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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.

people would jump onstage and grab me by the head and scream, ‘tilly! bootlegs!'"

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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.

 

people would jump onstage and grab me by the head and scream, ‘tilly! bootlegs!'"

Last edited by tillywilly

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. 

people would jump onstage and grab me by the head and scream, ‘tilly! bootlegs!'"

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

people would jump onstage and grab me by the head and scream, ‘tilly! bootlegs!'"

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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update

this is from a lyric sheet written by Bruce from "Songs" that nobody has ever mentioned. I have attached copy

No I didn't fake Bruce's chicken-scratch (no relation to the 1976 tour)

1977-09-27 New Fast Song

September 27, 1977

NEW FAST SONG (CANDY)


In Candy's room, there are pictures of her saviour
on the wall, but to get to Candy's room
you got to walk the darkness of Candy's hall
Strangers from the city call my baby's number
they bring Candy toys but when I come knockin she
smiles pretty she knows tonight I'm gonna be Candy's
boy

here somewhere in the darkness I find hidden worlds
(strange new worlds) that shine through the anger
fear blackness bravenis mist
Then We kiss my heart comes pushin explodes through
my skin for a moment she lets me in
Thats when the sadness becomes

I get visions of avenging angels of eden
with their white horses and flaming swords
can blow this whole town into the sea
but they cant touch Candy and me
our love they cannot destroy
I will forever be Candy's boy

She says baby if you wanna be wild you got a lot to learn
so you got to open wings and come with me
so come with me baby and together
We'll go driving together into the night

Through the heart of a fire fight
We go driving south through the pines
That spider off the line and then we kiss
From a world we’ll know without end

 

people would jump onstage and grab me by the head and scream, ‘tilly! bootlegs!'"

Attachments

Images (1)
  • 1977-09-27 New Fast Song: tilly finds preserved lyrics in remote Amazon jungle while searching for El Dorado

1977 June Bruce Springsteen - Ruffs album sequence

One month later, 10-27-77, it looks like he was still using "New Fast Song".

According to Clinton, a December 12 take at the Record Plant was referred to as "Candy's Room".

 

 

Record Plant, New York
Candy's Room: mixing log

March 3, 1978
March 4, 1978
March 5, 1978

Candy's Room v5a mix take #13) has reverb and delay added to the lead vocal
Candy's Room v5b mix take #42) album March 5, 1978 >>> to accetate April 12

However, he would spend a further three days in early March 1978 working through some seventy nine takes - surely a series of vocal overdubs - to remove any lingering vestiges of 'God's Angels'.


Bruce Springsteen FAQ All Thats Left to Know About the Boss
42nd attempt at “Candy’s Room” was the Darkness take

 

END OF FILE

people would jump onstage and grab me by the head and scream, ‘tilly! bootlegs!'"

Attachments

Images (1)
  • 1977 June Bruce Springsteen - Ruffs album sequence
Kinsey posted:
DenverBrian posted:

 I stick with what made it on the albums, there is enough of that to go around.

Are you saying that you don't bother with Tracks, The River Outtakes, etc? You're missing out 

I stick with the Live stuff and the stuff that Bruce has officially released (like Tracks).

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DenverBrian posted:
Kinsey posted:
DenverBrian posted:

 I stick with what made it on the albums, there is enough of that to go around.

Are you saying that you don't bother with Tracks, The River Outtakes, etc? You're missing out 

I stick with the Live stuff and the stuff that Bruce has officially released (like Tracks).

 

I don't have a problem with that. I'm too busy figuring out the history of Candy's Room. Look at this verse [down below] which is God's Angels (The Fast Song) combined with Candy's Boy; look quick because it was soon gone! 

The first line of the next verse made it to Candy's Room

She says baby if you wanna be wild you got a lot to learn

 

I have seen Bruce canabalize one song to make another several times now

Why not, they are all his, this is why he gets pissed when stuff leaks out before it is finished.

