Interview with Annie Stoll and Meghan Foley on the making of the Grammy-winning package for Weird Al Yankovic’s Squeeze Box box set
By Mike Goldstein, AlbumCoverHallofFame.com
Posted July 28, 2021
For the past several years, I’ve served on the judging panel for the revitalized Making Vinyl Awards competition and, as part of that effort, I’ve had the chance to review hundreds of different entries in the various categories up for MVA consideration – a truly eyeball-testing experience. While I must admit that, after a while, I found myself glossing over a number of the entries (corrected, luckily, by coming back to the viewings after much rest and a commitment to limiting each session to about an hour’s time), there were a number of entries – particularly, in the box set-related categories – that were so ingeniously done that I knew that they’d be hits with both the other judges and the buying public. Back in early 2019, one of those nominees was a package put together by Sony Music built around the 40+ year output of the seemingly never-aging musical satirist “Weird Al” Yankovic and called, quite appropriately due to the accordion-focused nature of many of Weird Al’s performances, Squeeze Box.
Frank Harkins, Mike Goldstein and Dave Bett, clockwise from upper left.
Published July 23, 2021 by Mike Goldstein, AlbumCoverHallofFame.com
The packaging of retail (i.e., physical) recorded music products is an expression of the relationship – often, a delicate balance – between a musical act, his/her/their record label, the creative/production teams commissioned for the projects and, of course, the music-buying public. Each brings a certain set of expectations to every project and expects those desires to be appreciated and respected if the resulting products are to ultimately please each constituency:
the musicians want to make sure that their new musical efforts aren’t reduced to secondary importance or that their fans aren’t left wondering “what the #%!* were they thinking?”
label execs will want to know that their investments in packaging and related marketing will eventually pay off via increased product sales.
the design and pre-production personnel working on the project (whether in-house and/or freelance talent), along with the printing/manufacturing companies tasked to bring designs to life as finished products, all want to deliver work they can be proud of and that makes their various client(s) happy and
consumers of recorded music products want to feel that their purchases are moneys well-spent and, as a benefit, are left feeling that their favorite musical acts have delivered “something special” to them as their loyal fans.