Collecting log: The best acquisition in 2016

Big box arrived here from upstate New York. Inset shows the eBay
sticker probably for global shipping (overlaid on which is the semi-
transparent lilac-colored label of the domestic delivery service).

Now we're coming to the end of the year, it's time to look over the best acquisition in 2016. It's a volume purchase won on eBay this spring with a cumulative bid of 12, which resulted in the final amounts just exceeding 80 bucks. The amounts were happily way less than what I had expected to pay, but as always, the shipping cost too much from East Coast of the US (slightly more than the half of the final bid). Speaking of the shipping option, as many non-US buyers already pointed out, I am also quite discontented with eBay Global Shipping Program because it charges additional costs that probably results from handling, custom/import duty (pre-paid is mandatory; Note that the zero rate is usually applied for importing vinyl discs here, unless an item is quite expensive or highly valued) and the US domestic delivery from seller's address to the Global Shipping Center. In this particular case, tracking information revealed that the box parcel was originally picked up somewhere in upstate New York, then transferred to Jersey City, New Jersey, then to Cincinnati, Ohio, and finally delivered to the Global Shipping Center located in Erlanger, Kentucky. It was found to cost extra 10 bucks (or more) and take 4 days for the parcel box to be ready for international shipping. Why wasn't the parcel allowed to be exported simply from the international airport in Jamaica, New York, as it was originally posted in the same State? For international buyers, this service is totally unnecessary; a seller can ship an item to an overseas buyer directly, which would not only save shipping and additional fees, but also shorten delivery time. So, the first thing I do now when I join an auction offered by someone in the US is to request the seller not to use the program and ask for another shipping option.

Anyway, I usually avoid volume purchases because of the high absolute cost of international shipping, especially from the US. Another reason is to prevent the accumulation of mediocre collectibles that I don't need in duplicates, or vinyl titles that I am totally not interested in, such as those nothing to do with the Man himself that are often put together in a volume package. However, I could not resist placing the winning bid for this mixed bag.

Photo taken by the seller and shown on the actual auction page. Top: CBS MASTERSOUND HIGHLIGHTS promo-only US copy (still sealed); Second row from left: DARKNESS promo-only US picture disc (still sealed), THE RIVER regular US copy with a blank red label on Side 3, and Tunnel Of Love UK 12" single folded poster sleeve edition; Third row from left: DON'T LOOK BACK single bootleg LP, WEMBLEY STADIUM 4LP bootleg capturing the "4th of July" performance in London 1985, and the BORN TO RUN Armed Forces Radio and Television Service edition; and the bottom row from left: Cover Me UK 12” regular single second edition, THE JERSEY DEVIL bootleg reissue, and THE HEAVYWEIGHTS promo-only US double LP.

This auction lot contained 10 vinyl titles that were exclusive to Springsteen and disaggregated into eight LP and two 12-inch discs or seven official (4 promo and 3 regular) and three bootleg records, counting a total of 15 discs. It's a jumble of wheat and tares, but I did spot an extreme rarity included therein when I, for the very first time, saw this auctioned lot online. That was a vinyl LP pressing from the Armed Forces Radio and Television Service (AFRTS) featuring tracks from BORN TO RUN on one side exclusively. I think this record alone is worth the winning bid of the auction.

The label design for AFRTS has frequently been changed over the 
years. This "large eye" logo represents a typical one for the mid-
1970's pressings. P-15541 seems to be a playing side-specific code,
as the other side of the label prints a slightly different code P-15542.

AFRTS has provided popular radio and television programs to US military personnel, workers, and their families in countries where US military bases are operating but English-language broadcasts are not available. Vinyl LP pressings from AFRTS are generally rare, limited in quantity and often come with unique track listing and label designs, which explains why these records generate a lot of interest from vinyl collectors. According to Lost In The Flood collector's page, there exist at least two AFRTS LP releases of Springsteen, each containing 5 tracks from either BORN TO RUN or DARKNESS ON THE EDGE OF TOWN on one side of the disc, coupled with songs from other artists on another side. The copy included in the auction lot has the catalog number RL13-6 and features the BORN TO RUN tracks (Thunder Road / Tenth Avenue Freeze-Out / Night / Born To Run / Meeting Across The River) on Side One while the other side is filled with excerpts from Eric Clapton's 1975 live album. The vinyl is housed in a plain black die-cut sleeve and carries the labels in a brown background with a large official AFRTS "Eye Logo" printed on both sides.

The other nine titles are as follows:

• THE HEAVYWEIGHTS: COLUMBIA RECORDS FALL 1975 (Columbia A2S 174): A US-only promotional 17-track compilation double LP featuring Born To Run as the first track of Side One. The two records carry white promotional labels and come in a custom gate-fold sleeve with a "DEMONSTRATION Not For Sale" gold stamp on the back cover. Released more than four decades ago, this one is not seen so often and the first entry in my collection.
  
