Category Archives: The TVD Storefront

Graded on a Curve:
Stray Cats,
Built for Speed

The Stray Cats were the Sha Na Na of the MTV era. A rockabilly nostalgia act, and like most nostalgia acts they offered up a tame version of the music produced by the folks they were paying tribute to—Eddie Cochran, Gene Vincent, Wanda Jackson, Carl Perkins, Jerry Lee Lewis, Elvis Presley, Johnny Burnette—and the list goes on. They carried the torch. But they forget to light the damn thing.

The Stray Cats hued to the original sound, but they were far too polite—the early rockabilly crowd was composed of berserkers, and the Stray Cats were more Apollonian than Dionysian. The early folks were out to burn the cornfield. The Stray Cats were out to pay their respects. They had sound and image down pat but they weren’t into arson.

They left that to rockabilly’s other modern day practitioners—bands like the Cramps, the Reverend Horton Heat, the Hillbilly Hellcats, Flat Duo Jets and Southern Culture on the Skids, to name just a few. Bands that injected their rockabilly with a healthy dose of run-amok dementia. Guitarist and vocalist Brian Setzer had the right haircut and he sure could play, and the same went for drummer Slim Jim Phantom and bassist Lee Rocker. But what I never heard from them was the barbaric yawp that made their models menaces to the social mores of their day. They weren’t dangerous—tribute bands never are.

I’m certainly not the first person to question the Stray Cats’ overly respectful and ultimately weak-kneed take on one of rock’s most primal genres. Rolling Stone’s David Fricke bandied about the word “spiritless,” while Robert Christgau went for the jugular, writing that Seltzer’s “mild vocals just ain’t rockabilly. You know how it is when white boys strive for authenticity—’57 V-8 my ass.” Later he would get even surlier, writing, “Brian Setzer is the snazziest guitarist to mine the style since James Burton. But he’s also a preening panderer, mythologizing his rockin’ ’50s with all the ignorant cynicism of a punk poser. He’s no singer, no actor, no master of persona. And if he can write songs he didn’t bother.” Ouch.

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TVD Live Shots: Extra Innings Festival at Tempe Beach Park, 3/2

TEMPE, AZ | The inaugural Extra Innings Festival hit Tempe Beach Park for day two to celebrate the combination of music and the start of MLB spring training in Scottsdale, Arizona. The sister fest to the Innings Festival, the combination of events gave tourists a reason to extend their stays in Arizona. While Innings Festival has been around since 2018, the success has expanded into an extra celebration of warm weather activities into a second weekend.

Although following the same stage alignment, Extra Innings Festival took on a completely unique look from the first weekend. While seemingly a country music festival, the event offered everything there is under the country music umbrella. Featuring acts in folk, blue-grass, outlaw country, and more, the specific talents created a unique lineup to remember.

2:00 PM: We started our coverage on one of the dedicated music stages, Right Field. 2:00 PM featured Josiah and the Bonnevilles—albeit no Bonnevilles this time—just Josiah. The Tennessee native set the bar high for the day delivering an extremely intimate, raw set. One of the more humble artists I have seen, Josiah knows what it means to work for his music, explaining failed record deals and having not lost hope. Josiah is an incredibly talented artist and as he grows on social media, I believe he will have a big year.

2:50 PM: The crowd made their way back through the food and vendor entertainment to the Home Plate stage near the main entrance featuring Richy Mitch & The Coal Miners. Another band who grew on social media in the past year, the group is young and promising. They Seattle natives are just entering the scene for what could be a huge stage for them, literally and figuratively.

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TVD Radar: Craft Recordings announces latest installment in acclaimed Original Jazz Classics reissue series

VIA PRESS RELEASE | Craft Recordings announces the latest reissues in the Original Jazz Classics series: The Red Garland Trio’s Groovy, Kenny Burrell & John Coltrane’s Kenny Burrell & John Coltrane, The John Wright Trio’s South Side Soul, and The New Miles Davis Quintet’s Miles.

Available for pre-order today, these reissues, which roll out from April to July 2024, feature lacquers cut from the original tapes (AAA) by Kevin Gray at Cohearent Audio (Kenny Burrell & John Coltrane and Groovy titles cut by Matthew Lutthans at Cohearent Audio), 180-gram vinyl pressed at RTI and tip-on jackets, replicating the original artwork. All titles will also be released digitally in 192/24 HD audio.

