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The playing speed is shown as just "33", and there is no "LC " capsule. CBS UK - release:. Thanks to Henry V. Scans required! The early s cassette, probably the first UK cassette release of this album, has a folded insert with the Johnny Cash poem on the inside. The cassette is white with orange CBS labels. Phonographic Performance Ltd. This release still has the Oxford Street address on the inside of the cassette insert, so dates from before The mids cassette is light grey with printed text in black, there are no paper labels.

The insert is the same size as that of the previous release, but now has the new CBS logo and a barcode. The s cassette has the new catalogue number and the new CBS logo. It is again light grey with printed text in black, there are no paper labels. Like the Spanish records labels below, the album title is missing.

Dylan" credited after every song in the song title text; the second has Sides "A" or "B" and the logo of the other Dutch copyright organisation "C. Dylan" credited once only below the song titles. The front sleeve of this release looks identical to that of the release, although there are extra symbols at top right and bottom right of the sleeve as shown in the detail scans. The rear sleeve has a gold CBS promo stamp. The release again has "NL printed in holland " printed vertically on the rear sleeve at bottom right. There is no CBS logo at top left of the front sleeve.

The text at top right of the rear sleeve now has "CB " in a capsule and "53" in a circle. The catalogue number is now Columbia The rear sleeve has a barcode at top right and different copyright text on the bottom from the mid s release. This copy has stamped matrix numbers: Side 1 - 01 20 1A1, Side 2 - 01 20 1B1. The other three are mono releases but this must be in stereo. None of these releases came with an included CD or an MP3 download link. It has catalogue number KCS on the front sleeve, but this does not appear on the record labels.

The rear sleeve has the Legacy logo as well as Sony and Columbia. The sleeve was printed in Germany. These are the old catalogue numbers from the release, not the new catalogue number. Gerd has another copy with three stickers, this one plus stickers with "Nr. The sleeve and record were made in West Germany. The sleeve is laminated on the front only. For a West German record club release, see below. Gerd Rundel has found a large promo poster on eBay.

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The rear of the poster has a discography of West German Dylan releases with illustrations of seven albums. There are two label variants. For the regular West German release, see above. Thanks to Gerd Rundel and Ronald Born for information and scans. CBS S Italy - front scan by Gerd Rundel all releases except late s There are two record label variants of this release, both in the same sleeve. Banke's copy have "DR" in a box, which is an earlier design.

The Italian text on the front sleeve means "Can also be played on mono equipment". Both the sleeve and the record were made in Italy. The front sleeve is laminated, the rear sleeve is matt and has two folded-over flaps. Banke late s release - no folded-over flap at bottom. The early s release comes in the same sleeve with two folded-over flaps on the rear.

The record labels are still orange with the "BIEM" logo. Side 2 still has the "Lady Lady Lay" misprint. The mids release again comes in the same sleeve with two folded-over flaps on the rear. Thanks to Gerd Rundel and Lars M. This is one of the few Dylan releases during the "Greek colonels" dictatorship, again presumably allowed because the songs were considered non-political. In this information is in English only, in it is given in English and Greek and the printer's name is missing.

The record now has orange CBS labels. The sleeve is now printed in Holland and is the same as the s Dutch sleeve above with "CB " in a capsule on the rear sleeve at top right with "53" in a circle.

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There is also "LC " in a capsule on the sleeve at rear bottom right. This copy has a Greek price sticker for Drachmas on the rear sleeve at top right. The late s record comes in the same Dutch sleeve and now has red CBS labels.

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It has an 8-page booklet with lyrics in English and Japanese. The reissues came with an 8-page lyrics booklet in English and Japanese. It was a completely different booklet from that of the second release. This album has a sleeve virtually identical to that from the UK. Peter Lindberg's first edition copy has a sticker promoting "Lay, Lady, Lay" as above.

Allan's were music publishers in Australia for Bob Dylan songs between and Banke has an alternate early s copy with different plain orange labels from Stuart's. The labels of Stuart's early s copy have the same layout as the copy, in that each track has its own copyright, "Allan's" for track 1 on both and "Control" for tracks on each line for the label and "Albert" for tracks on each line for the early s label.