  

  

  The modified artworks for the albums in which featured tracks appear are printed inside the gate-fold sleeve.
   

• CBS MASTERSOUND HIGHLIGHTS (Columbia AS 902): A single US sample LP for promoting CBS's audiophile pressing series released in 1981. Thunder Road is taken from the half-speed mastered edition of BORN TO RUN (Columbia HC 33795) and featured as the first track of Side One on this promotional copy. Housed in a custom gate-fold sleeve. Again, the first entry in my collection although I obtained many years ago the similar sample compilation LP issued in Holland (THE SOUND OF MUSIC ON MASTERSOUND; CBS SAMP 15) that also features the remastered version of Thunder Road. Still sealed.
  
  
  
• DARKNESS ON THE EDGE OF TOWN [Columbia (no catalog number listed)]: A US-only promotional picture disc LP. No explanation is needed for this official classic collectible. Counterfeits have been reported to circulate for years although thus far I have never seen or encountered such copies. This copy (the third copy in my possession) is still shrink-wrapped and remains unopened but the lyric sheet is visible inside the die-cut sleeve through the spindle hall, which warrants the authenticity (since the counterfeits are said not to include it). This sealed copy alone may also be valued equivalent to the winning bid amounts.
  
  
• THE RIVER (Columbia PC2 36854): A US commercial 2-LP copy pressed at the Pitman pressing plant, New Jersey, according to the dead wax matrix information. At first I regraded it as a mere red-labeled Columbia regular copy. However, what turned out to be was that the Side 3 label was blank only with the yellow peripheral rim of Columbia Records. An unexpected but welcome addition.
  
  

  

  The matrix number PAL-36856 is assigned to Side 3 of this US-pressed, my favorite double album. The matrix code on the right that is unreadable in this picture is the machine-typed MASTERED BY CAPITOL stamp.
   

• Cover Me (Undercover Mix) / Cover Me (Dub) / Shut Out The Light // Dancing In The Dark (Dub) / Jersey Girl (live) (CBS QTA 4662): A remix version 12" single commercially released in the UK in 1985. Certainly the least collectible among those included in this lot.
  
  
• Tunnel Of Love // Santa Claus Is Comin' To Town (live) / Two For The Road (CBS 651295 8): Another UK 12" single released in 1988. This one is a folded poster sleeve edition. Still mediocre though.
  
  

  

  The famous matrix inscriptions on the dead wax of THE JERSEY
  DEVIL pressed from the original stampers: HAR147 on both sides
  with THIS SIDE FOR CHAR on Side 1 and THIS SIDE FOR CAROL
  on Side 2, probably dedicated this record to wives of the
  bootlegger and his friend/partner (not in bootlegging). Note 
  that the original copies have a custom silver label on Side 1 
  only (Side 2 label is white blank).
  

• THE JERSEY DEVIL (Hoffman Avenue Records HAR147): A classic bootleg LP honored to be the first ever Springsteen bootleg or Bruceleg originally released in Fall 1975. This copy is a Dragonfly Records reissue but pressed from the original stampers as confirmed by the dead wax information (see the picture on the right).
  
  
• DON'T LOOK BACK: Bruce Springsteen Collectors Items 1974-1980 (PUD Records PUD P 4234): A single bootleg of random, yet interesting collection of studio outtakes and rare live performance. This bootleg has been mentioned on this blog. Check here for the details. This copy is the fifth(!) in my collection but happily, no duplication of the sleeve color (this time dense blue) and pressed from the original plates.
  
  
• WEMBLEY STADIUM (Spacematic Records 198-50704): A Swedish 4-LP capturing the famous Fourth of July 1985 concert in London. One of the best BORN IN THE U.S.A. tour bootleg in the vinyl era, notably for the sound quality and the show itself with Little Steven as a guest appearance for this special occasion. The bootleg column on the Backstreets magazine (#16, Spring 1986 issue) selects it as No. 1 among Top 10 Bruceleg titles released since the beginning of the tour in 1984 (the column is entitled Live album recap and written by Danny Martins). Unfortunately, this copy is missing the accompanying bonus 7" single.

Obviously, the US seller was not an expert on vinyl collectibles generally, and particularly on Springsteen items, but rather selling whatever could be sold, as far as I overviewed his/her auctioned items that ranged from antiques to electronics, designer apparel, accessories, and more. I guess this lot might be consigned to the auction by a hard collector in East Coast, for the reason we of course don't know, to this utility eBay seller. Summing up, I am really satisfied with this volume purchase that puts together various collector-oriented vinyl releases of both official and unofficial items, with at least two legitimate records of high collecting value. Thus, this volume lot of auction is easily placed as the Top acquisition this year. Best wishes for good health and happy hunting in the coming year!

Collecting log: Cover Me UK shaped picture disc single

A bi-color sticker on the PVC bag holding the picture
disc. Note that not all copies come with stickers.

