Сколько стоили пластинки Битлз в Англии 63-69 г.г.?

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№ 1
“1000 Record Covers”
Michael Ochs
2001 TASCHEN GmbH, KOLN LONDON MADRID NEW YORK PARIS TOKYO

Introduction
When rock and roll and I were both very young, we started a friendship that has had its ups and downs, but has lasted many years. When first introduced to rock in the early fifties, I decided that I had to know everything about this new companion. My goal in life was to hear every rock record made. Now that my collection numbers well over 100,000 records, it gets increasingly difficult to see the trees for the forest. When I agreed to do this book, I looked forward to not only seeing the trees again, but also looking back at the roots of my record collecting mania.
The first records I remember seeing at home in the early fifties were my father's albums by such artists as Louis Armstrong, Louis Prima, Julie London and Doris Day. At the beginning of my teenage years, I wasn't hip enough to appreciate Prima and Armstrong, but the Doris Day and Julie London records definitely caught my eye, if not my ear. Actually, rock and roll did not introduce me to sex, the cleavage covers of the Day and London albums did. In 1951, my parents bought us kids our own 78-rpm record player. The first record I remember playing till the grooves wore off was Frankie Lame's Jezebel backed by Rose, Rose, I Love You. Owning your own records sure beat the hell out of being at the mercy of the radio. Although Columbia Records introduced the 33 1/3-rpm album in 1948 and RCA announced the 45-rpm single the following year, the 78-pm disc reigned supreme until the mid-fifties when RCA literally gave away 45-rpm record players free to promote the 45-rpm record.
My record buying began with rock and roll 45 as they only cost 89 cents, albums were $3.98. On an allowance of 50 cents a week, purchasing records was not easy. The first 45 I bought was Bill Doggett's Honky Jonk, a safe investment, an instrumental with no words to get tired of. However, buying one record every two weeks could not sate my record collecting needs, so I soon turned to a life of crime. I made a box with a false bottom which I would take into the listening booth at my local record store. For every record they saw me take in to the booth, 3 or 4 more would magically disappear into the box. I must have stolen hundreds of records before my greed got the better of me. I heard a new record called Letter To An Angel by the Five Shillings on the radio one week and knew I had to steal it from the store as soon as possible as it was a very black record that would quickly disappear as it was too ethnic for continued air play. There were no other customers in the record store when I got there, so there were no distractions for the clerks. In my head I knew that it was too dangerous, but my heart got the better of me. Sure enough I got caught and arrested. I swore it was my first time, and besides, they only caught me with one record, so they let me go - after informing my parents of my crime. After I was properly punished by my father, he felt sorry for me and told me that when he was a kid and couldn't afford new records, he used to buy them used from jukebox companies.
The next weekend, I raced downtown to check out all the jukebox companies I could find. Sure enough, they did sell used 455 for 25 cents each; however, I could still only afford two records a week. Then I found out that in the hospital where my father worked there was a terminally ill disc jockey. I went to visit him and asked if he'd like to do a radio show for the other patients through the hospital sound system. He said he'd love to if there were just some way to get the records. I told him I'd return next week with records.
I went back to all the jukebox companies and got them to donate records for the hospital. I didn't get to keep the records, but I soon had hundreds of records a week passing through my house. As a teenager I didn't care about ownership, I just had to hear as much music as possible, and now I knew I could get 455 for free legally.
The first L.P. I ever bought was the second Elvis Presley album, not because I didn't like the first one, but because I found the second one on sale at a hardware store for $1.98 rather than the standard $3.98 price. Getting my first album was very similar to getting my first girl-friend. Ah, the anticipation on the ride home. I stared at the beatific picture of Elvis on the cover, turned it over and read the liner notes, fondled the cover, peeked inside at the inner sleeve, looked at the vinyl, paused and then went back over every inch of the cover again. All that foreplay, before I even got home to lay the record on the turntable, was exquisite. Much to my surprise, it was all killer, no filler. Most rock albums I had heard at friends' houses contained just a hit or two and a lot of extraneous material. Soon I was collecting albums as well as singles.
For a number of reasons, albums seemed much more adult than singles. Albums were showcased on shelves and not kept in portable boxes, and albums expanded the aural experience with their visuals; albums were 5 inches bigger and 4 times more expensive, and you could hold the album cover while listening to the music and the music played for almost 20 minutes before you had to change records: no comparison, one was an affair while the other was a relationship.
However, the relationship most kids had with the music was through the radio, not through record collections. Early fifties' radio was dominated by the solo crooners like Perry Como, Doris Day, Nat "King" Cole, Joni James, Frank Sinatra, Tony Bennett and groups like The Chordettes, The Crew Cuts, The Four Lads, The Ames Brothers and The McGuire Sisters.
Soon, almost every town in the country had a local disc jockey who was, or at least sounded, black. In my hometown of Columbus, Ohio, our local station, W.C.O.L., hired Dr. Bop for the midnight to 6 a.m. shift. I used to lie in bed pretending to sleep while awaiting the good doin' doctor to come on the air and announce, "This is Dr. Bop on the scene, with a stack of shellac and his record machine". In the Buddy-Holly-movie tradition, Dr. Bop actually did lock himself in the studio one night so he could continuously play It's Only Make Believe all night long. Not only did this make Conway Twitty a star overnight, but he also played Columbus that week for free just to make sure the record sold through. Not long after that, Dr. Bop got fired for dedicating It Only Hurts For A Little While to all the virgins on Broad Street.
Продолжение следует...

