Intro: G C D G C D (Guitar chords)
Harmonica: C,B,C,B,C,C A,G,A,G,G,C B,C,B,C,C
G C D
In the day we sweat it out on the streets of a runaway American dream
G C D
At night we ride through mansions of glory in suicide machines
C G
Sprung from cages on Highway 9
C D C
chrome wheeled, fuel injected and, steppin' out over the line
G
Baby this town rips the bones from your back,
Am D
it's a death trap, it's a suicide rap.
C Am (A2 Am A2)
We gotta get out while I'm still young
C D G
'Cause tramps like us baby we were born to run.
G C D
(G->C harmonica)
G
Hey Wendy, let me in, I wanna be your friend,
C D
I wanna guard your dreams and visions.
G
Just wrap your legs 'round these velvet rims,
C D
Strap your hands across my engines.
C G
And Together we could break this trap,
C D C
We'll run till we drop and, baby we'll never go back.
G
Walk with me out on the wire?
Am D
Girl, I'm just a scared and a lonely rider,
C Am (A2 Am A2)
But I gotta know how it feels,
C
I want to know if love is wild, baby,
D G
I want to know if love is real.
G C D
(G->C harmonica) Dm F
Beyond the palace hemi-powered drones scream down the boulevard
C
The girls comb their hair in rear-view mirrors
Am D
and the boys try to look so hard
Dm
The amusement park rises bold and stark
F
Kids are huddled on the beach in a mist
C
I wanna die with you Wendy on the streets tonight
Am D
In a everlasting kiss
G
Well, The highways jammed with broken heroes
C D
On a last chance power drive
G
Everybody's out on the run tonight
C D
But there's no place left to hide
C G
Together, Wendy, we can live with the sadness
C D C
I'll love you with all the madness in my soul
G Am
Someday girl, I don't know when, we're gonna get to that place
D
Where we really wanna go
C Am (A2 Am A2)
And we'll walk in the sun
C
Till then tramps like us
D G
Baby we were Born To Run.
(Bruce)Oooohhh.... x3
(Public).......... x3 (Bruce) ooOOOooohh...
.......... ........ ...... .......
(Harmonica finishes using more or less the same notes than in the intro).
Intro: G C D G C D (Guitar chords)
Harmonica: C,B,C,B,C,C A,G,A,G,G,C B,C,B,C,C
In the day we sweat it out on the streets of a runaway American dream
At night we ride through mansions of glory in suicide machines
Sprung from cages on Highway 9
chrome wheeled, fuel injected and, steppin' out over the line
Baby this town rips the bones from your back,
it's a death trap, it's a suicide rap.
C Am (A2 Am A2)
We gotta get out while I'm still young
'Cause tramps like us baby we were born to run.
(G->C harmonica)
Hey Wendy, let me in, I wanna be your friend,
I wanna guard your dreams and visions.
Just wrap your legs 'round these velvet rims,
Strap your hands across my engines.
And Together we could break this trap,
We'll run till we drop and, baby we'll never go back.
Walk with me out on the wire?
Girl, I'm just a scared and a lonely rider,
C Am (A2 Am A2)
But I gotta know how it feels,
I want to know if love is wild, baby,
I want to know if love is real.
(G->C harmonica) Dm F
Beyond the palace hemi-powered drones scream down the boulevard
The girls comb their hair in rear-view mirrors
and the boys try to look so hard
The amusement park rises bold and stark
Kids are huddled on the beach in a mist
I wanna die with you Wendy on the streets tonight
In a everlasting kiss
Well, The highways jammed with broken heroes
On a last chance power drive
Everybody's out on the run tonight
But there's no place left to hide
Together, Wendy, we can live with the sadness
I'll love you with all the madness in my soul
Someday girl, I don't know when, we're gonna get to that place
Where we really wanna go
C Am (A2 Am A2)
And we'll walk in the sun
Till then tramps like us
Baby we were Born To Run.
(Bruce)Oooohhh.... x3
(Public).......... x3 (Bruce) ooOOOooohh...
.......... ........ ...... .......
(Harmonica finishes using more or less the same notes than in the intro).
Traducción literaria al español — fiel al sentimiento del autor, no es cantable.
De día sudamos en las calles de un sueño americano que se escapa
De noche cruzamos mansiones de gloria en máquinas suicidas
Salidos de las jaulas de la Ruta 9 [*]
con ruedas cromadas, inyección a punto y pisando fuera de la raya
Nena, este pueblo te arranca los huesos de la espalda,
es una trampa mortal, es una sentencia de muerte.
