Good book except it should of had each album’s tracks listed with each album instead of listing them alphabetically and number of each album at the end.
Track listing
All songs written and composed by Mike Oldfield, except “The Sailor’s Hornpipe” (traditional, arranged by Mike Oldfield) Side one
“Tubular Bells, Part 1″ 25:36 Side two
“Tubular Bells, Part 2″ 23:20 Personnel Mike Oldfield
Acoustic guitar, bass guitar, electric guitar, Farfisa, Hammond, and Lowrey organs; flageolet, fuzz guitars, glockenspiel, “honky tonk” piano (piano with detuned strings), mandolin, piano, “Piltdown Man”, percussion, Spanish guitar, “double speed guitar”, producer, “taped motor drive amplifier organ chord”, timpani, violin, vocals and tubular bells. Additional personnel
Steve Broughton percussion
Lindsay L. Cooper string basses
Mundy Ellis vocals
Jon Field flutes
Sally Oldfield vocals
Vivian Stanshall Master of Ceremonies
Nasal Choir
Manor Choir (Simon Heyworth, Tom Newman, Mike Oldfield)
Simon Heyworth – producer
Tom Newman – producer
Trevor Key – artwork Album artwork
Tubular Bells picture disc.
The cover design was by Trevor Key, who would go on to create the covers of many Oldfield albums, and was inspired by Magritte’s “Castle in the Pyrenees”.[citation needed]
The concept for the triangular bell on the album cover art originally came from the idea of a bell which had been destroyed. Oldfield had come up with this when he had dented the set of Tubular bells used to record the album when playing them.
The “bent bell” image on the cover is also associated with Oldfield, even being used for the logo of his personal music company, Oldfield Music, Ltd. The image was also the main focus for the cover art of the successive Tubular Bells albums. Tubular Bells has also been issued as a vinyl picture 1996 Fender Telecaster Limited Edition AWESOME !!!!!!! disc, showing the bent bell on a skyscape.
The album cover for Tubular Bells was among the ten chosen by the Royal Mail for a set of “Classic Album Cover” postage stamps issued on 7 January 2010. Significance Virgin
Oldfield approached (and was rejected by) many other established record labels. Some of the rejections were because they believed the piece to be unmarketable. Oldfield then played his demos to some of the Engineers at The Manor; they along with their boss, Richard Branson decided to give Oldfield a chance. Virgin Records released Oldfield’s debut album Tubular Bells as its first album; hence the catalogue number V2001 (although V2002 and V2003 were released on the same date).
The significance of this album to the Virgin empire is not lost on Richard Branson, who named one of his first Virgin America aircraft, an Airbus A319-112, N527VA Tubular Belle,. Prior to this Virgin Atlantic had named a Boeing 747-4Q8 , G-VHOT Tubular Belle, in 1994.
Virgin reissued the album a number of times including in 2000 for a HDCD release, and in 2001 for a SACD release. The HDCD release contained liner notes by David Laing, and the SACD release notes were by Phil Newell and Simon Heyworth.
The 50th Anniversary edition of the music magazine Music Week features the album in the official Top-Selling UK albums 19592009 at No. 35, noting it as the only entry that did not yield a hit single. In the Q & Mojo Classic Special Edition Pink Floyd & The Story of Prog Rock, the album came #9 in its list of “40 Cosmic Rock Albums”. The Mail on Sunday free edition
On 22 April 2007 a British newspaper, The Mail on Sunday, gave away 2.25 million free copies of the full original Tubular Bells to its readers; this came in a card packet displaying the original artwork.
EMI (owners of the Virgin Records label) earned between 200,000 and 500,000 from the promotion. The Mail on Sunday claimed that their promotion increased sales of the album by 30%; however industry sources noted that this was not a significant rise for the title at the time. This cover-mount deal came prior to the album’s transfer from Virgin/EMI back to Oldfield.