This is the final of the three consecutive collecting logs on “cheap buy” in my recent trip to Tokyo. Yet another I picked up there was Cover Me/Jersey Girl (live) (CBS WA 4662), one of the three shaped picture disc singles from the album BORN IN THE U.S.A. that were commercially available in England. This limited edition is the second release out around September or October 1984 (the receipt of the imported first copy I obtained dated 11th October, 1984), following the pink caddy-shaped picture disc of Dancing In The Dark/Pink Cadillac (CBS WA 4436) and followed by the US flag-shaped I'm On Fire/Born In The U.S.A. (CBS WA 6342). The original pressing has a printing error on the rear side, listing both incorrect playing speed (45 rpm) which is blacked out and the correct speed (33 ⅓ rpm) underneath it. The re-releases correct this error (see the picture below).

The B-side Jersey Girl (live) is shorter and truncated when
compared to the originally released version on the regular 7"
single, even though the running time is indicated as 6 min
15 sec (that is another misprint on this disc).

Shaped into a cut-out figure of the "jumping in the air" pose which is shot by Annie Leibovitz, it was in fact a cool collector's item that had never been seen before. The disc itself is 5 inches in diameter with his arm, leg, and guitar extending beyond the edge, which comes in a clear thick polyvinyl chloride (PVC) bag, together with an unfolded cardboard paper for a display plinth (that is exclusive to this and not available to the other two shaped picture discs). The Backstreets magazine (number 12, Winter 1985) reports it as "the coolest item released in the last few months" and that "it had limited distribution and was not imported into the US in quantity, keeping the collectible prices very high". Therefore, it was probably the most sought-after among the three picture disc releases, and one of the most popular collectibles in the mid-1980s when the album and the supporting 1984-85 world tour generated a furor around the globe.

From left to right: The original misprint pressing, the latest acquisition (showing the least discoloration among the three); and the first purchase back in October 1984 still with the price tag of 1,300 JPY on the upper left corner of the PVC bag (the receipt is also shown).

However, the praise stops here: As you already know, many circulating copies suffer from the ugly "tea-staining," the phenomenon that picture discs get discolored into brown, obviously due to some kinds of chemical reaction that

The rear side of the discs and unfolded cardboard papers
(from left to right; the same sequence as above)

occur inside the clear parts of the disc. This really unfavorable chemical event is fairly common to shaped picture discs pressed and manufactured mainly in the 1980s for various artists. Unfortunately, these Springsteen's releases represent one of the most frequently cited examples of the tea-stain development, although this does not affect playing at all. It seems that the Cove Me picture single is the most seriously affected by the phenomenon whereas the Pink Cadillac-shaped disc is the least. I own one copy each of the other two picture disc singles, and in fact, the caddy-shaped disc still maintains its intact appearance totally free of the stain while the flag-shaped one has discolored to a "tea stain" effect almost fully.

The misprinted and corrected running speed printed on the
rear side of the original and re-released copies. Inset shows
an enlarged image to visualize the hidden error (modified 
partly to reveal the misprint by enhancing transparency)

Before this purchase, I owned two copies for this particular shaped picture disc. Unexceptionally, they already developed discoloration years ago seriously and mildly. As shown above pictures, one copy has almost gone that ugly browned while the other also started showing noticeable signs of tea staining. When I first noticed the symptom, I could not simply believe it because since the purchase, these copies had been properly stored in dark under sealed conditions, avoiding high humidity and temperature fluctuations. This unpleasant situation, and a relatively cheap pricing (864 JPY including consumption tax), led me to getting the third disc on this occasion, as the on-sale copy looked still in very good condition.

The strange parts for this deterioration of clear vinyl are that (1) not all copies have this problem and as shown here, the extent of brownish discoloration significantly differs among circulating copies; and (2) when it happens, it happens gradually or rather suddenly no matter how the care is paid for. The real cause still seems to remain obscure but there are several candidates for causal factors that are (i) inherent to clear vinyl material (e.g., chemical composition), (ii) process-associated (e.g., overcook or pressed inappropriately at too hot temperatures), and (iii) storage environment or condition (light, temperatures, relative humidity, oxygen penetration, and volatile and/or adherent chemicals from a PVC bag). Although not sure, I think that tea staining could result from certain unwanted reactions between chemical components and oxygen contaminated, which would further accelerate under inadequate manufacturing conditions such as overcooking. Environmental factors could, if any, have only minor effects because the proper storage seems little effective on preventing the development of the phenomenon (as is the case of my collection shown here). So far, I have never seen any report or article on effective ways of suppressing the progression of discoloration on these shaped picture disc singles. 

Collecting log: 57 Channels (And Nothin' On) US 12-inch Maxi single and Supplementary Note to BORN TO RUN US pressing LP variants: unusual red labels (JC 33795) on Sep 13, 2015

Do unusual red US Columbia labels without a yellow-rim indicate
the later regular pressing around early 1990's?

