By Susan Sliwicki

Some folks like to follow specific themes when building their vinyl record collections, such as collecting by a specific genre, format, label or even artist. Well, here’s a new way to define your collection: Rock and Roll Hall of Fame membership.

Since the articles in this Spring 2011 special issue of Goldmine all focused on inductees to The Rock and Roll Hall of Fame, we wondered just which of the subjects of our articles would be at the head of the class for collectibility, at least in terms of online auctions.

The answer most folks would guess right off the bat is, of course, is The Beatles, who are featured in a roundabout way in our article about Bruce Spizer’s latest must-have book about collecting Beatles records.

But if you take Butcher Covers and other Fab Four rarities that tend to show up in auction houses (and bring tens of thousands of dollars apiece) out of the picture and look simply at results of collector-to-collector-style online auctions that occur on eBay, the answer is a bit different. Copies of The Fab Four’s “Please Please Me” are the most popular of the group’s recordings listed on Popsike, and they sell for $5,000 and up. But, there are a few other students who — gasp! — easily beat out The Beatles in year’s edition of Collecting The Rock Hall, based on auction results listed at Popsike.com.

(What are your records worth? Check out our guides!)

Valedictorian

The Sex Pistols (Class of 2006): While the Pistols have always happily thumbed their noses at the establishment, we’re betting they’re secretly pleased — well, the ones that are still alive, that is —  that collectors are really into their records. The Pistols hold the honor of topping our countdown of Popsike-recorded auction results with copies of “God Save The Queen,” which brought a high of $22,227.50 at auction in 2006. Copies also sold twice in 2009 for $13,073.40 each time and sold twice more in 2006 for $18,879.80 and $17,536.50.

Salutatorian

Robert Johnson (Class of 1986): When you’re the stuff of legends, it seems only reasonable that your records command legendary prices, and that’s just what Robert Johnson’s do. The most recent example? A NM copy of Vocalion 4108 featuring “Me And The Devil Blues” b/w “Little Queen of Spades” sold for $12,100 in fall 2010. (It also brought $3,304 in February 2011). Four-figure sales tend to be the rule, and it’s for all manner of Johnson’s songs, including “I’m A Steady Rollin’ Man” b/w “Stones in My Passway ($9,782.80 and $4,529); “Dead Shrimp Blues” b/w “I Believe I’ll Dust My Broom” ($5,100); “Kind Hearted Woman Blues” / “Terraplane Blues” ($4,330, $3,506.58 and $2,711);  “Honeymoon Blues,” “Sweet Home Chicago” / “Walkin’ Blues” ($3,575); “Me And The Devil Blues,” “Malted Milk” b/w “Milkcow’s Calf Blues” ($4,350 and $2,717); and “Come On In My Kitchen” / “They’re Red Hot” ($4,000).

This is especially impressive if you consider that these prices are coming for the equivalent of a week’s studio work. All of Johnson’s issued recordings were cut from three days’ worth of sessions in November 1936 and two days in June 1937. He recorded 29 songs in his all-too-brief career, which came to a painful halt Aug. 13, 1938, when Johnson died of suspected poisoning.

 Honor Students

Elvis Presley (Class of 1986): They don’t call Elvis “The King” for nothing. His records regularly command royal prices at online auctions, including his top-performer to date on popsike.com, a Mint, unplayed copy of Sun 209, “That’s All Right” / “Blue Moon of Kentucky,” which pulled in a hefty price of $11,400. (A similar copy of Sun 209 sold for $10,000 in March 2010).  In fact, every single Sun 45 and 78 Elvis ever made shows up somewhere in the list, and all of them command four figures and more. He’s got plenty of other strong draws, too, including $5,000 paid for an unopened copy of “Speedway” sold in 2007.

Buddy Holly (Class of 1986): Another artist gone far too soon, Buddy Holly left behind a distinct musical legacy that collectors are happy to pay nice prices to own. Among the top examples: A complete set of Holly’s U.S. EPs that sold for $1,782 in 2007; an acetate of Holly’s “I WantTo Play House With You,” which brought $1,725 in 2009; a 3-EP collector’s pack that sold for $1,488.81 in 2005; and some promo pressings, including a pink-label copy of Holly’s “That’ll Be The Day”  ($1,211) and a yellow-label Brunswick pressing of Holly and “The ‘Chirping’ Crickets” ($1,250).

Alice Cooper Band (Class of 2011): Alice Cooper may be the new kid on the Rock Hall block, but records related to its early days  — particularly the 45 “Lay Down and Die, Goodbye” b/w “Wonder Who’s Loving Her Now”  on the Very Record label recorded when the band still called itself Nazz, have brought a pretty penny at auction, selling for up to $3,050. The band’s incarnation as Spiders for “Don’t Blow Your Mind” b/w “No Price Tag” on the Santa Cruz label ($788 to $1,525) has also done nicely.

