Bob Dylan's 'Street-Legal' a lively, satisfying album

Bob Dylan was on a heck of a streak.

"Planet Waves" brought him back together with The Band, and those combined forces took him back out on tour for the first time since the mid-1960s. Then came "Blood on the Tracks," one of his greatest albums. Following that was "Desire," an album cherished far and wide as a Dylan highlight. And then there was the "Rolling Thunder Revue," one of the most exciting and versatile and theatrical concert tours mounted up to that point.

But not everything was peachy in Dylan's world.

His marriage was dissolving, and there was a lot of acrimony in that situation. And there was the "Hard Rain" live album, which should have been a terrific souvenir or postcard from the thrilling "Rolling Thunder Revue" show, but instead showcased a mostly tired and joyless ensemble well after the revue had hit its peak. (That's not to say the album doesn't have great performances, it just isn't as lively or electric as would be demonstrated on a later Bootleg Series release.) And then there was the poor reception received by his film "Renaldo and Clara." After a stretch of so many ups, it was inevitable he'd have to come down.

Dylan had relationship issues, he didn't know where he wanted to go with his art. I imagine he was faced with the drag of working more or the yawning abyss of dwelling on his current situation if he didn't work.

That situation wouldn't lend itself well to being terribly creative, I'd think. But sometimes turmoil and emotional upheaval gives the spark necessary to create.

Dylan assembled a bunch of musicians, chasing a new sound. Horns, female singers, that bigger, fuller, "Vegas" sound. Vegas and Dylan? Yikes, right? I don't think Dylan would like the description, either. And don't go thinking about the Elvis "Vegas" stereotype, it's not quite the same thing. But the energy, the swagger, the full sound? Yeah, hold on to that.

After some touring and playing with the arrangements and styles on some of his classic pieces (captured on "Bob Dylan at Budokan"), the players were assembled and new material started to flow. And from the angst and creative chaos emerged Dylan's 18th studio album, "Street-Legal."

Oh, "Street-Legal" ... such an overlooked album. Why isn't it more appreciated? Is it because it follows the beloved "Desire" and people don't think it could match up? Is it because it comes before "Slow Train Coming" and people think "Street-Legal" might just be a filler before Dylan found his next inspiration? Is it because of the album cover? Or is it that the album wasn't particularly well recorded, with poor separation and mixing?

Whatever the reason, you gotta dig in. Especially after some remixing and remastering work was done in 1999, the sound is less muddied and is a lot more lively, a lot more vibrant.

"Changing of the Guard" sometimes gets some love, it gets some play on Dylan compilations. And there's "New Pony," which Jack White's Dead Weather covered. Both are excellent tracks (the gospel elements found throughout both are clear signposts of what would be coming in the Born Again trilogy of albums coming next), and really showcase that Dylan's surreal lyrics and use of imagery were intact. That's a heck of a one-two punch to top the album.

But have you heard "Baby, Stop Crying" or "Where Are You Tonight? (Journey Through Dark Heat)" or ... well, pick a song!

"Baby, Stop Crying" is one of my favorite Dylan singles that never gets any love on compilations. That saxophone, the trio of female backup singers, Dylan's own vocal investment, and it is so catchy. "You know, I know, the sun will always shine." Man, the intro that highlights a bad relationship and Dylan asking for his pistol? You'd almost expect a revenge song or a murder ballad, but no. It's an upbeat consolation tune. Dylan loves his twists, doesn't he?

Chances are, if you've got a decent Dylan background, you're aware of "Senor (Tales of Yankee Power)." The talk of Armageddon, the iron cross hanging from "her" neck (who is the lady in this song? Dylan never says, but many fans think Dylan is singing of his first wife Sara), kneeling ... . There's certainly a biblical feel to the imagery (not uncommon on Dylan albums going back to the beginning). And the sound? It's richer, more restrained, intricate even.

For me, "Street-Legal" straddles the colorful artistry of "Desire" and the fervent religious feeling of "Slow Train Coming," "Saved" and "Shot of Love." It is the sound of Dylan either at his highest heights or his lowest lows, but pushing forward regardless. It was the sound of the end of one era and the sound of a new one just beginning.

"Street-Legal," this band, this transitional Dylan, it all combined into one heck of a tour. The live 1978 material is amazing, and I hope a future Bootleg Series release chronicles the many highlights of the era.

And just how highly do I value "Street-Legal," you might ask? Pretty darn high. The album is one of my favorites with which to unwind. It's one of the albums that perk me up, it involves me, and I find myself humming along, singing along, getting carried away. It's no "Blood on the Tracks," it won't ever eclipse my love for "Love and Theft," but it deserves a special place up in my top 10. And with a catalog as vast and with as much quality as Dylan's, even making the top 10 is a statement.

Dylan thunders, he swoons, he cajoles and he delivers. And when Dylan signals the changing of the guards, it is worth taking notice.

This is the opinion of music enthusiast and 'Street-Legal' enthusiast Chris Shields. Contact him at clshields@stcloudtimes.com and follow him on Twitter @clshields1980. Read more of his columns at www.sctimes.com/cshields.