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 4 of 4)

Among the three advanced promotion-only LP records CBS/SONY Japan released in the 1980s (upper row), the LIVE/1975-85 sampler (center) was treated distinctively from the other two, with the impressive sleeve artwork that is comparable to those of the standard first-pressing issues (lower row).

Undoubtedly, the collecting value of THE LEGEND COMES ALIVE Japanese compilation LP primarily lies in its superb sleeve artwork. The appearance of its front cover is in marked contrast to those of the advanced promotion-only LP editions (in a plain white sleeve with one or two unique stickers; see the picture above) for BORN IN THE U.S.A. and TUNNEL OF LOVE that immediately precede and follow the LIVE box, respectively. Some may wonder how CBS/SONY was able to issue such a Japan-exclusive, custom-color sleeve featuring his gorgeous portrait, especially considering the unusually urgent release to the domestic market to rival the imports such as those from the U.S. The answer is found in the blog written by the aforementioned ex-company staff (see Part Two), if you can read and understand Japanese (I refrain from disclosing it in my blog for a potentially sensitive reason). And finally, I close this topic with my memory when I got the first bootleg of the LIVE-box outtakes.

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).

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 2 of 4)

Collecting-wise, I have two notes on the Japanese vinyl-box edition (CBS/SONY 75AP 3300-3304). First, there has been confusion around the OBI strip. Some established online databases, such as Discogs and Lost In The Flood, describe that the first pressing features a gold OBI with red title lettering (simply called gold OBI) and the second release with a red OBI with gold title lettering (red OBI). This rather widespread perception is incorrect. Accurately, the red OBI came first, and then the gold OBI followed, which is evident by the following facts and observations.

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 1 of 4)

Promotional postcard notifying the forthcoming
release in Japan. Note that the Japan-specific
album title still does not add double quotation
marks on the word LIVE (THE LIVE 1975-1985).

Thirty-four years ago this month, Springsteen finally released LIVE/1975-85 (Columbia C5X 40558), the then long-awaited first official live album, in the formats of five-LP set and three-volume each of CD, cassette, and 8-track cartridge. I remember that while most reviews were overwhelmingly positive on this box set, a certain fraction of hardcore fans and knowledgeable collectors severely criticized it. I was one of those, and soon after launching this blog, I wrote about how I was disappointed when I first saw the list of all 40 tracks featured on the album (12/09/2014). Although I don't go into the details, the major criticisms were focused on the following three points:

• Track selection (lack of live essentials; only one track from the pre-DARKNESS period; too many from the BITUSA tour; etc.).
• Selected live version for each track (e.g., some claim that the Winterland performance is better than the Roxy, and so on).
• Post-recording manipulations (i.e., heavy editing and overdubbing on some tracks, which are apparent compared with circulating live recordings, bootlegs, and nowadays official Live Archive releases).
  

Collecting log: recent miscellaneous purchases under COVID-19

Japan may initially have received high praise overseas for keeping low the number of COVID-19 contagions. However, the unusual lifestyle continues, and the infected people increase to serious levels in some metropolitan areas these days, especially after introducing government-backed discount programs for food-service and travel industries to boost the economy hopefully. Yes, we recognize that the third wave has come here. Although not able to get deep into blogging activities under the current situation, my collecting effort has not been discontinued. Here is a brief summation of the selected recent results (mostly through domestic online auction).

LETTER TO YOU  (Columbia19439803801, Euro-pressed black & white splatter vinyl)

While I ordered the splatter version (center) from Sony Music Shop, the grey vinyl (right) was obtained at Tower Records (available there probably at the cheapest in Japan when ordering). A newspaper clipping on the left features the album review from the morning edition (November 4th, 2020) of the Asahi Shinbun, a major Japanese newspaper.

