Editing Born to Run (section)

===Record Plant===
In March 1975,{{efn|Most sources say March 1975,<ref name="UCR" />{{sfn|Carlin|2012|p=194}}{{sfn|Gaar|2016|p=52}} while others say February{{sfn|Margotin|Guesdon|2020|p=68}} and April.{{sfn|Masur|2010|p=54}}}} Landau moved the recording sessions from 914 to the superior [[Record Plant]] in [[Manhattan]].{{sfn|Marsh|1981|p=146}}{{sfn|Masur|2010|p=54}} Landau helped Springsteen regain focus and direction with a fresh perspective.{{sfn|Carlin|2012|p=194}}{{sfn|Kirkpatrick|2007|p=37}}{{sfn|Margotin|Guesdon|2020|p=64}} Springsteen told ''[[Rolling Stone]]'' in 1975: "[Landau] came up with the idea, 'Let's make a rock and roll record.' Things had fallen down internally. He got things on their feet again."{{sfn|Eliot|1992|p=100}} Appel and Landau had disagreements on production choices, which Springsteen had to resolve.{{sfn|Carlin|2012|p=194}}{{sfn|Gaar|2016|pp=52–53}} Like the band, the two helped Springsteen complete already devised ideas, not think of new ones.{{sfn|Dolan|2012|p=123}} Louis Lahav was unavailable due to family commitments so these sessions were engineered by [[Jimmy Iovine]].{{sfn|Kirkpatrick|2007|p=37}}{{sfn|Margotin|Guesdon|2020|p=74}} 

Sessions at the Record Plant lasted from March to July 1975.{{sfn|Gaar|2016|p=52}}{{sfn|Margotin|Guesdon|2020|p=74}} Apart from a few live performances, Springsteen spent most of these months working on the album.{{sfn|Marsh|1981|p=147}} The sessions were grueling,{{sfn|Margotin|Guesdon|2020|p=74}} dragging on despite increased professionalism brought by Landau and Iovine.{{sfn|Kirkpatrick|2007|pp=37–38}} While the backing tracks and vocals were recorded with little difficulty, Springsteen struggled with his overdubs and completing the writing of the lyrics and arrangements.{{sfn|Marsh|1981|pp=149–150}} Springsteen obsessively labored over{{sfn|Margotin|Guesdon|2020|p=74}} and sometimes spent hours revising single lines{{sfn|Masur|2010|p=58}} or taking days to figure out the song arrangements.{{sfn|Marsh|1981|pp=149–150}} Springsteen later said: "[The sessions] turned into something that was wrecking me, just pounding me into the ground."{{sfn|Kirkpatrick|2007|p=38}} Weinberg called it the hardest project of his career, and Federici said "[we] ate, drank, and slept [that album]".{{sfn|Margotin|Guesdon|2020|p=74}} Work was mostly done between 3&nbsp;p.m. and 6&nbsp;a.m. the following morning.{{sfn|Marsh|1981|pp=149–150}}

"Wings for Wheels", now called "[[Thunder Road (song)|Thunder Road]]", was finished in April. Springsteen reportedly took 13 hours to complete his guitar parts.{{sfn|Margotin|Guesdon|2020|pp=76–78}} "[[Tenth Avenue Freeze-Out]]" and "[[Night (Bruce Springsteen song)|Night]]" followed in May.{{sfn|Margotin|Guesdon|2020|pp=92–93}}{{sfn|Margotin|Guesdon|2020|pp=82–83}} For "Tenth Avenue Freeze-Out", Springsteen hired the [[Brecker Brothers]] ([[Randy Brecker|Randy]] and [[Michael Brecker|Michael]]), [[David Sanborn]], and [[Wayne Andre]] to play horn parts.{{efn|Randy Brecker also plays the intro on "Meeting Across the River".{{sfn|Margotin|Guesdon|2020|pp=92–93}}}}{{sfn|Margotin|Guesdon|2020|pp=80–81}} Springsteen and Bittan failed to write proper horn parts by the time the players arrived to record,{{sfn|Margotin|Guesdon|2020|pp=80–81}} so Springsteen's friend and former [[Steel Mill]] bandmate [[Steven Van Zandt]] conceived them on the spot in the studio. Van Zandt joined the E Street Band shortly after.{{sfn|Carlin|2012|pp=196–197}}{{sfn|Masur|2010|pp=57–58}} Springsteen used lyrical ideas from "She's the One" to complete "Backstreets", originally "Hidin' on the River".<ref name="UCRGuide" /> "[[Meeting Across the River]]", originally "The Heist", featured [[Richard Davis (bassist)|Richard Davis]] on [[double bass]]. Davis had previously contributed to "[[The Angel (song)|The Angel]]" on ''Greetings''.{{sfn|Margotin|Guesdon|2020|pp=92–93}} "Jungleland" featured [[violin]] from [[Suki Lahav]], wife of Louis Lahav,{{sfn|Kirkpatrick|2007|p=35}}{{sfn|Dolan|2012|pp=111–112}} and a long saxophone solo from Clemons, which he spent 16 hours replaying to Springsteen's satisfaction;{{sfn|Carlin|2012|p=196}} the latter dictated almost every note played.{{sfn|Masur|2010|pp=51–52}} Clemons played several different solos, bits of which were then edited together into one piece; he then reproduced the final result.{{sfn|Margotin|Guesdon|2020|pp=94–97}}