💎
A woman like you - Bert Jansch
I don't believe l've seen
A woman like you anywhere
And I must admit that I can't see
To making you into a dream
But if I had a magical wonder word I'd send a dove to catch your love And I send a blackbird to steal your heart
But a broken heart won't go My endless search, little girl I gonna fix a magical spell To weave on you, little girl
I'll fall along that you catch the wind
Upon the orange to sweetest sin
Before this very moment evil in
I'd rather wait at the dark Of thousand times, little girl And take the woman until The heart of my soul.
And if I catch you sleeping along the west And gave you alone my secret way
But I bind your heart unto me very slow
I don't believe l've seen
A woman like you anywhere
And I must admit that I can't see
To making you into a dream
And if I had a magical wonder word I send a dove to catch your love And I send a blackbird to steal your heart.
❤️
Ok, they were ‘60s $$$, yet… cheap bills but priceless ticket to enter in History 🤟💫🤟
P.S. - Neil Young refused to appear in the movie and Creedence Clearwater Revival also refused to appear in both movie AND records, reportedly for some very negligible errors in performance… the recordings were made available only (quite) recently.
A record matrix can only be used to make a limited number of pressing dies and a number of matrices must be made from each processing master tape depending on the number of records to be manufactured. To make a new matrix, the processing master tape must be used to drive the cutting lathe again and sometimes adjustments in the groove cutting parameters are made. Each matrix made is numbered sequentially and stamped on the matrix as S-1, S-2, S-3 and so forth. Most of this information is shown in the embossed number at dead wax. Taked as exemple the RCA LSC 2455, a Schumann piano concerto played by Van Cliburn with Reiner and the Chicago Symphony.
The embossed numbers code are: LSC 2455 Side 1 L2 RY 2136 10S, Side 2 RY 2137 6S. Where L=the year in which the master tapes were made, R=for classical selections, Y=for stereo pressings, 2136=the annual sequence number of the processing master tape used for that side, and 10S=the sequence number of the record matrix for that side. Therefore, for LSC 2455, the record was mastered in 1960. It is a stereo classical recording. Side 1 was made from the 2136th master tape made in 1960 and pressed with a stamper made from the 10th matrix.
Thanking Saulo Zucchello for above insight 💫🙏💫
A true gem, an amazing footage aired on BBC TV on June 6th, 1971 showing David Munrow, Christopher Hogwood and Early Music Consort of London playing “Wondrous Love”.
The above TV screenshots were taken today at 1 PM/GMT+1 during the YouTube world premiere 💫💎💫
Matt Umanov Guitars, located at 273 Bleecker Street. Since 1965, Matt Umanov Guitars has been buying, selling, and repairing vintage guitars, and has served some of the biggest names in music. Closed December 3, 2017.
GREENWICH VILLAGE, Manhattan (WABC) -- Prince was one of Matt Umanov's customers, but not all of his customers were rock stars. Far from it. In fact, the loss of the store that bears his name will be felt most among the people who live in the Greenwich Village neighborhood where his store has become an institution after 45 years on Bleecker Street and more than a half-century in business.
Matt says the decision to close the store on Bleecker Street between 6th and 7th Avenues on December 3rd "was very, very difficult emotionally."
"This is a huge sense of loss," he said.
It's a loss that echoes through a neighborhood that has changed around him.
"Commercial rents went up," he observed. "People left. The community left, and tourism came in."
For generations of guitar gods, this store was a temple and Matt was their guru.
"The world came-in," he says.
Did Bob Dylan come in? Of course! So did to many others. The walls have row after row of signed 8 X 10 glossy photos of Jerry Garcia and Eric Clapton to name just two. They were drawn not so much by Matt's musical ability (though he can play), but by his ability to fix instruments that are battered and broken.
"And, I love it," he said. "I love the instruments. I love the people coming in here all the time."
Some who came in were famous. Most were not.
"It could be the local kid around the corner. It could be little kids," he said, and some folks never got past his storefront. "There are people staring into this window in a blizzard. There will be noses pressed against this glass."
When I asked him why, Matt replied, "because everybody loves music." Seems clear music makers loved him, and he says the feeling was mutual.
"The one thing I can feel best about, about having done all these years, is having helped so many people make music. It's a wonderful thing," he said.
Matt Umanov guitars will close down after 53 years in business on Sunday, and so many people have called, written or come by to say goodbye. Richard Gere was in the other day, but even more memorable was a hand written note he received from one neighborhood woman thanking him for providing "an island of sanity on Bleecker Street."
