Category Archives: The TVD Storefront

TVD Radar: I Got You Babe: The Best of Sonny & Cher DVD in stores now

VIA PRESS RELEASE | The hilarious beat goes on with this nostalgia-filled 5-disc Collector’s Set, available now and packed with never-before-released episodes of The Sonny & Cher Comedy Hour, incredible guest stars and exclusive extras including a brand-new interview with Cher.

When Salvatore “Sonny” Bono and Cherilyn “Cher” Sarkisian came together it was undeniably magical. America first knew them as the duo behind the classic hit “I Got You Babe,” and their popularity exploded with the ’70s smash variety show The Sonny & Cher Comedy Hour. The perfect match on stage and off, millions of fans tuned in each week to watch the sparks fly and see what Cher was (or wasn’t!) wearing and the show quickly became essential viewing. Now, this February, the TV DVD archivists at Time Life open wide the Classic TV vaults for a very special collection of one of the ’70s hippest, goofiest and most fondly remembered TV variety programs with I Got You Babe: The Best of Sonny & Cher.

After finding chart-topping success in the late ’60s, Sonny and Cher found themselves performing in nightclubs in 1970 when they were “discovered” by CBS entertainment chief Fred Silverman, who decided they had great potential for a weekly variety series. The Sonny & Cher Comedy Hour premiered on August 1, 1971 as a summer replacement, but quickly reached the top 20, becoming a Wednesday night draw for the Network and cementing Sonny and Cher as one of Hollywood’s most beloved couples.

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Graded on a Curve:
David Bowie,
David Live

The most succinct review of David Bowie’s unspeakably mediocre live LP, 1974’s David Live, came from the mouth of Bowie’s long-time frenemy Mick Jagger. “If I got the kind of reviews that he got for that album,” quipped Bowie’s future “Dancin’ in the Streets” partner, “I would honestly never record again. Never.”

Recorded during Bowie’s 1974 Diamond Dogs Tour at the Tower Theater in Upper Darby Philadelphia, David Live demonstrated just how much Bowie owed to guitarist/arranger Mick Ronson, who Bowie coldly dismissed (along with the other Spiders from Mars) as he reinvented himself as plastic soul man. Bowie would later say cattily, “There’s only so much you can do with that kind of band. I wanted no more to do with that loud thing. Hurt my ears.” No mention on his part how much David Live hurts mine.

The Diamond Dogs Tour was big on gimmickry but short on quality music. Amongst the massive stage props was a bridge that could be raised and lowered by remote control, and at a Montreal show the bridge collapsed Spinal Tap fashion, with Bowie–a confirmed acrophobic–on it. A dire omen perhaps–or proof that even inanimate objects saw fit to register a protest against Bowie’s insipid new sound.

David Live wilts in comparison to Live Santa Monica ‘72 and the July 1973 Hammersmith Odeon performance released in tandem with the 1983 film Ziggy Stardust: The Motion Picture. The latter was recorded only a year and a half before the pair of Tower Theater performances documented on David Live, but the contrast is sharp. Bowie and the Spiders delivered an electrifying show, kicking things off with a punk-speed “Hang on to Yourself” and a bone-crushing “Ziggy Stardust” before closing the show with a transcendental version of “Rock ’n’ Roll Suicide.”

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TVD Radar: Marty Stuart, The Pilgrim: A Wall-to-Wall Odyssey book with bonus CD in stores 2/14

VIA PRESS RELEASE | On Valentine’s Day, February 14, 2020, Marty Stuart will release The Pilgrim: A Wall-to-Wall Odyssey, a beautifully illustrated, 11″ by 10.5″ tabletop book (with CD) that details the making of his seminal record The Pilgrim, an album that reconnected Stuart with the deepest spirit of country music’s rich traditions while also breaking new ground.

“The Pilgrim project was the first step in a journey that led me to the outer edge of the awakenings of my true musical heart and soul,” says the country music legend. “It’s an album that’s close to my heart, and one that explores a true story of an unbelievable romance that unfolded in my hometown of Philadelphia, Mississippi when I was a kid. It’s a story of the power of love to overcome life’s darkest moments. The story that’s told in The Pilgrim, and my own story of how the project came to be and continues to shape me, makes my heart swell. When thinking about when I wanted to share this book with the wider world, I couldn’t think of a better time than Valentine’s Day.”

