Vintage Record Value what is your record worth?

You know my name,
Look up the number,
You know my name,
Look up the number,
You, you know, you know my name,
You, you know, you know my name.

"Good evening and welcome to Slaggers,
Featuring Denis O'Bell,
Come on Ringo, let's hear it for Dennis!"

"Good evening,
You know my name,
Better look up the number."
You know my name,
(That's right) look up the number,
You, you know, you know my name,
You, you know, you know my name.
You know my name,
Ba-ba-ba-ba-ba-ba-ba-ba-ba...
Look up my number,
You know my name,
That's right, look up the number.
Oh, you know, you know,
You know my name, you know,you know, you know my name.

You know my name,
Ba-ba-ba-bum,
Look up the number,
You know my name,
Look up the number.
You-a-you know, you know my name,
Baby, you-a-you know, you know my name,
You know my name, you know, you know you know my name.
Go on Dennis, "Let's hear it for Dennis O'Bell!"
You know my name, you know, you know, you know, you know, you know my name,
You know my name and the number.
You know my name and the number, you know you know my name,
Look up me number.
You know my number three, you know my number two,
You know my number three, you know my number four.
You know my name, you know number too,
You know my name, you know my number,
What's up with you?

You know my name,
That's right,
Yeah.

BEATLES:"Let It Be" / "You Know My Name (look up the Number)" 45, FIRST UK PRESSING 6th MARCH,1970.
THE 1969 RECORDED "Let It Be," IS IN STEREO AND THE 1967 RECORDED "You Know My Name," IS IN MONO.
I feel it necessary to yet again state 'dark green' means....dark green, the only time any Beatles single or album was between
  1968 and 1970, a really distinctive green colour on Side 1 or the A-side.  When I look at UK ebay Beatles listings for that very
short period, I see the later 1970's green Apple colour tone being sold as 'first pressings'.  For the singles, most are from the
 Box Sets and particular, the 1980's singles box set.  With  really delicate vinyl shavings still in this record's spindle hole,
I took a close-up picture to show it had never been on spindle, it also serves to show quite how dark the A-side's green
outside view of the Apple logo.
 

DARK GREEN APPLE LABEL WITH A SOLID CENTRE: R 5833.

MAITRIX: 7YCE  21407 - 1U / 7YCE  21408 - 1U *

THE DARK GREEN COLOUR TONE OF THE A-SIDE BECOMES IMPERATIVE FOR IDENTIFICATION PURPOSES,
EMI RE-USED THE ABOVE MAITRIX FOR RE-ISSUES EVEN IN THE 1980's AND THAT INCLUDED THE CORRECTED
B-SIDE.  THE 1970 POSITIVELY DARK GREEN APPLE LABEL WILL ALWAYS IDENTIFY THE FIRST UK PRESSING
RECORDS AND FOR THE PICTURE SLEEVE, ONLY TEXTURED, MATT COVERS WERE MADE FOR THE 6th MARCH,1970
RELEASE.  THERE ARE NO EXCEPTIONS  FOR THESE EASILY WORN MARCH,1970, FIRST EDITIONS, THE SHEEN
OR SEMI-GLOSS COVERS FOLLOWED MUCH LATER WITH  A LESS VULNERABLE TO WEAR TOP SURFACE.
That is why the authentic March,1970 first edition sleeves ares usually so badly worn today, this sleeve has never been used and
  perfectly stored.  Once again I am back to the unplayed record scenario, with an unused cover that only has very mild standing in
storage traits, which for this particular very vulnerable, open grain top surface, textured 48 year old cover.   Which amounts to
only the merest suggestion of standing pressure on the bottom pair of corners, which double up as the ends of the fractionally
  protruding, vertical pair of flipback edge.  Which in reality, is only light brushing to those overlapped joining seams endings
  and the bottom standing edge.

I have strayed from first edition identification items unique to the first pressings, please see below for one further important
identification point, undocumented by text books and websites.  That is positively there to seen on genuinely very first printed
labels with a dark green A-side..... but this concerns the B-side label not the maitrix!

THE B-SIDE ONLY, HAS THE ORIGINALLY DESIGNATED MACHINE STAMPED MAITRIX NUMBER:
 
  'Apple 1002   A -1'
 
  EVEN THEN IT WAS A MISTAKE BECAUSE 'A - 1' WAS  ON THE B-SIDE!   THAT WAS CROSSED OUT BY STAMPING
THE LETTER 'X' OVER  'Apple 1002   A -1', THEN  MACHINE STAMPED ON THE RIGHT:

  ' 7YCE  21407 - 1U / 7YCE  21408 - 1U'
 
  FOR A BRIEF MOMENT, THE BEATLES NEARLY OWNED THEIR OWN SONGS, BUT THE APPLE LABEL OR NOT,
  EMI / PARLOPHONE'S CATALOGUE NUMBER'S 'R' PREFIX AND MAITRIX CONFIGURATION WERE USED RIGHT UP
  TO THE FINAL BRITISH BEATLES SINGLE.
  (While the band were still together releasing a new track for the first time.)
 