Oldfield attacked EMI in the press for agreeing this deal with The Mail on Sunday, not having been consulted about it. He also stated that he felt that it devalued the work. In a poll conducted by Music Week, to whom Oldfield wrote a letter about the situation, 89.9% of people supported Oldfield’s view that EMI and The Mail on Sunday should have at least asked him about the cover-mount promotion. Mercury reissue
In 2008 when Oldfield’s original 35 year deal with Virgin Records ended, the rights to the piece were returned to him, and were transferred to Mercury Records On 15 April 2009, Mercury announced the transfer of Oldfield’s Virgin albums to the label, and the first album, Tubular Bells, was re-released in June 2009. Tubular Bells was released on various formats, which include an original vinyl, a new remix, a 2CD edition and DVD. There were also bell ringing events on 6 June 2009 at 6pm (a reference to 666, the Number of the Beast). Overdubbing
Mike Oldfield played most of the instruments on the album (see below), recording them one at a time and layering the recordings to create the finished work. Many of his subsequent albums feature this technique.
All songs written and composed by Mike Oldfield, except “The Sailor’s Hornpipe” (traditional, arranged by Mike Oldfield) Side one
“Tubular Bells, Part 1″ 25:36 Side two
“Tubular Bells, Part 2″ 23:20 Personnel Mike Oldfield
Acoustic guitar, bass guitar, electric guitar, Farfisa, Hammond, and Lowrey organs; flageolet, fuzz guitars, glockenspiel, “honky tonk” piano (piano with detuned strings), mandolin, piano, “Piltdown Man”, percussion, Spanish guitar, “double speed guitar”, producer, “taped motor drive amplifier organ chord”, timpani, violin, vocals and tubular bells. Additional personnel
Steve Broughton percussion
Lindsay L. Cooper string basses
Mundy Ellis vocals
Jon Field flutes
Sally Oldfield vocals
Vivian Stanshall Master of Ceremonies
Nasal Choir
Manor Choir (Simon Heyworth, Tom Newman, Mike Oldfield)
Simon Heyworth – producer
Tom Newman – producer
Trevor Key – artwork Album artwork
Tubular Bells picture disc.
The cover design was by Trevor Key, who would go on to create the covers of many Oldfield albums, and was inspired by Magritte’s “Castle in the Pyrenees”.[citation needed]
The concept for the triangular bell on the album cover art originally came from the idea of a bell which had been destroyed. Oldfield had come up with this when he had dented the set of Tubular bells used to record the album when playing them.
The “bent bell” image on the cover is also associated with Oldfield, even being used for the logo of his personal music company, Oldfield Music, Ltd. The image was also the main focus for the cover art of the successive Tubular Bells albums. Tubular Bells has also been issued as a vinyl picture 1996 Fender Telecaster Limited Edition AWESOME !!!!!!! disc, showing the bent bell on a skyscape.
The album cover for Tubular Bells was among the ten chosen by the Royal Mail for a set of “Classic Album Cover” postage stamps issued on 7 January 2010. Significance Virgin
Oldfield approached (and was rejected by) many other established record labels. Some of the rejections were because they believed the piece to be unmarketable. Oldfield then played his demos to some of the Engineers at The Manor; they along with their boss, Richard Branson decided to give Oldfield a chance. Virgin Records released Oldfield’s debut album Tubular Bells as its first album; hence the catalogue number V2001 (although V2002 and V2003 were released on the same date).
The significance of this album to the Virgin empire is not lost on Richard Branson, who named one of his first Virgin America aircraft, an Airbus A319-112, N527VA Tubular Belle,. Prior to this Virgin Atlantic had named a Boeing 747-4Q8 , G-VHOT Tubular Belle, in 1994.
Virgin reissued the album a number of times including in 2000 for a HDCD release, and in 2001 for a SACD release. The HDCD release contained liner notes by David Laing, and the SACD release notes were by Phil Newell and Simon Heyworth.
The 50th Anniversary edition of the music magazine Music Week features the album in the official Top-Selling UK albums 19592009 at No. 35, noting it as the only entry that did not yield a hit single. In the Q & Mojo Classic Special Edition Pink Floyd & The Story of Prog Rock, the album came #9 in its list of “40 Cosmic Rock Albums”. The Mail on Sunday free edition
On 22 April 2007 a British newspaper, The Mail on Sunday, gave away 2.25 million free copies of the full original Tubular Bells to its readers; this came in a card packet displaying the original artwork.