Tom Waits (Class of 2011): The eclectic singer-songwriter may not be all that much to look at, but his records draw some nice attention, particularly a promo test of 1983’s “Swordfishtrombones,” which sold for $1,090.59 in a 2008 online auction. Also of interest is the diverse pool of records toward the top of Waits’ popsike list, including a red/blue vinyl recording of “I Sing You Under The Table” ($607.09); a 3-LP box set of “Ended up in Edinburgh” ($563.66) and a 3-LP copy of “Make It Rain” ($562.) Also interesting? Many of these sales were originating in Britain and Germany, which makes us ponder Waits’ collectibility overseas vs. in the U.S.

Jerry Lee Lewis (Class of 1986): A 78 RPM Sun Records acetate of Lewis’ “It’ll Be Me” takes top honors for the outspoken artist also known as The Killer. It sold for $1,561 in 2008. Also on the list? A South African 10-inch pressing of London 5520 that sold for $826 in 2006.

Bob Marley (Class of 1994): Bob Marley’s recordings consistently draw $500 and up, topping out at $3,075 on the popsike list for “Diamond Baby” b/w “Where’s The Girl For Me” on the CoxSone label; other copies of that record brought $1,225 in 2010, $1,401 in 2005, $1,650 in 2008 and $2,850 in 2009.

Donovan (Class of … Not Yet): OK, OK, we know The Sunshine Superman isn’t in the Rock Hall … Yet. But he’s already there in Goldmine readers’ hearts (which is why he was featured in our Rock Hall issue as our fan pick). So how does he stack up with collectors? Surprisingly, better than several members of the 2011 class. A two-sided, 12-track acetate Donovan cut at The Beatles’ Apple studios in 1969 or 1970 sold for $1018.41. Also of interest? A cool blue vinyl, 10-inch U.K. acetate, also cut on the Apple label, that sold for $578 in 2009.

The Allman Brothers Band (Class of 1995): When it comes to collecting big-ticket Allman Brothers Band records, there are two titles that dominate popsike: so-called holy grail mono copies of “The Allman Brothers Band At Fillmore East” and the Mobile Fidelity Sound Labs pressing of “Eat A Peach. “Fillmore” has sold for $600 and up in online auctions conducted since 2004, while “Eat A Peach” has brought between $385 and $910, depending upon condition.

The Rest of the Graduates

Chuck Berry (Class of 1986): Chuck Berry’s a rock and roll legend. Unfortunately, his records haven’t quite hit legendary status among collectors. A first-pressing Mint mono LP of Chuck Berry “After School Session” has honors for the biggest auction price tag of $980. A mono copy of his “Rocking At the Hops” on Chess sold for $970 in January 2011, and a NM U.K pressing of his “One Dozen Berries” brought a handsome $837.51 at auction in February 2011.

Hank Ballard (Class of 1990): Alas, Hank Ballard, either with or without The Midnighters, is not a super-hot artist to collect compared with other Rock Hall alumni. His top-performing records at auction include a NM Hank Ballard and The Midnighters “Singing and Swinging” on King ($396); a still-sealed copy of Hank Ballard’s Biggest Hits on King ($257); and a VG+ copy of “The Midnighters: Their Greatest Hits” on Federal ($244.)

James Brown (Class of 1986): Record prices don’t exactly reflect Brown’s stature as the hardest-working man in show business. His top auction result was for an unissued LP on the People label that Brown completed with Fred Wesley, which sold for $1,600 in 2004; it included the tracks “Watermelon Man” and “Everybody Plays The Fool.” His other top offerings were an unissued 3-LP set on the King Label ($1,260 in 2004) and a trio of records — “Please Please Please,” “Try Me” and “Think!” — that sold for $1,082 in 2007.

Ray Charles (Class of 1986): It’s a crying shame that, for a man of his musical talent Ray Charles isn’t a hot-ticket artist with collectors. His top draw? A VG++ copy of “What’d I Say” on Atlantic 2031, issued in 1959, that sold for $315 in 2006. For folks who just love good music, seems like collecting Ray Charles is a relative bargain compared to other Hall of Famers.

Sam Cooke (Class of 1986): Sam Cooke was shot to death in December 1964 altercation, but even death couldn’t stop his hits from rising up the charts. But unlike fine art, the value of a musician’s work doesn’t necessarily appreciate with his death. Cooke is just such an example: His top entry on Popsike.com was $986 for a mono Mint-condition copy of his second album, “Encore” followed by $836 paid for a Mint copy of “I Thank God.”

