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Details about  Brian Eno/Portsmouth Sinfonia/John Farley'Hallelujah'ULTRA RARE12"Vinyl LP 1974

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Brian Eno/Portsmouth Sinfonia/John Farley'Hallelujah'ULTRA RARE12"Vinyl LP 1974
Brian-Eno-Portsmouth-Sinfonia-John-FarleyHallelujahULTRA-RARE12-Vinyl-LP-1974
Item Ended
Item condition:
Good
Ended:
14 Jul, 2014 13:35:54 AEST
Winning bid:
AU $51.00
13 bids ]
Postage:
AU $8.00 Standard Postage | See details
Item location:
Gold Coast, QLD, Australia

Description

eBay item number:
111399653629
Seller assumes all responsibility for this listing.
Last updated on  04 Jul, 2014 14:11:05 AEST  View all revisions

Item specifics

Condition:
Good: An item in used but good condition. May have minor damage to jewellery case including scuffs or ... Read moreabout the condition
Special Attributes:

UTRA RARE, FEAT.BRIAN ENO,, Live Recording

Style:

Novelty

Record Label:

Transatlantic Records ‎– TRA-285

Release Year:

1974

Genre:

Classical

The Portsmouth Sinfonia was an orchestra founded by a group of students at the Portsmouth School of Art in England, in 1970. The Sinfonia had an unusual entrance requirement, in that players had to either be non-musicians, or if a musician, play an instrument that was entirely new to them.
Among the founding members was one of their teachers,English composer Gavin Bryars.
Bryars was interested more in experimenting with the nature of music than forming a traditional orchestra.
Brian Eno was interested enough to join the orchestra, playing clarinet, and subsequently producing their first two album.
Instead of picking the most competent musicians he could find, he encouraged anyone to join, regardless of talent, ability and experience. The only rules were that everyonhe had to come for rehearsals and that people should try their best to get it right and not intentionally try to play badly.
The orchestra started as a one-off, tongue-in-cheek performance art ensemble but became a cultural phenomenon over the following ten years, with concerts, record albums, a film and a hit single. They last performed publicly in 1979.

Liverpool Had The Beatles, Manchester Had Oasis - And Portsmouth Had A Scruffy Band Of Classical Musicians Who Couldn't Play In Time Or In Tune.
But That Slight Disadvantage - And The Tag Of The World's Worst Orchestra - Didn't Put The Portsmouth Sinfonia Off. In 1974 They Hit The Big Time And Sold Out A Concert At London's Prestigious Royal Albert Hall. For This Epic Recording A 350-Strong Choir Was Recruited To Sing The Hallelujah Chorus From Handel's Messiah And The Royal Albert Hall's Canons Were Wheeled Out For A Dramatic Rendition Of Tchaikovsky's 1812 Overture. The Lunatics Had Well And Truly Taken Over The Asylum And It Was Great.'

Portsmouth Sinfonia ‎– Hallelujah At The Royal Albert Hall
Label: Transatlantic Records ‎– TRA-285
Format: Vinyl, LP
Country: Australia
Released: 1974
Genre: Classical
Style: Novelty,

Track list:
A1 –Michael Bond Mr. Michael Bond's Address 1:05
A2 –Tchaïkovski* From The Nutcracker Suite, Op. 71a 1:57
A3 –Sibelius* From The Karelia Suite, Op.11 3:54
A4 –Shubert Marche Militaire In D Major 5:33
A5 –Tchaïkovski* Piano Concerto No. 1 In B Minor, Op. 23 10:38
B1 –Tchaïkovski* Overture 1812 10:28
B2 –Rossini William Tell Overture 2:21
B3 –Handel From The Messiah, Pt. 2 - Hallelujah Chorus 6:02

