Bruce Springsteen – Born to Run Review

Linger a little in the historic days of the 1970s and influence after influence of those to follow can be heard. Bruce Springsteen is likely responsible for cultivating a whole new form and era of wild guitar music which has since seen a rightful resurgence at the turn of this decade. Sam Fender and the likes, as much as they wish to distance themselves from the clear Born to Run influences, are indebted to The Boss. What a debt to hold though, and for those still moved by the bold sway Born to Run has – with entire feature films like Thunder Road maintaining their emotive core on just one song – the long-lasting effects of his powerful tone and style rings on, strong as ever. 

One of the finest guitar tracks out there, Thunder Road has an intensity to it matched by very few elsewhere. Hopes of reaching the promised land, the classic structure of rock and roll of the time fitted with a town full of losers and the drinking which gets you through it. Born to Run is a forty-minute assessment of hometown familiarities and the desire to move from them, to run from the well-traversed patches of road and carve out your own experience. Backed by the heartland swagger of Tenth Avenue Freeze-Out, the harsh conditions but jazz-adjacent form taken on the jungle that is the world. Springsteen invites listeners to head through those times which shaped the formative years, Nights and Backstreets do so well. The latter track strikes well as a dark horse for Born to Run. 

Piano workings are similar in intensity to Thunder Road but a punchy realisation that these deeper cuts of the town he finds himself in are the wider parts of the world, not just some uncovered treasure in his part of town. Slick guitar work and incredible instrumental sections drilled throughout this is a real treat to behold, as fresh and lively as it was all those decades ago. Those borders of perfection are pushed once more with the incredible title track, the broad autobiographical feeling to it, of making a guitar talk and seeing where it can take you. This breakthrough record for Springsteen is stuffed full of those moments, where he puts his heart on the line and holds out hope for some emotional reaction. He got what he wanted, and the rest which followed was of the same volatile and freeing experiences. 

Born to Run lives on as one of many borderline-perfect Springsteen records. Meeting Across the River slows itself, the sputters of brass and piano trading off the frenetic energies of She’s the One and album closer Jungleland, but it is a balance and slower pace needed to appreciate the songs it is sandwiched between. Those closing notes on the piano give a chance for reflection. Springsteen has opened his heart to listeners and told them to make their own mark, to move on from what lay around them. In those nine minutes of Jungleland is the chance to truly try it – to grasp the nettle and pull forth into the unknown. Doing so is necessary. Born to Run is still a fiery kit of reaction and realisation, sharp and useful in giving you the kick to the head so often needed in times of stress.