Collecting log: Spirit In The Night - Growin' Up / Rosalita (Come Out Tonight) early U.S. promotion-only custom 7" EP

The white-labeled, promo-only EP originally came in a generic die-cut
company sleeve. Oddly, the sole track from the then latest second
album is placed on SIDE 2 while two songs cut from the previous
debut album are featured on SIDE 1.

For many serious Springsteen fans, June 2 is remembered as the original U.S. release date of the then long-awaited 4th album DARKNESS ON THE EDGE OF TOWN (US Columbia JC 35318). Since this year marks the 40th anniversary of the release year (1978), such fans have already posted a celebration thread in various forums dedicated to the Man and His Music. Serious analog collectors, however, might know that on the same day 44 years ago (June 2, 1974)*, a promotion-only 3-track EP was released to U.S. radio stations, which has become among top collectibles nowadays. While better known for its catalog number prefix "AE7" (which is given to Columbia's promo-only 7" releases), to date, Spirit In The Night - Growin' Up/Rosalita (Come Out Tonight) (US Columbia AE7 1088) is one of the toughest early promo records to find.
*From the description in Blinded By The Light (P. Humphries & C. Hunt, 1985, Plexus, London).

Classic Vinyl Bootleg Revisited: THERE AIN'T NOBODY HERE FROM BILLBOARD TONIGHT original black vinyl pressing (Part 3 of 3)

"The demand for a live Springsteen album would continue to build as long as Springsteen resisted providing official evidence of his take on a rock & roll revivalist meeting. Lou Cohan's double-set from Springsteen's Roxy show certainly had a lot more chops to it than the relatively tame 'wall of sound' beneath which Springsteen buried Born to Run. He had also proved a point about the potential demand for bootlegs of a 'rookie' seventies rock star like Springsteen. Ken, to his credit, had his antennae on, responding with his own version of the Roxy broadcast followed by his own testament to Springsteen at-his-peak, You Can Trust Your Car."
(Cited from BOOTLEG: The Secret History Of The Other Recording Industry, Clinton Heyin, 1996, St. Martin's Griffin, NY)

My first copy is still shrink wrapped. Early pressing of SODD releases came with
World Records labels in white background (an inverted black background 
 version is also known to exist).

As described in the citation above, and as almost all of you know, the broadcast live from the October show at the Roxy in 1975 was captured in another underground release FLAT TOP AND PIN DROP (Singer's Original Double Disk, SODD 006), put out by Ken Douglas who is, needles to say, one of the most famous early bootleggers. After shutting down the legendary Trade Mark of Quality in 1973, he set up The Amazing Kornyphone Record Label, the operation of which was supplemented with several other bootleg labels he also launched around that time and thereafter. SODD is one of such multiple bootleg labels run by his hands, and as its name indicates, he usually used this label for releasing double-LP titles, including another Springsteen's classic (SODD 001: briefly mentioned here) mentioned in the above quote and Rolling Stones' NASTY MUSIC (SODD 012), one of the most widely known bootlegs in the late 1970s.

Classic Vinyl Bootleg Revisited: THERE AIN'T NOBODY HERE FROM BILLBOARD TONIGHT original black vinyl pressing (Part 2 of 3)

Two copies in my possession alongside the Roxy '75 concert poster
(not real stuff, image taken from Brucebase). Also shown bottom 
are three early CD bootleg releases of the live broadcast. I don't 
own the Crystal Cat version because I have stopped collecting
bootleg CDs since free online distribution was available for 
 downloading electronic sound files in the late 1990s.

The year 1975 is not only remembered for Springsteen's national breakthrough hit with BORN TO RUN, but also saw the first appearance of his vinyl bootleg titles on collectors' market. Following a single live compilation album named THE JERSEY DEVIL (Hoffman Avenue Records, HAR 147), THERE AIN'T NOBODY HERE FROM BILLBOARD TONIGHT (HAR 160), a 2-LP set of the Roxy '75 broadcast from the same label, is generally said to be the second ever release of Springsteen's bootleg, although another double disc volume of the legendary Bottom Line concert (LIVE on Coral Records or LIVE AT THE BOTTOM LINE  8/15/75) is often mentioned as an alternative possibility. Irrespective of whether it came out secondarily or later, one thing clear is that THERE AIN'T NOBODY ... represents the first ever full-concert live bootleg of Bruce Springsteen and the E Street Band*. In my opinion, for this fact alone, it deserves to be called a classic Bruceleg.
*To be exact, the very last part of Pretty Flamingo is cut. On the other hand, neither of the Bottom Line bootlegs is complete in their recording, missing one song totally or editing a few tracks heavily (detailed here).

Classic Vinyl Bootleg Revisited: THERE AIN'T NOBODY HERE FROM BILLBOARD TONIGHT original black vinyl pressing (Part 1 of 3)

I love old, amateurish, slick/insert covers!

One of the fun things to collect bootlegs is to be able to enjoy a wide variety of cover sleeves irrespective of whatever they look like (excellent, mediocre or awful). Although professionally manufactured color sleeves of 1980's bootlegs are attractive, I rather have a preference for slick or insert covers when it comes to vinyl bootlegs. It's because, along with rubber-stamped covers, that's the way these stuff came out originally. In other words, the amateurish appearance of many of slick covers represents what vinyl bootlegs were supposed to be in the first place. Thankfully, these days second-hand vinyl bootlegs are available at much cheaper than they used to be in the 1970's through 1980's when the bootleg industry was at the height of its prosperity (for one example of such a purchase, see a past blog post here).

DARKNESS ON THE EDGE OF TOWN US LP variations: A repressing with an erroneous lyric sheet

The custom Zippo lighter used as a paper weight is serially numbered
(#026/200) and distributed for promoting the Hungry Heart Berlin '95
single in France. Though not shown, it comes in a black plastic holder.

Based on the dead-wax matrix information, US-pressing copies of the vinyl DARKNESS album are roughly classified into two groups, one with and another without a machine-stamped TML marking (either TML-M or TML-S), a proof for the early pressing issues that were mastered by Mike Reese at The Mastering Lab, Inc., Los Angeles, California. So, any vinyl copies lacking this stamp on both Sides 1 and 2 are instantly excluded from the list of my "variation" analysis on the U.S. version of this classic album (A series on this subject starts here).