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Lou ReedStreet Hassle

Genre:Rock
Style:Rock & Roll, Art Rock
Year:

Tracklist

Gimmie Some Good Times3:15
Dirt4:58
Street Hassle(11:00)
Waltzing Matilda3:00
Street Hassle2:10
Slipaway2:10
I Wanna Be Black2:52
Real Good Time Together3:19
Shooting Star3:09
Leave Me Alone4:44
Wait3:14

Credits (19)

Notes

This is a stereo binaural recording. As such, it is optimized for listening through headphones.

(from Wikipedia: Street Hassle)
The recording of Street Hassle was notable in that Reed and his co-producer chose to employ an experimental microphone placement technique called binaural recording. In binaural recording, two microphones are placed in the studio in an attempt to mimic the stereo sound of actually being in the room with the performers/instruments. In the case of the recording sessions and concerts that composed Street Hassle, engineers used a mannequin head with a microphone implanted in each ear. Binaural recordings are generally only effective when the user listens to the album through headphones, and do not generally translate correctly through stereo speakers.

Reed's particular binaural recording system was developed by Manfred Schunke of the German company Delta Acoustics; Schunke is credited as an engineer on Street Hassle. Reed would continue to use the binaural recording style on two more releases: the 1978 concert album Live: Take No Prisoners and the 1979 studio album The Bells.

