Collecting log: TOP 3 collectible acquisitions in 2015

Ready to send out 2015?  Near the close to another year, I have looked over the collectibles that were acquired this year, just like I did in the final blog last year. Here is the TOP 3 collectible acquisition in 2015, as selected by my own subjective criteria.


THE WILD, THE INNOCENT & THE E STREET SHUFFLE (US Columbia KC 32432)

The original US copy with the catalog number prefix "KC" used for promotion.
Behind is the second issue (PC 32432) with the album title printed in yellow.
Inset: Red promo stamp on the rear sleeve.

For Springsteen's first and second LP releases, no white-label promotional copies are known to exist concerning the US pressing. So, regular copies with red Columbia stock labels are issued for promotional purposes. These copies are housed in regular picture sleeves with a timing strip pasted over the front and a gold or red "Demonstration Not For Sale" indication stamped on the rear. This is a rare promo copy additionally accompanied by a 10-page original copy of song lyrics from Laurel Canyon Music, Ltd.

Machine-typed matrix numbers in dead wax on both sides end with the suffix
1A/1A, denoting this being the very first, original pressing (shown is Side A)

Stapled lyric transcription sheets credited by Laurel Canyon Music are often included in test pressing and early promo packages of the first three albums, with the most known example being the BORN TO RUN script cover set and another being GREETINGS FROM ASBURY PARK, N. J. test pressing LP. Notably, the regular pressing of the second album is the only Springsteen LP that has been issued without the printed lyrics for the featured songs (except for the Japanese release). Couldn't this fact make the promo THE WILD lyric sheets rarer and more valuable than the other two?

Closing up the bottom part of the lyric sheet for Wild Billy's Circus Story with Laurel Canyon music credits

THE PITMAN FAMILY OF MUSIC: Our First 20 Years CBS Records 1960-1980 (US CBS P 15663)

The sleeve is in still shrink-wrapped nice condition.
By the way, why is Backstreets chosen among many others?
(not complaining but just wondering)

This very scarce promotion-only LP is an in-house release of CBS Records in 1980, as a given-away gift only to employees of the company's pressing plant in Pitman, New Jersey, to celebrate the 20th Anniversary of the plant. The disc features snippets of songs from dozens of CBS artists, including Springsteen. Although his contribution is only a short segment of Backstreets just before ending outro on Side 2 of the LP, I really enjoy listening to an overwhelming array of old hits on the record (the complete track info and more images are available at Bruce Springsteen Lyrics).

Matrix number on the black vinyl edition is
not hand-etched, but machine-stamped
(shown is that on Side 1)

I obtained it on eBay auction at a fairly low bid amount (just below $14) because this copy is missing an accompanying 16-page booklet. Also issued as an extremely rare picture disc (which I don't own). According to this page ("Searching For A Gem" Bob Dylan's Officially Released Rarities and Obscurities), the matrix numbers on trail-off areas of both sides (Side 1, AS 15663-1A; Side 2, BS 15663-1A) are hand-etched on the black vinyl while stamped on the picture disc. However, found on my copy of black vinyl are the stamped ones.

One Step Up (US Columbia CSK 1031)

One Step Up US promo-only 5" and 3" CDs, probably the earliest
among all the custom promo-only CD releases of Bruce Springsteen

This advanced CD single of my favorite TUNNEL OF LOVE tune was released in the US, probably in early 1988. To my knowledge, the item represents Springsteen's first-ever release of a custom promotion-only 5-inch CD (someone, please correct me if I'm wrong). Maybe the first ever promotion-only CD in any format among his entire catalog, or second only to the equally tough-to-find One Step Up / Roulette promotion-only 3-inch CD single (US Columbia 38K 7726). Below is a partial scanned image from the info sheet for CD RARITIES AUCTION listing these CD singles held by BACKSTREETS Records sometime in the summer of 1989.

An excerpt from an auction list of Backstreets Records issued in 1989

As you read, this promo CD5 was the most highly rated among collectible CDs on the auction list ("The single rarest Bruce CBS promo - many people at first denied that this existed"). This was partly because back then (roughly three decades ago!), CD was a newly developed, hot vehicle for music distribution that attracted many collectors. So, demand was quite high, particularly for custom promotion-only releases like this, which were usually available in extremely limited quantities. Using the same front sleeve as the US 7" vinyl and European CD3 singles, at first glance, this early promo CD5 looks as if it is a regular commercial copy (though no such CD copies exist). It is not ranked in the top 40 worldwide Springsteen rarities featured in the November 2006 issue of Record Collector (No. 329). Certainly, however, consistently hard to come by and so still highly collectible in my opinion, although I don't exactly know the current value. Luckily, to my surprise, this particular copy was found buried in a pile of used CDs at a second-hand record store. Priced at 3,500 JPY (= US $29). As pictured above, this is the second copy in my collection. Probably, the most exciting outcome of collectible hunting in 2015 (though not a vinyl disc but a CD).

All the best in the New Year 2016!

Classic Vinyl Bootleg Revisited: PIÈCE DE RÉSISTANCE 3LP box (concluded)

The first pressing box release has been said to be limited to 450 numbered
copies. I have long wondered how that number was known.

