Stan Getz has gone down as one of the great jazz tenor sax players.  His deep, lush tone is instantly recognizable.  Getz broke onto the jazz scene in the 1940s and ’50s.  In the ’50s, he released several well-known albums and recorded with such legends as Dizzy Gillespie, Oscar Peterson, Cal Tjader, and Gerry Mulligan.  He is also credited with discovering piano great Horace Silver in 1950.  Despite his productivity and accomplishments in the first two decades, Getz is best known for his work in the early 1960s, in which he was instrumental (pardon the pun) in the bossa nova movement, which swept the jazz landscape.

The pinnacle of Getz’s bossa nova efforts was the 1964 collaboration with Antonio Carlos Jobim and João Gilberto released by Verve and simply titled Getz/Gilberto.  This jazz staple is best known for its opening track, “The Girl From Ipanema”.  The song was composed by Jobim and João Gilberto and features vocals by João and his wife, Astrud.  Interestingly, Astrud Gilberto was not a professional musician at the time and was not intended to appear on the album.  She is not even credited as a performer on the original LP, yet it is her sultry vocals that made “The Girl of Ipanema” a surprise hit and launched her lengthy singing career.

It should be no surprise that Getz/Gilberto was among the first Verve jazz albums to be released on CD.  The original issue was pressed in West Germany and released under catalog number 810 048-2.  For the collector, there are a handful of West German pressings to collect that vary by disc label design, channel orientation, and inserts.

The original West German pressing of Getz/Gilberto features a black paint coating with silver text.  The channel orientation is incorrect in that Astrud Gilberto’s vocals on “The Girl From Ipanema” are in the right channel.  The original tapes have Gilberto’s vocals in the left channel.  Although various CDs have been released over the past 20 years with the incorrect right-channel orientation, subsequent West German pressings were released with the correct left-channel orientation.  These later West German pressings will be featured in a subsequent post here in a few months.

The matrix code for the original West German pressing is “810048 2 05”.  A West German pressing without the black paint coating (i.e., black text with an aluminum background) is found with this same matrix code and therefore with the same incorrect channel orientation.  The black-paint pressing featured here is the rarer of the two.  The matrix code format indicates this to be an early pressing.  Note that there are no spaces in the 810 portion of the matrix code and also there is no dash before the 2.  Later West German pressings with the correct channel orientation have a matrix code of the form “810 048-2 XX”, with the last two numbers varying.

Although the channel orientation is incorrect on the original West German pressing, the sound is still very good.  Shown below is the cover, back insert, and West German black-paint pressing associated with the original issue of Getz/Gilberto.  Details about the unique features of the inserts for this first issue are provided in the figure captions.

The cover for the original West German pressing of Stan Getz and João Gilberto featuring Antonio Carlos Jobim Getz/Gilberto (Verve, catalog number 810 048-2).  The catalog number does not appear on the cover.  The cover for some later West German pressings has the catalog number printed in the top right corner.

The back insert for the original West German pressing of Stan Getz and João Gilberto featuring Antonio Carlos Jobim Getz/Gilberto (Verve, catalog number 810 048-2).  The track times do not appear next to the song titles.  The back insert for some later West German pressings has the track times printed next to the song titles.

The original West German pressing of Stan Getz and João Gilberto featuring Antonio Carlos Jobim Getz/Gilberto (Verve, catalog number 810 048-2).  This disc is unique by virtue of the black paint coating.  Later and more common West German pressings have black text with an aluminum background.  The matrix code on this black-paint pressing is “810048 2 05”.

When the CBS/Sony family of record labels began releasing CDs across the globe in 1983, these discs were pressed in Japan.  CBS/Sony opened its own pressing plant in Tokyo named CSR Compact Disc, with CSR standing for CBS/Sony Records.  Thus, Japanese pressings began to appear on store shelves not just in Japan, but also in the U.S. and Europe.  Reference has been made here frequently to Japan-for-U.S. and Japan-for-Europe pressings.  These CDs are accompanied by custom inserts for the intended market and bear a catalog number specific to that market.  Thus, for CBS/Sony titles, there could be three distinct original Japanese pressings, one for Japan, one for the U.S., and one for Europe.  Each one has its own distinct label design, catalog number, and inserts.  An example of an album existing as three distinct original Japanese pressings is the classic 1976 pop album from Boz Scaggs, Silk Degrees.  Information on the three Japanese pressings is listed below.

