Over the years, we’ve discussed three primary markets for early Japanese CD pressings: Japan-for-Japan, Japan-for-U.S., and Japan-for-Europe. While these markets represent the majority of discs pressed in Japan, smaller markets at times sourced discs from Japan (or West Germany) to serve local demand before domestic plants opened. One such smaller market is Korea. Although rare overall, early Korean CD releases were generally pressed in Japan or West Germany. Let’s look at a Japan-for-Korea CD.

In the late ’80s, CBS Records began issuing classical titles in Korea. The first copies to hit the shelves were dedicated Korean releases with the discs pressed in Japan. Interestingly, these CBS titles were not pressed by CBS/Sony. Instead, they were pressed in Japan by JVC. We’ve discussed in other posts that CBS farmed out production of their titles to JVC and Denon in Japan in the late ’80s to meet demand.

So what we have is a Japanese JVC pressing of a CBS classical title for the Korean market. One such title is Ludwig van Beethoven’s Violin Concerto performed by Issac Stern with the New York Philharmonic. This CD was released on the CBS Maestro label under Korean catalog number DCK 8012. Also shown as a parenthetical is the original U.S. and European catalog number, MYK 42613.

The inserts for Violin Concerto bear a copyright date of 1987. The disc is a Japanese JVC pressing of the ’87 time frame. By 1987, JVC produced CDs with a “frosted” plastic ring at the center instead of clear. Also, the mirror band of JVC discs from the late ’80s have a large font, much easier to read than the original JVC small matrix characters. Additionally, JVC pressings of the late ’80s have a series of characters that some collectors refer to as “Tetris blocks”. The JVC pressing of Violin Concerto has these features for the plastic ring and the mirror band.

The particular copy of Violin Concerto featured here was recently purchased used in the United States. The back of the jewel case has a sticker that reads, “Imported & Distributed by Seoul Records, Inc.” Thus, it seems that this copy is a Japanese pressing for the Korean market that was then imported for sale in the U.S.

The Violin Concerto CD has a label design reminiscent of early Japan-for-Europe CBS titles. However, while those Japan-for-Europe pressings have black printing with no paint coating, these Japan-for-Korean discs are more striking with red printing (see photo below).

Shown below are the inserts for Violin Concerto, the Seoul Records, Inc. import sticker, and the Japanese JVC pressing. These early Japan-for-Korea discs likely are not too rare in Korea, but they appear to be quite uncommon in the U.S.

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The cover for the Japan-for-Korea pressing of Ludwig van Beethoven (Isaac Stern, Violin; New York Philharmonic; Daniel Barenboim, Conductor) Violin Concerto (CBS Maestro, catalog number DCK 8012).

The back insert for the Japan-for-Korea pressing of Ludwig van Beethoven (Isaac Stern, Violin; New York Philharmonic; Daniel Barenboim, Conductor) Violin Concerto (CBS Maestro, catalog number DCK 8012). The Korean catalog number, DCK 8012, is printed in the top left corner under the CD format logo. The original U.S./European catalog number, MYK 42613, is printed at the top. A barcode is printed on the left. As noted along the bottom, the phonogram (recording) date is 1976, and the copyright date for this CD issue is 1987.

A Seoul Records, Inc. import sticker on the back of the original jewel case for the Japan-for-Korea pressing of Ludwig van Beethoven (Isaac Stern, Violin; New York Philharmonic; Daniel Barenboim, Conductor) Violin Concerto (CBS Maestro, catalog number DCK 8012). This sticker was added for resale of this CD in external markets (e.g., U.S.).

The Japanese JVC pressing of Ludwig van Beethoven (Isaac Stern, Violin; New York Philharmonic; Daniel Barenboim, Conductor) Violin Concerto (CBS Maestro, catalog number DCK 8012). The matrix code is “DCK-8012-A1F11”. Note the text “Manufactured by Victor Company of Japan” at 6 o’clock.

No, not that Oasis. Here we consider a relatively obscure pop/rock band from the 1980s of the same name. In fact, they released just one album. The group formed in 1984 with the lineup of Mary Hopkin, Peter Skellern, Julian Lloyd Webber, Mitch Dalton, and Bill Lovelady. Their self-titled album, released in 1984, was released by WEA.