On par with PIÈCE DE RÉSISTANCE, another FM-sourced, dynamic triple-vinyl LP release of LIVE IN THE PROMISED LAND is often referred to as the greatest vinyl Springsteen bootleg of all time. Which title is better depends on personal preference, or when and how one obtained each copy, as every collectible purchase has its own story (my vote goes to PIÈCE DE RÉSISTANCE). The reason why I here mention the other classic Bruceleg from the same 1978 tour is that this release also comes with the Slipped Disc Records label on each vinyl disc. This is no wonder because the two titles are made by the same bootlegger (commonly called Vicky Vinyl). To my knowledge, however, no generic yellow label version does exist for the first box and second gate-fold issues of LIVE IN THE PROMISED LAND. Assuming that my knowledge is correct, what is the implication of this fact to the topic here? (i.e. Which label, specifically generic yellow or custom Slipped Disc Records, is the first on PIÈCE DE RÉSISTANCE ?)

According to the Blinded By The Light book (P. Humphries & C. Hunt, 1985, Plexus, London), LIVE IN THE PROMISED LAND is initially released as a limited edition box with the insert, which is similar to the package of PIÈCE DE RÉSISTANCE. The deluxe, black and white gate-fold sleeve edition follows as the second pressing, although the three vinyl records are indistinguishable from those of the first box release in terms of sound quality, labels (Slipped Disc Records), matrix numbers (BS 2978 A/B/C/D/E/F), and probably all the other aspects. Thus, two differences are obvious in production of these two landmark releases:

1. LIVE IN THE PROMISED LAND is released in two distinct packages (box and double jacket) while PIÈCE DE RÉSISTANCE is the box release only.
2. The single record label (Slipped Disc Records) is consistently used for LIVE IN THE PROMISED LAND whereas PIÈCE DE RÉSISTANCE is issued with two completely different labels (generic yellow and Slipped Disc Records).

A possible reason for the two different packages of LIVE IN THE PROMISED (1) was already explained in the previous post. In brief, when vinyl discs were pressed and ready for the release, probably the fold-out sleeve was still not finished up. That's why the box set was initially released with the text-only slick insert, and later the double jacket replaced the box when it became available.

One of the second pressing copies of LIVE IN THE PROMISED LAND
erroneously contains Disc 3 from PIÈCE DE RÉSISTANCE (Slipped Disc
version), an indication that these two bootleg records were pressed
or manufactured at the same location somewhere in West Coast

I think a possible reason to explain (2) is very simple: PIÈCE DE RÉSISTANCE was released before LIVE IN THE PROMISED LAND, hence before the custom Slipped Disc Records label was made available to it. Because of this, the early copies for PIÈCE DE RÉSISTANCE was probably pressed with the generic yellow labels. However, when LIVE IN THE PROMISED LAND was about to be released, the custom label was ready. Because both bootleg titles were made by V. Vinyl and possibly pressed at the same pressing plant, I guess she just switched the label of PIÈCE DE RÉSISTANCE from the generic yellow to the better looking custom version. I have long believed so, and this provides another support for my main claim here (shared with Mr. "D") that PIÈCE DE RÉSISTANCE is originally issued with the generic yellow label and then the Slipped Disc Records edition follows.

However, I happened to know that Clinton Heylin, an authority on Springsteen's recording and bootleg, writes in his book E STREET SHUFFLE: The Glory Days of Bruce Springsteen and the E Street Band (2012; Penguin Books, New York) that there was LIVE IN THE PROMISED LAND before PIÈCE DE RÉSISTANCE, which utterly contradicts my long belief!

"... They (i.e. Vicky Vinyl and her conspirator; annotated by this blogger) had taken Springsteen at his on-aired word and had pressed up the Winterland show in its three-hour entirety. When that three disc set sold well, they issued the Passaic FM broadcast too, as the memorable Pièce de Résistance ..."  

To me, this description is questionable because of the following two points. First, the Passaic concert (19/09/1978; bootlegged in PIÈCE DE RÉSISTANCE) precedes by almost 3 months the Winterland show (15/12/1978; bootlegged in LIVE IN THE PROMISED LAND). Second, it seems that PIÈCE DE RÉSISTANCE circulated as early as around Thanksgiving Day in 1978 (not in 1979), according to collectors who have bought this box set immediately when it was out from West Coast (such collectors' reminiscences are found here and there in some relevant thread or message board focusing on this bootleg LP). So, although not conclusive, I guess Heylin's description in this part might be a lapse of his memory.

Unfortunately from my humble point of view, his books such as this and others (notably, BOOTLEG: The Secret History Of The Other Recording Industry, 1996; St. Martin's Griffin, New York) seem to contain errors and mistakes more than usually, in part probably due to overloading of the information (Don't take that I am challenging him. I like his works that are quite interesting reading). For example, strictly speaking, the sentence in the above quotation "... had pressed up the Winterland show in its three-hour entirety" is not accurate because the bootleg lacks the final three encore songs. Another example is found on the same page the above quotation appears in this book, which wrongly quotes Springsteen's "on-aired word" (i.e. the famous "through the magic of bootleg" comment) as introduction to Sandy (it's of course not, but to Racing In The Street). This error is also found in the BOOTLEG book.

I think I could write more about these bootlegs but maybe it's time to move to other topics. Finally, I thank Mr. "D" for sharing his thoughts and information, and discussing on this topic, which was really enjoyable.

