Jump to content
Greasy Lake Community

The best Racing ever?


Recommended Posts

1 hour ago, JimCT said:

Second, I realized that the versions from the fall leg, in arenas, benefitted from the ability to darken the entire venue and leave only spotlights on Roy and Bruce. I really think that added to the experience at the time.

This one is for you:

 

Link to comment
Share on other sites

43 minutes ago, el sergio said:

This one is for you:

 

 

Lovely, thank you! I do miss Clarence's baritone sax, and the wistful organ into of Nov '84 leading into the spoken intro. There are no BAD Racings - just some are better than others. And maybe the one you saw, or the last one you saw, or the first one you saw, are the best because of the rest of the context. ;) 

Link to comment
Share on other sites

  • 1 month later...
10 hours ago, Lampi said:

Is that the same as for Thunder Road? (same cartoonist, from Belgium I think)

But that was in colour and not finished.

I can not remember anymore how I found this Racing tribute by Jack Kirby and Matt Barnett

 

Link to comment
Share on other sites

On 5/10/2020 at 7:31 AM, TheBoss said:

The '85 version at Ullevi, Gothenburg with a long spoken intro had a huge impact on me. Something along "to have just one thing in your whole life that makes you proud of yourself is not to much for anyone to ask for". Very powerful emotional impact. To me, the later day performances lack that emotional commitment from Bruce. Like he has now moved forward, sorted things out,  and is more of a performer singing the song.

Of course, nearly 37 years later, we know why Bruce chose this moment, 1985, to speak in character, the only time he has ever done so on the concert stage. 

 

At least we thought it was in character. 

 

From his own autobiography and interviews, it is now clear that he was speaking as himself— at the summit of success that exceeded his dreams, approaching the white hot fame of his idols Elvis and the Beatles, yet more isolated, more unhappy than ever, soon to hurry into a desperate marriage with a woman with whom he had nothing in common, enacting the doomed relationship of the song, a man consumed by his own brain chemicals. As Springsteen has said several times, his joy on stage always belies “the abyss that is at my heels”

“It was hard 
to explain to her 
that when I drove 
and when I won 
was the only time
that I felt good about myself.
To have one thing
just one thing
in life 
that makes you feel good. 
That’s not too much to ask. 
Is it?”

 

https://www.youtube.com/watch?v=BNHRMvLrE3U

  • Like 2
Link to comment
Share on other sites

6 hours ago, Injoy said:

Of course, nearly 37 years later, we know why Bruce chose this moment, 1985, to speak in character, the only time he has ever done so on the concert stage. 

 

At least we thought it was in character. 

 

From his own autobiography and interviews, it is now clear that he was speaking as himself— at the summit of success that exceeded his dreams, approaching the white hot fame of his idols Elvis and the Beatles, yet more isolated, more unhappy than ever, soon to hurry into a desperate marriage with a woman with whom he had nothing in common, enacting the doomed relationship of the song, a man consumed by his own brain chemicals. As Springsteen has said several times, his joy on stage always belies “the abyss that is at my heels”

“It was hard 
to explain to her 
that when I drove 
and when I won 
was the only time
that I felt good about myself.
To have one thing
just one thing
in life 
that makes you feel good. 
That’s not too much to ask. 
Is it?”

 

https://www.youtube.com/watch?v=BNHRMvLrE3U

The 1977 and 1978 versions of Backstreets have him speaking in character or as himself or a combination of both or . . . 

  • Like 1
Link to comment
Share on other sites

9 hours ago, Injoy said:

Of course, nearly 37 years later, we know why Bruce chose this moment, 1985, to speak in character, the only time he has ever done so on the concert stage. 

 

At least we thought it was in character. 

