The story of Steely Dan is very well known among music lovers and audiophiles alike.  Donald Fagen and Walter Becker met at Bard College in New York in 1968 and eventually formed Steely Dan.  Fagen and Becker complimented each other, and beginning with their Steely Dan debut album, Can’t Buy a Thrill, in 1972, the duo developed a reputation for excellent production and cerebral publishing with sardonic and analytical tendencies.  Through the 1970s, Steely Dan added jazz elements to their songwriting, and their style continued to evolve, arguably reaching its pinnacle with their sixth studio effort, 1977’s Aja.  Aja offered just seven songs, but they were seven very well conceived and recorded performances.  Critics and fans agreed, as Aja peaked at #3 in the U.S. and #5 in the U.K.  In 1978, Aja won a Grammy for “Best Engineered Non-Classical Recording”.

With its popularity in the late ’70s into the early ’80s, Aja was chosen by MCA for worldwide release on CD in 1984.  The original U.S. issue will be featured here at a later date, but today, we consider the first Japanese issue.  In 1984, MCA partnered with Victor Musical Industries to release CDs in Japan.  Victor Musical Industries was the music arm of the better-known JVC or Victor Company of Japan, Ltd.  Early rock and pop CDs released by Victor in Japan bear a VDP catalog number prefix.  Many of the earliest titles from the VDP series, meaning with a catalog number suffix less than 100, are very rare.  Aja, assigned catalog number VDP-27, is one of these very rare titles.

As a Victor release, the VDP Aja CD was pressed by JVC.  Like other titles in the series, the disc features a unique black coating design with “aluminum” text.  This label design was picked up by Varese Sarabande, which also released CDs in partnership with Victor in the 1980s.

The matrix code on the VDP Aja CD is “VDP 27 1 3B11”.  The lack of hyphens between groups of characters in the matrix code (i.e., VDP 27 1… as opposed to VDP-27-1…) is indicative of an early Japanese JVC pressing.  As noted, this CD is very rare, as it rarely appears for sale online.  The second Japanese CD issue, released under catalog number 32XD-112, is more common.  Shown below are the front and back inserts and a spine label for the VDP Aja CD, as well as the disc itself.

http___www.bigleaguekickball.com_about_ Soma free consultation Note: Steely Dan’s follow-up to Aja, 1980’s Gaucho, was also released on CD in Japan in 1984 by MCA in conjunction with Victor.  The catalog number is VDP-26, and the disc bears the same design as the Aja disc shown here.  Like the VDP Aja CD, the VDP issue of Gaucho is very rare.

The cover for the first Japanese issue of Steely Dan Aja (MCA/Victor Musical Industries, catalog number VDP-27).  This is the standard cover artwork for this album.  Note the catalog number printed in the top right corner.

The back insert for the first Japanese issue of Steely Dan Aja (MCA/Victor Musical Industries, catalog number VDP-27).  The retail price of ¥3,500 printed in the bottom right corner is typical of an early single-disc release in Japan.

A spine label for the first Japanese issue of Steely Dan Aja (MCA/Victor Musical Industries, catalog number VDP-27).  The other spine label is printed in Japanese.

The first Japanese issue of Steely Dan Aja (MCA/Victor Musical Industries, catalog number VDP-27).  The matrix code is “VDP 27 1 3B11”.  The disc is dated 1984 beneath the MCA logo at 3 o’clock.

In March of this year, the classic bossa nova album Getz/Gilberto, a collaboration by tenor sax legend Stan Getz and Brazilian guitarist and singer João Gilberto, celebrated its 50th anniversary.  In March of last year, the original West German CD pressing of Getz/Gilberto was featured in this spot (click here).  Back then, it was noted that West German pressings showed differences in the mastering and the inserts.  In fact, it was said that a follow-up post highlighting these variations would be offered “in a few months.”  Oops!  Well, if you consider 14 months a few, then all is well.  In any case, we look here at a later West German pressing that shows the aforementioned variations when compared to the original West German disc.

To summarize, here are key features of the first West German pressing of Getz/Gilberto, featured in the March 2013 post:

• Black paint coating with silver text on disc
• Matrix code is “810048 2 05”
• Astrud Gilberto’s vocals in the right channel in “The Girl From Ipanema” (incorrect orientation)
• No catalog number printed on the front cover
• No track times printed on the back insert

Later West German pressings of Getz/Gilberto have a more common label design with black text over aluminum (i.e., no paint coating).  The original mastering with Astrud Gilberto’s vocals in the right channel in “The Girl From Ipanema” can be found with this later label design.  This disc has the same matrix code as noted above, meaning that the same glass master was used for discs showing both label designs.