While the store is closing, the restoration and repair shop will remain open. More details are available at umanovguitars.com
McCabe's Guitar Shop, established 1958.
“Who knew in 1958 when furniture designer Gerald McCabe opened up a small 15 foot wide guitar repair shop in Santa Monica that it would become one of the most beloved and venerable music institutions in the country and a bona-fide LA treasure?
And yet, despite itself, it has done just that, thanks to its down-home aesthetic, inventive approach to instrument repair of all things stringed, their music school, and of course the world famous concerts that take place in the tiny back room where for 5 decades artists from Doc Watson to PJ Harvey to Norman and Nancy Blake have offered up some of the most intimate performances this city has ever seen.
A musician’s hangout, McCabe’s has become something of a musical community center that continues still, offering “rentals for the cautious, lessons for the eager, truth-telling for the fearful, repairs for the clumsy, concerts for the devoted, and free coffee for all.”
Since opening it’s doors 55 years ago, McCabe’s has seen over 2000 artists perform, over 10,000 lessons offered, 1000 miles of guitar string sold, and over 50,000 guitars find their way into the hands (and hearts) of players from all corners.
In October of 2008, McCabe’s marked their 50th year with a celebrated anniversary show at UCLA’s Royce Hall, featuring the many friends of McCabe’s who have performed on the little stage in that back room over the years. Included on this bill were Peter Case, The Savoy-Doucet Cajun Band, David Lindley, Bonnie “Prince” Billy, Dan Hicks, The Ditty Bops, Peter Rowan, Chrissie Hynde, Ricky Jay, Los Lobos, Loudon Wainwright III, Van Dyke Parks, The Blind Boys of Alabama, Odetta, Richard Thompson, Jennifer Warnes, and Jackson Browne.
The first performance at McCabe’s was a fluke. When Elizabeth “Libba” Cotten was stranded in Los Angeles, she was invited down to the shop and her impromptu session was the first unofficial performance at McCabe’s. Cotten was a self-taught guitar and banjo player who played upside down and left-handed. She worked for Mike Seeger’s family most of her life and he recorded her first album when she was well past sixty.
The first official performance was by Bryndle (aka Karla Bonoff and Kenny Edwards of Stone Poneys) in 1969; the show was also the group’s debut performance.
Camp and Riskin decided to make the performances a regular occurrence, mostly because they were tired of driving to other parts of town to see shows. Among the performers who appeared during the 1960s at McCabe’s were Arlo Guthrie and Ramblin’ Jack Elliott.
Coming in April, Electric Junk - Deutsche Rock, Psych and Kosmiche 1970-1978.
This 4CD set explores the thriving German rock underground of the 1970s, featuring a stellar lineup including Tangerine Dream, Faust, Roedelius, Conrad Schnitzler, Popol Vuh, Edgar Froese, Cluster, Klaus Schulze, Guru Guru, Agitation Free, and many more. The collection comes complete with extensive travelogue-style sleevenotes. 👉 cherryred.co/ElectricJunk
Fritz Pfleumer was a German-Austrian engineer who invented magnetic recording tape.
Born on 20 March 1881, he would revolutionize the world of sound recording with his invention. Pfleumer's journey into the world of magnetic recording began with his work on cigarette papers. He developed a process for applying metal strips to cigarette papers and reasoned that a similar technique could be used to coat a magnetic stripe for sound recording. In 1927, after experimenting with various materials, Pfleumer successfully used very thin paper coated with iron oxide powder and lacquer as glue. This innovation led to him receiving a patent in 1928.
In December 1932, Pfleumer granted AEG the right to use his invention, which paved the way for the creation of the world's first practical tape recorder, the Magnetophon K1. This groundbreaking device was first demonstrated in 1935. Pfleumer's invention laid the foundation for modern magnetic recording and had a profound impact on the recording industry.
Despite his significant contributions, Pfleumer remains a relatively obscure figure in the history of technology. His work, however, continues to be celebrated by those who recognize the importance of his invention in the evolution of sound recording. Fritz Pfleumer passed away on 29 August 1945, but today we remember his significant contribution to the world of Hi-Fi.
During WWII, samples of German-made AEG/Maihak tape machines were thieved by US contractors and brought to USA where they got back-engineered to make Ampex 300.
Reportedly, of course… these represent the folds of history.
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