BORN TO RUN U.S. Pressing LP Variants: The late-1970s Scranton pressing by North American Music Industries, or simply NAMI (Part 1 of 2)

Scranton/NAMI pressings are characterized
by a unique symbol stamped in the trail-off 
space of the record. Although often described
as a stylized anvil, a comment on a relevant
post on this blog (see 03/18/2017) claims it
was modeled after the U.S. Capitol Building.

When it comes to vinyl LPs — especially those from Springsteen's early years in the 1970s and 1980s — I've always gravitated toward U.S. pressings over Japanese or European ones. My preference is pretty straightforward: he is, after all, a quintessentially American artist, and the U.S. pressings feel the most authentic to me. 

Back in 2016, I took a shot at organizing and classifying the various U.S. versions of this timeless masterpiece based on the album track listings and production credits printed on the rear side of the gatefold sleeve (see 07/29/2016). A year later, in 2017, I delved deeper into how matrix numbers and dead-wax markings relate to the earliest U.S. pressings from Columbia Records' three plants — located in Santa Maria, CA; Terre Haute, IN; and Pitman, NJ — which were in operation during the 1970s. This effort might have helped fellow collectors identify individual vinyl copies and shed further light on pressing variations (see 05/21/2017). These two posts have remained among the most-read entries on this blog. Still, as any collector knows, an effort like this is never truly finished. There's always more to uncover, and the work goes on.

A recent example is the addition of the Compatible eXpansion (CX)-encoded LP (Columbia JC 33795), which was claimed to significantly suppress vinyl surface noise (see 09/30/2021 and 10/08/2021). This short-lived and somewhat controversial pressing was released in late 1982 or early 1983, following the Half-Speed Mastered series (HC 33795 for the original and HC 43795 for the reissue), which were far more widely recognized as an audiophile-oriented edition, in contrast to the mostly unnoticed and overlooked CX-encoded pressing. In this post, I introduce an earlier issue bearing the original catalog number PC 33795, although several variations with this code have been known — particularly in the rear sleeve text descriptions, as explained previously (07/29/2016).

The Scranton/NAMI pressings are easily identified by their intermediate-sized stamper
rings (Ø = 1.5" = 38 mm), distinguishing them from Columbia's Santa Maria, Terre
Haute, and Pitman pressings (for a comparison of stamper rings, see 04/23/2022).

As far as I’ve seen, almost all U.S. copies of the BORN TO RUN LP manufactured during the 1970s with the catalog number PC 33795 were pressed at one of Columbia’s three plants mentioned above. However, there is a notable exception, identifiable by a smaller stamper ring on the labels compared to Columbia’s, along with distinctive dead-wax stamps and hand-etchings on the vinyl disc. This pressing was produced at the Scranton factory operated by North American Music Industries also called NAMI, in northeastern Pennsylvania (for more on NAMI, see the DARKNESS series posts from 3/21/2017 and 04/23/2022). I’ve been aware of this particular pressing for quite some time, but didn’t write about it earlier due to my long-standing policy: “I don’t write about what I don’t own.”

As far as I've seen, Scranton/NAMI pressings came in the last version
of the "PC"-code sleeve, which features a separate production credit
on the title track and a single-line producers' credit at the bottom for
the remaining seven tracks. This version removed the price code
(X698) beneath “COLUMBIA STEREO” on the spine. Note that all
known "PC"-code sleeves lack the barcode imprint found on the
subsequent "JC"-code sleeve used for the reissues (for rear sleeve
variations, see 07/29/2016).

Although NAMI's involvement was temporal, Scranton pressings of BORN TO RUN aren't too difficult to track down at a reasonable price, as they occasionally turn up in eBay auctions — provided you carefully check the labels on the auctioned discs to distinguish them from the numerous copies pressed at Columbia's three main plants. However, because the pressing plant was not a regular Columbia Records plant and was located in the Eastern United States, finding a copy here in Japan has proven somewhat challenging, with lower chances of import compared to pressings from Santa Maria — whose relative proximity to Japan may have made exports more common — and from Pitman, likely due to that plant’s mass production. I acquired mine from an eBay seller in Philadelphia for less than $10. However, the international shipping cost was more than twice that amount — an increasingly significant burden and economic concern for vinyl collectors here, especially given the weak Japanese yen against the U.S. dollar.

