David Hentschel Startling Music LP 1975 UK A2B1 Ex Vinyl The Beatles Ringo Starr

$

45

Records Rendezvous Online Add to Favourite Seller View Feedback About Me Visit our eBay Store   David Hentschel : Startling Music [1975] LP    

What you see is what you get.

The images you see are our pictures of this actual item.

Manufactured & released in the UK by Polydor in year of 1975.

Fully laminated sleeve.

Matrix numbers: 2320101 A//2 & 2320101 B//1

Format

LP Vinyl with picture sleeve

Number

2320 101

Condition / Grading (under day-light bulb)

Vinyl - The Vinyl is in Excellent+ condition, it shows great sheen and lustre.

Picture Sleeve - Very Good+ condition only, it shows no seam splits and no writing, rear sleeve bottom light peels (2-inches x 3-inches), overall in great shape.

Inner Sleeve - " as its original white antistatic sleeve ".

Insert - /

Tracklisting:

Vinyl
A1 Devil Woman
Written-By – Starkey
A2 Six O'Clock
Written-By – P. & L. McCartney
A3 Step Lightly
Written-By – Starkey
A4 Oh My My
Written-By – Starkey
A5 You're 16 (I)
Written-By – R. Sherman, R. Sherman
A6 You're 16 (II)
B1 Photograph
Written-By – G. Harrison, Starkey
B2 Have You Seen My Baby
Written-By – R. Newman
B3 I'm The Greatest
Written-By – J. Lennon
B4 Sunshine Life For Me (Said Away Raymond)
Written-By – G. Harrison
B5 You And Me (Babe)
Written-By – G. Harrison, M. Evans

David began his professional career as a recording engineer at the now legendary Trident studios in London. Following a formal musical education and a 'misspent' youth playing keyboards and guitar in school bands, his first day at work was spent making tea for David Bowie's Space Oddity session in July 1969. David soon graduated to the position of assistant engineer, one of his first projects being George Harrison's All Things Must Pass album. These were hectic and heady days at Trident, and David was soon promoted to the post of recording engineer to join a formidable team of in-house engineers which included Roy Thomas Baker, Ken Scott, Robin Cable & Mike Stone. Between them, this team was to shape the sound of contemporary music over the following decades. They also acted as a catalyst for the design of the first Trident mixing console.

Being an in-house engineer meant that any day one could be recording a blues album and the next a medieval chamber orchestra. While many recordings were made to 8 track, some 4 track and even stereo recordings were still being made. Overdubbing was often limited to vocals, the entire backing tracks being cut live. David's first session was one of these; a forty piece orchestra and rhythm section and vocals all. The experience gained by working with such a vastly different cross section of musical styles, often with the top artists and musicians of the day, was invaluable in building a thorough knowledge of recording and production techniques.

David soon found his own niche working with the leading progressive rock bands of the day, and with two producers in particular - John Anthony & Gus Dudgeon.

John Anthony, who at the time was producing many albums for the independent Charisma label, offered David his first opportunity to engineer an entire album from start to finish. This was the Genesis album Nursery Chryme. The Genesis connection would be revisited some years later...

One of David's albums for Gus Dudgeon was the landmark Elton John album Goodbye Yellow Brick Road. This album brought David his first Grammy nomination, for Best Engineered Recording. Around this time, synthesizers were making their first appearance on commercial recordings. As the only musically trained engineer at Trident, David became the country's first in-house programmer and session synthesizer player. The Yellow Brick Road album track Funeral For A Friend gave him the opportunity to make the synthesizer his own.

After five years at Trident, in the summer 1974, David left to begin his career as an independent producer and musician. His first project was his own album for Ringo Starr's new record label Ring O'Records - a solo synthesizer album, recorded at Ringo's studio near Ascot, formerly John Lennon's house and pictured on his Imagine album. Consisting cover of Ringo's self-titled album and featuring performances by Phil Collins, David Cole, Ronnie Caryl, John Gilbert and Starr.

Since his early work with Genesis, David had kept in touch with Phil Collins. This friendship led to Phil suggesting David for the joint roles of producer and engineer on the milestone Genesis album Trick Of The Tail in 1976. This became a strong and successful association continuing over five albums, making Genesis a household name and launching Phil Collins as a vocalist.
--Excerpt from thekeyboard.co.uk

Please see attached pictures for tracklisting & details.

*Record Collector Rare Record Price Guide is used as our gradings that reproduced alongside. We may sometimes use + or - in addition for a more accurate description, we also use "Near Mint" when the item looks unplayed but cannot be definitely sure.

We also carry wide range of vintage music & movie merchandise from 1960s to 2010s, new listings everyday.

Record Collector's Grading

MINT: 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 advertised as Sealed or Unplayed should be Mint.

EXCELLENT: 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: 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: The 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, discoloration, etc.

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

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

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