Oasis consists of 10 tracks. When located, the album is typically found on vinyl. However, there are a few rare CD pressings out there, most notably an original West German Target pressing. This disc was released in Europe in 1984 under WEA catalog number 240 372-2.

As is typical of a European WEA Target CD, Oasis has a purple target design with a light green coating and silver text over the green coating. The disc was pressed in West Germany by PolyGram, and as such, lacks a clear plastic ring at the center. The matrix code is “240372-2 2893 699 01 #”. The back insert for this release has no barcode.

Shown below is artwork for the original West German release of Oasis, along with the rare Target CD.

The cover for the original issue of Oasis Oasis (WEA, catalog number 240 372-2). This is the typical cover artwork for this album.

The back cover of the booklet from the original issue of Oasis Oasis showing the band lineup (WEA, catalog number 240 372-2). Note the catalog number printed in the bottom right corner.

The back insert for the original issue of Oasis Oasis (WEA, catalog number 240 372-2). There is no barcode. As noted along the bottom, this insert was printed in West Germany.

The West German Target pressing of Oasis Oasis (WEA, catalog number 240 372-2). Note the text “MADE IN WEST GERMANY BY POLYGRAM” along the perimeter. The matrix code is “240372-2 2893 699 01 #”.

2020 has been a strange year, to say the least, but we still have the holiday season to end the year and take us into a hopefully more normal 2021. This holiday season, we consider a rather obscure holiday album. It is the 1975 synthesizer compilation by Joseph Byrd titled, A Christmas Yet To Come.

For those unfamiliar with Byrd, allmusic.com says the following (https://www.allmusic.com/artist/joseph-byrd-mn0000266123/biography):

“Joseph Byrd studied ethnomusicology and composition before becoming a member of the New Music Workshop in Los Angeles, California. In 1967 he sought to blend the avant garde with rock by forming United States Of America. He also wrote the arrangement for the title track on Phil Ochs’ Pleasures Of The Harbour. His band broke up in 1968, after which Byrd formed Joe Byrd And The Field Hippies. Their debut set, The American Metaphysical Circus, took its title from a track by the United States Of America. Byrd took some time out for studying before re-emerging with Yankee Transcendoodle, a quirky set revolving around its creator’s dexterity on the synthesizer. Xmas Yet To Come followed a similar pattern, but neither release boasted much imaginative depth.”

Although not so flattering towards the featured album, A Christmas Yet To Come, 14 tracks in all, offers a relaxing listen to familiar holiday songs such as “Deck the Halls” and “Jingle Bells”.

A Christmas Yet To Come was first released on CD in 1986 on the Takoma Records label and distributed by Allegiance Records under catalog number CDP 72746. The disc was pressed in Japan by Daio Kosan. The matrix code is simply “577”, which is typical of a Daio Kosan pressing. The disc has a rather plain label design with black text and no paint coating.

The inserts with A Christmas Yet To Come were printed in the U.S. and show the original copyright date of 1975 and the phonogram date for the CD release of 1986. The back insert has a barcode.

Shown below is the cover and back insert for A Christmas Yet To Come, along with the Japanese pressing. If you are looking for something different for a holiday listen, A Christmas Yet To Come is definitely worth tracking down.

Have a safe holiday season!

The cover for the Japanese pressing of Joseph Byrd A Christmas Yet To Come (Takoma Records, catalog number CDP 72746). The Takoma logo is printed in the bottom right corner. This is the standard cover artwork for this album.

The back insert for the Japanese pressing of Joseph Byrd A Christmas Yet To Come (Takoma Records, catalog number CDP 72746). This insert was printed in the U.S., and there is a barcode. Note the original copyright date for the album of 1975 and the phonogram date for the CD of 1986 printed in the bottom left corner.

The Japanese pressing of Joseph Byrd A Christmas Yet To Come (Takoma Records, catalog number CDP 72746). “Made in Japan” is printed along the perimeter at 4 o’clock. The disc was pressed by Daio Kosan, and the matrix code is “577”.

