Nick Drake ?– Made To Love Magic

Tracklist

Companies, etc.

• Phonographic Copyright (p) – Universal Island Records Ltd.
• Copyright (c) – Universal Island Records Ltd.
• Recorded At – Sound Techniques, London
• Recorded At – Lansdowne Studios
• Recorded At – Morgan Studios
• Published By – Warlock Music Ltd.
• Published By – Bryter Music
• Published By – Copyright Control
• Remixed At – Roundhouse Studios
• Mastered At – Loud Mastering
• Mastered At – Super Audio Mastering

Credits

• Art Direction, Sleeve, Photography By [Additional] – Cally
• Cello – Dinah Beamish (tracks: A2, B4), Ian Burdge (tracks: A2, B4)
• Coordinator [Release, For Bryter Music] – Cally
• Double Bass – Rory McFarlane (tracks: A2, B4)
• Edited By [Digital], Programmed By [Pro-Tools] – Jeremy Gill
• Engineer [Assistant, Lansdowne] – Lewis Jones
• Engineer [Assistant, Roundhouse] – Dan Bloom, Nick Taylor (3)
• Engineer [Original] – John Wood (tracks: A1, A2, A4, A5, A7, B1 to B6), Vic Gamm (tracks: A1, A2, A4, A5, A7, B1 to B6)
• Flute – Jane Spiers (tracks: A2, B4), Karen Jones (3) (tracks: A2, B4)
• Liner Notes – Cally, John Wood
• Mastered By – Simon Heyworth
• Mastered By [Vinyl] – Jonz*
• Mixed By [Original] – John Wood (tracks: A1, A2, A4, A5, A7, B1 to B6)
• Orchestrated By – Robert Kirby (tracks: A2, B4)
• Photography By [Front Cover] – Keith Morris (8)
• Photography By [Nick At Piano] – Victoria Weymouth
• Producer [New] – John Wood (tracks: A2, B4), Robert Kirby (tracks: A2, B4)
• Producer [Original] – Joe Boyd (tracks: A1, A2, A4, A5, A7, B1 to B6), John Wood (tracks: A1 to A3, A6, A7, B2, B4 to B6)
• Recorded By – Robert Kirby (tracks: A3, A6)
• Remix – John Wood
• Viola – Amanda Chancellor (tracks: A2,B4), Claire Orsler (tracks: A2, B4)
• Violin – Anna Morris (tracks: A2, B4), Gina Ball* (tracks: A2, B4), Julia Singleton (tracks: A2, B4), Sally Herbert (tracks: A2, B4)
• Written-By – Nick Drake

Notes

Barcode and Other Identifiers

• Barcode: 602498663196
• Matrix / Runout (Side A runout, etched): ILPS-8141-A 986-631-9-A JONZ
• Matrix / Runout (Side B runout, etched): ILPS-8141-B 986-631-9-B JONZ LOUD
• Rights Society: BIEM/MCPS
• Label Code: LC 00407

Records graded to Record Collector guidelines

Mint (M)

The record itself is in brand new condition with no surface marks or deterioration in sound quality. The cover and any extra items such as the lyric sheet. booklet or poster are in perfect condition. Records marked as Sealed or Unplayed should be Mint.

Excellent (EX)

The record shows some signs of having been played, but there is very little lessening in sound quality. The cover and packaging might have slight wear and/or creasing.

Very Good (VG)

The record has obviously been played many times, but displays no major deterioration in sound quality, despite noticeable surface marks and the occasional light scratch. Normal wear and tear on the cover or extra items, without any major defects is acceptable

Good (G)

Te record has been played so much that the sound quality has noticeably deteriorated, perhaps with some distortion and mild scratches. The cover and contents suffer from folding, scuffing of edges, spine splits, discolouration, etc

Fair (F)

The record is still just playable but has not been cared for properly and displays considerable surface noise; it may even jump. The cover and contents will be torn, stained and/or defaced.

Poor (P)

The record will not play properly due to scratched, bad surface noise, etc. The cover and contents will be badly damaged or partly missing

Bad (B)

The record is unplayable or might even be broken, and is only of use as a collection-filler

CD’s and CASSETTES

As a general rule CD’s and Cassettes either play perfectly – in which case they are in Mint condition – or they don’t, in which case their value is minimal. Cassette tape is liable to deteriorate with age, even if it remains unplayed, so care should be taken when buying old tapes. CD’s are difficult to grade visually; they can look perfect but actually be faulty, while in other cases they may appear damaged but still play perfectly. Cassette and CD inlays and booklets should be graded in the same way as record covers and sleeves. In general, the plastic containers for cassettes and CDs can easily be replaced if they are broken or scratched, but card covers and digipaks are subject to the same wear as record sleeves.

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