THIS IS THE 1980 US ORIGINAL PRESSING on COLUMBIA 'Red'/Yellow labels. SINGLE COVER + INNER SLEEVES + FOLDOUT INSERT. The cover is in VG+ condition: normal wear, BUT light discolouration/wear on spines/corners, mild creases on edges, sticker mark on rear (top left corner), left spine is fully readable; INNERS in VG+ condition, normal wear; INSERT in VG condition because of mild creases and 4cm tear + clear tape to preserve on bottom left corner (front) and bottom right corner (rear); for details see photos (with and without flashlight). The vinyls in VG+ condition (some clicks, to clean) and play wonderfully and without lessening in sound quality.

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BRUCE SPRINGSTEEN

with CLARENCE CLEMONS, GARRY TALLENT, DANNY FEDERICI,

MAX WEINBERS, STEVE VAN ZANDT, ROY BITTAN

A rock & roll true believer with a poet's heart, the Boss defined mainstream American rock in the late 20th century.

"THE RIVER"

Produced by Bruce Springsteen, Jon Landau, Steve Van Zandt

1980      LP     COLUMBIA RECORDS      PC3 36854

PRINTED IN U.S.A.    ORIGINAL PRESSING

SINGLE COVER + INNER SLEEVES + FOLDOUR INSERT

HEAVY CARDBOARD COVER

NOTES: 

Barcode and Other Identifiers

Barcode: (scanned) 0074643685412    (text) 0 7464-36854-1

LABEL: COLUMBIA - RED LABEL w/YELLOW 'COLUMBIA' - BLACK TEXT

Catalog on cover: PC3 36854

Catalog on labels: 

DISC ONE: PC2 36854  C 36855  AL 36855 / PC2 36854  C 36855  BL 36855

DISC TWO: PC2 36854  C 36856  AL 36856 / PC2 36854  C 36856  BL 36856

Matrix / Runout (Side A, Etched): PAL-36855  IJ  F9  KP[not clearly legible]

Matrix / Runout (Side B, Etched): PBL-36855  IF  F6   KP[not clearly legible]

Matrix / Runout (Side C, Etched): PAL-36856  IH  F8   KP[not clearly legible]

Matrix / Runout (Side D, Etched): PBL-36856  IAE  FI7   KP[not clearly legible]

Other / Runout (All Sides, Stamped): MASTERED BY CAPITOL

On labels: rim text reads '® "Columbia", Marcas Reg. Printed in U.S.A.'

℗ 1980 Bruce Springsteen

On inner sleeves: Photos + Tracklist

On foldout insert: Photos + Credits + Lyrics

On back cover: Tracklist + Credits

© 1980 CBS Inc.................applicable laws.

tracklisting

Side A: THE TIES THAT BIND - SHERRY DARLING - JACKSON CAGE - TWO HEARTS - INDEPENDENCE DAY

Side B: HUNGRY HEART - OUT IN THE STREET - CRUSH ON YOU

YOU CAN LOOK (BUT YOU BETTER NOT TOUCH) - I WANNA MARRY YOU - THE RIVER

Side C: POINT BLANK - CADILLAC RANNCH - I'M A ROCKER - FADE AWAY - STOLEN CAR

Side D: RAMROD - THE PRICE YOU PAY - DRIVE ALL NIGHT - WRECK ON THE HIGHWAY

grading

RECORDS VG+ but (please, read above description)

SLEEVE VG+ but (please, see pictures and read above description)

INNER SLEEVES VG+ but (please, see pictures and read above description)

INSERT VG but (please, see pictures and read above description)

   

After taking his early urban folk tales of cars and girls as far as he could on Born to Run, Bruce Springsteen took a long, hard look at the lives of those same Jersey street kids a few years down the line, now saddled with adult responsibilities and realizing that the American Dream was increasingly out of their grasp, on 1978's Darkness on the Edge of Town, an album that dramatically broadened Springsteen's musical range and lyrical scope. With 1980's The River, Springsteen sought to expand on those themes while also offering more of the tough, bar-band rock that was his trademark (and often conspicuous in its absence on Darkness), and by the time it was released it had swelled into Springsteen's first two-LP set. The River was Springsteen's most ambitious work to date, even as the music sounded leaner and more strongly rooted in rock & roll tradition than anything on Darkness or Born to Run, and though the album wasn't the least bit short on good times, the fun in songs like "Two Hearts," "Out in the Street," and "Cadillac Ranch" is rarely without some weightier subtext. As the romantic rush of "Two Hearts" fades into the final break with family on "Independence Day" and the sentimentality of "I Wanna Marry You" is followed by the grim truths of the title tune, nothing is easy or without consequence in Springsteen's world, and the album's themes of youthful ideals buckling under the weight of crushing reality are neatly summed up as Springsteen asks the essential question of his career, "Is a dream a lie if it don't come true?" Like many double albums, The River doesn't always balance well, and while the first half is consistently strong, part two is full of songs that work individually but don't cohere into a satisfying whole (and "Wreck on the Highway" is beautiful but fails to resolve the album's essential themes). But if the sequencing is somewhat flawed, Springsteen rises to his own challenges as a songwriter, penning a set of tunes that are heartfelt and literate but unpretentious while rocking hard, and the E Street Band were never used to better advantage, capturing the taut, swaggering force of their live shows in the studio with superb accuracy (and if the very '80s snare crack dates this album, Neil Dorfsman's engineering makes this one of Springsteen's best-sounding works). The River wasn't Springsteen's first attempt to make a truly adult rock & roll album, but it's certainly a major step forward from Darkness on the Edge of Town, and he rarely made an album as compelling as this, or one that rewards repeat listening as well...(AllMusic)