INTRODUCTORY CHAPTERS
FOR THE OSBORNE RECORD GUIDE SERIES

Record values shown in the price guide are averaged using information derived from a number of reliable, proven sources.

The preferred form of communication by dealers and collectors is now e-mail. When it's time to prepare a revised edition — whether weekly for Cyberguides subscribers or for the annual printed volume — all of the mail we receive is carefully analyzed.

Since scanned images can easily be attached to an e-mail, we especially appreciate having them when possible. The actual label and cover art is still the most reliable source of the information we need for a complete listing.

For those who prefer to send photocopies of record labels and covers, simply use the U.S. Mail.

Whether you call it Northern Soul, Rare Soul, Hot Soul, or just plain ol' Soul music, this music form has certainly become the music marketplace darling of the past few years.

Realistically, it is a combination of all these monikers, and maybe one more: Expensive Soul. Or at least it can be.

As of this writing, some Soul record prices have soared into the $40,000 range!

Those are exceptions of course, but there are several thousand Soul singles selling for hundreds, and several hundreds selling for thousands of dollars. Each day we add more to the data base.

Unlike most all other collectibles, in the Rare Soul world there is absolutely no correlation between age and value. Often there is not even any association to the artist!

Numerous examples exist of Pop, Adult Contemporary, Teener Rockers, Blues, and Jazz artists having just one release that triggers the fancy of the Soul clubs and collectors.

Thus you will find we document a run of issues on the same label, for roughly the time period, at maybe $10 to $20. Then right in the middle of those is one valued at $500, or so.

Obviously it is not the mainstream collectors who are paying such prices, yet because those sales exist the guide must reflect it.

Since our very first book, in early 1976, we have said we can not and do not report prices offered by the people who don't want and don't end up with the records. That is still the directive.

Several printed publications and countless online essays exist that go into the history of Northern Soul, so we need not attempt to do that in great detail here. We shall, however, offer a very brief account for those with a passing curiosity.

Most Northern Soul music came out in America between 1960 and the mid-'70s, with the majority of the sought-after recordings issued between 1965 and '72. At the time, nearly everyone merely described these tracks as Soul music.

One by one, beginning in the mid-'70s, clubs and venues in Northern England began to feature medium and up-tempo American Soul music at their dances – but with a bit of a twist to what one would likely hear elsewhere on earth.

The songs making up their play lists tended to be obscure releases that did not sell when first issued commercially.

There are a few exceptions (i.e. Jerry Fuller, B.J. Thomas, Joey Scarbury, Timi Yuro, Joanie Sommers, Reflections, etc.), but most are by black artists — ones that never had a hit and would be unknown to just about everyone in the general population.

Those tunes that are by better-known acts (i.e. O'Jays, Gladys Knight, Edwin Starr, etc.), would likely be ones that did not become hits at all, or are perhaps the flip sides of hits.

Since being a rare piece of vinyl is a prerequisite, some in recent years have taken to calling this genre Rare Soul instead of Northern Soul. Can't argue much with that option since that is exactly what it is, and "Northern" is not a term with specific meaning to many folks not living in Great Britain.

For an example you can get your teeth into, we know that Sweet Soul Music became a huge hit in 1967 for a singer we had not heard of before, the late Arthur Conley.

Well, if Sweet Soul Music completely flopped, getting neither air play nor sales, it would almost certainly be a wildly popular Northern Soul recording.

Likewise, if Dancing in the Street had sold only 100 copies for Martha and the Vandellas, instead of a million, it might now be fetching $5,000 from Rare Soul collectors.

But big hits like those rarely qualify as a Rare Soul classic.

It is not an exaggeration to say that Soul prices change every day! Between the time any edition goes to the printer, and gets into distribution, you can be sure hundreds of Soul singles already have different values.

Fortunately, we are keeping up with all of the action.

It is our new online Cyberguides service that allows us to provide subscribers with a revised edition of  three of our guides – Rockin' Records; Soundtracks & Original Casts; and Various Artists Compilations – every week!

Probably more than collectors and dealers of any other music form, those in the Rare Soul field need the most current information available.

Our arrangement of listings is the most logical way to present so much information in a single volume. In use since 1984, our unique format is a proven success that offers unlimited potential for expansion.

The structure of Rockin' Records allows us to include all of the following in one multipurpose guidebook. Included are 7-inch singles, both 33 rpm and 45 rpm; 78 rpm singles; 12-inch singles, both 33 and 45 rpm; 33 and 45 rpm EPs (extended plays); 78 rpm albums, 10-inch and 12-inch LPs (long plays); picture sleeves; promotional issues, picture discs, and more.

Once you locate an artist's section, their records are listed alphabetically by LABEL. Individual listings for each label appear in numerical order. In many instances, listings that are numerical by selection number are also chronological in sequence of release, but there are times when this is not the case. This format is especially helpful when using the guide along with an artist or label discography. When known, a year or decade of release is provided for each listing, giving the reader the pattern being followed by the label at the time.

Since some parameters are necessary to decide which non-rock performers to include in Rockin' Records, the following guideline is used.

If a non-rock artist had either a single or album on the Billboard or Cash Box charts, all vinyl recordings known to us by that artist will be found in the guide. This allows for the most popular performers of country, western, jazz, personality, easy listening or other music style to be included, without trying to incorporate every record ever made into one book (although many want us to provide exactly that).

Though these are the parameters, exceptions are not uncommon. You will find many in this edition who had no charted recordings, but were chosen because of their overall significance in the collectors' marketplace. There are others included simply because we received requests from readers to add them. If there is someone you feel needs to be in this guide, who is not at this time, please write with that suggestion. We are always listening to your suggestions.

Remember, we're only talking about records and artists that are not particularly in demand here! If you have a collectible record not currently listed, we want it in the guide. What it sounds like or whether or not it charted anywhere is of no importance.

