Born to Run (1975)
1. Thunder Road
2. Tenth Avenue Freeze Out
3. Night
4. Backstreets
5. Born to Run
6. She's the One
7. Meeting Across the River
8. Jungleland
 
America finally woke up and noticed
Bruce Springsteen on his third album. And it was about time. He
somehow manages to improve on his first, albeit brilliant, two albums.
It's not that this release is necessarily better than its predecessor,
but it's handled quite differently. Something must have worked since he
managed to get on the cover of Time and Newsweek the exact
same week shortly after this album was released.
Whereas The Wild, The Innocent and The E Street
Shuffle was much more epic in style - almost a mini opera about
young kids in blue collar industrial town, this one places much more
focus on the individual songs. It's almost as if the kids from
the last album decided to go to a show in an old American Legion Hall
downtown, and the songs here represent the show where they were performed.
And what a show. Springsteen manages to actually have his music eclipse
his lyrics on this album. And that's saying something considering the
beauty of the storyteller that hasn't gone away. The lyrics are somewhat
darker here, but not futile. The characters, whether they're living for
Friday night on the streets in their hot rods in Night, emulating
in the short lived excitement of a gang fight in Jungleland or
becoming so frustrated with life in the town that the guys get's his
girl and they just leave it all behind as in Thunder Road. The music
is phenomenal. You could argue that this is his first real rock
and roll record. The legendary E Street Band was now solidified with
new additions Roy Bittan on keyboards and Max Weinberg on drums (neither
would ever leave), and the music just sounds tighter and it's very obvious
why these guys were considered the "best" backup band ever by so many
people.
You could argue that the song Born to Run is the best
thing he's ever done by itself. He set out to write the greatest rock
and roll album of all time. If you insist he didn't succeed, you have
to concede that he came pretty darn close. Songs like Tenth Avenue
Freeze Out and She's the One pack an identical punch without
getting moody as songs such as Meeting Across the River or
Backstreets. Moodiness was his intention in those cases though, and he pulls those off
quite well also. The whole damn album is pretty incredible and really
belongs in any classic rock and roll collection.
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