Versions

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Cover of Street Hassle, 1978, VinylStreet Hassle
LP, Album
Arista – ARS 39050Italy1978Italy1978
Cover of Street Hassle, 1978-02-00, VinylStreet Hassle
LP, Album, Stereo
Terre Haute Pressing
Arista – AB 4169US1978US1978
Recently Edited
Cover of Street Hassle, 1978, VinylStreet Hassle
LP, Album
Arista – 7C 062-60445Scandinavia1978Scandinavia1978
Recently Edited
Cover of Street Hassle, 1978, VinylStreet Hassle
LP, Album
Arista – SPART 1045UK1978UK1978
New Submission
Cover of Street Hassle, 1978, VinylStreet Hassle
LP, Album
Arista – 4C058-60445, Arista – 4 C 058-60445Belgium1978Belgium1978
New Submission
Cover of Street Hassle, 1978, CassetteStreet Hassle
Cassette, Album, Stereo
Dolby "B"
Arista – 256N 60445Netherlands1978Netherlands1978
New Submission
Cover of Street Hassle, 1978, VinylStreet Hassle
LP, Album, Stereo
Arista – 1C 064-60 445, EMI Electrola – 1C 064-60 445Germany1978Germany1978
Cover of Street Hassle, 1978-02-00, VinylStreet Hassle
LP, Album
Arista – 5N 058-60445, Arista – 5N 058N-60445Netherlands1978Netherlands1978
Recently Edited
Cover of Street Hassle, 1978, VinylStreet Hassle
LP, Album
Arista – AB 4169New Zealand1978New Zealand1978
New Submission
Cover of Street Hassle, 1978, VinylStreet Hassle
LP, Album
Arista – 3C 064-60 445Italy1978Italy1978
Recently Edited
Cover of Street Hassle, 1978-02-00, VinylStreet Hassle
LP, Album
Stereo Binaural Sound
Arista – AB 4169Canada1978Canada1978
Recently Edited
Cover of Street Hassle, 1978, VinylStreet Hassle
LP, Album
Arista – 10 C 064-060.445Spain1978Spain1978
Cover of Street Hassle, 1978, VinylStreet Hassle
LP, Album
Arista – 2C 068-60 445, Arista – 2C 068 60445France1978France1978
Cover of Street Hassle, 1978, VinylStreet Hassle
LP, Album
Arista – 14C 062-60445Greece1978Greece1978
Recently Edited
Cover of Street Hassle, 1978, VinylStreet Hassle
LP, Album
Arista – AL.4169Australia1978Australia1978
New Submission
Cover of Street Hassle, 1978, VinylStreet Hassle
LP, Album, Promo, Stereo
Santa Maria Pressing
Arista – AB 4169US1978US1978
Recently Edited
Cover of Street Hassle, 1978, VinylStreet Hassle
LP, Album
Arista – 8E 072 60445, Arista – 8E 072 - 60 445Portugal1978Portugal1978
New Submission
Street Hassle
Cassette, Album
Arista – AB-4169US1978US1978
New Submission
Cover of Street Hassle, 1978, VinylStreet Hassle
LP, Album, Test Pressing
EMI – 14C 062-60445, Arista – 14C 062-60445Greece1978Greece1978
New Submission
Cover of Street Hassle, 1978-02-00, VinylStreet Hassle
LP, Album
Arista – AB 4169US1978US1978
New Submission
Cover of Street Hassle, 1978, VinylStreet Hassle
LP, Album
Arista – IES-81086Japan1978Japan1978
Recently Edited
Cover of Street Hassle, 1978, VinylStreet Hassle
LP, Album
Arista – 31C 064 60445Brazil1978Brazil1978
New Submission
Cover of Street Hassle, 1978, VinylStreet Hassle
LP, Album, Test Pressing
Arista – 1C 064-60 445, EMI Electrola – 1C 064-60 445Germany1978Germany1978
New Submission
Cover of Street Hassle, 1978, CassetteStreet Hassle
Cassette, Album
Arista – AC-8499US1978US1978
New Submission
Cover of Street Hassle, 1978, CassetteStreet Hassle
Cassette, Album
Arista – ATC-4169US1978US1978
New Submission
Cover of Street Hassle, 1978-02-00, VinylStreet Hassle
LP, Album
Terre Haute Pressing
Arista – AB 4169US1978US1978
Recently Edited
Cover of Street Hassle, 1978-02-00, VinylStreet Hassle
LP, Album
Santa Maria Pressing
Arista – AB 4169US1978US1978
New Submission
Cover of Street Hassle, 1978, CassetteStreet Hassle
Cassette, Album, Stereo
Arista – TC-AL-4169Australia1978Australia1978
New Submission
Cover of Street Hassle, 1978, VinylStreet Hassle
LP, Album
Arista – 31C 064 60445Brazil1978Brazil1978
New Submission
Cover of Street Hassle, 1978-02-00, VinylStreet Hassle
LP, Album, Stereo
Arista – SPART 1045UK1978UK1978
New Submission
Cover of Street Hassle, 1978, CassetteStreet Hassle
Cassette, Album
Arista – 4C254 60445, EMI – 4C254 60445Belgium1978Belgium1978
New Submission
Cover of Street Hassle, 1978, VinylStreet Hassle
LP, Album, Test Pressing
Arista – none, Arista – 5N 058N-60445Netherlands1978Netherlands1978
New Submission
Cover of Street Hassle, 1978-02-00, VinylStreet Hassle
LP, Album
Pitman Pressing
Arista – AB 4169US1978US1978
Recently Edited
Cover of Street Hassle, 1978-02-00, VinylStreet Hassle
LP, Album, Club Edition
Arista – AB 4169US1978US1978
New Submission
Cover of Street Hassle, 1978, CassetteStreet Hassle
Cassette, Album
Arista – 7C 262-60445, Arista – 7C 262 60445Sweden1978Sweden1978
New Submission
Cover of Street Hassle, 1978, CassetteStreet Hassle
Cassette, Album, Stereo
Binaural, Dolby
Arista – TCART 1045, Arista – TC-ART 1045UK1978UK1978
New Submission
Cover of Street Hassle, 1978, VinylStreet Hassle
LP, Album
Arista – 3C 064-60 445Italy1978Italy1978
New Submission
Cover of Street Hassle, 1978, VinylStreet Hassle
LP, Album, Promo
Arista – IES-81086Japan1978Japan1978
New Submission
Cover of Street Hassle, 1978, 8-Track CartridgeStreet Hassle
8-Track Cartridge, Album, Stereo
Arista – AT8 4169US1978US1978
New Submission
Cover of Street Hassle, 1978, VinylStreet Hassle
LP, Album, Promo, Stereo
Terre Haute Pressing
Arista – AB 4169US1978US1978
New Submission

Reviews

Vinyl.Score's avatar
Vinyl.Score
It has been stated that Joe Perry of Aerosmith plays guitar on some of this album.
streetmouse's avatar
streetmouse
Edited 3 years ago
Allow me to set the stage for you: With the album being released in February of 1978, the atmospheric feel for the record was drawn from 1977, so HELLO FROM THE GUTTERS OF NEW YORK CITY … the Summer of Sam, a Blackout that caused extensive riots and looting along with the closing of the Financial District, sweltering heat waves, fires burned down much of the Bronx, hip-hop was on the rise, financially the public hospitals, unions and universities crashed to the ground, high fashion and disco were all wiggling their hips to Gloria Gaynor, the city was filthy, the inside of subway cars were so covered in graffiti they looked black, rats were actually attacking passersby, crack and heroin were reaching their apex, and AIDS was poised to waste the world … President Ford told “NYC to Drop Dead,“ while Jimmy Carter said, “New York City, heal thyself.”

