O-10, I have no way of knowing (and I’m not sure you do either) whether the records you speak of (and yes, I know what lps are, I have 3500 of them) where actually released, or whether they are copies that, as I tried (in vain) to describe to you previously, can survive a move by the record co. to stop release (Prince’s "Black Album"). However, perhaps this may mean something to you; it does to me:
In 1991, I toured Japan with a major symphony orchestra (first of seven trips there). A colleague who was also going on this tour had setup for himself a minor "business" of bringing along two or three flutes in order to sell to a dealer in Japan with whom he had a relationship. At the risk of alarming the pc crowd, I will point out that Japanese collectors are a unique breed; they are passionate about collecting musical instruments and records (among other things). I cannot directly speak to the records side of all this, but I can tell you from direct experience that they will pay considerably more for a musical instrument than what it will fetch in the USA; not because it is a superior, or even a good instrument, but simply because it may be a certain vintage, a certain serial number that completes a series, was manufactured on the same day that the Japanese prime minister farted in public, etc, Long story short: I was able to sell an instrument that was inferior and mediocre at best for $8100 when it would have fetched about $4500 in the states. Why? Because he already had instruments in the serial#2000 series and in the #4000 series; none in the #3000 series like mine. Extrapolate from this what you will. Not much, I suspect.
Btw, who exactly says they were Green’s best? Somebody who happens to post on the Internet? Seriously? What does O-10 think? And since you insist on debating the issue, more importantly, why are they his best? I know what I think.
In 1991, I toured Japan with a major symphony orchestra (first of seven trips there). A colleague who was also going on this tour had setup for himself a minor "business" of bringing along two or three flutes in order to sell to a dealer in Japan with whom he had a relationship. At the risk of alarming the pc crowd, I will point out that Japanese collectors are a unique breed; they are passionate about collecting musical instruments and records (among other things). I cannot directly speak to the records side of all this, but I can tell you from direct experience that they will pay considerably more for a musical instrument than what it will fetch in the USA; not because it is a superior, or even a good instrument, but simply because it may be a certain vintage, a certain serial number that completes a series, was manufactured on the same day that the Japanese prime minister farted in public, etc, Long story short: I was able to sell an instrument that was inferior and mediocre at best for $8100 when it would have fetched about $4500 in the states. Why? Because he already had instruments in the serial#2000 series and in the #4000 series; none in the #3000 series like mine. Extrapolate from this what you will. Not much, I suspect.
Btw, who exactly says they were Green’s best? Somebody who happens to post on the Internet? Seriously? What does O-10 think? And since you insist on debating the issue, more importantly, why are they his best? I know what I think.