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Track List
01) Racing in the Street ('78)
02) Gotta Get That Feeling
03) Outside Looking In
04) Someday (We'll Be Together)
05) One Way Street
06) Because the Night
07) Wrong Side of the Street
08) The Brokenhearted
09) Rendezvous
10) Candy's Boy
01) Racing in the Street ('78)
02) Gotta Get That Feeling
03) Outside Looking In
04) Someday (We'll Be Together)
05) One Way Street
06) Because the Night
07) Wrong Side of the Street
08) The Brokenhearted
09) Rendezvous
10) Candy's Boy
6:50
3:19
2:18
5:38
4:20
3:25
3:36
5:19
2:39
4:39
Data Complete
80%
Total Rating
80%Total Rating
(4 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2010
Rock
Enlightened
Rock/Pop
---
Medium
Compilation
0 copies
Album Description
Available in:
The Promise is a compilation album by American rock singer Bruce Springsteen, released November 16, 2010 on Columbia Records. It is 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 general 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 appearance 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.
User Album Review
In 1978 Bruce Springsteen was being written off as a busted flush; the product of major-label promotional muscle incapable of making good on his considerable hype. With Born to Run’s star-making turn nearly three years distant at a time when such absences were all but unthinkable, Springsteen fell victim to his own success as the "future of rock ‘n’ roll", a label he quickly grew to hate.
In fact, any perceived creative shortfall was way off the mark – following Born to Run’s release, Springsteen became embroiled in a legal dispute with his then-manager, Mike Appel, which kept him out of the studio for almost two years, and informed the introspected sound of its belated successor.
That follow-up was called Darkness on the Edge of Town and remains perhaps the pivotal work in The Boss’ emphatic oeuvre, canning the widescreen optimism of Born to Run for a record dealing with small-town frustration and innocence on the run from external forces Springsteen was just coming to understand.
Darkness… may also just be his finest record, and we’ve got maths to back us up here. During the acrimonious period that followed his money-spinning third album, Springsteen had amassed a formidable repertoire of some 70-plus songs, whittled down in accordance with his wishes to make a record reflecting downbeat social realities.
That means The Promise – an album collecting some of the songs never to make the cut – has an embarrassment of riches to draw from, since many of the tracks here were left off the album not for quality-control purposes but simply because they didn’t fit in with the programme.
The two most obvious cases in point are Because the Night and Fire, a libidinous pair of tracks turned into hits by Patti Smith and The Pointer Sisters respectively which capture Springsteen at the very peak of his pop-songwriting game.
Songs like Outside Looking In and The Brokenhearted reflect Springsteen’s love of early rock‘n’rollers like Buddy Holly and Roy Orbison, and the car-greased romantic puts in thrilling appearances on Save My Love and the balmy, inspired Gotta Get That Feeling. Then there’s the small matter of the stunning title-track, a sombre mid-tempo ballad omitted from Darkness for fear that listeners would associate it with his legal troubles: "when the promise was broken, I cashed in a few of my dreams".
The Promise is as compelling an advert for the Boss’s beautiful, blue-collar soul as you’re likely to find outside of the hits; an indispensible portrait of an artist at the top of his game. File this one under American Greats.
External Album Reviews
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User Comments
Available in:
The Promise is a compilation album by American rock singer Bruce Springsteen, released November 16, 2010 on Columbia Records. It is 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 general 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 appearance 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.
User Album Review
In 1978 Bruce Springsteen was being written off as a busted flush; the product of major-label promotional muscle incapable of making good on his considerable hype. With Born to Run’s star-making turn nearly three years distant at a time when such absences were all but unthinkable, Springsteen fell victim to his own success as the "future of rock ‘n’ roll", a label he quickly grew to hate.
In fact, any perceived creative shortfall was way off the mark – following Born to Run’s release, Springsteen became embroiled in a legal dispute with his then-manager, Mike Appel, which kept him out of the studio for almost two years, and informed the introspected sound of its belated successor.
That follow-up was called Darkness on the Edge of Town and remains perhaps the pivotal work in The Boss’ emphatic oeuvre, canning the widescreen optimism of Born to Run for a record dealing with small-town frustration and innocence on the run from external forces Springsteen was just coming to understand.
Darkness… may also just be his finest record, and we’ve got maths to back us up here. During the acrimonious period that followed his money-spinning third album, Springsteen had amassed a formidable repertoire of some 70-plus songs, whittled down in accordance with his wishes to make a record reflecting downbeat social realities.
That means The Promise – an album collecting some of the songs never to make the cut – has an embarrassment of riches to draw from, since many of the tracks here were left off the album not for quality-control purposes but simply because they didn’t fit in with the programme.
The two most obvious cases in point are Because the Night and Fire, a libidinous pair of tracks turned into hits by Patti Smith and The Pointer Sisters respectively which capture Springsteen at the very peak of his pop-songwriting game.
Songs like Outside Looking In and The Brokenhearted reflect Springsteen’s love of early rock‘n’rollers like Buddy Holly and Roy Orbison, and the car-greased romantic puts in thrilling appearances on Save My Love and the balmy, inspired Gotta Get That Feeling. Then there’s the small matter of the stunning title-track, a sombre mid-tempo ballad omitted from Darkness for fear that listeners would associate it with his legal troubles: "when the promise was broken, I cashed in a few of my dreams".
The Promise is as compelling an advert for the Boss’s beautiful, blue-collar soul as you’re likely to find outside of the hits; an indispensible portrait of an artist at the top of his game. File this one under American Greats.
External Album Reviews
None...
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