From 1968 to 1972, Creedence Clearwater Revival, the quartet formed by John Fogerty, Tom Fogerty, Doug Clifford, and Stu Cook, delivered seven original albums packed with hit singles. CCR combined driving, energetic, jamming rock with a southern, down-home charm (with some social messages mixed in). Led by John Fogerty’s songwriting and hard vocals, CCR were unique and very well appreciated, as evidenced by their albums going certified gold and eventually multi-platinum.

In 1970, Creedence arguably hit their peak with their fifth album, Cosmo’s Factory.  The 11-track effort includes their famous cover of “I Heard it Through the Grapevine” and the original hits, “Travelin’ Band”, “Lookin’ Out My Back Door”, “Run Through the Jungle”, “Who’ll Stop the Rain”. Given its popularity, CCR albums, including Cosmo’s Factory, have been issued and reissued on CD by Fantasy Records many times over. Let’s look at the original Japanese CD release of Cosmo’s Factory.

In 1986, Fantasy Records released the Creedence catalog on CD in Japan in conjunction with Victor Musical Industries (or simply, Victor). These titles have a VDP catalog number prefix, typical of Victor rock and pop CDs released at the time. Cosmo’s Factory bears catalog number VDP-5039. These CDs originally retailed for ¥3,000 (Japanese yen), in the common price range for Japanese CDs by 1986.

As a Japanese release, the Cosmo’s Factory CD was originally released with an advertising obi strip with most text in Japanese. For the Creedence VDP CDs, the obi strip was glued to the jewel case, which for the collector, made it less likely that the obi strip would be lost. These Creedence discs were pressed by Victor (often referred to as JVC). For Cosmo’s Factory, the matrix code is “VDP – 5039 – U1E12”.

Cosmo’s Factory has a patterned black paint coating typical of Victor CDs released between 1984 and 1986. The disc is dated 1986.

Shown below is the cover and back insert for the original Japanese issue of Cosmo’s Factory, also showing the front and back of the obi strip. The final photo below shows the Japanese CD.

The cover for the original Japanese issue of Creedence Clearwater Revival Cosmo’s Factory (Fantasy, catalog number VDP-5039). The CD booklet is shown in the original jewel case with the adhered obi strip. Thus, the front of the obi strip appears as the blue strip on the left.

The back insert for the original Japanese issue of Creedence Clearwater Revival Cosmo’s Factory (Fantasy, catalog number VDP-5039). The back insert is shown in the original jewel case with the adhered obi strip. Thus, the back of the obi strip appears as the blue strip on the right.

The original Japanese issue of Creedence Clearwater Revival Cosmo’s Factory (Fantasy, catalog number VDP-5039). Note the 1986 phonogram date below the Fantasy logo at 4 o’clock. The matrix code is “VDP – 5039 – U1E12”.

Bee Gees were it in the late ’70s. The first group that likely comes to mind when (if) considering Saturday Night Fever and the entire Disco genre. As Disco began to fade from pop-culture consciousness in favor of New Wave, so goes a 1981 album by Bee Gees that should be owned and heard. It is their 10-track effort, Living Eyes.

Although Living Eyes is rather forgotten in the Bee Gees catalog, it has quality songwriting. The radio hit was “He’s a Liar”, but the album has stronger efforts, including “Wildflower”, “Don’t Fall in Love With Me”, and “I Still Love You”. Now a rarity in physical form, it is worth tracking down for the music, collecting aside. However, be careful when buying it on CD.

Living Eyes was first released on CD on the RSO label, part of Phonogram, around 1984 under catalog number 813 642-2. As was typical for early RSO discs, Living Eyes was pressed in West Germany by PolyGram. Typical for PolyGram discs of the era, these early Living Eyes pressings lack a clear plastic ring at the center. Rather, these discs have an aluminum coating that runs up to the center hole. This is a distinguishing feature when buying the West German pressing.

Over the last several years, sadly, counterfeit copies of the West German Living Eyes disc have surfaced online. While the inserts and disc label design are good reproductions, a dead giveaway of the fake discs is that they have a clear plastic ring at the center. Again, authentic PolyGram pressings have aluminum to the center hole. Discs are no longer manufactured this way, so counterfeiters are unable to reproduce this aspect of these early CDs.

The RSO Living Eyes disc is accompanied with inserts printed in West Germany, and the matrix code is “813 642-2 01 #”. Shown below is the cover and back insert for the RSO release, along with the authentic West German pressing.