The pricing shown in this edition represents the price range for near-mint condition copies. The value range allows for the countless variables that affect record pricing. Often, the range will widen as the dollar amount increases, making a $500 to $1,000 range as logical as a $5.00 to $10.00 range.

One standardized system of record grading, used and endorsed by Osborne Enterprises as well as buyers and sellers worldwide, is as follows:

MINT: A mint item must be absolutely perfect. Nothing less can be honestly described as mint. Even brand new purchases can easily be flawed in some manner and not qualify as mint. To allow for tiny blemishes, the highest grade used in our record guide series is near-mint. An absolutely pristine mint, or still sealed, item may carry a slight premium above the near-mint range shown in this guide.

VERY GOOD: Records in very good condition should have a minimum of visual or audible imperfections, which should not detract much from your enjoyment of owning them. This grade is halfway between good and near-mint.

GOOD: Practically speaking, the grade of good means that the item may be good enough to fill a gap in your collection until a better copy becomes available. Good condition merchandise will show definite signs of wear and tear, probably evidencing that no protective care was given the item. Even so, records in good condition should play all the way through without skipping.

Most older records are going to be in something less than near-mint, or "excellent" condition. It is very important to use the near-mint price range in this guide only as a starting point in record appraising. Be honest about actual condition. Apply the same standards to the records you trade or sell as you would want one from whom you were buying to observe. Visual grading may be unreliable. Accurate grading may require playing the record (play-grading).

Use the following formula to determine values on lesser condition copies:

For VERY GOOD condition, figure about 25% to 50% of the near-mint price range given in this guide.

With many of the older pieces that cannot be found in near-mint, VG or VG+ may be the highest grade available. This significantly narrows the gap between VG and the near-mint range.

For GOOD condition, figure about 10% to 25% of the near-mint price range given in this guide.

It will surprise no one to learn that the gulch between good and mint is becoming a canyon. The drift toward widening the grading gap that began about 10 years ago shows no signs of slowing. To keep pace with this phenomenon, changes have been made in the guide to reflect the ever-increasing premiums being paid for mint condition items.

We know of no industry observers who forecast a reversal of this trend.

THE 10-POINT GRADING SYSTEM

Another recommended grading system is based on the often-used 10-point scale. Many feel that grading with the 10-point system allows for a more precise description of records that are in less than mint condition. Instead of vague terms, such as VG++ and M-- (is "very good plus, plus" the same as "mint minus, minus"?), assigning a specific number provides a more accurate classification of condition.

Most of the records you are likely to buy or sell will no doubt be graded somewhere between 5 and 10.

After using this system ourselves for a few years, agree that it is more precise. Customers who have purchased records from us have, without exception, been pleased with this way of grading.

10: MINT
 9: NEAR-MINT
 8: Better than VG but below NM
 7: VERY GOOD
 6: Better than G but below VG
 5: GOOD
 4: Better than POOR but below G
 3: POOR
 2: Really trashed
 1: It hurts to think about it

This table shows how the 10-point system equates with the more established terms.

All the price guides and reporting of previous sales in the world won't change the fundamental fact that true value is nothing more than what one person is willing to accept and what another is prepared to pay. Actual value is based on scarcity and demand. It has always been that way and always will be.

A recording — or anything for that matter — can be 50 or 100 years old, but if no one wants it, the actual value will certainly be minimal. Just because something is old does not necessarily make it valuable. Someone has to want it!

On the other hand, a recent release, perhaps just weeks old, can have exceptionally high value if it has already become scarce and is by an artist whose following has created a demand. A record does not have to be old to be valuable.

With the inconsistent language used by the record companies in describing an EP or an LP, we've determined that a language guideline of some kind is needed in order to compile a useful record guide.

Some labels call a 10-inch album an "EP" if it has something less than the prescribed number of tracks found on their LPs. Others call an EP a "Little LP." A few companies have even created special names, associated only with their own label, for the basic record formats.

Having carefully analyzed all of this, we have adopted the following classifications of record configurations, which consistently categorize all types, sizes, and speeds in one section or another:

Singles: 78 rpm are those that play at 78 rpm. Though 78s are almost always 10-inch discs, a few 7-inch and 12-inch 78 rpm singles have been made.

Singles: 7-Inch can be either 45 rpm or 331/3 (always referred to simply as "33") speed singles. If a 7-inch single has more than one track on either side (three or more total) we consider it an EP.

Singles are priced strictly as a disc, with a separate section devoted to picture sleeves (which are often traded separately). If we know that picture sleeves exist for a given artist, a separate grouping will appear for the label, price, and applicable year of release. Should you know of picture sleeves not documented in this edition, please advise us accordingly.

There have been a few 5- and 6-inch discs manufactured, but for the sake of keeping singles with singles (and since we don't want to establish a "Singles: 5-inch" category), such curios will be tossed in with the 7-inch singles, with an explanatory note.

EPs: 7-Inch are 7-inch discs that have more than one track on one or both sides. Even if labeled an "EP" by the manufacturer, if it's pressed on a 10- or 12-inch disc it's an LP in our book. Unless so noted, all EPs are presumed to be accompanied by their original covers, in a condition about equal to the disc. An appropriate adjustment in value should be made to compensate for any differences in this area. Exceptions, such as EPs with paper sleeves or no sleeve at all, are designated as such when known.

LPs: 10/12-Inch is self-explanatory. The only possible confusion that might exist here is with 12-inch singles. If it's 10 or 12 inches in diameter, and labeled, priced, and marketed as a 12-inch single (Maxi-Single, etc.), then that's where you'll find it in this guide, regardless of its speed. Often, 12-inch singles will have a 12-inch die-cut cardboard sleeve or jacket; but many have covers that are exactly like LP jackets, with photos of the artist, etc. Unless so noted, all LPs are presumed to be accompanied by their original covers, in a condition about equal to the disc. An appropriate adjustment in value should be made to compensate for any differences in this area.

Other record type headings used such as Picture Sleeves, Promotional Singles, etc., should be clear.