Another 12-inch vinyl I bought at cheap in my recent trip to Tokyo but not mentioned on the last blog was 57 Channels (And Nothin' On) - The Remixes (Columbia 44 74416) that is issued in the US back in 1992. This Maxi single contains three variants of the title track remixed by Little Steven, plus the non-album B-side Part Man, Part Monkey that is almost regularly played in 1988 during TUNNEL OF LOVE EXPRESS Tour. I remember I first listened to this tune in 1991 through a 3-CD bootleg called SPRINGSTEEN, RAITT AND BROWNE (TCD 16, Templar Records) that was managed to get by mail order to the now-defunct Great Dane Records, Milan, Italy (Templar was a sort of sub-label of Great Dane that distributed bootleg CDs under Templar labels). The bootleg captures the famous solo acoustic performance on November 16, 1990, which is now available as an official live archive release. I also experienced the live performance back in 1993, right in this noisy remix arrangement.

For not obvious reason(s), I had not tried to get a copy of this particular release before. Maybe it was just because I had not had the opportunity to purchase it (in fact, this was the first time for me to see the real copy at shops), or just because there were no positive reasons to buy it, even though all the 4 tracks are still not available on any regular LP releases (BTW, I still wonder why the original version on the HUMAN TOUCH album was not included on this 12" single).

A major difference is the introduction of bar codes on both sides of the labels of the 1992 remix disc. I'm wondering what is meant by an inverse triangle on the left of a spindle hole. I don't know, but I guess it refers to the main side (Side 1 or Side A) because this symbol is absent on Side 2 or Side B label of each disc (shown as two smaller images vertically arranged in the middle of the panel). Can anyone confirm this?

Anyway, going back to the accommodation and taking out the disc from the sleeve, to my little surprise, I found that the record labels looked like what I called "unusual" when I mentioned about a variant pressing of the US BORN TO RUN LP (refer to the previous post on September 13, 2015). In that blog article, I wrote "Probably, a minor label variation for Columbia Records reissue series (maybe after 1980?) that is nothing to rave about, but just to record it here, for reference purposes." But back then, I was not able to narrow down when this non-common Columbia label reissue was out in the US market, because I couldn't find out any other example of this label.

Hand-etched on the dead wax of 57 Channels is "Precision TD",
which may indicate Cutting Engineer Tim Dennen at Precision
Mastering, Hollywood, CA (However, some others say Tony
Dawsey at Masterdisk, NYC; I don't know which is correct)

Still, I don't know exactly when the US Columbia has changed the label design or introduced this non-familiar version of the label to LP and 12" discs. As far as Springsteen titles are concerned, the regular red labels with a yellow COLUMBIA rim are used up to Chimes Of Freedom 12" EP that is released in 1988, but both HUMAN TOUCH and LUCKY TOWN, the 1992 twin album, employ custom-designed labels. Although the detailed information still remains to be obtained, it is at least now clear that that particular copy of BORN TO RUN LP is one of the very late regular releases, most likely pressed just before 1990 or shortly after.

Collecting log: Secret Garden Dutch 12-inch Maxi single

During my recent official trip to Tokyo, I made a brief stop at a few branches of a famous chain store in Shinjuku that deals with a large number of used vinyl stocks for domestic and imported releases. Unfortunately, there were no exciting collectibles (to my standard) among some 50 or 60 Springsteen titles from all over the world. However, at least I did enjoy pretty much checking out what LP and single varieties were available, and consequently, I made several cheap and discounted purchases.

Two old promo-only "Not For Sale" compilation albums released in 1976 (YAPC 77) and 1987 (XDAP 93175) from CBS/SONY Japan include the truncated version of Born To Run and complete Brilliant Disguise, respectively. Shown left is the enlarged image of the short note for the Man and his 3rd LP featured in the accompanying booklet. Oddly, the 1976 compilation disc carries the regular labels back then, but not white ones, even though the catalog number begins with the custom promo-specific prefix "YAPC."

What I found interesting was the cheap prices set for promo compilation LP releases from CBS/SONY Japan that contain Springsteen tracks. I bought two: one is called POPULAR "BEST 101" Volume 1 (CBS/SONY YAPC 77) released in 1976, with a 12-page booklet and including an edited, shortened version of Born To Run (charged 514 JPY); and another is titled CBS/SONY Presents AMERICAN HIT TUNES Vol. 16 October 1987 (CBS/SONY XDAP 93175) featuring the man's unique drawing on the front sleeve and containing Brilliant Disguise (823 JPY). Usually, I pay no particular attention to and pass these compilation albums, but this time, relatively cheap bargain pricing and overall fine conditions prompted me to purchase the two albums.

