The first is Daft Punk's Discovery. I opened it up to find a hinged middle bit as if it held two CDs, but it only contained one. I didn't expect it to be a two-CD set, but if they were going to give me a hingy thing, I wanted the second CD! Then I noticed a plastic card behind the hingy bit, stuck to the back. It looks like a credit card, with embossed numbers but no magnetic stripe. It has the url 'www.daftcard.com' on it, and is apparently a membership card of sorts for the Daft Punk fanclub.
Ok, thought I, that's good marketing, because now I'll go and look at the website, where I wouldn't otherwise. Or at least I would have if the card didn't have an expiry date of a year ago! The domain seems to have been bought by a squatter, too. Almost a good idea, guys, but...
The other CD is Bill Evans playing live at Montreux. I'm a big Bill Evans fan, and I have this one on vinyl, but wanted it on CD. The CD case had a big '2 CD' sticker, which struck me as odd, because it fits on one LP, but it was reasonably priced for a jazz import, so I picked it up. One CD.
These people really aren't very good at what they do.
In related news, I'm currently reading Peter Pettinger's biography of Evans, How My Heart Sings. It's an excellent example of jazz biography, giving enough personal background to make it interesting but concentrating mostly on development of style and relationships with other musicians, and supplying context to well known and obscure recordings, and so forth. On the other hand, I recently finished Charles Mingus's autobiography, which confirmed a rule I'd formulated a while ago (while reading Miles's autobiography) about jazz biography -- biographies of jazz musicians document their musical foundations and legacy, and autobiographies by jazz musicians document who they slept with and what they were on at the time. I'm not sure I want to explore the implications of that.