RECORD STORE TALES #1170: The Smaller the Better – Christmas 2024
2024 was one of our smallest Christmas gatherings, both in budget and in population, but it was certainly one of my happiest.
Sometimes everything just feels right, and this year’s Christmas Eve was held back at the old family home once again. It was the first Christmas Eve there in over a decade, but that’s my happy place at Christmas. A place I can feel comfortable. After all, it was my home for 29 years. I settled in with my dad and watched Superman the Movie while Jen made cookies. We awaited the arrival of my mom, Dr. Kathryn, and a few dogs.
Jen knit custom gifts for the dogs (shawls, mittens and hats). She also knit custom shawls for the ladies, and toques for the men. I love mine.
As an introvert, I do well in small groups. Dinner was the traditional beef fondue (or chicken or schnitzel), with bonus vegan options. I brought over some special flavoured salts and hot sauces to sample.
We did that Christmas “white elephant” game, or whatever you want to call it. The “$10 gift game” is another name for it. Initially, I won this cool set of chocolate “coffee bombs”. I made it very clear how happy I was with it, and that I intended to make myself a coffee as soon as I got home. I spotted one with little marshmallows and relished the idea of it. Then my mom went next and stole it. I stole it back when I had the chance, and then she stole it again at first opportunity. The funny coda to this story is that after Jen and I got home, we put on a “Best of Saturday Night Live” show and there was a sketch featuring the exact same game. One character was complaining that it was a mean-spirited game, because he had received the perfect gift for himself, and someone stole it. I called my mom to laugh about that. The story doesn’t end there.
Christmas day featured some sleeping in and some Marvel What If? on Disney+. SPOILER this episode featured a Kiss song as an integral part of the story, and even had a line of dialogue from Howard the Duck explaining that the song was written by Kiss in 1979.
I won the $25 Amazon gift card at the “Christmas pickle” game. I wasn’t even going to participate, but after seeing Jen and Dr. Kathryn getting nowhere, I entered the fray. I quickly boxed Dr. Kathryn into a corner, where she was unable to see the front of the tree, where my mom had announced the pickle to be. Once spotted, I used the pickle to order the new Van Halen For Unlawful Carnal Knowledge box set. It’ll be here Saturday.
There were some really cool items in my grab bag this Christmas.
I had hoped someone would get me Brothers by Alex Van Halen, and Dr. Kathryn came to the rescue there. It’s a beautiful looking book, and emotional too from what I have read while skipping through.
Bubbles from the Trailer Park Boys has a new album out with standards new and old: Longhauler: The Best of Bubbles and the Shitrockers. If you need to ask, don’t. I was surprised that the album was produced and engineered by Eddie Kramer!
Queen’s A Night at the Odeon (1975) is another album that came highly recommended. I wishlisted it and it magically appeared in my stocking thanks to my parents. It looks like a winner.
Finally, some anniversary editions from Jen: Judas Priest’s Rocka Rolla, and Twisted Sister’s Stay Hungry. Rocka Rolla is probably the best album remix I have heard in my life. Tom Allom pretty much just made the album sound like itself, but beefier. As if you had always heard it distant and muffled, and now you can hear it fully for the first time. As if you just got a new stereo and are hearing this music properly for the first time. As for Twisted, I find it funny that I already own the 30th anniversary edition, with a very different set of bonus music.
Of interest: this is probably the 3rd time I have received Rocka Rolla for Christmas. It is my 2nd for Stay Hungry at Christmas time.
As usual, I received some treats and games, including two more editions of Uno to play at the cottage this summer. My mom got me some Trailer Park Boys pickle flavoured chips, and who knew that such a thing existed?
As for my mom, she used to do this thing when we were kids, where she would take a larger box of candy and split it up into smaller gifts that could fit into stockings. She did that for me this year…with her chocolate coffee bombs that she got the night before. She gave me one of each flavour, since I had called about the Saturday Night Live sketch. Thanks mom. You win this time.