№ 2 Окончание...
Having seen Twitty live, I soon started attending Alan Freed rock shows. In 1957 and 1958, I saw Clyde McPhatter, LaVern Baker, Frankie Lymon, the Everly Brothers, Chuck Berry, Jerry Lee Lewis, Joe Turner and Buddy Holly, just to name a few. Now my music mania was way out of control. I lived, breathed and even ate rock and roll - literally. I remember talking my mother into buying certain foods 'cause they had coupons you could redeem for free records. My final English paper in high school was a defense of rock and roll.
In 1960, I graduated high school and was off to college, leaving all my records at home, taking only the first three Bo Diddley albums with me. I got thrown out of more parties because of those Diddley records. At the college parties, everyone was interested in getting some, and I don't mean music, so the most played records were those of the makeout variety, especially Johnny Mathis' Open Fire Two Guitars. I kept trying to put Bo on the turntable and turn everyone on to the first feedback guitar on record. Needless to say, I did not exactly become a big man on campus with these tactics. Come to think of it, nor did I get any. All those tall tales about rock and roll driving women into sexual frenzies were not ringing true.
The best record store near the campus was run by an ex-associate of Sam Goody's record store chain. I soon became friends with the owner of the store and he confided to me how he got his store started. He and Sam got into an argument about money owed which Sam did not deal with to my friend's satisfaction. So, one night, my friend stole one of Sam's trucks full of records at gunpoint and drove it as far as it would go. He opened his record store where the truck finally died. Now it wasn't just the records that fascinated me, but the record industry too.
So, in 1966, fresh out of college, I headed out for western skies. Most of my friends were moving to San Francisco, so I went there first. Driving across the Golden Gate Bridge, You're Gonna Miss Me by the Thirteenth Floor Elevators came on the radio. If this was the kind of music coming out of Frisco, then this was my kinda town. After finding out that the Elevators were from Texas and the local bands were actually the Charlatans, Quicksilver and the Grateful Dead, I headed south to L.A., home of the Byrds, Love and the Buffalo Springfield.
I worked as a photographer, shooting such acts as the Chambers Brothers, the Raiders and Taj Mahal for their record companies. I got $50 per session and all the records I wanted for free. Then I started writing about music for the underground press. After my third article was published, I was offered a job as a publicist for Columbia Records - $200 a week but, once again, all the records I wanted for free.
When I left college, I had given all my records away except for a hundred of my favorites. True sixties hippie, I swore that I would never have more possessions than I could fit in the car I owned at the time, an oath I soon forsook. While at Columbia I told an associate about my teenage life of crime and how I was arrested for stealing that Five Shillings record and how I'd love to find it again. I found out that it was now a $40 record - if you could find it. I went into full panic mode as I realized that the music I'd grown up with might never be available to me again. I decided then and there to rebuild the collection no matter what, and it did end up taking every spare moment.
First I went through the Columbia catalog, ordering thousands of albums; then, there were all the trade deals with friends at the other record companies - "I'll send you the complete Miles Davis catalog in exchange for the complete Beatles and Beach Boys." You see, back then, world was adopting the same lifestyle. The music and the musicians were accessible to everyone as the royal 'we' became the 'We' generation. The artists and the audiences seemed to have as much control of the music as the record industry did. There were even tribal gatherings called festivals that further united this musical movement. Pop music was so prevalent a part of pop culture that even the paramount pop artist, Andy Warhol, started designing album covers.
By the mid-seventies, music had grown from a business to an industry, forcing out people who favored the artists over the corporate concerns. In 1976, I was fired from my last record company job. I was national director of publicity for ABC Records and was told not to promote Freddy Fender's record, Before The Next Teardrop Foils as Freddy was over forty, a Chicano and an ex-convict. Against my boss' instructions, I helped make Freddy the biggest selling artist on the label, and was then fired for insubordination. I still have the gold record he sent me that said, "It wouldn't have been possible without you, brother".
So, in 1977, I started the Michael Ochs Archives, a company devoted to preserving the musical past I loved so much. I continued getting every record released, plus I started collecting photographs, sheet music, concert program books - everything that could effectively document the continuing story of rock and roll. The friendship that started in my teenage years had now blossomed into a marriage, in the traditional sense of the word - till death do us part.
I continued collecting records throughout the eighties. In the nineties, with the CD having effectively replaced the record album, I thought I had finally outgrown the record collection. I settled for the convenience of CDs, barely playing my albums, despite the fact that the sound of vinyl records is definitely better than CDs. Now the record industry is even talking about replacing the CDs with computer chips. All the artistic graphics that went on the covers of records will probably be replaced with live footage of the bands on the advanced CDs or on the computer chips.
I was interviewed recently for a television show, and I actually had trouble waxing nostalgic about the record collection. For the first time, I felt a distance between the collection and me, like a kid who wasted his youth collecting stamps or some such. Right after that, a rare records dealer told me that he could probably sell the record collection for close to a million dollars. Then I was approached to do this book.