• Japanese release: CBS/Sony catalog number 35DP 20.  Inserts are printed in English and Japanese.  Released with an obi strip.
• U.S. release: CBS catalog number CK 33920.  Inserts are printed in English.  Not released with an obi strip.
• European release: CBS catalog number CDCBS 81193.  Inserts are printed in English.  Not released with an obi strip.

These Japanese pressings were manufactured between 1982 and 1985.  Towards the end of 1984, CD demand in the U.S. had increased to the point that CBS/Sony could justify opening a CD manufacturing plant in the U.S.  In September of 1984, CBS Records opened the Digital Audio Disc Corporation (DADC) plant in Terre Haute, Indiana to manufacture CDs.  By 1985, U.S. DADC pressings of CBS titles began to appear in the U.S. in place of Japanese pressings.

Similarly, in 1986, the demand for CDs in Europe had increased such that CBS Records could justify a local pressing plant.  As a result, CBS Records opened a pressing plant in Salzburg, Austria in 1986, also named Digital Audio Disc Corporation.  In 1986, Austrian DADC pressings of CBS/Sony titles began to replace Japanese pressings in Europe.

The transition from Japanese to Austrian pressings in Europe was not always direct.  To meet local demand in the early days of the CD format, record labels often contracted manufacturing to different pressing plants, including at times plants that would not be expected for that label.  As an example, CBS Records in the U.S. had some CDs pressed in Japan in 1985 and ’86 by JVC and Denon.  This was done to meet demand that the new U.S. DADC plant could not handle.  CBS Records in Europe also outsourced CD manufacturing even after the Austrian DADC plant opened.

A select number of European CBS issues were pressed at the U.S. DADC plant in 1985.  These U.S.-for-Europe pressings are quite rare.  They bear resemblance to the earlier Japan-for-Europe pressings and the more common early Austrian pressings.  However, inspection of these CDs clearly reveals that they were made in the U.S.  It is presumed that pressing runs of these European issues in the U.S. were rather limited.

Shown below is the cover, back insert, spine label, and a U.S. DADC pressing for the first European issue of Boz Scaggs Silk Degrees.  Silk Degrees was very popular by virtue of the included hits “Lowdown” and “Lido Shuffle”.  This popularity could very well have played into a need for CBS in Europe to source copies of the album from the U.S.

The cover for the U.S.-for-Europe CD of Boz Scaggs Silk Degrees (CBS, catalog number CDCBS 81193).  This cover has been used since the album was originally released in 1976.

The back insert for the U.S.-for-Europe CD of Boz Scaggs Silk Degrees (CBS, catalog number CDCBS 81193).  There is no barcode.  This back insert is similar to the ones accompanying Japan-for-Europe and early Austrian pressings of Silk Degrees.  Note the statement in the bottom right corner, “Made in Japan by CBS/Sony Distribution…”, obviously a holdover from the original Japan-for-Europe pressings.

A spine label for the U.S.-for-Europe CD of Boz Scaggs Silk Degrees (CBS, catalog number CDCBS 81193).  This is the same design used for the Japan-for-Europe and early Austrian pressings.

The U.S.-for-Europe pressing of Boz Scaggs Silk Degrees (CBS, catalog number CDCBS 81193).  The label design is the same one used for Japan-for-Europe and early Austrian pressings.  This disc was pressed by the DADC plant in the U.S.  It has “Made in USA – Digital Audio Disc Corp.” stamped on the clear plastic ring at the center.  The matrix code is “DIDP 50020 41A5” and follows the form used for early U.S. DADC pressings of Silk Degrees issued in the U.S.  Finally, although difficult to read in this picture, the disc has “MANUFACTURED BY CBS/SONY INC. IN U.S.A.” printed along the perimeter.