The cross-referencing in Rockin' Records should provide the easiest possible method of discovering other sections of the book where a particular artist is featured or appears in any capacity.

We've tried to hold to a minimum unexplained cross-references, opting to concentrate more on those cross-references for which the reader can effortlessly understand the rationalization. Minimized is the unnecessary duplication of cross-references. For example, it is not necessary to list every group in which Eric Clapton played under each and every one of those sections. What we've done is simply indicate "Also see Eric Clapton," where you will find complete cross-referencing to all other sections where he appears.

Some artists have several sections, one right after the other, because they were involved in different duets and/or compilation releases. In such instances, the primary artist (whose section begins first) is not cross-referenced after each and every subsequent section, but only after the last section wherein that artist is involved. This in effect blocks the beginning and the end of releases pertaining to that performer. If you don't find the listing you're searching for right away, remember to check the sections that follow, as the artist may have been joined by someone else on that recording causing it to appear in a separate section.

Cross-references in bold typeface are charted artists; those in normal typeface did not chart.

Artist headings and resultant cross-referencing appear in two different formats in this guide. For example:

LEWIS, Jerry Lee, Carl Perkins & Johnny Cash

Listings under this type heading are those wherein the artists perform together. Often these releases will also include solo tracks by one or all of the performers in addition to those on which they collaborate.

LEWIS, Jerry Lee / Carl Perkins / Johnny Cash

This heading, with names separated by a slash, indicates there are selections on separate tracks by each of the named artists, but they do not perform together.

ISLEY BROTHERS & DAVE "BABY" CORTEZ

This heading, with all names in upper case letters and no slash, indicates the artists perform together.

ISLEY BROTHERS / Brooklyn Bridge

This heading, with names after a slash that are in upper and lower case, indicates artists that perform separately — usually each being heard on one side of the disc.

Though exceptions do exist, the general parameter set for such releases is four different performers or less. Compilations containing five or more individual performers are deemed as Various Artists issues, to be dealt with in a separate publication.

Whenever more than one act is featured on a record, cross-references appear under all of the other artists on the disc, who have a section of their own in this edition, directing the reader to the location of the listing in question. If you're looking up a record with a different artist on each side, and you don't find it under one artist, be sure to try looking for the flip-side artist.

Not all releases containing more than one artist are given separate sections. In some cases it makes more sense to include such records in the primary section for the most important artist. We will rarely create separate sections for multiple artist discs when the other performers on the issue do not have a section of their own in this edition.

To illustrate this point, Hank Williams Jr. had several duet issues with Lois Johnson; Gene Ammons shared an LP with Sonny Stitt. Even though Johnson and Stitt do not have individual sections in this book (they didn't make the Billboard pop singles or LPs charts), such recordings may be important to collectors of Williams and Ammons. For that reason, they are included in their respective artist's section.

On the other hand, a duet by Brenda Lee and Willie Nelson requires a separate section, since either or both may be of interest to the researcher. Also, both are individually pop-charted artists. There are a few isolated exceptions to this policy, simply because every section in this edition was separately prepared and customized in whatever manner necessary to provide the user with the most usable information.

Separate documenting and pricing of promotional issues is, in most cases, unnecessary. Because most of the records issued during the primary four decades covered in this guide were simultaneously pressed for promotional purposes, a separate listing of them would theoretically double the size of an already large book.

Rather, we've chosen to list promotional copies separately when we have the knowledge that a significantly different price (either higher or lower) consistently is asked for them. For the most part, promos of everyday releases will fall into the same range — often but NOT ALWAYS toward the high end — given for store stock copies. Some may stretch the range slightly, but not enough to warrant separate pricing. Premiums may be paid for promos that have different (longer, shorter, differently mixed, etc.) versions of tunes, even though the artist may not be particularly hot in the collecting marketplace.

When identified as a "Promotional issue," we are usually describing a record with a special promotional ("Not For Sale," "Dee Jay Copy," etc.) label or sleeve, and not a designate promo. Designate promos are identical to commercial releases, except they have been rubber or mechanically stamped, stickered, written on by hand, or in some way altered to accommodate their use for promotional purposes. There are very few designate promos listed in this edition, and those that are (such as in the Elvis Presley section) are clearly identified as such.

Records known to exist on both black vinyl and colored vinyl (vinyl is the term used regardless of whether it's polystyrene or vinyl) are listed separately since there is usually a value difference. However, some colored vinyl releases were never pressed on black vinyl, and since there is no way to have the record other than on colored vinyl, it may or may not be specifically noted as being on colored vinyl.

Because the true color of some colored vinyl pressings may be a judgment call, we once used "colored vinyl" to indicate discs that are not standard black vinyl.

We are gradually replacing "colored" with the specific color used. If you know the exact color of any records still shown in the guide as "colored," please send us that information.

Originally, Rockin' Records listed only U.S. releases. Now, there are many exceptions. A handful of records that were widely distributed in the United States or sold via widespread U.S. advertising, even though manufactured outside the country, are included. Such anomalies would appear only in the more sophisticated sections of the guide.

There are also numerous Canadian releases included, with more being added to each new edition. The collectors' market for out-of-print Canadian records is mostly a U.S. market. The trading of rare Canadian discs between Canadian collectors is not quite as widespread as those instances that involve a U.S. buyer or seller. Yet it is from Canadian collectors that we receive most of our information on those releases, and we expect to have more listed in future editions.

Thanks to a team of Canadian collectors — especially Peter McCullough — our number of Canadian listings increases with each edition.

Beyond North America, there are millions of overseas releases with collector value to fans in those countries as well as to stateside collectors. Unfortunately, the tremendous volume of material and the variances in pricing make it impossible to comprehensively document and price imports.

Bootleg and counterfeit records are not priced in this guide, though a few are cited, along with information on how to distinguish them from an original.