In 1995, the writing was on the wall. After struggling for years as a new CD/tape store, the boss discovered a goldmine: selling used CDs. The story has been told a dozen times or more, but the short version is this. In early 1994, the boss brought a small tray of used CDs into the store, priced them, and they sold out immediately. I think the discs came from his own collection with a few from his brother. He realized that he could buy used CDs from the public for a few bucks, and then flip them for double or triple the price. The hunger days ended soon after.
Profit margins on new CDs and tapes was slim. After you factor in shipping, overhead, paying the part-timers, and an expensive magnetic security system, the boss was left with little for himself, if nothing at all. He could not survive like that forever. With used CDs, he could control his own costs. This was something rare in retail. Costs are usually determined by your supplier. You could negotiate for better rates, but it was nothing compared to used CDs. We could pay five or six bucks for a CD, and sell it for ten or twelve bucks.
You know what happened next. Expansion! Waterloo opened, followed by a second store in Kitchener. These stores had 90% used stock, with a small chart for new releases. They didn’t carry cassette tapes, at all. While this surprised me, it was a smart move. We were ahead of the curve by not carrying cassettes in those stores. We didn’t even carry used tapes. For one, it was harder to check them for quality compared to CDs. For second, it simplified things greatly by only focusing on discs. One product, one display system, one storage system. You could take the disc out of the case, hide it behind the counter, and put the empty case on the shelf. The security system was replaced in this simple way.
Eventually the original Stanley Park Mall store had to close. Rent in malls is higher than that in plazas. It was the only store that still carried a full selection of new CDs and tapes. It closed at the end of 1995, right after Christmas. And we weren’t allowed to tell people we were closing. Technically, it was a move. A new location had been procured in Cambridge. It too was to follow the 90% used model. Although we called it a move for the purpose of good optics, the reality was that one store closed and another very different store opened in another city. The manager was the same, and they took the unsold stock and sold it as used, but it was a new store.
Closing Stanley Park put us in an awkward position. In 1995, we lived in what was essentially a two format world: CDs first and foremost, with cassettes still strong, but dying off bit by bit every year. More and more releases were coming out on CD only. Vinyl? In 1994, only Pearl Jam had a mainstream vinyl release. We carried Vitalogy on vinyl. It was beautiful. The boss opened a copy to look at it. He ended up selling that one to his brother. But what about that awkward position? Here we were, going into the Christmas season and selling gift certificates to a small but significant number of people who still only had cassettes players. We were selling gift certificates to people who were not going to be able to redeem them for cassettes except for a small window: the six days following Christmas. Many of those people had been customers for five years, since we opened.
“If someone complains about it, tell them to talk to me, I’ll take care of it.” The boss was not the kind of person who relished giving people their money back, but I am sure he handled those cases as best he could. We did special order cassettes for customers for a short period of time in some of these cases; they were isolated cases. We had some cassettes returned in the new year as well, which had to be dealt with.
I do remember some angry customers. “Where am I gonna buy my tapes now?” asked one guy who was unhappy, to say the least, that we were closing up, moving to a new location, and ceasing cassettes completely. I suggested the HMV store at the other mall, but even they were noticeably cutting back.
For me, it was interesting to have lived through these changes in formats. As a fan, I watched vinyl decline in importance to the point where nobody in highschool bought records anymore. That was 1986. Then I lived through the advent of CD, and its eventual replacement of the cassette. I was working in the front lines at the Beat Goes On when Napster came along, and I saw shelf space once reserved for CDs now showcasing bobbleheads.
I wouldn’t trade it for the world. All apologies to the inconvenienced!
An exhaustive two hours with Johnny Metal took us through almost everything we own in the “B” section of the CD collections! From Sebastian Bach to Bryan Byrne, we looked at everything on CD, except a few box sets. As such, we did not see all my Beatles, Black Crowes, Black Sabbath, Bon Jovi, or Blue Rodeo on CD. We saw pretty much everything else.
Johnny Metal’s collection, as usual, featured some really cool and rare Christian metal, and other assorted metal and blues that most of us might not have heard of. Many of his CDs included collector’s cards or autographs. John excluded (most of his) Black Sabbath and all of his Beatles for this exercise.
