Hey, That's no Way to Say Goodbye.

Leonard Cohen and Julie Felix - December 1967.

[@redtrummy]

God takes me back , she had it all then

[@angliase]

Thankyou Leonard for being here with your insight..

[@AriannaAyers]

Wonderful post. Thank you!

[@ianharrison6597]

Thank you for the post. Leonard Cohen is a favourite of mine. Do you have 'Suzanne' from the same TV programme? Those pictures from the PC60's still look good. They may have had dodgy yokes, but once lined-up they were a fine advert for the plumbicon tube.

[@FrankMyonk]

You should make a big documentary titled: History of colour broadcast :) I believe lots of people my age (40+) will be very interested in what, people who worked with those amazing machines, have to say. Pity I live in Poland. I would contact you myself :-) Greetings!

[@Saprophitic]

Not Suzanne I'm afraid, but I do have The Stranger Song. I'd imagined PC60s were only used in CMCRs, so was this shot on location?

[@ianharrison6597]

Phil S The PC60's did eventually find their way into CMCR's (together with other 'real' Philips cameras, like the LDK5), but at this point in the colourisation of Television Centre, it was a case of having to use what there was available and that had to be British; hence the Peto Scott PC60 hiding Philips electronics under the cover. This recording was made in TC6 at the Centre. TC6 was built for colour from the beginning, no lengthy colourisation. It was also a dual standard studio; 525/60 NTSC, or 625/50 PAL. I think they left the lighting at 50Hz; hence there would have possibly been some flicker on 525/60. The PC60's were replaced a couple of years later with the venerable EMI 2001. TC6 escaped being fitted out with the 27-foot long (LOL) Marconi Mk VII. Notice as well the very colourful use of brown in the set. The BBC really were afraid in those early days of it's colour pictures looking garish and shall we say, North American.