 9/10
Talk To Me Song, the Bruce has given up his good buddy Southside Johnny. Bruce's version is better because a little dirtier and with the winds very soulful for me. 9/10
The Little Things (My Baby Does): mid-tempo rocker in the typical E Street sound (piano, wind instruments, glockenspiel, organ), which could also come from the 60s. 9/10
Breakaway: Quite big songwriting! A ballad with Elvis voice, good lyrics and a wonderful melody and female background choir. And the end of the sax and the wind. So you have to start dreaming. Perhaps the best song here. 10/10
The Promise: Finally, finally, finally! One of the best songs that Bruce ever wrote to finally have a rock version officially. A thousand times better than the acoustic version on 18 tracks, and above all with the original vocals from 1978! 10/10
City of Night (Taxi Cab): Of Bootlegs ago known, wonderful, also to hear hardly revisions. Does the album wonderfully soft - with beautiful Sax - end. Beautiful Lyrics. 9/10
The Way: hiding behind City of Night. Resembles Factory, 9/10
More pop than rock, but a masterpiece!
