Bruce Springsteen, a name synonymous with American rock, carved a unique path in music. While songs about cars were once as common as ballads about love, Springsteen transformed the genre, steering it into uncharted emotional territories. His car songs aren’t mere celebrations of Detroit’s steel giants; they are narratives where vehicles become catalysts for life-altering moments, often fraught with danger and profound change.
These weren’t your typical anthems of escape on four wheels either. Springsteen masterfully subverted this trope, using the journey’s end not as a promised land, but often as a confrontation with harsh realities and the burdens his characters carried. His protagonists – the marginalized, the dreamers, the ill-fated lovers – found that the open road often led to complex truths, not simple getaways.
In essence, Springsteen redefined the car song, moving it far beyond the simplistic portrayals of previous generations. But when considering his extensive catalog, which car songs truly stand out? To navigate this musical highway, we enlisted our resident Springsteen aficionado, Mark Saleski, just in time for Bruce’s birthday on September 23, 1949, to guide us through his top picks.
Spanning from 1975 to 1982, these selections showcase Springsteen’s evolving sound and thematic depth during his most critically acclaimed album releases. So, buckle up as we explore the poignant world of Bruce Springsteen’s songs about cars.
“USED CARS,” (NEBRASKA, 1982): Is the automobile an overused symbol in American songwriting? Some critics argue precisely that, particularly when it comes to Springsteen’s work. However, such criticisms often miss the crucial cultural significance of the car. Since the dawn of pop music, the car has represented freedom and the restless spirit. The key lies in distinguishing between songs that simply feature cars and those that use them as powerful metaphors or to enrich the narrative setting.
and the car still has that new car smell and dad looks like he might smile and the world is big and full of Autumn – Greg Brown
Springsteen’s “Used Cars” echoes the sentiment of folk artist Greg Brown’s “Brand New 64 Dodge.” In both songs, the vehicle itself is secondary to the event—in Brown’s case, the joyous purchase, and in Springsteen’s, the stark reality of buying used. The focus is on the emotions and experiences tied to the car. While Brown’s song celebrates a moment of family upliftment, Springsteen’s track portrays a child’s longing for a future where they can escape the shame associated with poverty, where a symbol of American aspiration doesn’t feel like a mark of disgrace. The poignant line, “Now, mister, the day the lottery I win I ain’t ever gonna ride in no used car again,” encapsulates this yearning for upward mobility and escape from present hardship.
“CADILLAC RANCH,” (THE RIVER, 1980): The River album is famously known for its duality, balancing lighthearted exuberance with somber reflections. “Cadillac Ranch” firmly resides on the brighter side, embodying unadulterated fun. Picking a favorite from The River is a near-impossible task, but “Cadillac Ranch” is undeniably a strong contender for sheer enjoyment.
Fueled by an infectious guitar riff, this song is an exuberant tribute to the iconic American road warrior image. The lyric, “Tearing up the highway like a big old dinosaur,” perfectly captures the raw power and freedom associated with classic cars and open roads. Coupled with the imagery of “girls in tight jeans,” it’s a quintessential anthem of youthful abandon and the thrill of the ride.
Don’t miss this energetic live version from the era, showcasing the band’s playful stage presence. It’s a reminder of the pure, unadulterated joy music can bring, a sentiment perfectly embodied in this high-octane car song.
“THUNDER ROAD,” (BORN TO RUN, 1975): While comparing songs is often subjective and can diminish the unique qualities of each, “Thunder Road” holds a special place in Springsteen’s vast catalog. For many, it’s not just a favorite car song but a career highlight. It’s a song brimming with vivid imagery, setting the thematic stage for the entire Born To Run album. The overarching theme, central to Springsteen’s world, is the human capacity to overcome adversity and break free from limiting circumstances.
The opening lines – “The screen door slams/Mary’s dress waves” – are iconic, bursting with possibilities and a sense of cinematic drama. They are so evocative that they retain their power through countless listens, whether live or recorded. The song’s musical journey, beginning with Springsteen’s harmonica and Roy Bittan’s piano, gradually builds into a full E Street Band crescendo, complete with Springsteen and Clarence Clemons’s signature unison lines and Danny Federici’s shimmering glockenspiel.
The personal connection many feel to “Thunder Road” deepens its impact. As Saleski recounts, a close friend singing “Thunder Road” on his birthday, transforms the song into a personal anthem, blurring the lines between art and life. Lines like, “So you’re scared and you’re thinking/That maybe we ain’t that young anymore,” resonate with growing weight and meaning over time, solidifying the song’s place as more than just a story, but a reflection of life itself.
“STOLEN CAR,” (THE RIVER, 1980): The world is awash in love songs and songs about heartbreak, but the truly exceptional ones, like great poems, capture the essence of human experience. “Stolen Car” offers a poignant snapshot of a relationship’s demise and the lingering ache of lost time. It portrays a couple reflecting on what was and how it unravelled, lamenting not only the lost love but also the relentless passage of time – a universal feeling of melancholy and nostalgia.
This ballad takes a darker, more unsettling turn as the protagonist reveals his descent into isolation and despair. His nightly drives in a stolen car are never explicitly explained, and perhaps explanation is unnecessary. It speaks to a deeper desperation, a sense of being lost and disconnected, as he wonders if he has become invisible, “gone” from the world.
And I’m driving a stolen car
On a pitch black night
And I’m telling myself I’m gonna be alright
But I ride by night and I travel in fear
That in this darkness I will disappear
The haunting descending background vocals amplify the song’s eerie atmosphere, perfectly capturing the protagonist’s lost and haunted gaze in the rearview mirror. “Stolen Car” transcends the typical breakup song, delving into themes of identity, isolation, and the fear of disappearing.
“RACING IN THE STREET,” (DARKNESS ON THE EDGE OF TOWN, 1978): A powerful muscle car and a beautiful woman by your side – for many, this embodies the ultimate escape from the daily grind. “Racing in the Street” initially presents this image of car-enabled salvation. However, as is often the case with Springsteen, layers of deeper meaning lie beneath the surface. While it can be enjoyed as a song about cars and escape, the third verse reveals a more profound narrative about coping with broken dreams and a life that hasn’t unfolded as hoped.
The interplay between Roy Bittan and Danny Federici is crucial to the song’s emotional depth. From Bittan’s stark and mournful piano introduction to the extended instrumental outro, the music embodies the desperation and somber mood that permeates the entire Darkness on the Edge of Town album. “Racing in the Street” uses the car not just as a vehicle for escape, but as a symbol of lost potential and the struggle to find meaning in the face of disappointment. It’s a powerful reflection on the gap between youthful aspirations and the often-harsh realities of adult life.
Mark Saleski
Mark Saleski is a writer and music obsessive based out of the woods of central New Hampshire. A past contributor to Jazz.com, Blogcritics.org and Salon, he originated several of our weekly features including the Friday Morning Listen, (Cross the) Heartland, WTF! Wednesday, and Sparks Fly on E Street. Follow him on Twitter: @msaleski. Contact Something Else! at [email protected].
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Tags: Bruce Springsteen, Gimme Five, Mark Saleski, new release