The Pilgrim, Stuart’s tenth studio album, was originally released in 1999. The risky and ambitious concept project—based on true events that transpired in his hometown—was a turning point in Marty’s unique artistry. While not a commercial success at the time, The Pilgrim represents a rediscovery of his roots and a creative rebirth that has since become a modern-day country music classic. The hefty hardcover volume, however, is about much more than just one landmark album. It’s about spiritual discovery, artistic integrity, and a vision that set Stuart on an enlightened path.

Originally available in limited release during the 20th anniversary celebration of the album in the fall, The Pilgrim book is now available as a wide-release title via BMG, which began publishing music-related books in 2017. Included in The Pilgrim: A Wall-to-Wall Odyssey is a newly remastered CD of the original album, along with ten bonus tracks that feature guest performances by Ralph Stanley, Emmylou Harris, Uncle Josh Graves, Earl Scruggs, and Stuart’s wife, Grand Ole Oprylegend Connie Smith.

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Needle Drop: Chasson Gracie, The Music Sounds Better with Whom?

Documentary filmmaker Chasson Gracie’s music docs have always investigated the bleeding edge of music alliances.

His 2015 debut, Gonna Sip That Sip, Hit That Dip: The Emerging Queer Hip-Hop Movement, shined a light on a genre of music that is clearly ahead of its time. With his new project, The Music Sounds Better with Whom?, Gracie endeavors to understand our artistic relationship with technology—is this a partner, a crutch, or a silent killer?

Each participant in the documentary brings a singular viewpoint to the discussion. Some embrace AI and some fear that the integrity of music is jeopardized now that we are so dependent on technology for both the recording and live aspects of delivering music to listeners. Overall there are many questions being asked, and although we don’t receive a resounding answer, by the end of the doc we are more informed about our consumption and collaboration with Artificial Intelligence.

The documentary is currently wrapping up a 12 point film tour and most notably was awarded Best Documentary at the Toronto Shorts International Film Fest. The Music Sounds Better with Whom? is now available to stream on Amazon in the UK and US.

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The TVD First Date

“Vinyl is life. But I don’t mean that in an obsessed, looking-down-my-nose, ‘vinyl is life’ bumper-sticker type of way. I mean that vinyl has life. It’s a living embodiment of recorded sounds. It breathes. It’s got a body with physical weight and it relies on gravity like you and me. It’s got a language of its own that must be meticulously translated on the fly by a skilled interpreter. It’s literally got music cut into it’s skin like an elaborate sleeve tattoo. My vinyl records are more human than some humans I know. They’re some of my closest friends.”

“I was infatuated with records as a kid. But not because we always had them playing around the house or anything—we didn’t even have a working turntable. I saw DJs on the TV and in movies spinning records, scratching samples, and making these otherworldly incredible sounds. I heard turntablists on hip hop records do their thing and thought it was pure magic. I still do.

I remember going to my friend Omar’s house in grade school, his parents had a turntable in the living room and they used it from time to time. I remember just absolutely DYING to scratch a record; even to just lay my hand on the vinyl while it spun around on the platter. I didn’t ask, I just went for it, unable to control my desire, consumed by this idea that I would immediately sound like the next DJ Qbert.

Nope. I put my hand on it and immediately the needle skipped off of the record, the tonearm swung wildly to and fro, the lights flickered on and off, the sky darkened and the earth split open. I may not be remembering that all perfectly, but it was definitely dramatic. I was immediately scolded for putting my paws on that wax. I was told that was how you RUIN records, and that ‘DJ’s’ who scratch their records obviously have no respect for them and no problem ruining them.

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TVD Radar: The Allman Brothers Band, career-spanning Trouble No More: 50th Anniversary Collection in stores 2/28

VIA PRESS RELEASE | When Berry Oakley, Butch Trucks, Dickey Betts, Duane Allman, Jaimoe, and Gregg Allman finally coalesced in 1969 as The Allman Brothers Band, after stints in other bands and musical endeavors—some alone, some with each other—the group’s very first informal jam together was the stomping Muddy Waters song, “Trouble No More.” Almost immediately the six musicians knew they were on to something special. Shortly after, it also became the very first song they officially demoed together for their eponymous debut record, an album that would begin their legendary, unparalleled, and often times, turbulent journey as one of the best American rock bands to ever exist.

