The TAMI Show afterparty….Mick Jagger’s glass? Bill Wyman’s cigarette?

THE FOLLOWING ITEMS IN THIS POST ARE FOR SALE. Contact me at ggae55@gmail.com

L to R standing: Ron Armstrong, Bill Wyman, Keith Richards, Earl Steely (Misfits), Mick Jagger, Joey Paige (“Shindig” regular), Charlie Watts, Bob Mosley and Eddie Dunn (both Misfits).”“L to R kneeling: Joel Scott Hill, (later Canned Heat and Flying Burrito Brothers), unknown press photographer, Harold Kirby (Joel’s bassist, now deceased; by the way, Willie Kellogg played with Joel but was packing his drums).

On Nov. 1, 1964, the Rolling Stones, fresh off of taping “The T.A.M.I. Show” (where the upstart Brits were upstaged by James Brown), made their first San Diego appearance, at Balboa Bowl (now Starlight Bowl).
Also performing that night were locals Joel Scott Hill & the Invaders (also known as the Strangers), The Misfits and Rosie and the Originals. Downtown record-shop owner Danny Milsap, who promoted the concert, paid the Stones $400, he recalled in a 1998 retrospective in the San Diego Reader: “I remember paying Rosie and the Originals $500!”
Hitmaker (“Angel Baby”) and future Rock and Roll Hall of Famer Rosie Hamlin and company didn’t stick around for the backstage photo, but Misfits drummer Ron Armstrong identifies who did.

In honor of the release of The TAMI Show on DVD, some rare and never seen collectibles from the after party.
Mick Jagger’s glass scoffed up by this fan as well as a cigarette bummed from Bill Wyman.
Both labeled the night of the party by him packed away in a box and just recently unearthed and purchased by me. The letter from the original owner can be seen below.

I wonder how long DNA hangs around?

I should know having watched enough CSI and Law and Order
marathons with my girls.

The T.A.M.I. Show is a 1964 concert film, released by American International Pictures. It includes performances by numerous popular rock and roll and R&B musicians from the United States and England. It was shot with TV cameras by director Steve Binder and his crew from The Steve Allen Show, and was the second of a small handful of productions to be recorded in Electronovision – one of the first high-definition video cameras that captured somewhere between 1000-1100 lines at 25fps. Then, via kinescope recording, it was converted to film with sufficient enhanced resolution to allow big-screen enlargement.

The concert was held at the Santa Monica Civic Auditorium on October 28 and 29, 1964. Free tickets were distributed to local high school students. Jan and Dean emceed the event and performed its theme song, “Here They Come (From All Over the World)”. Jack Nitzsche was the show’s music director. The acronym “T.A.M.I.” was used inconsistently in the show’s publicity to mean both Teenage Awards Music International and Teen Age Music International. The best footage from each of the two concert dates was edited into the film, which was released on December 29, 1964.

The T.A.M.I. Show is particularly well known for James Brown’s performance, which features his legendary dance moves and remarkable energy. In interviews, Keith Richards of The Rolling Stones has claimed that choosing to follow Brown & The Famous Flames was the biggest mistake of their careers, because no matter how well they performed, they could not top him. In a web-published interview,

Binder takes credit for persuading the Stones to follow James Brown, and serve as the centerpiece for the grand finale where all the performers dance together onstage. In addition, throughout the film, were numerous go-go dancers in the background or beside the performers. Among them were a very young Toni Basil and Teri Garr. It also featured The Supremes performing three back-to-back #1 singles, signaling their reign as the most successful girl group of that era. Diana Ross would go on to work with the director Steve Binder on several of her television specials including her first solo television special and more importantly her iconic Central Park concert, Live from New York Worldwide: For One and for All.

http://en.wikipedia.org/wiki/The_T.A.M.I._Show

Read more: http://www.sdnn.com/sandiego/2009-12-03/concerts-music-clubs/misfits-rolling-stones-snapshot-provides-glimpse-into-san-diegos-rock-n-roll-roots#ixzz0j8AOxdsD

The film was shown unedited and in its entirety on cable television in Canada in 1984 (20th anniversary of its release), on the First Choice Network. However, there has never been an authorized home video release of the film in any format until the authorized DVD release in March 2010, though bootlegs have abounded. (A DVD release of the complete film by First Look Studios was planned for 2007, but subsequently withdrawn.) Also, because of a rights dispute, the footage of The Beach Boys’ performance was deleted from all prints made after the movie’s brief initial theatrical run, and is therefore absent from most of the bootlegs. All of the four Beach Boys tunes eventually surfaced on DVD in Sights and Sounds of Summer, a special CD/DVD edition of Sounds of Summer: The Very Best of The Beach Boys.

