Street Hassle is the eighth solo studio album by American musician Lou Reed, released in February 1978 by Arista Records. Richard Robinson and Reed produced the album. It is the first commercially released pop album to employ binaural recording technology. Street Hassle combines live concert tapes (with overdubs) and studio recordings. Production All of the songs on Street Hassle were written by Reed, including "Real Good Time Together", a track that dates back to his days as a member of the Velvet Underground. Recording of a live album began in Munich and Ludwigshafen, West Germany. Unlike most live albums, the audience is completely muted from the mix during the concert recordings. Upon returning to the United States in August 1977, Arista Records told Reed releasing a live album was not an option, which began the NYC studio phase of the album. Then, producer Richard Robinson left the project after a fight in the studio. Determined to carry on, Reed moved the proceedings to Record Plant studios, accompanied by his recording engineer, Rod O’Brien. Encouragement to focus and expand on the title song, "Street Hassle", came from Arista President Clive Davis, resulting in a three-part suite 11 minutes in length. The only song to be wholly written and recorded in the studio, culminating in a lyric by Reed, "Tramps like us, we were born to pay". After his engineer advised him that line belonged to somebody else, they both went downstairs, where Bruce Springsteen was working on his fourth album, which would be titled Darkness on the Edge of Town. Not only did Springsteen allow his "Born To Run" phrase to be used, he personally sang the line at Reed's request. By all accounts, the part was completed in one or two takes, to the mutual satisfaction of both. Springsteen was not credited for his performance in the liner notes of Street Hassle due to a policy set by his record label, Columbia Records. Binaural recording 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