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Track List
01) Thunder Road
02) Tenth Avenue Freeze-Out 
03) Night
04) Backstreets
05) Born to Run
06) She's the One
07) Meeting Across the River
08) Jungleland
01) Thunder Road
02) Tenth Avenue Freeze-Out
03) Night
04) Backstreets
05) Born to Run
06) She's the One
07) Meeting Across the River
08) Jungleland
4:50
3:11
3:01
6:30
4:30
4:30
3:19
9:33
Data Complete
90%
Total Rating
90%Total Rating
(3 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
1975
Rock
Enlightened
Rock/Pop
---
Medium
Album
7,000,000 copies
Album Description
Available in:
Born to Run est le troisième album de Bruce Springsteen, qu'il a produit avec Jon Landau et Mike Appel, sorti en 1975. Il fut classé en troisième place des meilleures ventes des disques aux États-Unis. En 2002, le magazine Rolling Stone a classé cet album au dix-huitième rang d'un Top 500 des meilleurs albums de tous les temps, tandis que la station musicale VH1 a classé cet album au vingt-septième rang d'un classement similaire en 2003.
Beaucoup de fans du Boss considèrent cet album comme son meilleur. Cette œuvre symbolise un côté de l'Amérique parfois méconnu, plein d'espérance et tumultueux. Les laissés pour compte (Jungleland), sans que le droit au rêve ne leur soit pas permis (Born to Run). Sa jeunesse sur la côte est se fait clairement sentir, ainsi que des références à son enfance et à des personnes qui l'ont marqué, qu'il aime et qui l'ont soutenu (Backstreets, Thunder Road, Meeting across the River) dans un monde où il faut s'accrocher, où il y a beaucoup de perdants, et où même l'effort ne suffit pas.
Musicalement, Springsteen adopte un style plus dur que précédemment en forçant sa voix. Beaucoup de cuivres accompagnent la trame, on assiste à une sorte d'opéra pop du nouveau monde, avec des éléments indissociables de l'Amérique. L'album préfigure le suivant (Darkness on the Edge of Town) bien que beaucoup plus gai et donc plus accessible, mais par là en même temps moins touchant et moins percutant.
User Album Review
Born To Run’s eight songs run to less than 40 minutes in length, but comprise a whole as satisfying as a portion of exquisitely rich chocolate cake. It seems Springsteen truly went for broke in 1975 after his first two albums had been critically well-received but less so commercially. Music critic Jon Landau became his producer and joined Bruce with his E-Street band in the studio to make what remains a classic, honest musical expression of hope, dreams and survival.
The colossal wall of sound production would make Phil Spector proud. Clarence Clemons’ triumphant yet bittersweet saxophone wailing and Roy Bittan’s nagging piano riffs augment the tough Telecaster guitar sound, while chiming glockenspiel and Max Weinberg’s drumming cement the heady mix.
Lyrically, it’s a dramatic collection of blue-collar tales of love and making ends meet that could only come from New Jersey’s favourite son. He clearly took a few ideas from storytellers like Van Morrison and Bob Dylan but also forged his own uplifting style. In ''Meeting Across The River'', a street tale Lou Reed would be proud of, listeners can ponder on a great deluded hustler’s line: 'That two grand’s practically sitting here in my pocket.' ''Thunder Road'' meanwhile, is almost effortlessly cinematic. In two lines there’s imagery more striking than most songwriters can manage on a whole album: 'In the skeleton frames of burned-out Chevrolets… Your graduation gown lies in rags at their feet.' On the excellent title track familiar BS motifs are returned to, particularly running away and the allure of fast cars, 'Chrome-wheeled, fuel-injected and stepping out over the line…We gotta get out while we’re young.' Few tunesmiths can make a bad situation sound so good.
