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Bruce Springsteen - Darkness on the Edge of Town flac album

Bruce Springsteen - Darkness on the Edge of Town flac album
  • Performer: Bruce Springsteen
  • Title: Darkness on the Edge of Town
  • Genre: Pop Rock
  • Style: Album Rock,Contemporary Pop/Rock,Heartland Rock,Rock & Roll
  • Recording location: The Record Plant, New York, NY
  • Date of release: June 2, 1978
  • MP3 size: 1878 mb
  • FLAC size 1473 mb
  • Duration: 42:59

Darkness on the Edge of Town is the fourth studio album by Bruce Springsteen, released on June 2, 1978. The album marked the end of a three-year gap between albums brought on by contractual obligations and legal battling with former manager Mike Appel. Although the album did not produce high-charting singles it remained on the charts for 97 weeks. A steady seller in Springsteen's catalog, it has been certified triple Platinum by the RIAA.

Coming three years, and one extended court battle, after the commercial breakthrough of Born to Run, Darkness on the Edge of Town was highly anticipated. Some attributed the album's embattled tone to Springsteen's legal troubles, but it carried on from Born to Run, in which Springsteen had first begun to view his colorful cast of characters as "losers. On Darkness, he began to see them as the working class. One song was called "Factory," and in another, "Badlands," "you" work "'neath the wheel, Till you get your facts learned.

Released June 2, 1978. Darkness on the Edge of Town Tracklist. How different was it on Darkness on the Edge of Town and The River? It was, I wrote a song last night. I’m Mr. Two-and-a-Half Minutes. Darkness didn’t produce many hits, with Prove It All Night being the only song to crack the top 40 at number 32. It did find critical acclaim, topping NME’s topping NME’s top albums of 1978. Darkness on the Edge of Town Q&A. Producers Bruce Springsteen,.

Darkness was the first Springsteen album recorded live in the studio by the E Street Band – though that didn’t mean it happened quickly or efficiently. The period between Born to Run and Darkness on the Edge of Town was one of Springsteen’s most prolific as a songwriter. He wrote so many songs for the album – estimates range from 52 to well over 70 – that several other artists wound up benefiting from his surplus; Southside Johnny, Robert Gordon, Greg Kihn and Gary . Bonds all recorded songs from this period that Springsteen felt didn’t jibe with the album’s bleak mood.

Bruce Springsteen performs circa 1979. In the Bruce Springsteen songwriting universe, nothing good ever happens in the daytime. The hours between sunup and sundown are when you sweat it out on the streets, work on the highway, and drive your girlfriend’s yapping mother down to the unemployment agency. Nighttime is when the real battles are lost and won. It’s treacherous, mister, but at least you’ve got a shot  . The action in seven of the album’s 10 songs takes place at least partially at night.

Band Name Bruce Springsteen. Album Name Darkness on the Edge of Town. 版公司 Columbia Records. Other productions from Bruce Springsteen. The Ties That Bind : The River Collection.

In 1975, Bruce Springsteen broke into the mainstream with his album, Born to Run. The album got him on the cover of Times and Newsweek magazines in the same week and even now, Born to Run is his second best-selling album (after Born in the USA ). Most fans and critics consider it to be his magnum opus. The closing song, Darkness on the Edge of Town is brilliant, and easily one of the best songs on the album. The song starts quietly, but then Bruce bursts into the chorus and brings possibly his most passionate and powerful singing ever! In this song, the narrator looks back at terrible events in his life ( I lost my money and I lost my wife ). He also implies that he has dark secrets and memories that tear him apart and burden him, but then he declares that he’s got to cut it lose or let it drag him down.

Track List

Title/Composer Performer Time
1 Badlands Bruce Springsteen Bruce Springsteen 4:04
2 Adam Raised a Cain Bruce Springsteen Bruce Springsteen 4:34
3 Something in the Night Bruce Springsteen Bruce Springsteen 5:13
4 Candy's Room Bruce Springsteen Bruce Springsteen 2:48
5 Racing in the Street Bruce Springsteen Bruce Springsteen 6:56
6 The Promised Land Bruce Springsteen Bruce Springsteen 4:29
7 Factory Bruce Springsteen Bruce Springsteen 2:19
8 Streets of Fire Bruce Springsteen Bruce Springsteen 4:04
9 Prove It All Night Bruce Springsteen Bruce Springsteen 4:00
10 Darkness on the Edge of Town Bruce Springsteen Bruce Springsteen 4:32