On Lars' alternate s label "Albert" is listed once only at the bottom of the label below "B. The label colour differences are probably just due to scanner variations. Banke alternate early s reissue, track 1 "Allan's", tracks "Albert" once only at bottom below "B. Banke has a s copy with different record labels: they have the longer copyright text, but "BOB DYLAN" and the album title are on two lines and the songs are credited to Warner Bros.

Thanks to Stuart Moore for information and scans. The rear sleeve is in monochrome with a wide white border. There is no country of origin on the sleeve. Thanks to Stuart Moore and Bill Hester for information and scans. Banke dated The sleeve is based on the Columbia "Mastersound" Half Speed Mastered release, but the "Mastersound" elements have been erased very clumsily. The sleeves of the first and second South African releases have laminated fronts and the rear sleeves have two folded-over flaps. The third release sleeve below still has a laminated front but does not have folded-over flaps.

The rear sleeve background photo is monochrome, not coloured as in most worldwide releases, and has a white border. The inner sleeve of the first South African copy has an owner's address label from Claremont, a suburb of Cape Town. The rear sleeve of the first South African release has the "Interpak" printer's logo at bottom right printed directly on to the background photo, but on the second and third South African releases rear sleeve the "Interpak" logo is in a white panel.

The second release appears to be transitional between the first and third releases. The "Interpak" logo is in a white panel at bottom right of the rear sleeve as the third release sleeve. The copy shown has handwritten details of an owner in Luanda in the former Portuguese colony of Angola on the west coast of Southern Africa and is dated on both the rear sleeve and the Side 1 label.

It's possibly this copy was exported from South Africa to Angola by a record store, but more likely is that the owner purchased it privately in South Africa. The record again has orange CBS labels virtually identical to those of the first release, except the album title and artist name above the CBS logo are lower down than on the first and third releases.

The third release sleeve probably mids has two differences from the second release sleeve:. The record labels are, accounting for scanner differences, the same as the first release labels and still s-style. Thanks to Stuart Moore, Lars M. Banke third release, photo credits and boxed text missing, "Interpak" logo in white panel. This release with the South African catalogue number has no country of origin but inside the sleeve there is the name of record store: "The Big Beat Disco - 3 Parkhill, Northwood - Salisbury" now Harare, Zimbabwe. On the rear sleeve the "Interpak" logo at bottom right has been replaced by a white panel as on the second and third South African releases' rear sleeves, but with no replacement text.

The rear sleeve still has the photo credits and boxed text of the first and second South African releases. The labels have a different design from the South African labels: the song titles have a title per line instead of continuous text; and Side 1 has "Girl From The North Country with Johnny Cash" on two lines above the CBS logo and the centre hole, whereas on the South African Side 1 labels all songs are listed below the centre hole.

Thanks to Gerd Rundel for information and scans. CBS The first promo copy is of the first release and has promo stamps that say "Para uso publicitario, muestras sin valor [For publicity use, material without value]" on the rear sleeve and on the Side 1 " BOD DYLAN" label the Side 2 picture is missing. Sergio Mariano Romay has a commercial copy released in with the same sleeve as the releases, but with different record labels. For some reason the album title is missing on the record labels of all Spanish releases of CBS S it doesn't appear until the release of CBS in below.

The Discophon mono releases of CBS did have the album title! The release has the same sleeve as the release, but this time the record was made by Discos CBS S. The record still has orange CBS labels, but is dated and with a different text layout of the song titles, also in Spanish and English, but listed continuously instead of on separate lines.

Thanks to Gerd Rundel for also submitting scans of the same album with exactly the same record labels and matrix numbers! Simon Blokker's release copy has the same sleeve and matrix numbers as Manuel's release but different labels with the date to the right of the centre hole above the "SGAE" logo instead of below. This cassette is of the first Spanish design, with a folded card insert with details of other CBS Spain cassette releases on the inside.

The song titles are in Spanish and English on the insert, and in Spanish only on the cassette labels. The cassette is white with orange paper labels. The release was still in the "Precio Redondo [Nice Price]" series , this time without a sticker, and came in the same sleeve as the release.

The album title is again present on the labels! Thanks to Hans Seegers for information and scans. CBS 1 9. There was also a mono version, CBS 9. Sides 1 and 2 are reversed to make Lay, Lady, Lay, now the title track, the first track on Side 1! It still contains the poem by Johnny Cash, translated into Spanish. The titles are also translated into Spanish.

