Die Musikbar mit der Plattenküche

Beschreibung

Taschenbuch – O’Sullivan Woodside & Co – First Edition – 1980 – Englisch WELCOME TO THE WORLD OF PRESLEYANA To the eyes of the whole world our cover is unmistakably Elvis, and what a tribute to the man that it is not even necessary to see his face to know that! We’d like to extend our thanks …

https://www.awin1.com/pclick.php?p=23972376857&a=336463&m=14119

Taschenbuch – O’Sullivan Woodside & Co – First Edition – 1980 – Englisch WELCOME TO THE WORLD OF PRESLEYANA To the eyes of the whole world our cover is unmistakably Elvis, and what a tribute to the man that it is not even necessary to see his face to know that! We’d like to extend our thanks many times over to the photographer, Phil Gelormine, a true Elvis fan of the first rank (and publisher of Elvis World), for the use of this magnificent on-stage shot! We’re very happy with the photographic content of Presleyana, not just for the quality of the photos of the King that came to us from such divergent sources as Dave Kent of the Louisiana Hayride and Collector’s Bookstore of Hollywood (many of which we’ve run full page), but for the fact that we are able to show fans many dozens of the rarest Elvis records, some never before published and many so rare as to be thought not to exist or only rumored so until now! WHAT CAME BEFORE This book sets the Elvisstandard for all time. The onlublication to even compare with it was the widely distributed Complete Elvis magazine. 7′. C.L.E‘ was not a price guide, however, and its principle photographic content was a thorough representation of the covers of all commercial Elvis Presley picture sleeves for singles and jackets for EPs and albums. Even though T.C.E. was also a Jellyroll product, we had no quality control over its production and some of the typical problems that result from having a staff of uninformed layout people found their way into print. We still hope to issue an updated and far more „complete“ Complete Elvis because of the mass market audience that can be reached, but to the readers of Presleyana, what you’ll find in the pages of this book is without precedent! COMING OF AGE This is a book that will come to mean more and more to you, as you familiarize yourself with it. This is a book that will settle arguments, end confusion, correct misconceptions and add to the knowledge of anyone who owns a copy. If it could ever be said before, now collecting Elvis Presley records has come of age! A few collectors may be surprised by the quadruple price structure. The spread—that is, what collectors will pay for a record in „good“ average used condition compared to what they will put out for a record in „mint“ unplayed condition—is constantly expanding. The „spread“ is spreading. Five or six years ago it was obvious the difference meant less, as the standard of double (a range, for example, of $10 to $20, versus a range today of $10 to $40) prevailed. As prices have arisen, however, and big money has often come into the picture, it was inevitable that collectors who weren’t so particular before would increasingly demand perfection as protection to their investment. This is as logical as it was inevitable. NOT PEAKED OUT We can look for the prices asked and realized (not always the same thing) to increase on Elvis records, as the demand shows no signs of having peaked out. And we probably can assume records will follow the path of coins and some other collectibles that will zero in, eventually, on price spreads of ten times difference between „good“ and „mint“. That is why, to the uninitiated—and that includes the swap meet dealer and the thrift shop owner—we advise you not to look only at the right-hand column of our prices and tell yourself that’s what your records are worth. In almost all cases you’ll be wrong. Prices do not start at „mint“ and work down, according to defects. They start at the average condition usually found, which is „good,“ and work up, if their condition warrants. Stated in another way, collectors do not pay less for a record in lesser condition—they think of themselves as being willing to pay more (perhaps than they think it’s really worth) if it’s in top, „near mint“ condition. As an aside to new collectors or investors, this growing spread has good aspects to it from whatever your viewpoint. If you’re just interested in the music, in many cases as the „spread“ widens and the value of „mint“ goes up, the price of „good“ does not go up. So, as you fill holes in your collection, taking inflation into consideration, you might be able to pick up some records „cheaper“ in the future (in „good,“ remember) than you can today. On the other hand, if investment is a factor in your determination and you buy only „fine“ to „mint“, that’s where your future profit will be, even though you have to lay out more money now. If, on the third hand, you want both „mint“ condition and bargain „good“ prices . . . well, good luck.

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