Born to Run
Months of wall-of-sound overdubs poured into one getaway car, and every word still sounds like escape.
Months of wall-of-sound overdubs poured into one getaway car, and every word still sounds like escape.

MGM cut it from the film twice until Arthur Freed threatened to quit; Garland was sixteen.

That opening arpeggio is a Lowrey organ's marimba repeat function; Dave Arbus's violin sends the ending careening.

Bruce Langhorne's giant Turkish frame drum gave Dylan the image, and the Byrds' cover turned it into folk rock.

Eno reckoned half the album's sessions went into it and nearly wiped the tape; the Edge's delay does the rest.
Marr faked the strings on an Emulator, credited them to the Hated Salford Ensemble, and Britain waited six years.

Session men cut the track and McGuinn's twelve-string Rickenbacker rang over one Dylan verse; folk rock started there.

Bittan's piano, a harmonica, and a screen door slamming; Springsteen lifted the title from a Robert Mitchum film poster.

Edwards' bassline turned up on Rapper's Delight within months; the settlement put Chic's names on rap's first pop hit.

Ahmad Jamal's piano figure, a hook Pete Rock sang himself, and the most hopeful stretch of Illmatic.

Fogerty came out of the National Guard and wrote it in two days, Beethoven's Fifth hiding in the intro.
Stevie Wonder's gear failed at the Mandela tribute, Chapman went on with a guitar, and the record went top ten.

Written in a rental van home from San Francisco, and the final two minutes simply double the tempo.

Written in 1964 while Reed was a staff songwriter, and Tucker abandoned her drums at the climax, unable to hear.
Maseo's cackle, Danger Mouse at the desk, and a song Albarn dreamed up driving past California windmills toward Coachella.

Joey wrote it stranded in a shut-down London at Christmas, and Johnny's solo is one note, repeated.

Radiohead cut version after version and kept the first take, glockenspiel and all, a lullaby about suburban despair.

Hendrix took Tim Rose's slow arrangement off a jukebox, Chandler hired the Breakaways, and Britain answered at number six.

Chandler's bass walks in alone, Burdon arrives furious, and GIs in Vietnam claimed a Brill Building demo.