Just curious to see if anybody is curious

trying to date 'Candy's House' as best as I can

'Candy's House'

Down To That House aka CANDY'S ROOM (NY '78) from Thrill Hill Blu-Ray

It looks like there are no links to be had of this video, Thrill Hill probably had it taken down

Here is the audio just to stir your memories
look at your DVDs when you get a chance, it is on The Promise - Thrill Hill Vault (1976-1978)
Candy's Room Demo 1:37 (NYC '78)

Candy's Room (demo)


Bruce was reading from his note book
the Promise notebook
Jon Landau is standing next to his piano listening
it was record plant
i could tell

Bruce flipped a few pages
he was playing The Fast Song on piano

 


In the Night
all the rest will shine
you people laughing all the time
I Went Down To That House
That sits on the edge of Town
shining so fine and so white

go to the bridge
he goes

Tonight I got a feeling that I can't face
and Tonight I got a loneliness I can't erase
I got a hunger that drives me down
Down to the gates of the house
that waits on the edge of town
Feeding my fears

tonight
he goes
and For me for me
She's waiting
In the window I see her face
All the beauty that time can't erase
heading for the sun
heading for the light
tonight

 

This was not June or July 1977 because it was the Record Plant

forget NY '78 this is NY 1977
forget Candy's Boy too
this was before he combined them
which was Sept 1977

maybe this was mid-September

 


THIS IS ONLY FOR REFERENCE, ALL WRITTEN EARLIER
Just trying to date 'Candy's House' as best as I can

 

per Clinton Heylin
As to dating the great change into ‘Candy’s Room’, it was on September 27 that the title ‘New Fast Song’ appeared for the first time. Over the next two days this song was worked on extensively

The Fast Song

takes
June 6, 1977
June 9, 1977
June 10, 1977
June 13, 1977
June 14, 1977
June 20, 1977 God's Angels
June 24, 1977 God's Angels
August 24, 1977 God's Angels
September 1, 1977
September 2, 1977 <<<< last take of FAST SONG

Candy's boy - v3 August 24, 1977
September 2, 1977 <<<< last take of CANDY'S BOY


Studio logs show the last take of Candy's Boy and The Fast Song were both on September 2, 1977


I wrote this for the Candy's Room entry on Brucebase

It appears The Fast Song went away after September 2, 1977, and re-emerged as CANDY'S ROOM on September 27. The lyrics of the first verse came from CANDY'S BOY, which was scuttled in September with lyrics going to CANDY'S ROOM (September 27), PROVE IT ALL NIGHT (September 14) and DRIVE ALL NIGHT. Candy’s Room also received lines from FRANKIE, and THE FAST SONG, the latter’s final verses adapted and modified to make up the final verses of Candy’s Room.

Still In Love with All the Wonder it Brings

Original Post

Bruce by Peter Ames Carlin’s biography of Bruce Springsteen

First book I found that talks about it

 

 

 

Bruce flipped a few pages, put his hands back on the keys, and laid out the first chords of what would become “Candy’s Room.” In this iteration of the song, the central image is a mysterious house; a walled-in mansion that draws the narrator to its gates, where he peers across rolling lawns to see a woman’s face gazing back through the glass. 

LANDAU: That’s great. That’s really great. It’s got such detail, so sharp . . .
BRUCE: I’ m trying to work simpler, clearer images, really.
LANDAU: You got it, you really got it. This is just as vivid as in the past, only . . .
Bruce nodded happily and went back to singing.
LANDAU: This is great, the way she comes in here—
BRUCE: Yeah, it kind of gives it a sexual thing, like—
LANDAU:—the inside of the house is the female thing, and the outside of the house is the male thing.
BRUCE: Exactly.
LANDAU: The formal construction is unbelievable.
BRUCE: It’s a real cinematic thing. But the words aren’t really together; I can’t figure it out . . .
LANDAU: It’s very together.
When Bruce stopped playing, Landau smiled and nodded his head.
LANDAU: That’s great. It’s scary. It’s blowing my mind to hear all this stuff after so much time. And to hear
it sound so together . . . The combination of the first set you show me for “Come On,” and the first set
you show me for this . . .
BRUCE: “I think this is real. This is real. We got good stuff.”
Landau went back to the control room, and when Van Zandt wandered in, Bruce seemed
practically giddy when he told his aide-de-camp that more new songs were on the way.
BRUCE: We're gonna be rehearsin' this week.
VAN ZANDT: Are you crazy?
BRUCE: Nope, I'm serious.
VAN ZANDT: What are you gonna throw out?
BRUCE: I can't think of somethin'. But I'll think of somethin'.
He spun on his heel and hunched to play, pounding out chords while Van Zandt
grimaced and shook his head.
Bruce, from over his shoulder: “Remember, there's always room to throw something
out!”

 

 

Come On (Let’s Go Tonight)

When the sessions moved to the Record Plant, Bruce and Landau made straight for the studio floor, where they went over the songs still left to record, talking it all over in the stuttering shorthand of like minds. Bruce took up his Fender and played an early version of “Come On (Let’s Go Tonight),” while Landau snapped his fingers, bobbed his head, and pitched in a little harmony.

When Bruce looked up, Landau nodded excitedly. “That’s great. Really great. What else you got cookin’?” Bruce put down his guitar and led the way to the piano, where he opened his notebook and went back to playing the “Come On” verse, focusing on the passing references to Elvis Presley’s death. “The power of the images,” he said, “was that they weren’t the central part of the song, but sorta, you know
LANDAU: —tangential. It’s good. It’s very good. It’s sophisticated.
BRUCE: It kinda states it [Presley’s death] as a fact, but . . . I don’t know, it’s sort of strange.
LANDAU: [quoting from lyrics] “Some came to witness, some came to weep.” That’s a great line. A very
important distinction there, like, the curious and the . . . it’s great. Really great.

 

Still In Love with All the Wonder it Brings

This all really sounds like bad fan fiction.  JL doing nothing but praising Bruce etc..

Really, I don't give a crap about all of the behind the scenes things or the cutting room floor stuff.  I stick with what made it on the albums, there is enough of that to go around.

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Sorry if I despoiled your environment with behind the scenes cutting floor crap which I really get into, and enjoy figuring out how those wonderful album tracks came about. I share because other people are interested, and I am hoping somebody who can help me might read this. I realize it is an advanced topic because hundreds of people have viewed it, but you are the first to make a comment. What you said was not very sensitive DenverBrian but that's ok, now you know to avoid this thread, and have a great day. 

Still In Love with All the Wonder it Brings

Peter Carlin the author wrote me back, he couldn't help out, but it was nice of him to reply so quickly.

Hi Dave, I hate to disappoint but my description of that session was based on footage shot by Gary Rebo during the 70s and what I saw either didn’t have any date info on it or didn’t matter to me enough to track. I’d guess the former being as omnivorous for info as I could be during that project. But that work was a long time ago now and my files are up in the attic somewhere, I think. So I feel like less of an expert on this then you’re probably looking for. 

 
Good luck tho! 
 
Peter

Sent from my iPad
 
40 years ago ...seems like yesterday to me! oh well
time to get to know Gary Rebo

Still In Love with All the Wonder it Brings

tillywilly17 posted:

Sorry if I despoiled your environment with behind the scenes cutting floor crap which I really get into, and enjoy figuring out how those wonderful album tracks came about. I share because other people are interested, and I am hoping somebody who can help me might read this. I realize it is an advanced topic because hundreds of people have viewed it, but you are the first to make a comment. What you said was not very sensitive DenverBrian but that's ok, now you know to avoid this thread, and have a great day. 

I accept your rebuke. 

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