It would seem that Verve discovered the incorrect channel orientation in “The Girl From Ipanema” fairly early, as West German pressings exist with a different mastering where the channel orientation is correct.  These discs have the later label design of black text with no paint coating and matrix codes of the form “810 048-2 XX”.  The last two numbers of the matrix code vary, indicating different glass masters being used.  Here, we consider a West German pressing of Getz/Gilberto with matrix code “810 048-2 07 *”.   Like the original pressings cited above, this disc was pressed by the Polygram plant.  The asterisk may have been added by Polygram to indicate a different mastering from the original pressings.

The “07 pressing” of Getz/Gilberto has the correct channel orientation for Astrud Gilberto’s vocals in “The Girl From Ipanema” (left).  Additionally, the front cover has the catalog number printed in the top right corner.  The back insert now has the track times added.

Shown below are the inserts for the 07 pressing of Getz/Gilberto, along with the disc.  Compare these pictures to the ones shown in the original post from March 2013.

The cover for a later West German pressing of Stan Getz and João Gilberto featuring Antonio Carlos Jobim Getz/Gilberto (Verve, catalog number 810 048-2).  The catalog number is printed in the top right corner.  The cover associated with the earliest West German pressings does not show the catalog number.

The back insert for a later West German pressing of Stan Getz and João Gilberto featuring Antonio Carlos Jobim Getz/Gilberto (Verve, catalog number 810 048-2).  The track times appear next to the song titles.  The back insert associated with the earliest West German pressings does not show track times.

A later West German pressing of Stan Getz and João Gilberto featuring Antonio Carlos Jobim Getz/Gilberto (Verve, catalog number 810 048-2).  This disc has the second and more common label design of black text with an aluminum background.  The matrix code on this disc is “810 048-2 07 *″.  Unlike the earliest West German pressings, this 07 pressing has the correct left-channel orientation for Astrud Gilberto’s vocals in “The Girl From Ipanema”.

When the CD format was launched in 1982, EMI Music in Japan was known as Toshiba-EMI, as in Toshiba the electronics giant.  For historical purposes, the label in Japan was founded in 1960 as Toshiba Musical Industries.  In 1973, Capitol EMI bought a 50% stake in the company, and the name was changed to Toshiba EMI Limited.  In 1982, Toshiba-EMI began releasing CDs in Japan.  These early CDs are referred to as “black triangles” by collectors by virtue of the label design.  Single-disc classical titles bearing the black-triangle design were released on the EMI label under the CC38 series.  CC38 is the catalog number prefix for these CDs, and 38 referred to the retail price of ¥3800 (yen).  Similarly, pop, rock, and jazz single-disc black-triangles were released by EMI in 1982 in the CP35 series, where 35 indicated the retail price of ¥3500.

Catalog numbers for the initial CP35 series followed the form CP35-3XXX.  A CP35-5XXX series bearing the black-triangle design followed.  The first title in the CP35 series was Paul McCartney’s 1982 album Tug of War, which was released on the EMI/Odeon label under catalog number CP35-3001.  Most Toshiba-EMI black-triangle CDs were pressed in Japan at the Toshiba-EMI plant, but the earliest titles were pressed in Japan by CBS/Sony.  Here, we feature the early and very rare Japanese CBS/Sony pressing of Tug of War.

The CBS/Sony pressing of Tug of War shows the tell-tale signs of being an early pressing.  The disc has “MANUFACTURED BY CBS/SONY RECORDS INC.” stamped on the plastic ring at the center.  Also, the matrix code is stamped in the original CBS/Sony crude font.  The matrix code is “CP35-3001-1 1A1”.  Another indicator that this is an early pressing is the observation that this particular copy came in a smooth-edge jewel case with one long booklet retaining bar on the right side (see the picture of the album cover below).  Jewel cases of this type were manufactured for a short period at the launch of the format and are rare.  This jewel case has “Patent pending” embossed on the back.

Although Tug of War was first pressed by CBS/Sony, Toshiba-EMI plant pressings followed and are more common.  Shown below are the inserts and a spine label assocated with the CBS/Sony pressing of Tug of War, along with the black-triangle CD.

