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Bob Dylan- STREET-LEGAL – CD- 1978/2003- Sony Music Entertainment Inc.- 5099751235521- 400 grn
STREET-LEGAL is the eighteenth studio album by American singer-songwriter Bob Dylan, released on 15th June 1978, by Columbia Records. The album was a departure for Dylan, who assembled a large pop-rock band with female backing vocalists for its recording. The album was commercially successful, being certified as Gold in the US and Platinum in the UK. Arriving after the twin peaks of Blood On The Tracks and Desire, STREET-LEGAL seemed like a disappointment and it still seems a little subpar years after its release. Perhaps that's because Bob Dylan was uncertain himself, not just writing a set of songs with no connecting themes, but replacing the sprawl of the Rolling Thunder Revue with a slick, professional big band, featuring a horn section and several backing vocalists. The interesting thing about this is that the music and slick production don't jibe with the songs, which are as dense as anything Dylan had written since before his motorcycle accident. So, STREET-LEGAL becomes an interesting dichotomy, filled with songs that deserve close attention but recorded in arrangements that discourage such listening. As such, STREET-LEGAL is fascinating just for that reason - in another setting, these are songs that would have been hailed as near-masterpieces, but covered in gloss, they seem strange. Consequently, it's not surprising that there are factions of Dylanphiles that find this worth the time, while just as many consider it a missed opportunity.
PERSONNEL: Bob Dylan – vocals, rhythm guitar; Steve Douglas – tenor saxophone, soprano saxophone; David Mansfield – violin, mandolin; Alan Pasqua – keyboards; Billy Cross – electric guitar; Steven Soles – rhythm guitar, background vocals; Jerry Scheff – bass guitar; Ian Wallace – drums; Bobbye Hall – percussion; Carolyn Dennis, JoAnn Harris, Helena Springs – backing vocals; Steve Madaio – trumpet.
It feels like there are three types of Bob Dylan albums. There are the undisputed masterpieces, like Blood On The Tracks or Blonde On Blonde. And there are the head-scratchers that even the faithful have a hard time defending, such as Self Portrait or Under The Red Sky. Finally, there are those that ignite furious debate as to their merits. STREET-LEGAL is definitely one of those debate-igniters. When it was released, many of the same who had lauded Dylan’s previous few records found it to be overblown and muddled. Yet it has been the subject of much retrospective scrutiny over the years by folks who feel those original reviews missed the boat. Really it’s an overlooked gem. Bob Dylan came into the release of STREET-LEGAL on one of the hottest streaks of his career. Many objected to Dylan’s new sound. After the impassioned folk of Blood On The Tracks and the slippery exotics on Desire, STREET-LEGAL found Dylan going for a kind of big-band rock sound. But many didn’t feel it fit Dylan. There were claims of sexism and there were also claims that the mix let the album down. STREET-LEGAL suffered these slings and arrows and then largely fell off the Dylan radar, because his next album, Slow Train Coming, signaled the beginning of his Born-Again-Period, and gave the journalists and fans an entirely new persona and sound. Maybe the initial reaction to the album was the natural inclination to take someone down a peg after they’ve been too high. Or maybe it wasn’t what people expected of Dylan at that time, and they couldn’t quite wrap their heads around it. If you’re new to the record, you give it a shot. STREET-LEGAL isn’t a misfire or just another Dylan album in a long string of them. It’s the work of a guy who was still operating very much at the top of his game, impervious to those waiting for him to fall.
Comes In A Standard Jewel Case With Clear Tray And Includes Foldout Inlay.
Made In Austria.
ПРИ ПОКУПКЕ (сразу) ТРЁХ ФИРМЕННЫХ АЛЬБОМОВ, ДОСТАВКА БЕСПЛАТНО !!!