Bruce just got an almighty bonus

When it comes to ab­so­lutely gi­mor­mous record deals, Bruce Spring­steen re­ally is the boss

The Irish Times - Friday - The Ticket - - TICKET STUBS - Tony Clay­ton-Lea

Now, this is what you call a record deal. When Bruce Spring­steen (right) signed his new deal with Sony Mu­sic last year, both sides knew the score.

The singer has been with the la­bel for his en­tire ca­reer, and has sold mil­lions of records and earned mil­lions of dol­lars for both sides ($72 mil­lion profit for the la­bel in fact).

But ac­cord­ing to doc­u­ments in­cluded in the re­cent Sony En­ter­tain­ment leak, the real win­ner this time around is the singer. Spring­steen’s $31 mil­lion deal will take him up un­til 2027 (his 78th birth­day) with the la­bel. For that, Sony will get four new al­bums, reis­sued box sets and some great­est hits col­lec­tions.

But the cash isn’t the only sign that the singer has the up­per hand. As Sony big-wig Steve Kober noted in an email to fel­low ex­ec­u­tive Michael Lyn­ton, the la­bel needs Spring­steen much more than he needs them.

“Given his track record, this is not an artist that we can af­ford to lose,” wrote Kober. “In ad­di­tion, we still gen­er­ate sig­nif­i­cant rev­enues from his cat­a­logue.”

But Spring­steen too makes a mint from that back cat­a­logue. He owns the mas­ter record­ings, re­tains the right to sell down­loads of his live con­certs and no doubt is in clover when it comes to his pub­lish­ing rights too. And if he’s stuck for a few bob, he can al­ways tour again.

And the moral of the story? The house may al­ways win in Ve­gas and with record con­tracts, but it’s a dif­fer­ent mat­ter when you’re the Boss. Jim Car­roll

Clas­sic al­bums, per­fect venues

This com­ing Mon­day at Dublin’s Royal Hos­pi­tal Kil­main­ham, Patti Smith will be play­ing, in its en­tirety, her clas­sic 1975 al­bum, Horses .Us Ticket folks, how­ever, are won­der­ing what other clas­sic al­bums in their en­tirety we’d next like to hear in Ire­land – and in which ideal lo­ca­tions they should be per­formed. Here’s our top five. The Water­boys Fish­er­man’s Blues (1988)

The al­bum: Mike Scott and Co leave be­hind their grandiose Big Mu­sic for a down-home blend of trad/folk/coun­try.

The venue: Any de­cent pub in Spid­dal or en­vi­rons. Look out – there’s a fly­ing Steve Wick­ham fid­dle solo! Ra­dio­head OK Com­puter (1997)

The al­bum: An al­bum deemed by Ra­dio­head’s record la­bel to lack com­mer­cial value has now sold over eight mil­lion copies.

The venue: Science Gallery, Trinity Col­lege, Dublin. Of course!

Sex Pis­tols Never Mind the Bol­locks… (1977)

The al­bum: Noisy, inspiring, and an­gry. Very an­gry. One of the most im­por­tant al­bums in the his­tory of rock mu­sic? Sim­ple as.

The venue: Le­in­ster House,

Dublin. Ob­vi­ously. Kraftwerk Au­to­bahn (1974)

The al­bum: “Mike Old­field for un­mit­i­gated sim­ple­tons,” wrote US critic Robert Christ­gau. Wrong! “Sound po­etry,” said Kraftwerk’s Ralf Hut­ter. Right! A land­mark al­bum in elec­tronic mu­sic.

The venue: It just has to be the M50, doesn’t it? Tele­vi­sion Mar­quee Moon (1977)

The al­bum: This de­but al­bum set the stan­dard for post-punk gui­tarists, but no one (and we re­ally mean no one) could top, let alone chal­lenge, Tom Ver­laine’s lithe, spi­ralling gui­tar lines.

The venue: Live at the Mar­quee, Cork. No other venue will work. Hon­est.

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