Tenemos que salir mientras todavía soy joven
Porque los vagabundos como nosotros, nena, nacimos para correr.
Eh, Wendy, déjame entrar, quiero ser tu amigo,
quiero cuidar tus sueños y tus visiones.
Envuelve tus piernas alrededor de estos bordes de terciopelo,
aferra tus manos a mis motores.
Y juntos podríamos romper esta trampa,
correremos hasta caer y, nena, nunca vamos a volver.
¿Caminarás conmigo sobre el alambre?
Nena, no soy más que un jinete asustado y solitario,
pero necesito saber cómo se siente,
quiero saber si el amor es salvaje, nena,
quiero saber si el amor es real.
Más allá del palacio, drones con motores de alta potencia rugen por el bulevar [*]
Las chicas se peinan mirándose en los espejos retrovisores
y los chicos intentan parecer tan duros
El parque de diversiones se alza imponente y frío
Los chicos están agrupados en la playa entre la niebla
Quiero morir contigo, Wendy, en las calles esta noche
En un beso que dure para siempre
Las autopistas están atascadas de héroes rotos
En un último intento desesperado
Esta noche todos están escapando
Pero ya no queda ningún lugar donde esconderse
Juntos, Wendy, podemos vivir con la tristeza
Te amaré con toda la locura de mi alma
Algún día, nena, no sé cuándo, vamos a llegar a ese lugar
Al que de verdad queremos ir
Y caminaremos bajo el sol
Hasta entonces, vagabundos como nosotros,
nena, nacimos para correr.
Traducción literaria al italiano — fiel al sentimiento del autor, no es cantable.
Di giorno sudiamo sulle strade di un sogno americano in fuga
Di notte corriamo tra palazzi di gloria su macchine suicide
Scappati dalle gabbie sull'Highway 9
ruote cromate, motori iniezione, e si sfonda oltre il limite
Piccola, questa città ti strappa le ossa dalla schiena,
è una trappola mortale, è una corsa verso la morte.
Dobbiamo andarcene finché sono ancora giovane
Perché i vagabondi come noi, piccola, siamo nati per correre.
Ehi Wendy, fammi entrare, voglio essere tuo amico,
voglio proteggere i tuoi sogni e le tue visioni.
Stringi le gambe attorno a questi cerchioni di velluto,
aggrappa le mani ai miei motori.
E insieme potremmo spezzare questa trappola,
correremo fino a crollare e, piccola, non torneremo mai indietro.
Cammini con me sul filo?
Ragazza, sono solo un cavaliere spaventato e solitario,
ma devo sapere come ci si sente,
voglio sapere se l'amore è selvaggio, piccola,
voglio sapere se l'amore è reale.
[Armonica G->C] [Dm F]
Oltre il palazzo, droni con motori possenti urlano lungo il viale [*]
Le ragazze si pettinano i capelli negli specchietti retrovisori
e i ragazzi cercano di sembrare così duri
Il luna park si erge audace e netto
I bambini sono stretti sulla spiaggia nella nebbia
Voglio morire con te, Wendy, per le strade stanotte
In un bacio senza fine
Beh, le autostrade sono intasate di eroi spezzati
In un'ultima corsa disperata
Tutti sono in fuga stanotte
Ma non c'è più nessun posto dove nascondersi
Insieme, Wendy, possiamo vivere con la tristezza
Ti amerò con tutta la follia che ho nell'anima
Un giorno, ragazza, non so quando, arriveremo in quel posto
Dove vogliamo davvero andare
E cammineremo nel sole
Nel frattempo i vagabondi come noi
Piccola, siamo nati per correre.
[Bruce] Oooohhh.... x3
[Pubblico] .......... x3 [Bruce] ooOOOooohh...
.......... ........ ...... .......
L'armonica conclude usando più o meno le stesse note dell'intro
Traducción literaria al portugués — fiel al sentimiento del autor, no es cantable.
[Intro: G C D G C D (Acordes de violão)
Gaita: C,B,C,B,C,C A,G,A,G,G,C B,C,B,C,C]
De dia a gente se esgota nas ruas de um sonho americano fugitivo
De noite a gente cruza mansões de glória em máquinas suicidas
Soltos das jaulas na Rodovia 9
rodas cromadas, injeção eletrônica e, ultrapassando os limites
Baby, essa cidade arranca os ossos das suas costas,
é uma armadilha mortal, é uma sentença de morte.