The cover for the Japanese black-triangle CD of Paul McCartney Tug of War (EMI/Odeon, catalog number CP35-3001).  Note that the catalog number is printed in the top right corner.  The booklet is shown in the original jewel case.  The single long booklet retaining bar to the right represents a rare, early jewel case design that was quickly replaced with the more conventional two shorter retaining bars.

The back insert for the Japanese black-triangle CD of Paul McCartney Tug of War (EMI/Odeon, catalog number CP35-3001).  Back inserts for Toshiba-EMI black-triangle CDs were typically printed with much of the text in Japanese.  Note that the retail price is shown as ¥3,500 in the bottom left corner.

A spine label for the Japanese black-triangle CD of Paul McCartney Tug of War (EMI/Odeon, catalog number CP35-3001).  The other spine label is printed in Japanese.

The Japanese CBS/Sony pressing of Paul McCartney Tug of War bearing the black-triangle label design (EMI/Odeon, catalog number CP35-3001).  “MANUFACTURED BY CBS/SONY RECORDS INC.” is stamped on the plastic ring at the center.  The matrix code is “CP35-3001-1 1A1” and is stamped in the early CBS/Sony crude font.

In the 1970s, Styx, hailing from Chicago, transformed from one of many prog rockers of the era to the archetypal arena rock group.  This transformation began with their highly successful 1977 effort The Grand Illusion, featuring the hit title track and radio staples “Fooling Yourself (Angry Young Man)” and “Come Sail Away”.  It continued with 1978’s Pieces of Eight, which offered “Blue Collar Man”, and 1979’s Cornerstone, which produced the landmark ballad “Babe”.  Styx’s position as a leading commercial act arguably reached its peak with 1981’s concept album, Paradise Theater.  The album is a fictitious account of the 1928 opening of the Paradise Theater in Chicago, which is met with great optimism, and then its eventual decline and closure and is considered a commentary on the changing view of the United States as a whole over the period.

Released on A&M Records, the line-up on Paradise Theater is as follows: Dennis DeYoung, keyboards and vocals; Tommy Shaw, guitar and vocals; James Young, guitar and vocals; Chuck Panozzo, bass; John Panozzo, drums and percussion.  Songs were written by DeYoung, Shaw, and/or Young.  Paradise Theater is a good mix of ballads (DeYoung’s “The Best of Times”) and driving rock (the trio’s “Rockin’ the Paradise”).  Additionally, the album offers one of Styx’s biggest hits in Shaw’s “Too Much Time on My Hands”.  In 1981, Paradise Theater reached #1 on the U.S. Billboard albums chart.

Given the aforementioned success, it should be no surprise that Paradise Theater saw early releases on CD in Japan, the U.S., and Europe.  We will consider the U.S. release here, though other early CDs of Paradise Theater may be posted at another time (hint, hint).  The U.S. CD is commonly found bearing catalog number CD-3240.  There are in fact Japanese pressings (Denon) bearing this catalog number, which would indicate an early U.S. release.  What many collectors and Styx fans may not realize, however, is that CD-3240 does not represent the first U.S. release of Paradise Theater on CD.

The original U.S. CD issue of Paradise Theater was released under catalog number CD-3719.  This issue exists as Japanese Matsushita and Denon plant pressings, and these discs are very rare.  Thus, the CD-3719 release was replaced quickly by the CD-3240 release.  As stated above, the CD-3240 issue first appeared as Japanese Denon pressings, but this version is still in print as a U.S. pressing.

For the CD-3719 issue, we focus on the Japanese Matsushita plant pressing.  As an early Matsushita pressing (circa 1984), this disc has the text “MADE BY MATSUSHITA ELECTRIC IND.CO.,LTD.” and the Technics audio logo stamped on the plastic ring (Matsushita was the parent company that owned Technics).  The CD has matrix code “3719 2” stamped in a crude font, also indicative of an early Matsushita pressing.  The inserts with this CD were printed in Japan, and the back insert has no barcode.

Shown below is the cover, back insert, and a spine label for the CD-3719 release of Paradise Theater, along with the Japanese Matsushita pressing.

soma online overnight Note: When inspecting the CD-3719 disc and inserts, both the British and American spellings of “theater” are noted (i.e., theater vs. theatre).  For example, theat http___www.bigleaguekickball.com_category_press_ soma cheap no prescription re is shown on the album’s cover featuring the 1928 “Gala Premiere”.  However, theat BUY Soma FROM A USA PHARMACY WITHOUT A PRESCRIPTION ~ LOW PRICE Soma WITHOUT PRESCRIPTION er is shown on the back cover of the CD booklet and back insert, which feature the modern-day dilipidated building.

