Born to Run was the album that sparked my appreciation for Bruce Springsteen’s music, but Darkness on the Edge of Town was the album that made me a fan.

In 2015, when Born to Run turned 40, I wrote about the day I fell in love with it. A chance discussion about Springsteen at a family reunion sent me reaching for the Bruce albums on my iPod the next day, as my family traversed an epic snowstorm to drive back home. I had five Bruce records on my mp3 player, but I’d never really given full attention to any of them. They were all records from my parents’ CD collection, and at the time, I still stupidly believed (perhaps self-consciously) that older music couldn’t be my music in the same way as something released in my lifetime.

On that snowy drive home, I cycled through the Bruce albums on my iPod: the bombastic, optimistic dream of Born to Run; the scrappy underdog symphony of Greetings from Asbury Park; the deeply ‘80s-sounding Born in the U.S.A.; the resilient recovery rock of The Rising; and the sparse storytelling of Devils and Dust. I loved Born to Run immediately. I liked The Rising a lot, too. I had trouble getting over how dated Greetings and Born in the U.S.A. sounded to my ears at the time, but I liked the songs. And Devils was fine, but mostly didn’t move me.

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