Original Jazz Classics was created in 1982 (under Fantasy Records) and relaunched last year, with jazz fans and critics alike praising the series’ devotion to vividly preserving and restoring seminal jazz albums, paying mind to everything from cover art to liner notes to the audio recordings themselves.

Since its inception, the series has reissued 850+ hard-to-find jazz albums, among them acclaimed titles from Prestige, Galaxy, Milestone, Riverside, Debut, Contemporary, Jazzland, and Pablo. Craft Recordings will continue to grow its Original Jazz Classics series this year, with audiophile vinyl and digital reissues of even more out-of-print titles.

Speaking to the OJC reissue of Bill Evans’ Sunday at the Village Vanguard, PopMatters raved, “The bright, inventive performances are captured perfectly in these new vinyl releases, and listening to them is an exciting, riveting, and perhaps bittersweet experience, as they caught a unique, influential group of musicians at their peak,” and Clash declared the reissue to be “a must-have.”

On Mal Waldron’s Mal/2, Analog Planet notes that the pressing is “even better than those hard-to-find originals from the 1950s. . . . trust me, you’ll want this.” And for Bill Evans’ Waltz for Debby, Tracking Angle shared in a perfect score review, “The best-sounding of all the pressings . . . the whole line will be worth watching and buying quickly before they sell out,” while All About Jazz echoed, “Without hyperbole, it can be stated that this is the best sounding version yet of a beloved album.”

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Graded on a Curve:
The Zombies,
The Complete Studio Recordings

Celebrating Chris Wright on his 81st birthday.Ed.

With three enduring hit singles, the last of which derives from a classic album that’s as redolent of its era as any, The Zombies aren’t accurately classified as underrated, but it’s also right to say that the potential of much of their catalog went unfulfilled while they were extant. Since their breakup, subsequent generations have dug into that body of work, which has aged rather well, and right now nearly all of it can be found in Varèse Sarabande’s The Complete Studio Recordings, a 5LP collection released in celebration of the band’s induction into the Rock and Roll Hall of Fame. For anyone cultivating a shelf of ’60s pop-rock vinyl, this collection is a smart acquisition.

The Zombies began cohering as a band around 1961-’62 in St Albans, Hertfordshire UK. By the time they debuted on record in ’64 the lineup had solidified, featuring lead vocalist-guitarist Colin Blunstone, keyboardist Rod Argent, guitarist Paul Atkinson, bassist Chris White, and drummer Hugh Grundy. That’s how it would remain until their breakup in December of ’67. Rightly considered part of the mid-’60s British Invasion, The Zombies’ stature in the context of this explosion basically rests on the success of two singles, both far more popular in the US than in the band’s home country.

Those hits, “She’s Not There” and “Tell Her No,” each made the Billboard Top 10 (the former all the way to No. 2) and respectively open sides one and two of the US version of their first album, a move suggesting confidence on the part of their label Parrot that, as the needle worked its way inward, listeners wouldn’t become dismayed or bored by a drop-off in quality.

That assurance was well-founded. While “She’s Not There” is an utter pop gem, thriving on perfectly-judged instrumental construction (in its original, superior mono version with Grundy’s added drum input) and emotional breadth that’s found it long-eclipsing mere oldies nostalgia, and “Tell Her No” a more relaxed yet crisp follow-up, their talents were established beyond those two songs, even if nothing else on The Zombies quite rises to the same heights of quality.

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TVD Radar: Rockpile, Seconds of Pleasure yellow vinyl reissue in stores 6/7

VIA PRESS RELEASE | Yep Roc Records announces the long overdue vinyl reissue of Rockpile’s Seconds of Pleasure pressed on yellow color vinyl, a first since its original 1980 release. Available June 7 and limited to 1,000 copies worldwide, the reissue was pressed at Citizen Vinyl’s state-of-the-art facilities in Asheville, NC, and the lacquer was cut by renowned mastering engineer Kevin Gray at Cohearent Audio. The album is now available for pre-order.

A short-lived yet highly influential quartet, composed of Dave Edmunds (vocals, guitar), Nick Lowe (vocals, bass guitar), Billy Bremner (vocals, guitar), and Terry Williams (drums), Rockpile played together throughout the 1970s, and the original 1980 release of Seconds of Pleasure was the only time the band was able to capture their magic on tape.