The cover for the original Japan-for-U.S. CD of Styx Paradise Theater (A&M, catalog number CD-3719).  This is the standard cover artwork for this album.

The back insert for the original Japan-for-U.S. CD of Styx Paradise Theater (A&M, catalog number CD-3719).  Note that there is no barcode.  As indicated along the bottom, this insert was printed in Japan.

A spine label for the original Japan-for-U.S. CD of Styx Paradise Theater (A&M, catalog number CD-3719).  Catalog number CD-3719 pertains to the rare first U.S. issue that was quickly replaced by a CD bearing catalog number CD-3240, which is still in use today.

The original Japanese Matsushita pressing of Styx Paradise Theater (A&M, catalog number CD-3719).  “MADE BY MATSUSHITA ELECTRIC IND.CO.,LTD.” and the Technics audio logo are stamped on the plastic ring.  The matrix code is “3719 2”.  Note that “Made in Japan” is printed beneath the CD format logo at 8 o’clock.

Back in 2007, a rare West German pressing of Rush’s 1981 landmark album Moving Pictures was featured on keithhirsch.com.  This disc bears Mercury Records’ first CD label design, referred to as the “Green Arrow”.  More on this CD can be found here.  Now we consider another early Rush CD.  In September 1982, the Canadian trio of Geddy Lee, Alex Lifeson, and Neil Peart released their follow-up to Moving Pictures (well, a live album came in between).  Signals demonstrated Rush’s adaptability, as synthesizers complimented their familiar guitar-heavy rock and told their fans that they were embracing the 1980’s.  Signals was heavy, mind you, but with a very different sound than what fans were used to from the group.  With the change in sound, Rush still was able to turn out hits, as Signals offered the popular “Subdivisions”, “The Analog Kid”, and “New World Man”.

Mercury Records released Signals on CD in 1982 under catalog number 810 002-2.  The first copies were pressed in West Germany by Polygram and bear the same green-arrow label design referenced above for Moving Pictures.  While the Green-Arrow pressing of Moving Pictures is rare, Signals is even rarer.  The matrix code on the Signals CD is “810002 2 01”.  The format of this matrix code is indicative of the earliest Polygram CDs produced.  This is due to the lack of a space and hyphen separating groups of characters.  A later and more common West German pressing of Signals, for example, bears matrix code “810 002-2 02”.

The Signals CD featured here is rare by virtue of the green-arrow design.  Mercury switched quickly to the more familiar “atomic” design, which bears red and silver lines on the disc and the atomic symbol at the center (this design is shown in the aforementioned Moving Pictures entry).  The earliest Atomic copies of Signals, which were also pressed in West Germany, bear the same matrix code as the Green-Arrow pressing (“810002 2 01”), meaning that the same glass master was used.  Although this Atomic pressing was made from the original glass master, it is far more common than the Green-Arrow version of Signals.  Later West German Atomic pressings of Signals were made from different glass masters that show the matrix code with a space and hyphen as mentioned in the preceding paragraph.  (It should be noted that early U.S. pressings are also found with the atomic design.)

The inserts with the Green-Arrow pressing of Signals were printed in West Germany.  Unfortunately, the inserts cannot be used to spot this rare CD, as more common West German Atomic pressings were issued with the same inserts.  Shown below are the inserts issued with West German pressings of Signals, along with the rare Green-Arrow CD.

The cover for West German pressings of Rush Signals (Mercury, catalog number 810 002-2).  This is the standard cover artwork for this album.

The back insert for West German pressings of Rush Signals (Mercury, catalog number 810 002-2).  Note that it states “Printed in West Germany” along the bottom.  A barcode appears in the top right corner.  This back insert is found with the West German Green-Arrow CD and later West German Atomic pressings.

The rare West German Green-Arrow pressing of Rush Signals (Mercury, catalog number 810 002-2).  The matrix code is “810002 2 01”.  Note that “MADE IN W-GERMANY” is printed on the CD at 7 o’clock.

Surprisingly, a Target CD hasn’t graced the top spot on “The Resource” since last April.  Here we focus on a rare Target CD that I recently obtained.