RETURNING TO THE LABELS ON BOTH SIDES HAVING EXCLUSIVE FEATURES, ONLY THE FIRST UK PRESSINGS HAD
  A PART OF THE B-SIDE'S TITLE PLACED INSIDE A BRACKET, TO READ AS I TYPE IT;
 
"You Know My Name (look up the Number)."
 
THAT ALONE WILL GIVE INSTANT RECOGNITION  FOR GENUINE FIRST PRESSINGS, THE SLEEVE ALSO VARIES
CAPITAL LETTERS FOR THE SONG TITLE, IN COMPARISON TO THE LABEL'S PRINTING.   THE LABEL USED A
  CAPITOL 'L FOR THE FIRST WORD "Look", BUT ON THE THE 198O's RE-ISSUES, ALL THE INDIVIDUAL FOUR
  WORDS BEGIN WITH CAPITAL LETTERS.   DUE TO REPEATING THE 1970 MAITRIX  EXACTLY ON THE 1980's
  RE-ISSUES, I AM SAYING THIS TO PUT A STOP TO EBAY SELLERS WHO BLATANTLY CLAIM 'FIRST PRESSINGS'
WHEN THEY ARE OBVIOUSLY RE-ISSUES.
 

  EMI STAMPING CODES:  GOD  ? (G possibly)* /  GGA (3 or 5 )**
  When the stamped digits or letters are unclear are partially formed, I indicate accuracy is not possible with a question, if I
  can possibly give an approximation, the letter or digit is placed in a bracket.
 
  * It looks like 'G' but I cannot be certain, the intended letter this time!
  The 'G' letter at 3 o'clock in the run-out groves was often stamped to represent a '1' digit, the sound engineers automatically
knew the code and obviously with 'G' translating as '1', that was found throughout the 1960's and 1970's decades.
Not that the stamping codes are required here, the dark green label and the B-side label identify this is a first pressing with
  or without either side's digits or letters.
   
  ** '3 or 5' is very likely, but it was not stamped clearly, just being in one of the Limited Edition textured picture sleeve means
   it had to be a very first pressing.
 

  STRICTLY VERY FIRST ISSUE ONLY, MATT, OPEN GRAIN CARD PICTURE SLEEVE, THE BACKGROUND COLOUR IS
  CLOSER TO CHARCOAL, THAN THE SOLID BLACK COLOUR OF THE LATER AND SECOND TYPE MADE WITH A SMOOTH
  SHEEN TOP SURFACE.
   
  THE PICTURE SLEEVE HAS NOT BEEN HANDLED OR USED IN THE SAME HEAVY HANDED FASHION OF MULTIPLE PLAYED
  RECORDS, THAT CAUSED  SEVERE WEAR TO THESE VERY VULNERABLE, FIRST ISSUE ONLY MATT TYPE.  NO TEARS,
  SEAM SPLITS  OR SCUFFING TO EITHER SIDE'S COLOUR PICTURES, TITLES LETTERING OR THE BLACK BACKGROUND.
  DEFINITELY NO SUGGESTION OF RING WEAR, AN AMAZING GENTLE RECORD IMPRESSION AND THE SLIGHTEST
  STORAGE AND 'STANDING' ARE ALL TO TELL.  THE PURE WHITE UNAGED LETTERING IS THE BEST INDICATION OF
  NON HANDLING AND THE FINEST POSSIBLE STORAGE, WHICH INCLUDED A PLASTIC OUTER SLEEVE SINCE THE
  RELEASE IN MARCH 1970.  JUST FRACTIONAL STANDING PRESSURE AND BRUSHING TO THE BOTTOM CORNERS AND
  THE STANDING EDGE, TOO MINOR TO TAKE SERIOUSLY, BECAUSE THAT WAS THERE IN MARCH, 1970!
 
  JUST BEING 100% FLAT WITHOUT ANY CURVATURE AT ALL, IS A MINOR MIRACLE AFTER 48 YEARS.  I DO NOT
BELIEVE A FIRST ISSUE MATT SLEEVE CAN POSSIBLY BE ANY MORE STUNNING THAN THIS AND THE
  GRADING HAS TO BE MINT- CONDITION.