Speaking of the Beatles, halfway through the show, I realized I didn’t have any Beatles in my stack, which is just not right. I have lots of Beatles besides the Stereo and Mono box sets. Then viewer Ashley mentioned I had no Jeff Beck. Well, obviously I do! I reviewed two of them here on this site! I realized I had a whole stack I left behind!
That’s how much B stuff I have. Bon Jovi was the majority of it, and a lot of it turned out to be Bon Jovi I don’t even like. There was, however, some Bon Jovi that I really really do like, and I hope you enjoy having a look at them.
We saw a lot of CD singles, remasters with bonus tracks, deluxe editions, remasters, digipacks, Japanese imports, and even one 3″ CD.
Thanks for watching this show, which might take you two viewings to finish, but that’s it – that’s the B section, done n’ dusted.
GRAB A STACK OF ROCK With Mike and the Mad Metal Man Episode 74: The “B” Section with Johnny Metal
Johnny Metal Homework is back for the third week in a row, to grab some stacks of rock! As a sequel to our “A” section show, this time we are diving into some killer “B’s”. You’ll be seeing my Black Sabbath, Bon Jovi, and yes…Blaze Bayley. This episode will exclude box sets which have been shown off before on their own dedicated episodes. CDs only; no vinyl, cassettes or 8-tracks on this week’s episode.
John says it won’t be as crazy this time (no 74 CDs from a Christian parody band), but it will be heavy! The big section is loaded with “Big” bands (Wreck, Sugar, House), and plenty of “Black” (Sabbath, Country Communion, Label Society, Star Riders, Jack). Let’s take a deep dive into some Japanese imports, rarities, and heavy hitters.
Join us live!
Friday October 11 at 7:00 P.M. E.S.T. / 8:00 P.M. Atlantic. Enjoy onYouTube or on Facebook!
Johnny Metal earned a new nickname tonight: Johnny Homework! His meticulous research and notes provided a solid backbone of knowledge on which we arranged an awesome discussion. The topic: the now-classic Christopher Guest mockumentary A Mighty Wind!
Together with Uncle Meat and Dan from Off the Charts, we tried to cover every aspect that we love about this movie. We went deep on the following topics:
The cast
Our favourite bands
Our favourite songs
Favourite scenes
Fred Willard
The Kiss at the End of the Rainbow
The ending
Additionally, we looked at CDs, vinyl, and a very nice songbook from Johnny Homework. Gotta get that physical product in.
GRAB A STACK OF ROCK With Mike and the Mad Metal Man Episode 73: A Mighty Wind Appreciation, with Dan Chartrand, Uncle Meat & Johnny Metal
In 2003, Christopher Guest unveiled his third improv comedy movie, following Waiting For Guffman (1996) and Best In Show (2000). While each film has its focus (a small town play; a dog show), it was 2003’s A Mighty Wind that “tapped” into the spirit of music that made Guest a fan favourite in the first place. This time it’s folk music!
The Folksmen are a fictional folk band that actually opened for Guest’s “other” band, Spinal Tap. Ironically, all three members are the same: Guest, Michael McKean, and Harry Shearer. Together with Mitch & Mickey (Eugene Levy and Catherine O’Hara) and the New Main Street Singers (Jane Lynch, John Michael Higgins, Parker Posey, Paul Dooley et. al.), the bands have reunited for a big folk show in New York City. As he often does, Fred Willard stole the show in this film.
This hilarious comedy boasts an incredible soundtrack of originals and one cover (“Start Me Up”), and tonight I’ll be joined again by Dan Chartrand and Uncle Meat to discuss it. With them will be John “Johnny Metal” Clauser, who has wanted to do this topic with us for some time now.
You might not be as family with A Mighty Wind as you were with This Is Spinal Tap, but you won’t regret spending an hour with us tonight. It may not be heavy metal, but good music is good music, and this soundtrack is loaded with great songs. Join us tonight!
Friday October 4 at 8:00 P.M. E.S.T. / 9:00 P.M. Atlantic. Enjoy onYouTube or on Facebook!