Classic Vinyl Bootleg Revisited: PIÈCE DE RÉSISTANCE 3LP box (continued)

This is a follow-up survey I conducted in the last post to determine which label, specifically generic yellow or Slipped Disc Records, corresponds to the very first issue of PIÈCE DE RÉSISTANCE, a real landmark release among his entire vinyl bootlegs (By the way, the slick insert cover of this box release states Piste, rather than either of the above-mentioned two, as the record label on the right bottom corner).

As I explained in the last post, my guess is that the generic yellow label is way earlier than the other. In order to support this thought further, I continued to examine the limited-numbered copies by extending the survey to include those that are NOT in my collection. A lot of photographic images of the numbered copies are uploaded on various internet sites; the best sites are the ones that enumerate internet auction results with item images, such as Popsike. So, it was not difficult to conduct this survey; just check these uploaded images for the variable factors mentioned in the last post, the results of which are shown in the vertical columns of the updated table here.

The total number of the limited-numbered copies used in this survey counts 35 copies including 8 from my collection that have been used in the previous survey. So, the 27 copies listed in this table are not owned by myself but by someone I don't know (In fact, I do know only a few owners including Mr. "D"). It is possible that someone reading this blog is, or once was, an actual owner of a listed copy. I'd appreciate any feedback if I have made mistakes or put wrong information in this table.

The sample number (i.e. n = 35) could not be enough, if more than 5,000 copies were indeed pressed and circulated, but probably substantial to give an answer that sounds credible. Essentially, my own interpretations of this survey can be summarized as follows:

• The majority of the numbered copies are released in a black box with a white slick insert cover, which seems to be strict to the lower numbered copies (below #1,000) with the exception of fewer copies coming with a pale blue insert. 
• As far as the lower numbered copies examined here, all come with the sticker-stamped numbers and carry the generic yellow labels (except for two sealed copies whose labels remain of course unknown).
• On the other hand, the Slipped Disc Records labels occur only with the supposedly later copies whose numbering starts in #1,000's. 

I don't think that the bootleggers have managed to number individual copies in quantities as large as 5,000, although these limited numbers indicate so (e.g. the largest one I've seen thus far is #5739). From my viewpoint, these limited numbers are not trusted in a strict sense, but would probably reflect the overall sequence of their appearance (I mean, the copies with lower limited-numbers came out relatively earlier and those with higher numbers later). So, I think that this updated survey further supports the generic yellow label version as the very first release of this classic vinyl bootleg.

The following are additional notes that may be worth mentioning:

• As shown in the pictures, stamp number fonts differ in size between the early sticker (larger font size) and later non-sticker (smaller) versions.
• Light cream-colored slick inserts seem to come only with white boxes.
• There is a variation in digit numbers (4 or 5) for the later copies (numbered #1,000's to 2000's), and 5-digit numbers seem to be found exclusively with the Slipped Disc Records label version.

As notified in the last post, the next post will discuss this topic from a different view, particularly in relation to the release of LIVE IN THE PROMISED LAND, another landmark 1978 Tour bootleg produced by the same bootlegger who has made PIÈCE DE RÉSISTANCE.
— To be continued.

Classic Vinyl Bootleg Revisited: PIÈCE DE RÉSISTANCE 3LP box (continued)

When Springsteen’s popularity reached its peak worldwide in the mid to the late 1980s, there was an overwhelming demand for his bootleg records, especially of the classic titles like LIVE on Coral Records from the famous Bottom Line 1975 gig, and the original numbered copies for LIVE IN THE PROMISED LAND (see pic here), PHILADELPHIA SPECIAL and PIÈCE DE RÉSISTANCE, the three 3LP-bootleg box releases from the legendary DARKNESS tour. Back then in Japan, second-hand bootleg dealers often asked collectors for an extraordinary amount of money for such a rare, used import copy. You can refer to the previous post for typical retail prices assigned to used copies of PIÈCE DE RÉSISTANCE that are found on a bootleg catalog issued by such a dealer (a limited-numbered copy outrageously priced at 28,000 JPY and two reissues each at 12,800 JPY, which was still too expensive!). It was just impossible for a student to purchase any single copy at such costs.

I still keep some of the uniquely designed
record bags from the second-hand shops I
have visited in the US and UK.

After graduation, I was still so deep into this particular bootleg that I began gradually to build up a small collection of the limited numbered copies, with a total of eight currently in my possession (as pictured in the last post and shown here again at the bottom of this post). Probably, more than half of these copies were obtained during the 1990s: I used to take an opportunity of making (mostly official) trips abroad, often to the US, for hunting this and other sets (which cost much cheaper than buying copies here, due to the basic difference in retail prices of used copies between the two countries and because of the strong exchange rate of Yen back then). Whenever I had free time, I tried to visit local record shops in a town or city where I was staying. So, the first thing after work, when I settled in a hotel room, was to check Yellow Pages Advertising for the location of used record shops and consider how to get there (It was before the internet became widely used for many purposes to the individuals or small shop runners).