Sergio Mariano Romay has a copy with a tiny difference in the record labels - "COMAR" to the right of the centre hole on both sides is printed slightly higher, midway between " It must be a promo for the first late s release below. As for the commercial releases, Sides 1 and 2 are reversed so that Lay, Lady, Lay is the first song on Side 1.

The handwritten matrix numbers are virtually illegible. Venta prohibida [Demonstration Record. Sale prohibited]". The numbered stickers at front top left and on Side 2 probably indicate this copy belonged to a radio station. Sergio Mariano Romay has a copy in the same sleeve with different record labels. Its omission on these labels is therefore very strange. I've called this the first late s release and Manuel's copy the second. The sleeve of this copy is made of thinner cardboard than the earlier sleeves, so Sergio believes this was the final release.

The record has the same matrix numbers as the other copies. Sergio points out that this is the only Argentinean Dylan album that has ever been reissued! Banke for information and pictures. Discos CBS The early s release has a pink insert, plain white on the inside. The cassette is light grey with orange paper labels. The cassette is white with different orange paper labels. There is no country of origin on the sleeve or record labels, although all instances of "Columbia" have been replaced by "CBS". The record labels have the US format but the catalogue number is in a different type face, and the word "Nonbreakable" is present.

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CBS had a record pressing facility in Singapore from , so records after that were sourced locally. Thanks to Daniel Pritchett for scans. This is reported to precede a 4. Gerd Rundel has a Columbia US quadraphonic vinyl release with export stickers over the labels. This album has a standard sleeve but has yellow ring-shaped CBS stickers on the gold record labels covering the Columbia Quadraphonic logos. The rear sleeve has no stickers but the record labels now each have two gold shaped CBS stickers covering the two instances of "Columbia".

The record has the same stamped matrix numbers as the first export copy.

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Banke found a third export copy in a shop in Madrid. It is different from the two export copies already on the website because it has yellow CBS stickers on the front sleeve and the over the spine. The yellow ring-shaped "CBS" stickers on the labels are discoloured versions of the stickers from the first copy already, with the "Columbia" ring visible through the stickers. Columbia CQ Canada , , reissued The two releases of the quadraphonic Canadian album have the same sleeve front and rear.

The sleeve of the release copy shown has a punch hole through the Columbia logo, surely a promotional mark. The release record has gold labels with the red Columbia SQ logos round the circumference in a white ring. The record labels are different, in a duller colour without the distinctive white ring of the release. Both and records were manufactured by Columbia Records of Canada, Ltd. CBS Q Spain , Both records have gold CBS Quadraphonic record labels, but the and record labels are slightly different.

The mistake "Girl From The North" without "Country" on side 1 of the record labels is also on the regular stereo edition of and the quad reissue of but, surprisingly, was corrected in subsequent releases something unusual in Spain. Thanks to Dr. This may not be the first Israeli release of this album. It has the s catalogue number CBS Tel Aviv. The rear of the sleeve has CBS copyright info in English and Hebrew, and has a Haifa record shop sticker in the lower right hand corner.

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The record comes in a thin transparent inner sleeve and has red CBS labels. The circumference text on Side 2 label is badly printed. Europe , 20 Nov Europe , CD Releases. A Flying Pig production. Copyright of all included artwork remains with the various record companies. You are Visitor No. Please add around 5 million visits since mid Site hosted by. For details of quadraphonic releases of Nashville Skyline with rarities, see below and Complete 35mm frame signed by Elliot Landy.

This has been added to the Starlight in The East " G " page. Banke release with black text missing. Banke release - same as Gerd Rundel's copy. The album was released as Columbia JC in the late s, without a barcode on the rear sleeve as shown, and reissued around with a barcode on the rear sleeve. This specially-licensed Half Speed Master version in the "Mastersound" series was released in This stereo release was manufactured by Sundazed under licence from Columbia Records.

Earlier releases from Sundazed were all in mono. Banke has a second copy of the US release KCS bought in Sweden that this time has had the "Columbia" logos on the front and rear sleeves obscured with black marker pen. The Columbia information at the bottom of the rear sleeve is not obscured. On the record labels there is a shaped grey "CBS" sticker over "Columbia" on Side 2 only, although on Side 1 glue marks can be seen where the sticker has been removed or fallen off. The copy below has the same stickers, so the Side 1 label with sticker would have been the same as shown.