— Continued to Part 2.

Collecting log: I enjoyed digging for old vinyl bootlegs in Japan's Samurai city

Three additions from my mid-March trip to Kanazawa — I never
expected to find these old-timers at cheap in a regional city.

About two weeks ago, I took a three-day trip to Kanazawa, a historic city on the coast of the Japan Sea, renowned for its well-preserved "samurai" districts from the Edo period (1603–1867), its traditional crafts, and its rich cultural heritage. Like Kyoto, this city was fortunate to escape destruction during World War II, preserving much of its historical charm. As one of Japan's wealthiest castle towns, Kanazawa earned its reputation as a "samurai city." 

As is my habit, I made a quick stop after work at a second-hand record shop I had found online and deemed worth visiting there. The shop was fantastic — packed with used vinyl records — and I thoroughly enjoyed the thrill of digging for unexpected finds, even through the short visit. 

Kanazawa is located in the northern part
of the Chubu region of Japan (Chube
means "central"). Japan regions map by
Peter Fitzgerald is licensed under
Creative Commons Attribution-ShareAlike
(CC BY-SA) 4.0 International.

Naturally, I headed straight to the Springsteen section, where I was delighted to find several old vinyl bootlegs, including the three I purchased, as shown in the image above. The Singer's Original Double Disk (SODD) version of YOU CAN TRUST YOUR CAR TO THE MAN WHO WEARS THE STAR is an all-time classic, and I never pass up the chance to add another copy to my collection — provided the price is reasonable. This one set me back 1,800 JPY (roughly 12 USD). Much like the original numbered box edition of PIÈCE DE RÉSISTANCE, I simply could not resist purchasing it (for example, see 07/26/2020).

Another find was LIVE AT THE HAMMERSMITH ODEON Nov. 18, 1975, a typical West Coast bootleg from the late 1970s. As you know, the full performance was officially released on DVD in 2005 as part of the BORN TO RUN 30th Anniversary Edition, followed by a double CD in 2006 and a quadruple vinyl set in 2017. While not exactly rare — I already own three copies — none feature the cigar-smoking Trade Mark of Quality (TMoQ) labels, making this particular version irresistible.

Left: The copy acquired in Kanazawa is the third addition to my collection of the orange SODD insert version (with black World Records labels; see 10/22/2022), which is regarded as the earliest pressing according to Blinded By The Light (P. Humphries & C. Hunt, 1985, Plexus, London).
Center: With the addition of the TMoQ disc (top), all I need is the Slipped Disc label version, which is missing from my collection.
Right: A new entry features my personal favorite on Side Two/Track One.

The third pickup was ODDS & SODDS, a live compilation LP featuring recordings from 1981 soundchecks as well as club appearances and tour performances from 1984. With a few exceptions, such as HOT COALS FROM THE FIERY FURNACE, I generally rank miscellaneous compilations lower than live bootlegs from a single concert or studio-recording albums. As a result, I had long overlooked this title, despite being aware of its existence and passing up several opportunities to buy a copy since its initial release in the mid-1980s. This time, however, I saw no reason to hesitate and grabbed it at a cheap price.

I brought back old vinyl bootleg boxes that had been long forgotten
and stored in my parents' house. PIÈCE DE RÉSISTANCE (3LP) is
a reissue with no serial number but pressed from original stampers.
Two same-looking copies of WINTERLAND, 1978 (3LP), better known
as LIVE IN THE PROMISED LAND, differ in vinyl colors, one black
and another gold/yellow. LUTHER (3LP), said to be named after a
famous Italian football player who is enthusiastic about Springsteen,
collects studio outtakes and unreleased tracks on colored vinyl (orange,
white, and green). THE NIGHT THEY DROVE OLD '80 DOWN (5LP)
features many Japanese texts on the box and booklet, givining the
impression of a Japanese release. However, such descriptions have no
connection to Springsteen and his music at all. SON YOU MAY KISS
THE BRIDE is a later double picture disc edition containing a mediocre
cartoon poster.