The band’s original 1969 demo of “Trouble No More,” which has remained unreleased for more than half a century, fittingly opens the new, aptly-titled Allman Brothers Band career retrospective, Trouble No More: 50th Anniversary Collection, releasing February 28 via Island Mercury/UMe to pay tribute to the 50th anniversary of the pioneering Southern rock legends and their incredible body of work. Available as a 10LP or 5CD box set or digitally, Trouble No More—produced by Allman Brothers Band historians and aficionados Bill Levenson, John Lynskey and Kirk West—offers a massive selection of 61 Allman Brothers Band classics, live performances and rarities from across their 45-year career, and includes seven previously unreleased tracks that take you from the very beginning until the very end. The collection is bookended with a live performance of “Trouble No More” from the Allman Brothers Band’s final show at New York’s Beacon Theatre that brought the band’s legend to a close and which brings this retrospective full circle.

Trouble No More: 50th Anniversary Collection is available for preorder now. Ahead of the release, the previously unreleased demo recording of “Trouble No More” is available for streaming now and for immediate download with digital album preorder.

The deluxe vinyl box set of Trouble No More: 50th Anniversary Collection beautifully presents the Allman Brothers Band’s legacy across 10 LPs packaged in five gatefold jackets housed in a wood veneer wrapped slipcase with gold graphics, accompanied by a 56-page book. The vinyl set will also be released as a limited edition color vinyl collection via the online music retailer uDiscover with each LP pressed on orange and red splatter colored vinyl evoking the insides of a peach.

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Graded on a Curve:
The Firm, The Firm

Talk about your corporate malfeasance. If I were on the board of directors of English stuporgroup The Firm I’d recommend bankruptcy.

A collaboration between legendary Led Zeppelin guitarist Jimmy Page, Free/Bad Company vocalist Paul Rogers, and Manfred Mann’s Earth Band drummer Chris Slade must have struck potential investors as an exciting IPO, but on their 1985 eponymous debut The Firm exhibited zero corporate synergy; instead of a shiny new product–a shiny new Jaguar, say–disappointed shareholders found themselves with a Bad Company Mach II on their hands.

And to compound their misery, Bad Company Mach II didn’t even live up to the standards of its predecessor. Not one of The Firm’s nine tracks measures up to such Bad Company Mach I classics as “Bad Company,” “Can’t Get Enough,” and “Feel Like Makin’ Love.” Add to that the time factor; Straight Shooter was a quality deliverable in 1975; The Firm must have perplexed young listeners reared on punk, new wave and hair metal when it dropped 10 long years later. And even the old timers inclined to listen were disappointed by The Firm’s lack of anything new to bring to the party.

Split the blame between Rodgers and Page. The former’s wheelhouse is songwriting, but you can’t keep selling the same old song with only minor variations forever. Page, on the other hand, is chiefly notable for his absence–on such Bad Company Mach II numbers as “Together,” “Money Can’t Buy,” “Closer,” “Satisfaction Guaranteed,” and “Radioactive” he may as well be the Invisible Man.

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TVD Premiere:
Tex Moonlight,
“Roll You Up”

South Bay-based guitar-slinger Tex Moonlight delivers a hardy mix of rootsy barroom folk and Beatle-esque electronic experimentation. Pedal steel leads stream over crackling breakbeats, merging into a wider sonic band which the songwriter has affectionately coined, “Americonica.”

A mellow, Lebowski-esque mystique emanates from Tex’s well-worn songs, pregnant with poignant moments that hit home on a universal level. “Roll You Up” could be interpreted as a surface level analogy for being intoxicated by a potential lover, but it reveals itself to be more about internalizing someone’s essence after they’ve left this earthly plane of existence. Indeed, a bittersweet sense of loss seems to permeate the man’s entire debut album, which never once drags his uplifting melodies down.

By examining his own mortality through a kaleidoscope of memories of loved ones departed, Tex Moonlight manages to color outside the lines of genre, establishing a character who is rugged and sweet, emotional yet grounded. In fact, “Roll You Up” might just be the greatest Willie Nelson song he never wrote.