INXS, the Australian group led by singer Michael Hutchence, formed in 1977.  They released their first album in the U.S., self-titled, on the Atco label, part of Warner-Elektra-Atlantic (WEA), in 1980.  This was followed up by Underneath the Colours in 1981.  INXS’s progression as a cohesive pop/rock/alternative/new wave band was evident on their 1982 effort, Shabooh Shoobah, which includes the hit “The One Thing” as the album’s opener.  Here we will take a look at early Target CD pressings of Shabooh Shoobah.

In Europe, the INXS catalog was owned by Mercury Records, a part of Phonogram Records.  Shabooh Shoobah was originally released on CD in Europe as a West German Mercury “Atomic” (Non-Target) pressing under catalog number 812 084-2.  In the U.S., however, the INXS catalog was owned by Atco Records, part of WEA.  As such, the original U.S. CD release of Shabooh Shoobah is a West German Target pressing bearing catalog number 7 90072-2.  WEA assigned the color combination of a green target and pink paint coating to Target pressings on the Atco label.

Green and pink Target pressings of Shabooh Shoobah can be found as West German Polygram and PDO pressings.  These green/pink pressings are fairly common as far as Target CDs go.  However, there is a very rare West German Target of Shabooh Shoobah for collectors to consider.  This rarity, produced by the Polygram plant, has a red target and green paint coating.  This is the color combination normally found on Target pressings on the Atlantic label.  The red/green pressing of Shabooh Shoobah could have been a test pressing or simply a manufacturing error.

The matrix code on the red/green Target pressing of Shabooh Shoobah is “7567 90072-2 2895 021 01”.  This same matrix code can be found on the standard green/pink Target pressings.  Shown below is the cover and back insert for Target pressings of Shabooh Shoobah, as well as the common green/pink and rare red/green Target pressings.

The cover for West German Target pressings of INXS Shabooh Shoobah (Atco, catalog number 7 90072-2).  This is the standard cover artwork for this album.

The back insert for West German Target CDs of INXS Shabooh Shoobah pressed by Polygram (Atco, catalog number 7 90072-2).  Note that it states “Printed in West Germany” along the bottom.

The common West German Target pressing of INXS Shabooh Shoobah (Atco, catalog number 7 90072-2).  The disc bears the green target and pink paint coating typical of Target pressings on the Atco label.  Note that the disc states “MADE IN WEST GERMANY BY POLYGRAM” along the perimeter.  The matrix code is “7567 90072-2 2895 021 01”.

The rare West German Target pressing of INXS Shabooh Shoobah (Atco, catalog number 7 90072-2).  The disc bears the red target and green paint coating typical of Target pressings on the Atlantic label.  This pressing of Shabooh Shoobah could be a test pressing or a manufacturing error.  It has “MADE IN WEST GERMANY BY POLYGRAM” printed along the perimeter.  The matrix code is “7567 90072-2 2895 021 01”.

The music world lost one of the uniquely talented and diverse rockers on October 27, 2013; Lou Reed passed away at the age of 71.  Reed made a name for himself initially leading The Velvet Underground in the 1960s.  In the 1970s, he broke through as a solo artist.  Reed was never afraid to address subjects in his music that previously had been considered off limits, including sex and drugs.  Furthermore, Reed’s music varied through the years such that there was no style to neatly confine him to.  As a result, Reed’s influence was felt far and wide.

Perhaps Lou Reed’s greatest accomplishment was his second solo album, the 1972 classic Transformer.  The 11-track album, produced by David Bowie and Mick Ronson and released by RCA, offers glam rock, hard rock, and a bit of punk, too.  Transformer is best known for Reed’s biggest and perhaps most controversial hit, “Walk on the Wild Side”, which mixes such themes as drugs, transexuality, and prostitution.  “Walk on the Wild Side”, Reed’s only top-20 hit, propelled Transformer to 29 on the Billboard 200 in 1972.

RCA included Transformer among its earliest titles released on CD in the U.S.  This first U.S. release of Transformer on CD was assigned catalog number PCD14807, and the earliest copies were pressed in Japan by Denon (Nippon Columbia).  Typically, the Japanese pressing of Transformer is found with inserts printed in the U.S. and with the matrix code stamped on the disc in a dot-matrix font.  Japanese Denon pressings from the 1980s are usually found with this dot-matrix font.  However, as has been pointed out for some other albums on keithhirsch.com, the earliest of the Denon pressings of Transformer features the matrix code stamped in a crude font on the clear plastic ring.  This early pressing of Transformer is featured here.