I wanted to like this album, I sincerely did, it’s just that as with most of Lou Reed’s work, I find it difficult to find a comfortable place to sit, feeling unsure of where he’s going, and with that in mind, unsure that I want to travel with him.

There are those who live and breathe Lou Reed, they’re obviously hearing something that I’m not, as when someone lays waste to my cognitive thought by saying, “You can’t think cognitively about Lou Reed,” where I’m left standing there with my hands thrust deeply into my pockets looking for a stone to kick. Of course then there are those who profess ideas to the effect that, “Street Hassle, oddly enough, is an emotional confession of failure that becomes a stunning incandescent triumph, the best solo album at the time the man has ever done.”

Of course, like everyone else during that year, I purchased the album based on the strength of the one song that was given airplay, I didn’t realize that I was headed down a rather hazed damp alleyway filled with Lou Reed’s decay, a sleazy underworld of trash, tortured souls on amyl-nitrate, lost innocence, skewed focus and sneering commentary. All of this is seemingly laid out with a breath of casualness, though methinks it’s the sort of casualness one experiences as a tossed match is about to hit a container of gasoline, where third degree burns should be seen as an affirmation that one is still alive. Others have claimed that there’s a sense of urgency to his lyrics, yet all I was ever able to hear was uncertainty and vulnerableness, all laced with an underlining of determination without a compass for direction.

What I’m avoiding here is the overt homo-erotic nature of many of his lines, and those that aren’t belay a downright obnoxious dramatic theme of misogyny, and if not misogyny, then he’s either mocking or enamored of the black pimps who were roaming the streets during the summer of 1977 and ’78. Street Hassle appears not to centrally be about the music, more so that the music is only present to carry though the lyrics, like some street preacher on the corner who’s gonna save your soul and lift your wallet at the same time, not for any good or righteous reason, but because he is able. The record is one long manifesto on a self referential concept, a dive into the maddening confused nature of the artist, where a strange eeriness surrounds nearly every phrase, as if Lou Reed has just finished with analysis, yet has not come to terms with what he’s learned or how to compartmentalize those aspects of his life, aspects that range from homosexuality, transgenderism, drug addiction and his ever-present battle with fame, leaving him to come off as a self-righteous nihilist who wants to slip back in time to his childhood and make peace with a heart dearly wishing to be caressed and nurtured.

The record makes nearly every facet of Reed’s life and those he’s in contact with seem inconsequential, less than temporary, where everything he desires and wishes for is on the other side of a window, where getting to those things requires breaking the glass, yet in so doing ruins all that looked so tempting and desirable from the grit of the street.

This is not a comfortable album, where since its purchase, I’ve never found myself in a position where I thought playing it would bring me any pleasure at all.

*** Without intentions of slighting anyone, Street Hassle is one of those records where if you were not present and accounted for in 1978, you will not have the historic ability to make the conceptual leap toward fully understanding the context of this record.

Review by Jenell Kesler
ricstultz's avatar
ricstultz
This album makes me want to take a shower, so grime filled it leaves a film on the room
brodiddley's avatar
brodiddley
Pretty poor listing. That is not the Oz version album cover posted on this page, incorrect cat no. and notes are wrong.
Bradx's avatar
Bradx
The high-water mark of Lou Reed's solo career... and also one of the best albums to come out of the entire 70s in any genre. As time goes on it just gets better, nothing can date it.
guybahir's avatar
guybahir
If you’ve ever thought about collecting and displaying used bubble-gum bits stuck to the pavement as art, don’t bother. Your uncle Lou has done you four better: he has already mapped those gum pieces, cross-referenced them with cigarette butt locations, deducted cosmic significance from the research’s results, and formulated his findings into a stirring document about urban human existence.

This is Lou Reed at his most essential: visceral, adventurous, epic, slimy, bitter, personal, cynical, and harsh. Gimmie Some Good Times (beginning with a Sweet Jane parody), Wait, and the unhinged cover of his own Real Good Time Together are warbled, unstable, burlesque rockers; Dirt is a cruel, poison-spitting put-down; I wanna Be Black is a mocking and at the same time heartfelt (self) deprecating profile, whose political incorrectness would have sent today’s faint-hearted audiences into catatonic spasms; Shooting Star and Leave Me Alone are urgent, hard-edged blues rockers - the latter a misanthropic letter of despair and the former the blue-print for many an Oasis song, except this one contains authentic (as opposed to their manufactured, safe) grime; and the title song is an epic study of human sub-existence in 3 parts, an ode to the urbanite bottom dweller, which puts this album on the fast-track to ’must-have’ status.

In a sentence: It’s albums like this that serve to remind why Reed is Rock royalty, and you should very much buy it.