Vince Guaraldi is considered one of the great jazz pianists. From the early 1950s until his untimely death in 1976 at the age of 47, he turned out numerous albums showcasing his unique talent across many different jazz styles. Guaraldi is best known for his scores accompanying Charles Schulz’s animated Peanuts specials, but he first gained widespread acclaim with his 1962 album entitled Jazz Impressions of Black Orpheus. The album was released by the Fantasy label under the Vince Guaraldi Trio, as Guaraldi was joined by Monte Budwig on bass and Colin Bailey on drums. The album derives its title from its first half, which are Guaraldi’s versions of songs from the 1959 Brazillian film Black Orpheus (original soundtrack by Antônio Carlos Jobim and Luis Bonfá). Although the album drew inspiration from a well-known film of the era, it is an original Guaraldi composition on its second half that put the spotlight on him. Track 5 is Guaraldi’s “Cast Your Fate To The Wind”, a hopeful, moving piece that became an unexpected hit. In fact, Fantasy quickly reissued the LP with a banner on the cover to advertise the hit. As a result of this banner, the album has often been mistakenly referred to as “Cast Your Fate To The Wind” over the years.

Fantasy first released Jazz Impressions of Black Orpheus on CD as a U.S. release in the mid-1980s under catalog number FCD-607-8089. This release exists as two Japanese pressings — a CBS/Sony pressing and a CTA pressing. Both are very rare. Featured here is the CTA disc, though the two pressings are very similar in appearance and share the same inserts.

To be clear, the CD featured here is not the U.S. issue released by Fantasy under the Original Jazz Classics banner (OJC; catalog number OJCCD-437-2). The U.S. OJC CD was released in 1991 with a new mastering and only exists as U.S. pressings. This OJC release is very common.

George Horn is credited with mastering the first CD issue of Jazz Impressions of Black Orpheus. The two Japanese pressings and the accompanying inserts bear “DIDX-116” as a project number, and the CBS/Sony pressing contains DIDX-116 in the matrix code. The CTA pressing shows DIDX-116 on the label side of the disc, but the matrix information is “FCD 607-8089 X-39 1A1 CTA CO.LTD.JAPAN”.

Given its popularity, Jazz Impressions of Black Orpheus has been reissued several times on CD, including an audiophile gold CD issued in the 1990s and a hybrid Super Audio CD (containing CD and SACD layers) in 2002. For the collector, the original Japanese pressings of the first U.S. issue are the rarest versions. Shown below is the cover, back insert, and spine label for this first release, as well as the Japanese CTA pressing.

The cover for the Japan-for-U.S. CD of Vince Guaraldi Trio Jazz Impressions of Black Orpheus (Fantasy, catalog number FCD-607-8089). This is a reproduction of the LP cover modified by Fantasy in 1962 to feature the hit “Cast Your Fate To The Wind”.

The back insert for the Japan-for-U.S. CD of Vince Guaraldi Trio Jazz Impressions of Black Orpheus (Fantasy, catalog number FCD-607-8089). George Horn is credited as the mastering engineer on the left side. Note “DIDX-116” in small print beneath the Fantasy, Inc. address.

A spine label for the Japan-for-U.S. CD of Vince Guaraldi Trio Jazz Impressions of Black Orpheus (Fantasy, catalog number FCD-607-8089). Note that the album title is shown as “Cast Your Fate To The Wind”.

The Japanese CTA pressing of Vince Guaraldi Trio Jazz Impressions of Black Orpheus (Fantasy, catalog number FCD-607-8089). The disc has “DIDX-116” printed beneath the catalog number at 3 o’clock. Although the disc does not state that it was made in Japan within the label text, it is revealed in the mirror band. The matrix information is “FCD 607-8089 X-39 1A1 CTA CO.LTD.JAPAN”.

As we close the book on 2012 and stare at a blank slate for 2013, it’s O.K. to accept that not all things must change.  Here at keithhirsch.com, we will continue to focus on early CDs.  Sure, we’ve been doing that since 2007, but there are still a lot of interesting discs that have not gotten their due here.  Enter a 1982 CD sampler from the British classical music label Chandos entitlted The Special Sound of Chandos.  Like most other labels, Chandos prepared this sampler to promote their musicians and excellent sound on the new digital music format.  The Special Sound of Chandos contains 10 selections from legendary composers such as Tchaikovsky, Strauss, and Stravinsky, performed by well-known British orchestras.

The Special Sound of Chandos was pressed in West Germany by the Polygram plant and was released under catalog number 000 8301.  Both the disc and accompanying inserts are dated 1982.  The back insert does not have a barcode.  While this sampler has the appearance of a promotional issue, there are no promotional statements on the disc or inserts.  Thus, this sampler may have been sold at retail.  Given that the catalog number ends in 83 order Soma WITHOUT SCRIPT 01, this may have been the first title produced on CD by Chandos.  As it is dated 1982, it certainly is among the earliest Chandos CDs.