On the other hand, I had no luck with official releases. In the New Arrivals section, I dug out four copies of the NO NUKES soundtrack LP (Asylum ML-801). This triple live album was pressed at all three of Columbia Records' plants to ensure an expedited release for the 1979 holiday season, as the concerts had taken place in late September. Since all my copies — including the test press and white-label promo discs — were manufactured at Columbia's Santa Maria plant in California (see 05/04/2019), I carefully examined the labels and deadwax matrix markings of these four to see if any were from the Pitman plant in New Jersey or the Terre Haute plant in Indiana. Unfortunately, however, all four turned out to be from Santa Maria (most probably because of its geographically closest location to Japan).

Finally, on my way home from the trip, I stopped by my parents' house in Kyoto, where some of my vinyl records remain in storage (see 04/16/2015). This time, I selected six bootleg boxes to bring back with me — none of them essential or particularly significant releases, at least in my view. However, aside from the SON YOU MAY KISS THE BRIDE box, I acquired these titles in the early 1980s, during the early years of my vinyl-collecting journey (see 08/14/2015, 08/16/2015, and 09/02/2015 for posts on my first bootleg purchase). While these underground releases may not hold much importance in a broader sense, they carry deep personal significance. So many years have passed, yet the thrill of those discoveries remains as vivid as ever.

Collecting log: One Step Up / Roulette — the only cassette tape single commercially released in Japan

My first cassette tape purchase was Chimes Of Freedom (US
Columbia 4CT 44445) issued in 1988, featuring the awesome
live version of Tougher Than The Rest. I used to play it on a
brand-new Walkman portable cassette deck—a great Sony
product—wherever I went. This particular copy is still sealed
with a gold promo stamp on the inlay card.

This short post continues from the previous one, featuring a Japanese collectible. Many collectors probably rank music cassettes third among the three primary physical audio media—vinyl and CD being the other two. I also tend to overlook them unless they are particularly rare, uniquely interesting, or complement existing vinyl or CD rarities, such as promotion-only releases (see, for examples, 07/12/2015, 05/14/2017, or 07/05/2017). Here, I revisit a standard cassette tape from CBS/Sony Records (1968—1991) that I acquired long ago but never regarded as particularly significant, leaving it long forgotten in the vault.

The 3-inch CD remains the most highly collectible among the early promotion-
only releases from 1988. Its rarity and distinctive packaging make it not only a
standout piece but also one of the essential items within his entire CD catalog.
I have neither seen copies sold nor uncover them here in Japan.

Released on February 27, 1988, One Step Up was the third single from the album TUNNEL OF LOVE (Columbia OC 40999), backed by Roulette from THE RIVER sessions—one of the most famous unreleased tracks fans were clamoring for at the time. The music industry was transitioning from analog to digital technology around that period, and this single played a part in that shift for Springsteen in the U.S. Not only was it released as a standard 7-inch record, but it also marked the first to appear on Springsteen's promotion-only CD titles in three different formats: 3-inch single CD, 5-inch single CD, and 5-inch CD EP, as follows:

• One Step Up / Roulette (Columbia 38K-7726)
  A two-track, 3-inch disc packaged in a clear stiff sleeve labeled "Compliments of CBS Records" and mostly distributed at a CBS convention.
• One Step Up (Columbia CSK 1031)
  A single-track, 5-inch disc accompanied by picture sleeves.
• All That Heaven Will Allow / One Step Up / Roulette / Be True / Pink Cadillac (Columbia CSK 1046 and CSK 1108)
  A five-track, 5-inch compilation widely known for its title Tunnel Of Love Express Tour, reissued with the title modified to add "Cont'd" and the tour itinerary information updated.

Compared to the first and second editions of the Tunnel Of Love Express Tour CD EPs, the two One Step Up promos were pressed in smaller quantities. Moreover, unlike in Europe and Japan, no CD singles for this track were commercially available in the U.S., making these releases rare, with the 3-inch version particularly sought after (see 12/27/2015).

Do not confuse the release year of this with that of the 7" single;
the fact remains that the cassette single of My Hometown was not
released in 1985 but in 1988, as indicated by the credit on the rear
of the cardboard slipcase.

