Although the Rare Record Price Guide 2010 contains a comprehensive listing of collectable UK releases, it does NOT list all the recordings made by the artists we've included. More detailed discographies of important artists can be found every month in Record Collector magazine. MINIMUM VALUES FOR INCLUSION


7" singles, maxi-singles, cassette singles, double packs & flexidiscs
10" singles
EPs, 12" singles, cassette EPs and CD singles
CD albums

NOTE: EPs from the 1950s and 1960s usually sold at around twice the retail price of a 7" single. But most so-called EPs released since 1976 actually retailed at the same price as 7" singles. These records have been included in the Guide if they are worth £5 or more.

The prices listed in the book and online are for the original issues of records, cassettes and CDs in MINT condition. Bear in mind that most records which turn up from the 1950s, 60s and even the early 1970s are NOT in Mint condition and their value will be affected accordingly. To find out the value of any item which is in less than Mint condition, consult our Grading System and the Ready Reckoner at the back of the book.

The artists in the Guide are listed in alphabetical order, from A to Z. After the alphabetical listings, there is a section of Various Artists compilation releases, divided into several sections covering singles and 50s & 60s EPs, 70s, 80s & 90s EPs, LPs, film soundtrack LPs, original cast recordings from theatrical shows and library music.

The alphabetical order within the Guide has been determined by the first letter of a group name or an artist's surname. The word 'The' has not been taken into account when placing artists in alphabetical order; for instance, The Beatles' are listed under 'B', rather than 'T'.

The order follows the usual alphabetical principle of 'reading through' an artist's name or title, so that (for example) 'Peter Gabriel' is listed before 'Gabriel's Angels', and 'Generation X' is listed before 'Gen X'. Names and titles which include numbers appear as if the number was spelt out in full; e.g. the band '23 Skidoo' are listed as if their name was 'Twenty Three Skidoo'.

Within each artist entry, records are listed in chronological order of release. Singles (including 7", 10", 12", CD, cassette, and double packs) are listed first; then EPs; and finally LPs (including cassette and CD albums).

In the case of long entries, different formats of releases have also been grouped together un-der separate headers to make them easier to find.

All prices refer to records with all their original packaging and inserts (where applicable) intact. Wherever possible, we have provided details of inserts and special items of packaging for each entry – pointing out gatefold sleeves, lyric sheets and other bonus items like posters, for example.

Any record with some or all of these additional items missing will obviously be worth less than the values listed here. The level of depreciation depends on the missing items: in some cases, the value of an album can be dramatically reduced without its collectable insert (as in the case of the Who's The Who Sell Out LP, for example), while in others, it is the record itself that is desirable, and the insert is only of secondary importance (as with the Picadilly Line LP, The Huge World Of Emily Small).

Since 1978, all U.K. 7", 10" and 12" singles have usually been issued in picture sleeves. Before 1978, however, picture covers were definitely the exception rather than the rule.

All those singles which originally appeared in a picture sleeve are listed with the abbrevia-tion '(p/s)'. Where the picture sleeve was only available with the first batch of singles, there are two prices listed: the first refers to the record with its picture sleeve, the second without. If only one price is listed, then the single has to have its picture sleeve intact and in Mint condition to qualify for this value.

Most singles from the 1950s, 1960s and early 1970s were issued in 'company' sleeves, carrying the name and logo of the label which issued the record. Unless a picture sleeve is indicated, the prices listed in this guide are for singles with their company sleeves intact and, like the records themselves, in Mint condition. Many collectors are not too concerned about company sleeves - although in isolated cases (like the cult 60s label Planet), the company sleeves can be harder to find than the records themselves.

Company sleeves don't usually have much effect on a record's value.

For example, an original Creation single from 1966, valued at £45, may only be worth £35 with-out its Planet company sleeve. At the other extreme, no doo-wop collector is going to be bothered if a copy of a rarity like The Penguins' Earth Angel, valued at £2,000, comes in a plain sleeve, or indeed, no sleeve at all - what matters here is that the record is in Mint condition.

Two prices have been listed for those items which were available in more than one form. 'Freebie' singles given away with newspapers and magazines have two values: the first for the record with the publication, the second for the disc itself. Records which were issued only briefly with an insert, like a poster or lyric sheet, are often priced both with and without the extra packaging.

Two or more prices have been given for records which were released more than once with the same catalogue number, but in slightly different form - with a change of label colour or sleeve design (for instance, the substitution of triangular centres by round centres on late 1950s singles), or the manufacture of more recent singles in a variety of different coloured vinyls.

