Folder 16
Brazil
Rim reads MADE IN BRAZIL and ® 2001 DISCO E CULTURA; Discogs files release 3843406 under Germany.
What the record says
Every line below was read off a native-resolution crop of the photograph named beside it.
No run-out groove photograph exists in this folder.
Every line of small print, and the photograph it came from — 11 of them
Disc rim: MADE IN BRAZIL
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Disc rim: ® 2001 DISCO E CULTURA
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Disc rim: SOB LICENCIA DA EMI - ODEON FONOG. IND E ELECTRONICA LTDA INDUSTRIA BRASILEIRA
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Disc rim: FABRICADO E DISTRIBUIDO POR FONOBRAS - DISTRIBUIDORA FONOGRAFICA BRASILEIRA LTDA - ESTRADA DO GABINAL - 1521 RJ CGC 62.46.31/0001-2
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Disc rim: IRON MAIDEN HOLDINGS LTD. UNDER EXCLUSIVE LICENCE TO EMI RECORDS LTD., preceded by © and a four-digit year of which only 199 resolves - the last digit is below what this photograph can carry. Discogs' note for 3843406 transcribes it as 1995, which is not a reading of this copy
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Disc face: barcode 4 024349 686411, on a white label applied over the printed surface
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Disc face, printed beneath that label in the disc's own yellow: No. 4-96864-11
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Disc face: EMI logo in a yellow-outlined box, beside the barcode
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Disc face: OTHER SIDE - 1. MOONCHILD 2. INFINITE DREAMS 3. CAN I PLAY WITH MADNESS 4. THE EVIL THAT MEN DO
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Disc face: THIS SIDE - 1. SEVENTH SON OF A SEVENTH SON 2. THE PROPHECY 3. THE CLAIRVOYANT 4. ONLY THE GOOD DIE YOUNG
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Other disc face: Derek Riggs' album-cover painting - Eddie over the ice field - with the IRON MAIDEN and SEVENTH SON OF A SEVENTH SON logos
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The photographs
IMG_0671.jpg1 of 4READ FROM
The object, and what marks it out
Sleeve, labels and inserts
- No paper label - the image is printed across the whole playing surface, both sides.
- Face A - the album's Derek Riggs cover painting, as on folder 10 and unlike the official UK picture disc's clairvoyant painting.
- Face B - colour live photographs of the band in yellow-ruled frames over the ice field, with the two side listings and the rim inscription that identifies the pressing.
- Sleeve - plain; no card display cover of the UK picture-disc kind.
What distinguishes this pressing
- Brazilian manufacture, printed on the record. The rim names Fonobrás - Distribuidora Fonográfica Brasileira Ltda at
ESTRADA DO GABINAL - 1521 RJ, under licence from EMI-Odeon Fonog. Ind. e Electronica Ltda, calls itselfINDUSTRIA BRASILEIRA, and endsMADE IN BRAZIL. It joins folders 12 and 39 as the third Brazilian record in the collection, and is the only one of the three that is not a 1988 EMI-Odeon LP. - Discogs files it under Germany all the same. Release 3843406's country field says Germany, while its own note reproduces the Brazilian inscription. The country recorded here is taken from the object.
® 2001- thirteen years after the album, and the second-latest date in the collection; only folder 42's 2015 is later.- Not the same record as folder 10, which these photographs had been read as. Different barcode (
4 024349 686411against9 024349 686409), different number, different year, and a rim naming Brazil where folder 10's names the UK. - An unofficial release, per Discogs - as folder 10's two candidates are.
Eight tracks, two sides, and the recording credits
Side A
- A1Moonchild
- A2Infinite Dreams
- A3Can I Play With Madness
- A4The Evil That Men Do
Side B
- B1Seventh Son Of A Seventh Son
- B2The Prophecy
- B3The Clairvoyant
- B4Only The Good Die Young
Bruce Dickinson - vocals · Dave Murray - lead and rhythm guitar · Adrian Smith - lead and rhythm guitar, synth · Steve Harris - bass, string synth · Nicko McBrain - drums.
Produced, engineered and mixed by Martin Birch. Mastered by George Marino at Sterling Sound, New York. Recorded at Musicland Studios, Munich. Published by Zomba Music Publishers Ltd.
These are recording credits, sourced from Discogs release 576952, the UK original, and apply to the recording rather than to this pressing. No packaging or artwork credit is given here: this is an unofficial pressing, which reproduces Derek Riggs' album-cover painting on one face without Discogs recording any artwork credit against it.
Condition, from the photographs
A photograph cannot grade a record - this is a description of what is visible, not a grade.
- Sleeve: general handling wear with some edge and corner softening; no splits or seam separation visible in these shots.
- Vinyl: light surface marks and handling sheen catch the light. No visible deep scratches, warping or edge damage in these photographs. The labels are clean and unmarked.
Nothing on this page comes from playing the record. No Goldmine grade is claimed for it, or any other. I have no record of where this copy came from.
What is settled, and what is not
The identification is not in doubt. The barcode, the printed No. 4-96864-11 and the full rim inscription all match release 3843406, whose Discogs note is that same inscription transcribed; no other of the master's 343 versions carries that catalogue number. (The versions list does not carry barcodes, so the barcode is corroboration against the one release fetched, not a checked-unique value.)
What is worth stating rather than smoothing over:
1. Discogs says Germany, the record says Brazil. That is a disagreement between the catalogue and the object, not between two parts of the record, so it does not make this a mismatched copy. The country here follows the object - and because folder 10 does the opposite with the same kind of evidence, the difference is worth stating rather than leaving to look like inconsistency. For folder 10 Discogs makes an explicit counter-claim: the UK line printed on the disc is untrue, it is a German unofficial release. There is a sourced statement to set against the print, so the print loses. For 3843406 Discogs makes no such statement - its country field says Germany while its own note transcribes the Brazilian inscription without comment on it. With nothing contradicting the print, the print stands. That is a weaker footing than folder 10's, and it should be read as one: MADE IN BRAZIL is what this disc asserts about itself, corroborated by a named Brazilian manufacturer, distributor and CGC registration number, but it is not independent proof of where the vinyl was pressed. 2. This folder was previously catalogued as a second copy of folder 10. It is not. The old dossier's own closing check - photograph the barcode and confirm it is not some third unofficial pressing - is what overturned it. 3. Standing caveat: this method cannot exclude a pressing absent from Discogs altogether.