For collectors, fans, and historians alike, the Ewbank’s sale offered a rare glimpse into the working life of an A&R executive whose influence stretches from the post-punk era through to modern chart success. For followers of Eurythmics, Annie Lennox and Dave Stewart, it revealed something even more special – previously unseen pieces of history tied directly to their creative world.

The A&R Man’s A&R Man

Korda Marshall’s name may not be widely recognised outside the industry, but his fingerprints are everywhere. Beginning in the early 1980s at RCA Records, Marshall worked his way up from a junior role to become one of the most respected A&R executives in the business.

His early success included signing artists such as The Blow Monkeys and The Wedding Present, before moving into a career that saw him working across major labels including BMG, Warner and Atlantic.

He is often credited with discovering or developing acts including Muse, The Darkness and Gnarls Barkley, alongside involvement with global names such as Madonna, Green Day and The Prodigy.

There is also a well-known chapter in his career that has become part of music industry lore. Marshall was dismissed after signing Take That when their first three singles failed commercially, a decision he has since reflected on with some irony given their later success.

The Connection to Dave Stewart and Anxious Records

Marshall’s relevance to the Eurythmics story is both direct and significant. During his time at RCA and BMG, he worked closely with Dave Stewart and played a role in supporting Anxious Records, the label Dave founded to develop new artists.

Anxious Records would go on to be known for releases by Londonbeat, Curve and other acts, with Londonbeat in particular achieving international success.

That success was crucial. It gave the label the financial viability to support a wider roster and experiment creatively, something that aligned with Dave’s approach to music throughout his career. Marshall’s A&R oversight helped bridge the gap between artistic ambition and commercial structure, a balance that defined much of his work.

The Ewbank’s Auction: A Career in 280 Lots

Held on 29 April 2026, the Ewbank’s auction presented around 280 lots, spanning four decades of music history.

This was not a typical record collection. It was a working archive.
Within it were:

• Acetate pressings made during production stages
• White label promos used for testing and radio
• Demo cassettes and early mixes
• Internal CDs and unreleased material
• Awards, memorabilia and promotional artefacts

Auctioneer Andrew Ewbank described it as “a direct record of Marshall’s impact on both the UK indie scene and the international pop charts.”

The sale included a mix of individual rarities and grouped collections. Notable results included:

• Punk and New Wave vinyl collections reaching £975
• A set of Wedding Present acetates selling for £1,560, one of the highest prices of the sale
• A Red Hot Chili Peppers promotional surfboard achieving £910
• Various themed vinyl bundles regularly exceeding estimates

While many lots were grouped, it was clear that the true value lay in provenance. These were not just records. They were artefacts handled, reviewed and often shaped by an A&R executive during key moments in an artist’s career.

The Eurythmics, Annie Lennox and Dave Stewart Material

Among the 280 lots were over 50 items connected to Eurythmics, Annie Lennox and Dave Stewart. For collectors, this was one of the most exciting aspects of the auction.

These items reflected the full spectrum of the duo’s extended creative ecosystem:

• Promo-only vinyl releases
• White labels and test pressings
• Studio acetates
• Cassette demos and early mixes
• Associated material from side projects and collaborations

Some items achieved strong prices, while others slipped under the radar. In the weeks since the auction, a number have begun reappearing on eBay, underlining both their desirability and the fluid nature of the collectors market.

Notable Discoveries from the Archive

Among the items acquired directly from the sale were several pieces that highlight just how deep this archive runs.

Eurythmics – Greatest Hits Album - Double Sided Acetate.

One of the standout pieces in the collection is the Eurythmics Greatest Hits acetate, an exceptionally rare find that goes beyond typical collector status. What makes this copy so special is that it remains sealed, meaning it has never been played since it was originally pressed in 1991. Acetates are usually working copies, often handled and used during production, so finding one in untouched condition is incredibly unusual. It offers a unique glimpse into the history of the release, preserved exactly as it left the studio more than three decades ago.
 

 

Annie Lennox – “Precious” 12” Promo (Catalogue: ANNIE1)

One of the most intriguing pieces is a previously unreleased 12-inch promo for Precious, featuring two remixes and carrying the catalogue number ANNIE1.

What makes this especially noteworthy is that it appears to have been planned but never commercially issued, suggesting a cancelled or abandoned release strategy. The inclusion of an accompanying promo cassette adds further weight, pointing to a coordinated campaign that never fully materialised.

 

 

 

Dave Stewart and the Spiritual Cowboys – “Crown of Madness” Acetate

Another standout is an acetate pressing of a planned 12-inch release for Crown of Madness.

Although a catalogue number was assigned, the 12-inch format was ultimately not released. This acetate therefore represents a lost format decision, capturing a moment before final commercial choices were made.

 

 

Stewart / Furey – Jute City Album Acetate

Perhaps the most remarkable item is a full acetate pressing of the Jute City album, Dave’s collaboration with Finbar Furey.

Full album acetates are relatively rare in any context, and their survival offers a unique snapshot of how a project existed at a specific point in its production cycle.

 

 

A Living Archive

What makes the Korda Marshall collection so important is not just rarity, but context.

Each item exists because it served a purpose. It was reviewed, tested, pitched, or circulated within the industry. These are not collector pieces that sat untouched. They were part of the decision-making process that shaped releases, campaigns and careers.

For Eurythmics and associated projects, this is particularly significant. Much of the duo’s history sits across multiple labels, formats and parallel ventures. Archives like this help fill in the gaps between official releases.

From Industry Archive to Fan Collections

Marshall himself explained the motivation behind the sale simply. These items had spent years in storage, and he felt they deserved to be seen, played and appreciated again.

That process is now underway. Items from the collection are beginning new lives in private collections across the world, with some already resurfacing in the secondary market.

For fans and collectors, this creates a rare moment. Pieces that were once inaccessible are now out in the open, offering a new layer of insight into the careers of Annie Lennox and Dave Stewart.