Collecting log: THE "LIVE" 1975-1985 and THE LEGEND COMES ALIVE, Japanese 5-LP box and custom promotion-only compilation LP w/ info sheets (Part 3 of 4)

Is there anything my collection is missing?

Because of a multi-disc box package, LIVE/1975-85 was downsized to be issued as a single LP commercially in South America (Argentine, Brazil, and Venezuela) and for promotional use only in North America (the U.S. and Canada), continental Europe (Holland and Spain), and Asia (Japan). Notably, the four pressings from the three Latin Americas and the Far East exhibit substantial differences in title, sleeve design, and track selection/configuration from the standard North American/European edition (although the Dutch issue is unique in that it includes the original booklet and is serially numbered on a front sleeve golden sticker). The cassette-tape counterparts to these LP samplers were also released in three of these four countries (except Venezuela) and Uruguay. For the extremely rare Japanese cassette, check the previous post (07/12/2015).

Misprints and wrong information on the back cover and record label as marked
by green (see the main text for the erroneous Japanese description). Although
the flawed tracklist, where Tracks 1 and 3 are in the wrong position and
correctly to be reversed, was fixed later with the overlaid sleeve sticker,
I've never seen the vinyl discs with the correction made on the label.

Among these LIVE album compilations, the Japanese LP, better known for the subtitle THE LEGEND COMES ALIVE (CBS/SONY XDAP 93156), is probably the most popular and widely recognized variation because of the unique, sepia-tinged portrait sleeve on front, with the full album tracklist and release details on the rear for the domestic market. It is also well-known that the LP back cover carries three printing errors [a "SPRING STEEN" misspelling, the incorrect Side-Two track order (on the record label as well), and the wrong photo credit], although it seems to me that his surname was misspelled intentionally in favor of graphic design. Additionally, there is yet another erroneous description in Japanese that the BORN IN THE U.S.A. tour ended on September 30th, 1985. Of course, it's the date for the penultimate concert, from which eight tracks are culled and included on the box set, but none from the last show (10/02/1985). These errors probably reflect the situation of the company that needed to urgently complete the production of the promo LP and standard box set (see Parts One & Two of this series), which might have caused the negligent or careless proofreading.

The spine says just LIVE 1975-1985, inconsistent with what is printed on the front sleeve.

Although promotion-only releases are generally rare, THE LEGEND COMES ALIVE is relatively easy to find at not-so-expensive rates, as you see that it has frequently turned up at domestic and international auctions online. This is primarily due to the relatively large pressing number to promote the then much-anticipated live album. However, before the internet became a common and convenient tool to deal with second-hand goods as individuals, I remember that a copy of this promo sampler often cost collectors at least 10,000 Yen or more [a source in 1987 reporting that it was initially priced at 50,000 Yen (over $300 as of the exchange rate in December, 1986) in the U.S.; see the second image on 05/17/2020].

Maybe a fully intact copy for the Japanese edition of the promotion-only LIVE compilation. This copy is the only one among the four in my possession, with these paper sheets put together. The others came with a Japanese booklet or a 12-inch square polystyrene portrait panel the regular copies had, which I don't think were originally included in the promo package.

In the vinyl era, CBS/SONY Inc. (Japan) released three promotion-only LP/12" EP compilations that feature Springsteen exclusively, and the LIVE excerpt was the third and final one. The company also distributed advanced LP pressings to the two original albums released before and after the live anthology, as summarized below.

• LAST AMERICAN HERO FROM ASBURY PARK, N.J. (YAPC 95)
  A 10-track selection from the first three albums, released in 1978.
• The Killer Tracks from THE RIVER (XDAP 93030)
  A 4-track excerpt from THE RIVER, released in 1981.
• BORN IN THE U.S.A. (28AP 2850)
  An advanced promotional release in 1984.
• THE "LIVE": THE LEGEND COMES ALIVE (XDAP 93156)
  A 10-track excerpt from THE "LIVE" 1975-1985, released in 1986.
• TUNNEL OF LOVE (XDAP 93174)
  An advanced promotional release in 1987.

All the five titles above came in unique sleeves. The fully intact copies contained a lyric sheet (or its photocopy), information sheets, or flyers, making them highly collectible among vinyl collectors worldwide. As for THE LEGEND COMES ALIVE, although I'm not so sure, one of the copies in my possession holds all (if not all, almost all) the paper stuff originally enclosed. These are two kinds of paper sheets, which are missing or not included from the beginning in most circulating copies.

Official CBS/SONY's hand-written memo notifying the
tracklist error and requesting the on-air release date
not to broadcast before November 6th. A combination
of two large "Kanji" characters between double
angle brackets means "CORRECTION" in English.

One is a folded, stapled three-page info sheet in black and white with green color, while the other is a one-page official CBS/SONY note sheet with the company logo. The former illustrates the basic track information, such as track listing (page one), album overview and track length/configuration in LP/CD/cassette formats (page two; mostly duplicate of the rear sleeve with additional info on the single cut release), and a short description for each track (page three). The latter calls recipients' attention to the error on the Side-Two tracklist and the date when radio stations are allowed to play the album (11/06/1986, three days before the official sale). The track-listing error on the rear sleeve remains unfixed, most probably because the correction sticker was not ready when the early batch of the LP was shipped to music critics and radio stations for marketing purposes.
— To be continued to Part 4.