Tuesday, August 14, 2007 Slash and Velvet Revolver roll into town to play at the Tweeter Center in Mansfield, MA for their Libertad Tour. They had entered Aerosmith country. And Slash knew it. So he paid homage to his “Guitar Hero” Joe Perry by wearing an Aerosmith Bootleg Live t-shirt.
And now I’m happy to say, I own it.
Another gem from Slash’s Julien’s Auction in 2011. This was sold in a lot of three shirts. Two Aerosmith shirts and one Megadeth. Funny story about the Aerosmith shirt. The guy I bought the shirt from was at a meet and greet at that show and a fan was actually wearing the shirt. Slash liked it so much that he asked him if he would give him the shirt for a VR shirt. The guy said the only way he would do the deal is if he wore the shirt that night onstage. Of course, he did. So Slash right?
I was able to find some incredible photos from this show. Check these out…
Please note…I will NOT be wearing this, as tempting as it may be.
I’m going to be giving a talk at the Griffin Museum of Photography in Boston, February 16th in conjunction with their current exhibit on Rock and Roll photography.
Some of the featured photographers are: Mike Mitchell, Herb Greene, Bob Bonis, Ron Pownall, Astrid Kirschherr, Melissa Mahoney and Brian Babineau to name a few.
Many of these photographers have had a enormous impact on me.
Their enduring and powerful images have inspired me to make photography a major part of my collection.
It prompted me to write a post on Rock and Roll photography and how important it is as an art form.
Photography has brought new meaning and importance to items I have purchased over the years. Whether serving as photographic reference, or adding depth and history to the items I have.
The story and photo behind the piece I have often found is more interesting and meaningful to me than the piece itself.
They are everywhere we want to be.
Backstage and onstage.
In limos.
In the studio.
Standing in front of the stage.
Sitting in dressing rooms.
Riding the elevators.
Grabbing a bite in a restaurant…..catching moments no one would see, if not for them.
Thank you all.
The prints shown here are those of Rob Shanahan.
These two beauties are in my personal collection.
You can see more of Rob’s exceptional work on his website.
robshanahan.com
….And he’s just published a book.
I had the pleasure of finally meeting Rob in Anaheim at the NAMM show this past January just a few weeks ago where he was signing and promoting his book.
Here’s a bit more info on this super talent.
Rob is recognized as one of music’s most published photographers. He’s also Ringo Starr’s personal photographer. “Volume 1” is his first book of photographs and it features photos of such iconic musicians as Ringo Starr, Paul McCartney, Keith Richards, Eddie Van Halen, Joe Walsh, Christina Aguilera, Sheila E, Tommy Lee, Dave Navarro, and many more. It includes intimate shots of the musicians not only behind the scenes, but also in the studio, onstage and backstage as well. Along with the photos is a foreword by Ringo Starr, artist quotes, and personal anecdotes shared by Shanahan.
Rob has been getting a lot of good press about his book. Check out his interview on Good Day LA and slideshow at Spin Magazine.
My room is not only filled with memorabilia, it’s filled with books on Rock and Roll Photography.
Copyright Ken Regan. Keith Richards, San Antonio, 1975. (I own the guitar strap.)
Copyright Michael Putland. The Rolling Stones 1978. (I own the shirt Keith is wearing.)
Copyright Paul Natkin. Keith Richards portrait. (I own the attitude.)
Here’s a few other wonderful prints I own.
All I need is the room to hang them.
If I stop buying prints, I could maybe build an addition.
I had the pleasure of meeting Joey a few times now, the first was at The Boston Music Awards, shown above.
For more than 30 years Joey Kramer has combined emotional feel with technical virtuosity to convey the musical ideas of his band mates in Aerosmith while evolving into one of rock’s greatest drummers. His meticulous timing and solid grooves have contributed as much to the sound of Aerosmith albums such as “Toys In The Attic,” “Rocks,” “Permanent Vacation,” “Pump,” and “Just Push Play” as Steven Tyler’s voice and Joe Perry’s guitar.