Recorded at Eden Studios Chiswick, UK, Seconds of Pleasure features classics like Lowe’s pop-perfect “When I Write the Book” and “Play That Fast Thing (One More Time)” and Rockpile’s only Billboard hit, “Teacher Teacher.” Over four decades since its release, Seconds of Pleasure remains a cult classic sought after by music collectors worldwide.

Meshing the sounds of pub rock, power pop, and rockabilly all through a new wave lens, Rockpile were renowned for their blistering live performances, which were brought to national attention on tours supporting Blondie, Bad Company, Van Morrison, and Elvis Costello.

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Graded on a Curve:
The Galileo 7,
You, Me and Reality

From Medway in the UK, The Galileo 7 hit the scene in 2010. Their current lineup features not seven members but four: guitarist-vocalist Allan Crockford, organist-vocalist-percussionist Viv Bonsels, bassist-vocalist Paul Moss, and drummer-vocalist Mole. Psych-tinged Mod-ish freakbeat is their specialty and their new record You, Me and Reality, out now on vinyl and compact disc through Damaged Goods, finds them in sharp form across a dozen tracks.

If Allan Crockford’s name rings a bell, that might be because he was in The Prisoners, Medway contemporaries of The Milkshakes (they even cut a split live LP together). After the dissolution of The Prisoners in 1986, Crockford played in a slew of outfits including those of his fellow Prisoners, Graham Day & The Forefathers and The James Taylor Quartet. He also played with Day in the Prime Movers and The Solarflares and even joined Thee Headcoats in the late ’80s for the albums The Earls of Suavedom and Headcoats Down!

But by now, it’s certainly possible that Crockford’s name sets off buzzers of recognition through The Galileo 7’s body of work, as You, Me and Reality is their ninth full-length album. And it surely bears mentioning that The Galileo 7 is more than just Crockford’s show. This new record is the byproduct of a long stable lineup that persevered through the pandemic in the recording of this set.

Opener “Can’t Go Home” comes roaring out of the speakers with just the right blend of melody, harmony, fuzz and pound, as the organ gives it that touch of circa-’66 psychedelia. This is an important distinction, as there is nothing excessive about The Galileo 7’s sound. Instead, they favor sharp tunefulness and economy, as in the title track, which combines jangle pop and freakbeat with soaring vocals as a bonding agent.

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TVD Live Shots: Extra Innings Festival at Tempe Beach Park, 3/1

TEMPE, AZ | The inaugural Extra Innings Festival hit Tempe Beach Park as the second weekend in the Innings Festival sequence. Founded in 2018, Innings Festival has kicked off the start of spring training in Scottsdale, Arizona by celebrating the love of music and baseball. This year, the celebration expanded into a second weekend. The valley was gifted with an additional two days for an entirely new lineup and more baseball activities.

The layout for the second weekend followed the same as Innings Festival with two stages dedicated to music and a separate stage for the baseball crossover. Following the same arrangement, the lineup was molded in a different way than the first weekend. Extra Innings, while seemingly a country music festival, offered everything there is under the country music umbrella. Featuring acts in folk, bluegrass, outlaw country, and more, the specific talents created a unique lineup to remember.

4:00 PM: We kicked off our Friday coverage with the mesmerizing talent of Shane Smith & the Saints. Immediately starting off their set with hard hitting, perfectly blended harmonies, the set pulls you right in. Playing at Right Field on the opposite side of Home Plate, Shane’s raspy, big voice could be heard from the entire festival grounds. The group released their first album in 2013, and most recently in 2024. They are certainly a band to tune into as the year continues.

5:00 PM: Alternating music stages, we headed back through the food and vendor entertainment to Home Plate for Elle King. Elle King has been releasing music since 2013, and made a name for herself in 2015. While the sun was high in the air, by 5:00 PM the majority of festival-goers were on the premises. Whether you had been there from the start or just arriving, Elle King’s performance was memorable, kicking off her first show of 2024.

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TVD Radar: Sunny Day Real Estate, Diary 2LP pearlescent vinyl reissue in stores 4/26

VIA PRESS RELEASE | Sunny Day Real Estate and Sub Pop are celebrating the 30th anniversary of the band’s landmark album Diary with a new pearlescent vinyl edition of the remastered double LP and its release coincides with the band’s 2024 US tour commemorating the anniversary of the album. This new version of Diary is now available to preorder from megamart.subpop.com, and select North American retailers while supplies last.

