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Do you consider Street Legal a classic?
Yes 65%  65%  [ 85 ]
No 35%  35%  [ 46 ]
Total votes : 131
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PostPosted: Tue July 25th, 2017, 17:06 GMT 

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3 of his all time greatest tracks, I think you can probably guess which songs I'm talking about. Another song that flirts with genius (No Time To Think), 3 great pop songs and only one track that's somewhat flawed (Is Your Love In Vain?)

I think that between 75-78 he was pushing himself artistically more than any other time in his career. In many ways that renaissance culminates with Street Legal. There's just something so special about the album for me. Obviously it has a very different sound but I think this the only time he recaptures that mid-60's energy. I love much of his post-60's work but it usually feels like he's channelling a different muse.

Its astounding that it isn't usually classed amongst his classics. I assume that's because it sounds so unlike 'classic' Dylan. It star seems to be rising though and have seen quite a few brilliant songwriters cite it as an influence (Peter Perrett being a recent one I've clocked).


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PostPosted: Tue July 25th, 2017, 17:21 GMT 
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Not for me. To me it ranks somewhere in the middle of the list among all his records. He´s got way better ones, he´s got way worse ones.
I like a few songs in there, including the often bashed Baby stop crying and Is your love in vain. My favorite is probably New pony with it´s killer riff. But overall I´d say song writing is only OK. And of course the production is very dated.


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PostPosted: Tue July 25th, 2017, 17:24 GMT 
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:| Agree with post above, a mid-ranking one for me.


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PostPosted: Tue July 25th, 2017, 17:34 GMT 
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Señor is the best song into Street Legal. And in this case, Bob Dylan is agree with me. The numbers speaks for themselves.


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PostPosted: Tue July 25th, 2017, 17:37 GMT 

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I assume by "classic" you don't mean it's a work of timeless brilliance, one of the foundations of Western--or world--civilization, something that aliens, thousands of years from now, will have to study if they want to understand who we were. You just mean that among post-World War II singer-songwriter Bob Dylan's dozens of albums, it's one of the better ones. Even by that standard, I have to say no. "Where Are You Tonight" is brilliant, "Changing of the Guards" is inspired gibberish, "Senor" is just a vamp, but a good vamp, "New Pony" is a fine dirty blues, and the rest is a mess--underrehearsed, badly recorded, and deadly dull.


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PostPosted: Tue July 25th, 2017, 17:40 GMT 
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mojofilter wrote:
the rest is a mess--underrehearsed, badly recorded, and deadly dull.

I think that applies to most of his records (except for the deadly dull part of course!)


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PostPosted: Tue July 25th, 2017, 17:45 GMT 
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I got it when it came out, and really liked it, though it was a million miles from what came before it - and so it should be. I can't help seeing it/hearing it in the context of how i came to know it, so yeah, I think it's pretty classic... it's certainly the only Street-Legal (mind the hyphen) out there.

I can understand why people who come to Dylan later (or are younger and are catching up) see his records differently to someone like me who grew up with them in order of release. To that I say 'vive la difference'.


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PostPosted: Tue July 25th, 2017, 17:48 GMT 

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wormington wrote:
mojofilter wrote:
the rest is a mess--underrehearsed, badly recorded, and deadly dull.

I think that applies to most of his records (except for the deadly dull part of course!)


Yeah, you're right about the "underrehearsed" part. But if the musicians are sharp enough, that's actually a virtue.


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PostPosted: Tue July 25th, 2017, 18:25 GMT 
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slimtimslide wrote:
I got it when it came out, and really liked it, though it was a million miles from what came before it - and so it should be. I can't help seeing it/hearing it in the context of how i came to know it, so yeah, I think it's pretty classic... it's certainly the only Street-Legal (mind the hyphen) out there.

I can understand why people who come to Dylan later (or are younger and are catching up) see his records differently to someone like me who grew up with them in order of release. To that I say 'vive la difference'.


I came to Street Legal later... in 1978 my priorities were only elemental things...

I said Señor is the best song into this album, because I really think it is the best song of the album. And probably one (of a bunch) of my favourites songs by Bob Dylan. I should add that I really like the whole album a lot. Street Legal is one of these many albums that I can listen from start to finish without any problem. Sometimes several times a day.


Last edited by Senyor Timbaler on Tue July 25th, 2017, 18:27 GMT, edited 1 time in total.

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PostPosted: Tue July 25th, 2017, 18:25 GMT 
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Bob Dylan never released an album called Street Legal.


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PostPosted: Tue July 25th, 2017, 18:33 GMT 

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McG wrote:
Bob Dylan never released an album called Street Legal.


Street-Legal is my third favourite Dylan studio album (After Blood on the Tracks & Desire). Also how can anyone get hung up on a missing - (Lol)


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PostPosted: Tue July 25th, 2017, 18:46 GMT 

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motherwell wrote:
McG wrote:
Bob Dylan never released an album called Street Legal.


Street-Legal is my third favourite Dylan studio album (After Blood on the Tracks & Desire). Also how can anyone get hung up on a missing - (Lol)

Yeah those are probably my favourite 3.

I'm sure it's been mentioned many times before but it's interesting how Bob's inspiration seems to come in threes. The 3 accoustic albums, the 3 mid-60's, BOTT-Desire-SL, The Gospel trilogy (regardless of how you feel about those three Bob was clearly inspired) and then the TOOM-L&T-MT. I wonder if its a conscious thing.

Then after three major works he gets a bit burnt out and totally changes direction.