For the record, a bootleg recording is one illegally manufactured, usually containing material not previously available in a legitimate form. Often, with the serious collector in mind, a boot will package previously issued tracks that have achieved some degree of value or scarcity. If the material is easily available, legally, then there would be no gain for the bootlegger.

The counterfeit record is one manufactured as close as possible in sound and appearance to the source disc from which it was inspired. Not all counterfeits were created to fool an unsuspecting buyer into thinking he or she was buying an authentic issue, but some were. Many were designated in some way, such as a slight marking or variance, so as not to allow them to be confused with originals. Such a fake record primarily exists to fill a gap in the collector's file until the real thing comes along.

With both bootleg and with counterfeit records, the appropriate and deserving recipients of royalties are, of course, denied remuneration for their works.

Since most of the world's valuable records have been counterfeited, it is always a good idea to consult with an expert when there is any doubt. The trained eye can usually spot a fake.

This is not to say unauthorized releases are excluded from the book. There are many legitimate releases that are unauthorized by one entity or another; records that are neither bootleg nor counterfeit. Unauthorized does not necessarily mean illegal.

One problem that we'll never completely solve involves the many instances where groups using the exact same name are lumped together with other groups who are completely different. Whenever known to be different, these groups are given separate sections; however, there are times when we simply do not know. If you can shed any light in this area, we'd love to hear from you. Thanks to readers, many such groups have been sorted since our last edition.

The listing sequence for artists using the same name is chronological. Thus the ABC group, Silk, who had a release in 1969, is listed ahead of the Philadelphia International group, Silk, that first recorded in 1979.

As often as not, there will have been group members that have come and gone over the years. Reflecting this turnover in our listing of members' names may cause some confusion, when the reader sees 12 different members shown for a group named the Five Satins. We've tried, whenever possible, to list the original line-up first, followed by later members. Also, the lead singer is usually listed first. We welcome additional information on group members from readers. One of the most reliable sources of this data is the LP covers, which often list members. If you can fill in the members' names on any groups where we don't list that information, we'll see that it gets into our next edition.

When group members' names are given, there is a likelihood that not all of the members named appear on all of the releases documented. It is also possible that not all of the members named ever recorded with all of the other members shown at the same time.

When names are given for a solo performer, those named are likely noteworthy sidemen.

As more and more group members are named in future editions, there will be added cross-referencing to reflect the constant shuffle of performers from one group to another.

Some of the information that may be found in parentheses following the artist heading has already been covered. However, other uses of this space include:

Complete artist and group or artist and band names. Some artists were shown as being with one group on a few releases, solo on some, and with yet another group on other issues. We've tried to present the information the way, or ways, that it is shown on the actual record label. When encased in quote marks, it means that this particular wording or credit variation is exactly as shown on the label.

Variations of spelling or names for the same artist. With some artists, it's convenient to have everything in one section; however, when it is illogical to combine listings, perhaps because the performer was popular under more than one name (such as Johnny Cymbal and Derek), you'll find individual sections for each name. Cross-references will be used to help you locate things easily. Having "Kenneth Rogers" in parentheses is not intended to mean that Kenneth is Kenny's real name. Rather, we're letting you know that on at least one of his records he is credited as Kenneth Rogers instead of Kenny Rogers. Same goes for Tony Perkins, who may also be credited as "Anthony Perkins." We may at times provide real names of artists, but only when we feel they need to be given. While we have no desire to give the real names of everyone who has recorded under a pseudonym, there are times when you do need this information. This is especially true when they have also recorded under their real name or when more than one person has recorded under the same pseudonym. To help sort things out, we will, when known, give you the real name of someone who has recorded under a nom de guerre, such as Guitar Slim (a.k.a. Johnny Winter).

Names of guest performers who may or may not be credited on the actual label, but who we feel you should know were involved in some of the records listed in that section.

An effort has been made to include many "oldies" or reissue records in the guide. Though many reissues of this type are of no value beyond their current retail cost, some are. Look at some of the early RCA Victor Gold Standard Series Elvis Presley releases, for example. Once in a blue moon a tune will turn up in true stereo on a reissue label that was previously hard to find in stereo. Otherwise, it's just our desire to report comprehensively on all artists that prompted the listing of reissues.

The main reason we've included these reissues is to eliminate confusion, especially among younger collectors. Often, they'll discover a hit tune on a label like Lana or Lost-Nite, and think it's an original release predating the label that had the hit.

If there are reissues numbered as part of a label's standard release series, and not documented in this edition, please tell us about them.

A few of the more prolific labels with lengthy names are abbreviated in this guide. They are:

ABC-PAR: ABC-Paramount

GNP: GNP/Crescendo

MFSL: Mobile Fidelity Sound Lab

RCA: RCA Victor

SSS/SUN: Shelby Singleton's Sun (Sometimes shown as SSS INT'L.)

20TH FOX: 20th Century-Fox

U.A.: United Artists

W.B.: Warner Brothers

Notes: The short-lived (1959) Warner records label is shown as "Warner." Excelsior's old United Artist (singular) label is spelled out. The late-'60s Minnesota label "UA" is not shown with periods, as is United Artists. Records on the old Memphis Sun label are of course identified simply as "Sun."

The alphabetization in Rockin' Records makes finding any artist or label easy, but a few guidelines may speed the process along for you:

Names that are simply letters (and are not intended to be pronounced as a word) are found at the beginning of the listings under each letter of the alphabet (i.e., ABC, AC-DC, GQ, SSQ, etc.). The same rule applies to acronyms (i.e. B.R.A.T.T.S., etc.) and to initialisms (i.e. MFSB, etc.). If a series of letters that stand for a longer name can be pronounced as a word, such as "Bratts," it is an acronym. If not, as with MFSB, it is an initialism. When known, we'll parenthetically tell you what the abbreviation represents.

Names are listed in the alphabetical order of the first word. This means you'll find Rock Squad before Rocket. Hyphenated words are looked upon as whole words (i.e., Mello-Kings is treated the same as Mellokings). Divided names or names with Spanish articles (i.e., De Vorzon, Del Satins, El Dorados; Las Vegas, Los Lobos, etc.) are alphabetically listed as though they were a one-word name.