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Graded on a Curve:
The Thompsons,
I’ll Get Over It

Amongst other musical developments, the 1970s offered a solid stream of quality soul, often at peak refinement. In fact, it was the last decade in which this was the case, at least until the inevitable upsurge of neo-soul action a la Daptone and Big Crown. Enduring interest in the genre has liberated many underheard soul treasures from their nooks of obscurity, and with the reissue of The Thompsons’ I’ll Get Over It, another effectively lost set has been deservedly cast into the spotlight. The original 1975 edition of 300 copies delivered robust Philly vocal group goodness augmented with social conscience and in a killer twist, an ample injection of mellotron. It’s out now on BCW Records and Brewerytown Beats.

Although I’m speaking as a music writer and not as an excavator of recorded obscurities, it doesn’t seem that private press soul-R&B-funk is as common a find as is singer-songwriter material, generally folky stuff, assorted strains of psychedelia, and budding hard rock-proto heavy metal. And please note that I’m making a distinction between material that was truly self-released and the output of small indies and regional labels.

If the above observation is indeed a reality, socioeconomics is likely one reason why, though a statement from this reissue’s press release brings further insight: “for every Philly International Records smash, there was a neighborhood crew who sweated it out in local bars and VFW halls, many never even seeing their names on a vinyl release, never mind a theater marquee.”

In mid-20th century USA, an early yardstick for success in the soul-R&B-funk field (indeed, also the case for other uncut genre musics) was the bandstand of the nightclub or the community center. If you could make it on that platform, then you might (no guarantees, of course) be able to cut a record. As the reproduced flyer on I’ll Get Over It’s back cover illuminates, this was the route taken by The Thompsons, and it underscores how practice and performance instilled their record with a refreshing atmosphere and a consistently high level of quality.

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TVD Radar: Game Theory, Across the Barrier of Sound, in stores 3/20

VIA PRESS RELEASE | Throughout the 1980s, the California-based Game Theory was one of the most original (and critically acclaimed) indie-rock bands. Their blend of ’60s and ’70s pop influences such as Todd Rundgren and Big Star coupled with a post-punk energy led to a string of diverse albums — nearly all produced by Mitch Easter of Let’s Active.

For the past several years, Omnivore Recordings has painstakingly reissued each and every one of Game Theory’s original albums, with the addition of a slew of unreleased bonus tracks. The band’s effort, 1988’s Two Steps From the Middle Ages, was reissued in June 2017. That appeared to be the final chapter of their story, or was it? Hardcore fans still talk about Game Theory’s final line-up, which toured the West Coast but never released an album. Circa 1989-’90, the band was rejuvenated as leader Scott Miller was joined by the legendary Michael Quercio from The Three O’Clock (which had recently broken up). Other changes included longtime drummer Gil Ray moving over to guitar and keyboards, while Miller’s former Alternate Learning bandmate from the original template of Game Theory, Jozef Becker (True West, Thin White Rope), joined as the drummer. Jozef is the brother of Game Theory’s original keyboardist, Nan Becker.

Across the Barrier of Sound: PostScript, due for release on CD, LP and digital on March 20, 2020 on Omnivore Recordings, is the album that might have been. There’s a blend of home and studio and live recordings. There are songs that many fans haven’t heard unless they were lucky enough to catch a live show at the time — and some songs that reappeared in significantly different form on the debut album from Miller and Becker’s post-Game Theory band the Loud Family, Plants and Birds and Rocks and Things. Miller blended classic pop songwriting with groundbreaking art-rock influences, which is reflected in home recordings of Brian Eno’s “Needle in the Camel’s Eye” and The Nazz’s “Forget All About It.”

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TVD Radar: Grateful Dead, Dick’s Picks 24 4-LP set in stores 2/14

VIA PRESS RELEASE | Real Gone Music continues its long strange trip through the Grateful Dead catalog with a vinyl release of one of the most momentous shows in the band’s long history.