  THE RECORD IS POSITIVELY UNPLAYED ON BOTH SIDES, THERE ARE NO SPINDLE TRACES ON THE IMMACULATE
  LABELS.   SO THIS WILL BE OFFERED EXACTLY AS I BOUGHT IT, HAVING NEVER BEEN ON OR A TURNTABLE OR
  SEEN  A STYLUS.  COMPLETELY UNMARKED AND LIKE NEW, PLEASE SEE MY PICTURES OF THE LABELS.
  I will not be playing the record myself, the rarity of an unplayed first pressing of "Let It Be" is reason enough, I had better
  include the  necessary disclaimer.  Records were handled before they were bought and feather light to near invisible trace will
  be found on just about every record made in every decade, including this one. Sealed vinyl is certainly not immune from that and
  for a record to be played even once, the label centres had to be placed onto a metal spindle, for textured labels from early 1970,
  that would instantly leave contact traces.   The mentioned delicate vinyl shavings in the spindle hole, combine with the astounding
condition of the record and the picture sleeve to make this a very special "Let It Be" / "You Know My Name (look up the Number)."
  AN EXTREMELY RARE UNPLAYED, MINT CONDITION VERY FIRST PRESSING.

Following the November 1969, "Something" and "Come Together", the final UK Beatles single issued while they were still together,
  was "Let It Be" and "You Know My Name (Look Up The Number," on the the 6th March,1970.  Even though the actual recording date
was nearly a year earlier, in January.1969 for the A-side. To have the lyrics sounding as if they were urging an acceptance of the
inevitable was not planned, the greatest band of all time were coming to a logical parting, in only eight weeks time the Beatles
would go their separate ways.  The "Get Back" or the "Let It Be" rehearsals and session tape's had been shelved temporarily when
  the Beatles become disillusioned by the whole project and they just left the tapes Glyn Johns had compiled and mixed, untouched.
  They had left the sanctuary of Abbey Road Studios and the production skills of George Martin for the filming in 1969, because
they decided to record an album live and not to add any overdubbing or post production work.  So you have that strange sight on
the A-side of a credit to George Martin for the production, when in reality he was not involved, only Glyn Johns and Phil Spector
carried out the mixing and in Spector's case, one of the most controversial overdubbing ever made in the history of rock music.
Unlike the "Let It Be" film soundtrack album with it's month long filmed rehearsals and recordings, in 1969, they returned to a
  more structured studio format for the "Abbey Road" album, but now with George Martin once more re-installed as their producer.
  Personally I think it was only right to have George Martin's name on both sides of their final single, although from the filming,
"Get Back" & "Don't let Me Down" were the only two 1969 film session tracks recorded, they felt comfortable about immediately
  releasing in April, 1969. Just over a year later "Let It Be" became their final album released of course, the album and film title
  track was paired with the incredible "You Know My Name," another major event during May,1970 was bowing out with that side
of the single issued in the format that propelled them through all those No.1 1960's 45's, good old mono!  It was assumed at the
time only a mono mix existed but as "Anthology" demonstrated by including a true stereo mix, had they wanted to in 1970, there
was a stereo master tape to mix down to mono, but obviously the mono mix was deliberately chosen.

This was only the Beatles second UK single to have a custom made picture sleeve, the first was for their 1967 masterpiece, the
very rare, limited edition sleeve was in keeping with the ground breaking "Strawberry Fields Forever" & "Penny Lane" single.
  This equally superb picture sleeve has the same format and artwork as found on the "Let It Be" LP, with the green Apple logo on
the top left corner.  Ironically the Beatles own Apple logo was almost a token gesture, to have an Apple catalogue number was
  an issue, not only the catalogue number, also Apple's maitrix on these very first pressings was removed.  "Let It Be" made No.2
in the UK singles chart but for some reason I have never understood, after spending twelve weeks in the charts EMI re-released
this single on the 24th November,1970, only five months after it dropped out of the charts.  It floundered at No.43 and after a
week it was gone again. A little know fact, that first re-issue came in the shiny type of picture sleeve, EMI had far more printed
  than were sold and they like the unsold records became stock for the early 1970's, mostly with push-out centres.  All the sleeves
following the one & only printing batch of the matt type, I believe they were as limited as the 1967 "Strawberry Fields Forever"
sleeves but that is just a theory, if one that explains why so few are around today because even on ebay, the 1967 sleeves by
far outnumber the later very first issue "Let It Be" sleeves. I actually base that on specialising in Beatles singles when nobody
even thought they had any collectable merits in the 1980's, it's true!   Talking about 'theories,' in theory "Let It Be"(from here
I am only referring to the single not the LP or film) was released on the Beatles own Apple label, 60's recording contracts were
like a shut book, EMI/Parlophone still had a vice like grip and they owned the copyrights to all of the Beatles recordings. So on
  these first pressings only, the Apple catalogue/maitrix number intended, planned and used was "Apple 1002," on Side 2 it was
  scratched over and then the Parlophone number was re-stamped alongside it.  The easiest  way to identify the first issues, but
  the very dark green Apple label's colour were exclusively only used in March 1970 and by that  November re-issue, the green
  colour had been lightened on both 45's and LP's. The most intricate details I have absorbed as a collector since January,1963
  never have, and never will rely on text books, or copy and pasting from endless web sites, my generation lived and breathed the
  1960's/early 1970 era.  The latest release of any of the Beatles singles was a major event of the greatest importance, and on
  that subject, being the very last Beatles single issued, historically the record is just as significant as the 1962 debut single,
  "Love Me Do" and now at 48 years of age, it has become just as difficult to find in top condition.  It may sound unrealistic but
  so are the genuine first pressings of "Something" or in fact, any Apple singles from "Hey Jude" if in Nr. Mint / Mint-condition.
   I have always aimed at the ultimate condition for all of the Beatles singles ever since I first began selling them, million sellers
  or not, that has always been a massive challenge.  To have just bought this "Let It Be" in staggering unplayed/mint condition is
  unbelievable and extremely rare for any first pressed Beatles single. The totally unmarked vinyl is gleaming as new, please see
  my picture of labels for how immaculate they are.  I will respect the unplayed status and offer this superb condition without
  playing it myself.  "Let it Be" was simultaneously pressed by EMI with push-out and solid centres, the majority were made with
  push-out centres, this has a solid centre, just fractionally rarer.  In this ultimate condition, it becomes secondary, no spindle
  alignments on either side of a Beatles first pressing is quite a rarity.