Collecting log: BORN IN THE U.S.A. LP ー Bob Ludwig has recut the master lacquer for SIDE ONE

Selling 15,000,000 copies in the United States only, the U.S. pressing of BORN IN THE U.S.A. LP (Columbia QC 38653) is quite cheap and widely available, making it the most mediocre or insignificant vinyl collectible among his entire back catalog. However, there are many variations in the dead-wax matrix numbers simply because of the huge copy number, hence numerous different pressings. This has prompted me to seek out the matrix numbers for the earliest U.S. edition of the best-seller album, which has been reported in a five-consecutive blog last year (08/14/2019 to 09/30/2019). 

The latest purchases of the three U.S. copies with a mastering maestro's "RL" dead-wax marking cost less than one coin (= 500 Yen) for each: one shrink-wrapped with an original blue/white sticker while the other two without shrinks. These discs are not VERY early pressings as evidenced by the matrix numbers (whose suffix codes are labeled in green on each copy), but collector-wise, I found some interesting facts on the dead-wax portion of these discs.

Collecting log: an ABBA's LP error pressing with BORN TO RUN tracks on one side

I remember ABBA was already a big star when I was a junior high
school student, just beginning to listen to popular Western music,
mainly on the radio.

Shown left is unusual or uncommon to this blog, which is totally unrelated to Springsteen's music or recording products. It's an ABBA's album from the mid-1970s called WATERLOO (Epic U.K. pressing, EPC 80179). Needless to say, ABBA is a pop supergroup from Sweden, known for several worldwide hits like Dancing Queen as a notable example. WATERLOO is their second album, originally released in 1974 that brought about their breakthrough in the U.K. and the U.S. So, why is it mentioned here? Well, it's time to confess something. I'm a secret admirer of ABBA, accumulating a huge collection of this popular band that far surpasses my entire Springsteen collection...

DARKNESS ON THE EDGE OF TOWN US LP variations: trivial thoughts on the hype stickers (Part 2 of 2)

Two DARKNESS sticker variations with the U.S. release.
The purple version is rarer than the red one.

As one of the six focused series ("DARKNESS US pressing LP variations"), I've been blogging on collecting the U.S. pressings of DARKNESS LP (Columbia JC 35318), particularly focusing on the early vinyl copies*. When this album was pressed in Spring 1978, unusual pressing plants of non-Columbia Records participated in the manufacturing process due to the temporary shutdown of one of the three Columbia's plants (i.e., its Pitman, New Jersey plant; see 03/18/2017). So, my motivation for the collecting effort has been to get in-depth knowledge on how many variations exist for the early release concerning vinyl-pressing plants. As already explained in detail in the past blog posts on this series, such variations can be distinguished by examining dead-wax matrix numbers and other markings, stamper ring, and label design, including typesetting, of a given vinyl disc, which often exhibits pressing plant-specific signatures.
*One of the essential features of the early copies is to have either TML-M or TML-S stamped on each side's trail-off dead wax.

DARKNESS ON THE EDGE OF TOWN US LP variations: trivial thoughts on the hype stickers (Part 1 of 2)

Hype stickers, generally affixed to the front side of an album sleeve, are used by record companies to highlight specific tracks on an LP, such as single-cut releases, or to get attention to other attributes like multi-disc numbers and featured guests on the recording sessions. I don't exactly know from which Springsteen's LP a hype sticker is featured on the very first or original U.S. pressing (I'm talking about those specific to an album but not generic ones such as "The Nice Price" stickers). The likely album one would mention is probably DARKNESS ON THE EDGE OF TOWN (Columbia JC 35318), which, if still sealed or shrink-wrapped, occasionally accompanies the rectangle round-cornered sticker that simply says    INCLUDES  "BADLANDS"  35318    in red on the white background.

The album's first single cut is Prove It All Night, but a bit strangely, the front sticker mentions the second single release only.

