{"id":23071,"date":"2020-12-05T05:00:00","date_gmt":"2020-12-05T13:00:00","guid":{"rendered":"https:\/\/estreetshuffle.com\/?p=23071"},"modified":"2023-01-02T16:52:21","modified_gmt":"2023-01-03T00:52:21","slug":"roll-of-the-dice-come-on-lets-go-tonight","status":"publish","type":"post","link":"https:\/\/estreetshuffle.com\/index.php\/2020\/12\/05\/roll-of-the-dice-come-on-lets-go-tonight\/","title":{"rendered":"Roll of the Dice: Come On (Let&#8217;s Go Tonight)"},"content":{"rendered":"<p>It&#8217;s always fun (for me, at least) when the dice turn up a mini-theme.<\/p>\n<p>For the second time this week, we&#8217;re examining an officially released song that shares a whole lot of DNA with another released song. The other day, we looked at lyrical twins &#8220;<a href=\"https:\/\/estreetshuffle.com\/index.php\/2019\/04\/03\/roll-of-the-dice-mary-lou\/\">Be True<\/a>&#8221; and &#8220;<a href=\"https:\/\/estreetshuffle.com\/index.php\/2019\/04\/03\/roll-of-the-dice-mary-lou\/\">Mary Lou<\/a>;&#8221; today, we take a look at &#8220;Come On (Let&#8217;s Go Tonight),&#8221; the musical twin of &#8220;<a href=\"https:\/\/estreetshuffle.com\/index.php\/2018\/10\/31\/roll-of-the-dice-factory\/\">Factory<\/a>.&#8221;<\/p>\n<div class=\"jetpack-video-wrapper\"><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"758\" height=\"427\" src=\"https:\/\/www.youtube.com\/embed\/j_LBQD2nghw?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/div>\n<p>If Bruce hadn&#8217;t released it on <em>The Promise<\/em> in 2010, I&#8217;d probably be covering &#8220;Come On (Let&#8217;s Go Tonight)&#8221; as an early draft of &#8220;Factory&#8221; instead of as a song in its own right.<\/p>\n<p>To hardcore Springsteen fans, it&#8217;s difficult to listen to &#8220;Come On (Let&#8217;s Go Tonight)&#8221; and hear anything other than a hodgepodge of lyrics that would eventually find their way to other more well-known songs.<\/p>\n<p>And yet, if we can pretend that we&#8217;ve never listened to &#8220;Factory,&#8221; &#8220;<a href=\"https:\/\/estreetshuffle.com\/index.php\/2021\/10\/28\/roll-of-the-dice-out-in-the-street\/\">Out in the Street<\/a>,&#8221; and &#8220;<a href=\"https:\/\/estreetshuffle.com\/index.php\/2022\/07\/13\/roll-of-the-dice-johnny-bye-bye\/\">Johnny Bye Bye<\/a>&#8221; before, there&#8217;s a somber reflection on life and death waiting to be discovered here.<\/p>\n<p>&#8220;Come On (Let&#8217;s Go Tonight)&#8221; was one of the very first songs recorded for\u00a0<a href=\"https:\/\/estreetshuffle.com\/index.php\/2022\/07\/05\/album-companion-darkness-on-the-edge-of-town\/\"><em>Darkness on the Edge of Town<\/em><\/a>. In fact, a first cut was recorded on the very first day of recording sessions. Bruce worked on it throughout the early days of the summer of &#8217;77, and one of those early July recordings escaped into the wild as a bootleg.<\/p>\n<audio class=\"wp-audio-shortcode\" id=\"audio-23071-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/estreetshuffle.com\/wp-content\/uploads\/2020\/12\/113-Lets-Go-Tonight-v2.mp3?_=1\" \/><a href=\"https:\/\/estreetshuffle.com\/wp-content\/uploads\/2020\/12\/113-Lets-Go-Tonight-v2.mp3\">https:\/\/estreetshuffle.com\/wp-content\/uploads\/2020\/12\/113-Lets-Go-Tonight-v2.mp3<\/a><\/audio>\n<p>In the clip above, we can clearly hear that this is a song where the music preceded the lyrics&#8211;melodically, &#8220;Come On (Let&#8217;s Go Tonight)&#8221;\/&#8221;Factory&#8221; was fully formed from the beginning (even if it lacks the gorgeous David Lindley violin overdub that was added later).<\/p>\n<p>Lyrically, though, this is definitely an early draft. There&#8217;s a lot of bluffing going on, but there&#8217;s at least one gem of a line that Bruce ultimately discarded but which truly deserved to be adopted elsewhere:<\/p>\n<p style=\"padding-left: 40px;\"><em>Everybody wants heaven, but nobody wants to die.&#8221;<\/em><\/p>\n<p>Man, that&#8217;s a great line.<\/p>\n<p>By autumn, Bruce would evolve his lyrics to focus on his father, and &#8220;Come On (Let&#8217;s Go Tonight)&#8221; morphed into &#8220;The Factory Song&#8221; and finally &#8220;Factory.&#8221; During the summer, though, it remained a song focused on the brevity of life and the opportunity cost of living (which is actually not that far removed from what &#8220;Factory&#8221; is about).<\/p>\n<p style=\"padding-left: 40px;\"><em>Put on your black dress baby, and put your hair up right<\/em><br \/>\n<em>There&#8217;s a party way down in Factory Town tonight<\/em><br \/>\n<em>I&#8217;ll be going down there if you need a ride<\/em><br \/>\n<em>Come on, come on, let&#8217;s go tonight<\/em><\/p>\n<p>Let&#8217;s acknowledge the obvious: the first couplet eventually made it to &#8220;Out in the Street,&#8221; and the second one to &#8220;Johnny Bye Bye.&#8221; But taken on its own, we have an introductory verse that sets the scene: there&#8217;s a &#8220;party&#8221; going down, but the black dress implies that &#8220;party &#8221; is a euphemism. We&#8217;re about to find out what for.