. Bruce Springsteen - Backstreets (Hammersmith Odeon, London '75) ( music video ) - [282fc1b15]

Bruce Springsteen - Backstreets (Hammersmith Odeon, London '75)

Posted by admin on Nov 20, 2019, 6:53 pm
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Backstreets (Live at the Hammersmith Odeon, London '75)

Bruce Springsteen & The E Street Band performing "Backstreets" from Live at the Hammersmith Odeon, London '75

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"Backstreets" is a song by Bruce Springsteen from the album Born to Run, which was released in 1975. In the original vinyl release, it concludes side one of the record.

"Backstreets" begins with a minute-long instrumental introduction that features pianist Roy Bittan playing both piano and organ, with only occasional traces of any other instruments being heard. In his review of Born to Run for Rolling Stone, writer Greil Marcus said:
"Backstreets" ... begins with music so stately, so heartbreaking, that it might be the prelude to a rock & roll version of The Iliad.

"Backstreets" has also been interpreted as a narrative about a homosexual relationship because the name Terry is sexually ambiguous. It has also been said to potentially represent a platonic but intense friendship between two men that has faded. However, listening to any of the numerous bootleg versions of "Backstreets" from the 1978 "Darkness on the Edge of Town" tour, Terry is repeatedly referred to as "she" and "little girl," indicating that Terry is indeed a woman. Another interpretation is that it is about Springsteen's relationship with his early '70's girlfriend, Diane Lozito. In his autobiography, Born to Run, Springsteen states that "Backstreets" is about a broken friendship.

The melody and organ bear some resemblance to "Positively 4th Street" by Bob Dylan, an influence of Springsteen's. Rolling Stone claims that it echoes mid-1960s Dylan, especially the organ part reminiscent of Blonde on Blonde.

During the 1978 Darkness Tour, Springsteen often added a semi-improvised interlude in between the final chorus and the outro. It usually involved Springsteen's singing solo accompanied by the piano. The other instruments then joined in as the interlude built to a climax. It elaborated on the story of the protagonist and Terry. It differed from performance to performance but frequently involved the protagonist's reminiscing about a good time he and Terry had shared, followed by an emotional condemnation of her subsequent betrayal.
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