EMI (owners of the Virgin Records label) earned between 200,000 and 500,000 from the promotion. The Mail on Sunday claimed that their promotion increased sales of the album by 30%; however industry sources noted that this was not a significant rise for the title at the time. This cover-mount deal came prior to the album’s transfer from Virgin/EMI back to Oldfield.
Oldfield attacked EMI in the press for agreeing this deal with The Mail on Sunday, not having been consulted about it. He also stated that he felt that it devalued the work. In a poll conducted by Music Week, to whom Oldfield wrote a letter about the situation, 89.9% of people supported Oldfield’s view that EMI and The Mail on Sunday should have at least asked him about the cover-mount promotion. Mercury reissue
In 2008 when Oldfield’s original 35 year deal with Virgin Records ended, the rights to the piece were returned to him, and were transferred to Mercury Records On 15 April 2009, Mercury announced the transfer of Oldfield’s Virgin albums to the label, and the first album, Tubular Bells, was re-released in June 2009. Tubular Bells was released on various formats, which include an original vinyl, a new remix, a 2CD edition and DVD. There were also bell ringing events on 6 June 2009 at 6pm (a reference to 666, the Number of the Beast). Overdubbing
Mike Oldfield played most of the instruments on the album (see below), recording them one at a time and layering the recordings to create the finished work. Many of his subsequent albums feature this technique.
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Does anyone have information on Fender Telecasters?
I have a 1996 Fender Telecaster, 50th Anniversary edition. 1996 Fender Telecaster Limited Edition AWESOME !!!!!!! It’s black with gold hardware, grey tortoise shell bindings, through body strings. I’ve seen them on Ebay for up to $800. Should I hang onto it or go ahead and sell it? It’s just collecting dust right now.
I have a 1996 Fender Telecaster, 50th Anniversary edition. 1996 Fender Telecaster Limited Edition AWESOME !!!!!!! It’s black with gold hardware, grey tortoise shell bindings, through body strings. I’ve seen them on Ebay for up to $800. Should I hang onto it or go ahead and sell it? It’s just collecting dust right now.
9 Responses to “1996 Fender Telecaster Limited Edition AWESOME !!!!!!! information and auctions”
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#1 Russ Wernimont Designs Racer 11 in. Wide Wernimont Rear Fender for Swingarm… SiteI'm bringing down the rating average because the music in this book has no proper music notation. There are a few little... »
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This album basically has all of their classics done the way that they’re supposed to be done. The Ramones would do their songs much more slowly in the studio because the studio metronomes had a limited speed. I would have preferred if their live album was this exact show, but at CBGB, for symbolism, and for the album cover to be the classic cover of their self-titled album, but that’s probably the dumbest thing to wish for.
This album is a live concert from the Ramones when they had just released their third album, and they do most of the tracks from their early albums, but in a much more energetic form, and again, much faster. For the Ramones, it works to do their music faster, and a comment that someone made about them is that it’s not as easy as it seems to do only downstrokes at that speed, or to play a simple beat at that speed.
The tunes basically just use I-IV-V chord progressions, usually sneaking a forth chord somewhere, and they usually use power chords, and for all of you music theory freaks, a power chord is the root note with the fifth. They just use two note chords? Yes they do. Also, the line-up is basically a drummer (Tommy Ramone), a guitarist (Johnny Ramone), a bass player (Dee Dee Ramone), and a vocalist (Joey Ramone). The two note chords and the simple line-up really proves that less is more… at least in this way.
Because I’ve been giving guitar lessons, this is an album that I recommend for a guitarist to start out with when they’re just beginning. However, keep in mind that they play fast, so it’s not best to try playing at that speed.
It’s Alive pound for pound is one of the best live albums ever. The best album The Ramones ever put out. For all of you that have been Punk Rock fans for years or new to this genre of music you should have this album. This catches The Ramones back in 1977 in London, England. What away to bring in 1978 but to see the band perform on 12-31-77.
Yes, it’s doctored. But hey, find me ANY “live” album that isn’t a bootleg that isn’t. Everyone has doctored their live albums, it’s exactly why bands like Metallica are total hypocritical money-scheming creeps. Still, this is one of the most entertaining, action-packed albums ever printed. Get yourself a copy and enjoy the best band ever.