VAN HALEN – A Different Kind of Truth (2012 Universal CD/DVD set)
When this album was released in 2012, we all wanted Van Halen to win. Eddie had been through some tough times, but he finally did what the fans demanded: get back together with David Lee Roth, and record a new album. Sure, we all lamented that Michael Anthony was gone, but it was new bassist Wolfgang Van Halen that made it happen. Without Wolf, there would be no final Van Halen album. Just VHIII, and we know how most of you feel about that.
Working with new producer John Shanks in neutral territory, Van Halen managed to crank out a new album in just three years, starting with jams in 2009.
Wolf knew that Van Halen had to get back to a “classic” sound for their first new album with DLR since 1984. In addition to new music, Wolf dug back into Van Halen’s archive of unreleased material, and picked seven songs that rework and re-write. Roth called it a “collaboration with the past”, which is a good way of putting it. No, it does not sound exactly like old Van Halen; that would be impossible. It does, however sound like Van Halen with Roth.
Opener “Tattoo” was the first single and weakest track. It’s also the only one with audible keyboards (by Dave), though just for texture. Roth said the multi-layered chorus was inspired by artists such as Rhianna, but that chorus is actually the annoying part of the song. Eddie’s fills and Dave’s verses are fine and entertaining, as is Wolfie’s fuzzy bass. The chorus is the weak link, perhaps even worse than the lyrics: lines such as “tramp stamp tat” and “mousewife to momshell”. I like tattoos as much as the next guy, but I’ll never use the word “momshell” except when discussing this album.
The real banger is the second single, “She’s the Woman”, a pretty close approximation of the original Van Halen song (pre-debut album). Wolfie’s playing is monstrous, with a catchy circular bassline that proved the kid had the talent to be in this band. His dad must have loved jamming with him. Ed’s solo really brings us back to classic Van Halen, while Alex’s drums have that sound that we all missed. I hate to say it, but this rendition is probably superior to the original lineup’s version.
“You And Your Blues” has that choppy Eddie guitar we love, and those “ahh, ahh” backing vocals that scream Van Halen, even without Mike. Dave’s lower voice works well on the verses, though he is stretched out on the high notes in the chorus. A great Van Halen album-quality song. (If you’re fortunate enough to have a CD/DVD combo set, you’ll be treated to a cool acoustic version of “You And Your Blues” with loads of storytelling from Roth.)
“China Town” has some of the best shredding on album. From Wolfie’s crazy capo bass to the lightning fast tempo, all four members of Van Halen are on fire. If any song can be said to take the classic sound and launch it into orbit, it’s “China Town”, and Wolf is the star. The bass is not overly high in the mix, but when you listen to it and isolate it in your head, you realize that this guy has brought a new side to Van Halen: bass shred. Additionally, it’s a great song in every way.
Going back to 1984 and an instrumental section called “Ripley”, “Blood and Fire” was reworked in 2000 for an aborted reunion with Roth. Interestingly “Blood and Fire” actually sounds more like Hagar era Van Halen. It does contain one of Dave’s favourite concert phrases: “Well look at the all of the people here tonight!” If this track had been on 5150, it would have fit like a glove, though it would have been one of the more rocking tunes. Edward himself is the star on this one, as he rips, shreds, and tears as if it really was 1984 again.
“Bullethead” sounds new, and also goes back to the 2000 sessions. Van Halen speed and Dave “charasma” are held together by the rhythm section of Al and Wolf. It contains the lyric “Got a different kind of truth”, from which the album takes its title. Ed’s effect-laden solo is no less cool, though nobody will list “Bullethead” in their top 20 Van Halen songs. A cool album track it is, but that’s all.
One of the coolest tunes would have to be “As Is”. Opening with some Alex drum intensity, it breaks into a slow heavy riff, before finally accelerating into a powerhouse Van Halen smokeshow. That running riff sounds so classic, you could swear they injected Ed with youth serum. He sounds like a man reborn, both in terms of shred but also in fun. Ed gets to play with many different sounds and tempos on “As Is”, while Dave also gets to enjoy himself with singing and that spoken word stuff he does so well. Most of this is done very fast.