That's not all, however. One Step Up was the first-ever cassette tape single (Columbia 38T-07726) issued in the U.S. and probably the second-ever worldwide, following the Spanish release of Sherry Darling (CBS 9568K) in 1981, excluding EP and compilation releases in this media format. Despite the earlier catalog number, My Hometown (Columbia 38T 05728), a similar cassette single coupled with Santa Claus Is Comin' Town (live), was not released in 1985 but rather in late 1988 for the Christmas holiday season. The catalog number of the cassette version of My Hometown was likely assigned to match that of the 7-inch record (Columbia 38-05728), which was released in November 1985 as the seventh and final single from BORN IN THE U.S.A. (Columbia QC 38653).

In Japan, single cassettes, particularly those by Springsteen, are much rarer than album cassettes, although LIVE/1975-85 (CBS/Sony 75KP 1500-1502) is probably the only exception among standard album cassettes. These days, finding a copy of this single cassette, especially one still sealed like this, is not easy due to limited quantities. The three images on the right show front, rear, and spine sides of the U.S. edition.

And then, in Japan, this song was commercially released on April 21 from the album (CBS/Sony 28AP 3410), nearly two months after the U.S. release, on 7-inch vinyl (CBS/Sony 05SP 3017), 3-inch CD (CBS/Sony 10EP 3017), and cassette (CBS/Sony 05WP 3017). Notably, to the best of my knowledge, this represents the only instance of Springsteen's single being issued commercially on cassette in Japan. Like the U.S. release, the Japanese cassette came in a cardboard slipcase. However, the front sleeve design is noticeably different, and the spine is more colorful. As far as I am aware, the cassette single was only released in the U.S. and Japan, with no other countries known to have issued this track in this format.

 

When I dug out a sample copy for the Japanese DEVILS & DUST
CD (Sony SICP 782-783), it was accompanied by a custom
promotion-only cassette with a handwritten number in circle.

Contrary to the U.S. and European countries, cassette tapes had long been a staple music medium in Japan, used for both promotional and commercial purposes. Even after the cessation of commercial releases, album cassettes continued to be produced as promotion-only items, at least until WE SHALL OVERCOME: THE SEEGER SESSIONS (Sony Muisc Japan International Inc., SICP 1080-1), released in 2006. I have yet to encounter any Japanese cassettes promoting the subsequent albums released in 2007 or later; they might have been completely replaced by CD-Rs (see 05/14/2022 for a few examples).

Collecting log: The first-ever CBS/Sony promotion-only compilation disc to feature Springsteen in Japan

Since this Springsteen track from THE RIVER was never released as
a single in the U.S., it is marked as "Hit-Bound"—a term generally
used in the music industry for songs with strong hit potential that
have not yet officially entered the main music charts. The bottom
image was from the rear sleeve.

While I'm not particularly enthusiastic about collecting various artists' compilation releases, I find it hard to pass up vinyl albums that feature the Boss—especially those intended for promotional use only and released before BORN IN THE U.S.A. The other day, I came across one of these LPs at a local used record store—an old copy released over 40 years ago from CBS/Sony's monthly compilation series ALL AMERICAN TOP 100, which ran from the late 1970s to the mid-1980s. Although I was aware of this promo disc (previously mentioned on 09/19/2015 and 09/17/2017), I had never had the chance to dig it up in-store or find it in an online auction. So, I grabbed this relative rarity just for one coin (= 500 JPY).

The Japanese 7" single, issued on March 21, 1981, is highly collectible
not only for its unique Side-A selection but also for its sample copies,
which are the last known white-label promo vinyl disc pressed in
Japan for Springsteen's releases.

The copy I found (CBS/Sony XAAP 90022) was Volume 34, the May 1981 issue, which included one Springsteen track, I Wanna Marry You—known as a Japan-exclusive 7" single from THE RIVER (CBS/Sony 07SP 525). The decision to release Fade Away (Columbia 11-11431; see 07/18/2016 and 09/17/2017) as the second single in the U.S. was somewhat odd and unexpected, leading to alternate choices in Europe (i.e., Sherry Darling) and Japan. As a result, this slower pop ballad was also selected for two other noteworthy Japan-only promotional releases: ultra-scarce Killer Tracks From The River 12" EP (CBS/Sony XDAP 93030; see 09/19/2017) and gorgeous gate-folded CBS/SONY POPULAR BEST 9 LP (CBS/Sony XDAP 93031-2; see 09/17/2017).