Hopefully he leaves this Sinatra thing at three records too ;)


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PostPosted: Tue July 25th, 2017, 18:54 GMT 
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slimtimslide wrote:
I got it when it came out, and really liked it, though it was a million miles from what came before it - and so it should be. I can't help seeing it/hearing it in the context of how i came to know it, so yeah, I think it's pretty classic... it's certainly the only Street-Legal (mind the hyphen) out there.

I can understand why people who come to Dylan later (or are younger and are catching up) see his records differently to someone like me who grew up with them in order of release. To that I say 'vive la difference'.


Totally agree with that statement. I bought it just before or after Blackbushe and it was totally different to Desire but it was still good. A classic is debatable, it's certainly not in the same league as BonB, BOTT, JWH or HW61 but I still rate it higher than mid table!


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PostPosted: Tue July 25th, 2017, 18:55 GMT 
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Street-Legal is up there with Blood on the Tracks and Blonde on Blonde. Definitely up there.


Sent from my iPhone using Tapatalk


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PostPosted: Tue July 25th, 2017, 18:58 GMT 
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No. The album as a whole doesn't gel for me.


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PostPosted: Tue July 25th, 2017, 19:04 GMT 

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I'd probably put it in the same league as BOTT and BoB myself. And I'm not just saying that because its a personal favourite. Planet Waves is another favourite album of mine but I realise that it's not as significant as his true masterpieces. To my ears Street-Legal is certainly very close, if not on par, with those elite album. I also find that people who 'get it' tend to really get it.

That said, I can also see how others may be put off by the performances and production.


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PostPosted: Tue July 25th, 2017, 19:08 GMT 
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frenchdog wrote:
I'm sure it's been mentioned many times before but it's interesting how Bob's inspiration seems to come in threes. The 3 accoustic albums, the 3 mid-60's, BOTT-Desire-SL, The Gospel trilogy (regardless of how you feel about those three Bob was clearly inspired) and then the TOOM-L&T-MT. I wonder if its a conscious thing.

Then after three major works he gets a bit burnt out and totally changes direction.

Hopefully he leaves this Sinatra thing at three records too ;)


I don't know what to think about the trilogies. I don't see any link between TOOM-LT-MT. TOOM is a superb album and in my humble opinion it has nothing to do with the two following albums. I'm unable to see that inspiration in LT and most especially in Modern Times (apart from Ain't talkin' and Workingman's Blues).

The Sinatra trilogy... Bob has been cheating in a tricky way. Not only 3, 5 albums, no more and no less! It is exasperating!


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PostPosted: Tue July 25th, 2017, 19:24 GMT 
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motherwell wrote:
McG wrote:
Bob Dylan never released an album called Street Legal.


Street-Legal is my third favourite Dylan studio album (After Blood on the Tracks & Desire). Also how can anyone get hung up on a missing - (Lol)


Ask your wife.


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PostPosted: Tue July 25th, 2017, 19:32 GMT 

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frenchdog wrote:

I'm sure it's been mentioned many times before but it's interesting how Bob's inspiration seems to come in threes. The 3 accoustic albums, the 3 mid-60's, BOTT-Desire-SL, The Gospel trilogy (regardless of how you feel about those three Bob was clearly inspired) and then the TOOM-L&T-MT. I wonder if its a conscious thing.

Then after three major works he gets a bit burnt out and totally changes direction.


Sorry, but this doesn't really add up. He did four acoustic albums before he went electric, not three. The first electric album, Bringing It All Back Home, is closer in a lot of ways to Another Side of Bob Dylan than it is to Blonde on Blonde. (Try listening to the acoustic versions of the songs that he recorded in the first two days of the Bringing It All Back Home sessions, before he did them again with a band.) If you want to make a trilogy of mid-70s albums, I'd start with Planet Waves. He recorded that and the next two albums in a little more than a year and a half, but it was another two a half years before he got around to recording Street-Legal. And it's really stretching things to call Time Out of Mind to Modern Times a trilogy, considering they were made over a ten-year period. "Love and Theft" through Together through Life would make more sense. That's still a nine-year period, but they do sound an awful lot alike (and not at all like Time Out of Mind).

You could say he works in twos, though. There are a lot of natural pairings: Freewheelin' and The Times They Are A-Changin', Another Side and Bringing It All Back Home, Highway 61 and Blonde on Blonde, Slow Train and Saved, (Shot of Love is already off in a different direction), Oh Mercy and Under the Red Sky, Good as I Been to You and World Gone Wrong. He'll find a certain way of doing things, try it out on one album, try it again or turn it around a bit on another album, and then go on to something else.


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PostPosted: Tue July 25th, 2017, 20:17 GMT 

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Quote:
Re: Do people agree... ?
no,
humans are magical like that

and do they agree about art?
to ask is a misunderstanding of
both humans and art,
the question is absurd


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PostPosted: Tue July 25th, 2017, 20:56 GMT 
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Recognizing it as a classic is the entryway into the third tier of Dylan appreciation.
The fourth is obviously recognizing the brilliance of Modern Times and Triplicate.


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PostPosted: Tue July 25th, 2017, 21:04 GMT 
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I love Street-Legal. One of my favorites. That '74-'78 period I enjoy more than than any of the 60's output.


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PostPosted: Tue July 25th, 2017, 21:14 GMT 
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...and it sure puts the 80's stuff in it's place!


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PostPosted: Tue July 25th, 2017, 21:36 GMT 

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Wow I expected the poll to be slightly closer! Glad its getting the appreciation it deserves


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PostPosted: Wed July 26th, 2017, 01:32 GMT 
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No, it is not a classic. I like it, but it is, at best, a mid range Dylan album.
I love Senor, HA used to say it sounded like a "fake" Dylan album.
Kind of harsh, but I kind of know what he was on about too.


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