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13 minutes ago, doesthisbusstop said:

I’d love to know which version has the longest ever outro. If the live in Hyde park outro had continued for another five minutes I would have been even happier. I could easily listen to a 20 min version of this song. 

Along with everything else, we've had a thread on the longest "Racing" in the past. I think one version clocks in at 13mins, so that might be the one with the longest coda

 

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I forgot to mention the 2nd night in Oakland in 2007. I was between Bruce and Steve's mic. During the ending of racing Bruce looked down at me and seemed to say "Thats alright, Man" as I was clearly e

I was at the US Nationals in 1978 when the Snake and Mongoose faced off for the final round. That was some of the best Racing I have ever seen    

The Hyde Park one is great, but this is still my favorite version (although not technically a concert version).      

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On 5/11/2020 at 6:44 AM, Buddhabone said:

I forgot to mention the 2nd night in Oakland in 2007. I was between Bruce and Steve's mic. During the ending of racing Bruce looked down at me and seemed to say "Thats alright, Man" as I was clearly emoting. He smiled at me, as he did so many years before when I was at my first show.

My love of this music is born out my close encounters. We all feel it, whether you are playing a record, downloading a show, making edits. Its all so deep and meaningful. I cherish it. 

The lyric is hard core Springsteen. How the guy built that beast, how he wants to blow us all out of seats. Its may be a metaphor for the creative process itself. How later, we will find out in "Straight Time" that thing we do to feel better that we think frees us is really killing us. I know I know a bot about that. The freedom is short lived, and the guilt is worse. The girl on the porch is one of the most pungent images, how shes cries herself to sleep at night. The redemption lies in thier frail connection..and thier desire to wash those sins away. They drive away together for now...the music rises and rises in a beauty that is in my bones, those long codas....peak frickin E street. Thanks for reading.

Was at that 2nd night Oakland 2007, great show

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On 5/11/2020 at 9:11 AM, TheBoss said:

I think The Paramount Theatre concert is great and pretty much the Darkness On the Edge of Town album redone, right this time. I have the audio ripped to a cd and that is what I go to if I want to listen to the Darkness album. That said, this is a great version of Racing but the 4 minute instrumental ending is a little to much for my taste. For best version I'd go for a 70's or 80's passionate live version.

Not long enough of me

I want a 15 min racing !

And i love every version ive every heard that does not feature a bloody Ford

 

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On 5/11/2020 at 10:09 PM, Royston Vasey said:

For me the best I ever saw live was Paris Bercy July 5th 2012. Incredible performance of the song. The whole arena was spellbound. Bruce himself in a trance it seemed as he just kept the song going for if I recall correctly about 12 minutes. Amazing.

 

11 minutes 02 seconds

 

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The live versions are often magnificent, and in later years have these great, long outros. As Bosstralian once said, the ultimate live version is most likely from an '81 show.

However, no live version touches the released studio version. There's a certain vibe or feeling on some of the Darkness songs that is unmatched on all other versions. On Racing there's the lone piano before the outro starts, with the organ. And the piano is played so gently, there's a tiny space between some of the notes, where you can hear the tape hiss, that evokes - in me at least - a feeling of loneliness and resignation. But then the organ and the rimshots (?) come in, and then the bass and it lifts the song somewhat out of any loneliness it becomes brighter. The difference between this and the live versions being that the live versions are more powerful and vivid, which suits them fine. There's something similar going on with Darkness (the song), too, I think it has to do, in part, with there being space or room in the music, but without the songs losing any power.

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6 minutes ago, Dr. Zoom said:

However, no live version touches the released studio version. There's a certain vibe or feeling on some of the Darkness songs that is unmatched on all other versions. On Racing there's the lone piano before the outro starts, with the organ. And the piano is played so gently, there's a tiny space between some of the notes, where you can hear the tape hiss, that evokes - in me at least - a feeling of loneliness and resignation. But then the organ and the rimshots (?) come in, and then the bass and it lifts the song somewhat out of any loneliness it becomes brighter. The difference between this and the live versions being that the live versions are more powerful and vivid, which suits them fine. There's something similar going on with Darkness (the song), too, I think it has to do, in part, with there being space or room in the music, but without the songs losing any power.

I can't remember when I first heard "Born to Run", "Jungleland" or "Backstreets", but I can remember the moment I listened to "Racing in the Street" for the first time very clearly. And the rest is hysterical history!

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2 hours ago, Dr. Zoom said:

The live versions are often magnificent, and in later years have these great, long outros. As Bosstralian once said, the ultimate live version is most likely from an '81 show.

However, no live version touches the released studio version. There's a certain vibe or feeling on some of the Darkness songs that is unmatched on all other versions. On Racing there's the lone piano before the outro starts, with the organ. And the piano is played so gently, there's a tiny space between some of the notes, where you can hear the tape hiss, that evokes - in me at least - a feeling of loneliness and resignation. But then the organ and the rimshots (?) come in, and then the bass and it lifts the song somewhat out of any loneliness it becomes brighter. The difference between this and the live versions being that the live versions are more powerful and vivid, which suits them fine. There's something similar going on with Darkness (the song), too, I think it has to do, in part, with there being space or room in the music, but without the songs losing any power.

Very well said. 

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