I listened to Bruce Springsteen‘s 1975 LP “Born to Run” this week for lessons to improve as a songwriting musician. When I was a teenager, I rejected Springsteen’s music. His songs seemed for a completely different crowd, of a different age and a different culture. I heard “Born in the USA” and saw crowds of parents and grandparents pumping raised patriotic fists. I heard another song repeat “I’m going down, down, down, down.” and thought “What awful lyrics!” Only a few years ago did I learn that my assumptions were absurdly wrong. I especially learned a lot this week with my focused listen. Considering my own songwriting style and evolution, this album proves that Springsteen is somebody I definitely should be paying attention to.
The title track “Born to Run” opens side two of the album as the fifth track of the album. It received radio play nearly 8 months before recording of the rest of the album was completed. A wall of sound hits the listener within the first few seconds. The influence of Phil Spector’s signature sound is all over this album. The song “Born to Run” perfectly captures the heart of the album; This makes it a great centerpiece as well as a good introduction. The sound is desperately nostalgic and longingly anthemic; You can smell the roar of engines driven hard by drivers with hands still stained by grease, but also see the high school dance filled with couples nearing the end of youth.
This sound is perfectly suited to the words. The masterfully crafted lyrics on this album deal with tales of working class American youth and early adulthood. They do so with a raw but poetic nostalgia that avoids, but comes quite close to, sentimentalism. The characters in these stories of desperation are taking chances on love and life with just one last hope. They probably won’t make it, but the thrill and experience of the effort is reason enough to try.And see how the story of “Born to Run” is started:
In the day we sweat it out on the streets
of a runaway American dream
At night we ride through mansions of glory
in suicide machines
Basically, he’s saying they work all day so they can drag race at night. But what a way to say it! Through word-choice and carefully selected metaphors, he relates the two activities to enhance their similarities and differences. The work for the “American dream” seems futile while the mansions of those who’ve commandeered the American dream surround the speaker’s dangerous pastime. Here I only start to interpret the first two lines. If I wasn’t determined to describe my experience listening to the whole album, I would love to examine the lyrics of this single song. Given time, I could surely write volumes.
That presents one of the greatest lessons to take away from this album. Springsteen worked and worked on these lyrics. The first draft of “Born to Run” shows how much he changed the verses before the final version. I usually revise my own songs many times for years, but it’s important to see how much can be changed. In a few cases, I’ve kept only a few words of my first draft, but the feeling has remained the same. You can see in his first draft that Springsteen had imagery and emotion, but didn’t quite have the heart of the song yet.
Good poetry often elevates the mundane, often to the sublime. Springsteen so expertly elevates the mundane that it’s difficult to realize that it was ever mundane. He romanticizes the emotional struggle of everyday and the desire to escape the inevitable trap of the day-to-day. In “Thunder Road“, he opens with a description of the unexceptional.
The screen door slams Mary’s dress sways
Like a vision she dances across the porch as the radio plays
Roy Orbison singing for the lonely
Hey that’s me and I want you only
Don’t turn me home again
I just can’t face myself alone again
Standard rock chord progressions and song structures provide the backbone of these tracks, with plenty of I-IV-V and I-V-IV throughout. This strengthens the the mood and theme of the album. This vision of rock music dances on the front porch, but also climbs into the front seat to escape this old town.
The Phil Spector style production sounds better on this album than on most of the records that Spector himself actually produced. For his wall of sound, Phil Spector would record multiple musicians playing the same thing simultaneously and run it through echo chambers. This created a magical mess of sound. If focus on the background accompaniment of The Ronettes’ Be My Baby, you’ll notice how it’s a somewhat indistinct wash of instruments. Yet, Spector’s technique had the power to sonically elevate the mundane. Similar production provides Springsteen’s album with its sound while maintaining integrity of individual instruments. It’s really a wonderful thing to hear. One of my favorite tracks, She’s the One probably gets the closest to that messy wash, but still sounds great.
This has definitely been one of my favorites for this project of listening one great album each week. I’m looking forward to the next Springsteen.
We got one last chance to make it real
To trade in these wings on some wheels