For our second vinyl expedition into the Grateful Dead vaults, we’ve landed on one of the most momentous shows in the band’s long history: the March 23, 1974 show at the Cow Palace that marked the first appearance of the famous (or infamous, depending on which Dead Head you ask) Wall of Sound concert PA! And, since the calling card of that amplification system was its crystal-clear fidelity, we have taken absolutely no chances with the sound on this vinyl release: the show was mastered from the original analog tapes by long-time Dead engineer Jeffrey Norman at Mockingbird Mastering, and the venerable John Golden (who’s cut lacquer for everyone from Sharon Jones and the Dap Kings to Jonathan Wilson to Soundgarden) at Golden Mastering cut the lacquers.

It took two rounds of test pressings to run the approval gauntlet of Norman, Grateful Dead archivist David Lemieux, and Real Gone’s own Gordon Anderson, so rest assured you’re getting the very best vinyl listening experience we can deliver, and the 180-gram vinyl pressing ensures minimum warpage and surface noise. In short, you’ll hear the same unprecedented sonic clarity that Bear envisioned when he put together the Wall of Sound PA…and indeed the set includes the note from Bear that accompanied the original CD release as part of the 4-page, full- size, full-color insert that lies inside the color hardshell box containing the four LPs (which are housed inside poly-lined sleeves).

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Demand it on Vinyl:
Dom Flemons, Prospect Hill: The American Songster Omnibus bundle in stores 2/28

VIA PRESS RELEASE | Grammy Award winner and two-time Emmy nominee Dom Flemons is known as “The American Songster.” Flemons is a songwriter, multi-instrumentalist, producer, actor, music scholar, historian, and record collector. He is considered an expert player on the banjo, fife, guitar, harmonica, jug, percussion, quills, and rhythm bones.

A co-founder of the Grammy®-winning Carolina Chocolate Drops, he was a member of the group from their inception in 2005 through 2013. As a solo artist beginning in 2014, Flemons has performed at prestigious venues all around the world including Carnegie Hall, the Kennedy Center, the Grand Ole Opry, Philadelphia Folk Festival, Newport Folk Festival, opening ceremony at the National Museum of African American History and Culture, and Cecil Sharp House, and served as a U.S. representative at the Rainforest World Music Festival in Kuching, Malaysia.

His third solo album, Prospect Hill, was released in 2014 after Flemons spent many years learning and playing with tradition bearers such as Marty Stuart, Taj Mahal, Guy Davis, Mike Seeger, and James “Boot” Hanks, among many others. After spending decades listening to a variety of vinyl records, 78s and CDs, Flemons took these musical influences and transformed them into an album that redefines “The American Songster.” In 2020, this seminal release returns in an amazing expanded edition.

Prospect Hill: The American Songster Omnibus, due out February 28, 2020, is a two-CD and Digital collection containing a three-part journey: the original Prospect Hill album; the 2015 Record Store Day nine-track EP “What Got Over” (originally vinyl only, now making its first appearance on CD/Digital); and a third section, The Drum Major Instinct, a set of 12 previously unissued instrumental tracks that focus on moods, rhythm experimentations, and “the beats.” The two albums serve as a comprehensive overview of Flemons’ repertoire, which spans over 100 years and bridges the gaps among blues, country, jazz, bluegrass, folk, and hip-hop beats. Flemons has recorded original songs and instrumental tracks that paint a mosaic of American music ranging from the songsters of the 1920s to the present.

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Graded on a Curve:
David Dondero,
The Filter Bubble Blues

It’s January of 2020, people. By the end of this US election year, a maelstrom will have taken place. But really, we are in the midst of an ever-shifting tumult that is made tolerable by an ability to detach through the conveniences of modernity, or by simply being consumed by the harshness of daily survival. On The Filter Bubble Blues, singer-songwriter David Dondero focuses on this disengagement and grapples with the issues, social and political, that have led to it. Wielding a sharply articulated viewpoint rather than mere didacticism and sloganeering, the record’s best moments attain the therapeutic as the ten songs are strongly constructed and delivered. It’s out January 17 through Fluff & Gravy.

The Filter Bubble Blues is David Dondero’s tenth full-length since debuting solo in 1999 with …The Pity Party. before that he was in Sunbrain, a band that’s been tagged as a punk affair. I relate this description secondhand, as I haven’t heard Sunbrain, nor have I heard Dondero’s prior nine records, which isn’t unusual in this contemporary music-saturated landscape. Well, except that in 2006, NPR’s All Songs Considered ranked him as one of the top ten living songwriters.