Originally formed in Seattle in 1992, Sunny Day Real Estate featured Nate Mendel (bass), William Goldsmith (drums), Dan Hoerner (guitar, vocals), and Jeremy Enigk (vocals, guitar). Diary, the band’s first full-length album, was released in 1994 on Sub Pop, going on to become the seventh-best-selling record in the label’s history, with more than 231,000 copies scanned in the US alone. Diary was recorded at Chicago’s Idful Studios with producer Brad Wood and released to critical acclaim.

Pitchfork, in its “50 Best Indie Rock Albums of Pacific Northwest,” said of Diary, “The title would later be ridiculed as a symbol of emo’s inward focus, but Sunny Day Real Estate’s Diary, their 1994 debut on Sub Pop, can be read in various ways: in the form of punk rock evolving away from its original designs into more dynamic and insecure space, or as a display of spiraling interplay between four talented musicians from Seattle.”

The Diary 30th Anniversary Tour begins Wednesday, March 13th in Lawrence, KS at Liberty Hall and currently ends with a two-night stand Friday, October 18th and Saturday, October 19th in Los Angeles at The Belasco. For more information on tickets, head here.

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Graded on a Curve:
John Leventhal,
Rumble Strip

The pop music world can sometimes be a din of noise and homogenized pop, with artists from the key trends having careers that often don’t last as long as a major league baseball season. A musical artist who has had a long, acclaimed career, but only now is releasing a solo album is John Leventhal.

He has worked primarily as a record producer but also as an engineer, a songwriter, and an instrumentalist for decades, working on countless albums that are critically acclaimed, but also recordings that win prestigious awards and sell well. He is probably most known for his work with Marc Cohn and Rosanne Cash, (to whom Leventhal is married), and for producing Shawn Colvin’s album Steady On which won the Grammy for album of the year in 1988.

His solo debut reflects the place where he has lived and also produced many of the albums he helmed; New York. But rather than, a brash, in-your-face sound, he has made a mostly guitar instrumental album that could be called urban acoustic. This is the sound of the city at night, when the streets are not filled with people and activity. One can almost fill in the missing sounds of random car horns, the rumble of trucks, and even the echo of the bark of a stray dog.

There are some tracks with vocals, including two by Cash on “That’s All I Know About Arkansas,” a song Leventhal wrote with Cash and “If You Only Knew” and one by Leventhal himself, “The Only Ghost,” which he co-wrote with Marc Cohn, that was to be a part of Dr. John’s final album. There are also some more pronounced country flavorings on “Meteor.”

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TVD Radar: Billy Childish, Great Loveday Wonder: The Collected Demo Recordings 2LP available now

VIA PRESS RELEASE | By special arrangement with Billy Childish and Rare Cool Stuff, Tompkins Square is delighted to present limited edition copies of Great Loveday Wonder: The Collected Demo Recordings.

Billy Childish has been recording and performing since the 1977 punk explosion, inspiring Kurt Cobain, Jack White, and scores of other musicians along the way. The Pop Rivets, Thee Milkshakes, Thee Headcoats, and The Buff Medways are just a few musical outfits Billy has been involved with. His day job is working as an internationally exhibited artist and poet. These demo recordings—originally conceived and executed in a scarce edition of 50 Lathe Cut LPs each during Billy’s recent “Career In A Year” campaign, immediately sold out.

And in the fine tradition of Billy’s releases, this run of 500 needed to be hand-stamped as well as hand-numbered in a limited edition. Billy has also gone far into the woodshed and agreed to reproduce a NEW limited edition of his treasured “MAN WITH GUITAR” woodcut. Also setting a new precedent! We love working with our musical heroes. Billy is one of them.

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Graded on a Curve:
Ben Frost,
Scope Neglect

Melbourne, Australia-born and Reykjavík, Iceland-based, Ben Frost returns to the forefront of experimental composition with his first album in seven years, incorporating electronic elements and industrial atmospheres with infusions of noise and even metallic textures. This last aspect is especially prevalent across Scope Neglect, the record’s fascinating sonic excursions simultaneously familiar and alien, caustic and meditative. Following a limited edition white vinyl release on January 11, the black vinyl, compact disc, and digital are all available now via Mute Records.