Couldn't resist purchasing: Bargain 50% off applied to a new, sealed
US copy for the recently remastered LP (Columbia PC2 36854) and an old,
 used UK-pressed gold-stamped promo copy (CBS 88510). Inset shows the
enlarged image of the promo stamp. Can you guess how many vinyl copies
I own for this particular double album?

By contrast, and predictably, imported promotional discs were sold at higher prices than any others, valued between 5,000 and 10,000 JPY dependent on the volume (i.e., single or double album) and conditions. Those included were the genuine US edition of the DARKNESS picture disc, the US white label promo releases of such classic LPs as BORN TO RUN, DARKNESS and THE RIVER, and so on (although I skipped all of them). In my opinion, these copies were priced more than what might be generally expected. One exception I found, with a much lower price tag (823 JPY including consumption tax), was a 12-inch promotional release that is unique to Holland (Columbia 664236 6) and contains two (i.e., album and string) versions of Secret Garden on each side (total 4 tracks).

Mid-1990s 12-inch rarities pressed in Holland for commercial distribution in Sweden (left) and France (middle) and for promotion-only release in Holland (two copies are pictured in black die-cut sleeves; the lower is the purchased one this time). A US radio-station charity disc released back in 1997 is probably the only pressed CD, but not CD-R, that features the "Jerry Maguire mix" version of the song.

Secret Garden is originally released on the GREATEST HITS album in 1995 and then available as the first commercial single on the three formats (7", 12" and Maxi CD). Holland was one of a few major countries that had continued to press 12" vinyls until late last century (I don't know if this country still plays a major role in supplying vinyl pressing), and according to Lost In The Flood collector's page, there are three different releases for this slow tune. Among these, the two issues share the same catalog number (Columbia 661295 6) but differ completely in color sleeve design. Both version are released in 1995, reportedly one for Swedish and another for French markets exclusively, although the copies distributed in France are said to have been withdrawn. The copy I obtained on this occasion is the third edition issued in 1996, and is a "scarce Holland-only promotional release issued to tie in with the soundtrack album for the Jerry Maguire movie" (quoted from LITF).
 

Reportedly promo release; however, despite a lot of
credit information, there's no PROMO indication at all
on either side of the label (shown is Side 2). Machine-
stamped matrix numbers are the same on both sides
(01 661295 20 1A1).

Because this disc is housed in a plain black die-cut sleeve and carries a red label without any apparent "promo" indication or notification, probably shop staff were not able to recognize the copy as a relatively less known promotion-only rarity but regarded it as a mere regular reissue. Needless to say, it is now sitting on my record shelf. This one is, as shown in the above picture, the second copy in my collection, and my collecting log records that the first copy was obtained years ago at €12 plus shipping fees from Europe (= much more costy than what I paid this time).

By the way, this purchase reminded me of the Jerry Maguire mix, yet another version of this song originally available on a charity CD released by Portland radio station Z100 (see the picture above; the exact CD title is THE MORNING ZOO BOOTLEG). I remember I obtained a copy of this rare CD from a US eBay seller nearly 20 years ago when competition on eBay was not so fierce. According to a Summer 1997 issue of the Backstreets magazine (#56), the official Springsteen's label (not specified which country's Columbia but I assume the US division) also pressed a few hundred copies as promos before Springsteen objected. I don't know whether or not this unreleased (and presumably destroyed) "promo" disc corresponds to the Dutch 1-track radio promo CD-R copy shown on the LITF website (I guess probably not). If the magazine's report is indeed correct, the disc shouldn't be the CD-R, for it is described as being "pressed" but not "burned."


Attention to Bruceleg collectors: Although totally not relevant to this blog article on official 12" vinyls, if you are vinyl Bruceleg collectors, take a read on this post as Mr. Anonymous has provided us with quite interesting information on the featured bootleg.

THE RIVER 2LP: The US Columbia Santa Maria Plant pressing

Recently, I obtained a US analog copy of my favorite album from a US eBay seller. It was a cheap buy as you can guess from the relatively worn sleeve conditions. However, the highly priced international shipping of LP package,

Before and after cleaning LP sleeve: Vertically aligned two images on the left
(before cleaning) are taken from the actual auction page. The "20" marking on
the front sleeve is very faint (yellow circled). There is 
a small corner cut on the
upper-left corner of the rear face of the sleeve which has a gold promo stamp.

which cost close to triple the amounts of the item this time, always annoys me as a non-US resident. After delivery of the LP across the Pacific, the first thing I had to do was to remove the handwritten black markings "20" made on both the front and back covers, which I guess indicate the set price ($20) when this copy was once sold on store shelves before being auctioned. It was not a tough or cautious work because the album sleeve was still glossy laminated, thus relatively tolerant to a little rough wiping with convenient organic solvents like absolute ethanol (although the use of which generally causes damage to sleeves such as de-colorization). 

