Collecting log: a copy of the legendary bootleg LIVE on Coral Records, purportedly autographed at a Philly stop during the 1978 tour (Part 3 of 3)

If my memory serves me correctly, this is the concurrently auctioned LP, described by the seller as “signed by the whole band.” Gary Busey’s signature appears vertically near the center-right, to the left of a drawing of a heart pierced by an arrow. Several signatures are difficult to read in this image, but a few—most notably Garry Tallent’s just above the timing strip glued to the bottom—appear clear enough to support the item’s authenticity (not in my possession).

As I mentioned in the previous post (06/06/2026), the eBay seller was offering several Springsteen-related collectibles. Among them was another signed LP: a promotional copy of Springsteen’s official album DARKNESS ON THE EDGE OF TOWN, described as “signed by the whole band” in Philadelphia, 1978 (see the seller’s reply to my query in the previous post). Unfortunately, the only image I kept from the listing is a low-resolution one of what I believe to be the item in question. I should have saved the entire webpage for that listing, but at the time, I thought it was enough to keep documentation only for the items I had actually acquired. In hindsight, it simply never occurred to me to preserve the listing for an item I had not obtained.

In fact, as far as I can recall, that copy bore not only the signatures of Springsteen and all the E Street Band members but also Gary Busey's, as the image above appears to show. Busey had starred that year in The Buddy Holly Story (Columbia Pictures, 1978), a film Bruce had seen earlier during the California leg of the DARKNESS 1978 tour, most probably early July. As Bruce and Busey themselves explained onstage before Rave On at the August 19 Spectrum show, the two met there, and Bruce invited Busey to appear at the Philadelphia shows. Busey then made guest appearances on August 18 and 19, joining Bruce on stage for Rave On both nights and Quarter To Three on the first night (both shows were bootlegged; see 06/06/2026).

Collecting log: a copy of the legendary bootleg LIVE on Coral Records, purportedly autographed at a Philly stop during the 1978 tour (Part 2 of 3)

As another example of an autographed classic bootleg, a signed copy of "E" TICKET is reproduced on the back cover of The Bruce Springsteen Bootleg Bible Vol. 1 (by Tony Montana, Montana Production Inc., USA, 1985), with the comment: "This copy was autographed by Bruce backstage at the Spectrum Philadelphia Aug., 1978." I do not know whether this signed copy came from the same original owner as the autographed LIVE bootleg discussed in this post. Image sourced from the blog on 05/16/2015.

Obviously, the main question regarding this particular copy of the classic bootleg is whether Springsteen’s signature is genuine or a forgery. Although he is known to have refused to sign bootlegs over the years, the available anecdotes suggest that he may not have been as reluctant to sign them early on—especially before the famous 1979 lawsuit* against California bootleggers Vicki Vinyl and Jim Washburn.
*For more on that lawsuit, see my previous blog posts on specific bootlegs like "E" TICKET and PIÈCE DE RÉSISTANCE.

Springsteen’s early attitude toward bootlegs is covered in some detail, for instance, in two substantial books by Clinton Heylin: Bootleg: The Secret History of the Other Recording Industry (St. Martin's Griffin, New York, 1996) and E Street Shuffle: The Glory Days of Bruce Springsteen & the E Street Band (Penguin Group [USA] Inc., New York, 2013). A few passages are particularly suggestive. Springsteen reportedly reacted with delight when he was handed one of Lou Cohan's bootlegs in 1976, exclaiming to E Street Band member Garry Tallent, "We’ve been bootlegged! We’ve finally made it!” (E Street Shuffle, p. 188). He also remarked in a 1978 interview that many bootleggers were, at least in their own eyes, fans rather than profiteers, and that bootlegging was “more like a labour of love” (Bootleg, p. 136).

Collecting log: a copy of the legendary bootleg LIVE on Coral Records, purportedly autographed at a Philly stop during the 1978 tour (Part 1 of 3)

Autographed copy of LIVE on Coral Records, the bootleg LP at the center of the 1976 lawsuit, shown with reference copies of reports from the August 14 and August 21 issues of Billboard (article text obscured; see 08/15/2016 for details).