These variations of packaging and presentation can make an enormous difference to the value of a record, which is why we have documented them here. They help collectors identify the first pressing or edition of each release, which is almost always more sought-after than later issues of the same record. One notable example is the first edition of the Beatles' Please Please Me LP, which featured the black-and-gold Parlophone label for a few weeks, before the introduction of the more modern-looking yellow-and-black label. Black-and-gold copies of the stereo version of this LP are worth £2,500, as against £160 for the first yellow-and-black edition issued a few weeks later.

Occasionally, second pressings can be worth more than the originals, as is the case with early Shadows and Cliff Richard singles. Green label copies of these 45s sold in their millions, while later re-pressings on black labels are much scarcer. So always check which pressing of any record you are buying before parting with your money.

In the case of EPs and LPs from the 1950s and 1960s, mono and stereo releases often have different values – and different catalogue numbers. Both prices are listed, together with the separate catalogue numbers for the two versions of each release (mono first, then stereo). Where the mono and stereo editions are worth the same amount, only one price has been listed.

The last few years have seen a polarisation in the prices between mono and stereo pressings – increasingly so for those late mono releases from 1968 to 1970, when the single-channelled format was being phased out in favour of the twin-tracked stereo. Similarly, early stereo copies should prove to be sound investments.

Only UK releases are included in the Rare Record Price Guide, not overseas issues. The exceptions to this rule are a handful of folk releases and U2 singles, all from the Irish Republic, which were heavily imported into Britain, but not officially issued here. The other exceptions are 'Export Releases'. These were manufactured in the UK in the 1950s and 1960s by companies like EMI and Decca for distribution to countries which didn't have their own pressing plants. Because they were pressed in very small quantities, and then distributed to the furthest corners of the globe, export records by artists like the Beatles and the Rolling Stones are often worth many times the values of similar items pressed for the UK.

Although the great majority of the records we've listed were manufactured in the UK, not all UK releases were made in this country – or vice versa.

For example, a large proportion of the Rolling Stones' US singles on the London label in the 1960s were actually manufactured in Britain.

More recently, many British releases by major labels – notably Warners – have been made in Europe, and sent in identical form to Britain and many other countries. In these cases, the record sleeves often carry many different catalogue numbers, to cater for every country where the records are being distributed.

The problem of identifying the country where a particular record has been issued has grown more difficult with the advent of CDs. In these cases, it is the packaging that helps you identify the origin of a particular CD, rather than the disc itself.

The common misconception about 78s is that they are more valuable than 7" singles. In fact, the opposite is true in most cases, as far more 78s were sold in the 1950s than 45 rpm 7" singles.

The last batches of 78s issued from 1958 to 1960 are the main exception to this rule (see Eddie Cochran's entry, for example). As these were often only available in small quantities (as the public switched to 45s), or even by special order, they can prove to be much harder to find than their 45 rpm equivalents.

All these collectable 78s from the 1950s are included in this edition of the Rare Record Price Guide although in many cases we have now condensed 78 rpm prices into the entry for the 45 rpm release that shares the same catalogue number. So, the 45 rpm entry for Chubby Checker's 1959 song The Class/Schooldays, Oh, Schooldays will have (78 rpm = £30) after the song title but before the price.

In general, this Guide only includes records which were manufactured for commercial release, or for distribution in some way to the public – as a freebie with a magazine, for example.

Promotional records, demos, acetates and test pressings have not usually been included, apart from exceptional cases where these items actually reached the public, or where (as with artists like the pre-Iron Maiden act, Urchin) one promo single has become so famous among collectors that it would have been misleading for it not to be mentioned. The major exceptions to this rule are artists like the Beatles, and modern artists like The Pet Shop Boys, Kylie Minogue, Depeche Mode and Madonna whose promos – often with extended hard to find remixes – are sometimes more valuable than their commercial releases and highly sought after by their fans. Also, although we have included some CD-R promo releases in this Guide the value of these items usually fluctuate wildly upwards before release and then fall alarmingly once the official album or single is in the shops. Some collectors do want them – especially completists – but we should state that the sale of watermarked and numbered CD-R's is illegal.

Full details of the values of non-commercial rarities like promos, demos, acetates and test pressings can be found in the articles and discographies in Record Collector every month.

Every effort has been taken to ensure that the information contained in this Price Guide is as accurate and up-to-date as possible. However, the publishers cannot take any responsibility for any errors or omissions; nor can they be held responsible or liable for any loss or damage to any person acting on the informa-tion in this Guide. The publishers welcome any corrections or additions to the Guide, which will be considered for future editions.