Fats Domino (Class of 1986): Of course, living a long life doesn’t mean your records will cruise to the top of collectors’ lists, either, as Antoine “Fats” Domino can attest. But he does have one very beautiful auction entry for a mono, splash-color vinyl pressing of  “Just Domino” on the Imperial label (LP 9208), which sold for $1,190 in September 2010. The record was a one-of-a-kind pressing made at the Imperial plant.

The Everly Brothers (Class of 1986): Goldmine readers love their music, but The Everly Brothers aren’t necessarily heating up a lot of high-end collectors’ want lists. Their top-selling record to date on popsike is a 78 RPM pressing of “Keep A’Lovin’ Me” / “The Sun Keeps Shining” on Columbia 21496, which sold for $356 in 2007, followed closely by the 1960 Apex 78 “Let It Be Me,” which sold for $354 in 2008.

Little Richard (Class of 1986): Whop bop-a-lu-a, a whop bam boo! You’d think the artist who could string together such a catchy clutch of scat would rank higher on collectors’ lists, but alas, there are really only two Little Richard records that regularly see higher-end action on the auction circuit. Interestingly enough, they’re both on the Specialty label, which was founded by 2011 Rock Hall inductee Art Rupe. In the past four years, “Little Richard” has brought between $262 and $866 at auction, while “Here’s Little Richard” has drawn between $242 and $510.

Darlene Love (Class of 2011): Perhaps this fierce songbird’s induction to the Rock Hall will boost collectibility of her records. Her best performer so far on Popsike.com has been a VG+ copy of “Christmas (Baby Please Come Home)” b/w “Winter Blues” on Philles X125, which brought $610 at auction. For the most part, though, her records are selling in the $150 and under range.

Neil Diamond (Class of 2011): He is, he said. But what he isn’t is particularly collectible, at least so far. The most desirable item shown in Popsike.com is a deejay copy 45 of Neil & Jack on Duel 517, “Till You’ve Tried Love,” which is Diamond’s first recording, and which sold for $532.

Dr. John (Class of 2011): Alas, Dr. John is in the same general boat as Darlene Love and Neil Diamond when it comes to collectibility. There are a few nice pieces that have sold in the $400 to $500 range, including a  promo copy of “Zu Zu Man” by the Zu Zu Blues Band on the A&M Records.

Leon Russell (Class of 2011): Elton John loves Leon Russell’s work. Now that Russell’s in the rock hall, maybe the rest of the world will discover his treasures. But to date, his big-ticket records are topping out less than $300. At the top of his Popsike list? A Mint, limited-edition, unplayed copy of his duet with Elton John, “If It Wasn’t For Bad” on Mercury, which sold for $242.97 in October 2010.

Merck (known as MSD outside the United States and Canada) today announced that Rock ‘n Roll Hall of Famer Gregg Allman will work together with the company and the American Liver Foundation on Tune In to Hep C, a public health campaign to help raise awareness of chronic hepatitis C virus infection.  To help turn up the volume around hepatitis C a benefit concert featuring The Allman Brothers Band will be held in New York on July 27, the eve of World Hepatitis Day.

This week marks the one-year anniversary of Allman’s liver transplant, which he received after his liver had become damaged from chronic hepatitis C infection.  Allman has returned to performing and recording music, and now wants to help raise awareness of hepatitis C.

“I’m excited to be working with Merck and the American Liver Foundation because there are many people who have been diagnosed with chronic hepatitis C, but aren’t taking action.  I want to tell them, don’t wait.  Doing nothing is not an option; they need to talk with their doctor,” said Allman, a founding member of The Allman Brothers Band.  ”I made the decision to take action and talk to my doctor, so that I could get back to making the music I love.  I want others to take that action too, and if I can help make that happen, I’ve done my job.”

Nearly 3.2 million Americans have chronic hepatitis C virus infection, a potentially serious disease that can damage the liver over time and lead to cirrhosis, end-stage liver disease and liver cancer.  Many people infected with chronic hepatitis C do not know that they have the virus – approximately 60 to 80 percent of people infected with chronic hepatitis C virus do not have symptoms.

The American Liver Foundation (ALF) joined the Tune In to Hep C campaign to help elevate awareness of this important public health issue.  ALF is a national organization advocating for those living with liver disease and their families, and provides education, support and research for the prevention, treatment and cure of liver disease.

“We are thrilled to work with Merck and Gregg Allman to help educate and empower patients with chronic hepatitis C – this has been a focus of the American Liver Foundation for 35 years,” said Newton Guerin, acting CEO and chief operating officer, ALF.  ”People don’t often talk openly about their hepatitis C, which contributes to misinformation and isolation for those infected with the virus.  Gregg’s willingness to share his story will open the door for meaningful dialogue that can help reduce stigma and the lack of understanding surrounding chronic hepatitis C.”

