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 the internet for the original Mexican release many years ago, I found this particular copy in sealed conditions on set sale at a local shop in Mexico. The sealed original gate-fold sleeve copy for 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 to deliver here. I remember when the airmail package arrived, I rushed and opened it immediately. However, what turned out was not the LP copy I expected. Of course, there was no fault for the Mexican seller, and it 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 it is still hard to find. The sleeve rather resembles the US "CBS Special Products" version because the spine is considerably thin for two vinyl discs (see the picture above). As often seen with Mexican LP releases, the album tracks are listed in both English and Spanish. 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.