Another indicator that this is an early CD is the label design.  As with many other labels, Chandos used a solid paint coating for its earliest CDs pressed in West Germany.  The Special Sound of Chandos has a bronze paint coating with black text.  Later West German pressings on the Chandos label have black text with a red ring and red Chandos logo and no paint coating.  The bronze-painted Chandos CDs are sought after by many collectors of early pressings.

The Special Sound of Chandos is yet another early CD sampler that appears to be quite rare.  Shown below is the cover, back insert, and spine label for The Special Sound of Chandos, along with the CD.

The cover for the CD sampler The Special Sound of Chandos (Chandos, catalog number 000 8301).

The back insert for the CD sampler The Special Sound of Chandos (Chandos, catalog number 000 8301).  There is no barcode.  The back insert is dated 1982 along the bottom.  Note also that the insert was printed in West Germany.

A spine label for the CD sampler The Special Sound of Chandos (Chandos, catalog number 000 8301).

The CD sampler The Special Sound of Chandos (Chandos, catalog number 000 8301).  Note that the disc states “MADE IN WEST GERMANY” beneath the CD format logo at 12 o’clock.  The bronze paint coating only appears on the earliest Chandos titles pressed in West Germany.  The matrix code is “CHAN 8301 2893005 01”.

Happy Holidays!  Stores and retail web sites are in full holiday mode, so why not get things into gear on keithhirsch.com?  It’s time once again to feature an early pressing of a Christmas CD, a holiday tradition here since 2007.  This year we consider a rare Japan-for-U.S. pressing of Barbra Streisand’s 1967 holiday offering, A Christmas Album.  This album consists of 11 Christmas classics, including “Jingle Bells”, “Have Yourself a Merry Little Christmas”, and “White Christmas”.  A Christmas Album was originally released on CD in the U.S. on the Columbia label under catalog number CK 9557.  It first appeared on store shelves in the U.S. in 1984 as a Japanese CBS/Sony pressing.  U.S. pressings followed bearing the same catalog number.

The Japanese pressing is pretty typical of a disc made at the CBS/Sony plant in 1984.  It has “CSR COMPACT DISC” repeating in the plastic ring, and the matrix code is “DIDP-20108 11A3 +++++”.  Later U.S. pressings are found with a back insert having “Now Made In The U.S.A.” stamped in the white space next to the barcode.  As expected, the back insert accompanying the Japanese pressing lacks this manufacturing pronouncement.

Shown below is the cover, back insert, and Japanese CBS/Sony pressing of A Christmas Album.  Any pressing of this classic compilation is a must-have for the holiday season, but the Japanese pressing is quite rare and worth searching for if you are a collector.

Here’s hoping you have a safe, relaxing, and enjoyable holiday season.

The cover for the Japan-for-U.S. pressing of Barbra Streisand A Christmas Album (Columbia, catalog number CK 9557).  Later U.S. pressings are found with the same cover.

The back insert for the Japan-for-U.S. pressing of Barbra Streisand A Christmas Album (Columbia, catalog number CK 9557).  Note the text along the bottom stating “Disc manufactured in Japan by CBS/Sony, Tokyo, Japan”.  Also note the blank white space next to the barcode.  Later U.S. pressings have the “Disc manufactured in Japan…” statement along the bottom but also have “Now Made In The U.S.A.” added in the white space next to the barcode to signify the switch in manufacturing from Japan to the U.S.

The Japan-for-U.S. pressing of Barbra Streisand A Christmas Album (Columbia, catalog number CK 9557).  Although difficult to see in this picture, the disc has “MANUFACTURED IN JAPAN” printed along the perimeter near 6 o’clock.  The disc has “CSR COMPACT DISC” repeating in the plastic ring at the center, and the matrix code is “DIDP-20108 11A3 +++++”.

A popular subset of early CD pressings among collectors are those released by EMI primarily in the U.S. and Europe bearing a colored paint coating on the label side.  These CDs were pressed in Japan or West Germany.  Common colors for these discs are red and black (one color to a CD, not combinations).  An example of a disc with the red paint coating is the Japanese pressing of Queen Greatest Hits (EMI, catalog number CDP 7 46033 2).  A very popular disc with the black paint coating is the Japanese pressing of Pink Floyd The Dark Side of the Moon (Harvest/EMI, catalog number CDP 7 46001 2).  Although red and black were typical, a handful of early EMI discs were produced with unique color coatings.  One such CD is the original West German pressing of Iron Maiden Powerslave released on the EMI label under catalog number CDP 7 46045 2.  Let’s explore this album and CD a little further.

