Ojai Sam
Staff member
No, but they were such a Mickey Mouse team that at times they made me Goofy.Back to the music... Does it bring a tear to your eye?
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No, but they were such a Mickey Mouse team that at times they made me Goofy.Back to the music... Does it bring a tear to your eye?

The Yellowish-White album?The Beatles - The Beatles (1968)
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Vinyl Spin of the Day.
When The Beatles' shiny new CD's arrived in 1987, like a lot of folks I traded in my old used vinyl copies. 36 years later, I have come to see that as a mistake but not an irreversible one. With patience and a bit of research, I located a gently played copy of this one that on Discogs is very similar to the one I bought at Fedco when it came out in 1968.
View attachment 9904
Here is the sequential number on the cover of my copy.
US White Album Numbering Attributes (Decoding)
Understanding the numbering attributes of the Beatles US White Album releases.dystopiaguitars.com
This handy guide says I was lucky enough to score a very early West Coast pressing. "...West Coast copies from about 210,000 up to just over 500,000 can be found in this style. The "A" looks like it was added with a different stamper. Apparently, the addition of an "A" made US releases more closely follow most foreign releases of the LP."
The seller advised me that this was a "one owner" copy from the estate of a "distinguished collector". It sure sounds low mileage to me: clean as a whistle. The photos and poster are also pristine. The stereo separation blows me away just as it did when I heard it the first time. Listening to this album with the shaggy 1968 versions of John, Paul, George and Ringo spread out on my desk, following along with the lyric sheet on the poster, offers a multi-sensory experience that a cold compact disc simply can't duplicate, much less an ethereal Spotify stream.
I'll be back soon with the next installment of my Vinyl Revival.
I beige you to stop.The Yellowish-White album?
piano-festival-husum.com

4. Film Ton has a filmic quality that creates vivid images of mystery and intrigue. Unlike most sound tracks which rely heavily on the visuals, the music by C-SCHULZ creates its own narrative which carries the listener on an enthralling journey. “Pforte”, the reworking of “Il Portiere di Notte”, (The Night Porter), a song written by Danielle Paris as the theme for the film directed by Liliana Cavani, is a highlight of this evocative album.
C-SCHULZ is a classically trained oboeist* who has branched into electronic instruments in the tradition of the renowned German artists of the 60’s, namely CAN, CLUSTER, NEU and STOCKHAUSEN. CHRISTOPH KAHSE is a pianist of mutual ability and intent who has worked previously with C-SCHULZ on other singles projects. “4. Film Ton” represents a major collaboration in composition and musical ideas to achieve a seamless self-contained album.