The matrix code for the early Japanese Denon pressing of Transformer is “PCD14807 A-13”.  As is often the case with these very early Denon pressings, Transformer is found with inserts that were printed in Japan, not the U.S.  This pressing is rather rare, as it was replaced by the more common Japanese Denon pressing having U.S. inserts and the dot-matrix matrix code font.  Shown below are the cover and back insert for the early Japanese Denon pressing of Transformer, along with the disc.

The cover for the early Japanese Denon pressing of Lou Reed Transformer (RCA, catalog number PCD14807).  This is the standard cover artwork for this album.  Note the RCA CD logo in the bottom center.  Later pressings released under this catalog number have the same cover artwork, including the RCA logo.

The back insert for the early Japanese Denon pressing of Lou Reed Transformer (RCA, catalog number PCD14807).  As noted along the bottom, this insert was printed in Japan.  The booklet was also printed in Japan.  Subsequent versions released under this catalog number have inserts that were printed in the U.S.

The early Japanese Denon pressing of Lou Reed Transformer (RCA, catalog number PCD14807).  The matrix code is “PCD14807 A-13” and is stamped in a crude font on the clear plastic ring in the center.  This matrix code style is indicative of the earliest pressing for this CD issue of Transformer.

Happy Holidays!  It’s that time of year again, so let’s get festive and consider an early holiday CD.  This year, we take a look at the 1985 Christmas compilation, A Canadian Brass Christmas.  The Canadian Brass formed in 1970 and have since become one of the most famous brass quintets.  The lineup has changed several times over the years, but the Canadian Brass have consistently offered virtuosity in their recordings and have mixed in comedy in their live performances.  It is worth noting that their recording of Fanfare “Albason” on the 1983 album High, Bright, Light and Clear — The Glory of Baroque Brass was used for many years as the theme for the CBS show Sunday Morning.

A Canadian Brass Christmas is a 17-track compilation of holiday classics.  The brass lineup on the album is as follows: Ronald Romm, trumpet; Frederic Mills, trumpet; Eugene Watts, trombone; Martin Hackleman, french horn; Charles Dallenbach, tuba.  Also performing on keyboards are Thomas Szczesniak and Luther Henderson.  A Canadian Brass Christmas was released by CBS Records in 1985 on LP, cassette, and CD.  The CD was released under CBS catalog number MK 39740.  An early pressing was made in the U.S. by Digital Audio Disc Corporation (DADC).  CBS Records opened DADC in Terre Haute, Indiana as the first CD pressing plant in the U.S. in late 1984.  While DADC ramped up production in 1985, CBS farmed out production of some titles to the Denon and JVC pressing plants in Japan starting in ’85 and lasting for a few years to meet the increasing demand for CDs in the U.S.  Here, we consider a rare Japanese JVC pressing of A Canadian Brass Christmas.

The Japanese pressing of A Canadian Brass Christmas is found with the same inserts that were issued with U.S pressings.  The disc has an “etched” ring around the mirror band characteristic of Japanese JVC pressings.  It also states “MADE IN JAPAN” along the perimeter.  The matrix code is “MK-39740-A1E11”.  Thus, the catalog number is contained within the matrix code.  The Japanese pressing is also labeled “DIDC 20167” at 3 o’clock.  This number is the unique pressing identifier used by CBS for the U.S. CD issue.  The early U.S. DADC pressing shows the DIDC number on the label side and in the matrix code.

Shown below is the cover and back insert for A Canadian Brass Christmas, as well as the Japanese JVC pressing.  This pressing is rare, but any copy of this album is worth buying for the excellent performance.

I wish you all a fun and safe holiday season!

The cover for the A Canadian Brass Christmas (CBS, catalog number MK 39740).  This is the standard cover issued with the LP, cassette, and CD.

The back insert for A Canadian Brass Christmas (CBS, catalog number MK 39740).  As is typical for U.S. CBS CDs, a barcode appears in the lower left corner.

The Japanese JVC pressing of A Canadian Brass Christmas (CBS, catalog number MK 39740).  “MADE IN JAPAN” is printed along the perimeter at 6 o’clock, and the matrix code is “MK-39740-A1E11”.  “DIDC 20167” at 3 o’clock is a unique pressing identifier assigned by CBS for the U.S. CD issue.  Early U.S. DADC pressings also bear this DIDC number.