This sounds like a natural side break. “Honeybabysweetiedoll” (another 2000 track) comes across like a side two opener. Ed is experimenting with new sounds, like he used to, and you’ve never heard Ed sound or play like this before. He goes for a middle-eastern vibe, but with the kind of intensity that other bands do not have the mettle to muster. Dave’s lyrics about soccer moms don’t quite hit the spot where the music is concerned, but nobody’s listening to this song for the lyrics. It’s the guitar that makes the biggest impact here. You can imagine the Ed diehard fans just pounding their fists in celebration when they heard what Ed was up to, before they tried to figure out how he got that sound.
“The Trouble With Never” might be the only track that doesn’t seem like it goes anywhere. You also miss Michael Anthony the most on backing vocals here. It’s just a song. Not a great one, not a bad one…but with one hell of a cool bassline.
“Outta Space” originated in the mid-70’s as “Let’s Get Rockin'”. The riff is classic even though it never made an album before. Dave sings in his highest voice, which is actually cool after a lot of lower pitched songs. As you’d expect for a song originally called “Let’s Get Rockin'”, it smokes from start to finish, top speed and loaded with cool Eddie licks. It’s fun to hear the rhythm guitar drop out during his solo, just as it used to in 1978. Ed wasn’t fond of that sound, but it certainly evokes an era and a vibe. It’s like a warm sweater. Maybe Ed would appreciate that sometimes the absence of a guitar can also speak.
Dave plays acoustic guitar on the fun “Stay Frosty”, an old song that certainly recalls “Ice Cream Man” in every way. There’s one lyric that Dave liked to point out: “If you wanna be a monk, you gotta cook a lot of rice.” Hey, it’s not untrue. Let me put it this way: If you imagined a sequel to “Ice Cream Man”, it’s “Stay Frosty”. Not quite as good, but hits all the same beats that you want to hear.
“Big River” sounds like an older song. It has a cool curly guitar opening, before laying into this awesome guitar/bass groove. More a groove than a riff. Dave’s lyrics and singing are top notch on this song. Classic Van Halen. The surprise is that halfway through the song, for the solo section, it transforms into a completely different groove. This section has some of Eddie’s best playing too. It reverts back to the original riff for the last third of the song. All the while Wolfie is playing the most incredible bass fills, but never stepping on his dad’s toes. Think about that for a second. In the mix, you have the greatest guitar player in the world playing over this awesome riff, but the bass player still manages to throw a whole bunch of cool fills in there, without getting in the way. That’s a band, and that’s family, and that’s talent. If this song had been on an album like Fair Warning, people would still remember it today.
The closing song “Beat’s Workin'” starts with a cascade of Alex Van Halen drums, gone gonzo. It then breaks into a fun riff and a good time album-ender. A song called “Beats Workin'” should sound like a celebration. I get a bit of a Max Webster vibe, though heavier, along with a hint of Aerosmith. Once again the rhythm guitar drops out when Eddie goes solo, but then Wolf gets a moment in the spotlight too. His fuzz bass tone is very much unlike Michael Anthony’s. There’s a moment here when he and Alex are just playing while Ed does his thing, and it feels beautiful, especially now, knowing the family will never be reunited. But let’s not get too somber. It’s a party, after all.
The bonus DVD also includes acoustic versions of “Panama” and “Beautiful Girls”. They are alright. Valuable to have in your collection. You might not go back to listen to them very often. Another reason to own this physically is the lyric sheet, with cool sketches for each song. This is a Dave touch.
Final thoughts:
The album cover, though a cool picture of a train, just doesn’t feel like classic Van Halen. Then again, what does? They’ve had so many different kinds of covers.
The production on this album slams.
Though Eddie is the star, and we’re all listening to every note he plays, it doesn’t sound like an EVH solo album like VHIII did. It sounds like a real band album.
John Shanks and David Lee Roth did the best they could with what remains of Dave’s voice, and did a fine job of it by doing more of that speak-sing thing.
The flow on this album is excellent. There is hardly any filler, and every song works in its given slot, especially the closing trio of “Stay Frosty”, “Big River” and “Beats Workin'”.