Possessive names precede similarly spelled names that are not possessive. For example, KNIGHT'S would be found before KNIGHTS, regardless of what follows the comma.

It is flabbergasting to discover how many of the people responsible for crediting bands and groups on record labels have no understanding (or schooling) regarding when to use a possessive apostrophe. This is by far the most frequently found mistake on labels — one which we refuse to blindly copy for our artist headings, lest anyone think that we don't know better. However, for those labels that do credit groups like — to use an actual example — the Capitols (on Gateway) as CAPITOL'S, we will indicate that senseless variation under the artist's heading, in parentheses.

The articles "A" or "The" have been dropped from group names in this guide even though they may appear on the records as part of the name.

With record labels, listings appear in 1) alphabetical, 2) numerical, and 3) chronological order. Selection prefixes are generally not used (they make it more difficult to scan the numbers) unless they are necessary for identification. With some artists (Beatles, Elvis, etc.) it is essential at times because of constant reissues.

Some sections make use of the label prefixes to sort things out, but most use a number series. If the numbers are duplicated by the label, or if any of a variety of confusing similarities exist, we may resort to the prefixes for clarity. You may also find a prefix used for the vinyl listing, where it is needed for pricing, and not for a corresponding picture sleeve, where it is unnecessary for that purpose.

Regarding 78 rpms. As to which late '50s and early '60s tunes came out on 78s, we cannot safely assume much of anything. If you know of 78s from the end of the 78 rpm era that we do not list, please advise us accordingly. We would be especially happy to learn of charted hits issued after 1957.

Anytime we find that the monaural or the stereo issue of a particular record is in need of a separate listing (because there is a price difference for one that is outside the boundaries of the price range of the other), we will gladly provide same. If there is but one listing, this indicates that we have no reason to believe there is much difference in the two forms. A little application of the known variables will help in this area. For example, if the range is $20.00 to $40.00 for a 1960 LP and you know that the stereo issue is in true stereo, it's safe to place the mono at the low end of the range ($20.00 to $30.00) and the stereo at the high end ($30.00 to $40.00). The calculation may be reversed for late '60s and for most electronically reprocessed issues.

Singles picture sleeves are listed and priced separately, when known. However, EPs and LPs are presumed to have their original covers. Evaluate the condition of EP and LP covers just as critically as you would the discs, making appropriate allowances for flaws.

We believe the year or years of release given in the far-right column to be accurate. If we don't know the correct year, the column is left blank. In some cases the record may have been released in one year and debuted on the nation's music charts the following year. This is common for year-end issues and explains why you may remember a hit as being from 1966, although we list it as a 1965 release.

Entering the 21st century created a slight problem with the two digit indication of year of issue: how to know at a glance whether "01" is 1901 or 2001. We therefore indicate present century years using all four digits (i.e. 2000, 2001, etc.).

If you have delta numbers for records we do not have release years for, please send them to us. From those numbers we can often determine year of issue. Delta numbers are found etched in the record's vinyl trail-off area.

When multiple years are indicated, such as "64-66," it means the records described on that line spanned the years 1964 through 1966. They may have had one issue in 1964 and another in 1966, or may have had eight releases during those years. It does not mean that we believe the release came out sometime between 1964 and 1966. If the exact year is not known but the decade of release is, then we will provide that ('50s, '60s, '70s, etc.)

When a selection number series, such as a "4000 series," is shown, it includes numbers 4000 through 4999. If it were meant to indicate only 4000 through 4099, then separate listings would be found for 4100, 4200, etc.

Goofy as it seems, a few records have been issued with neither artist nor label name shown. You will find this on both singles and albums. These items are filed here by title.

There are hundreds of multi-disc albums priced in the guide, though some may not be identified as having more than one disc. They are, nevertheless, included in the price range. Feel free to inform us of any unidentified multi-disc sets you catch.

Mislabeled records are usually no big deal. We constantly hear from folks who think they have struck gold because one of their records has its labels screwed up in some manner. Either they are reversed, with each side bearing the label intended for the other side, or mislabeled altogether with a label from an entirely different record — perhaps even by a completely different artist. Generally, production errors of this kind do not increase value. They may, in some cases, make the disc even less attractive to a collector. For those very, very few exceptions, the necessary information is already noted in Rockin' Records.

While this guide makes no attempt to fully document gospel recordings per se, the wonderful, soulful harmony of groups like the Swan Silvertones and Soul Stirrers make their records popular among rhythm and blues collectors. For that reason they are included. Others are being added on an as-requested basis.

To conserve space, when the same title is listed as both 45 and 78, we may not list the title in both sections if it requires more than one line. You may therefore find only the label name in the 78 section, whereas the complete number and title will be in the 45 section.

In most cases, we have no specifics regarding which 78s came on both black and colored plastic. Lacking comments to the contrary, all 78s are presumed to be black plastic.

With all recently added listings, when two (or more) releases came out in the same calendar year, a note reading "First issue" will indicate which came first. Most examples of this occurred with independent labels whose records got picked up by one of the major companies, and issued on their own label. Of course, if the years of release differ from one label to the other there is no need for the note. As we run across them, we will make a similar notation to the older listings in the guide.

When an artist is shown as making their chart debut on the LP charts, but we list no albums and only singles by them — it is because we have yet to confirm any vinyl albums. If you find vinyl LPs which we do not list, please let us know of them.

Since it is impossible for us to include every record ever produced, a few guidelines may assist you in evaluating records not found in this edition:

Rock Singles: Most pre-1970 Rock and Roll, R&B, Rockabilly, and Blues singles are in the guide. We would like to know of any that are missing so they can be added. There are too many variables to generalize regarding pricing recordings in these fields of music. Rock singles from the '70s to present are seldom going to sell for over $10.00, with most being available for less than $5.00.