1. He took the main coda of Walking In the Street, and used it as the instrumental outro of Thunder Road

2. He chopped up Candy's Boy, a finished tune, and added the lyrics to Candy's Room, Drive All Night and Prove It All Night

He is a brilliant song writer, and I would never second guess him, even though it distresses me greatly when he overdubs tracks from the 1970s with new vocals 30 years later, mexican horns and lush strings!  Arrggghhhh

He's got a major issues with songs not being "finished"; I got a major issue with him finishing his songs 30 years later. Bruce, please stop messing up my outtakes, or at least provide me with a copy of the source material. I got 10+ versions of Backstreets, some missing major sections of the lyrics, then others when he adds finished pieces, all the way up to the BTR version. I wrote the section of Brucebase describing the progression of that song, it was a blast.

Sorry I get carried away. Rock on DenverBrian!

 

I get visions of avenging angels of eden
with their white horses and flaming swords
can blow this whole town into the sea
but they cant touch Candy and me
our love they cannot destroy
I will forever be Candy's boy

She says baby if you wanna be wild you got a lot to learn
so you got to open wings and come with me
so come with me baby and together
We'll go driving together into the night

people would jump onstage and grab me by the head and scream, ‘tilly! bootlegs!'"

A good thing to keep in mind is that the two songs Bruce merged to create "Candy's Room" are both inferior to the officially released track.  And his editing of lyric and melody from song to song has been evident since the first studio material began to pop up on bootleg albums like E Ticket and Fire On The Fingertips.

It's also wise not to over-analyze Springsteen's artistic process, it starts to become tedious.  This is one major problem with Heylin's books, another being his rampant ego. 

There are many great songwriters who operated in the same fashion with their work.  But, save someone like Bob Dylan, the amount of overall recorded material put on the shelf by these artists is far less.  Which is why On The Tracks has been such a valuable resource through the years for the deep fan.  His output is formidable.

Nice to have a date (9-30-1977) for the Barry Rebo video footage.  Bruce turned 28 years old exactly one week earlier.

Johnny

Last edited by jsavage

I tediously studied everything I could about this because it fascinated me. It is not really a remarkable example of Bruce Springsteen's songwriting and talent, it was actually a tedious process he went through. I would highly recommend studying the making of 'Badlands', it is much more interesting. 

Are you giving me a critique on the Fast Song-Candy's Room section? If so, that is fine. I only write that much or work so hard when the story or events require it. I wrote a lot more about The Promise and Thunder Road, they are his greatest songs and people kept asking more questions. Candy's Room did not generate as much interest, but I broke my normal rules, and wrote this one for me. You can see I was carried away with finding out how the events ocurred. 

The best part of this was the 'New Fast Song', which appeared on September 27, 1977. This was the first merging of The Fast Song and Candy' Boy, along with two of the best lines of Frankie. The rest of the process was Bruce writing some new lyrics to replace lines he didn't like.

September 27, 1977

NEW FAST SONG (CANDY)


In Candy's room, there are pictures of her saviour
on the wall, but to get to Candy's room
you got to walk the darkness of Candy's hall
Strangers from the city call my baby's number<<<<<<<<<<<all candy's boy
they bring Candy toys but when I come knockin she
smiles pretty she knows tonight I'm gonna be Candy's
boy

here somewhere in the darkness I find hidden worlds << Frankie
(strange new worlds) that shine through the anger
fear blackness bravenis mist
Then We kiss my heart comes pushin explodes through << this is new lives up
my skin for a moment she lets me in                                        to Fast Song music 
Thats when the sadness becomes                                             finally

I get visions of avenging angels of eden   <<< still has God's Angels
with their white horses and flaming swords
can blow this whole town into the sea
but they cant touch Candy and me
our love they cannot destroy
I will forever be Candy's boy           <<<<<still hanging on to candy's boy too

She says baby if you wanna be wild you got a lot to learn <<< great new line
so you got to open wings and come with me
so come with me baby and together
We'll go driving together into the night

Through the heart of a fire fight
We go driving south through the pines
That spider off the line and then we kiss
From a world we’ll know without end

 

So he only took first verse from Candy's Boy

Hidden worlds that shine he raped from Frankie

Added 2 new lines great

still has to let go of parts of both songs

 

I don't have anything between New Fast Song and the final Candy's Room

finished March 5, 1978. I understand he didn't remove this until March 3-5

I get visions of avenging angels of eden 
with their white horses and flaming swords
can blow this whole town into the sea 

 

 

people would jump onstage and grab me by the head and scream, ‘tilly! bootlegs!'"

My post is meant to convey the relative worth of the three songs in question.  "Candy's Room" is the classic, and most worthy of attention.  That's why Bruce officially released it in 1978.