As already told, I purchased my first copy of PIÈCE DE RÉSISTANCE in 1981 in a shrink-wrapped, brand-new condition. However, the accompanying slick insert cover was not numbered and missing a brief description of the recorded concert (THE ENTIRE 75th PERFORMANCE OF THE 1978 TOUR / RECORDED AT THE CAPITOL THEATER, SEPT. 19 1978 / PASSAIC, NEW JERSEY  3DISQUES), leaving small and large box spaces empty on the lower left and right of the insert, respectively (see the image at the top of this post). The labels of Records 1 and 2 are blank white (a little dirtied), whereas Record 3 features the red label of "Unmitigated Audacity Records". The "Unmitigated” label (see here at Discogs) is often found in some old US bootleg releases around in 1980, capturing live performances of Frank Zappa, Steely Dan, Neil Young, and Springsteen (i.e., Winterland 1978 3LP in a single white sleeve typically with a yellow insert). All these observations indicated that my first copy is a reissue or piracy pressing, although the matrix numbers of Records 1 and 2 (SPRING A through D) turned out to be the same as those considered to be the original copies I now own. On the other hand, Record 3 (with "Unmitigated” labels) is apparently pressed from a stamper that is NOT used originally, based on what is hand-etched on the dead wax space. Then, what are the distinguishing features of the original or very early copies of this legendary bootleg?

It was really tough to find the numbered
copies here in the Far East in the 1980s.
Note the difference in box style.

Chris Hunt's section of Blinded By The Light (P. Humphries & C. Hunt, 1985, Plexus, London) describes that "First pressing in limited numbered edition. Several re-pressings have appeared with slight sound deterioration, and the number is written, not printed. A further re-press featured a different insert."Assuming that the original/early pressing is stamp-numbered on the slick insert with the boxed text (THE ENTIRE 75th PERFORMANCE ... ), there are still at least the following noticeable variations I’ve seen among such copies:

• Numbering (two ways: stamped on a small sticker or directly on the slick insert paper)
• Slick insert color (three variations: white, pale blue, or light cream)
• Box color (two variations: black or white)
• Label (two variations: generic yellow or custom  Slipped Disc Records; as mentioned in the last post)

Fretwork-like inner sleeves found in two classic Brucelegs
(upper, PIÈCE DE RÉSISTANCE; lower, LIVE on Coral Records)

It is of note that other possible variations may be observed by conducting further examination. For example, the slick insert of the sticker-numbered edition features a small closed box rather than an open box (where a limited number appears; see the picture above). That’s most likely why stickers were used for numbering instead of direct stamps on the box space. However, this way of numbering must have been tedious and inefficient in manufacturing processes. So, I guess that bootleggers has slightly changed the slick insert design (from a closed to open box) so as to stamp a limited number directly on it, which supports the idea that the sticker-numbered version precedes the direct stamped version. Another example is that one of my numbered copies (#125) came with inner protective sleeves of something like fretwork design (the image shown right; one copy each of the Coral Records LIVE and LIVE IN THE PROMISED LAND in my collection also came with this unique inner sleeves). A further possible variation is suggested by a fellow collector in the US (hereafter I call him Mr. "D") that box thickness might differ between early and later releases, but I have not examined this point thoroughly yet. Despite these factual and possible variations, the matrix numbers seem to be consistently the same throughout the limited numbered releases.

Anyway, based on the above-mentioned four easily recognizable variations, I classified my nine copies, including one reissue, the result of which is summarized in the table below:

Although I own only one copy for the Slipped Disc Records label edition, it seems obvious from this classification that early numbered copies are tightly coupled with generic yellow labels and the sticker-numbered slick insert. So, if these limited numbers are trusted, it is highly probable that the generic yellow label version precedes the Slipped Disc Records edition and that the sticker-numbered slick insert version is very likely the earliest.

Another speculation (shared with Mr. "D") may support the generic yellow label version as the first release, which will be explained on the next blog.
— To be continued.

Classic Vinyl Bootleg Revisited: PIÈCE DE RÉSISTANCE 3LP box

The Roxy concert was not fully covered in its
entirety until the CD release in the early 1990s.

By the late summer of 1981, I obtained five vinyl bootlegs, the first three of which have been mentioned previously and purchased on the 26th of July, according to my log file. The subsequently obtained two titles were actually what had once transformed me into a Bruceleg junkie: PIÈCE DE RÉSISTANCE (3LP box) and LIVE AT THE ROXY THEATER, HOLLYWOOD 1978 (2LP). They were obtained together, following about one month of the first purchase (August 29, exactly), through mail order from the then most famous bootleg supplier in Japan, whose shop was located in Nishi-Shinjuku (West Shinjuku), Tokyo.

I happened to know these titles because this supplier openly advertised bootleg LPs, either in stock or due in stock, in some legitimate monthly magazines featuring pop/rock music and guitar instruments. I remember that PIÈCE DE RÉSISTANCE was not featured in the ad correctly but was listed with a small picture of the slick insert under the different title LIVE IN NEW JERSEY 1978 in phonetic Japanese (or Katakana alphabet), possibly to explain the content straightforwardly (oddly in Japan, it is not an uncommon but rather customary practice to change or modify an original foreign title to Japanese-friendly one, the typical example of which is found on an Obi for official releases by legitimate companies; see here on this blog). So, I did not know the correct title until the box was delivered to me.

This slick insert design is my favorite, among many others. At which concert is this particular live shot taken?

Sourced from the excellent recordings of FM broadcasted live concerts, both bootlegs sounded better than the previously obtained three. However, needless to say, far more impressive was the live performances from the legendary DARKNESS tour captured in these multi-disc sets (especially the entire concert performance heard on the box set), which had made me determined to pursue collecting these things until the end of the last century (when live recordings, before they were bootlegged, began to be distributed and freely available online in electronic format). Thus, for me, like for many Bruceleg collectors in the vinyl era, PIÈCE DE RÉSISTANCE is the most memorable and important unofficial release among the collection.