A longtime resident of Massachusetts, Joseph Michael Kramer was born in Bronx, NY on June 21,1950. By the age of 14 he was cutting his musical teeth as part of a Ventures-type instrumentals band named The Medallions. However, it wasn’t until Joey started drumming with an 11-piece rhythm and blues outfit during his late teens that he discovered the music that would serve as his main source of inspiration.
In 1970 he reconnected with a friend, Steven Tyler, who had joined forces with Joe Perry and Tom Hamilton and were in need of a drummer. Kramer jumped in and Aerosmith took off. Brad Whitford joined the group in 1971.
For two years the group played throughout New England and got their break on August 5, 1972 at Max’s Kansas City Club in New York City. That night the famed record executive Clive Davis was in attendance and was so impressed with Aerosmith that he signed them to Columbia Records on the spot.
In 1973 the band released their self-titled debut album, “Aerosmith,” and took to the road. They toured relentlessly over the next two years, taking time off only to record their follow up album, “Get Your Wings” which went Gold.
“Toys In the Attic” was released in 1975 followed by the 1976 release of “Rocks” and the band turned a significant creative and commercial corner in this era as the hits came fast and furious with the likes of “Last Child,” “Sweet Emotion,” “Back in the Saddle” and “Walk This Way.”
Their endless roadwork paid off in Platinum and exploded into sold out pandemonium culminating before massive crowds of over 80,000 at the legendary Texxas Jam, and to a sea of over 350,000 at the famous CAL Jam in 1978. Aerosmith’s status as one of the most popular live acts of the decade was achieved.
It wasn’t long though before the intoxicating pace of rock stardom took its toll. The fire that had fueled them now began to burn them from within. As the decade drew to close, half-hearted albums — 1977’s “Draw the Line” and 1979’s “Night In the Ruts,” — canceled performances and internal strife dogged the band, weakening them at their core. After a dressing room blowout in July 1979, Perry announced his departure from the group to form The Joe Perry Project. Brad Whitford followed suit shortly thereafter to form Whitford-St. Holmes. The remaining three members soldiered on to eek out 1982’s “Rock In a Hard Place,” but the magic was gone. By the early 1980s, Aerosmith was all but over.
Cooler heads finally prevailed and in 1984, Perry and Whitford rejoined the group and Aerosmith hit the road for the Back in the Saddle Tour.
In 1985 the group signed a new record deal with Geffen Records and released “Done With Mirrors.” That was followed by “Permanent Vacation,” which hit record stores in 1987. This was the first in a string of releases that brought Aerosmith more fame, success and accolades than ever before. Their videos tormented the senses and raised the bar for music video excellence with “Dude Looks Like a Lady,” “Angel” and “Rag Doll.”
The band succeeded “Permanent Vacation” with 1989’s “Pump,” which spawned hits; “Love in an Elevator,” “Janie’s Got a Gun,” “The Other Side” and “What it Takes.”
The groups’ strong showing continued into the 1990s at it released “Get a Grip” in 1993 that featured radio slam dunks “Livin’ on the Edge,” “Cryin,” “Eat the Rich,” “Crazy” and “Amazing.” “Nine Lives” was released in 1997, debuting at No. 1 on the Billboard charts and boasted the hit singles, “Pink” and “Falling in Love is Hard on the Knees.” They closed out the decade with their first No. 1 hit single “I Don’t Want to Miss a Thing” from the 1998 movie “Armageddon” soundtrack.
More recently the band made “Just Push Play” in 2001 and “Honkin’ on Bobo” in 2004.
After the band released “Just Push Play,” Joey went back into the studio with producer Marti Frederiksen to work on a different type of solo project. “Drum Loops and Samples” entailed laying down a comprehensive array of drum tracks for artists of all skill levels to be able to utilize. The two-disc piece has over 340 loops and samples with a range of beats per minute from 71 to 148.
