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.

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.

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).

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.

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).

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).

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).

Collecting log: Devil With The Blue Dress Medley (live) from NO NUKES 1979 (a.k.a. the MUSE concert), a U.S. custom promotion-only 12" disc released as the 100-numbered 33⅓-speed limited edition (Part 3 of 4)

Both test pressing and white label promotional copies for NO NUKES LP shown here were pressed at the Santa Maria pressing plant in California, as each side of vinyl has a hand-etched number/letter code (1S) that specifies where these discs were pressed. The pressing plant is also known from an abbreviated code CSM (Columbia Santa Maria) in a parenthesis that is found beneath the catalog number-side indication (ML-801-E) on the white label. According to Discogs, there are two more code variations, CP and CTH, referring to Columbia Pitman and Columbia Terre Haute, respectively. Thus, this soundtrack album (yes, this album is classified as the soundtrack for the NO NUKES documentary movie) was pressed at the three major Columbia Records' pressing plants even though it is an Elektra/Asylum release.
 

Collecting log: GREETINGS US test pressing LP from the Pitman factory (and its comparison with Jim Cretecos's copy)

According to the labels on the wax, this copy is pressed at the Columbia Records' pressing plant in Pitman, N.J., and includes a stapled 10-page lyric sheet (the lyrics for Blinded By The Light are printed across 2 pages and the remaining eight songs on one page each). Inset, Each song is copyrighted by Sioux City Music Ltd., the music company derived from Laurel Canyon Ltd. (both run by Mike Appel and Jim Cretecos) that became the management-exclusive arm after separation of music division.

BORN TO RUN US pressing LP variants: Clarifying pressing plant-specific matrix number suffixes 1A, 1B, and 1C

This post represents the 100th upload on this blog in two years and eight months of sharing my views and thoughts on what I have collected over the years, mainly focusing on vinyl collectibles of both official and bootleg records (but I haven't written about what I don't own - that's my policy). It is remarkable to me (as a non-native English user) that I still continue and enjoy writing. Here I take this opportunity to thank all of you who have read and commented to this blog and those who have sent me private messages for whatever reasons.

Thoughts on My Father's House on NEBRASKA LP (Part 3 of 4)

Alternate take for Stolen Car first appeared on a bootleg LP in the
mid-1980s (although the bootleggers used to call it Son You May Kiss
 The Bride) and then was officially released on TRACKS in 1998. The
famous John Hammond audition tapes recorded in 1972 have also been
circulated on various bootlegs (for example, see here) and the
advanced promo 3-track CD-R (Gateway Mastering Studios, CD PRO)
for the 4-CD compilation box is the first official release featuring
the acoustic demo of Growin' Up.

During the past 43-year career of recording and touring, Springsteen has not only released an incredible number of his compositions, but also re-released many original songs in the form of acoustic demo, alternate mix, different arrangement or live rendition, on several compilation LP, EP or live albums. As far as studio recording goes on album format, if my memory is correct, it got all started in 1998 with the release of TRACKS 4-CD box (US Columbia CXK 69475) on which he purposely included for the first time alternate versions to some songs that are already made on the previously released original albums or the flip side of some 7" singles, such as Growin' Up, Stolen Car and Stand On It just to mention a few. In this respect, the long version of My Father's House, that is commercially available only on the CD version of NEBRASKA pressed in Japan between 1985 and 1995, is a unique exception among his alternate tracks because it was released accidentally or inadvertently, as shortly introduced in Part 1 of this series.

Thoughts on My Father's House on NEBRASKA LP (Part 2 of 4)

Backstreets Records Ad for set sale circa 1993, featuring
NEBRASKA acetate and test pressing discs, both with the
alternate version of My Father's House.

In Japan, the CD copies of NEBRASKA are pressed using differently mixed, two master tapes (i.e. impermissible narrow stereo mix used for the early copies and approved mono for the late ones). In addition to the mixing format, there are some more obvious differences between the two masters such as pitch, track length and sound volume. However, the most notable is that the early stereo-mixed copies, that was pressed from 1985 till 1995 in the Far East, contain a longer version of My Father's House with an extended and quiet keyboard coda. The last blog briefly introduces such CD issues for domestic and export markets and ends with the following question: Is there the possibility that the alternate take of My Father's House is featured on vinyl LP copies?

Before the commercial release of vinyl records, acetates and vinyl test pressing are created at the first and late steps in the vinyl manufacturing process, respectively. These rare and high-valued non-commercial discs have been circulated mostly for the US and UK releases of NEBRASKA LP. Shown images on the right are taken from the 1993 Holiday Catalog of Backstreets Records that advertises a copy each for the one-side (Side 2 only) acetate disc and the test pressing vinyl from the US, both described as featuring an alternate take of My Father's House.

BORN TO RUN US pressing LP variants: Album credit variations

Test pressing and gold promo-stamped copy for the
Half-Speed Mastered series LP released in 1981.
Hand-written codes on a plain white cover indicate the
matrix numbers scratched out in the dead wax area.