Yes, tedious is part of studying history.  I know, I've been there.  But publishing the results on Brucebase requires discretion, and understanding the intended audience. 

For intense research findings on his artistic process, another forum would best serve extensive, detailed information to the public.

Given the long existence of On The Tracks, nearly 20 years, the old axiom "Less is more" should always apply.  Or you may lose readership.

Johnny

jsavage posted:

My post is meant to convey the relative worth of the three songs in question.  "Candy's Room" is the classic, and most worthy of attention.  That's why Bruce officially released it in 1978.

Yes, tedious is part of studying history.  I know, I've been there.  But publishing the results on Brucebase requires discretion, and understanding the intended audience. 

For intense research findings on his artistic process, another forum would best serve extensive, detailed information to the public.

Given the long existence of On The Tracks, nearly 20 years, the old axiom "Less is more" should always apply.  Or you may lose readership.

Won't lose my readership 

Absolutely  love the in depth work tilly is putting into this. After all we want BB to be as accurate as possible, with as much information as possible. Tilly is going above and beyond. Well done sir 

=============================================================

Someday's you're the statue, someday's the pigeon.

Last edited by km
km posted:
jsavage posted:

My post is meant to convey the relative worth of the three songs in question.  "Candy's Room" is the classic, and most worthy of attention.  That's why Bruce officially released it in 1978.

Yes, tedious is part of studying history.  I know, I've been there.  But publishing the results on Brucebase requires discretion, and understanding the intended audience. 

For intense research findings on his artistic process, another forum would best serve extensive, detailed information to the public.

Given the long existence of On The Tracks, nearly 20 years, the old axiom "Less is more" should always apply.  Or you may lose readership.

Won't lose my readership 

Absolutely  love the in depth work tilly is putting into this. After all we want BB to be as accurate as possible, with as much information as possible. Tilly is going above and beyond. Well done sir 

Thanks Kevin I can't believe how intense people are about Bruce Springsteen in the year 2020. You know based on his family genes, he may live as long as Queen Elizabeth. Adele going on 95, Doug doesn't count, he passed away young from industrial disease, he was in Dire Straits. 

people would jump onstage and grab me by the head and scream, ‘tilly! bootlegs!'"

tillywilly posted:
km posted:
jsavage posted:

My post is meant to convey the relative worth of the three songs in question.  "Candy's Room" is the classic, and most worthy of attention.  That's why Bruce officially released it in 1978.

Yes, tedious is part of studying history.  I know, I've been there.  But publishing the results on Brucebase requires discretion, and understanding the intended audience. 

For intense research findings on his artistic process, another forum would best serve extensive, detailed information to the public.

Given the long existence of On The Tracks, nearly 20 years, the old axiom "Less is more" should always apply.  Or you may lose readership.

Won't lose my readership 

Absolutely  love the in depth work tilly is putting into this. After all we want BB to be as accurate as possible, with as much information as possible. Tilly is going above and beyond. Well done sir 

Thanks Kevin I can't believe how intense people are about Bruce Springsteen in the year 2020. You know based on his family genes, he may live as long as Queen Elizabeth. Adele going on 95, Doug doesn't count, he passed away young from industrial disease, he was in Dire Straits. 

Oh Tilley, yer nearly gave me a heart attack

=============================================================

Someday's you're the statue, someday's the pigeon.

km posted:
jsavage posted:

My post is meant to convey the relative worth of the three songs in question.  "Candy's Room" is the classic, and most worthy of attention.  That's why Bruce officially released it in 1978.

Yes, tedious is part of studying history.  I know, I've been there.  But publishing the results on Brucebase requires discretion, and understanding the intended audience. 

For intense research findings on his artistic process, another forum would best serve extensive, detailed information to the public.

Given the long existence of On The Tracks, nearly 20 years, the old axiom "Less is more" should always apply.  Or you may lose readership.

Won't lose my readership 

Absolutely  love the in depth work tilly is putting into this. After all we want BB to be as accurate as possible, with as much information as possible. Tilly is going above and beyond. Well done sir 

 

Good for you.  There's always be one person visiting the site.

You either haven't seen the site lately, or cannot discern useful information from pedantry and excessive personal opinion. 

However, many other can.

Johnny

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