Ben Frost made his inroads into the music scene early in this century, self-releasing the CDr EP “Music for Sad Children” in 2001 and making a bigger splash with Steel Wound, which was issued by the Room40 label in 2003. Like many of his experimental contemporaries, he’s amassed an expansive discography, both solo and with numerous collaborators, prolific amongst them Lawrence English, Daníel Bjarnason, Nico Muhly, Tim Hecker, Colin Stetson, and Swans. A significant portion of this work has been composed for film and television, along with dance performances and operas.

For his new record, Frost’s has chosen guitarist Greg Kubacki of the New York band Car Bomb and bassist Liam Andrews of Australian act My Disco to assist in the realization of his vision. Kubacki is front and center in Scope Neglect’s opener “Lamb Shift,” a two and a half minute succession of metal miniatures (with just a touch of electronic residue) that grind and lurch and pause but never manage sustained forward motion.

Functioning not as a subversion or a deconstruction but instead as an overlay of variation and repetition, “Lamb Shift” connects organically (rather than clinically) and also serves as a prelude to “Chimera,” where similar start-stop-start metal-isms are present but used to decidedly different effect as part of a dystopian electronic-tinged landscape.

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TVD Radar: Tinted Windows, Tinted Windows first vinyl pressing in stores 4/20

VIA PRESS RELEASE | “It’s all hook-riddled, fast, and ephemeral, and if you don’t love it, your tie’s too wide.”Entertainment Weekly

Tinted Windows, the supergroup featuring drummer Bun E. Carlos (Cheap Trick), lead vocalist Taylor Hanson (Hanson), guitarist James Iha (Smashing Pumpkins), and the late great bassist Adam Schlesinger (Fountains of Wayne, Ivy), is releasing its self-titled album on vinyl for the first time ever. Originally out in 2009 on CD only, BMG is celebrating the 15th anniversary of its release with the exclusive edition of the album for Record Store Day, April 20, 2024.

This version of the album will be on half black/half red vinyl and will feature two rare tracks —”New Cassette,” which was previously only available on the deluxe CD, and “The Dirt,” which was only available on the Japanese CD.

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Graded on a Curve: Excavate! The Wonderful and Frightening World of The Fall, Edited by Tessa Norton and Bob Stanley

Remembering Mark E. Smith, born on this date in 1957.Ed.

As The Fall’s constant fount of creativity, vocalist-songwriter Mark E. Smith has attained a rare position in the rock pantheon, with the man and his band exhaustively covered in print form. And so, the publication of Excavate! The Wonderful and Frightening World of the Fall might seem an inessential item. However, the objective of editors Tessa Norton and Bob Stanley isn’t biography, but is rather to assemble between hardcovers a series of ambitious essays plus photos of front and back album covers, flyers, correspondence and much more.

Norton and Stanley’s objectives for Excavate! are admirably bold, but it still feels right that the book’s final piece is a eulogy, by Richard McKenna, that was published on January 30, 2018, six days after Smith’s death, for the website We Are the Mutants, of which McKenna is senior editor. It’s also fitting that his opening line functions a bit like tripwire for writers covering this hefty tome who might not have finished the text or indeed even bothered to begin: “Mistrust all eulogies containing the words ‘contrarian,’ ‘curmudgeon’ and ‘national treasure’: these are inevitably the work of hacks.”

It’s pretty clear the author was referring to those either choosing to or fulfilling the given task of eulogizing Smith in the period shortly after his passing, so that hopefully the next sentence in this paragraph will escape McKenna’s harsh judgement (but if not, them’s the breaks). If by now so well-established as to be considered clichés, in the admittedly short interval since his passing, “contrarian” and “curmudgeon” (we’ll set “national treasure” aside for a bit), along with an unquenchable thirst for booze, remain dominant aspects of Mark E. Smith’s persona.

Norton and Stanley’s book doesn’t refurbish his reputation but instead complicates the issue by delving into the outside forces that helped shape Smith’s perspectives and his art. That means the man isn’t always front and center, with the shift of emphasis onto influences artistic, cultural, and environmental driving home that Smith’s antagonisms weren’t kneejerk or for the sake of just being difficult (well, mostly), and that his grumbling and grousing ultimately stemmed from the same complex worldview that shaped his art.

