"Born To Run" isn't merely a nerveless fusion of the best pop tenor sax since Junior Walker, passionately penetrating lead, and some of rock's greatest anthems; it defines what sometimes makes rock magnificent. It wasn't just that it came on like a hurricane after the posturings of some and the quietism of others (Bruce whines, but he whines loud). Nor simply that it was proud ("At night we ride in mansions of glory"), sentimental ("Roy Orbison sings for the lonely/Hey, that's me and I want you only"), romantic ("My car's outside if you're ready to take that long walk"), and dangerous (27 "Backstreets" in a row).

It had something to do with the perfect theft of the best of Van Morrison, Spector, Dylan and Motown, more to do with the exact sympathy of lyrics, bursting melodrama and musicianship, and something else unique: Brando with an axe, the machismo...