Banke sticker lost. Banke second copy. Banke first copy. All tracks are the standard stereo album versions. It came in a hinged box made of black card with a printed wraparound label with the album artwork on the front, spine and rear, and a separate white label with black text on the box top. This is a very rare item! It has only two "programs" per tape instead of four as in the 8-track format see below. The cartridge is in green plastic with two paper labels. On these 8-track stereo releases the track running order has been rearranged to make the four programmes of approximately equal length.

The cartridge is in red plastic with two paper labels. The Canadian release comes in the same sleeve as the US release with differences only on the rear as shown below. The disc comes in a plain sleeve without documentation. Nashville Skyline music book, front scan by Sergio Mariano Romay. Nashville Skyline music book, inside page scan by Sergio Mariano Romay.

CBS UK inner sleeve - front my copy. CBS UK inner sleeve - rear my copy. However, the chronology of the wrier credits the replacement of B. This release now has a record with red CBS labels, although it retains the old catalogue number, "S ". The sleeve is exactly the same as that of the late s releases, with the CBS logo and "" on the front, "CB " and "54" in a circle at rear top right, and "LC " at rear bottom right. CBS UK - front release - my copy. The release has a new catalogue number, CBS There is no front CBS logo and the rear sleeve has a barcode at top right, as well as "CB ", "53" in a circle instead of "54" and "LC " at bottom right.

All songs are again credited to "Warner Bros Music". The record of my copy has handwritten matrix numbers: Side 1 - A6 , Side 1 - A6.

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CBS UK - rear release. CBS UK - detail of rear release. Thanks to Patrick Helfrich for scans of his still sealed copy, released by Simply Vinyl under licence from Columbia. It has a Simply Vinyl front sticker. The front sleeve has a Columbia logo without text. The rear sleeve has a barcode and the Columbia record labels reproduce the s orange CBS design.

The sleeve and record of this release were made in Holland. The record has orange CBS labels. The mid s release has a new catalogue number "CBS ". This release dates from after , when CBS became Columbia. Columbia NL - rear scan by Gerd Rundel s release.

Columbia NL - detail of rear, scan by Gerd Rundel s release. These cassette releases have only the front sleeve artwork and the outsides of the inserts are virtually identical. Both cassettes are light grey with printed text in black, there are no paper labels. Although the s cassette insert has the CBS logo, the cassette itself has "Columbia" and is therefore from or later. It has a chrome cassette as well as Dolby noise reduction. The sleeve of this release was printed in Paris by J. By that time in our relationship, we were kind of friendly.

I was 26; Bob was When I arrived at his home on Upper Byrdcliffe in Woodstock, he played the album for me and we talked a lot. He suggested that we take a picture in front of the bakery in Woodstock with his son, Jesse, and two local Woodstock people. The brown leather jacket he was wearing was the same one he had worn for the cover of John Wesley Harding and Blonde on Blonde. We took some pictures and then went to my house and hung out. We did another shoot a few days later. I went over to his house late in the afternoon and we hung out for awhile. You get soft warm colors and gentle black and white shades.

So when the light was right we headed out the door. I picked up my camera bag and led the way. He stopped at the coat rack, almost as a second thought and grabbed a hat. It had just been raining, we had boots on, and he was carrying this hat. It all happened so fast. If I had had any resistance in me, I would have missed the photograph that became the cover of Nashville Skyline. I brought the film to the city to be processed and then brought it and a slide projector to his house to show them to him.

Bob Dylan:Nashville Skyline (1969)

I brought a 12 x 12 inch white card, which was the size of a record album jacket, so we would see the photos just as they would look on an album—in real size. I projected the slides onto the card, zooming in and out on various images to show how they would look. I guess there were between 70 and slides. He was very excited by that one right away. It was the first picture of him smiling, and in my opinion, reflects the inner spirit, the loving essence of the man behind all the inspiring music he has given us.

Someone told me that the reason people like it so much is that it makes them happy. When the album came out, every review I read talked about how he looked on the album. We had chosen the best picture and I brought it down to his record label, CBS, and gave it to them. The record label had nothing to do with the design, which they agreed to. However, they did add the Columbia Records logo to the top left-hand corner.

And this takes away s significant part of the power of the image. If you look at the cover and then hide the logo by putting your thumb over it, it takes on a third dimension, it gains depth.