Most pre-1970 Rock and Roll, R&B, Rockabilly, and Blues albums are in the guide. We would like to know of any that are missing so they can be added. There are too many variables to generalize regarding pricing recordings in these fields of music. Rock LPs from the '70s to present can usually be found for $10.00 to $20.00. Those from 1980 to present should be under $10.00.

Pop Singles on 45 rpm: Most Pop (i.e. non-Rock) vocal and instrumental 45s from the '50s are available for under $15.00. From many Rock-oriented dealers, Pop singles can often be bought for under $10.00. The few exceptions are likely to be folks with charted hits, and those will be found in the guide.

Pop music singles from the '60s to present are seldom going to sell for over $10.00. Many are available for $3.00 to $6.00.

Pop Singles on 78 rpm: Most are available for under $10.00. Albums of 78s — usually in a gatefold binder with individual paper sleeves — will vary, but most are in the $10.00 to $30.00 range.

Pop Long Play Albums: From the '50s, 12-inch Pop LPs generally are found for under $40.00. Ten-inch LPs may go for up to $75.00.

Most Pop LPs from the '60s and '70s can usually be found for $10.00 to $20.00. Those from 1980 to present should be under $10.00.

Pop Extended Play Albums: Pop EPs are scarce, as are all EPs, but many are still very reasonable. Most can be found for $10.00 to $20.00, often for even less.

Easy Listening Music: The average easy listening record will be worth about half of the price ranges shown for Pop Music. Some exceptions, with higher values, are LPs by certain lounge music performers and virtually any with female models pictured in exotic settings and in alluring poses on their covers.

Country Music on 45 rpm: Most Country vocal and instrumental 45s from the '50s are available for under $15.00; many for less than $10.00. Obvious exceptions are any that border on Rockabilly. Don't take any Country record for granted! Play both sides of every disc, as it is always possible you'll discover a great country rocker.

Country music singles from the '60s to present are seldom going to sell for more than $10.00. Many are available for $4.00 to $6.00.

Country Music on 78 rpm: Most of the Country 78s should fall into the $10.00 to $40.00 range. There are, however, many older 78s with prices well into three figures; some even higher.

Country Music Long Play Albums: From the '50s, 12-inch LPs generally are found for around $30.00 to $60.00. Ten-inch LPs may go for from $50 to $100. As always, the range will vary widely depending on the following and collectibility of the artist.

Most Country LPs from the '60s to present can be found for $15.00 to $25.00. Again, there are exceptions.

Country Music Extended Play Albums: Very, very few Country music EPs were big sellers, which means nearly all are rare. You may find they are in the same price range as the '50s LPs above; some will bring even more than LPs from the same time period.

Jazz Singles on 45 rpm: Most Jazz 45s from the '50s are available for under $15.00. The few exceptions are likely to be artists with charted hits, which will be found in the guide.

Jazz singles from the '60s to present are seldom going to sell for more than $10.00. Many are available for $3.00 to $6.00.

Jazz Singles on 78 rpm: Most Jazz 78s are available for under $20.00, though are exceptions. Until the late '40s or early '50s, an album was a gatefold binder with a number of 78s, usually in individual paper sleeves. Prices on these Jazz albums will vary, and there are some pricy exceptions, but most will fall in the $25.00 to $75.00 range.

Jazz Long Play Albums: From the '50s, 10- and 12-inch jazz LPs vary widely and can be found for under $50 to and over $1,000. Checking online sales and other jazz sources is recommended.

Most Jazz LPs from the '60s to present can still be found for $20.00 to $40.00. Again, checking online sales and other jazz sources is recommended

Jazz Extended Play Albums: As with Country, very few Jazz EPs were big sellers. While all are rare, there is not as much demand for them from jazz collectors as for long-play albums. Of course, outside Jazz circles there is virtually no demand for them. You may find they are, in general, worth little more than the prices of Jazz singles from the same time period.

Comedy, Personality, and Spoken Word Long Play Albums: From the '50s and '60s, 12-inch Comedy and Personality (not Soundtrack or Original Cast) LPs generally are found for under $20.00 to $40.00.

Most Comedy and Personality LPs from the '70s to present can be had for $10.00 to $15.00.

If we really wanted to add another 100,000 or so listings, we could open the door wider to pre-war Blues 78s. While that is not possible, you will indeed find quite a number of pre-war Blues records in the guide, but that's usually because those artists either charted or continued to record during the post-war years and are included here for that reason. If you don't find what you're looking for in the guide, check online sales sources. Many are now fetching high prices.

In summary, there is no way these few paragraphs can constitute a complete price guide for the millions of non-Rock records that exist. If such generic generalizations were possible, while guaranteeing unerring accuracy, the entire price guide would be about ten pages. It is the exceptions that make record pricing so complicated and difficult to document. Our goal here is simply to provide a rough idea of the value of recordings that are outside the parameters of the guide.

As most know, there is a noteworthy difference between the prices reported in this guide and the prices that one can expect a dealer to pay when buying records for resale. Unless a dealer is buying for a personal collection and without thoughts of resale, he or she is simply not in a position to pay full price. Dealers work on a percentage basis, largely determined by the total dollar investment, quality, and quantity of material offered as well as the financial condition and inventory of the dealer at the time.

Another very important consideration is the length of time it will take the dealer to recover at least the amount of the original investment. The greater the demand for the stock and the better the condition, the quicker the return and therefore the greater the percentage that can be paid. Our experience has shown that, day-in and day-out, most dealers will pay from 25% to 50% of guide prices. And that's assuming they are planning to resell at guide prices. If they traditionally sell below guide, that will be reflected in what they can pay for stock.

If you have records to sell, it would be wise to check with several shops. In doing so you'll begin to get a good idea of the value of your collection to a dealer.

Also, consult the Directory of Buyers and Sellers in this guide for the names of many dealers who not only might be interested in buying, but from whom many collectible records are available for purchase.