SLIPPED DISC RECORDS and generic yellow labels: Which is earlier?

Since the start of this blog one year ago, I have long hesitated to write about this classic bootleg because a fair amount of information, from "who made it" to "how the lawsuit against the bootleggers was settled," is already available through literature (like Clinton Heylin's BOOTLEG: The Secret Story of the Other Recording Industry) and online sources (like brucespringsteen.it and The Amazing Kornyfone Label). However, one simple question remained unclear that I have been wondering for a long time, which is actually shared by a fellow knowledgeable collector whom I've got to know through this blog. There are two kinds of the record labels found in the purportedly original box issues with limited edition numbers: one is a plain generic yellow just printing Record 1, 2, or 3 with side indication, while the other is called Slipped Disc Records labels with a drawing of a dancing(?) skeleton. To the best of my knowledge, no definitive answer has yet to be provided as to which is earlier. So, I'll post my thought, focusing on this.
— To be continued.

A Swedish site launched for Springsteen record collectors!

NOTE: The mentioned website is no longer available (so the links below do not work anymore).

A snapshot from the section of GREETINGS FROM ASBURY PARK, N.J.

Quite busy these days and I just can't afford to have time for my blog work. Here I just want to tell you that one of my good friends in Sweden has launched a new collector-oriented website called Springsteenrecords. Although the site is still under construction, there are already many pictures and images of rare, unique and interesting vinyl collectibles from all over the world. Take a look and enjoy the site.

Collecting log: GREETINGS first US pressing LP (KC 31903 with the matrix suffix 1A/2A)

It was a little surprise to me that, after 42 years of the release, I was able to find a well cared, beautiful used copy of the first pressing LP at a local record shop in a small town in the Far East

From last Saturday to this Wednesday, here we had 5 consecutive national holidays. So, I took a short trip to visit a local used record shop I have never been before, and found a used stock copy of GREETINGS FROM ASBURY PARK, N. J. At the first face, the sleeve was in pretty fine conditions, as pictured here, which made me think that this one was a Japanese press missing an Obi. I usually don't pay particular attention to regular releases, but I noticed that the catalog number printed on the spine started with the prefix "KC".

The suffix codes of the machine-typed matrix numbers P AL 31903 1A / P BL 31903 2A identify this to be a very first pressing (to be precise, there is a small machine-stamped "o" and hand-etched "1" before the prefix code and following the suffix code, respectively, on each side). Indeed, the dead wax codes exactly match those of another copy I own that is a promotional one with the time strip sticker on the sleeve.

Released in 1973, the first US pressing of the debut album is not so difficult to find, but dare I say it, in this condition is fairly rare including an inner sleeve (on the other hand, the Canadian first pressing LP, which carries the same catalog number as the US one, is seldom seen here in any conditions). The vinyl disc was also fine with the suffix codes of the matrix numbers "1A" (side 1) and "2A" (side 2), meaning a very early copy among the "KC" pressings. So, at the price of just 800-yen (= US $6.66 at the current exchange rate) including the consumption tax, this was really a good buy for me.

Compared to the promotional copy that I have long kept (w/ time strip sticker; pictured right), this new purchase is obviously in superior conditions.

On the shelf of the shop there were many old import and domestic LPs of Dylan, Beatles, and Stones, among others. Having some chat with the shop owner, I asked him if he had more Springsteen titles for sale. Then he brought me to a stock room where what he showed me were, to my surprise, the three Japanese promotional copies that are undoubtedly highly demanded among collectors: the second pressing of the first album decorated with the famous wrap-around Obi (CBS/SONY SOPO-124), the first pressing of the second album with the typographical error-bearing Obi (CBS SONY SOPL-239), and the KILLER TRACKS FROM THE RIVER (CBS/SONY XDAP 93030) custom 12"  release (BTW, pictures of these records are shown at the blog of his shop; see below).

Reproduced from the shop owner's blog, with permission. Note the proofreading mark on the Obi of the first issue of
the 2nd album promotional copy.

There is almost no ring wear on the front sleeve of this new
purchase (top) while the US promo copy (middle) and the
Canadian 1st press (bottom) of my old stock do show the age.

To my question asking whether he obtained these rare records from radio stations, he answered no, and continued that these days good stuff doesn't come out from radio stations. According to him, trade-in targets are copies that have long been kept as dead stocks by music critics. These records, originally distributed by record companies for reviewing purposes, were usually played only once or twice, or even remain unplayed, which makes them available in pristine condition. Moreover, these copies are advanced promo rather than regular pressings. In fact, the three promo copies he showed me were almost mint, except that the typo of the Obi of the second album has been proofread with markings (BTW, I have never seen the copies with an uncorrected, intact typo-Obi). I further asked him "what are you going to do with these rare Springsteen records?' He replied that he would hold them until the private auction he's planning to open at the end of this year. Although I already own these particular promo copies, I am interested in the final outcome of the auction. So, I will report it here when the auction ends.

Collecting log: LAST AMERICAN HERO FROM ASBURY PARK, N.J., Japanese custom promotion-only compilation LP

Two copies in my possession, one in excellent condition and the other in good condition.
Found on the insert sheets are the English lyrics for 10 tracks (left) and their Japanese translations (right).