No, wait a minute…bloody fantastic is what this is. I was not a big Ramones fan back in the day, probably only because my local radio stations did not expose me to their work, other than Beat on the Brat, and I Wanna Be Sedated. And silly me, I didn’t want to believe a band from NYC could be any good. Yes, I was stupid, I learned there are many great NY bands. What made me buy this DVD was seeing their 1985 performance on the Old Grey Whistle Test Volume One DVD (a series I highly recommend).
Captured here is a virtual biography of Ramones performances from the beginning (1974) through the end (1996), and honestly, I didn’t even know they were still performing after about 1985. Again, stupid me, but thankfully this catalog of performances is well preserved. While the films of earliest performances are a bit scratchy and fuzzy, so was the musicianship of the band. One can see and feel that something unique is developing, and as the band grows up, the musicianship and songwriting becomes better and more complex (and the film/video improves as well).
Most of this collection is very well preserved considering the age of the media it was captured on. For example, the footage from the 1982 San Bernardino US Festival is crystal clear, bright, colorful, and the audio thunderous. Conversely, on “The Cars Unlocked” DVD, footage from the same festival – of The Cars – is grainy, washed-out, and the sound tinny. Obviously great care was taken by The Ramones and those close to them to preserve these memories.
My old impression of the band was that it was a novelty act with a few clever hits. Watching this, I see the care that was taken in their uniform (jeans and leather jackets), the presentation – the simultaneous movements of Johnny and Dee Dee, the uncluttered stage, and respect for the audience – never facing away, 100 percent music and no idle banter.
A great companion piece to these performances is the biography “End of the Century” DVD. Learning about how the band members met, developed, and put up with each other over the many years is somehow compelling, and heightened my enjoyment of the performances on this DVD. Really, it’s a crime that the Ramones were pretty much ignored by US radio stations. Do yourself some justice and buy this.
This book covers artists and their albums in much the same way as Mr. Whitburn’s Top Pop books, only this goes all the way down to the top 200 each week. You should find whatever you’re looking for except for the inclusion of record values. There is information on that for each album, but books which cater specifically to collectability and value do a much better job, so ignore that small portion.
Joel Whitburn’s newest edition of Top Pop Albums details every album which entered Billboard’s Top 200 chart between January 1955 and September 1996. What Whitburn serves up, however, is no mere list of album titles and chart positions. Rather, this massive (1,056 page) tome contains data regarding the label and catalog number of each album, the date on which it entered the chart, and the number of weeks which it remained on the chart.
As an added bonus, Whitburn includes valuable biographical information on most, though regrettably not all, of the artists. In fact, Top Pop Albums provides biographical data on some rather obscure artists which is otherwise difficult to obtain. Unfortunately, the scope of the work is such that the bio data does not include band members whose tenure did not include making the Top 200. On the plus side (and a big plus it is), the work includes a listing of every track which appeared on every album which charted, with clear indication as to which album the track appeared.
Whitburn’s Record Research organization has for many years been the most reliable source of information regarding the Billboard charts for music fans and professionals alike, and Top Pop Albums 1955-1996 is certainly a worthy member of their family of publications. Whitburn and his fellow researchers continue to improve their works with each successive edition. Though rather expensive, Top Pop Albums 1955-1996 is the final word on artists who have reached Billboards Top 200 charts.
I saw this book at the library and wanted one. I was disappointed to see it is no longer in print!
What a wonderful book packed with loads of info! Even though it only goes to 1995, that is ok. Just no current Rap Music ( ) to view – which is fine with me! 
I go for the 60s/70s/80s stuff anyway.
The CD companion is a MUST and great for practice. You can tune your stereo to either play lead only, or the rhythm riff in the backgroud so YOU can play lead guitar. The CD also feature a slow version of some of the faster solos so that you can pick-out the details. Really a great book. I’ve very happy with it!
It’s an excellent guide for guitar players. Include some of the most popular Metallica songs between “Justices” to “Reload”. This book is very special because, if you buy a book, you buy a CD with all demos in fast and slow version.
Try it.