I have no recollection of sending these (or anything else "unreleased") to Skipjack, but apparently I did (lol). I have no objection to him posting them. I never taped with the intention of private trading, anything that was good enough quality to "release" has been "released" already. As Hoserama correctly pointed out, both these tracks sound like crap hence they have remained "unreleased".
All my original recordings got lost in 2019, when a hard drive that I had affectionately labelled "bootleg projects" catastrophically failed. I thought I had backups, but it turned out I did not. I was saddened for sentimental reasons - I enjoyed my summers of carefree teenage experimentation tremendously, and occasionally liked to revisit the recordings for nostalgic purposes - but from a quality standpoint almost all of it was hot garbage. Anything that turned out even slightly decent (mostly from 2013) was given to the old Swedish man with the long white hair, and, as far as I know, is now available to all. As the hard drive died, I also don't have any records of what even used to exist. But I'm pretty sure there was nothing else interesting. If Skipjack (or anyone else) has anything else that I sent him that he thinks is interesting, he can post whatever wherever and whenever.
Not that it matters, but I would like to slightly correct that the Seville soundcheck track was received with a Sennheiser receiver (a battered old G2 off eBay!) from a matching Sennhesier transmitter. Receiving a Shure transmission with a Sennheiser receiver has significant and distinctive sound flaws that are not present here. The CC release of Goteborg #2 is a case in point. In 2012 the Springsteen crew were using a mix of Sennheiser and Shure transmitters, while I had only a single Sennheiser receiver. Unfortunately, all the best mixed feeds were on the Shure transmitters. I spent 2012 randomly alternating around whatever few Sennheiser frequencies (and only one per show) I could find, none of them any good.
As I went along my travels I took whatever AUDs that came available online and cobbled together a few "mixes" with my £400 laptop, earbuds, and pirated Adobe Audition - purely to give myself something to do (and then listen to) on the many train journeys through europe. I guess that's what the "IEM/AUD Mix" of Save My Love (from Berlin) is. A first draft knocked up in half an hour or less by a clueless 19 year old while laying on the top bunk of a £25/night 10-person hostel dormitory somewhere in Spain. Am I setting the scene adequately here? Yeah man, I know it sounds like shit, that's why I didn't put it on the internet myself!
This is all ancient history of course. I write this lengthy post just to try to provide some context and explain that the recordings posted in this thread are not tablescraps from some big secret goldmine. The well that they came from is dry. They did not originate from an "uber", they originated from me - just a regular teenage nerd with no money, limited knowledge and an unhealthy desire for validation from strangers on the internet. No need for any angst after so many years
This was a fun trip down memory lane though - I haven't taped anything of any kind for years, on account of the fact that I now work professionally as a sound technician. After I get paid real-life money to wear my IEMs and Sennheiser receiver in a legitimate and non-criminal context for 12 hours a day, the impetus to go bootlegging on the weekend is diminished Still, living the dream, eh.
Oh, I do have one fun thing to contribute to the thread:
The Steve Van Zandt school of guitar playing! Cracks me up every time, I fucking love it...