It has somehow been almost six months since my last blog post. Over the past few months, as has happened from time to time before, I have been—and still am—extremely busy with my job. This time, however, the workload was heavier than usual, which largely explains the long silence on this blog (yes, I’m still working and haven’t retired yet!). Fortunately, I have no shortage of material to write about; I have simply reached a point where I can catch my breath and finally resume posting.

Recently, two very different things brought me back to the mid-1970s, the period around Springsteen’s first national breakthrough in the U.S.

Classic Vinyl Bootleg Revisited: THE DEMO TAPES original U.K. release limited to 500 numbered copies (Part 3 of 3)

As introduced at the beginning of Part One (10/12/2025), music writer Clinton Heylin regarded "E" TICKET, FIRE ON THE FINGERTIPS, THE DEMO TAPES, and SON YOU MAI KISS THE BRIDE as among the definitive studio vinyl bootlegs — a view that is hard to dispute. What I find intriguing about his selections is that, although Springsteen is a quintessentially American artist, all but "E" TICKET are said to have originated in the U.K.

THE LAUREL CANYON DEMOS (shown at the bottom), which appeared in 1989, was probably the first — if not one of the very first — Springsteen bootleg CD titles. MUSIC PUBLISHER'S DEMOS 1972 (shown at the top) included four additional related tracks from the VISITATION AT FORT HORN LP. These early-era underground CDs of his demo recordings were straight- forward transfers from the original bootleg LP or its pirate copy.

While I'm not entirely certain whether SON YOU MAY ... actually came out there (so they can safely be considered non-U.S. bootlegs, at least), FIRE ON ... and THE DEMO TAPES were reportedly sourced from acetate discs originally circulated within the British music industry around 1973. These discs were intended to generate interest among British artists, producers, and record companies, and to secure cover versions or releases that could help establish Springsteen's reputation outside the U.S.

In June 1988, Record Collector, a leading U.K. music magazine, looked back on the early years of his career in a feature article by Peter Doggett titled Bruce Springsteen: Asbury Park to E~Street (no. 106, pp. 3–6), and reported as follows (excerpts from p. 5):

Classic Vinyl Bootleg Revisited: THE DEMO TAPES original U.K. release limited to 500 numbered copies (Part 2 of 3)

Though it isn't as nice a package as the Swedish lps*, we also really like a new boot called The Demo Tapes. This is a repress of a European boot and the material is just fantastic. The songs are very early demos, pre-Hammond tapes**, and the songs rank with the best Bruce has ever written. If you like the early acoustic stuff, you'll love this record. The album is reasonable and is easily found.

—Excerpted from the On Vinyl column entitled More new bootlegs than you can imagine, Backstreets, no. 3 (1982).
*Referring to the two Swedish bootlegs, FOLLOW THAT DREAM and TEARDROPS ON THE CITY.
**Not pre- but post-Hammond demos, mostly recorded between May and August, 1972 (cf., The so-called "John Hammond Demo Session" occured on May 3, 1972).

The red label bears a stamped "MADE IN USA." As is now widely known, any version of this bootleg pressed in the U.S. — identified by "LIMITED EDITION OF 1000" on the front sleeve — is merely a pirate clone of the original U.K. release. This copy (matrix numbers
BSD-A / BSD-B) is likely the earliest U.S. pressing.

The first copy I obtained July 1982 was a relatively thick black vinyl (158 g) with blank red labels (though stamped on one side) and hand-etched matrix numbers: BSD-A and BSD-B on SIDES ONE and TWO, respectively. It came in a black & white sleeve with "LIMITED EDITION OF 1000" printed diagonally on the bottom right corner, but lacking any stamped or handwritten numbering. However, according to Blinded By The Light (P. Humphries & C. Hunt, Plexus, London) — the bible to Springsteen collectors published a few years later in 1985 — this bootleg was numbered and described as follows (transcribed from p. 138):

Classic Vinyl Bootleg Revisited: THE DEMO TAPES original U.K. release limited to 500 numbered copies (Part 1 of 3)

Of the four classic vinyl bootlegs of Springsteen studio outtakes — The Demo Tapes, Fire On the Fingertips, E Ticket and Son You May Kiss The Bride— all save E Ticket* have been issued on CD (in Fire On the Fingertips’ case, as the equally splendid Forgotten Songs).