In 2006, The T.A.M.I. Show was named to the National Film Registry by the U.S. Library of Congress. Dick Clark Productions acquired ownership of the concert film. On March 23 2010, Shout! Factory released the full show on a restored, digitally remastered and fully authorized DVD.

A sequel, 1966′s The Big T.N.T. Show, was produced by the same executive producer, Henry G. Saperstein.

Here’s a rare ticket from that show both front and back.

Mick Jagger stands by himself while everyone rush the food table.

The greatest Rolling Stones album ever, about to get released again. Exile on Main Street.

A billboard on Sunset Blvd promoting the new album. As you can imagine, not without controversy.

Universal Music Group recently announced that the Rolling Stones’ masterpiece album Exile on Main Street is being re-released on May 18, with 10 never-before-heard tracks.

The classic album is ranked seventh on Rolling Stone Magazine’s “Greatest Albums of All Time” list. Though he thought all the material had already been used for the album, Rolling Stones’ frontman Mick Jagger was asked by Universal to find some bonus songs.

Lucky for us, he was able to get his hands on 10 new tracks for our listening pleasure. Lead guitarist Keith Richards and Jagger also revamped some of the old tracks.

“I added some percussion and some vocals. Keith put guitar on one or two,” Jagger told Rolling Stone.

Richards and Jagger were cautious not to change too much about the album

“I didn’t want to interfere with the Bible,” said Richards. “They still had that great basement sound.”

The 18-track double-album was originally recorded in a few different locations, in a non-consecutive manner. Locations included Olympic Studios in London, Richards’ mansion in France, and Los Angeles, where the real Main Street inspired the album’s title. It was originally released in 1972.

“Every song on Exile on Main Street is elevated by its relationship to the music that comes before and after it. The album’s irresistible power is unlikely to diminish any time soon,” said author Anthony DeCurtis, who is now a contributing editor for Rolling Stone. Clearly, he knew what he was talking about, as Exile’s musical draw has not languished the slightest bit with time.

Along with the album, The Rolling Stones will be releasing a newly filmed documentary titled “Stones in Exile,” which was made especially for this occasion. Directed by Stephen Kijak, the documentary follows the making of Exile, and includes exclusive footage of past concerts and studio sessions.

“I must not have noticed all the cameramen while I was making the record,” Richards told Rolling Stone. “I was amazed at how much footage they actually found.”

The documentary will be sold as part of a package, which will include a vinyl record, the deluxe CD edition with the 10 bonus tracks and a 50-page collector’s book with old photos from the Exile on Main Street days.

Super rare promo poster featuring 3-Ball Charlie.

Exile on Main Street was a 1972 release (on Atlantic Records) by The Rolling Stones, with cover artwork & design by John Van Hamersveld. When the Rolling Stones released Exile in 1972 – a double album of songs representing the many different genres of music that shaped Stones music at the time – fans and critics found themselves having to spend a lot of time trying to “get it”. It required a number of listens to gain an appreciation of what, on the surface, often seemed to be a collection of studio out-takes and Richards/Taylor/Watts jams than a freshly-recorded musical offering.

Many critics of the era failed to appreciate the Stones’ explorations of R&B, Soul, Country and roots Rock that were spread over the 4 album sides. In fact, the record was comprised of a series of recordings done during the previous four years and, as such, they featured a variety of mixes (some better than others) and showed the band building on top of these influences in their own inimitable style to the point that, now over 35 years later, the package is considered by many to be the band’s most-authentic offering. It is always listed near the top of most of the “Best Of” and “Greatest” lists (#7 on the Rolling Stone Magazine 2003 list of the “500 Greatest Albums of All Time”, #22 on VH-1’s survey, and even impressed the younger generation enough to be ranked #11 on Pitchfork’s 2003 list of Best Albums of the 1970s).