 

From his own autobiography and interviews, it is now clear that he was speaking as himself— at the summit of success that exceeded his dreams, approaching the white hot fame of his idols Elvis and the Beatles, yet more isolated, more unhappy than ever, soon to hurry into a desperate marriage with a woman with whom he had nothing in common, enacting the doomed relationship of the song, a man consumed by his own brain chemicals. As Springsteen has said several times, his joy on stage always belies “the abyss that is at my heels”

“It was hard 
to explain to her 
that when I drove 
and when I won 
was the only time
that I felt good about myself.
To have one thing
just one thing
in life 
that makes you feel good. 
That’s not too much to ask. 
Is it?”

 

https://www.youtube.com/watch?v=BNHRMvLrE3U

Man I was going to comment that Kansas City version! Glad someone else agrees with me too. A haunting rendition no doubt 

  • Like 1
Link to comment
Share on other sites

On 8/5/2021 at 8:54 AM, el sergio said:

I can not remember anymore how I found this Racing tribute by Jack Kirby and Matt Barnett

No it is not the same.

Thunder Road is a little book, the song set to drawings (sadly not finished), and in colour.

BTW how is the work-in-progress topic about the 1992-1993 tour going?

Link to comment
Share on other sites

On 8/5/2021 at 8:54 AM, el sergio said:

I can not remember anymore how I found this Racing tribute by Jack Kirby and Matt Barnett

Marc Verhaegen (Suske & Wiske).

Google 'Thunder Road Marc Verhaegen' and that will do the trick.

Everyone reading this especially google 'Marc Verhaegen Make Crosses From Your Lovers'. Looks like Garry did something wrong...

Oh, and Marc thinks Mary's dress sways...

Link to comment
Share on other sites

14 hours ago, Lampi said:

Marc Verhaegen (Suske & Wiske).

Google 'Thunder Road Marc Verhaegen' and that will do the trick.

Everyone reading this especially google 'Marc Verhaegen Make Crosses From Your Lovers'. Looks like Garry did something wrong...

Oh, and Marc thinks Mary's dress sways...

Alright thanks for the tip off, but I got the feeling that this Marc Verhaegen tribute to Thunder Road is a bit too litterally.

Link to comment
Share on other sites

42 minutes ago, el sergio said:

Alright thanks for the tip off, but I got the feeling that this Marc Verhaegen tribute to Thunder Road is a bit too litterally.

Yes indeed, a drawing for every sentence (and as said he did not make it to the end).

Like, the drawing for 'Roses in the rain' is indeed a drawing of a hand throwing roses in the rain (out of the window).

'The radio plays'-a drawing of a radio. 'Roy Orbison singing for the lonely'-a drawing of Roy Orbison.

Some go a little bit further, like the one mentioned above. There is also a drawing where the wallpaper in the room is (supposed to be) the same as the wallpaper from the Darkness album cover.

 

Link to comment
Share on other sites

live at the Brendan Byrne Arena Meadowlands New Jersey 07/08/1992. The first and only non E-Street B electrified rendition. Roy Bittan waves a beautiful keyboard intro, some delicate guitar chords. Then Bittan goes with his right hand on the piano and plays those five notes that dig in the heart. From that point on, the song goes on as we know it, but it does surprise again at the end when two guitars take on to each other in a quite unusual way. An unique execution in every sense

 

  • Like 1
  • Love Love Love! 2
  • Hug 1
Link to comment
Share on other sites

  • 2 months later...

OK, I never go in depth over these kinds of discussions, as I'm not the best technically ear worthy person. But 12/15/78 played this morning on ESR of Racing in the Streets. But at 4:30 this morning this tune just hit me. Tears hit me about half way though. Than Roy's piano recused me with I believe is the joy of being alive. So I didn't read this whole thread and don't know where you rank this performance, but needs to be close to the top! 

  • Like 1
Link to comment
Share on other sites

  • 4 weeks later...