That sort of accolade will surely lead some folks to further investigate the recipient’s body of work, and had I been aware of the honor, I might’ve done just that. I do say might however, because it’s impossible to know exactly what would’ve transpired. A cold reality is that the public didn’t flock to him en masse after he made the All Songs Considered list; today, per Fluff & Gravy’s press release for the new LP (his first for the label), Dondero’s “at best, uncomfortable” regarding the compliment.

With The Filter Bubble Blues, the artist makes a positive first impression, which is doubly noteworthy given the socio-politically unrelenting nature of the music. But unrelenting is not the same as grueling, as there are a few moments of respite along the way, and also because of the general indie folky meets singer-songwriter sensibility. Opener “Easy Chair” reminds a bit of Conor Oberst crossed with another recent musical acquaintance, Los Angeles via Nashville vocalist and tunesmith Chris Crofton.

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TVD Radar: The Marvelous Mrs. Maisel, Season Three OST vinyl in stores 5/15

VIA PRESS RELEASE | UMe has released the soundtrack for the third season of the multi-Emmy Award-winning Amazon Prime Video series, The Marvelous Mrs. Maisel.

Available now for streaming and download purchase, The Marvelous Mrs. Maisel: Season Three (Music from the Prime Original Series) features new original songs written by songwriters Thomas Mizer and Curtis Moore, and classic tracks from Doris Day, Louis Prima, Nina Simone, and many others. The soundtrack is also available for preorder on CD and in black vinyl and limited-edition color vinyl LP packages to be released on May 15, 2020. The first and second season soundtracks are available on CD and vinyl LP, and for digital purchase and streaming.

The Marvelous Mrs. Maisel’s Emmy Award-winning music supervision is overseen by Amy Sherman-Palladino, Daniel Palladino, and Robin Urdang, carefully selecting music from the era to enhance and complement the show’s scenes and plotlines.

“Music has been a central character since the launch of The Marvelous Mrs. Maisel, connecting viewers to this series’ 1950’s world — with award-winning results,” said Bob Bowen, Head of Music, Amazon Studios. “This year, as Midge’s story took a leap forward, we also went to the next level by creating original music for the first time. The result is a stellar soundtrack that mixes hits from the era with brand-new music that extends the Maisel universe even further.”

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TVD Radar: Bruce Springsteen, Five albums coming to vinyl for the first time, preorder now

VIA PRESS RELEASE | On 21st February, five Bruce Springsteen albums will be released on vinyl for the first time in over a decade by Columbia Records/Legacy Recordings. Together, these releases comprise the vast majority of Bruce Springsteen’s recorded output from the beginning of the millennium—a triumphant period which saw the long-awaited reunion of the E Street Band. Each album has been transferred from the original source masters, allowing for the highest quality pressings possible.

The Rising (2002) will be reissued on 2LP vinyl for the first time in over 15 years. The album offered messages of healing and redemption in the wake of the devastating attacks on 9/11, and saw The E Street Band re-unite in the studio for the first time in nearly a decade. Devils & Dust (2005) comes to vinyl for the first time since its original release on the format. The 2LP set remains one of Springsteen’s starkest studio albums, recalling The Ghost of Tom Joad a decade earlier. Live In New York City (2001) arrives on 3LPs for the first time since its original pressing. The set chronicles Bruce Springsteen and The E Street Band’s much-anticipated reunion tour, recorded over two nights at Madison Square Garden in 2000.Live In Dublin (2007) will be released on vinyl for the first time ever, a 2LP snapshot of Bruce Springsteen’s work with The Sessions Band, including classic folk songs popularized by Pete Seeger and radically rearranged versions of Bruce Springsteen favourites. 18 Tracks (1999) is coming to vinyl for the first time in over 20 years. The 2LP set features rarities like the original ‘Born In The U.S.A.’ demo and exclusive songs ‘Trouble River,’ a 1999 re-recording of ‘The Promise’ and Springsteen’s original version of ‘The Fever,’ made famous by Southside Johnny and The Asbury Jukes.

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