Д.

№ 3 Окончание, Окончание...
It was all so synchronistic. It was as though God was telling me that now that I was a married adult with a family of my own, I could finally forsake the first and foremost love of my life. When I started this book, I told myself that when I finished, I would sell the collection. In the eleventh hour of finishing this book, I found the original Little Willie John Fever album cover with the white nurse on the cover in a collectors' record store. I borrowed the record and photographed it for the book and returned it to the store to be sold. This was a record I had been looking for since the fifties. Today I called the store and purchased the album, rekindling the collecting passion I thought I'd lost.
I finally realized that you cannot put a price on love - my record collection is only for sale through this book.
This compilation of the many faces of rock and roll was designed to be as enjoyable as the music itself. This is neither a studious anthology of album cover art nor a complete history. These are just the one thousand or so album covers from my collection that I felt would give a comprehensive picture of rock and roll from its infancy to the present. When I first went through my record collection, I only picked the albums that I would enjoy seeing repeatedly in a book. The only criterion I used in this selection process was what caught my eye as being unique and memorable for its time. After taking out the first couple of thousand covers, I tried to put them in some order other than just chronological. Besides the coupling of musical genres I started to see obvious patterns, such as different depictions of blacks and of women over the decades. I realize that there are serious omissions in my selection, but that is the only serious part of the book. Due to clearance problems or the peculiarity of my taste, I am sure there are a number of album covers that should have been included but were not. The method to my madness should be obvious from the layout of the covers - and my apologies to all the great artists who did not survive the final cut.
I hope you enjoy this representative sampling of my favorite album covers as much as I've enjoyed collecting them.

