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.

Collecting log: a single U.S. test pressing from LIVE/1975-85 with an unusual coupling of two sides from the five discs (Part 2 of 2)

What is curious about this particular test pressing is that, although the disc plays two sides culled from ten sides of LIVE/1975-85, its playing-side combination is unusual. Namely, one side represents SIDE 3 of DISC 2 (i.e., Backstreets, Rosalita, and Raise Your Hand from the Roxy, 1978), while the other corresponds to SIDE 5 of DISC 3 (i.e., Badlands to Racing In The Street from the 1980-81 tour) of the officially released set.

As grooves on the vinyl disc tell, the test pressing (upper row) consists of SIDES 3 and 5 of the 10-side live recordings, not coupling SIDE 3 with SIDE 4 or SIDE 5 with SIDE 6, as in the standard release (lower).

The irregular combination might have been due to human handling mistakes or manufacturing errors at the pressing plant because this release is a multiple-disc set (i.e., five records and ten sides). I also think of another possibility that, after the mastering engineer cut master disc plates, test pressings were made on a "first-come, first-used" basis to quickly check the results of cutting the master recordings — just speculation.

An unusual playing-side coupling can be known from two 
matrix numbers, AL 40560 1A / AL 40561 1A, printed on a
small white sticker pasted over the front and spine of a
die-cut plain white sleeve. A pencil-handwriting, "3 + 5,"
should also refer to the same (i.e., SIDES 3 and 5).

Alternatively, you may raise the possibility of counterfeiting. Yes, fake or bogus versions of Springsteen's test pressings (and acetate discs) have been available and in circulation since as early as the 1980s. I've seen an apparently fake test-pressing set for LIVE on eBay around 2000, which removed and replaced the standard red/yellow Columbia labels with amateurish black-stamped white ones, not reproducing pressing plant-specific labels.

However, I'm pretty confident this one is genuine mainly for two reasons. One is that the source person who provided me with the disc is trustworthy. The seller has worked actively for years as a Big Apple-based sound professional, and he also let me have test pressings for another album released in the mid-1990s (BTW, they are not Europadisk but MCA Gloversville pressings).  The other reason is based on some commonalities in the matrix numbers shared with the commercially released version, as explained below.

Comparison of the record label and matrix inscription profiles between test pressing ("3"-marking side) and standard disc (SIDE 3/DISC 2), manufactured at Europadisk (New York) and Colombia Records' Pitman factory (New Jersey), respectively. Circle-numbered arrows around each label indicate the position and direction of the correspondingly numbered matrix inscriptions shown in the middle panels. Although the size of stamper rings differs, the shared matrix inscriptions look identical between the two discs, suggesting the same origin of stampers used (i.e., the same master disc). Photos of the standard disc are taken from my personal copy with SIDES 3/4 matrix numbers P AL-40560-1A-DMM-3  EDP M1SF2SM5/P BL-40560-1A-DMM 8  EDP M1SF2SM1012.

The images immediately above are the record label and dead-wax matrix inscriptions for one side of the test pressing (marked as "3" with blue ink), compared with those for SIDE 3 of the standard U.S. disc pressed at the Pitman plant of Columbia Records. As briefly mentioned in the last post (9/24/2022), the test disc was pressed at Europadisk, Ltd., after the master disc was cut at Masterdisk Studios, Inc., as indicated by "EDP" and "MASTERDISK" inscriptions on the dead-wax space, respectively. Consistent with Europadisk's vinyl pressings in the mid-1980s, the custom paper labels show a single, middle-sized stamper ring (also called pressing ring) with a 35-mm diameter (For stamper ring information, read 5/02/2021 or visit here on vinyldiscovery). The exact matrix numbers for each disc are as follows (no stamps; only inscriptions):

• Test pressing:      AL 40560-1A                 EDP                      MASTERDISK 
• Regular disc:   P  AL 40560-1A-DMM-3      EDP M1SF2SM5      MASTERDISK

What is noteworthy is that to my eyes, the three shared inscriptions, "AL 40560-1A," "EDP," and "MASTERDISK," between the two pressings look exactly the same in shape and position on the wax. Accordingly, I guess this might indicate that the master disc checked for by this test pressing was eventually adopted for pressing the standard disc (specifically, SIDE 3 of DISC 2). The other matrix codes, such as "P" (meaning a Pitman pressing), "DMM-3" (denoting the third Direct Metal Master cutting?), and "M1SF2SM5" (stamper number?), might have been added after the decision to adopt had been made. The absence of "P" supports that the Pitman had nothing to do with this test pressing.