Classic Vinyl Bootleg Revisited: BORN TO BE THE BOSS original black vinyl pressing (Part 2 of 2)

The copy in my possession (the yellow one) is not currently
with me as I keep it back in my hometown (parent's home).
So, I don't have further details, but what I wrote here.
(Image of the matrix number on SIDE 1 is taken from Eddy's
Bruce Springsteen Lyrics website)

Following the original black-vinyl pressing, the next that came up was the picture-disc edition, subtitled SPRINGSTEEN SUMMER '85, printed on the leather-like sticker glued on the clear plastic bag holding four discs. Strangely, the bag depicts multiple wavy lines (at least three variations in wave color, yellow, red, and light blue), which makes it hard to see picture discs inside. My purchase log recorded that I bought a copy (the yellow one), right in the summer of 1985 (1985/08/23), at the aforementioned imported record shop in Kyoto (Part 1; BTW, back in 1985, a copy of this set was quite expensive). The four picture discs were made from stampers that were different from those used for pressing the original vinyls since hand-etched matrix numbers don't match up between the two (black vinyl, BS 1 to BS 7; picture disc, TT 1A to TT 1G; note that SIDE 8 is blank without matrix codes on both versions). This clearly indicates that the picture-disc set is not a reissue of the original but a pirate pressing. Each picture disc has "PRINTED IN AUSTRALIA" printed on both sides, even though the original is believed to be Swedish origin.

Classic Vinyl Bootleg Revisited: BORN TO BE THE BOSS original black vinyl pressing (Part 1 of 2)

Two editions are distinguished only by vinyl colors. Then, which one came first?

The classic bootleg review continued — speaking of the official live archive series, the most significantly upgraded recording I can think of, which had previously been bootlegged on vinyl, is the final of the six concerts at Wembley Arena, London, from the European leg of THE RIVER tour (06/05/1981). BORN TO BE THE BOSS, originally from Sweden and consistently named so for the bootlegs of this show, appeared thrice on quadruple LP in the 1980s under the Holsten Team Records label, and twice on double CD and triple CD-R in the early 1990s and around 2000, respectively, by Templar and Piggham Records. These CDs are sourced from vinyl sound with pop and clicking noise, and both vinyl and CD versions lack The Promised Land from the first set (which is included in the archive release). Therefore, although I'm not so sure (as I'm not a tape collector), these underground releases originate from the same single audience tape that has probably not circulated among collectors. This situation is essentially the same as those of FOLLOW THAT DREAM and TEARDROPS ON THE CITY, the two other famous Swedish bootlegs that also document the 1981 European tour performances (in Stockholm).

Classic Vinyl Bootleg Revisited: PIÈCE DE RÉSISTANCE 3LP box (Update 2)

The ninth copy in my collection and the first acquisition since 2001 (19 years ago!). On the left is a recent 4-LP box (Rox Vox / RV4LP1002) from Europe, which remains unopened. Is this box sourced from the Crystal Cat CD?

It's been two years and eight months since Springsteen finally started sharing a wealth of live concert recordings from his vault collection (the first release on November 14, 2017). Putting aside technical issues of sound production such as audio mixing, as a relative old-timer craving for nostalgia, I feel I'm almost fortunate enough to own several essential live performances at his peak between the late 1970s and early 1980s. These include four of the five FM-radio broadcasts from the legendary 1978 DARKNESS tour, two-MUSE charity appearance in New York City 1979, two of the three lengthy concerts to close down 1980 in Nassau, and the final show each from the summer 1981 and 1984 multi-night homecoming stands in New Jersey. In my memory, these concerts had been bootlegged on vinyl by the 1980s, or CD until early in the 1990s, with the exception of the 1981 N.J. show.