Originally released from Columbia Records in 1975 (with the catalog number PC 33795) and reissued several times, including the early repressing (JC 33795) and the recently remastered 180-g vinyl, the U.S. release of BORN TO RUN LP is available in a wide variety of variant forms. Thus far in this series, I have picked up variations initially focusing on different pressings of the LP discs (i.e., test pressing and white label promo), then production error/export variants, and recently, 7" singles of the title track (i.e., vinyl versus styrene disc) cut from this masterpiece. However, what gives rise to variations most is the album track information and production credits printed on the rear side of the gate-fold sleeve. Over the years, these descriptions are occasionally subjected to correction, revision, and reconfiguration. Here I summarize the notable differences as I observed regarding album credits and others, including the company logos.

BORN IN THE U.S.A. Japanese test pressing LP w/ flyers (and advanced promo cassette tape)

Despite the fair condition, this test press sold extremely well
(from actual auction)

Auction watching continues. Regularly checking Yahoo! Japan auction for rare Springsteen collectibles, I saw another case of high competition that has ended early this week (July 13) with the incredible final bid of over $500. The auctioned item was a test pressing copy of Japanese BORN IN THE U.S.A. LP (CBS/SONY 28AP 2850) in a white plain cover with the small custom sticker. The total bid volume was 29 from six competitors (again I was just watching, not joining the auction). Interestingly, at least two bidders seem to have joined the auction of the custom promo-only THE "LIVE" cassette tape which was mentioned on the last blog (July 12).

BORN TO RUN US pressing LP variants: the script cover

The lyric sheets and track-list card are not genuine but photocopied

When it comes to the vinyl album of BORN TO RUN, it's not avoidable for a serious collector to mention the promotional package of the advanced test pressing, or much more famously known as the script cover. Nowadays you can find the copies that occasionally turn up on eBay in varying conditions, and actually I've seen two copies in the last two weeks, with the one being still on the auction at this moment. But before internet ages, it was quite tough to locate, and even more difficult to acquire an excellent copy, especially for collectors like me living outside the US.

BORN TO RUN US pressing LP variants

Various copies of this classic album with
more than half being the US pressings

Although THE RIVER is my favorite record, the greatest LP to me is always BORN TO RUN. Unfortunately, this classic album has been often mentioned as one of the all-time worst-sounding recording. Especially its muddy sound made me seeking for better sounding pressings, mostly targeting early US vinyl copies including the "Script" cover and "John" Landau misspelt copies. Anyway, I have collected this classic album over the years during which I noticed that there are several variations, even though trivial or minor, among the US vinyl copies with respect to the album credits on the double sleeve, the record labels, and of course, the matrix codes on the wax. So, I'm planning to start off this year with this topic. However, since it's busy season now in this country getting towards the end of this fiscal year (yes, here the fiscal year ends March), I'm afraid if I can keep up the blog work ...

 — To be continued.

Collecting log: GREETINGS Japanese 2nd pressing LP with a wrap-around Obi

Note the unnecessarily and rather punctiliously
folded wrap-around obi (pic from actual auction).

Quite busy these days and haven't had much time to write about rare records or old bootleg titles. So, here's a brief note from my collecting log that might interest some readers. I recently picked up, through a domestic online auction, a used copy of the second Japanese LP pressing of GREETINGS FROM ASBURY PARK, N.J. (CBS/SONY SOPO-124) — the one famous for its wrap-around obi decoration. It cost me only 380 Yen (= 3 bucks and some pennies) with no other bidders, probably because, as shown in the picture (from the actual auction), the obi was folded and cut open along the bottom edge. Even so, both the postcard sleeve and vinyl are clean in excellent condition.

Classic Vinyl Bootleg Revisited: FIRE ON THE FINGERTIPS

“If they kept sales charts on bootlegs, FIRE ON THE FINGERTIPS and E TICKET [sic] would both easily be best sellers: They are the two records almost every collector will have.” [excerpted from a short article entitled “The essential bootleg album guide,” featured in the fanzine Backstreets no.6 (May 1983)].

How many different pressings are these 8 copies grouped into?
How many are red-colored, black or heavy vinyls?

As this quote exemplifies, these two vinyl LPs are a twin peak of Springsteen's early studio bootlegs: they are housed in well-done jackets using now-classic photos of the DARKNESS era and with excellent sound quality originated from low generation tapes of studio recording and a demo acetate disc. Content-wise, I prefer FIRE ON THE FINGERTIPS to “E” TICKET because the album was full of the materials that were unreleased back then, rather than consisting of mostly alternate takes of released songs. Piracy activity increases in proportion to the popularity and demand of a given title, whether it is official or bootleg, and this fantastic bootleg was no exception. Over the years, various forms of reproduction have appeared, from straightforward copies to completely different packages of the original LP.