Merck recently announced the Hope Against Hepatitis C initiative, in which the company restated its long-standing commitment to supporting the hepatitis C community through a variety of public-private partnerships that will involve public education, patient support programs and collaborative research efforts.  Working with Gregg Allman and the ALF is an example of this ongoing commitment.

“When a person like Gregg Allman comes forward to speak about his personal experience, it is extremely powerful, and we are grateful to him for his commitment to helping motivate other people with chronic hepatitis C to take action,” said Mark Timney, president, Global Human Health – U.S. Market, Merck.

About the Benefit Concert
The concert, Tune In to Hep C Presents The Allman Brothers Band, will take place at The Beacon Theatre in New York City on July 27, the eve of World Hepatitis Day.  The Beacon Theatre has special meaning for Allman, who has played there every year since 1991 with the exception of 2007, when the band had to cancel their performance because Allman was too ill from his chronic hepatitis C to play.  Tickets will go on sale tomorrow, Wednesday, June 22 at 12:00PM EDT.  Tickets are available at LiveNation.com, Ticketmaster.com, select Ticketmaster locations and charge by phone at 800-745-3000.  Tickets also will be available at The Beacon Theatre box office beginning June 23.
Proceeds from the benefit concert will be donated to community-based organizations that provide education and support services to people with chronic hepatitis C.

David “Frankie” Toler, former Allman Brothers Band drummer, passed away Saturday, June 4, 2011, at 2:00 PM in hospice care in Bradenton, Florida, after a prolonged illness at the age of 59. Frankie is survived by his wife, Marsha, their daughter, Aja Kayle, and his older brother, Dan Toler. Frankie Toler’s health had been in decline for several years and it prevented him from recording and going on tour, but after receiving a liver transplant two years ago he had been able to play at some band rehearsals.

Frankie Toler had an extensive career as a professional drummer, and played on the world stage with legendary bands and musicians, many whom are in the Rock and Roll Hall of Fame.

Frankie came to national attention in the 1970s when he appeared on Dickey Betts & Great Southern’s album, Atlanta’s Burning Down, and he toured extensively with the band. Later, Frankie was asked to be the drummer for The Allman Brothers Band and he appeared on their album, “Brothers of the Road.” When Gregg Allman began planning his solo album at the time, he only had one drummer in mind for his new band: Frankie Toler. Frankie recorded two albums with Gregg and touring extensively as the drummer with The Gregg Allman Band.

Frankie also played and toured with The Marshall Tucker Band from 1992-1994 and he played on their album, “Walk Outside The Line.” Frankie, along with his brother Dan, recorded two albums as The Toler Brothers Band and together they toured extensively throughout the country in the early 90s. In 2005, Frankie recorded an album with a legendary ensemble of Southern Rock all-stars as the Renegades of Southern Rock; and in 2009 Frankie played drums on the Toler/Townsend Band’s self-titled first album.

Frankie Toler’s brother, Dan Toler, who was the lead guitarist for The Allman Brothers Band, the Gregg Allman Band and Dickey Betts Great Southern Band, said of his younger brother, “Frankie was absolutely the best drummer I have ever played with in my entire life. He was a part of my life for the past 60 years and to lose him now is just devastating. But I did have the opportunity to grow up with one of the best rock and roll drummers in the world and it was truly a gift from God. I was blessed to have known him.”

Gregg Allman
“Low Country Blues”
Rounder
✩✩✩

By Todd Whitesel

Since the early days of the Allman Brothers Band and the group’s originals and retelling of songs such as Blind Willie McTell’s “Statesboro Blues,” Gregg Allman has been singing the blues. It makes sense he would one day devote an entire album to his musical roots; the only surprise is that it took some 40 years into his career to make such a record. Low Country Blues is Allman’s paean to his influences, paying homage to the tunes of past masters including Skip James, Muddy Waters, Otis Rush and Bobby “Blue” Bland. A talented keyboardist and guitarist, Allman’s greatest instrument is his voice.

Wrapped in weariness and soaked with soul, Allman early on ascended beyond a cover musician into a true interpreter of whatever he played. Sometimes you have to live the life to sing about the life; unfortunately, that’s what’s missing from this album — some life. Per usual, T-Bone Burnett has imposed his formulaic production that makes this recording sound like countless others — “Let’s pretend we’re at Sun Studios, and I’ll throw in compression and reverb, etc.” Allman’s B-3 is buried in the mix, and there’s little variety between the 12 tunes. Instead of hair-raising energy and swampy, backwater blues, you get a polite, parlor-like approximation that tries to be something it isn’t. Allman puts in terrific performances across the board – his singing on Bland’s “Blind Man” is as good as anything he’s ever done — but I wish someone else had his back here.