Left: The first and second compilation albums (YALC-49 and -54) that include Springsteen were housed in a very thin, generic company sleeve the CBS/Sony Records used back then. As usual for promotion-only releases, no OBI is included.
Center: The company sleeve specifically for this promo-only series bears a field for entering the issuing date (expressed in the Japanese Imperial year and month) and a "For In-Store Use Only" notification, both printed in sky blue on one side of the sleeve (upper). However, neither of these appears on the other side (lower).
Right: These two compilations dedicate one side to international artists and the other to domestic performers. Here, the label for the latter is shown on the second compilation (YALC-54). The first and last songs listed became nationwide hits in Japan nearly half a century ago (when I was an elementary school boy)—so popular that I can still sing both!

That brings me to a minor but intriguing question—what CBS/Sony compilation album was the first to feature a Springsteen track? As all you collectors know, the first Springsteen LP released in Japan was THE WILD, THE INNOCENT & THE E STREET SHUFFLE (CBS/Sony SOPL-239; see 04/26/2015, 04/29/2015, and 11/12/2020), which came out in March 1974. However, the first 7" single release didn't arrive until November 1975: the title track from BORN TO RUN (CBS/Sony SOPB 334; see 01/28/2024 and 02/03/2024). Accordingly, the first-ever compilation album to include a Springsteen track was issued around that time, bearing the catalog number YALC-49. The album title was provided only in Japanese, roughly translating to POWERFUL HIGHLIGHT EDITION: For In-Store Use Only.

International artists and track titles are exclusively written in Japanese on the Side-A label on both compilation albums. The years 50 and 51, which are printed on the labels and precede respective months [November (=11) and March (=3)],  represent the Japanese Imperial year (= Showa 50 and 51). The Showa era corresponds to the reign of Emperor Showa (Hirohito), which lasted from 1926 to 1989. Thus, "50 [followed by a Kanji character meaning 'year'] 11 [three Kanji characters for 'month' and 'new releases']" refers to "November 1975 New Reelases," and "51 [a Kanji] 3 [Kanjis]" refers to "March 1976 New Releases." The middle image was from a recent Japanese 2CD/2DVD set released in October, 2023 (Sony Records Int'l  SICP 31655~8).

As already mentioned briefly (see 04/23/2023), the tracklist for this compilation appears only on the record labels and is written entirely in Japanese. The only identifiable information is the catalog number of the single (printed as "SOPB-334 A"), which makes it difficult for foreign collectors who are unfamiliar with Japanese to recognize that this otherwise unremarkable LP features Springsteen on Side A / Track 4. Born To Run was also featured on two subsequent promo-only compilations: POPULAR "BEST 101" Volume 1 (CBS/Sony YAPC 77; see 12/17/2016) and ROCK BEST 100 (CBS/Sony YAPC 105), released in 1976 and 1978, respectively. However, the track was truncated on both records and significantly shortened (POPULAR, 1 min 13 sec; ROCK, 2 min 57 sec). By contrast, the 1975 sampler disc contained the full-length recording (4 min 30 sec) despite cramming ten tracks, including this one, onto Side A (see the image left immediately above)

Following the release of POWERFUL HIGHLIGHT EDITION in late 1975, another promotion-only compilation featuring Born to Run (though just over one-minute fragment), POPULAR "BEST 101" Volume 1 was out in 1976 (shown at the lower left of the left image). Once again, the track listing appears only in Japanese on the rear sleeve and record labels (middle and right, respectively, indicated by green lines). Springsteen's inclusion is evident only inside the accompanying booklet (shown in the upper half of the left image), which briefly introduces him and his third album, along with relevant pictures (see 12/17/2016).

The second single, Tenth Avenue Freeze-Out (CBS/Sony SOPB-350), was selected for inclusion in the March 1976 issue of the promo-only compilation series (CBS/Sony YALC-54), appearing as Side A/Track 9 (no edits, even though this side also tightly packed ten tracks). Just for your information, below are the tracklists for the two compilations, selecting international artists and groups from CBS/Sony and Epic/Sony labels (Side A only, as Side B is devoted exclusively to domestic pop and folk singers; see the right image of the third photo from the top):

ROCK BEST 100, a 1978-year issue and
probably the third promo-only compilation
containing BORN TO RUN (albeit a three-
minute truncated version), finally lists its
original English title in a small print on the
white label and back sleeve. The green-
colored front sleeve is found in one of
the images immediately above.