In a similar fashion, when the buying public took their first look at the design and imagery of the sprawling record cover, most people admitted that they didn’t “get it”. Having just soaked in Warhol’s ultimately-iconic zipper cover for Sticky Fingers, fans should have been ready for anything, but John Van Hamersveld’s designs seemed to confound them, asking them to digest a rough, anti-establishment, punk-before-there-was-punk collage of images that may have, initially, combined with the unfamiliar musical stylings to impact sales (don’t worry, as the record was supported by the now-famous 1972 American concert tour and songs such as “Happy” and “Tumbling Dice” got some significant radio play, the record went on to top the charts in the U.S. and the U.K.).

And so when Van Hamersveld, who’d established his industry cred via his poster and package designs for Hendrix, The Beatles (Magical Mystery Tour), Jefferson Airplane (Crown of Creation) and others, was approached by the Rolling Stones (who were in a studio in LA putting the finishing touches on this new album) to work on the graphics and packaging for a songbook project the band wanted to release, an interesting series of events on the day of their initial meeting had a profound impact on the course of album art history.

Bill Janovitz' book on Exile. A must read.

Above is the ultra rare Exile Store Display.

Read the complete story behind this great work of art on our RockPoP Gallery/”Cover Story” blog -

http://rockpopgallery.typepad.com/rockpop_gallery_news/2008/04/cover-story—t.html

http://en.wikipedia.org/wiki/Exile_on_Main_St.

Keith Richards and “The Lost Sessions” Longview Farms, 1981.

Much has been written and documented about the now infamous Keith Richards “Lost Sessions” from Longview Farms in North Brookfield, MA prior to the 1981 tour.
When Keith, Patti Hansen his wife, Jane Rose his manager and Alan Dunn and his wife visited Gil Markle’s legendary Longview Farms to check it out before the 1981 Tattoo You tour, Keith as usual made his visit memorable.

Bootlegs galore have been made of those handful of classic songs Keith played on piano along with his Screwdriver and friends sitting close by.

Here is the story written by Gil Markle. Pictured here is the actual Master Tape of that session from Art Collins former Exec. President of Rolling Stones records from 1981-1986.

An excerpt from Mojo Magazine referencing the session.

The Master Tape labeled artist Keith Richards and the songs he sang/takes etc.

The following is an account taken from Gil Markle’s incredible website, “Diary of a Studio Owner.”

http://www.studiowner.com/essays/essay.asp?books=0&pagnum=3018

I was true to the promise I made to Patti Hansen, although it took me a day or two longer than expected to deliver.
“What d’ya think, Keith,” I began. “We’ve been in here for days, it seems. I’ve got to do some things in Worcester. You’ve got to go to Rome. Why don’t I call Bill Mahoney, the pilot, and get you and Patti out of here before the front comes through?”
There really was a lot of bad weather on the way, and it’s best not to fool around with that unless you really have to.
“Sounds O.K. to me,” Keith said. “Sounds O.K. to me. Either that or you’ve got to give me a job banging nails with those lads out in the barn.”
Wouldn’t that be something, I mused. Last remaining superstar guitarist knuckles down with North Brookfield country strong hands — building a Sound Stage for the use of his band, the Rolling Stones.
That didn’t happen, of course. Instead, we called Mahoney and set up a departure out of Worcester for Teterboro at 11 AM the next morning. And I set about doing some rough mixes of the two-inch recording tape I’d made the night before. The piano demos I’d done with Keith. As luck would have it, our Chief Engineer, Jesse Henderson, had taken a week to do some engineering chores for Sha Na Na, in California. And so I had to engineer myself, leaving Reed Desplaines, Night Manager, to play assistant engineer — running back and forth to the tape library for more reels of virgin tape. This for studio buffs: we used three Neumann ’87 microphones on the Steinway, which Pat Metheny left with us two years ago. The piano, I mean. Mikes in our top-secret positions. Another Neumann ’87 on him, close up, with a pop filter; voice highly compressed using an Eleven-seventy-six limiter set at twelve-to-one. Finally, a good measure of live acoustic reverb on either side of his voice, in stereo. Lots of E.Q., on everything. I had only one shot at this, and I wanted it to be right the first time.
The live mix was great all by itself, and the best results of that extraordinary session were in fact recorded directly onto our Studer mastering deck, and not the 24-track. 30 ips; no noise reduction, very hot on AMPEX 456 tape.
“Listen to this one, Keith,” I said, just before driving him to the airport.
I selected the live stereo tape of “The Nearness of You,”1 a classic Hoagy Carmichael ballad dating from the late ’30′s. Keith Richards playing the Steinway, and singing, too.