Comparison of the record label and matrix inscription profiles between test pressing ("5"-marking side) and standard disc (SIDE 5/DISC 3), manufactured at Europadisk (New York) and Colombia Records' Pitman factory (New Jersey), respectively. Circle-numbered arrows around each label indicate the position and direction of the correspondingly numbered matrix inscriptions shown in the middle panels. The difference in matrix numbers (1A versus 2A) indicates that master discs differ for these pressings even though the recording are the same. Photos of the standard disc are taken from my personal copy with SIDES 5/6 matrix numbers P AL-40561-2A-DMM  EDP M1SF2SF1/P BL-40561-1A-DMM-1  EDP M1SF2SM1.

On the contrary, the matrix inscriptions on another side (with a hand-written "5") differ apparently from those for SIDE 5 of the regular disc, although the same sound engineer seems to have inscribed matrix codes on both:

• Test pressing:      AL 40561-1A                 EDP  S 2               MASTERDISK 
• Regular disc:   P  AL 40561-2A-DMM         EDP M1SF2SF1      MASTERDISK

From the comparison, probably this side of the test pressing originated from the master disc cut earlier (as indicated by "1A" on the dead wax) than that used for the standard pressing (inscribed "2A"). I couldn't recognize notable differences in sound between the two, though. Both sides of the test disc lack a "DMM" code in the dead wax, but it was probably DMM-mastered because of overall shallow inscriptions, a characteristic of DMM-mastered vinyl pressings in contrast to lacquer-derived discs (see 9/24/2022).

I have seen U.S. variants of LIVE test pressings floating around collector's markets and online auctions, including a complete 5-disc set with the Pitman test-pressing labels. To my understanding, such pressings are more finalized and closer to the officially released version, compared to Europadisk versions like this one.

— Back to Part 1.

Collecting log: a single U.S. test pressing from LIVE/1975-85 with an unusual coupling of two sides from the five discs (Part 1 of 2)

Based on the sticker indication, this test pressing was created nearly
two months before the official release in the U.S. (Nov. 10, 1986).

Looking at vinyl disc's dead-wax stamps and inscriptions or simply matrix numbers, we can easily recognize a few notable differences that distinguish LIVE/1975-85 (Columbia C5X 40558) from his previous seven albums (i.e., up to BORN IN THE U.S.A.). As listed below, I compare matrix information of SIDE ONE (of Disc One, if multi-disc release) of his first eight albums, each of which is taken from an early U.S. copy in my private possession. 

The matrix numbers of LIVE are relatively long, carrying unique codes like "DMM" and "EDP," and overall faintly inscribed on the run-out vinyl area (see the dead-wax images below). Such features reflect the differences in record production processes newly introduced into this deluxe LP box.

Album title (U.S. catalog number)	Matrix number (stamp, straight; inscription, oblique)
1. GREETINGS ... (KC 31903) Pitman press	P AL 31903 1A
2. THE WILD ... (KC 32432) Pitman press	p   P AL 32432-1A
3. BORN TO RUN (PC 33795) Pitman press	p　P AL-33795-1A
4. DARKNESS ... (JC 35318) Santa Maria press	2S  PAL-35318-1A     TML-M
5. THE RIVER (PC2 36854) Santa Maria press	1S  PAL 36855 1A F1     MASTERED BY CAPITOL  KP
6. NEBRASKA (TC 38358) Pitman press	p  AL-38358-1A     ATLANTIC STUDIOS D.K.
7. BORN IN THE U.S.A. (QC 38653) Carrollton press	G1   PAL・38653-3A     MASTERDISK RL
8. LIVE/1975-85 (C5X 40558) Pitman press	P AL-40559-2A-DMM-1 EDP M1SF2SM1    MASTERDISK

Matrix inscriptions found on SIDE ONE of Disc One from an early U.S. pressing of the LIVE box. Circle-numbered arrows around the label (left) indicate the position and direction of the correspondingly numbered matrix inscriptions (right panels). Note that these DMM-disc inscriptions are relatively shallow compared to lacquer-derived vinyl pressing. Taken from my personal copy with SIDES ONE/TWO matrix numbers P AL-40599-2A-DMM-1  EDP M1SF2SM1/P BL-40599-1A-DMM 3  EDP M1SF2SM3.