Powerslave is arguably Iron Maiden’s best and most successful album.  It contains such classics as “Aces High”, “2 Minutes to Midnight”, and the excellent adaptation of Samuel Taylor Coleridge’s “Rime of the Ancient Mariner”.  The release of Powerslave in September of 1984 coincided with market penetration of the CD beginning to expand across the globe.  As such, EMI wasted little time releasing the popular album on CD in various markets.  As alluded to above, the original U.S. and European release was a West German pressing.  To fit the album artwork’s pseudo-Egyptian motif, EMI assigned a bronze paint coating to this West German pressing.*  No other EMI title was issued with the bronze coating.

The bronze-painted Powerslave CD was pressed by Polygram.  As such, there is no clear plastic ring at the center.  The matrix code for this pressing is “746 045-2 2893 919 02 #”.  As an early release, the back insert does not have a barcode.  This original West German pressing is quite rare and very popular with collectors, as it typically draws many bids in online auctions.  Shown below are pictures of the Powerslave cover, back insert, spine label, and CD associated with this early release.

* A later and far more common West German pressing also exists under catalog number CDP 7 46045 2.  This CD was pressed by the Sonopress plant, has no color paint coating (i.e., black text with an aluminum background), and has a clear plastic ring at the center.

The cover for the original West German pressing of Iron Maiden Powerslave (EMI, catalog number CDP 7 46045 2).

The back insert for the original West German pressing of Iron Maiden Powerslave (EMI, catalog number CDP 7 46045 2).  Note that there is no barcode.  Although difficult to read, “Made in West Germany” is printed in white in the lower right corner.

A spine label for the original West German pressing of Iron Maiden Powerslave (EMI, catalog number CDP 7 46045 2).

The original West German pressing of Iron Maiden Powerslave (EMI, catalog number CDP 7 46045 2).  The disc was pressed by Polygram, and the matrix code is “746 045-2 2893 919 02 #”.  Note that the disc has “Made in West Germany” printed at 9 o’clock.  This is the only early CD released by EMI with the bronze paint coating.

It’s been 30 years.  On October 1, 1982, the Compact Disc, or simply the CD, was commercialized in Japan by Sony.  The CD was several years in the making, with Philips and Sony developing their own digital music disc technology starting in the 1970s.  They finally settled on the Redbook CD Standard, which set the specifications for the CD we have come to know.  Key specs. are an approximately 5″ diameter and encoding in 16-bit/44.1 kHz resolution.

30 years ago today, Sony commercialized a collection of rock, pop, jazz, and classical music titles.  A key series of CDs released that day was the 35DP series of rock, pop, and jazz titles.  The “35” represents the retail price of ¥3,500.  The “D” stands for digital.  The “P” stands for popular, as in popular music.  The first title in the 35DP series, appropriately assigned catalog number 35DP 1, was Billy Joel’s 1978 blockbuster, 52nd Street.

There is something special about the original CDs that Sony released in Japan 30 years ago.  As expected, aluminum was used as the reflective material for the earliest pressings.  However, the label side has a gold tone.  The play side is the standard silver color of aluminum.  Sony presumably added a dye to produce the gold color on the label side.  These first CDs with the gold tone are quite rare and highly sought after by collectors.  They were quickly replaced by CDs with the standard silver tone on the label side.  The gold-tone pressing 52nd Street is shown below.

So, Happy Birthday to the CD.  Although downloads are replacing CDs as the preferred digital format for many listeners, CD technology continues to evolve on the mastering side and the playback side.  30 years later, music lovers and audiophiles continue to be treated to many quality CD releases.  Here’s hoping CD aficionados are treated to many more for years to come.

The first Japanese CD issue of Billy Joel 52nd Street (CBS/Sony, catalog number 35DP 1).  This particular CD is a rare original pressing from 1982 with a gold tone on the label side of the disc.  The disc has “MANUFACTURED BY CBS/SONY RECORDS INC.” stamped on the plastic ring.  The matrix code is “35DP-1-2 1A2” and is stamped in the original CBS/Sony plant crude font.  Later pressings of 52nd Street under catalog number 35DP 1 have the conventional silver tone on the label side.