Definitely, one of the rarest and most sought-after LP releases from his entire official vinyl catalog. Given the estimated value of £1,400 or more for a mint copy, this promotion-only compilation album is ranked at the 5th position on the whole listing, and taking the 2nd place on the album listing (just next to the complete press-kit package of BORN TO RUN or so called "the Script cover" release), of the Top 40 Worldwide Springsteen Rarities that appear as the feature article in the number 329 issue (November 2006) of Record Collector magazine.

Unfortunately, there is no much information regarding this impossibly rare collectible from the Far East, with the release date back in 1978, nearly four decades ago. According to the magazine article mentioned above and the description from the Lost In The Flood collector's web site, all the known facts can be summarized as follows:

The catalog number and promo
indication on the rear sleeve

• Released in Japan to promote the 4th album DARKNESS ON THE EDGE OF TOWN, despite not featuring any tracks thereof.
• Housed in a custom black & white picture sleeve without a decorative obi strip.
• Carrying white "Sample" labels on the wax.
• Including an insert with Japanese translations of the lyrics for the featured 10 tracks.
• Reportedly limited to just 100 copies.
• Marked his first exclusive compilation album all over the world.

For many years, I have not seen any copy offered, whether by private sale, set sale or auction. The following are additional notes and my trivial thoughts on this ultimate collectible:

On release date

Two promo-only compilation LPs (YAPC 94 and 96) of ALL
AMERICAN TOP 100 released in May and July, 1978, respectively.
The July issue features Prove It All Night as the 6th track on
Side B (These are not in my possession).

    Some sources claims that this promo LP is released in advance of DARKNESS (Release date: July 1st, 1978, which is almost one month behind the U.S. date) while the others say that they are issued simultaneously. The catalog number with a promo-only prefix (CBS/SONY YAPC 95) suggests the release month to be June, because the two promo compilation issues (YAPC 94 and YAPC 96) immediately before and after this release are titled ALL AMERICAN TOP100 May and July, respectively (although this requires one assumption that these promo compilations were released monthly). So, this promo-only LP was probably issued in Japan slightly earlier than the DARKNESS album, although the exact release date remains unknown.

Record Labels print "A" and "B" although the
rear sleeve says "Side One" and "Side Two"

On LP itself (sleeve, labels and matrix numbers, etc.)
    On the rear sleeve are short introductions to all the individual tracks that are of course written in Japanese, which I don't think are worthwhile to translate into English. The record labels are typical white ones that had been used for sample and promo-only copies released from CBS/SONY until 1979, or at latest, early 1980. The matrix numbers are YAPC-95A2 / YAPC-95B1 both of which are machine-stamped. There are no differences in the dead wax information between my two copies that carry the identical matrix codes. Found only on Side One is a "JIS" mark logo that is also machine-typed on the run-off groove area (JIS is a three letter acronym meaning "Japanese Industrial Standards", which is explained shortly in the previous post).
    The LP is often said to contain an insert with Japanese translations of the lyrics for the 10 tracks that are included in the album. But it actually prints the original English lyrics as well on the other side of the single paper sheet. It is reasonable that the LP was, as reported, in runs as limited as 100 copies, taking into the consideration the fact that there were only two FM stations (FM-NHK in common, and either FM-Tokyo or FM-Osaka) then in Tokyo and Osaka, the two largest cities in Japan, although there were much more AM radio stations. It is of note that unconfirmed number of the copies has been exported to the U.S. (see below).

Other notes that may interest you

Both English lyrics and their Japanese translations are
printed using both sides of a single sheet.

    This promotion-only LP is briefly mentioned in the Japan-only booklet that accompanies the THE PROMISE: THE DARKNESS ON THE EDGE OF TOWN Story box set (SONY SIPC 2971-6). Among the featured articles in this 46-page black & white booklet is an interview with Mr. Ryo Okada (pages 8-10), who was back then responsible for promoting and marketing Springsteen at CBS/SONY Records (his career in charge of Springsteen continued at the company up to NEBRASKA).

Japan-only booklet of DARKNESS box

    In fact, DARKNESS was hardly a hit album in Japan, sold only 30,000 to 40,000 copies domestically (Springsteen's first commercial success here had to wait until THE RIVER). From this interview, I got to know a glimpse of how things went at marketing the album in Japan and what Mr. Okada thought and did to promote the sales of the album (which has substantially failed, though). At the first listening to the master tapes that arrived from the U.S., he was apparently baffled by the dark, low-key tone the album was to follow throughout, because he had expected that this long-awaited release would be something following up BORN TO RUN, at least sound-wise. He confessed that he questioned the choice of the lead-off single release (i.e., Prove It All Night) which, he thought, was not strong enough to support the album sales as well as its own sales as 7-inch. He also confessed that it was quite tough with this single cut to compete against Stones' Miss You which took the radio by storm at that time in Japan. Although THE LAST AMERICAN HERO LP was obviously an outcome as part of promoting the DARKNESS album primarily (and then Springsteen's back catalog as well), these circumstances could, at least in part, account for why this promo-only compilation album does not include any tracks from the 4th album (this part is just my guess).