Michael Ochs
Venice (CA)
December, 1995

Д.

хорошее было время когда-то, хватало на потрепать языком о всякой ерунде..

ценник - не британский и не 60х. немцы в ценах 1973 года. похоже, пик производства и стоимости винила.

зато сейчас ценники: О-го-го!!!

2Elicaster
Шутит наверно дядя.

http://www.ebay.co.uk/itm/The-BEATLES-Please-Please-Me-UK-Debut-B-G-LP-1st-PRESSING-/30...
Condition:Used
The BEATLES Please Please Me UK Debut B&G LP 1st PRESSING
£625.00

http://www.ebay.co.uk/itm/An-original-1963-UK-Stereo-pressing-of-the-first-UK-LP-produc...
An original 1963 UK Stereo pressing of the first UK LP produced by The Beatles
Condition:Used
£265.00

2Cloud9:
> в 1976 году я покупал LPs в Плимуте по 5-6 фунтов
>стерлингов\старых\. Анг. фунт тогда стоил 2,5
>ам $/
Никогда не видел этой темы. Отвечу, потому что покупал именно в 1976г, в марте, именно в Плимуте Extra Texture, вышедший за полгода до того, и (не бросайтесь тапками) Bay City Rollers в сумме за 5 или за 5 с копейками фунтов. Но в этом магазине продавались не только пластинки, что-то типа торг.центра. Потом, проходя мимо специализированного магазина, видел, что там все LP были по 3-10. Но у меня уже денег не было, тогда нам очень мало обменивали. Первое мое посещение UK.

2Elicaster:

>зато сейчас ценники: О-го-го!!!

2Бри:

>Шутит наверно дядя.

Саша Старых не шутит - он их уже продал не один экземпляр,
причём лучшую копию купил я. Так что всё правда.
Можно поторговаться конечно но Золотой Стерео дешевле чем за 10 тонн фунтов
в коллекционном сосоянии найти проблема. 6000 - цена по предпоследнему коллектору. Последний будет на днях - узнаем

Я ещё могу понять, когда покупают пластинку за несколько сотен тысяч рублей, но когда она стоит больше миллиона - это уже слишком сильно.

Да за такие деньги квартиру в России можно купить )))

2Макс Жолобов:

>Да за такие деньги квартиру в России можно купить )))

А если уже есть квартира - на что ещё потратить лишний мульён??
По-моему, Золотой - как раз то что нужно)))

Да какую там квартиру купишь за лимон...смех один. Или однушку ма-а-аленькую или убитую нафиг. Но пластинку за лимон - тоже перебор. Лучше купить много пластинок))

2VadLit:

>Лучше купить много пластинок)

...а если уже есть много пластинок и осталась лишь самая малость?
ну как себе отказать)))

2godBLUFF:

>ну как себе отказать)))

Да на здоровье, кто ж против. Я и вертушки виниловые видел и за миллион и больше...уточняю - в интернете видел)) Suum cuique

2VadLit:
>Да какую там квартиру купишь за лимон...смех
>один.
Смотря где.

>Сейчас за фунт уже дают два доллара. 2.5, думаю,
>не за горами...
Не срослось, однако :-)

2Сергей Холодилов:

>>Сейчас за фунт уже дают два доллара. 2.5, думаю,
>>не за горами...
>Не срослось, однако :-)

Да господа,
BrExit открыл для народа новые возможности - скоро фунт уже сравняется с евро
ну а дальше и до доллара рукой подать)))
можно будет покупать в Альбионе винил практически по ценам 60-х))))

Кто может дать исчерпывающий ответ - почему пластинка стоит миллион рублей или больше. Мне никогда в жизни такое не купить, хотя бы просто знать:)

2Бри:

> почему пластинка стоит миллион рублей или больше

Деньги очень нужны)

2VadLit:
>2Бри:
>>почему пластинка стоит миллион рублей или больше
>Деньги очень нужны)

Не, деньги есть. Но миллион на пластинку нету.