With the news of Bruce selling his back catalogue to Sony, we might expect as @Promise61 already wished that the floodgates will open. So might expect to hear the other Racing studio versions rather sooner than later just like the bootleg series from Bob Dylan detailing every version of recorded song? Here is a detailed overview from Brucebase of the (known) studio version for Racing:

RACING IN THE STREET - V1 5:48

RACING IN THE STREET - V2a 6:42

RACING IN THE STREET - V2b 6:44O

RACING IN THE STREET - V2c 6:51

RACING IN THE STREET - V3a 6:22

RACING IN THE STREET ('78) - V3b 6:47

Note: Springsteen started writing "Racing In The Street" in 1976, and working titles included "'32 Ford" (found in a document titled "New Songs", reproduced in The Promise facsimile book) and "Dying In The Street", according to author Clinton Heylin. The latter phrase appears twice in the earliest known circulating recording (V1), a slow solo piano arrangement from July 2, 1977 at Atlantic Studios, verified in Sony's studio logs. This take uses an incomplete version of the alternate "Got a '32 Ford, she's a 318…" lyrics, and is also missing verse three, perhaps not yet written, alongside the Darkness On The Edge Of Town album melody. Efforts resumed on August 1, with four consecutive days working on the song. Which arrangements were worked in this period is unclear. V2a was likely from one of these sessions, as indicated in the 'Lost Masters III' liner notes, and this take would eventually be utilized for Darkness On The Edge Of Town (V2c), with a vocal overdub in the second verse. Heylin recounts its "transfer to a 'comp.' reel at August's end," which, according to studio logs, was August 30, 1977.

V3, sometimes known as the 'alternative' "Racing In The Street", with wailing harmonica and tremendous vocal, was recorded on August 10, 1977 at Atlantic Studios. Bruce has also referred to this as "the rock version." This arrangement still features the '32 Ford, and perhaps comes from before Springsteen refined the lyrics and settled on the Darkness album arrangement by month's end. There was more work undertaken on August 12. The officially released V3b, titled "Racing In The Street ('78)" on The Promise, uses the same 1977 vocal take from V3a, apart from a small overdub, replacing a slurred line in the third verse (that ends "…just to make it alright") with a modern vocal. David Lindley plays violin; there is a reference in Sony's documentation to January 2, 1978 for "Racing In The Street" and "The Factory Song" and is possibly the day Lindley recorded his violin tracks for both songs, but that is not yet confirmed.

There is little doubt that more work was done on this song than any other during the sessions, except perhaps "The Promise". Assistant engineer Thom Panunzio kept a detailed record of the tape reels, the various mixes and takes, with alternate lyrics, with or without the band, or certain instruments. Eight days were spent during August, until completed masters were transferred to a reel on August 30. But Springsteen returned to "Racing In The Street" on November 28, 29, 30 and December 6 and 9, 1977. As of December 9, two more completed masters were transferred to a stereo rough mix reel; one is a mix of take 16 of reel 5 recorded November 29, 1977, the other is a mix of take 12 of reel 5 recorded November 30. It is unknown which arrangement is on this reel. Mixing and overdub sessions were held, with Chuck Plotkin, on March 21–23, 1978, and mix take 46 went on Darkness On The Edge Of Town.

Bruce adapted the lines "summer's here and the time is right / for goin' racing in the street" from Martha and the Vandellas' 1964 hit "Dancing In The Street", as well as The Rolling Stones' "Street Fighting Man". He has also acknowledged the Beach Boys' 1964 "Don't Worry Baby", and it has been said the instrumental break is a tribute to that song.

Link to comment
Share on other sites

  • 4 weeks later...

22-05-2000 Arrowhead Pond Of Anaheim, Anaheim,California

Beginning in 1999 with the Bruce Springsteen and the E Street Band Reunion Tour and  "Racing in the Street" appeared intermittently, often rotating with "Backstreets", "Jungleland", and similarly long, intense songs in a late-in-main-set "epic" slot. Clarence Clemons' baritone sax was added more to the mix, but the lead was still Bittan, playing coda sequences up to several crescendos, before playing a minor-key line that signalled the conclusion.

 

  • Like 1
  • Bruuuuce! 1
Link to comment
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.

Guest
Reply to this topic...

×   Pasted as rich text.   Restore formatting

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.

 Share

×
×
  • Create New...