The best official sleeve, in my opinion

    Interestingly, he recalled that this first ever best hit-type compilation came into so repute in the U.S. (rather than in Japan, ironically) that he was requested to send there one box containing copies of this LP (in the interview, he neither mentioned how many copies nor specified to whom, but logically to someone at the U.S. Columbia Records), which he seems to be proud of. He also seems to consider that this Made-in-Japan special LP might have, at least in part, inspired them to produce the U.S. version of the compilation album, which resulted in the release of the promo-only AS REQUEST AROUND THE WORLD LP (US Columbia AS 978) in 1981. Overall, a very nice interview featuring rarely spoken tales from the inside of the industry, through which we can learn the company's situation being about to release DARKNESS in Japan.
→ Check here for the related post.
 

BORN TO RUN US pressing LP variants: unusual red labels (JC 33795)

Hand-etched matrix numbers read AL 33795-1CJ SS / BL 33795-1BJ SS

I don't exactly remember when I obtained this second catalog number issue with the US Columbia prefix "JC" (JC 33795). There is no particularity with regard to the fold-out sleeve that appears standard for the reissue of this album with the bar code and a single-line producer credit without spelling errors. However, the record label is unusual. It's a red label without a yellow Columbia rim, which resembles like red European reissue labels. On each side on the label are black lettering around the center hole and white lettering on the rim that starts at 7 o'clock saying "Columbia" Reg. U.S. Pat. & Tm. Off. Marca Registrada. Not a misprint or production error because the basic design (especially that of the rim) differs from the normal US Columbia labels. Probably, a minor label variation for the Columbia Records-reissue series (maybe after 1980?) that is nothing to rave about but to record it here,for reference purposes.

 → Check here for the updated information.

Left and Center, Different labels for the US Columbia JC 33795 pressings; Right, Dutch red reissue label for comparison.

THE RIVER rare Mexican single sleeve 2LP

A rare Mexican reissue copy released in 1986 under sealed conditions, although the shrink is torn here and there.

This is not a highly sought-after gate-fold release (CBS LP2S-103) of the double album, but the single sleeve reissue (CBS LP2S-125) out sometime in 1986. Searching through internet for the original Mexican release many years ago, I found this particular copy in sealed conditions that was put on set sale at a local shop in Mexico. The sealed original gate-fold sleeve copy at 19.00 euro!!! I thought this was a bargain price because back then, I was NOT aware of the existence of the single sleeve version at all.

Reissue as indicated by "1986" found in the credit on the rear sleeve

Mexican postal service is relatively slow, and it took one month for the delivery here. I remember when the airmail package arrived, I rushed and opened it immediately. However, what turned out to be was the LP being not what I expected. Of course there was no fault for the Mexican seller and this was completely my rudimentary mistake not to confirm the catalog number, and not to ask if the sleeve of this copy was the gate-fold or not, before placing the order.

Compared to the original US release that is box-like, the LP jacket of the Mexican reissue is very thin.
Top, US "CBS Special Products" version; Middle, US regular copy; Bottom, Mexican 2nd issue.

The Spanish titles are also printed on each
record label with the catalog number
LP2S-125, but not LP2S-103.
(taken from a recent eBay auction)

In fact, the single sleeve version is not as rare as the gate-fold edition, but is still hard to find. The sleeve itself looks not unlike that of the US "CBS Special Products" version because the spine is considerably thin to hold two vinyl discs (see the picture above). As often seen with Mexican LP releases, the album tracks are listed in both English and Spanish, and compared to the US release, the rear sleeve carries additional descriptions regarding album credit and copyright license. Also on the top right of the rear is an empty box space where the bar code is printed on the sleeve of the US releases. Instead, the bar code sticker is glued on the shrink on the left top of the rear sleeve, which turned brownish and almost unreadable due to aging. Although not certain as my copy is still sealed, the second pressing also comes with the inner sleeves but seems not to contain the lyric sheet, according to my private search. 

My First Vinyl Bootlegs (concluded)

The three in original form (or sort of)

Information about original copies of Springsteen bootleg vinyls have been available from various published sources including literature and internet reviews. For me, although out of date covering only up to 1984, Chris Hunt's section of Blinded By The Light (P. Humphries & C. Hunt, 1985, Plexus, London) is still the primary source when referring to vinyl Bruceleg titles.

According to BBTL, the first edition of HOT COALS FROM FIERY FURNACE on Hoffman Avenue Records (HAR164; the original copy of THE JERSEY DEVIL: Ragamuffin Gunner) was pressed on multicolor vinyl with picture labels and came in an orange and black slick cover. Among the three bootlegs I'm talking about, relatively detailed information is available for this old bootleg, in part because the man who made it is long publicly known, and featured and interviewed in essential readings such as BOOTLEG: The Secret History Of The Other Recording Industry (C. Heylin, 1996, St. Martin's Griffin, New York). I know slightly more than what are said about the pressing number and slick cover variation. So, this vinyl title is going to be featured on "Classic Vinyl Bootleg Revisited" sometime in the future.

As for YOU CAN TRUST YOUR CAR TO THE MAN WHO WEARS THE STAR on Singer's Original Double Disk labels (SODD 001), the original pressing had a black and orange insert cover and came on black vinyl. Although there are variations with respect to insert color and record labels (for example, see here on this blog), the white insert edition seems to be one of the earliest, as it came with the record label "World Records" which is also used for the orange insert version. Another classic bootleg.