More and more folks are accessing the Internet for every conceivable purpose, including buying and selling stuff.

Being able to shop and sell online from one's home is understandably becoming more popular every month. If you have internet access, and have yet to explore electronic buying and selling, you should consider joining the fun.

Auction sites are plentiful; however, ones for those who prefer set prices are not.

To meet that need, we created Osborne Collectibles. Our site provides a surprisingly inexpensive way to offer collectibles to the online world.

The purpose of this guide is to report as accurately as possible the most recent prices asked and paid for records within the area of its coverage. There are two key words here that deserve emphasis: Guide and Report.

We cannot stress enough that this book is only a guide. There always have been and always will be instances of records selling well above and below the prices shown within these pages. These extremes are recognized in the final averaging process; but it's still important to understand that just because we've reported a 30-year-old record as having a $25.00 to $50.00 near-mint value, doesn't mean that a collector of that material should be hesitant to pay $75.00 for it. How badly he or she wants it and how often it's possible to purchase it at any price should be the prime factors considered, not that we last reported it at a lower price. Of course, we'd like to know about sales of this sort so that the next edition can reflect the new pricing information.

We may report a record for $500 to $1,000, which may have been an accurate appraisal at press time. However, before the new edition hits the streets, the price might be $1,000 to $2,000. One or two transactions and six months later it jumps to $2,000 to $4,000. By the time we're close to the following year's guide, this same disc may be considered a bargain at $5,000.

At that point, people may look at the guide and wonder how we could show $500 to $1,000 for a $5,000 record. "Our price is a joke," you'll hear. And at that point it is.

As in other areas of living, inflation is an undeniable factor in rapidly rising prices of music collectibles

Another component in the inflation equation, however, is the trend for auctioneers to pick the high end of the price range shown in the guide — and make that the minimum bid.

Anyone wanting that particular record will likely end up paying more than the posted minimum amount.

Then the results get reported to us.

Some dealers send us only the winning bids, others also submit an average of bids received. A few even send along all of the bid amounts they get.

When we learn only of the winning bid, we'll do one of two things:

1. If the item is extremely rare and another sale is unlikely any time soon, we will probably position the winning bid in the middle of our price range. This allows for price movement in either direction.

2. If the item is not so scarce, and other sales are likely, we'll put the winning bid at the high end of the range. This usually provides a realistic price range, since the winning bid is by no means the medium offering — merely the top dollar bid. The average sale price is going to be something less.

Regardless of what the range is in our next edition, the cycle begins anew: a new auction is held, using our top price as the new minimum bid.

We mention this truism, not to infer there is anything unethical about the practice, but merely to share one explanation for constantly rising prices.

Meanwhile, please keep in mind that any of the world's more valuable records now have the potential to be worth considerably more in the near future than on the day when work ended on this edition. The key is simply this: Is it a money record in the first place? If so, remain open to surprising price increases.

Our objective is to report and reflect record marketplace activity — not to establish prices. For that reason, and if given the choice, we'd prefer to be a bit behind the times rather than ahead. With this guide being regularly revised, it will never be long before the necessary changes are reported within these pages.

We encourage record companies, artist management organizations, talent agencies, publicists, and performers to make certain that we are on the active mailing list for new release information, press releases, bios, publicity photos, and anything pertaining to recordings.

There is an avalanche of helpful information in this guide to aid the collector in determining what is valuable and what may not be worth fooling with.

Still, the wise fan will also keep abreast of current trends and news, either online or through the pages of publications devoted to his or her favorite forms of music.

COMING TO TERMS

Many releases are original soundtracks or original cast recordings, and many others contain music actually recorded in a studio and merchandised in such a way as to appear to be original recordings. Such recordings, often as collectible as the original recording of the show, are designated as "Studio Casts" or "Studiotracks" in this guide. Although there is really not much difference in the two terms, the preferred format of listing casts before soundtracks (if any), created the need for having two terms meaning the same thing.

Either way, these recordings were done at a studio recording session and are from neither the film score nor from a live stage show in front of an audience.

With the more popular shows, many studio session albums were made – far more than issued with the music of the original cast. A highly successful show with great music has always been a bandwagon upon which many others couldn't wait to jump. We have included as many of these studio cast releases as possible, realizing that a fan of a particular show may want to own or at least know about other renditions of that show.

There are only two types of soundtracks in this guide: movie soundtracks and television soundtracks. TV soundtracks are identified as such, which is to say that any soundtrack not shown as a TV soundtrack is from a motion picture release.

Not to be confused with studiotrack releases is the type of LP where an artist performs an assortment of tunes, one of which is a popular show tune. We make no attempt to be comprehensive in this area since there are probably a million albums of this type, though a few are sprinkled throughout the guide for one reason or another. An exception might be records where the title is the same as that of a show. Such albums are listed in the guide more for identification purposes than actual content, as well as to inform collectors that a particular LP is not exactly what its title might indicate.

Another borderline type of cast album is one made during a live performance. If the concert was broadcast via radio, television, or film, then it clearly belongs in this guide. The gray area involves significant concerts issued only on records, such as a Madison Square Garden or Hollywood Bowl performance. Feeling such recordings are usually outside the boundaries of this book, few live appearance albums are included. Those we have listed appear not because they contain a live show, but based on other factors – such as a Broadway theater performance or to complete the section of a certain artist.

INFINITE REISSUES

One area of endless complexities is the matter of original pressings vs. reissues. Many of the successful show albums have never gone out of print – many now on CD – which may result in a considerably lower value for the original issues than other releases of the same vintage. For some of these, it may be the death of vinyl recordings in favor of compact discs and cassettes, more than just because they are old, which will ultimately increase their value .

Prices in the guide are for the first pressing, even if means the first pressing of a reissue. As often as possible, we will provide the information necessary to identify each pressing. If a reissue uses the exact same prefix, catalog number, and packaging, it may create a situation where collectors are not overly concerned about having the first pressing. After all, reissues usually contain the exact same music. Sometimes only by having an original and reissue in hand can one discover some little detail that can be documented as the key to identifying which is which. In this area, the slight premium placed on these first pressings is more token than authentic.