Kramer and Aerosmith have enjoyed tremendous success through their career. The group has sold over 100 million albums and have had concert dates sold out, not only North America, but in Japan, Australia, South America and Israel. They were inducted into the Rock and Roll Hall of Fame in 2001. The group has received two People’s Choice Awards, six Billboard Music Awards, eight American Music Awards, 23 Boston Music Awards, 12 MTV Video Awards, four Grammys, and an Academy Award nomination for Best Song, “I Don’t Want to Miss a Thing.” They were selected as one of the Best Rock Bands by Rolling Stone and Hit Parader magazines and were chosen as the first rock band to be honored as MTV Icons.
Kramer extends his rock n’ roll lifestyle off the stage to his appreciation for cars. To get him from place to place, Joey relies on the fastest, strongest and most powerful cars available. He owns some of the most beautiful automobiles in the world and can often be seen cruising in his Lamborghini. He is a partner in a specialty automobile dealership, Corvette Mike New England, in Plymouth, MA. His need for speed transfers back into his playing.
Here’s a couple of killer signed drum heads from both the Rocksimus Maximus tour with KISS. And the Nine Lives tour, both signed by Joey.
Check out Joey’s website to read more about his new book and his new coffee, Rockin’ & Roastin’.
Boston Globe
Aerosmith, Dropkick Murphys raise heat in Mansfield
By Sarah Rodman, Globe Staff | June 17, 2009
MANSFIELD – Fire, cancer, pneumonia, knee replacements, drug addiction, hepatitis, and whatever undisclosed surgery guitarist Brad Whitford is currently recovering from. Aerosmith is clearly unstoppable.
That was certainly the case last night at the Comcast Center as the beloved Boston hard rockers steamrolled through a hot and tight set that spanned the quintet’s 36-year catalog. From opener “Train Kept a Rollin’ ’’ to closer “Come Together,’’ the jammed amphitheatre, with plenty of multigenerational groups spotted, sang along and hoisted lighters with regularity.
While the train no longer rolls all night long – it returns to the depot after a fittingly locomotive but concise 90 minute excursion – it’s firmly on the tracks. The guitar heroics from Joe Perry and Whitford sub Bobby Schneck were sizzling, the rhythm section of Joey Kramer and Tom Hamilton thunderous, Russ Irwin remains an unsung hero on keyboards and harmonies, and Steven Tyler’s wide-mouth wail was soaked in its trademark blend of raunch and fire.
Following a six-song starter that included vintage and newer tracks – power ballad “Dream On,’’ the deep cut Perry spotlight “Combination,’’ salacious bump-and-grind “Love in an Elevator’’ – the band dove into its 1975 album “Toys in the Attic,’’ which it is performing from front to almost-back this tour. (They’ve been skipping the final track.)
The album is a great choice not only for the hits it presents – including spirited takes on “Walk This Way’’ and “Sweet Emotion’’ – but because it represents just about everything the band does well. It has the bawdy blooze of “Big Ten Inch Record,’’ the sunny pop melodics of “Uncle Salty,’’ the luscious harmonies of “No More, No More,’’ and the satisfying Zeppelin-esque stomp and snarl of “Round and Round,’’ a true rarity and real highlight last night.
Tyler, rocking in a ridiculous and amazing silver coat with a huge crucifix on the back and, at the start, a matching feathered pimp hat, was his irrepressible self with his persona and his smoking harmonica solos. He finally appears to have lost a step as his flamboyant gallop has powered down to more of a peacock strut. Perry, somehow making puffy shirts macho, was as lively as he’s been in a long time bombing around the stage thanks to healthy knees.
The band returned for an amusingly ramshackle attempt at “Dirty Water’’ with openers the Dropkick Murphys.
The Murphys acquitted themselves nicely in what felt like a surprisingly uphill battle. But the band’s endearing maelstrom of tin whistles, mandolins, bagpipes, banjos, and punk-rock fundamentals slowly won the crowd over. By the time they lit into an inventive cover of the Who’s “Baba O’Riley’’ and trotted out the Boston College marching band for “I’m Shipping Up To Boston,’’ the crowd was on its feet.
Sarah Rodman can be reached at srodman@globe.com
Sarah, nicely said.
Amen.
Show was killer.
Joe was on fire battling against himself on screen as he traded riffs with his Guitar Hero character.
Steven Tyler has lost nothing off his fastball.
He sounded “Amazing.”