The sole reason why I purchased this rather worn copy was that it was a white label promo probably pressed at the Columbia Santa Maria Pressing Plant, CA, which I had not owned before. Early in this blog, I wrote about two slightly different labels on the US pressing of THE RIVER LP (here). They differ notably in the style of track listing, one with wide while the other with narrow spacing between track titles. This difference reflects where a label is printed, hence where a vinyl disc is pressed.

Two types of white US Columbia labels for THE RIVER. These are Terre Haute (left) and Santa Maria (right) pressings according to each dead-wax matrix inscription. Note that there is also the same difference for the regular red labels.

As occasionally mentioned in this blog, back in early 1980's when THE RIVER is originally pressed and then repressed, Columbia Records run three major plants for vinyl pressing: Terre Haute, IN (1953-1982), Pitman, NJ (1960-1986), and Santa Maria, CA (1963-1981). Vinyl copies pressed at the Santa Maria factory are usually identified

Typical examples of Santa Maria-specific matrix inscriptions: S1 on a
white label promo disc (left) and S2 on a red label regular disc (right).

by "S1" or "S2" which is hand-etched and rolling upside down to the left of the matrix number found on the dead wax (for example, "IS   PAL 36855" on Side 1). They are usually etched very faintly and sloppily compared to the matrix numbers that are also hand-etched, and so hard to recognize in some cases. To the best of my knowledge, such a Santa Maria-specific matrix inscription is always associated with the "narrow-spacing" track listing on both white promo and regular red Columbia labels on THE RIVER.

The catalog number 36854 printed on Santa Maria (left)
and Terre Haute (right) versions of Disc1 inner sleeve.

Another signature of the Santa Maria pressing is found on the inner sleeve for Disc 1. Printed on the upper right corner of the front face (listing track lineup) is 36854, the catalog number assigned for this album, that differs in the font style and position where it is printed, between Terre Haute and Santa Maria versions. Moreover, there seemingly is a trace of the erased five-digit number on the Santa Maria sleeve that corresponds in position to the catalog number printed on the Terre Haute sleeve. On the other hand, the inner sleeve for Disc 2 has no such digit number printed on either side of both versions.

By far I have not conducted detailed examination if there are any noticeable differences between Terre Haute and Pitman pressings, except what are etched and stamped on the dead wax (although no clear differences seem to exist on either outer or inner sleeve). It's my understanding that exploiting these differences that make it clear to distinguish one pressing from others offers a way of enjoying collecting multiple copies of the same title.

Collecting log: Brilliant Disguise Japanese custom promotion-only advanced 7" vinyl

Two major Brilliant 7" rarities: Promotion-only pre-release in Japan and Italian jukebox pressing, both coming with a unique custom insert sleeve. One of the Japanese copies I own is in fine condition (center) while the other has cellotape removed on the insert sleeve (left), as generally observed with Japanese promo 7" singles leaked and floating around from radio stations. The Italian single contains a colored title strip with a misprint (Brilliant "Disguide").

Brilliant Disguise continues. Speaking of the 7" single release of this title, the most sought-after collectible is probably the Japanese promotion-only advanced pressing (CBS/SONY XDSP 93095) released with the unique black & white picture insert. Alternatively, some collectors may mention the Italian jukebox 7" (CBS JC 152095 7) which also comes with the custom insert sleeve and is seldom seen; however, others are skeptical to its authenticity (I have no idea as to the authenticity of this very nice-looking release). By the way, about a week ago, I found a copy of the Japanese issue being auctioned at Yahoo! Japan although it was the picture insert only. I was just interested in the final result and so followed the auction to the end.

It's a custom sleeve insert only without the 7" vinyl. The auction
ended with a total of 10 bids.

It ended up selling for 2,600 Japanese Yen (roughly $23.50 at the current exchange rate) as shown on the right, which in my opinion is reasonable taking into account that it represents one of the only two unique promo sleeves available to Springsteen's 7" records released in Japan [another one is, needles to say, Santa Claus Is Comin' To Town live (CBS/SONY XDSP 93026)].

Two examples of "date" stamped insert sleeves of the
Japanese promo 7": I Wanna Marry You/Be True
(CBS/SONY 07SP 525) and Atlantic City/Mansion On
The Hill (CBS/SONY 07SP 657)

The auctioned INSERT must have originated from a radio station, as it has a couple of scotch tape marks on front. In fact, many Japanese promo 7" issues in circulation suffer from such yellow-colored glue traces as a result of removing index tags that had been taped on the sleeve by radio station staff. The sleeves are also frequently stamped with the date of acquisition or on-sale date (see the picture left). Thus, generally, the fully intact copies are hard to come by. One of the two copies in my possession has indeed such unwanted modifications (tape marks) as seen in the image on the top of this page.