A gente tem que sair enquanto eu ainda sou jovem
Porque vagabundos como a gente, baby, a gente nasceu pra correr.
Ei Wendy, me deixa entrar, eu quero ser seu amigo,
eu quero proteger seus sonhos e visões.
Enrola suas pernas nessas bordas de veludo,
aperta suas mãos nos meus motores.
E juntos a gente pode quebrar essa armadilha,
vamos correr até cair e, baby, a gente nunca vai voltar.
Caminha comigo lá fora na corda bamba?
Garota, eu sou só um camarada assustado e sozinho,
mas eu preciso saber como é que é,
eu quero saber se o amor é selvagem, baby,
eu quero saber se o amor é de verdade.
Além do palácio, drones com motores potentes gritam pelo bulevar
As meninas penteiam o cabelo nos espelhos retrovisores
e os meninos tentam parecer tão durões
O parque de diversões surge imponente e solitário
Crianças amontoadas na praia num nevoeiro
Eu quero morrer com você Wendy nas ruas hoje à noite
Num beijo eterno
Bem, as estradas estão congestionadas de heróis destruídos
Numa última chance de escapar
Todo mundo está fugindo esta noite
Mas não sobrou nenhum lugar pra se esconder
Juntos, Wendy, a gente pode viver com a tristeza
Eu vou te amar com toda a loucura da minha alma
Um dia, garota, não sei quando, a gente vai chegar naquele lugar
Onde a gente realmente quer ir
E a gente vai caminhar no sol
Até lá, vagabundos como a gente,
Baby, a gente nasceu pra correr.
(Bruce) Oooohhh.... x3
(Público) .......... x3 (Bruce) ooOOOooohh...
.......... ........ ...... .......
(A gaita termina usando mais ou menos as mesmas notas do intro).
From the album
Born to Run
Bruce Springsteen · 1975 · Track 5
The story behind
Born to Run is the third studio album by American musician Bruce Springsteen, released by Columbia Records on August 25, 1975. The recording sessions took place between January 1974 and July 1975 at the Record Plant studios, located in New York City, with Mike Appel, Jon Landau and Springsteen himself heading the production. The genres present throughout the album include rock and roll, pop rock, R&B and folk rock. One distinctive feature of the album is that every song begins with a predominantly instrumental introduction, and that all the material was composed on piano rather than on guitar. In terms of sound, Springsteen consciously sought the technique associated with Phil Spector —known as the "Wall of Sound" and characteristic of his work on albums such as Let It Be—, based on an exacerbated overproduction. Springsteen himself stated that his intention was for the result to sound like "Roy Orbison with Bob Dylan singing and Phil Spector producing." The album was accompanied by two official singles: "Born to Run" and "Tenth Avenue Freeze-Out". In addition, rock-oriented radio stations also broadcast "Thunder Road" and "Jungleland". Following its release, the album climbed to number three on the Billboard 200 and remained within the top one hundred best-selling albums on that chart for nearly two years, also reaching prominent positions in other international markets. As of 2006, sales in the United States alone exceeded six million copies, placing it as Springsteen's second best-selling album, behind Born in the U.S.A. Specialist critics received the work with great enthusiasm, singling it out as Springsteen's finest album and one of the most significant in the history of rock. Among the most notable reviews was that of critic Greil Marcus, who went so far as to compare the introduction of "Backstreets" to the Iliad. In 2003, Rolling Stone magazine placed it at number 18 on its list of the 500 greatest albums of all time. The following year, in 2004, a panel of music and sound preservation experts in the United States added it to the National Recording Registry of the Library of Congress, recognizing its "cultural or historical significance" in American life. Born to Run represented a decisive leap in Springsteen's career. His two previous albums, Greetings from Asbury Park, N.J. and The Wild, the Innocent & the E Street Shuffle, had received good reviews but rather modest popular success; this third effort, by contrast, consolidated his reputation and allowed him to build a first solid fan base both in the United States and around the world. It was also the first album to feature Roy Bittan and Max Weinberg. The first copies put into circulation carried the title "The Heist" instead of "Meeting Across the River", and the album name was printed in a style similar to graffiti. Those initial editions, extremely rare, are considered collector's items in private circles. On November 14, 2005, the "30th Anniversary" edition was released, which includes a remastered version of the album and two DVDs: one featuring a documentary about the production process of Born to Run and another with the recording of a concert.