The LIVE box was, as the previous release BORN IN THE U.S.A., mastered by Robert "Bob" Ludwig at Masterdisk Studios, Inc., located back then in Peekskill, New York. However, as indicated by "DMM" (Direct Metal Mastering), this live album employed the then-new technology (developed in 1982) for cutting vinyl audio masters. Unlike conventional disc mastering, DMM engraves the audio signal directly onto a hard, copper-coated metal disc instead of a soft, lacquer (nitrocellulose)-coated aluminum disc, explaining why matrix inscriptions are generally shallower for DMM-processed vinyl pressings. Although I'm not technically familiar with vinyl manufacturing (so don't go into the details), DMM bypasses the early electro-galvanizing processes necessary for lacquers (to make a master disc and then from which mother discs), thus reducing the surface noise and the risk of introducing errors during processing.

Found in the advertised section in a 1986
issue of Billboard Magazine.

Another code, "EDP," refers to Europadisk, Ltd., a New York/Long Island-based record/CD/cassette manufacturer (ceased in 2005), also known as the last U.S. company that owned its DMM-cutting facility. As far as I recognize, I have not seen or been aware of this three-letter code on any vinyl pressings of the previous seven albums. Although not credited anywhere in the booklet or the box package, the "EDP" code in the matrix numbers most probably means its involvement in the vinyl-manufacturing processes following DMM engraving, such as galvanization and stamper making, because DMM cutting was done at Masterdisk, as noted above. There is one more code, "M1SF2SM1," which I have no idea what it indicates (Maybe a stamper number?).

My three copies of the U.S. edition of the LIVE promo single compilation 
LP show a few variations (i.e., two label variants; w/ or w/o a promo
 stamp). However, SIDES ONE/TWO matrix numbers are identical among
the three (P XSS-175515-1A DMM  2    EDP    M1SF1SM3    MASTERDISK /
P XSS-175516-1A DMM EDP    M1SF1SM3    MASTERDISK). So, the masters
were cut at MASTERDISK (NY), the stampers were made at Europadisk
(NY), and vinyls were pressed at Columbia Records' Pitman (NJ).

Recently, I obtained a U.S. test pressing for this multi-volume set. In good agreement with the dead-wax "EDP" inscribed on the regular commercial discs, the obtained copy came with Europadisk labels specifically designed for test pressings manufactured at this company (see the top image). At first, I simply thought this was just a test pressing for the promotion-only 8-track excerpt LP (Columbia CAS 2543, shown left). No, it was a sort of one of the five discs in the box set, but there were a few interesting differences between this test record and standard discs. 

— To be continued to Part 2. 

 

Collecting log: a plain white test pressing for TUNNEL OF LOVE U.K. limited edition picture-disc LP (Part 2 of 2)

It was January 2003 when I got what was advertised as a "test" pressing for the picture-disc edition of this album at $29.00 from an eBay seller in Bethpage, New York (disc's images shown previously in the following posts on 03/01/2015 and 01/01/2020). It came in a plain white sleeve but not in a clear plastic bag used for the regular picture disc. This pressing is indistinguishable from my copy of the commercial version in almost all aspects but the plain white appearance.

The commercially available picture disc (upper) and its plain-white test pressing (lower) share the same dead-wax inscriptions and stamps on each playing side (left, Side One; right, Side Two).

The width of each track and dead-wax area is the same as that of the official release, and both have a black rim around the disc edge. Crucially, all the dead-wax matrix inscriptions (Side One, hand-etched; Side Two, mostly machine-stamped) are identical for each side between the two discs, indicating that the "test" pressing was made from the same stampers that pressed the standard picture disc (at least my copy). Thus, there's no logical reason to suspect this "test" record to be a fake or counterfeited product.

     Side One:  AL-40999-#-1B     G7     MASTERDISK-DMM     C     01+460270+6+#A
     Side Two:  LI-B-III     DMM A C-01-460 270-20-B
            (oblique, hand-etched; straight; stamped; #, scratched out)

There is a DMM hand-etching or machine-stamp on each side, meaning that this album is mastered by direct metal mastering.
 

Even though the matrix inscriptions are identical, the two picture records exhibit different patterning of stamper rings. Although not precisely measured, the commercial disc has two inner circles with about 32- and 63-mm diameters, whereas the smaller one is only visible on the test pressing (Side One is shown).