The cover for the West German pressing of Bee Gees Living Eyes (RSO, catalog number 813 642-2). This is the standard cover artwork for this album. The catalog number for the CD is printed in the bottom right corner.

The back insert for the West German pressing of Bee Gees Living Eyes (RSO, catalog number 813 642-2). As noted along the bottom, this insert was printed in West Germany.

The authentic West German pressing of Bee Gees Living Eyes (RSO, catalog number 813 642-2). Note the aluminum coating that runs to the center hole. “Made in W. Germany by PolyGram” is printed at 3 o’clock. The matrix code is “813 642-2 01 #”.

Back in 2013, we profiled a rare Swiss pressing of supergroup Crosby, Stills, Nash & Young’s brilliant album Déjà Vu. Some seven years later, we look at another CSNY offering, this time the 1974 compilation titled So Far. The pressing featured here is not as rare but is still early and not an expected one to find for this compilation. Before we delve into the pressing, let’s briefly review the album itself.

So Far is appropriately titled as CSNY’s first compilation. Released on the Atlantic label in 1974, So Far includes hits from the pre-Neil Young trio among its 11 tracks. Thus, So Far includes, as examples, “Suite: Judy Blue Eyes” and “Wooden Ships” from the Crosby, Stills & Nash self-titled debut.

On CD, So Far was first released in the U.S. under Atlantic catalog number SD 19119-2. (As a point of trivia, this release and the original U.S. release of Déjà Vu are consecutively numbered, as the latter bears catalog number SD 19118-2.) The first copies of So Far to hit the shelves in the U.S. were pressed in Japan by Matsushita. When production shifted to the U.S., Warner, the parent to Atlantic, turned to the Sanyo plant.

The U.S. Sanyo pressing of So Far has the typical U.S. Atlantic label design with red and black outer rings, a red Atlantic logo, black text, and no paint coating. “MADE IN U. S. A. BY SANYO” is printed along the perimeter. The matrix code is “19119-2 S8124B” and is printed in the typical font used by both the Japanese and U.S. Sanyo plants. Also typical of a Sanyo pressing, the disc has “MANUFACTURED BY SANYO” stamped in the mirror band.

Shown below are the cover and back insert for the U.S. release of So Far, along with the U.S. Sanyo pressing.

The cover for the original U.S. issue of Crosby, Stills, Nash & Young So Far (Atlantic, catalog number SD 19119-2). This is the standard cover artwork for this compilation.

The back insert for the original U.S. issue of Crosby, Stills, Nash & Young So Far (Atlantic, catalog number SD 19119-2). As noted along the bottom, this insert was printed in the U.S., and there is a barcode in the top right corner.

The U.S. Sanyo pressing of Crosby, Stills, Nash & Young So Far (Atlantic, catalog number SD 19119-2). Note “MADE IN U. S. A. BY SANYO” printed along the perimeter. The matrix code is “19119-2 S8124B”, and “MANUFACTURED BY SANYO” is also stamped in the mirror band.

This month, we consider a fairly obscure CD from the 1980s. It is the 1986 self-titled album by KBC Band. Never heard of them? Look on YouTube. Perhaps you remember their MTV hit, “America”. In any case, KBC Band was formed by members of Jefferson Airplane, Paul Buy Soma no prescription USA FedEx shipping Kantner (guitar, vocals), Marty http___www.bigleaguekickball.com_about_ Cheap Soma no prescription next day delivery Balin (vocals), and Jack http___www.bigleaguekickball.com_category_press_ buy soma prescriptions Casady (bass). The trio released just the one album.

KBC Band was released in 1986 by Arista Records. Its nine tracks include a mix of musical styles, including hard-hitting rock sounds of the era and ballads also typical of the time frame. Many of the songs sound like ’80s hits. Despite the album’s variety and quality play and production, the album saw only modest sales.

Arista released KBC Band on CD in the U.S. under catalog number ARCD 8440. As an indicator of the album’s lack of commercial success, this issue only exists as a Japanese Denon pressing. Had the album seen wider demand, we likely would have seen follow-up U.S. pressings. The Japanese Denon pressing is fairly common. The disc has a typical ’80s Arista label design with blue and black text and no paint coating. The matrix code is stamped in the standard Denon dot-matrix font (“ARCD-8440 1B3 6X” for the copy shown here).

