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And not only “Badlands” or “The Promised Land,” but the crowd begged for “Candy’s Room” and “Racing In The Street.” Darkness may be entirely without the splendor of “Thunder Road” or “Jungleland,” but Springsteen didn’t write the album for those still living in youthful summer nights. Yet, during this year’s Magic Tour, every time Springsteen dusted off one of the tracks from Darkness, the crowd went wild.
Darkness‘ supporting tour, which saw Springsteen cresting four-hour performances, is poorly documented and “Badlands” is the only track that mainstream audiences might recognize from the rare spins on classic rock stations. Released between the epic Born to Run and the double-disc The River, Darkness is the moody middle-child of Springsteen’s catalog. There is no question why Darkness on the Edge of Town is so easily overlooked. It’s a rare camaraderie, almost entirely absent from music today, and a great deal of the foundation is rooted in the craftsmanship of Darkness. The E Street Band is truly Springsteen’s golden goose and he makes sure they are all fully appreciated on the albums and in his live shows.
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Whether it’s Max Weinberg’s aggressive drumming through “Badlands,” Danny Federici’s iconic organ in “Streets of Fire,” Roy Bittan’s fluttering ivories in “Candy’s Room,” Little Steven’s lyrical guitar work in “Racing In The Street,” Garry Tallent’s rebar bass line in “Darkness on the Edge of Town,” or The Big Man Clarence Clemons’s celebrated sax solo in “The Promised Land,” every member of the E Street Band knows how to take Springsteen’s simple rock songs and turn them into something no other band in the world can create.
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“Candy’s Room” introduces the awkward, delusional narrator who brags, “ Strangers from the city / Call my baby’s number and they bring her toys / When I come knocking she smiles pretty / She knows I wanna be Candy’s boy.” “Badlands” presents some of the most memorable lines with, “ I don’t give a damn / For the same old played out scenes / I don’t give a damn / For just the in betweens / Honey, I want the heart / I want the soul / I want control right now.” And while Springsteen fans all have their obscure tracks that they can’t believe go overlooked, the lines, “ You’re born with nothing / And better off that way /S oon as you’ve got something they send / Someone to try and take it away,” from “Something In The Night” rank among the best of any Springsteen songs.Īnd finally, what cannot be overlooked is the strength of the E Street Band, as Darkness is the first full album to feature the legendary line-up on every track. The lyrics throughout Darkness resonate as some of the most daring of Springsteen’s career. The lyrics are reminiscent of Born To Run’s bastard track “Meeting Across The River” and even seem like an early draft to the seedier “Atlantic City.” The title track finishes Darkness, and finds a man broken and alone, going all-in on a vague last chance. The youthful gratification of “Racing In The Street” fades with the onset of age and repetition, while “Factory” is particularly morose, as a young boy watches his dad submissively saunter off to work, expecting him to return home later a little deafer and much more inclined to domestic violence. Whether it’s the ruined farmer in “Badlands” or the client trying to capture the love of a hooker in “Candy’s Room,” you get the impression these men are never going to get what they want. The wails of “Something In The Night” and “Adam Raised A Cain” sound like the lyrics are tearing through him, and even in the upbeat songs “Prove It All Night” and “The Promised Land,” Springsteen sings like he is just trying to convince himself that hope still exists. It is not only Springsteen’s earliest album about the Everyman, it also brings out the most dramatic vocal deliveries of his career. Still, Springsteen aficionados swear by Darkness.
Radio airplay for the singles “Prove It All Night” and “Badlands” was sparse at best and Springsteen ditched the Blue Collar lament on his next album The River. Long gone are the light-hearted romps of “Tenth Avenue Freeze-Out” and “She’s The One,” and in their place, the broken dreams of “Factory” and “Streets Of Fire.” Not surprisingly, the album wasn’t well-received. Abandoning the invitational lyrics and optimistic prophecies, Springsteen’s follow-up, Darkness on the Edge of Town was instead a story told by the tired hands of America’s working class.
#Blue darkness a sleepless town series#
Revisit is a series of reviews highlighting past releases that now deserve a second look.įollowing the international success of Born to Run, the pressure was on for Springsteen to replicate that “One endless summer night” feel.
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