A Little Background
Born to Run - Bruce Springsteen
Written in 1974, “Born to Run” was the product of The Boss’ youthful desperation (he was 24 at the time). Coming on the heels of 2 critically regarded but commercially feeble albums (Greetings from Asbury Park, New Jersey and The Wild, The Innocent, and The E Street Shuffle), Springsteen set out to write an album (and song) that would reflect his last-chance mentality, as it may have been his last chance at success before getting dropped from his label (Columbia).
The song was composed primarily on guitar (unlike the rest of the album, which was piano-driven), and was produced by Springsteen and Mike Appel. The recording process took place far before that of the rest of the album, and featured two members (drummer Ernest “Boom” Carter and keyboardist David Sancious) who would not be on the rest of the album (being replaced by Max Weinberg and Roy Bittan, respectively).
The production process is emblematic of Springsteen’s perfectionism and unflappable musical vision, which often includes nearly a dozen scrapped guitar tracks in search of the perfect sound. The song also features some odd Heartland Rock instruments (though not uncommon Springsteen instruments) most notably glockenspiel, saxophone and organ.
The album was Springsteen’s commercial breakthrough, peaking at #3 on the Billboard charts in 1975. The song itself reached #23. The critical success of the album has cemented it into the history of rock. Some accolades include being placed on the NPR 100, #21 on Rolling Stone’s 500 Greatest Songs of All Time, and one of the Rock and Roll Hall of Fame’s 500 Songs That Shaped Rock and Roll, to name a few.
Fun fact: The first recording of this song was actually credited to Allan Clarke of The Hollies. Thank God we have the Boss’ version (how this happened, I have no idea).
The Breakdown
0:00-0:13 The Intro
The first 13 seconds of this song is basically dominated by rhythm. Boom Carter’s kick drum basically feels like a rapid heartbeat, setting a tone of urgency and tension to the track. Another thing I love about this intro is the uniformity of all the other instruments aside from the drums and bass—the guitar, sax, glockenspiel and piano are all slamming the riff so anthemically; I love it.
0:14-1:02 Verse 1/Chorus 1
In the day we sweat it out in the streets of a runaway American dream
At night we ride through mansions of glory in suicide machines
Sprung from cages on Highway 9,
Chrome wheeled, fuel injected and steppin’ out over the line
Baby this town rips the bones from your back
Its a death trap, its a suicide rap
We gotta get out while were young
‘cause tramps like us, baby we were born to run
The thing about Springsteen, love him or hate him, is that his songs convey an almost palpable aesthetic. Now, I was never on the New Jersey Shore, specifically during the 60s and 70s. But, through his songs, and his storytelling, I almost feel like I can see and sense it.
In just two lines the Boss conjures that image—the working-class (probably) uneducated finding escape through machinery. This image isn’t specific to New Jersey, of course. You can look anywhere in the country and find hard-working folks sweating it out on the streets.
I also find connection in the line “we gotta get out while we’re young.” So often in these tough-as-nails towns even the most monotonous and unrewarding life can become a comfortable routine. Springsteen hits the nail on the head; we have to leave early, or we’re bound to be trapped here for the rest of our lives.
1:03-1:50 Verse II
Wendy let me in I wanna be your friend
I want to guard your dreams and visions
Just wrap your legs ‘round these velvet rims
And strap your hands ‘cross my engines
Together we could break this trap
Well run ‘til we drop, baby well never go back
Will you walk with me out on the wire?
‘cause baby I’m just a scared and lonely rider
But I gotta know how it feels
I want to know if love is wild, babe, I want to know if love is real
Can you show me?
This song can pretty much be looked at in four parts. The first part we’re introduced to our protagonist, the second his girl, the third the general scene of the shore and the forth the triumph over a world against you.
With that said, in the second verse we meet Wendy, the love interest of our tragic hero. I think this verse was pretty much written to get the Boss laid. It’s a stereotypical outlaw romantic fantasy—a lonely character looking to run away with his woman, just to feel something; to try and prove that love exists. Because, maybe if escape isn’t physical, it can be an emotional escape into the soul of someone else.
Sonically, this verse (1:10) brings in some powerful chords slammed on the organ, and (1:16) a more manic interplay between the glockenspiel and the piano, which really fleshes out the music and melody.
1:52-2:10 Clarence Clemons…
Last week I talked about how even the best songs have divisive moments. One of the main criticisms of Springsteen (aside from his voice) is the hokey-sounding saxophone. I am inclined to agree. I’ve never been a big fan of the growl technique of embouchure on a saxophone. I think it just sounds a bit tacky; and Clarence Clemons uses it often. With that said, the solo is only 17 seconds, and it doesn’t not fit in with the song. But still…
2:11-2:37 Bridge and Setting
Beyond the palace hemi-powered drones scream down the boulevard
Girls comb their hair in rearview mirrors
And the boys try to look so hard
The amusement park rises bold and stark
Kids are huddled on the beach in the mist
I wanna die with you Wendy on the streets tonight
In an everlasting kiss
As previously stated, the third part of this song would be considered, to me, where the environment in which this escapist love story is taking place. We’re in a summer night on the New Jersey shoreline with the roar of engines surrounding cigarette-smoking kids with Ferris Wheels and observation decks silhouetted against a setting sun.
In the midst of this chaos we have our hero and Wendy, stuck in eternity in each other’s arms as the motorcycles and muscle cars drag up and down the strip.
2:38-3:02 Instruments
The instrumental bridge to this song really showcases the Boss and Boom Carter. Both men just rip fast, manic rhythms that build the tension to the breaking point.
3:03-3:56 The Breaking Point
To me, the final verse of this song is the most epic moment in rock and roll history. With the bridge building up and then letting off in a cathartic sigh, Springsteen puts us on the ropes. Then, instead of letting us down easily, he comes at us harder than ever:
The highway’s jammed with broken heroes on a last chance power drive
Everybody’s out on the run tonight but there’s no place left to hide
Together Wendy we can live with the sadness
I’ll love you with all the madness in my soul
Someday girl I don’t know when were gonna get to that place
Where we really want to go and we’ll walk in the sun
But ‘til then tramps like us baby we were born to run
The characters, in spite of everything negative about the place they are, have an unshakeable optimism towards everything. Our hero, perhaps out of fear to stay in the same place (both physically and emotionally) is giving himself completely to the new prospects in the love of someone else. Maybe the road is going to lead to happiness. Maybe the road will be neverending and unfulfilling, but without question the optimism is there that one day the darkness will end and the light of optimism will permeate our hero’s loneliness.
3:57-4:30 Outro
The outro reprises the opening riff, and lets us off on the same optimistic note started in the breaking point.
The Analysis
Springsteen once called the song “The dividing line between adolescence and adulthood.” Maybe that’s why the song speaks so plainly and vividly to me. Being on this cusp myself I see so clearly where he’s coming from. But, in an even broader sense, this song is about rejecting settling. It’s about pushing the boundaries of this life. And, if you’re trapped in a place, or a relationship, or an age, or a certain situation, instead of sticking around waiting for change, sometimes you just have to run. You have to break down the walls of mediocrity in search of your own fulfillment—whatever that may be.
Thanks, Boss.
Erik
Videos (The Many Incarnations of "Born to Run"):
1975
1987 (Acoustic)
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