There are two additional points regarding KBC Band for collectors to note. The Japan-for-U.S. CD is typically found as a “cut-out”. The cut-out mark is a saw-cut through a portion of the jewel case and inserts and was done at some point after the initial release to indicate a discounted price. This was done due to a surplus of copies that did not sell at the regular price. If you are a collector, seek a copy without the cut-out mark.

Although an obscure album, there is also a Japanese release of KBC Band from 1986 on Arista. It was released under catalog number 32RD-87 and can be found with an obi strip.

Shown below is cover and back insert for the U.S. issue of KBC Band, along with the Japanese Denon pressing. As noted in the pictures of the inserts, this copy is not a cut-out.

The cover for the U.S. issue of KBC Band (Arista, catalog number ARCD 8440). This is the standard cover artwork for the album.

The back insert for the U.S. issue of KBC Band (Arista, catalog number ARCD 8440). Note the barcode to the right.

The Japanese Denon pressing of KBC Band (Arista, catalog number ARCD 8440). Note the text “Manufactured in Japan for Arista Records, Inc….” at 3 o’clock, below the blue CD format logo. The matrix code is “ARCD-8440 1B3 6X”.

In the 1970s, Philip Bailey was an instrumental member of Earth, Wind & Fire, contributing his tremendous vocal range and songwriting during the decade. In 1983, Bailey went out on his own, releasing the aptly-named solo effort Continuation. The album made little impact on the pop charts, but Bailey’s fortunes would change a year later.

1984 saw the release of Bailey’s sophomore solo album, Chinese Wall. Bailey teamed with Phil Collins, who not only produced the album, but also co-wrote and performed on the album’s hit, “Easy Lover”. The Bailey/Collins duet was a smash hit on the airwaves and with a humorous video on MTV. In a sense, one could have mistaken the album as a Collins-first effort due to the popularity of “Easy Lover”, but the album on the whole showcases Bailey’s vocal talents. And, hey, Bailey is alone on the album’s cover.

On CD, Chinese Wall saw distinct releases from CBS or CBS/Sony in the U.S., Europe, and Japan in the mid-1980s. The U.S. issue first appeared as a U.S. DADC pressing, while first issues in Europe and Japan were pressed in Japan by CBS/Sony. Let’s look at the original Japanese release.

CBS/Sony released Chinese Wall in Japan under catalog 32DP 187. 32DP represents CBS/Sony’s second main pop and rock CD series, after 35DP. The 32DP prefix reflected the typical retail price of ¥3,200. The Chinese Wall disc bears the standard 32DP label design, with rather plain black text and no paint coating, save for two red rectangles, one highlighting legal text and the other prominently showing the CD format logo.

The disc has “CSR COMPACT DISC” repeating in the clear plastic ring at the center, and the matrix code is “32DP-187 11A4 +++++”. The booklet is thick, offering song lyrics both in English and Japanese. The back insert lists song titles in English and Japanese and also states “Produced by Phil Collins” in large text.

For collectors outside of Japan, the original U.S. and European issues should be much easier to find than this Japanese issue. However, there is something to be said for the quality inserts of the original Japanese release. The Japanese 32DP disc is not likely to be too expensive online, so it’s worth tracking down.

Shown below is the cover and back insert for the 32DP Japanese issue of Chinese Wall, along with the Japanese CBS/Sony pressing.

The cover for the original Japanese issue of Philip Bailey Chinese Wall (CBS/Sony, catalog number 32DP 187). This is the standard cover artwork for this album.

The back insert for the original Japanese issue of Philip Bailey Chinese Wall (CBS/Sony, catalog number 32DP 187). Note “Produced by Phil Collins” in the top left corner. Song titles are printed in English and Japanese.

The Japanese CBS/Sony pressing of Philip Bailey Chinese Wall (CBS/Sony, catalog number 32DP 187). This is the standard label design for discs in the 32DP series. “CSR COMPACT DISC” repeats in the clear plastic ring at the center, and the matrix code is “32DP-187 11A4 +++++”.