A huge thank you to Marco D’Auria of the Contrarians, Dan Chartrand of Off the Charts, and the near-legendary Uncle Meat for comprising our expert panel tonight. The subject was Spinal Tap, the band and the music. It may be fair to call Dan a “superfan”, as he had some Spinal Tap rarities that I don’t. Dan provided some cool physical product, including CDs and LPs of This is Spinal Tap, Break Like the Wind, and he even unfolded his Back From the Dead CD packaging to show us what it looks like when it’s a little paper stage set.
Taking a cue from another big Spinal Tap fan, Peter Kerr, I stole a tactic from Rock Daydream Nation and did some discussion questions in rounds. Here’s what we tackled:
Were you ever in the blissful unawareness that Spinal Tap was a fake band? Or were you always in on the joke?
Evaluate the musicianship of Tap.
Pick a favourite song from the soundtrack.
Pick a favourite song from Break Like the Wind.
And a quick discussion of Back from the Dead.
Along the way we discussed the history of Tap, both real and fictional. We had a look at the DVD for the Return of Spinal Tap, and had a chat on that subject. I peppered the panel with trivia throughout the night. We had an insightful discussion about talent, and the three actors who played the central characters: Michael McKean, Christopher Guest, and Harry Shearer. We speculated on director Rob Reiner’s role in the songwriting, and technical aspects of the writing and playing. Did Harry Shearer play fretless bass on “Break Like the Wind”? I don’t know, but we do know he can play upright bass thanks to his role in A Mighty Wind. In short, the music and movie were given as much appraisal and analysis as we could do in an hour.
Meanwhile in the comments, Pete Jones provided quote after quote after quote, from a variety of Tap interviews and performances. Thank you Peter! And thank you to everyone who watched and joined in.
I started the show with a quick unboxing, from Australia’s Ash Geisler, who has been a huge supporter of the show. Thanks again Ash for watching, and for sending me this awesome package. I guarantee some of them will be getting a review.
One topic I didn’t get to mention on the show, but did come up among the viewers: Spinal Tap II is coming to theaters in 2025. How do you feel about this? Let us know in the comments. I for one don’t think it’s necessary or a good idea. The cameo-laden cast seems gimmicky, but Rob Reiner is back is the director’s chair.
Thanks for watching, and if you didn’t, the link is below. This is one I’ll be watching over again.
NEXT WEEK: A Mighty Wind with Dan Chartrand, John Clauser & Uncle Meat!
GRAB A STACK OF ROCK With Mike and the Mad Metal Man Episode 72: 40 Years of Spinal Tap: The Music with Marco D’Auria, Dan Chartrand and Uncle Meat
Tonight we’re gonna rock ya, tonight!
Formed as the Thamesmen in 1964, Nigel Tufnel and David St. Hubbins scored a hit with the single “Gimmie Some Money” / “Cups and Cakes”. The band soon employed bassist Derek Smalls. After a name change to Spinal Tap, the band wandered through progressive rock, jazz fusion, funk, reggae, hard rock, and heavy metal. In 1984 they became a household name with the release of the documentary film by Marty DiBergi, called This Is Spinal Tap. It is hard to believe it has been 40 years since that film brought Tap to the silver screen.
Tonight, Contrarians Marco D’Auria and new face Dan Chartrand will join Uncle Meat and I, as we Tap into the history of this great band’s music.
From rock and roll (“Gimme Some Money”) to hippie flower power (“Listen to What the Flower People Say”, “Rainy Day Sun”) to heavy metal (“Stonehenge”), few bands have struggled to find a direction like Spinal Tap has. Now with DiBergi back on board, the band are primed to release a new documentary film on their more recent exploits. Our panel tonight will try to avoid talking about the drama (puppet shows, air force bases, girlfriends) and focus on the music. And what music it is! Nigel Tufnel is one of the most critically acclaimed guitar players in the world, not just for volume but also for pioneering the art of double his guitar solos with voice. David St. Hubbins is such a legendary lead singer, that Ronnie James Dio wouldn’t allow him to sing lead on Hear N’ Aid’s “Stars” for fear of breaking the board. And Derek Smalls? His solo album Smalls Change proves he’s not a one-trick moustached pony.