One of the ubiquitous Japanese CD pressing plants on the scene in the early days of the format was Denon, aka Nippon Columbia.  In addition to pressing CDs for their own jazz and classical music labels, Denon was contracted to produce 5″ digital discs for numerous other labels, including MCA, RCA, and A&M.  Of interest to the collector is a change in Denon’s matrix code format early on that led to pressing variations for selected titles.  These variations are the focus of this post.

Most Japanese Denon pressings are found with a matrix code font that resembles that of a dot-matrix printer (Remember those?).  In fact, the majority of titles pressed by Denon are only found with this matrix code font.  Let’s call the dot-matrix pressing “Standard”.  However, titles pressed in 1982 and ’83 can be found with the matrix code pressed crudely into the plastic ring at the center of the disc.  Let’s call this pressing type “Early”.  Of course, by denoting a pressing “Early”, we are using it relative to the Standard Denon pressing.  In terms of the CD era, the Standard pressings are still early.  It’s all relative.  Confused yet?  Hopefully not.

Many titles found as Early Denon pressings also exist as Standard pressings.  That is, some titles were pressed in Japan by Denon long enough to go through the matrix code format change.  These variations can be found for a handful of A&M titles released in the U.S.  One such example is Cat Stevens’ 1970 classic, Tea for the Tillerman.  Tea for the Tillerman was released on CD in the U.S. by A&M under catalog number CD-4280.

The first version of Tea for the Tillerman to hit store shelves in the U.S. was the Early Japanese Denon pressing.  Thus, the matrix code is stamped in a crude font onto the center plastic ring.  Further evidence that this is a particularly early issue is that the inserts were printed in Japan and not the U.S. (even though many record labels had CDs pressed in Japan for the U.S. market early on, it is common to find the inserts printed in the U.S.).  Additionally, the back insert with this Early Denon pressing has no barcode.  This is a very rare version of Tea for the Tillerman.

The second and much more common version of Tea for the Tillerman is the Standard Japanese Denon pressing.  This CD has the matrix code stamped on the aluminum mirror band bordering the plastic ring in the dot-matrix font.  The inserts with this pressing were printed in the U.S., and there is a barcode on the back insert.

As stated above, these Denon pressing variations exist for other titles released in the U.S. by A&M.  Examples are Squeeze Singles — 45’s and Under and The Police Zenyatta Mondatta.  In my experience, the Standard Denon pressing is always the easier one to find.  It would seem that the Early pressings were issued in limited numbers, meaning that the switch to the Standard pressings occurred soon after these titles hit the market.  If you find a Standard Denon pressing, you still have found an uncommon disc.  However, an Early Denon pressing is a proverbial needle in a haystack.

Shown below are the Early and Standard Japanese Denon pressings of Tea for the Tillerman, along with the accompanying back inserts.

The “Early” Japanese Denon plant pressing of Cat Stevens Tea for the Tillerman (A&M, catalog number CD-4280).   Note the Denon manufacturing credit at 6 o’clock.   Looking closely at the disc, the matrix code is stamped on the outer edge of the plastic ring at the center.  The matrix code is “CD 4280 A-22”.  The “CD 4280” and “A-22” portions of the matrix code are separated by 180 degrees.  This disc is very rare.

The “Standard” Japanese Denon plant pressing of Cat Stevens Tea for the Tillerman (A&M, catalog number CD-4280).  The matrix code is stamped on the aluminum mirror band bordering the plastic ring in a dot-matrix font.  The matrix code is “CD-4280 2A1 59”.  The “CD-4280” and “2A1 59” portions of the matrix code are separated by 180 degrees.  Other than the matrix code, this disc is identical in appearance to the Early pressing above.

The back insert for the Early Japanese Denon plant pressing of Cat Stevens Tea for the Tillerman (A&M, catalog number CD-4280).  As noted along the bottom edge, this insert was printed in Japan.  There is no barcode.

The back insert for the Standard Japanese Denon plant pressing of Cat Stevens Tea for the Tillerman (A&M, catalog number CD-4280).  As noted along the bottom edge, this insert was printed in the U.S.  A barcode appears on the right side.