—Quoted from: Clinton Heylin (2013) E Street Shuffle: The Glory Days of Bruce Springsteen & the E Street Band, p. 315, Penguin Group (USA) Inc., New York [the underline made by this blogger].

Four classic vinyl Brucelegs featuring studio recordings — as defined in Heylin's E Street Shuffle book (2013) — were concisely reviewed long ago in the collectors' bible Blinded By The Light (1985), except for SON YOU MAY KISS THE BRIDE, the last of the four to be released in the mid-1980s (though I don't exactly recall whether it appeared during or after the 1985 leg of the BORN IN THE U.S.A. tour).

*Oddly, Heylin regards "E" TICKET as an exception — perhaps because this vinyl bootleg has never been released on CD in its original form. However, the excellent BORN IN THE STUDIO CD from the early 1990s already included all its tracks along with additional recordings (see 06/01/2024).

No, no, I’m not going to talk about Bruceleg CD releases. The above is how Clinton Heylin, a notable British writer on Bob Dylan and Bruce Springsteen, describes these four unofficial vinyl albums in his book, where he subjectively selects 21 bootleg CD recordings of studio sessions. He compiled this discography as a bootleg CD enthusiast, reasoning that a bootleg CD is likely to exist somewhat longer than some of the website links which afford fans the opportunity to download these precious, unauthorized moments (as cited above).

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

As I mentioned in my previous blog post (09/04/2025), I’ll introduce two articles here that reported on this classic bootleg, published in early and mid-1979 — likely shortly after it began circulating in the collector's market (the authors appear to be unidentified).

The last issue (March 1979) takes a look at 
the state of the bootleg industry.

The first appeared in Bomp!, a U.S. music magazine based in Burbank, north of downtown Los Angeles, California, that ran from 1971 to 1979. In its March 1979 issue (No. 21, the final issue), there is an article titled SPECIAL REPORT: BOOTLEGGERS — Rock Robin Hoods or Commie Threat? which includes an interview with an anonymous bootlegger along with reviews of recent bootleg releases (pp. 22–23). The bootlegger, described in the article as “one of the kingpins of this secret industry,” admitted to regularly releasing three or four albums a month and maintaining a catalog of nearly 100 past titles, considering themself one of the “Majors” in the underground record business. In the interview, the bootlegger also mentions Springsteen once, when asked why “today’s bootlegs seem to be so much more nicely packaged than those white jacket with paper insert things of a few years ago,” even though the question refers not specifically to Springsteen’s bootlegs but to others, such as Beatles or Stones titles:

(excerpted) Personally I feel the risks involved make the bucks more than well-earned — but also as an opportunity to make a mark in history with some really fine albums that we, the fans, and even the artists, can be proud of. There are in fact many artists such as Bruce Springsteen and Patti Smith, who have openly encouraged bootleggers.*

Classic Vinyl Bootleg Revisited: PIÈCE DE RÉSISTANCE 3LP box (Update 3, Part 1/2)

One of the two new additions came in an unusual hinged 
box, apparently a replacement for the original during its 
time in second-hand circulation.

Speaking of September, it’s impossible to talk about this month without bringing up the legendary 1978 FM broadcast performance (09/19/1978) — first released on the triple-vinyl bootleg PIÈCE DE RÉSISTANCE from the U.S. West Coast in the late 1970s, later reissued on CD bootlegs in Europe in the 1990s, and finally made officially available online in 2019 as part of Nugs Live Archive series. Among all these versions, the vinyl bootleg — hardly in need of an introduction and legendary in its own right — still holds a special place for collectors, myself very much included. Since my last blog post on it five years ago (see 07/26/2020), I've added two more copies to my stash — I admit, I just can’t help myself. Thankfully, neither came anywhere near the steep prices these records commanded during the 1980s — when both Springsteen’s popularity and vinyl bootlegging were at their peak — or even in the 1990s; instead, they cost little more than skipping a couple of cheap lunches.

Collecting log: 40 years after the BORN IN THE U.S.A. Japan tour — nostalgic old bootlegs and miscellaneous vinyl/CD collectibles related to the official album (Part 2 of 4)

The B5-size flyers were most likely distributed at or near the
Tokyo and Kyoto concert venues as well. English translations
of the Japanese text and descriptions provided by this blogger.