Collecting log: AS REQUESTED AROUND THE WORLD U.S. promotion-only compilation album with great cover artwork (Part 4 of 4)

Until the commercial release in 1995 of GREATEST HITS (Columbia 7464-67060-1), compilation albums of Springsteen's studio-recording works were strictly limited for promotional use only (I'm talking about those containing his material exclusively). The very first examples in both vinyl and CD formats came out from Japan: the 1978's LP LAST AMERICAN HERO FROM ASBURY PARK, N.J. (CBS/SONY YAPC 95; 09/19/2015 and 01/28/2017) and the 1990's double CD BRUCE SPRINGSTEEN 70's TO 80's [sic] (better known as its subtitle THE FUTURE OF ROCK'N ROLL; CBS/SONY XADP 90009-10), two of the all-time greatest collectibles. The LAST AMERICAN ... LP, now impossibly hard to find, contains 10 songs culled from his first three albums:

• SIDE 1: It's Hard To Be A Saint In The City / Blinded By The Light / Spirit In The Night / Rosalita (Come Out Tonight) / New York City Serenade
  
• SIDE 2: Thunder Road / Born To Run / She's The One / Tenth Avenue Freeze-Out / Jungleland

Promotion-only vinyl and CD compilation albums before the release of GREATEST HITS in 1995. All the CD titles except for the Japanese FUTURE OF ROCK'N ROLL (2CDs) appear during 1992-93 primarily to support and promote HUMAN TOUCH / LUCKY TOWN. These CDs are pressed in Canada, Japan, Sweden (two editions), and the U.K., but curiously no releases from the U.S.

Collecting log: AS REQUESTED AROUND THE WORLD U.S. promotion-only compilation album with great cover artwork (Part 3 of 4)

SIDE 1 (THE RIVER sampler side) has at least
three variations in the matrix numbers.

Promotion-only releases are one of the major targets for collecting and hunting vinyl and compact discs. In the true sense, AS REQUESTED AROUND THE WORLD (Columbia AS 978) marks the first U.S. custom-made promotion-only LP concerning the artwork design of the album sleeve and track-list configuration, both of which are exclusively unique to this release. One might think that the BORN TO RUN script cover (Columbia no number) and the picture disc edition of DARKNESS ON THE EDGE OF TOWN (Columbia JC 35318) represent the earlier examples in this release category. To me, however, these two vinyl rarities can be viewed rather as variants to respective regular releases because of identical track configuration and basically the same cover artwork design, although the former came as not a promo but the advanced disc (test pressing) in a special press-kit package which was sent out to reviewers and record executives rather than to radio stations for airplay.

Collecting log: AS REQUESTED AROUND THE WORLD U.S. promotion-only compilation album with great cover artwork (Part 2 of 4)

From the Summer 1998 Backstreets
Records Warehouse Catalog.

Back in the early 1980s when I started collecting, it was impossible to find promotion-only releases from legitimate sources, whether domestic or imported (CBS/SONY or Columbia Records), at local record stores in my hometown and nearby areas. So, to me, mail order was the only practical option to obtain these official rare collectibles (it was way before we used the internet!). I remember that a copy of this promo LP was generally sold around between $40 and $60 (plus international postage) when ordered from the U.S. dealers. On the other hand, once imported into Japan, it usually fetched prices over $100 when becoming available at the collectors' market. As I wrote in the last post (05/10/2020), I got my first copy on my occasion to stay in the U.S. a few decades ago.

Collecting log: AS REQUESTED AROUND THE WORLD U.S. promotion-only compilation album with great cover artwork (Part 1 of 4)

The outbreak of Corona Virus Disease 2019 (COVID-19) has severely affected our lives and life, bringing this world to unforeseen stagnation. Frustratingly, the current epidemic situation in Japan shows no sign of improvement in controlling the virus, which seriously restricts our daily life. I believe many Japanese would agree that this is not only attributed to the disastrous delay in the Government's action against COVID-19 in favor of the now-postponed Tokyo Olympic/Paralympic Games and inbound tourism-supported domestic economy, but also due to the indisputable incompetence of our Prime Minister, as we often see in hereditary politicians.