Join us tonight, and Tap into the music of Spinal Tap.
Friday September 27 at 7:00 P.M. E.S.T. / 8:00 P.M. Atlantic. Enjoy onYouTube or on Facebook!
RECORD STORE TALES #1156: To What Lengths? (Shelf Wear)
We, as collectors in this community, generally buy our music on a physical format to listen to it, but also value its condition and cosmetic perfection. We don’t want creases in the inner sleeve, or banged-up covers if we can avoid it. We especially don’t like being the ones responsible for damage. It does happen. Sometimes it’s as simple as pulling a favourite CD or LP out of its designated filing location too many times. Scratches and scuffs appear on the jewel case or sleeve, if not protected. Most people protect their vinyl LPs in plastic, and a small minority of CD aficionados do as well, which mitigates damage to just those moments you remove the packaging from that sleeve: the dirt and oils in your hands, the dust in the air, the light wear from handling.
If you’re new here, this is a judgement-free place! If you go to tremendous degrees to protect your jewel cases (I had one customer who bought them 5 at a time and insisted each one be in its own separate little bag) then I applaud you. I wish I had your discipline, honestly. I’ve cracked and scuffed many-a-case over my years as a fan and collector.
Another fact known to CD collectors: Many, especially in the 1990s, came in specialised jewel cases that could not easily replaced if damaged. The best you could hope for was a Krazy Glue solution. Example: Pet Shop Boys’ Very CD in 1993, which came in a unique, opaque orange case with lego-like bumps on the front and a sticker with track listing on back. It had a matching orange tray inside. Fortunately, these were a bargain bin perennial and if you broke you case, you could buy a replacement for under $6 bucks. If not, you could do a reasonable repair job with glue.
Coloured jewel cases were another variation. With collector’s allure, Alice In Chains’ self-titled CD in 1995 came in two variations. The common one was a yellow case with a purple inlay. The very rare reverse was purple case with yellow inlay. So rare in fact that in my 12 years in music retail, I never saw a copy come my way without one or both components damaged. Less rarely, Kiss’ 1996 CD You Wanted The Best, You Got the Best came in a wine-red case with yellow tray. I may or may not have swapped some at my store with plain cases, allowing me to keep the wine-red and yellow for myself, for other Kiss releases. Perhaps I did.
Regardless of how you acquire such packages, the ideal collection has them relatively intact for the duration of their stay at your home. How to do ensure this to the best of your ability? As implied, I don’t want to put every CD I own in a sleeve. However, I do make sleeves for discs like the above. Simple ones out of clear comic bags (for example) cut down to size. They even make sandwich bags in the exact right size if you feel lazy. Remember: no judgement!
Of course, this cannot prevent breakage all the time. If you have ever moved house with boxes of CDs, you probably endured some damage. When I moved, I did two important things: 1) I insisted only I handled the boxes marked “CDs”, and 2) I packaged all specially-cased CDs in a special padded box, also handled by myself.
Another variation, and perhaps my favourite, is the engraved jewel case. One of the most common is the Prince “Love Symbol” CD, fairly easy to find multiple intact copies. My most treasured engraved case is Deep Purple’s 25th anniversary edition of In Rock. (Now we’re over 50 years…) I bought my copy in 1996, in Toronto, at (I think) Sunrise. It was there or HMV, and I was present with the mighty T-Rev, who braved the streets of Toronto with no air conditioning on a hot summer day in my Plymouth Sundance. He drove – I wouldn’t. I cradled my precious Purple in my arms so carefully on my way home. I could see easily that the signatures and text on the front were in the plastic of the case, and not printed on the booklet.
I made a plan, and carefully executed it. My solution protects my CD to this day.
Using a Swiss Army knife, I carefully slit the right side of the plastic wrap, all around the entire CD, and removed this side flap. I then carefully coaxed the CD out of its plastic home, and upon success, pushed it back in. I had created a little sleeve that protected my new purchase upon my shelves. It still functions today, and my copy of In Rock still looks pretty good despite hundreds of plays.
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