<\/p>\n<p style=\"padding-left: 40px;\"><em>How many men fail, their dreams denied<\/em><br \/>\n<em>They walk through these streets with death in their eyes<\/em><br \/>\n<em>Now the man on the radio says &#8220;Elvis Presley died&#8221;<\/em><br \/>\n<em>Come on, come on, let&#8217;s go tonight<\/em><\/p>\n<p>As with &#8220;Johnny Bye Bye,&#8221; our song is set on the night that Elvis died. That was an event that hit Bruce hard, both because of the loss of an idol and the reinforcement of a lesson: success doesn&#8217;t necessarily breed contentment.<\/p>\n<p>This middle verse is the crux of the song, and it&#8217;s a haunting one. Until this point in his career, Bruce was famously and obsessively focused on his craft and his success. He knew he was in a business where few made it big, and he knew what blue-collar fate awaited him if a musical career didn&#8217;t pan out.<\/p>\n<p>&#8220;Factory&#8221; eventually became a song about the cost of surrendering your dreams to the monotony that comes with compromise, with Bruce&#8217;s father as the point-of-view character. The early draft that is &#8220;Come On (Let&#8217;s Go Tonight),&#8221; however,&#8221; reveals that Bruce may have been projecting with &#8220;Factory.&#8221; It&#8217;s clear from this early version that Bruce was intensely aware how tenuous success could be.<\/p>\n<p>And yet like the best of Bruce&#8217;s songs, &#8220;Come On (Let&#8217;s Go Tonight)&#8221; operates on other levels as well: if Elvis&#8217; death hit the songwriter existentially, Bruce brought his nameless mourners and celebrants along\u00a0 for the ride. These men and women had long ago given up their dreams and accepted &#8220;ordinary&#8221; jobs, but they were able to escape vicariously through popular music.<\/p>\n<p>But then the music died, and with it went the escapism. If even Elvis could be haunted by demons, what hope did common folk have?<\/p>\n<p style=\"padding-left: 40px;\"><em>Well now some came to witness, now some came to weep<\/em><br \/>\n<em>Drawn by death&#8217;s strange glory, they stood in the street<\/em><br \/>\n<em>Drawn together forever in the promise of an endless sleep<\/em><br \/>\n<em>Come on, come on, let&#8217;s go tonight<\/em><\/p>\n<p>There&#8217;s something about death that reminds us of life. We gather, in part to remember the departed, but in part to remind ourselves that\u00a0<em>we are still here<\/em>. There is indeed a strange glory in death&#8211;as Bruce wrote earlier,\u00a0<em>everybody wants heaven, but nobody wants to die<\/em>. We miss the fallen, but celebrate their escape to the afterlife.<\/p>\n<p>That penultimate line stays with us: <em>drawn together forever in the promise of an endless sleep<\/em>.<\/p>\n<p>It&#8217;s not that our mourners are suicidal; it&#8217;s that the emptiness of an unfulfilling life can make the idea of an endless sleep seem like a great relief. But before we have a chance to ponder that notion, Bruce takes us into the final chorus&#8211;and we realize that far from a meaningless refrain, &#8220;come on, come on, let&#8217;s go tonight&#8221; is a reminder to\u00a0<em>keep going<\/em>.<\/p>\n<p>Keep moving forward, even if right now there doesn&#8217;t seem to be much of a point to doing so.<\/p>\n<p>This is dark stuff, to be sure. But so is &#8220;Factory,&#8221; and most of <em>Darkness on the Edge of Town<\/em>.\u00a0A little goes a long way. (Sorry, all you\u00a0<em>Darkness<\/em> lovers&#8211;it&#8217;s my least favorite Springsteen album.)<\/p>\n<p>So yes, &#8220;Come On (Let&#8217;s Go Tonight)&#8221; is often dismissed as a work-in-progress &#8220;Factory,&#8221; but I&#8217;d argue that it&#8217;s a more mature and sophisticated composition than the version that made it onto\u00a0<em>Darkness on the Edge of Town<\/em>.<\/p>\n<p>Still, &#8220;Factory&#8221; remains the better-known song, and it would probably only confuse casual fans if Bruce were to play the earlier song in concert. To date, he&#8217;s only done so once, at his private Asbury Park carousel webcast\/video shoot in 2010, of which no recording circulates.<\/p>\n<p>&#8220;Come On (Let&#8217;s Go Tonight)&#8221; is likely to remain a deep cut obscurity, deserving of more consideration than it receives.<\/p>\n<p><strong>Come On (Let&#8217;s Go Tonight)<br \/>\nRecorded: <\/strong>Late 1977<br \/>\n<strong>Released:<\/strong>\u00a0<em>The Promise\u00a0<\/em>(2010)<br \/>\n<strong>First performed:<\/strong> December 7, 2010 (Asbury Park, NJ)<br \/>\n<strong>Last performed:<\/strong> December 7, 2010 (Asbury Park, NJ)<\/p>\n<p>Looking for your favorite Bruce song? Check our\u00a0<a href=\"https:\/\/estreetshuffle.com\/index.php\/roll-of-the-dice-album-by-album\/\">full index<\/a>. New entries every week!<\/p>\n","protected":false},"excerpt":{"rendered":"<p>This early draft of &#8220;Factory&#8221; has a surprising and somber depth all its own.<\/p>\n","protected":false},"author":1,"featured_media":23398,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[3],"tags":[2987,746,230],"class_list":["post-23071","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-roll-of-the-dice","tag-come-on-lets-go-tonight","tag-factory","tag-the-promise"],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- 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