Roy Bittan - Piano
John K. Chester - Digital Transfers
Clarence Clemons - Saxophone
Danny Federici - Organ
Jamie Howarth - Digital Transfers
Jimmy Iovine - Engineer, Mixing
Jon Landau - Producer
Bob Ludwig - Remastering
Thom Panunzio - Assistant Engineer
Charles Plotkin - Mixing
Mike Reese - Mastering
Toby Scott - Supervising Engineer
Bruce Springsteen - Composer, Guitar, Harmonica, Primary Artist, Producer, Vocals
Frank Stefanko - Photography
Garry Tallent - Bass
Max Weinberg - Drums
Steve Van Zandt - Guitar, Production Assistant
Comments: (8)
As someone who clung to my LPs for decades, I have lost touch with several records that I haven’t converted to .WAV files or purchased a CD replacement. One of these albums was Bruce Springsteen’s Darkness on the Edge of Town. In fact my first version of this recording was on 8-track. I got it through Columbia House, which used to send you a recording every month, the latest issue they were pushing. Growing up in a panhandle town in Oklahoma, I didn’t hear a wide spectrum of music that was available even in nearby Amarillo or Oklahoma City. This was 1978, and I was just starting to drive. My best friend was Mike, a kid with a ‘72 Chevy Monte Carlo and the driving skills of a moonshiner. We would roll through the streets of the town or down the dirt roads surrounding it, listening to this album over and over. Mike’s taste in music was more toward the soundtrack of Grease or disco, but he humored me or else really liked the lyrics about driving, racing, and darkness. Even with our close friendship, Springsteen’s album felt like my own secret music. I just shared it with Mike. From the cover, which at first I thought, man, this guy looks like hell, to the growling moan and melancholy of his voice, Springsteen sang to me. I had spent the summer in Europe, and while in England experienced the sound of the Sex Pistols. Their brashness and irreverence, as well as Steve Jones’ guitar worked on my mind, and when I came back to the states, I fully expected to find their album in the stores and their music on the radio. Wrong. I couldn’t find the record in my local record store, and since I didn’t get to Amarillo or Oklahoma City very often, I lost touch with them. But I found Bruce.Most people had found Bruce years before with Born to Run, but again, in the panhandle with one local radio station playing country western and the nearest Kansas station playing Casey Kasem, I hadn’t heard of him. So I got him fresh with Darkness. He blew me away. I must have listened to this album thousands of times, and when I recently went to the public library and saw a copy of the CD, all those songs immediately resonated from my distant past. When I got home and listened to it, the album still sounded as strong and immediate as it had to me then. The production and sound are still stark and don’t have the dated feel of Born in the USA or Born to Run. The stinging guitar, which is some of the best he’s ever done, still cuts sharply and interplays with his voice with the same intensity that Lester Young’s saxophone did with Lady Day.Obviously a fruitful time for the Boss, he recorded a large amount of music that he pared down to the ten songs on the album. “Badlands” opens the album, and while it didn’t touch the charts, it may have to do more with how close Gary Gilmore’s spree still was in the psyche...
His best, angriest and most solid batch of songs he’s ever written. Personally hasn’t topped this because it’s dark and a reminder that life will beat the hell out of you and leave you broken. New listeners start here first.
Something changed in Bruce Springsteen in the years between Born To Run and Darkness On The Edge Of Town. Whatever it exactly was may only be known to Bruce himself, but it affected him and his music from then on. Darkness is full of hard luck tales from a man who began to understand that he had a greater calling than any ordinary rock musician. His storytelling was passionate, gritty, direct, angry and the music it produced was just as intense as its author. It's here on Darkness On The Edge Of Town where Bruce realized there was another side to the American Dream, and he became a voice for the disenfranchised. Key tracks are Badlands, Racing In The Street, The Promised Land, and the title track.
Bruce Springsteen’s fourth album finds the rock ’n’ roll poet of the working class wrestling with themes involving troubled souls in troubled times. Songs are filled with dead-end factories, dark bars, and lost horizons—lyrical devices that reinforce Springsteen’s idea that salvation is found only through love. Surging opener “Badlands” and the dramatic “The Promised Land” offer hope as a vaccination against sadness and struggles, while the percolating title track—and poignant ballads “Racing in the Street” and “Factory”—subtly remind us that we were all just born to run.
After Born To Run, most fans and critics would have labelled Springsteen as a stadium rock artist, so Darkness on the Edge of Town would have come as a great surprise to most of them – pared back, laid back and almost depressing. Especially after an enforced (through legal issues) three-year break, the temptation must have been to record More Born To Run – and not just did Springsteen shy away from this, he made sure that his record company couldn’t undermine his determined direction by leaving gems such as Fire, recorded in the Darkness sessions, off the album completely – and leaving on appropriate but inferior-sounding songs such as Factory. Putting the art ahead of the dollars takes some courage, and give the man full credit for keeping his artistic purity here. You could argue that his longevity as an important commercial artist is at least in part from the inspired decision of the tracks he decided to put on this album.True, he was sensible enough to lead the album off with the Born To Run-esque, wall-of-sound inspired Badlands, and of course it became the first single. And the only other commercial-sounding track, Prove It All Night, also became a moderate hit. But it was the tracks that were more representative of the album, such as The Promised Land and the title-cut, that became more important concert staples. Then there is the complex, mysterious but slightly unsettling Candy’s Room, that would have happily fit on any of his albums.Perhaps if there is anywhere the album should have been improved, it’s that sometimes the songs are laid back to the point that they lack passion. The title-track, particularly, is much better heard live, and the raw and angry version recorded at Cleveland, Ohio around the time the album was released is a far better version. Or for a more recent take, the version from the January 22, 2017 concert in Perth on the (Australia / New Zealand) Summer ’17 Tour retains the instrumentation of the studio version but with an incredible passion that makes you realise that Springsteen is both sad and angry – an amazing achievement when replaying the song nearly 40 years later. So there is no doubt, that like Bob Dylan, there are some great songs here – but that perhaps they could have been done a little better. Still, maybe it’s a bit tough taking half a star off Springsteen just because he is such a great live artist after so many years.
I love the piano n the beginning of racing in the streets ... very emotional!
Classic 'steen. Not as energetic as some of the live versions of the songs on this album, but full of classics.
better than The River. Sure, the drum sound might not be what one likes, but "Candy's Room" and all the rest are better than a lot of the filler in "The River." Thank you.
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