Still, there is one noticeable difference in the center circle space, where a paper label is normally glued on a conventional LP. Whether a regular or picture disc, a vinyl record usually has one or two circles stamped on that region, called pressing rings or stamper rings, which are left when stampers press the vinyl blob or biscuit. The number and size (diameter) of such circles often differ depending on the die, the part of the pressing machine that holds a pair of stampers. As you can see from the image immediately above, the commercial picture disc has two clear stamper rings with 32- and 63-mm diameters. On the other hand, a single 32-mm ring is only visible on the "test" pressing. A simple interpretation of this inconsistency is that the commercial and "test" pressings in my possession were NOT pressed by the same machine (unless the die was exchanged; I don't know the details of pressing machines, though). Then, were these discs manufactured at the same pressing plant?

The U.K. test pressing for THE RIVER, released in 1980, has two
  stamper rings on each plain-white label of the double discs. This  
is also the same for the NEBRASKA test disc (see the post on
09/28/2016, though not pictured clearly).

In the 1970s, the CBS U.K. pressing plant was located in Aston Clinton, Buckinghamshire County, South East, England, and moved in 1980 to the new plant in Aylesbury in the same county. A great blog, vinyldiscovery, written by an American record collector, surveyed and listed the summary of the relationship between record manufacturers and stamper ring in the latest post (04/13/2021; a must-read if interested in the topic). According to this extensive list, vinyl discs pressed at the Aston Clinton plant had two stamper rings (with 32- and 63-mm diameters) on each record label (for example, BORN TO RUN LP; see the post on 09/26/2020). Although the Aylesbury plant gets no mention in the list, it is very likely that the Aston Clinton facilities, including the pressing machine creating such a double ring, were transferred to and reinstalled for operation at the newly launched Aylesbury factory. 

In fact, the same double-stamper ring commonly occurred on the labels of the original U.K. pressings of Springsteen's albums released in the 1980s (the label images of THE RIVER, NEBRASKA, and BORN IN THE U.S.A. are shown in the previous posts on 01/01/2020, 09/28/2016, and 09/29/2019, respectively). Although I don't own the conventional U.K. pressing of the TUNNEL LP, the same ring profile was easily confirmed on the label images available online. So, I guess that these studio-recording albums, including the commercial TUNNEL picture disc, were manufactured at the Aylesbury plant. Still, it remains unknown where the "test" pressing originated, based on the stamper ring.

— Back to Part 1.

Collecting log: a plain white test pressing for TUNNEL OF LOVE U.K. limited edition picture-disc LP (Part 1 of 2)

The lineup for the officially released U.K. picture disc vinyl pressings. If my memory is correct, the last known picture disc to be manufactured is The Ghost Of Tom Joad / Straight Time (live) EP (Columbia 663031 7), released in 1996 (bottom, second from the left). Sadly, my copy of the flag-shaped I'm On Fire / Born In The U.S.A. (CBS WA 6342) has fully developed discoloration (middle row, far right), although Dancing In The Dark / Pink Cadillac (CBS WA 4436) shows no such symptoms (bottom, far right). 

A picture disc rarity continues. The last blog (2021/04/20) introduced a test pressing for an old picture-LP bootleg from the early 1980s (courtesy of the fellow collector from Italy). Here's an example of such a rare pressing for an official picture record from the late 1980s. As you collectors know, all the official picture discs of Springsteen in the album and 12"/7" single formats, including shaped discs, were released from the CBS U.K. Records label, except for the U.S.-issued DARKNESS promo LP. Note that in the mid to late 1980s, several picture discs featuring Springsteen's interviews also floated around the market, mostly originating in the U.K. These picture discs might not technically be illegal, but certainly, grey-area products since they were neither issued from the CBS label nor authorized by Springsteen (i.e., Interviews are not necessarily protected by copyright laws).

Examples of unofficial "Interview" picture discs released in the
second half of the 1980s. Back then, I couldn't help but purchase
these collector's items even though I knew I wouldn't listen to them.

When starting to circulate in the late 1990s or early 2000s, test pressings were much less common for picture discs, with the information being scarce. They were often called "mysterious" discs, making collectors suspected of authenticity. Nowadays, however, you can easily find these "test pressing" copies through the net search. Their typical appearance is plain white with a black outer rim, which does not mean that they are made of white vinyl. As illustrated in the last post, the rim's color represents the color of the vinyl blob or biscuit used as a core or basis of the disc (that is not directly pressed by stampers). Thus, what looks like white vinyl is plain white papers inside a disc that sandwich the black vinyl, further layered on each side with a clear thin film that is pressed by stampers. As explained above, the manufacturing processes exactly follow the laid down procedure of making picture discs, which differs from standard vinyl pressing. So, I think it should still be called so.