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Graded on a Curve: Screaming Urge, BUY + Homework & Gentilesky, Ways of Seeing

Inching toward two decades of excellence, HoZac Records of Chicago sprang into being with a focus on wild, raw, and often catchy bands of the moment. With a flag planted firmly in the fertile soil of punk, the label has since branched out into archival recordings and books. Two LPs fresh out from HoZac, BUY + Homework, a reissue of the debut from late ’70s Columbus, OH band Screaming Urge, and Ways of Seeing, a new release by Sardinian/Istanbul post punk-garage supergroup Gentilesky, are covered below.

Busy while active but never breaking out of the original punk-new wave era’s underground, Screaming Urge provides a scuzzy but tuneful template of sorts for much of HoZac’s back catalog (the label’s earlier archival have done the same). With a stature that has retroactively flourished through inclusions on the compilations Killed by Death #6 and Bloodstains Across Ohio, Screaming Urge’s “Homework” also provided titular inspiration for the Hyped2Death label’s extensive series of multi-artist CDr retrospectives, the song itself landing on Homework No.1: American “D.I.Y.” 45s R to T.

Coming together in 1978, Screaming Urge—Michael Ravage (guitar), Myke Rock (bass), Dave Manic (drums)—debuted in 1980 with “Homework” on the A-side of a 45 issued by New Age, a label formed by noted subterranean Ohioans Mike Rep, Tommy Jay, Nudge Squidfish, and Chuck Kubat. The song and its flip “Runaway” kick off HoZac’s expanded reissue, a welcome edition as the original releases are frankly scarce and quite pricy in vinyl form.

“Homework” is a classic hunk of teenage frustration aimed at parents and school and a lack of freedom in general, all done up with infectious punk energy. But with vocals reminiscent of the Wipers’ Greg Sage, “Runaway” nearly steals the show. And if the proper LP’s opener “Hitler’s in Brazil” perhaps suggests an inclination for first wave punk shock value, that’s not really what Screaming Urge was about. Instead, they helped to establish Rock Against Racism in Columbus, played guerilla street shows, and broadened their repertoire with the legit protest number “War.”

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TVD Radar: Bruce Springsteen, Best Of Bruce Springsteen 2LP
in stores 4/19

VIA PRESS RELEASE | Sony Music will celebrate the music of Bruce Springsteen next month with a collection of original songs spanning his storied 50-year recording career, from 1973’s Greetings from Asbury Park, NJ to 2020’s Letter To You.

Best Of Bruce Springsteen will be available on 19th April and will come in physical formats as an 18-track set across 2 LPs or 1 CD—and digitally as an expanded 31-song package. The collection will span early-career favourites like “Growin’ Up” and “Rosalita (Come Out Tonight),” staples of Springsteen’s live shows from “Dancing In The Dark” to “The Rising,” best-selling breakouts like “Born To Run” and “Hungry Heart,” as well as recent releases “Hello Sunshine” and “Letter To You.” Here, these career-spanning works appear together in one set for the first time. Best Of Bruce Springsteen arrives with an album cover shot by Eric Meola during the Born To Run sessions, as well as new liner notes by Erik Flannigan.

Best Of Bruce Springsteen captures a body of work that has earned Springsteen honours and accolades including 20 GRAMMY Awards, an Academy Award, two Golden Globes, a special Tony Award, the Presidential Medal Of Freedom, a Kennedy Centre Honour and induction into the Rock and Roll Hall of Fame and Songwriters Hall of Fame.

It has also made Springsteen one of the world’s most in-demand artists—topping 140 million records sold across the globe, more than 70 million in the United States alone and becoming the first artist in history with a Top Five album in six consecutive decades. Springsteen is also one of only four artists to sell more than 20 million concert tickets since 1980—including the highest-grossing worldwide tours of 2012 and 2016.

Before the release of Best Of Bruce Springsteen, he’ll return to the road with The E Street Band later this month, beginning on 19th March in Phoenix, Arizona for a series of 51 shows across North America and Europe. Continuing their first run together since 2016-2017, Springsteen and The E Street Band’s recent tour stops have been hailed as “one of the greatest shows ever” by The Daily Telegraph and “the greatest show on earth” by Billboard. A full list of tour dates is here.

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