Companies:
Record Company – M7 – MLF-187

Credits:
Arranged By – Portsmouth Sinfonia
Cello – Clive Richardson, Gary Rickard, Gavin Bryars
Clarinet – Andrew Tomsett, Brian Eno, James Lampard, Michael Flower Noelle Sasportas, Savva Savva, Simon Fisher Turner, Susan Featherstone, Suzette Worden, Tony Talbot, William Hodgson
Conductor – John Farley
Conductor [Choir] – Michael Parsons
Cornet – Chris Turner, Gerry Ellis, Richard Wulliamy
Double Bass – Angus Fraser, Brian Young, Ian Southwood*, Peter Clutterbuck
Euphonium – David Sauders*, Michael Nyman
Flute – Ann Shrosbree, Brian Watterson, Clive Langer, Debi Smith*, John Lawrence, John Mitchell, Patrick Allen
French Horn – Michael Archer
Oboe – James Gregg, Kate St. John
Percussion – Jenni Adams, John Ryder, Maggie Wooton*
Piano – Sally Binding
Producer – Brian Eno
Trombone – Alan Tomlinson, Maurice Joyce, Nigel Morley, Piers Rowlandson, Pip Morrison, Yvonne Spencer
Trumpet – John McPherson, Steve Beresford, Stuart Semark, Ted Brum
Viola – Beverley Legge, Joyce Trenherz, Linda Adams, Nigel Watson, Printz Holman, Simon Dale
Violin – Caroline Osbourne, Cherill Smith, Christiane Sasportas, Christine Shrosbree, Denise Hanson, Dirk Larson, Gary Bunby*, Imogen Morley, Janet Lowe, Jill Adams, Mark Hughes , Martin Champman, Michael Parsons, Michael Steele*, Nigel Coombes, Paul Buckton , Peter Beresford, Phil Woods, Phil Woods, Rachel Maloney, Richard Ellin, Richard Strange, Robin Mortimore, Sally Ridgway, Stefan Klima, Stephen Luscombe, Tom Puckey
Voice – Michael Bond


*Collectors Availability Rating: 10
(Legend 1=Common 10= Rare)
*Cover: Good
*Record-some very slight surface noise in a small area on Side 1/track1 due to age, otherwise plays well.
VINYL ALBUM GRADING/CONDITION- This album 7+

Guidelines for assessing the grading / condition of used records (based on Goldmine Grading for Records)
MINT (M): Perfect! This record looks like it has just left the manufacturer, with NO flaws what so ever. It looks as though it had never been handled. No scuffs or scratches, blotches or stains. No stickers address labels, writing on the covers or labels. No tears or seam splits. No wear to the cover or record period! Age of the record has nothing to do with it.
NEAR MINT or NM, M- : this record appears virtually flawless A very minor scuff and very little else can appear on the vinyl. It should play without any noise over the flaw. The flaw is very hard to see. The cover looks as close to perfect with only minor signs of wear and or age. Minor impressions to the cover (due to the outer edge of the vinyl resting inside) may be acceptable, however the artwork is be as close to perfect as can be.
EXCELLENT or EX or VG++ : minor scuffs which are only slightly visible. There may be more than a few scuffs and NO Scratches COVER: Artwork is still as close to perfect as can be. Some impression to the cover (minor outer ring wear) but no ink wear! Some slight creases to the corners, but not wrinkled and obtrusive to the eye. The corners can show white (where the artwork pasted slick was) meaning, slight wear. No seam splits or writing on the cover or taped repairs can make this grade.
VERY GOOD PLUS or VG+ record shows wear, surface scuffs. The vinyl still has a great luster, but the flaws will be noticeable to the naked eye. If the flaws don't cause any surface noise, the vinyl can still make the VG+ grade. COVERS: A virtually clean cover, but may have small writing on it.The artwork looks clean with slightly more aging. The back of the cover usually gives away the age of the cover. Flat white paper will be somewhat yellow yet no stains or mildew from water damage. Some minor wear to the seams or spine, but no tears or holes popping through. The corners will be slightly dog eared yet no crackly bends, defacing the artwork. In essence, a VG+ cover should have no more than 3 flaws mentioned.
VERY GOOD or VG: this record is a record that is good enough. They are not really going to look very good, but it will STILL play very good. there will almost always be some surface noise when they are played. The Dynamics should still be excellent, overpowering the surface noise. A VG record will appear well have been played but still have some luster. VG covers will look worn, used. There may be some seam splitting . There will be some ring wear, where the ink has begun to wear off. Giving the cover a look of snow falling. If the artwork looks snowy all over, it is less than VG condition. There may be some writing on the cover (still, no Large letters in magic marker). It will look aged and more yellowish due to contamination's in the air (sometimes looking like cigarette smoke). Still it should be decent.
GOOD or G A good record will look very well played, dull, grayish and possibly abused. However a Good record should still play. It will have distracting surface noise. Such as crackle that is continuous or some hiss. Will also have some loss of dynamics caused from grooves being worn. It should play without any skips or any obtrusively loud pops or repeated clicks, caused by deep scratches. Good means that it will play with some form of decency, so one can still enjoy the music even though you can still hear noise caused from the wear. A Good cover will have just about everything wrong with it. It will have seam splits (possibly taped repaired, but only with scotch tape. No duct tape or masking tape repairs. These are big turn offs. May have magic marker writing on the cover but still if they are in huge letters, it is a big turn off.In essence, the cover will looked virtually trashed, but some artwork will still be noticed. If the artwork is worn, it is POOR and the cover is worthless.On a scale from 1 (Poor) to 10 (Perfect) the above gradings are equivalent to:
MINT - 10, Near Mint - 8, Excellent - 7, Very Good Plus - 6 , Very Good - 5 , Good - 2

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