An excellent resource for guitar players or anyone who wants to know the value of their instrument. I was very pleased.
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 Vintage C.1973 Fender Telecaster Thinline. natural ash 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 Vintage C.1973 Fender Telecaster Thinline. natural ash 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.
What is the best way or best place to sell vintage comic Vintage C.1973 Fender Telecaster Thinline. natural ash books or graphic novels?
Online or otherwise. Looking to get the most money.(obviously)
Online or otherwise. Looking to get the most money.(obviously)
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17 Responses to “News Headlines On Vintage C.1973 Fender Telecaster Thinline. natural ash”
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This is a good looking cable and seems to work good but I prefer the features of the Spectraflex cables.
Tweed is exactly the word to describe the shielding on these cables. The connectors are silver / nickel plated 1/4 inch jack. It looks solid, steping on it will probably still bend the jack. The whole jack end is covered in a nice thick shrink black plastic that protects the jack / wire intersection. The cloth cover on the cable is solid, really nice.
This cable looks like it will last a good long time. That fabric is a great touch.
The cable is only ten feet, so it’s a little bit shorter than most cables in this range, they’re usually twelve feet.
Sound wise, these are good cables. The length is so short there’s no sound fall off like with long cables. With the solid construction, these appear to be a good value.
Either this gold/tan color is cool to you is a style choice. Some people love neon green cables, others like basic black. This one has a retro look to it, and looks good connected to a Les Paul sunburst or a PRS in charcoal gray / black.
Good looking cord. Sticks out pretty far from jack, might be better with a right angled plug.
This strap has replaced an old lighning bolt patterned guitar strap and really looks cool. It shows off my Jazzmaster sunburst finish and has a classy retro-cool look.
After reading the reviews for this strap, I wasn’t expecting much….and to be honest, I prefer a nice vintage leather strap on my Hofner bass anyway.
For the brief period of time that I had this on my bass, I was surprised by how many compliments I got on the strap.
I now keep it as a back up in my gig bag, but for the price it’s pretty cool.
The strap is nothing like I expected. I don’t know if it comes in different colors but the one I got is a bright mustard yellow and the pattern is diagonal stripes, not anything resembling a tweed. Luckily I just needed a lightweight strap for a travel guitar. I wouldn’t be caught dead on stage with this.
The one I received was more yellow than the brown tweed pictured online. I was a bit disappointed as it was not the color I expected.
Classic rock: slightly crunchy sounds rumble like they should and nicely colored cleans are a joy to hear. Can’t ask for more.
The price guide is very helpful in determineing the net worth of older indtruments. I am very happy with this book.
The guitar market is in the midst of much change, making the 2009 edition of The Official Vintage Guitar Price Guide especially key to values in a changing market. It’s the only title to list values based on comprehensive market research and analysis, and offers over 1,000 black and white photos and details on over 1,500 brands. Any library strong in either music collectibles or guitar history and values needs this.
Awesome book. It is the KELLY BLUE BOOK of guitars. If you collect or just want to research the guitars you have or want to have this is a great go to source of information. Recommend this product to all.
I love the book but as I was looking through it the pages were coming out of the binding. It just won’t last long in it’s condition.
I don’t see how just turning the page can make it come out.
This makes me hesitant to order a book on line.
This will give you a step up on the information you need, to understand tube amplifiers, period! The schematics are clear. I wish some of my old amps were in it, but alas, the ones that are, are excellent! Goawwal dawng nabbit, if you want to learn a thing or two about what makes a great tube amp sound great,,,,,,get the book, and take a look.
(If you’re a repairman=====repair Man, (folks, I hate political correctness), then this book is essential for us Fender Amp kind of guys.
Get it! Enjoy it!
I own this book and have read it several times. Am skilled at electronics and have hands on tube amplifier repair and modding experience and am a telecom professional have been working with electronics for 28 years.
Darwins review is wrong!
Here is a quote from his review that is an inadequte explanation and a simplistic criticism from his obvious limited tube amplifier knowledge based on this statement-
“states, in the first chapter, that the reason tubes amps sound so good, in the early days, is the fact that they used diode tubes in the early supplies. When current was drawn across the tube, it developed a voltage drop which causes the output tube voltage to sag, thereby causing a mid-rangey distortion type.”
Darwin mentions Webers book stating that the reason vintage amps have better tone due to something called “Diode Tubes”. This is your first clue that this review is based on his limited knowledge and is not technically accurate for its simplicism. No where in the book does this term appear.
This book is an excellent read and chock full of information for an amatuer or even a pro looking to gain additional knowledge specifc to fender in addition to some of Webers observations which in my opinion are as valid as anyone out there.
Where Darwin reallys goes wrong in his review is in summing up how Weber relates his opinion on why vintage amps sound as they do and are coveted for their tone.
Let me sum up Webers reasoning for you-
differences in vintage speaker components versus today
1) lower tube operating voltages, both preamp and output found of some older vintage amps, specifically tweed amps
2) simpler designs (fewer rc coupled gain stages) means lower tonal losses
3) paper interleaved output transformer in contrast to plastic bobbin ot’s found on modern amps
4) capacitors that were of higher quality and/or more pleasing when used in tube guitar amps in contrast to some caps more suited for use in audio
5)cathode biasing of output sections
6) tube rectification
7) cabinet materials and design
If you want to expand on these points in more depth while applying this to Fender amps specifically, then this book is for you. Despite this book detailing Fender designs, the knowledge herein can be applied universaly.
The book is also chock full of schematics, questions submitted by Kendrick devotees which Weber answers and this section alone can serve as a database of troubleshooting tips which can assist one in diagnosing your own amp problems while expanding your knowledge.
The fact that Darwin does not even mention the Trainwreck Pages section tells me he has never heard of Ken Fischer who contributed this section and who has left a legacy of hand crafted reference tube guitar amplifiers that are coveted universally.
Dont base your decision to purchase this book based on a review by someone who apparently has not read it or does not understand tube guitar amplification, you would be missing a good read and informtion assembled over Webers and Fischers career.
The only other way to get this knowledge is to actively work at it for the same 40 years as both of these gentlemen have.
I was first introduced to this book when a vintage guitar shop owner needed a few solders done, and his normal guy for that was out of town. Come to realize a few wires were unconnected, and had to figure out the right connections without the trial and error, hence the book.
A treasury of diagrams to help you restore amps is worth its weight in new-old-stock vacuum tubes.
Well well, in the first pages it said “It is not a book for engineer, there is no equations” but I wanted some thecnical book. So if you’re looking for a book with a bunch of schematics, tips about vintage tube amplifiers, this book is very very good, but is not what Im ooking for! There is no thecnical information, scientifc subjects. There is no equations!!!
Im a little bit disappointed with the book.
Best regards
I used these in high school fifteen years ago and pulled one out of the closet the other day and it still worked great. So I bought two of these gold ended ones for my band now. This is a great quality product and you can’t beat the price… Plus nobody tries to “accidentally walk away with” these cables because everyone knows they’re mine…