An $8 or $10 reissue that is easily available will likely have a noticeably different label design than its original pressing. We may then show the original pressing at $10 to $12, knowing that any collector who was particularly seeking a first pressing would gladly pay the token premium.

Looking at any of the Elvis Presley Beatles soundtracks, for example, will reveal how prices can vary from original to reissue, to later reissue. While these are accurate prices among Presley collectors, who in many cases do not collect soundtracks per se, they may not be representative of prices paid by collectors of soundtracks for the sake of film music.

Still, if offered to the proper market, these prices can be obtained. Many similar examples exist with albums by other rock 'n' roll artists that have their own following outside the realm of soundtrack collecting. None of the prices in this guide were determined by what people who do not want the records would be willing to pay.

SURE IT SAYS "STEREO" – BUT IS IT?

Opinions certainly do vary with regard to rechanneled stereo. Some feel that a rechanneled (electronically simulated) stereo album is absolutely worthless – tantamount to the commission of an audio felony on the part of the record company. Their position is that the pure, original monaural sound is ruined by the fake stereo process, which, depending on the skill of the engineers, often makes the artists sound as though they were performing at the bottom of, well – a well.

Then there are those who actually prefer rechanneled stereo to monaural. They admit that while nearly everyone prefers true stereo, the rechanneled stereo tracks have an enhanced sound. They also point out – accurately – that because they didn't sell well, many of the rechanneled issues from the late '50s and early '60s are quite a bit rarer than their mono counterparts.

When the dust settles, we will likely find most rechanneled stereo releases priced about the same, if they were released simultaneously. Individual tastes can and ultimately will dictate any variances. An exception would be a rechanneled stereo release that appeared several years after the original monaural issue, in which case the mono LP would usually have the higher value.

When an album is known to be in rechanneled stereo, the designation "SE" (Stereo is Electronic) is used in parenthesis ahead of the catalog number.

"M" indicates a monaural release. "S" means either: a) definitely true stereo, b) we believe the LP to be true stereo, c) it is logical to assume it's stereo, or d) it is labeled "stereo" and we have yet to disprove that claim. Having not auditioned each and every one of the records in this guide, we know there are likely to be some that we show as "S" (stereo), that actually make use of some form of electronic stereo. It is also possible we may show an LP as "SE," when it does, in fact, contain true stereo. If you discover such errors, please bring them to our attention.

THIS 'N' THAT

Titles are listed in the alphabetical order of the first word. This means you'll find Red Tent before Redhead.

The articles "A," "An" and "The" have been dropped from the beginning of alphabetized show titles in this guide even though they may appear on the records as part of the name.

As important as composers and conductors in determining the collectibility of a record is the cast – the performers actually heard on the disc. We list as many of the performers as are known for each separate record, with special notations of interesting information occasionally included. A major source of confusion in this area is based on the way recorded music is marketed by the labels. Usually, and in large lettering, the stars of the show or film are billboarded on the front cover. However, the stars of the show are often not the same as is heard on the record. It is only the performers who appear on the record that we want listed in the cast section. When a film star is not a singer, but must appear to be singing in the film, a qualified singer will go into a studio and record the songs. The film star then simply lip synchs the lyrics. When this is done, it is the actual vocalist whose name we want to list. For this reason, many a well-known star is not listed in our cast, even though commonly associated with the show.

For the sake of consistency, we have narrowed the many different descriptive job titles down to two: composer and conductor. Both in the listings and in the Composer/Conductor/Cast Index, you will find those names who may actually be shown on the album cover as "lyricist," "musical director," "musical arranger," etc.

The Composer/Conductor/Cast Index has the names of all individuals known to have contributed to the records listed in this guide only. It is not intended to provide a complete filmography of its personnel.

With few exceptions, all titles listed are those of the record release and not necessarily the exact title of the show – though in most cases they are identical. When a likelihood exists that one might first look elsewhere for a show, a cross-reference should be there to point you in the right direction.

For shows recorded from both stage and screen performances, the stage (Original Cast, Original Revival Cast, etc.) listings are usually listed first. Following those are Movie and TV Soundtracks, and then Studiotracks. These groupings are irrespective of performance and release dates – casts precede soundtracks even if the cast came out after the soundtrack. Those dates are taken into consideration when sorting the listings within a grouping.

We believe the years of shows and releases in the guide to be accurate. If we don't know the correct year, the column is left blank. Any assistance to help fill in the blanks would be appreciated. When the release date of a reissue is not known, the designation "Re" will appear in the year of release column, thus identifying the album as a reissue.

Comments and informative notes placed on the line directly below the record listing generally apply only to the release above the note. When the note describes more than just that one record above, appropriate wording, such as "Gatefold covers" (plural) is used. With most, common sense easily dictates to which entries a note applies.

Inexplicably, some show albums exist on discs without a label name, some without a selection number, and, in some cases, they have neither. When a label name is either not shown or is just not known to us, wording such as "No Label Shown" is used. If the selection number is either missing or is not known to us, we'll indicate "No Number Used." If a label name or number is in fact used on any of these, please contact us with the appropriate data and we will make the corrections.

We now include some 45 and 78 rpm soundtrack singles. Usually more important than the records themselves, however, are accompanying sleeves that picture a film scene and/or film stars. Other singles of special interest are those that make available a tune not found on the albums of the show in question. It is ones from these categories we have selected for inclusion in this printing. So, while the few you'll find here represent merely a step in yet another direction, we will not be making any claims of comprehensiveness in this area in the near future.

There are hundreds of multi-disc LPs and EPs documented in the guide, and most are identified as such. If there are ones we've missed, please let us know. The same goes for other noteworthy details, such as boxed sets, inserts, bonus booklets, photos and posters.