Everybody's Dummy

Like a lot of artists of his generation, Marshall Crenshaw saw the writing on the wall—or lack of it—in the second decade of the new centur...

It should be clear that Marshall Crenshaw wasn’t made for whatever times he’s in, but that doesn’t mean he’s out of place. Jaggedland was ...

Even with the support of such an artist-centric label as Razor & Tie, Marshall Crenshaw wasn’t exactly prolific in the 21st century. Th...

Certain artists have that first album that’s so solid that the idea of a greatest hits album almost seems redundant. The Cars and the Pret...

Even at a time when the major labels were throwing all kinds of money at hit artists, the smaller indies managed to keep their rosters aflo...

We generally like it when artists put out compilations of their demos and works-in-progress, and a record geek and studio-holic like Marsha...

Having sprung for the mild teaser of a live set, Marshall Crenshaw’s new label went all out to make his new album something to remember. Th...

The Razor & Tie label was started in the mid-‘90s by a couple of ex-corporate lawyers who were determined to perpetuate the careers of ...

After too many years of public apathy and corporate indifference, Marshall Crenshaw surfaced on a new label with his best album since his d...

Somehow, on his fifth album, Marshall Crenshaw seemed a little confused. Good Evening sounds a lot like him, but several of the songs are ...

In 1987, it wasn’t enough to write catchy songs and record them well. John Mellencamp had the “heartland sound” pretty much sown up, hair m...

Here’s another perfectly harmless album that was ignored upon release. Only three years on from his debut, Marshall Crenshaw hitched his w...

His first album being such a fresh kick, there was a lot of pressure for Marshall Crenshaw’s follow-up. Field Day keeps most of the recipe...

The most successful musician to come out of Beatlemania , if not the nicest, Marshall Crenshaw is not quite a household name these days. Bu...