One more trivial recollection concerning bootlegs: I remember that on April 23, the final date of the Japan leg in 1985, a young guy was handing out what looked like flyers as I walked down from Osakajōkōen Station (Osaka Castle Park Station) — the nearest stop on the JR Osaka Loop Line — toward the concert venue, Osaka Castle Hall. Out of curiosity, I took one, which turned out to be a pre-order form for a then-unknown three-disc bootleg titled BORN IN THE AMERICA, slated for release on May 20, according to the description. Initially, I expected this new release to feature live recordings of Springsteen's first-ever concert(s) in Japan. However, I quickly realized the flyer explicitly stated “LIVE IN U.S.A. 1984,” although it provided no further details, such as the date, venue, or tracklist.

Collecting log: 40 years after the BORN IN THE U.S.A. Japan tour — nostalgic old bootlegs and miscellaneous vinyl/CD collectibles related to the official album (Part 1 of 4)

The ticket was mailed to me in a registered envelope from the
Osaka office of Udo Artists Inc., the tour promotion and man-
agement agency. A clipping — likely from a newspaper, though
uncertain — with the headline “Grammy Winner Bruce’s First-
Ever Japan Tour Becomes a Reality” appears to predate the
addition of two concert dates, April 13 in Tokyo and April 23
in Osaka, as those dates are not mentioned in the article.

This past April in Japan brought something of a celebration on social media among Springsteen fans and collectors. As you might know, this year marks the 40th anniversary of his first—and one of only three, if the one-off Amnesty concert is included — tours to the Far East, promoting his seventh album, BORN IN THE U.S.A. (see 04/23/2015 and 01/27/2018 for Japan tour-related posts). I was a junior in college when I had the good fortune to see him perform on the second night (April 23) in Osaka, which was also the final show of the Japan leg — a performance often regarded as the best of the eight played here. By the way, you might wonder why I’m not talking about the Kyoto concert held four days earlier (April 19), especially since I’ve occasionally mentioned on this blog that I was born and raised in this ancient capital city. The reason is simple: I missed it due to a critical mix-up that left me without a ticket — still one of the most regrettable memories of my youth.

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.

Classic Vinyl Bootleg Revisited: 'E' TICKET, its very limited first edition, also known as the advanced release (Part 5 of 5)This article supplements and follows up on the previous posts on this bootleg in October 2014.

"Another (fake)" advanced copy (upper)  differs from a
genuine copy (lower) in several respects.

Content-wise, the final post on the very first release of this classic bootleg focuses on a topic that may be rather unimportant or uninteresting to you: comparing it with another "ADVANCED PRESSING - E TICKET - COLLECTORS ITEM" that also came in a simple white cover with only the above title printed on it. For years, this release seemed (and still seems) to have caused confusion among bootleg collectors, which is still observed in online vinyl record databases and blog articles. An example is found in the relevant Discogs entry (see the image below) that describes it as being pressed in Germany and released in 1975!

Classic Vinyl Bootleg Revisited: 'E' TICKET, its very limited first edition, also known as the advanced release (Part 4 of 5)This article supplements and follows up on the previous posts on this bootleg in October 2014.

Arguably, "E" TICKET is one of the most famous and important releases in the history of Springsteen bootleg, emerging in the late 1970s and often pirated in the vinyl era. The sound quality is splendid as a bootleg, probably sourced from a demo cassette provided to a New York publisher in 1975 (see below). In addition, the bootleggers wisely avoided using a slick insert cover (the standard of bootleg back then) and borrowed a great outtake shot for DARKNESS ON THE EDGE OF TOWN (as you know, officially used for the front sleeve of the U.K. 12-inch single off THE RIVER; see 12/22/2019). So, the album sleeve was quite appealing, looking like an official product as if it followed DARKNESS, although the material was nothing related to this album. And don't forget that this release was one of those bootlegs that upset the man and the record company in 1979, leading to one of the most famous lawsuits against bootlegging in the history of the U.S. music industry.

Classic Vinyl Bootleg Revisited: 'E' TICKET, its very limited first edition, also known as the advanced release (Part 3 of 5)This article supplements and follows up on the previous posts on this bootleg in October 2014.