On the rear side of the insert sleeve are mainly Japanese writings, such as a few lines of advertising copy notes for this single release that are found on the top, and the bottom half of the sleeve is devoted to three small sections that include the largely abbreviated biography (which wrongly describes that LIVE/1975-85 is released in the end of 1985), the highest chart position on Billboard Hot 100 of the seven TOP 10 singles released from his then last studio-recording album BORN IN THE U.S.A., and the brief introduction about the then-forthcoming new album TUNNEL OF LOVE to be released on October 21st (reporting that besides the E Street Band, Springsteen might employ Nashville session players for the album recording).

Although the A-side labels of my two copies are pink-stamped, the label variant exists without stamp markings. As usual for the CBS/SONY releases, the matrix numbers are stamped but not hand-etched on the trail-off area. The JIS acronym (for Japanese Industrial Standards) is found only on Side A.

As the Lost In The Flood collector's web site briefly reports, there is a discrepancy in the catalog number for this custom promo release: XDSP 93095 on the sleeve and XDSP 93096 on the white labels. The machine-typed matrix numbers on the dead wax are consistent with the latter (XDSP-93096A1 on Side A and XDSP-93096B1 on Side B). A google search resulted in another promotion-only Japanese 7" vinyl with the catalog number XDSP 93095 for We Are Music performed by a US female singer called Martika. These indicate that the catalog number on the sleeve is a typographical error. There are label variations on Side A, with and without pinked stamp markings noting track name (both in English and Japanese) and length (4 : 15), release date (October 10th), and artist name. No variation has been found on the Side B label that is totally free of stamp markings, only with the catalog number, side indication and sample notification (with three Kanji characters) in black.

It's translucent bronze or amber upon exposure to a LED light
luminary. Note that this is a common feature to both promotional
and regular Springsteen 7" pressings from CBS/SONY JAPAN.

Finally, although the disc normally looks black, it turns transparent when exposed to high-intensity light. This, however, is not specific to this particular promotional pressing. As far as I examined, all the Springsteen 7" records from CBS/SONY JAPAN are the same in terms of light-dependent transparency. As mentioned on this blog previously (for example, see here or here), most of Springsteen's 7" singles are translucent red on the US Columbia label. Although both the US and Japanese 7" singles show the transparency under strong illumination, the main difference lies in the material and method used to make the disc, as the US records are styrene-molding whereas the Japanese ones are vinyl-pressing.

Collecting log: Brilliant Disguise/Lucky Man US45 with no large hole

Unplayable garbage or highly collectable?

Been busy lately, and that has made me completely away from blogging for more than a month. To give myself a short break (BTW, which was and still is the initial intention to start this blog), I made a quick note on a recent acquisition of a rare, one-of-a-kind erroneous 7-inch item. Shown here is a US stock copy of Brilliant Disguise/Lucky Man (US Columbia 38-07595), the first single from TUNNEL OF LOVE released in 1987. At the first glance, it looks like a small-holed Australian copy with the yellow/red sunburst CBS labels. As you find, however, glued on the 7" record are the US Columbia labels with NO LARGE HOLE!  So, this record is unplayable on any turntables, which makes it totally useless as music medium but appeals to curiosity seekers like me. As occasionally shown in this blog, I own several erroneous products of single and LP releases of Springsteen titles. This type however is never seen before.

The error disc comes in a generic Columbia sleeve rather than in the picture sleeve.

One thing that seemed odd was the fact that there is no small center hole punched out on each side of the paper label, even though it is there on the disc itself which is visible through the labels (see the image below). Why is this odd? When the clump of hot vinyl is pressed with stampers, it is held by a spindle on a pressing machine and sandwiched by a pair of paper labels. So, before setting on the pressing machine, record labels must be small-holed so that they are pressed together with the vinyl clump right on the center of a resultant disc ...

When the record is held against strong light, a small center hole
appears as yellow on the paper label. The disc is translucent red,
which is a proof of a styrene-made Columbia 7" single (the
filaments of a light source on the opposite side is visible as
figural red on the upper part of the dead wax area).

While writing this post up to this point, I recalled that it was not vinyl pressing but styrene molding! As I did mention previously, most of 7" discs from the US Columbia Records in the 1970s and 1980s are made by polystyrene which is injection-molded, not pressed like vinyl, and paper labels are glued on afterward. Then a styrene disc is punched out to make a large center hole, together with the glued labels. Obviously, this particular copy has escaped from this final step of the production, which explains why the paper labels remain intact without a small spindle hole.

Note that in the case of vinyl pressing (yes, relatively the small number of vinyl pressing does exist for Springsteen 7" releases by the US Columbia Records in both promotional and stock forms), the labels should have a small hole on the center even if the final step is skipped. Thus far I have never seen such an error disc, though.