During these stay-home days, I attempted to reorganize my vinyl collection and
found a total of four copies of my favorite record with the great sleeve (I had
thought that I had three). One copy came with a plain inner bag on which a
backstage pass was pasted for a French concert (Montpellier, April 24, 1981) 

During the past months, my most serious concern directly associated with COVID-19 had been my daughter, who stayed and studied in continental Europe for more than half a year via an exchange student program. Sadly against her will, (the Japanese side of) the university authorities forced her to cease her study abroad, with her ambition still unfulfilled, and urged her to fly back home right in the middle of global confusion and threat caused by COVID-19!  Because of this, I had had no motivation to write blog posts at all since the last one, at least until recently when I saw her safe return and the termination of the subsequent two-week quarantine period that was imposed on returnees from outside of the country.

Collecting log: Blinded By The Light U.S. 7" singles (Part 2 of 4) ー The promo-only white label is more common than the stock copies, but do you know two versions exist?

A recent purchase (right) made me aware of the existence of two different editions of the while-label promotional disc for Springsteen's first commercially issued single. No, of course, I'm not talking about two different company sleeves. Note the surface of the discs — one looks shining while the other sort of matte, which is not caused by ageing but rather reflects original physical properties of the discs.

White label promotional (WLP) releases of 7" singles are generally valued more highly than the regular stock counterparts, simply for the former are usually rarer than the latter in existence. However, the opposite is also true in particular circumstances where the stock copies go far beyond poor sales. This, in fact, is the case for Blinded By The Light / The Angel (Columbia 4-45805) and  Spirit In The Night / For You (Columbia 4-45864), Springsteen's first and second singles cut from his debut album in 1973. As mentioned in the last post (02/12/2020), the standard U.S. copies of Blinded By The Light, which were released today 47 years ago, have been sold at outrageous prices in auction and collector's markets. By contrast, the WLP 7" is relatively easier to find out with a vastly lower expense (see table below), unless it comes in the custom promotion-only colour sleeve. By the way, do you know that two versions exist for the WLP disc?

Collecting log: Blinded By The Light U.S. 7" singles (Part 1 of 4) — Extremely scarce regular stock

The previous blog post (01/30/2020) reported a recent addition to my collection, which is considered one of the holy grail 7" singles of Springsteen. Since this month marks the 47th anniversary of the release of another holy grail, I found it might be a good opportunity to introduce it here.

Like most copies in circulation, the custom-picture sleeve of mine is folded and assembled by a slipshod job, with a slightly worn appearance. Underneath are the first (right) and second (left) Japanese releases for the debut album.

Blinded By The Light / The Angel (US Columbia 4-45805), his first commercial single from the debut album GREETINGS FROM ASBURY PARK, N.J., was released on the 23rd of February, 1973. As wide-spreadly known, this 7" disc with the stock sunburst labels is a top collectible of all time, which is easily confirmed, for instance, by a quick search for Top 10 auction results through the Popsike database (check winning bids on the table below). It is often said that less than 100 copies are known to exist simply because they didn't sell and have seldom circulated since then. 

Collecting log: Top 3 collectible acquisitions in 2019 (Part 3 of 3)

The final of the three parts of this subject reports last year's unexpected purchase of a U.K. 7-inch vinyl record which fellow "Boss" collectors often regard as a holy grail. So, this post may deserve the commemorable 150th to this blog which, since Fall 2014, has exclusively focused on Springsteen's official and unofficial collectibles, especially of vinyl pressings, in my private possession. There are still many missing, though, from my collection. If interested, here are links to Part 1 and Part 2.
 
#1: Sherry Darling / Independence Day U.K. withdrawn white label promo 7" vinyl (CBS 9568)

Unfortunately, the color sleeve is just a regular one, listing Be True correctly,
instead of Independence Day, as the backside track.

There is an old Japanese proverb "Early risers earn 3-mon" (where "mon" is an old Japanese currency unit), which has essentially the same message in English as "The early bird always gets the worm." This purchase was just like that and completely unexpected to me. One usual morning last November, I woke up early, just made a quick online survey, and found it being sold at an unbelievably low price. It was just 63 minutes after the seller had put it up on auction. So, luckily and most probably, I was the first and only one who ever saw it online. Needless to say, the copy was sent out here to the Far East, currently sitting on my record shelf.