"When vinyl records were ready, the sleeves were not.”
That was what I was told, explaining why these classic bootlegs
from the late 1970s existed in two forms: one simple and the
other looking like official products.

About thirty years ago, or in the mid-1990s, I obtained this renowned Bruceleg from the late 1970s in an unusual form—a bit inky, plain, simple sleeve—from someone in Southern California, where bootlegging activities were the most active in the 1970s. He told me that the very early pressings were not housed in that well-made, black-and white sleeve we know but came in a plain white cover on which the album title and artist name were stamped with a handwritten serial number. He continued this was because the vinyl discs were pressed before the sleeves were finished, so the first pressing did not have a printed sleeve. This also probably explains why LIVE IN THE PROMISED LAND was first issued as a triple-vinyl box with a numbered insert rather than the famous gatefold sleeve.

Classic Vinyl Bootleg Revisited: 'E' TICKET, its very limited first edition, also known as the advanced release (Part 2 of 5)This article supplements and follows up on the previous posts on this bootleg in October 2014.

A copy with serial number #20 was recently auctioned on eBay (left). It looks very similar to mine numbered #21 (right) and #27 (not shown; the pictures on 10/12/2014 and 06/01/2024), which hold a special place in my vinyl Bruceleg collection. When I obtained the two copies from someone who resided in California nearly three decades ago, he explained these as an advanced pressing of this all-time classic bootleg of Springsteen. The left image is courtesy of and used with permission from HiFi Dojo (eBay seller).

Classic Vinyl Bootleg Revisited: 'E' TICKET, its very limited first edition, also known as the advanced release (Part 1 of 5)This article supplements and follows up on the previous posts on this bootleg in October 2014.

The clipping of a Japanese magazine (wherein the reported title can be translated as "Bruce Springsteen ran out of patience against bootlegging") was probably taken from an October 1979 issue of an FM radio/music magazine (I'm not sure, as only the clipping has been kept with me).  Mostly based on the relevant articles from Billboard (July 29, 1979) and Rolling Stone (September 6, 1979), the Japanese magazine reports that Springsteen and his record company sued the bootleggers with distribution networks in California (i.e., Vicki Vinyl and her partners-in-crime, though their names were not given), mentioning this studio-outtake album as one of the four bootleg records they manufactured (see inset, which can be translated as follows: "Four bootleg albums of Springsteen were made, including the famous E TICKET," where "Four" refer to PIÈCE DE RÉSISTANCE, FIRE, and LIVE IN THE PROMISED LAND, besides this). I remember I felt somewhat strange that the anonymous writer of the report described "E" TICKET as "famous," given the magazine's wide target readership (covering all music categories, including classical music) and the issue's publication year (1979; Springsteen was not so popular and widely known in Japan until his smash hit of Hungry Heart in 1980). It must have been famous only among bootleg collectors...

Classic Vinyl Bootleg Revisited: ALL THOSE YEARS — unofficial but the first retrospective release of a supectacular 10-LP box collection (Part 3 of 3)

One of the ten white label test pressing discs of the
ultimate Bruceleg. Shown is Side Two of Disc One,
as indicated by the matrix number "SR 112," hand-
marked on the plain label and engraved on the vinyl
deadwax (not in my possession). Photos provided
courtesy of hrubesh.

 

"As the man behind many older bootlegs, including All Those Years, one has to be impressed with the sincerity and integrity of Mr. Dane* as a bootlegger."
(unsigned article,1989) Bootleg Compact Discs: An exclusive investigation into illegal CDs. Backstreets Magazine, Number 29, excerpted from p. 16.
*Pseudonym for an anonymous member of the Italian Great Dane Records label who was interviewed by the magazine for the article when he participated at the Austin Record Convention, Texas, in the Spring of 1989. Needless to say, the label purportedly released the first known Bruceleg CD (i.e., YOU MEAN SO MUCH TO ME) early that year.

"Great Dane consists of a group of collectors. We select artists using our 'heart', [and] we select our production considering three things: popularity of the artist, quality of available tapes and the sales potential. There's nothing original in this, except that we consider Europe as our market."
Clinton Heylin (1995) Chapter 17. It was less than twenty years ago ... In: Bootleg: The Secret History of the Other Recording Industry, excerpted from p. 310, St. Martin's Press (New York).