The “Toys” album was the perfect pick.
And Steven trying to describe something to Joe during my “Meet and Greet” as he scribbled a picture to show him on my program, well made my night.
He shrugged, signed his sketch of who knows what, as he grabbed my hand to thank me while we both laughed.
Nine Lives is the twelfth studio album by America’s hardest rock band Aerosmith, released in 1997. The album was produced by Aerosmith and Kevin Shirley, and was the band’s first studio album released by Columbia Records since 1982′s Rock in a Hard Place.
It peaked at #1 at the Billboard Charts.
One of the album’s singles, “Pink”, won a Grammy for Best Rock Performance By A Duo Or Group With Vocal.
The booklet for Nine Lives contains 12 pieces of album art (including the cover). Each picture contains a smaller version of the previous picture within itself. The final picture is included in the first, creating an infinite loop. It was designed by Stefan Sagmeister, who allegedly has never received his fee for this work due to the controversy described below.
The original cover art angered some Hindus, who felt the artwork (taken from Hindu imagery and altered by giving the dancing figure a cat’s head) was offensive. The image depicts Lord Krishna (with a cat’s head) dancing on the head of the snake demon, Aghasura, a popular episode from Sagmeister’s childhood. The band had been unaware of the source of the artwork, and the record company apologized, and changed the artwork to a revised version.
Strangely enough, some copies with original covers have found their way to music store shelves in India, where Hinduism is the majority religion, and have not raised any further controversy.
Nothing pisses me off more than the proliferation of fake autographs in the memorabilia market.
I’ve written a few blogs on it, but somehow it hasn’t helped me vent enough.
Nothing makes me crazier.
What’s worse, is how freakin’ bad the fakes are.
It’s almost laughable.
I know if I wasn’t an expert in signed and autograph items, I’d at least have the sense to do some homework.
People are bidding on and spending decent money on these fakes and it’s really hard to believe.
Being from Boston one band that’s always been near and dear to me is our own Bad Boys, Aerosmith.
I’ve had the pleasure of meeting Steven, Joe, Brad, Joey and Tom many times.
I also worked on Aerosmith Guitar Hero Tour book, serving as Creative Director.
I’ve been an avid fan since the 70′s.
I’d never consider myself an expert in autographs, but hell, I can see!
So, I thought I’d share a few items from my personal collection as well as few found online either selling on eBay or other sites.
Take a look.
You tell me.
The Real Deal.
?????????????????
Close, but no cigar.
For starters I’d search on eBay all the like items you can find that are signed and autographed.
Guitars, drumheads, album covers etc…..
Start to look for similarities in writing style.
You will see a pattern.
And yes, there are a few real ones online.
Mind you a few.
Remember the people selling these are buying drumheads and guitars by the truckload cheap, and having a buddy of theirs scribble with silver sharpie on anything they can get their hands on.
The messier the sig, the better.
Fact is, even the stars they are trying to replicate have very distinctive styles in their writing and signing that can be studied and recognized.
And any a-hole by the way can print up a “Certificate of Authenticity” at Kinko’s and offer it signed to you.
So don’t think that makes it right, it doesn’t.
Lifetime or otherwise.
An image that has become iconic as far as 70′s rock band album covers go.
Aerosmith’s Draw The Line.
Released in 1977, it was their fifth album. The cover design was illustrated by famed New York Times caricaturist, Al Hirschfeld.
It captures the pure raw essence of one of the biggest rock bands in the world in the late 70′s
The sophistication of Hirschfeld’s style and his ability to capture his subjects in a few simple and bold brush strokes, made him the perfect choice for this cover.
Of course he had plenty of hair to deal with.
I love this image.
And I wasn’t the only one.
It was an image Columbia must have recognized had real merchandising potential, because it was used everywhere.
The promotional pieces and displays from this album and period are some of the rarest and most desirable to Aerosmith collectors.
Here’s a few.
Die-cut counter card.
Two sided hanging mobile
Record bin card
The rare Aerosmith “Draw The Line” baseball jersey ordered through Aerosmith with the form enclosed in the “Draw The Line” album.