YALC-49 (released on November 1975)

1. My Teenage Heart  Bay City Rollers
2. Take Good Care Of Yourself  The Three Degrees
3. Gone At Last  Paul Simon & Phoebe Snow
4. Born To Run  Bruce Springsteen
5. Hello Mary Lou  Lougins ＆ Messina
6. Rock N' Roll (I Gave You The Best Years Of My Life)    Mac Davis
7. Do It Any Way You Wanna  People's Choice
8. Brazil  The Ritchie Family
9. 7-6-5-4-3-2-1 (Blow Your Whistle)  Gary Toms Empire
10. I Only Have Eyes For You  Art Garfunkel

YALC-54 (released on March 1976)

1. Ginza Red Oui Oui  Dave
2. Africano  Earth, Wind & Fire
3. Sing A Song  Earth, Wind & Fire
4. Soul Sacrifice  Santana
5. Black Magic Woman  Santana
6.  Samba Pa Ti  Santana
7.  Give And Take  Santana
8.  Chicago Bus Stop (Ooh, I Love It)  The Salsoul Orchestra
9. Tenth Avenue Freeze-Out  Bruce Springsteen
10. Saturday Night  Bay City Rollers

As of the day this blog post was published, neither of these albums had been cataloged in the Discogs database.

Collecting log: THE RIVER single disc test pressing for the possible CX-encoded noise-reduction release in the early 1980s (Part 2 of 2)

Taken from the front sleeve of the CX-SAMPLER
LP (Columbia Special Products CXSM 170258),
distributed in the U.S. and featuring tracks from
Billy Joel and some others, but not including any
recording by Springsteen.

Compatible eXpansion (CX)-encoding technology was a short-lived and ultimately unsuccessful initiative by Columbia/CBS Records in the  U.S. and Europe during the early 1980s. Originally created in the late 1970s by CBS laboratories in the U.S., the technology aimed to reduce surface noise and extend dynamic range on vinyl-disc playback through the use of a decoder. While its adoption failed on vinyl, the noise-reduction system achieved greater success when applied to laserdiscs. In the U.S., at least one Springsteen album, BORN TO RUN (Columbia JC 33795), was commercially released in this now-forgotton format, possibly as a temporary, experimental release to gauge customer reactions and market trends (see 09/30/2021 and 10/08/2021). However, no other albums have been confirmed to be pressed in this audiophile edition anywhere in the world.

Springsteen is mentioned as a candidate
for CX alternate releases in a Billboard
article titled "CBS steps up push on CX
LPs" (Nov. 13th, 1982). Bill Fox, Vice
President of operations and finance at
CBS Records Group, was responsible
for the worldwide CX effort (Note that
Billboard has released magazine issues
into the public domain by releasing
them on Google Books and the
Internet Archive).

Then, in 2016 and again in 2020, a purported CX-encoded test pressing of THE RIVER (Disc One only), intended for demo or in-house use only, surfaced on eBay from the East and West Coasts, respectively. As shown in the previous post (01/04/2025), each test pressing came in a plain white sleeve with a small rectangular sticker that mentioned "CX" and featured a misspelled artist name (see the image far below). Despite being stated as a test pressing, the labels on the vinyl itself were the standard red Columbia design with a yellow rim, making them indistinguishable from a regular pressing at first glance.

That said, there are two distinct differences between the "CX" test pressings and regular pressings. The first is the matrix numbers stamped on the deadwax of the CX discs (see the images of SIDE ONE in the post on 01/04/2025 and SIDE TWO on 09/30/2021):

SIDE 1:   p    XRD-AL-36855-A2
SIDE 2:   p    XRD-BL-36855-A2

The preceding "p" stamp is the hallmark of Columbia Records' Pitman-plant pressing.