Classic Vinyl Bootleg Revisited: ALL THOSE YEARS — unofficial but the first retrospective release of a supectacular 10-LP box collection (Part 2 of 3)

"You certainly love Bruce Springsteen and his music. That's sure because only true lovers can buy a ten record set; this album has been made for guys like you. So we can avoid talking about how great he is, and how good his songs are: we both know. Here we want to introduce to you these records, that, of course, are the results of a deep passion and lengthy work. They contain recordings from twelve years of Springsteen's career, trying to cover every tour he has made."
Quoted from the preface of the booklet included in ALL THOSE YEARS.

As I wrote in the last blog (02/23/2024), my financial status as a university student did not allow me to purchase this magnificent release when I first saw it was out in 1984.  Undoubtedly, a 10-LP bootleg was a surprising and impressive release in its volume alone, and the concept every hard-core collector can share was well-represented by the accompanying 20-page booklet. To be honest, however, I did not become engrossed in this box too much initially because of the extraordinarily high price and because I much preferred live bootlegs of a whole or nearly complete single concert (just like the Official Live Archive series) to those of compilations from various locations. The latter reason also mainly explains why I wouldn't say I liked the official live retrospective box released in 1986 (see 11/21/2019).

Classic Vinyl Bootleg Revisited: ALL THOSE YEARS — unofficial but the first retrospective release of a supectacular 10-LP box collection (Part 1 of 3)

Two copies are in my possession, with and without a limited serial
number. The first copy I got was a reissue without a serial number
at the JEUGIA Karasuma Shijo (烏丸四条) branch, Kyoto, in 1987.
It took a few more years, but luckily, I obtained an early copy with
a limited number in the 200s from a European collector at a much
cheaper cost than the original copy I first saw in 1984.

"It is the nicest collection of Springsteen material released anywhere, commercially or bootlegged."  Steve Reed (1984) 'All Those Years' a great set. Backstreets, Number 11 (Vol. 3, #3), excerpted from p. 23.

"The thoughtful choice of songs and all round excellence of sound, packaging and production makes this the ultimate in bootlegging."  Patrick Humphries and Chris Hunt (1985) Fire on the fingertips (Bootleg singles, EPs and albums). In: Springsteen: Blinded by the Light, excerpted from pp. 133–134, Plexus Publishing Limited (London).

"Most [sic] complete Springsteen set ever made."  Author unknown (1986) Section One: Non-commercial releases. In: The Bruce Springsteen Collector's Guide, excerpted from pp. 4–5, 1986, publisher unknown.

"The original vinyl version, which had also originated in Italy, had excited considerable comment in the wake of Springsteen's own disappointing three-CD collection Live 1978-85 [sic]."  Clinton Heylin (1995) Chapter 17. It was less than twenty years ago ... In: Bootleg: The Secret History of the Other Reccording Industry, excerpted from p. 311, St. Martin's Press (New York).

Collecting log: THE RIVER Japanese 2LP samplers with a promo-only sticker and a concert-report flyer (Part 1 of 3)

A typical black-and-white album advertisement, quoting Jon Landau's famous words in Japanese translation, simultaneously appeared in various FM and other music magazines in late 1980, timed with the album release.

More than five years ago, when I picked up on this blog a famous Japanese vinyl rarity from THE RIVER, I briefly introduced CBS/SONY Japan's strategy to promote the album here in the Far East (see the last paragraph on 09/19/2017). While Ryo Okada, who was in charge of Springsteen back then in the company, was delighted by this album with a higher potential ever for becoming a smash hit, he had to think over about how to promote Springsteen and his then-new release two years after he tried every means possible to publicize the man and his previous album DARKNESS ON THE EDGE OF TOWN (see 09/19/2015 and 03/05/2016). Finally, he decided to invite domestically known music critics and journalists to a four-night stand (October 30, 31, November 1, and 3) at the Los Angeles Memorial Sports Arena during the ongoing 1980 North American tour and let them write a concert review (Note that it was five years before Springsteen visited Japan for the first time on the BORN IN THE U.S.A. world tour). These reminiscences by R. Okada are told in the booklet exclusively available in the Japanese edition of THE TIES THAT BIND: THE RIVER COLLECTION (Sony Music Japan SICP-4612), issued in late 2015.