The TUNNEL OF LOVE commercial picture disc and plain test pressing. Despite the different looking, it becomes clear that the two discs are the same pressing based on the number of tracks and each width (shown are Side One).

Released in 1987, TUNNEL OF LOVE (CBS 460270 0) corresponds to the second of the four picture LP editions from the U.K. (The others include BORN IN THE U.S.A., HUMAN TOUCH, and LUCKY TOWN). According to my collecting log, I bought a copy of the TUNNEL picture disc for 2,800 JPY (approximately $22 back then) at the usual import record shop in December 1987, while the regular U.S. pressings were already obtained for 1,680 JPY that October. In contrast, I had to order the BORN IN THE U.S.A. picture LP from an overseas dealer as I was not able to locate the copy here when it was released in 1985, suggesting the larger number of pressing for the former picture.

— To be continued to Part 2.

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.
*I confirmed neither timtom nor Ty matrix hand-etching on the dead wax of a U.K. first pressing copy with the matrix numbers CBS-S-86061 A1 / CBS-S-86061 B1 (12/31/2020).

Tim Young's signatures as found on the white label test pressing (left half ) and the original regular copy
(right half ) of NEBRASKA LP pressed in the U.K. Matrix inscriptions between the two are identical, which
indicates that both discs were pressed by the same stampers or stampers made from the same master lacquers.

NEBRASKA (CBS 25100): A test pressing from the U.K. was taken up on this blog previously (here). I have also owned two regular copies with the matrix information identical to that of the test pressing (with the matrix number suffixes A1/B3 ). So, I figure that they are first copies of the album pressed in England. By the way, like the U.S. pressing, I have never seen the U.K. copies with the matrix suffix B1 or B2 on Side 2, likely due to the probable last-minute change in master cutting in favor of the standard version of My Father's House (Track 3 on Side 2), as deduced here.

• Side 1:    CBS 25100 A1     timtom
• Side 2:    CBS 25100-B3     Ty
• Note: Sunburst label; misprint on Side 2/Track 3 length.

Differently handwritten deadwax inscriptions
on Side 2 sharing the same matrix code: A3/B3
(upper) and A5/B3 (lower) with and without
a Ty signature, respectively.

As far as I examined, among the four albums he obviously got involved in, this is the only vinyl disc both of whose sides are inscribed with his signatures. As expected, another copy in my collection with the suffixes A3/B3 had his inscription only on the Side 2 deadwax. Both A1/B3  and A3/B3 copies list the track length of My Father's House incorrectly on the record label. Strangely, yet another copy with the suffixes A5/B3, which came with the error-fixed label, had no Ty inscription on Side 2. A close examination on the matrix numbers revealed the difference in Side 2 hand-etchings between A3/B3  and A5/B3 pressings, indicating that, despite that these pressings share the same matrix numbers on this side, the master lacquers used are different. Finally, it remains unknown why his signatures are absent in the 7" single releases from NEBRASKA (see Part 2), even though, as shown here, his involvement in the album cutting is evident.

Side 2 matrix inscriptions as
found on Copy #1 disc.

BORN IN THE U.S.A. (CBS 86304): My two copies of the U.K. pressings (hereafter simply called #1 and #2), which probably are the first-run pressing based on the matrix number suffix, bear Young's signature on one-side only (BTW, #1 was previously shown here with a blank label on Side 1):

• Side 1 (copy #1):    CBS-86304-A1
• Side 2 (copy #1):    CBS-86304-B2      Ty
• Note: Sunburst label; blank Side 1 label on my copy.

• Side 1 (copy #2):    CBS-86304-A2
• Side 2 (copy #2):    CBS-86304-B1      Ty
• Note: Sunburst label.

Note that on Side 1, even the -A1 suffix does not accompany his signature. I don't know if this really means that his contribution to this album was one-side only. To me, it seems unlikely, though, that the lacquer masters for Sides 1 and 2 were cut by different engineers at the very early round(s) of the vinyl pressing. Finally, as you know and mentioned in this blog earlier (here and here) or lately, the original U.S. pressings were cut by another maestro Robert "Bob" Ludwig. Therefore, an LP set of the initial U.K. and U.S. versions of this monster hit album provides an opportunity to compare the work done by the world's two distinguished sound engineers.