Collecting log: Top 3 collectible acquisitions in 2019 (Part 2 of 3)

Here is the second post of the subject introducing a collectible 12" single from the mid-1980s, which is a part of the twin vinyls of two different colors (I got one years ago, but not the other until recently). Although the remaining one had long been on my want list, I never hurried to get a copy of this until I found a reasonably priced one (and I did last year). In my opinion, these unique releases would explain why vinyl records can still be a lot of fun to collect. If interested, here are links to Part 1 and Part 3.

Two colors are better than one. The rarer green version is now in my collection 36 years after its release in Mexico, the only Latin American country I have visited before in my life (just once).
 

Collecting log: Top 3 collectible acquisitions in 2019 (Part 1 of 3)

Well this is a little bit belated, but here I select last year's best acquisitions. In the first half of the last year, collecting-wise, it was depressing for me mostly due to the frequent frustrating issue caused by eBay Global Shipping Program (see here). In the second half of the last year, contrastingly, I was brightened by the unexpected acquisition of a holy grail 7" vinyl pressing (although I admit I usually don't put much effort into hunting 7" collectibles; see Part 3). During this term, I also obtained a few items that had long been on my want list but I just had not dug out (this post) or I had had no luck finding at a reasonable price (see Part 2).

The KBFH's 15th anniversary 5-CD collection includinig Springsteen's club performances in the early 1973: Left, the single disc release containing Bishop Danced (a recent acquisition); Right, the four-disc set with Spirit In The Night on Disc A (obtained long before).
 

Collecting log: The early 1980s U.K. vinyl pressings with "timtom" or "Ty" handwritten matrix inscription (Part 4 of 4)

This is the final part of a 4-Part series exploring U.K. pressings in the 1980s that are cut by mastering maestro Tim Young. In this survey, I have used his signatures, timtom and Ty, inscribed on the run-out area of a disc, as sole measure to identify his contribution to Springsteen's British releases. This is because in the case of non-U.S. pressings of Springsteen's LP and singles, actual master-cutting engineers are generally not credited on record sleeves or other associated printouts.

The five U.K. copies used for comparing matrix information.
From left to right, from top to bottom : a test press (matrix
number suffix 1A/3B) and four regular copies (1A/3B, 1A/3B,
3A/3B, and 5A/3B). Note that the last one came with a flyer
advertising the mega-hit 7th album, meaning that it is a mid-
1980s reissue.

To summarize so far, I was not able to find out evidence for his involvement in cutting 7" and 12" singles from any album but THE RIVER (see Parts 1 and 2). On the other hand, it was confirmed that he was involved in the production of at least the following four albums, BORN TO RUN, THE RIVER, NEBRASKA, and BORN IN THE U.S.A., during his career at CBS Studios in London from 1976 to 1993. DARKNESS ON THE EDGE OF TOWN* could be listed as well considering the original release year (1978); however, I have no evidence for that. A search on the Discog database also gave no results of the matrix codes containing or associated with his signatures for various copies of this LP pressed in the U.K. The last post (Part 3) explained the case of his involvement in the aforementioned former two albums. Here, the following report on the remaining two albums.

Collecting log: The early 1980s U.K. vinyl pressings with "timtom" or "Ty" handwritten matrix inscription (Part 3 of 4)

Happy new year! I tried to complete this topic within the last year but was just not able to have enough time to do so. Anyway, I'll continue to blog on my collection and hope all your collectors' wishes come true this year.

In my collection, the earliest example of a timtom-inscription, as shown in the inset on the upper-left corner, is found on Side 2 of BORN TO RUN (matrix number suffixes; -A4/B2) that was included in the 3-LP box set released in the U.K., November, 1979. However, his hand-etching was not found in the other two albums (the first two albums) also coming in this box; the same is the case for a later regular copy of BTR LP shown on the left (-A5/-B3).