DON'T LOOK BACK: Bruce Springsteen Collectors Items 1974-1980 on PUD Records (PUD P 4234) was released around in 1980, about 4 years later than the release of the above two classic bootlegs. For this title, BBTL describes that "Delux black and white photos with black lettering. Second pressing has blue border on cover. Extremely rare in its original form". Yes, all the releases feature black & white photos on their front and rear sleeves, but I had wondered what color was originally used on the sleeve border, because there were differently colored sleeves floating around. I've seen at least light blue, red, orange, green, white, and grey versions with light blue seemingly most widely circulated (By the way, the detail information on the variation is found in brucespringsteen.it). Then, I came to know the white border version most likely to be the first edition according to another bootleg guide: "First 100 copies had no back ground color. Later copies had light blue, blue and orange added", from The Bruce Springsteen Bootleg Bible Vol. 1 (Tony Montana, 1985, Montana Production, Inc.).

Although similarly designed, there are several minor variations
on the rear sleeves. 

Because this bootleg was sold at fairly cheap prices, I own four copies whose sleeves differ one by one although the vinyl discs are grouped into three types based on the labels and matrix numbers. Both the white and green border versions carry the identical vinyl with the yellow PUD labels and the hand-written matrix numbers PUD104A P4234 / PUD104BRE P4234. These two vinyls weigh 138 g (white) and 149 g (green) which are heavier than the other two (grey border, 124 g; light blue border, 114 g). They are most likely the first pressing or at least early copies.

The grey border version actually came with the plain black sleeve on both sides of which the large stickers reproducing the original sleeve (except grayish font color) are glued. The vinyl has plain black labels on both sides with the hand-etched matrix inscriptions LL101 / LL102. Printed on the bottom of the rear sleeve sticker is the small writing "Quik-Q Records, 156 Broadway, New York, N. Y.  10115" which is not found on any other copies. The light blue border version, the first copy I got among the four, has a stamped plain white label on each side of the vinyl as shown in the last post, with the matrix codes PUD104A / PUD104B (that are hand-etched as completely different script from those of the white and green border versions). These two copies feature the vertically arranged album title that is printed on the right side of the rear sleeve.

Content-wise, this bootleg is a compilation of unusual live performances and then-unreleased studio tracks, which I really enjoyed once immunized against "bootleg sound" (especially, a slow Tenth Avenue, an acoustic Rosalita and the incredible Fever performed as guest of the Southside Johnny & the Asbury Jukes show). Strangely, something like drum-machine beat can be heard at the last moment of Rosalita, which is not on the original recording of the radio show from which this particular performance is taken. This strange sound is edited out on the track in the light-blue border version, another indication that this one is the most lately produced pirate copy among the four discs I own.

My First Vinyl Bootlegs (continued)

As told in the last blog, 34 years ago, I obtained the following titles as my first bootleg records.

• THE JERSEY DEVIL: Ragamuffin Gunner (2LP, TMQ 5468)
• YOU CAN TRUST YOUR CAR TO THE MAN WHO WEARS THE STAR (2LP, TAKRL 24903)
• DON'T LOOK BACK: Collectors Item 1974-1980 (LP, PUD 104)

I well remember that I wouldn't try to listen to these records for a while after the very first play. This was simply because the sound quality was intolerant for me who was a novice to these underground products. Once getting accustomed to bootleg sound, however, I became absorbed in these live recordings (especially those performed with radically different arrangements such as Incident, Tenth Avenue, and For You, and stunning covers of I Want You and Up On The Roof). Moreover, I became gradually interested in the amateurish appearance of printed or slick covers (as a non-US resident, I had long wondered the album title and front sleeve drawing of YOU CAN TRUST ... until I obtained the relevant information on the Texaco company through internet search).

Cheapest homemade labels I have ever seen: from left to right, Side 4 of THE JERSEY DEVIL, Side 4 of YOU CAN
TRUST ... and SIde 1 of  DON'T LOOK BACK. The original labels are shown below for comparison.

However, it didn't take long before I knew that, like official releases, bootleg LPs were often subjected to a second or further round of pressing or fell victim to other bootleggers for repackaging or copying. It didn't also take longer for a beginner collector to realize that, unfortunately, these LP copies represented a typical example of such crummy reproduction. Blinded By The Light (P. Humphries & C. Hunt,1985) was and even nowadays is a useful guidebook for vinyl bootlegs released up to early 1985. Although overall sloppy production of the sleeves and record labels (as pictured above) strongly suggested, the information provided by this book helped much identifying these releases as piracy pressings (I got to know the original title of this version of THE JERSEY DEVIL, namely HOT COALS FROM FIERY FURNACE, from this book).

A highly priced used copy of the original HOT COALS FROM ... advertised as "ultra rare."
From a mail-order catalog of a Japanese bootleg dealer around 1986.

Obviously, as I already got into unofficial releases, this led me to seek out the original pressing for each title (so, my collecting career began with vinyl bootlegs rather than official rare pressings). Before the internet era, however, it was very difficult for non-US residents to locate where original bootlegs were available, especially those for the older two (HOT COALS and YOU CAN TRUST) because they were produced in West Coast back in early 1976. Besides, they had been repressed and piracy-copied over and over since their first appearance. Even if luckily I found an original copy in a domestic record shop, generally I had to pay a lot of money (see an example above). So, it was after many years that I finally obtained these two classic vinyl bootlegs in their original form.
— To be continued.