“It’s not the pale moon, that excites me,
that thrills, and delights me;
Oh no, It’s just the nearness of you.”

“Far out, Gil. Voice sounds great. Sounds great.”
“ZIP — BUZZ . . .” There was a loud, familiar noise on the tape.
“What the hell was that?” Keith asked, with a look of anguish on his face.
“Jane Rose taking a picture of you with her Polaroid camera,” I replied.
“Bloody well ruins that take, didn’t it?”
“No, Keith,” I said. “I think I can razor it out later. We’ve got this tune about six times, anyway. So don’t worry.”
Recording enthusiasts will be interested to know that the eventual edits on these ten or so tunes — classic Keith Richards piano demos — took nearly two weeks’ work. I found the time to do it only a month after the Stones had finally gone, and performed the edits on a 7 1/2 ips dub inadvertently left behind at my house on Cape Cod. Editing at 7 1/2 ips is no fun, as you may know. Several hundred cuts were required, since Keith never really bothered to begin or end any of the tunes. He’d just keep on playing, and singing, with me scrambling to keep tape on the tape machines, late at night in the A-Control Room at Long View Farm.
Don’t
Blue Monday
Studio A at Long View is the one people travel considerable distances to use, and I think you’d hear it said at the Farm that I can make it work pretty much as well as anybody can. Mixing tape is what I like to do. I can make really good, live, super-present mixes. That’s what got me into all this, back in ’72, when I was still teaching Philosophy at Clark. I figured I needed some time off to build a studio to make some mixes in. And that’s how Long View came about.
So when I tell you that the live stereo tape of Keith Richards sounded good, you better believe me that it did.
Oh, what a feeling
Apartment Number 9
We drove Keith Richards and Patti Hansen to the airport the next day. 300-foot overcast; visibility a quarter of a mile in rain and fog. Mahoney couldn’t make it in, missing two instrument approaches in an attempt to land 75 X-Ray. So Randall Barbera, who works for me, as you may remember, offered to drive Keith and Patti over to Westfield in the Cadillac. Westfield was still operating, and only about 45 minutes away. They had a wonderful trip, I learned later. Cruising along on a light powdering, Stolni’s and orange juice, and a fantastic compilation of fifties rock ‘n’ roll classics played at high volume on those wonderful-sounding Auratones mounted on the rear deck of the car. Pete Wolf of the J. Geils Band had left this particular cassette behind. By mistake, I’m sure, because it was a real beauty. “Earth Angel,” “Good Golly, Miss Molly,” “Tears on my Pillow,” and songs like that.
“Take this and listen to it on the way to Westfield, Keith. Only remember it’s not mine but Pete Wolf’s, and he’s certain to want it back.”
“O.K.” Keith said laughing. “I’ll bring it back with me. See you.”
“See you, Keith,” I said.
“Bye, Gil,” Patti said, and then they roared off.
And you take it from here, Pete, if you want that cassette back. He won’t give it to me.
Let’s all pause for a second and note that Keith Richards said “O.K. I’ll bring it back with me.” Meaning the cassette of course. Meaning also that he intended on coming back to Long View. That this gig was going to happen, after all. It was during Randall’s trip to Westfield with Keith Richards that I figured it out all over again — that the Rolling Stones were coming to Long View Farm.

Maybe I’m just a bit slow, sometimes.