Snobbin: Beautiful Trash in the Pop Culture Gutter

Sometimes record engineers, band members, label people, or other unknown individuals will inscribe funny messages or insider jokes on the run-out grooves of records. These spaces near the label of the record are often inscribed with matrix numbers that contain record manufacturing or label information. Dates, pressing number, plant identification, logos, initials, and other information can be gleaned by the avid record fan. These details may reveal when the record was cut, who engineered it, where it was pressed, etc. The numbers, for instance, usually are different than the catalog number, yet many minor labels print the catalog number and record side in the groove as well -- probably because their pressing runs are smaller. For example, Green Day's Slappy EP has a matrix number of L35573, but also has Lookout 35-A designating the label number scratched into the wax, as well as the initials, D.W.K. Many major label  records have less information, which may refer to the order of ...

The first 8-track I ever purchased was The Clash's underrated Give 'Em Enough Rope from a dusty shelf at my hometown thrift store in the mid 1990s. It was quite a musical find, and has, perhaps, led to a lifetime of scanning such shelves for musical esoterica. The Give 'Em Enough Rope 8-track is an unassuming wonder; it does not even have the iconic font of other early issues. The band's name is in the block capital print of the early U.S. pressings; I'm not sure how many of these were even manufactured. The later U.S. pressings had a fake oriental font that was later replaced by the UK design. The iconic cover adds another level to the Clash's cowboy/rebel mythology. Indeed, the final mastering was done in the United States under the eye of Sandy Pearlman, best known for his work with Blue Oyster Cult. A great account of these sessions and others is found in Pat Gilbert's superlative biography, Passion is a Fashion: The Real Story of the Clash. Th...