It’s jolting to realize that the classic LP Born to Run dropped almost a half century ago. Odder still? This third studio release was Bruce’s final swing of the musical bat in 1975. Columbia Records was displeased with the lack of commercial success of his first two albums and were growing less invested in Bruce. As beloved as Greetings from Asbury Park and The Wild, The Innocent and the E Street Shuffle are today, they were well-reviewed under-earners at the time. A lot was resting on Born to Run. And it delivered like nobody’s business.
Born to Run is an absolute triumph on every level. It’s a bit less than 40 minutes of masterful rock, filled with gritty street poetry yet universal in its appeal. The prevalent theme is Springsteen’s fraught New Jersey youth, with his desire to break free of blue collar woes, street fights and problematic romances. It spoke to millions with its heart of darkness and yearning to hit the open road. Riddled with vehicle imagery and road references, it’s a metaphor for escape.
Born to Run is a consistent rocker with lots of Spector-esque “wall of sound” worked in. It also utilizes the saxophone genius of Clarence Clemons, along with horns, keyboards and a pastiche of synthesizers, glockenspiel and harmonica. Oh, and a whole lotta guitar.
The iconic cover was designed by John Berg and shot by Eric Meola. It features a rumpled Bruce clutching his Fender (paying quiet homage to Elvis on his guitar strap) and leaning against Clemons who is brandishing his sax. (Their considerable height difference was cheated by a platform that Bruce stood on.)
The 900 outtakes of this photo session are available online and show a range of epic shots – but the chosen cover image was inevitable. It wraps around the front and back, perfectly highlighting the soulmate qualities between the two men.
The eight tracks on Born to Run are each stand-alone classics. Together they create an intense vibe of humanity, heartbreak, and high (often quashed) hopes.
“Thunder Road” opens with a gentle harmonica by Bruce and an underlay of piano from the great Roy Bittan. Bruce’s earnest vocals pull us in: “The screen door slams/Mary’s dress sways/Like a vision she dances across the porch as the radio plays.” Springsteen references his loneliness via Roy Orbison as he tries to get Mary to hit the road with him for an unknown destiny. He concludes with the recurring spirit of the album: “It’s a town full of losers/I’m pulling out of here to win!”
“Tenth Avenue Freeze Out” follows, a jazz-infused account of the origins of the E Street Band. The “Bad Scooter searching for his groove” character is presumably Springsteen himself, and things kick into high gear when “The Big Man” (Clarence Clemons) joins up. It’s a cool piece of history delivered with artistic mojo.
“Night” is the shortest tune on Born to Run, at a compact three minutes, and probably the least known. But what a tribute to blue-collar blues, as the narrator waits for his 9-to-5 dreariness to end so he can avail himself of a night of drag racing and romance. Driven by Gary Tallent’s bass and the “wall of sound,” we feel the growing excitement of the man who aches for the release of the open highway – and the love of a good woman.
“Backstreets” wraps up Side One, an operatic beauty filled with love, pain, friendship and loss. And a lot of differing fan interpretations because of the ambiguity of the relationship between the narrator and “Terry.” Springsteen clarifies that it is a song about a “broken friendship.” Roy Bittan’s one-minute intro opens this impassioned story of a breakup, with the friendship portion the true collateral damage. Bruce closes it out with a mournful wail and whimper of acceptance.
Side Two brings the brilliant, titular “Born to Run.” A tale of wanting to break free of dreary adversity with his love Wendy (all of Bruce’s named women are blends of people he has known), on the “mansions of glory in suicide machines.” The chrome wheels and fuel injections are all autoerotic symbols for release and relief. Filled with palpable excitement and the romance of lyrics like “Together, Wendy, we can live with the sadness/I’ll love you with all the madness in my soul,” Born to Run is one of rock’s most enduring anthems.
“She’s the One” pays homage to Bo Diddley in its staccato rhythms. The object of Bruce’s affections is a wildly alluring, problematic woman. It’s the closest thing to a love song on the album, delivered with an abrasive edge. It’s a tune with lots of self-aware ambivalence and Bruce’s sexy riff at its sharp conclusion.
“Meeting Across the River” has a contemplative tone in this portrait of a desperate man with a substandard criminal mind. He needs a ride from his friend Eddie, to whom he makes his plea to get across the [Hudson] river to make a mystery deal that feels doomed from the start. With atmospheric flugelhorn and Bruce’s take on a loser in over his head, “Meeting Across the River” pulses with quiet depth.
The closing track, “Jungleland,” is an epic slice-of-life rock opera that takes us on a journey for 9.5 stunning minutes. It begins with a violin intro by Suki Lahav and keyboards from Roy Bittan, building to a crescendo of human tragedy. A nighttime street brawl, fleeting sexual encounters, and pointless dueling that yields a “real death waltz – between what’s flesh and what’s fantasy.”
“Jungleland” is impressionistic but relatable, featuring a solo by Clarence Clemons so filled with yearning that it transcends the poetic lyrics. Many consider “Jungleland” to be Springsteen’s finest track. It’s hard to imagine more anguished lyrics than “And in the quick of the night/they reach for their moment and try to make an honest stand/But they wind up wounded/Not even dead.” Springsteen’s signature sorrowful wails follow in an achingly perfect conclusion to an album that rightfully propelled the Boss into the stratosphere.
-Ellen Fagan
Photo: Getty Images
Another brilliantly observed and presented commentary by Ellen! I’ve always thought that if Born To Run came in at 50 minutes instead of 40, it would be revered by everyone the way it is by Ellen (and me). Towering genius, on so many levels!
Thank you so much, Henry! Excellent point – something this wonderful would only have benefited from 10 more minutes of wonderfulness. It’s such a timeless classic.
I contend this is the perfect rock album.
Difficult to deny! 🙂
BAckstreets is a classic!
Nice work, Ellen.
Thank you, good sir! It really is a stellar blend of music & poetry.
As the ’70s drew to a close, a friend related a critique of Born To Run that she’d read, that dismissed some of its tracks as proto-yuppie anthems. I was still pretty much in Springsteen’s thrall, so I didn’t think too much of it at the time, but that critique still hangs in the back of my mind. On the other hand, hell, that’s where my head was at in ’75-76. Whatever you think of Born To Run, no album has come close to generating that kind of excitement in 50 years.
Interesting notion! I would love to hear your friend’s reasoning – I’m not disputing it – but that is not my perception. But I agree with you – its ineffable impact cannot be denied.
Excellent analysis of this superlative album. I don’t remember too many other albums so complete in their perfection from start to finish. The Band, Music from Big Pink and Aja from those days round that subset out. Great work Ellen, as usual
Well said, Steve! I quite agree. Thank you so much!
8 songs. 39 minutes. Brilliant. There is no doubt that in today’s world, Bruce or pretty much any artist would have ever been given a shot at releasing a third album based on lackluster sales of 2 previous albums.
It’s a musical miracle that it all shook out as it did! So many colliding forces yielding such a stellar release…
It is an interesting history of Capital Records’ displeasure, and Born To Run was the band’s last shot. I am not from that generation, but the album’s song lyrics seem to capture that generation of American youth ideology of open road freedom and adventure based around the automobile. “Jungleland ” is my favorite on the album. Thanks for the article.