Even for an unplayed record, a first issue picture sleeve is equally as rare when not severely worn and split from holding the
  heavyweight vinyl.  Made from softish, matt card, it's very distinctive from even the second made because every one of these
  subsequent sleeves have much thinner paper and they all came with a positively shiny top surface. The sleeve was also kept in
  a plastic outer sleeve from day one at EMI so this is really in outstanding condition, perfectly strong and sound without any edge
  splits at the heavyweight record's contact points at the sides or the bottom centres.   The record is accessed from the top, with a
  small shaped cut-away on the back cover.  The background black colour is unscuffed and totally unfaded, there is positively not
  the usual ring wear that spoils the appearance with that white circular shape.  Those shiny finish re-issues also developed quite
  a degree of wear but this is the open grain matt black paper that was so vulnerable to severe fading, excessive creasing and all
  round wear.  The four Beatles pictures are as vividly and brightly coloured as they were in early 1970, both the sides are also
  unfaded, the titles and the graphics are an unyellowed pure white colour.
 
  The four corners are all square shaped and not too far away from being perfect with only the very lightest possible brushing, the
  edges are in the same superb condition with only a few 'ruffles' on the bottom's standing edge.
 
  This heavy record has not left the cover for all those years, but remarkably there is only the very mildest impression, that sums
  up how amazing the sleeve is, without any of the usual extremely heavy creases, drastically curling up to almost bending around
  the record's circular shape.  Rarely found as almost perfectly flat, the back has vertical flipback edges and they are as perfectly
and neatly stuck in place as the day it left the printer.  With the few details described naturally formed, I will only grade such
a beautiful cover as Mint-.  Like the first pressed record, this is the very first made sleeve and also in outstanding condition,
  allowing for the passage of time of course, but for once that is so minimal this defies it's true age!

I can't just ignore the exclusive track that makes "Let It Be" one of the most essential Beatles singles ever to have a non-album
  track on the B-side. The extraordinary "You Know My Name (Look Up The Number)" is in mono, this was one of the most unusual
  tracks the Beatles ever recorded.  A John Lennon song written as as far back as 1967, recorded in June 1967, just after they had
  completed the "Sgt. Pepper" sessions and the album was released.   Paul has fairly recently named this as his favourite Beatles
  B-side, also of great interest the sax was played by the Rolling Stones' Brian Jones.  This track did not appear on the"Let It Be"
  LP because it was supposed to  be live versions without any overdubbing.  Beatles studio out-takes were few in number but this
was never forgotten this and became the ideal opportunity to give fans something rather special instead of another track from
  the album.  A great original stereo mix surfaced on "Anthology" but the mono version on the single is very different, with masses
  of impact.  I like the irony of the Beatles recording's spanning the 'mono into stereo' 1960's period, yet in 1970 when stereo had
finally taken over in the UK, their last single had one side in mono.  John'Lennon's original home demo has him pounding out the
  piano notes as he sung the few lines of the title he based the whole track around.  From that very short and simple demo, on to
  an incredible fully produced track.  Talking about production, even in Mark Lewishon's excellent books, the entry against these
track's recording details, there is uncertainty about the producer. In Lewishon's "The Complete Beatles Recording Sessions" it
simply states, "Producer G. Martin?" That question mark was added in 1970 and it really says it all, some things are best left as
they were, with the mystique left unresolved and just to enjoy the fantastic music!
  {Roy}