Springsteen on that record started writing less about having your wind in your hair and turning the radio up and more about being dragged down by adult things. Regular people trying to get ahead. A little less mythical and romantic, and more real. It's a really spectacular record for that reason.

It's a template record for the intersection between pop and noise, starting out with 'Sunday Morning' - a real beautiful, almost innocent sunny day song. You have a lot of different types of things on one record. It can be really pretty, or it can be really awful inside, depending on where your head's at at the moment. I got it in ninth grade and I think I've listened to it every month since then.

I don't have a problem rhyming "bar" with "car" - I do it all the time - but sometimes it doesn't feel right.

You are hearing this song, and you're 16, and it's a song about love, or a girl. And then maybe there's a girl at school that you like. So you're going to be thinking about that girl. That song is sort of about that girl. The songwriter doesn't know that girl, obviously. He wrote it for something else. But there's the specific meaning with the universal again.

One thing I have a tendency to do is not write choruses, or write choruses that have different words. The first chorus will have different words than the second chorus.

A conversation with you is a different thing than projecting to a couple hundred people. It's bigger and more animated and it's on a bigger scope, but still in the heart, it's honestly me.

When you get into rock 'n' roll myths, like that Rod Stewart blew his whole band and had to get his stomach pumped, it's ridiculous, but everyone's heard it.