Like Ry Cooder, over a lengthy career the working-class NJ hero has proved himself to be a remarkably versatile operator. He’s taken on rootsy American folk material, written about 9/11 and, of course, had gargantuan commercial success with Born In The USA. Contemporary bands are never slow in praising him and his influence is still keenly felt. In songwriting terms alone Arcade Fire, REM and Mercury Rev have all clearly borrowed his ideas down the years and it’s unlikely they’ll be the last.
External Album Reviews
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User Comments
Available in:
Born to Run est le troisième album de Bruce Springsteen, qu'il a produit avec Jon Landau et Mike Appel, sorti en 1975. Il fut classé en troisième place des meilleures ventes des disques aux États-Unis. En 2002, le magazine Rolling Stone a classé cet album au dix-huitième rang d'un Top 500 des meilleurs albums de tous les temps, tandis que la station musicale VH1 a classé cet album au vingt-septième rang d'un classement similaire en 2003.
Beaucoup de fans du Boss considèrent cet album comme son meilleur. Cette œuvre symbolise un côté de l'Amérique parfois méconnu, plein d'espérance et tumultueux. Les laissés pour compte (Jungleland), sans que le droit au rêve ne leur soit pas permis (Born to Run). Sa jeunesse sur la côte est se fait clairement sentir, ainsi que des références à son enfance et à des personnes qui l'ont marqué, qu'il aime et qui l'ont soutenu (Backstreets, Thunder Road, Meeting across the River) dans un monde où il faut s'accrocher, où il y a beaucoup de perdants, et où même l'effort ne suffit pas.
Musicalement, Springsteen adopte un style plus dur que précédemment en forçant sa voix. Beaucoup de cuivres accompagnent la trame, on assiste à une sorte d'opéra pop du nouveau monde, avec des éléments indissociables de l'Amérique. L'album préfigure le suivant (Darkness on the Edge of Town) bien que beaucoup plus gai et donc plus accessible, mais par là en même temps moins touchant et moins percutant.
User Album Review
Born To Run’s eight songs run to less than 40 minutes in length, but comprise a whole as satisfying as a portion of exquisitely rich chocolate cake. It seems Springsteen truly went for broke in 1975 after his first two albums had been critically well-received but less so commercially. Music critic Jon Landau became his producer and joined Bruce with his E-Street band in the studio to make what remains a classic, honest musical expression of hope, dreams and survival.
The colossal wall of sound production would make Phil Spector proud. Clarence Clemons’ triumphant yet bittersweet saxophone wailing and Roy Bittan’s nagging piano riffs augment the tough Telecaster guitar sound, while chiming glockenspiel and Max Weinberg’s drumming cement the heady mix.
Lyrically, it’s a dramatic collection of blue-collar tales of love and making ends meet that could only come from New Jersey’s favourite son. He clearly took a few ideas from storytellers like Van Morrison and Bob Dylan but also forged his own uplifting style. In ''Meeting Across The River'', a street tale Lou Reed would be proud of, listeners can ponder on a great deluded hustler’s line: 'That two grand’s practically sitting here in my pocket.' ''Thunder Road'' meanwhile, is almost effortlessly cinematic. In two lines there’s imagery more striking than most songwriters can manage on a whole album: 'In the skeleton frames of burned-out Chevrolets… Your graduation gown lies in rags at their feet.' On the excellent title track familiar BS motifs are returned to, particularly running away and the allure of fast cars, 'Chrome-wheeled, fuel-injected and stepping out over the line…We gotta get out while we’re young.' Few tunesmiths can make a bad situation sound so good.
Like Ry Cooder, over a lengthy career the working-class NJ hero has proved himself to be a remarkably versatile operator. He’s taken on rootsy American folk material, written about 9/11 and, of course, had gargantuan commercial success with Born In The USA. Contemporary bands are never slow in praising him and his influence is still keenly felt. In songwriting terms alone Arcade Fire, REM and Mercury Rev have all clearly borrowed his ideas down the years and it’s unlikely they’ll be the last.
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