By contrast, to the best of my knowledge, all standard U.S. vinyl pressings—whether early or late—feature hand-etched matrix numbers. Early pressings also include two distinctive markings: a "MASTERED BY CAPITOL" stamp and the hand-written initials "KP " of Mastering Engineer Ken Perry (see 05/30/2020 and earlier, such as 09/10/2014). For instance, Disc One from one of the regular pressings in my possession bears the following matrix numbers (oblique, hand-etched; straight; stamped):

SIDE 1:   p   PAL-36855 1G F7        MASTERED AT CAPITOL         KP
SIDE 2:   p   PBL-36855 1F F6        MASTERED AT CAPITOL         KP

The second difference is the width of the silent part between tracks, which is noticeably wider on the CX-test discs (see the photo immediately below). However, I am uncertain whether this feature is technically related to the CX noise reduction system. Does anyone have any information about this?

Compared to the standard disc (left ), the CX-test pressing (right ) features a visibly unique characteristic: wider spacing of the silent grooves between tracks. Both images show Side Two of Disc One, with insets offering enlarged views of the silent groove section between Track One (Hungry Heart ) and Track Two (Out in the Street ).

Without a doubt, the central question regarding these alleged CX-encoded test-pressing copies is whether they are official or counterfeit, as no CX-encoded version of this album has ever been commercially known to exist. In the following, I summarize the facts and evidence that either support or refute the authenticity of these test pressings.

CX-encoded LP alternates (identified by the red
logo sticker) have been released for several
of Billy Joel's albums in the U.S. and Europe
(not in my possession). Could Springsteen's
titles have been released as well?

Supportive

1. Both the East and West Coast sellers acquired this Springsteen test pressing along with other known CX-test and regular pressings from industry insiders or audio reviewers. The West Coast seller explained, "We recently purchased a small collection of records from a sound engineer who had some audiophile albums and a few were the short lived CX encoded albums put out by Sony/Columbia/CBS records."  By the way, sound professionals are excellent sources of these vinyl pressings. I also obtained a few test pressings from a sound engineer based in NYC, including a LIVE/1975-85 disc previously mentioned (see 09/24/2022 and 09/30/2022).
2. Each vinyl disc appears to be professionally pressed, exhibiting a clean surface with minimal crackling or popping when played on a turntable. As shown in the previous post (01/04/2025), the record labels seem genuine and indistinguishable from those on standard pressings.
3. The sound quality is fine even without decoding, although I must stress that I'm not an audiophile but a collector.
4. The matrix number prefix, XRD, is quite uncommon, and I have never seen it in the matrix numbers on any U.S.-pressed LPs of Springsteen’s titles. However, a search of the Discogs and Popsike databases uncovered several instances of this prefix appearing in the matrix numbers of Columbia/CBS Records releases across various genres, from rock to classical music, including Elvis Costello's CX-test pressing for GET HAPPY!  (here). According to the East Coast seller, "The XRD means it's encoded for the CX process."  However, I have not yet been able to confirm this claim.
5. The commercial release of the CX-encoded edition of BORN TO RUN LP raises the possibility that, back then, additional albums were being prepared for similar treatment—potentially including THE RIVER CX demo LP. Multiple CX-alternate releases from the back catalog of a single artist, such as Billy Joel, further support this idea.

The sticker carries a misspelling and no record title.
And what does the number "11" refer to?  Copy number?

Refutable

1. The record labels are from Columbia Records' regular pressing rather than Pitman's white test pressing (see 01/25/2015 and 11/11/2017). Moreover, there is no "CX logo" on them, even though the CX-encoded BORN TO RUN disc features it on the standard red labels (see 10/08/2021).
   
2. Although THE RIVER is a double album, only the Disc One test pressing has surfaced to date. Note, however, that this seems plausible, as test pressings for multiple-disc sets are generally checked individually during manufacturing (e.g., LIVE/1975-85; see 09/30/2022). If this were the case, the release of the CX version of THE RIVER might have been abandoned halfway through due to Columbia/CBS Records' withdrawal from the project sometime in 1983.
   
3. The improbable misspelling "SPRINGSTEIN" on the rectangular sticker pasted on the sleeve raises suspicions that the record is not genuine but a counterfeit. The sticker is not unlike that of a LIVE test pressing, though (see 09/30/2022).

