Orel Family

Sometime after 1pm today, the audio for the upcoming release of The Promise leaked out to the internet, ostensibly via a Sony Europe website. Within a couple hours, thousands of us had the mp3s on our computers, and it was seemingly the spring of 1978 all over again... with better technology. Back then, I'd be in Sunday school at the Jewish Theological Seminary in New York with a couple friends of mine, and we'd be passing notes back and forth, with whatever tiny little rumor we had -- or could invent -- about when Bruce Springsteen's 4th album might finally see the light of day. It came, finally, via a midnight airing on WNEW-FM, and even then we knew that for every song on the album, there were more that did not get released. Some, like "Independence Day," we heard when Bruce played shows that were broadcast on the radio that fall. Others, such as "Because the Night" and "Fire," became hits for other artists. Some were released on The R

Through the magic of bootlegging, I finally got a chance to watch the documentary "The Promise: The Making of Darkness on the Edge of Town" a couple nights ago. Then I watched it again Tuesday night, a little more carefully. It will be included, of course, as part of the Darkness On The Edge of Town box set next month. In some respects, this film is brilliant and indispensable. It presents a clear narrative -- albeit more than a bit repetitively -- that ultimately tells us, clearly, why Bruce went in the direction he did with Darkness, why it was important for him to make the album in that way, and what it ultimately meant both for that record and for his career since that record. Darkness is presented as the pivot for the past 30 years, and though that would hardly be news to long time fans, the clarity of its place here is still striking. For the most part, the film is presented as a reasonably straight-forward timeline. The first 20 minutes deal with Bruce's l