Thoughts on My Father's House on NEBRASKA LP (Part 4 of 4)

Track and time information found on a two-page stapled
fact sheet for a Japanese sample copy of NEBRASKA LP

As I wrote in the last blog, both the UK and certain US pressings of NEBRASKA LP are issued with the misprinted Side 2 label that lists the incorrect play times for the three of the four tracks on this side, notably for My Father's House as clocking 5' 43" instead of the actual 5' 03". This set me to examine whether there were more examples of copies bearing this erroneous label out there. Besides the  UK and US copies, currently, I own the LP pressings from Holland, Spain, Greece, Ex-Yugoslavia, Hong Kong and Japan. The survey of my collection revealed that the misprint was not limited to the US and UK copies, and the Hong Kong release (CBS/SONY 25AP 2440) was found to be the case (see the image below). This result was rather unexpected to me, as the Hong Kong branch of the label had an obviously closer partnership to CBS/Sony Japan, in terms of at least geography and operation, when compared to the US Columbia or UK CBS. As I reported previously, as far as the CBS/Sony label was concerned, the Made In Hong Kong LPs were actually pressed in Japan and then exported there. Although the Japanese pressing does not print play time for any tracks on the record label, the accompanying linernote/lyric translation insert (and the fact sheet included in the sample LP) provide almost correct time-length information (for example, 5' 05" for My Father's House). Then I wonder how this error could happen with the Hong Kong LP but not with the Japanese one. Even if assuming that the paper labels were prepared in Hong Kong independently of the vinyl disc, how the wrong information has come to be used?

The Hong Kong (left) LP shares the same catalog number (25AP 2440) and the identical matrix stamp with the Japanese copy (right), which shows where it is pressed (see here for the relevant blog).

In order to gather more information, I extended the survey beyond my collection and checked the label images found online. As a result, in addition to the US, UK and Hong Kong, I confirmed that the LP copies issued in the following countries carry the same track-length misprints on the label: Canada (Columbia TCX 38358), South Africa (CBS DNW 2804), and Zimbabwe (CBS DNW 2804; most probably S. Africa-pressed; see here for another blog article on Zimbabwean records). Although I am still not sure if the LP is the officially licensed product, the South Korean pressing also has the error (many thanks D.B.M. for sending the scanned images for the white label promo copy in response to the previous blog).

UK insert included in repressed copies of pre-BITUSA
albums such as NEBRASKA to promote album sales

Note that, like the US pressing, both correct and misprint label versions exist for the UK and Canadian releases. Such a variation must have occurred from the very first of the release (i.e. the error is pressing plant-specific) or as a result of the correction (i.e. misprint LP issued first then corrected edition followed). As for the UK releases, the correctly printed sunburst label pressings often include an additional insert advertising the albums up to BORN IN THE U.S.A., indicating that these are in fact repressed copies. The red label reissue edition also carries the correct information. So, the UK album probably contains the misprint only for the initial run of LP pressing and the error was fixed for later pressings. As for the Canadian release, Google search suggested that there was only one vinyl disc pressing plant in this country (Don Mills, Toronto, Ontario, 1971-1988), which also supports the latter possibility. Regarding the Hong Kong, South African and Zimbabwean LPs, I am not sure whether the error was fixed or remained uncorrected throughout the vinyl pressing like the "Held Up ..." misprint inner sleeve for various European issues of THE RIVER (see here).

Misprinted NEBRASKA Side 2 label on Canadian and South African pressings (middle and right, respectively). Shown on the left is the Canadian label with the correct track lengths (not in my possession).

On the other hand, as far as I examined, I couldn't find any misprint label release from the following countries: Holland, Spain, Greece, Ex-Yugoslavia, Portugal, Italy, Australia, New Zealand and India. However, because of the small number of sampling, this does not necessarily eliminate the possibility of the erroneous label in these releases, and more investigation is needed to avoid biased conclusions. Like the Japanese LP, certain releases such as Mexican do not bear the track length information on the record labels (On the Mexican release, correct playing time for each track is printed on the rear sleeve).

Finally, what is the implication, if any, of these misprinted label releases?  The points listed below summarize what I saw as facts and told here.

• The measurable number of the misprinted edition on the Side 2 label exist from various countries (counting at least six).
• Three out of the four tracks on the label (Used Cars, My Father's House and Reason To Believe) are misprinted for their play time.
• The erroneous track time (5' 43") for My Father's House differs considerably from the correct one (5' 03") but is comparable to the length (5' 35") for the alternate take that is inadvertently and officially released on the early CD edition of the album pressed in Japan.

From these facts, I think it is not irrelevant that the erroneous Side 2 label does not result from inadvertent manufacturing error or careless printer's typo, but rather reflects what could have been the very first Side 2 arrangement including the alternate take of My Father's House which was eventually not adopted in the final version. Maybe wishful thinking, but it seems unlikely to me that the above facts took place independently as casual incidents. Anyway, over these nights, listening to what is the most suitable among his entire albums for deep-night listening, I enjoyed ruminating about a sort of "behind the scene" thing on it. And thanks once again D.R. in England for providing me with the UK label pictures that worked as catalyst for me to write about this topic.

→ Read three consecutive posts starting from here for the updated information.