Based on the above, it seems to me that this is genuine, though I'm still unsure. I would appreciate your thoughts and any insights you may have regarding this particular CX-test pressing, as well as any leads or information you might have on it.

— Back to Part 1.

Collecting log: THE RIVER single disc test pressing for the possible CX-encoded noise-reduction release in the early 1980s (Part 1 of 2)

Two copies of purported U.S. CX-encoded test pressings of THE RIVER (Disc One) came in a plain white sleeve
with minimum information typed on a white sticker. Alongside is an original regular copy (US Columbia PC 36854).

Happy New Year, and thank you for your kind and considerate inquiries via PM about the status of the blog (and my health). Yes, I’m doing fine. As has happened occasionally in the past, over the past three months, my work and personal life have leaned heavily towards the former, leaving me unable to write. I suppose I’m truly a workaholic! Consequently, my collecting activities have been minimal, with only one or two items worth mentioning. That said, it’s only within the past week or so that I’ve finally found some breathing room. Here, I’d like to share my insights about a questionable record—whether official or bogus—that has piqued my interest for some time.

CX identification stickers are typically affixed to the rear
sleeves (photo sourced from the blog on 12/29/2022).

Previously, I introduced the Compatible eXpansion (CX)-encoded vinyl pressing of BORN TO RUN (U.S. Columbia JC 33795), released circa 1982 or early 1983 (see 09/30/2021 and 10/08/2021). This pressing shares the same catalog number as the late 1970s and later reissues, but it is distinguished by CX identification stickers on the album sleeve (see the image right). This particular vinyl format is notable because it can be played both with and without a CX decoder, which is why it is referred to as "compatible." To my surprise, this unique pressing of Springsteen's iconic album has been largely overlooked by collectors, as well as in guidebooks, databases, and fanzines like Backstreets, for nearly four decades. It appears to have only been added to the Discogs database around 2019 (here). 

Despite the innovative technology behind it, the CX encoding system was highly criticized by prominent sound engineers, including Robert "Bob" Ludwig, known later for his work on many of Springsteen's records, including back catalog reissues. Ludwig said, "I hate it. I’m going to give up the business if it ever catches on." (Billboard, June 27, 1981, p. 33). As a vinyl collector, however, I always regard this short-lived release as a unique entry in Springsteen's catalog, rarer and more difficult to find than other variant releases of the third album, such as the Half-Speed Mastered edition (U.S. Columbia HC 33795 for the original and HC 43795 for the reissue).

Although apparently a different pressing, the record labels and stamper rings of a CX-encoded disc (right) are
indistinguishable from those of a standard copy (left). Both are manufactured at Columbia Records' Pitman plant,
as evidenced by the "P" stamp in the deadwax (see the image below).

To date, this U.S. pressing remains the only confirmed commercially released CX-encoded Springsteen record, despite the numerous CX-encoded LPs pressed in Holland and widely available across Europe—none of which, to my knowledge, include any Springsteen titles. However, as I wrote previously (09/30/2021), BORN TO RUN was not the first CX-encoded Springsteen album that brought this unsuccessful audiophile format to my attention. That distinction goes to THE RIVER (Disc One only), reportedly not a commercial release but a test pressing. So far, I have seen it appear online just twice.

The matrix number on Side One deadwax is machine-typed
"XRD-AL-36855-A2" with a "P" stamp, the hallmark of
Pitman-plant manufacturing, on the upstream.

Back in 2016, the first copy appeared on eBay with the caption "COLUMBIA EXPERIMENTAL DEMO CX ENCODED #20/500 Bruce Springsteen The River."  The U.S. seller, located in Massachusetts, seemed knowledgeable about audio formats and devices, likely with some direct or indirect connection to the music industry. Then, in 2020, another copy was listed on the auction under the heading "BRUCE SPRINGSTEEN 'THE RIVER' CX ENCODED AUDIOPHILE PROMO 1 LP RARE UNUSUAL WLP," although it was actually not a WLP (white label promo). This second copy was sold by someone, probably a second-hand record retailer or shop staff, based in Washington State. Both vinyl pressings look identical in terms of labels and deadwax matrix numbers.

— Continued to Part 2.