Rolling Stones “50 Years of Satisfaction.” I have two days to take it all in. Day One.

Rolling Stones: 50 Years of Satisfaction will be the Museum’s first ever major exhibition capturing the band’s legendary career spanning more than 50 years.  It will include personal items and extraordinary collections that have never been seen before by the public. The exhibit will be open till March 2014.

“The Rolling Stones are the epitome of rock and roll,” said Greg Harris, president and CEO of the Rock and Roll Hall of Fame. “This first-ever exhibit gives us an opportunity to tell the story of one of the definitive rock and roll bands. The experience should be on every music fan’s destination list this summer.”

The Rock and Roll Hall of Fame and Museum presents Rolling Stones: 50 Years of Satisfaction will be a comprehensive retrospective exhibit that chronicles the band from the mid-1960s until today.  The exhibit, which takes up two-and-a-half floors of the Museum, will celebrate the Rolling Stones’ incredible contribution to popular music from their earliest days playing small clubs, to their era-defining recordings such as “Gimme Shelter,” “Paint It Black,” “Jumping Jack Flash,” “Tumbling Dice,” “It’s Only Rock And Roll” and sold-out global tours. Through the use of artifacts, film, text and interactive technology, generations of music fans will have the opportunity to get up close and personal with rare items from nearly every aspect of the Stones’ astonishing five decades at the top.

Throughout the exhibition’s run, the Museum will host a range of free public programs that explore the significance and legacy of the Rolling Stones, including interviews, films, and special lectures.

For the first time, the Rock and Roll Hall of Fame and Museum will launch a fan-generated interactive exhibition, inviting people from all over the world to share their photos of memorabilia, artwork, Rolling Stones concerts and more that will populate a multimedia display in the Museum’s Rolling Stones exhibit as well as online.

Fans are encouraged to upload their original images to Twitter and Instagram with the hashtag #rockhallsatisfaction to contribute to the submission feed. Images uploaded will be available to be viewed in the exhibit as well as online through the Rock and Roll Hall of Fame and Museum’s Facebook page throughout the duration of the exhibit!

……..I had no idea of what to expect when I showed up to see the new Stones exhibit.

I had never been to the Rock and Roll Hall of Fame.

I had never even been to Cleveland.

For a rock and roll memorabilia junkie like me, it was the “Stairway To Heaven.” I must admit it was a bit overwhelming. You need a solid two days. Maybe three to take it all in. I was able to do the Stones exhibit in about 3 hours and I feel like I saw it all.

You enter the exhibit by walking up a staircase, where you enter the exhibit through a giant lips and tongue.

It was kind of a shock to see my name on the exhibition display thanking the supporters. Wait is that Mick Jagger, Keith Richards, Ronnie Wood and Charlie Watts on there?

The bottom floor was dedicated to the early years. And I mean early….The collection was mind blowing. The artifacts were grouped by era. Large plexiglass displays with early posters and handbills that serve as the backdrop to the rarities, that held several and sometimes dozens of pieces of memorabilia. Here’s a few photos.

Everybody knows this baby, Brian’s Teardrop….

Keith’s “High Tide and Green Grass” leather jacket.

What’s crazy is that some of this stuff exists. You wonder first, who the hell does it belong to, (which of course is labeled for all to see,) but then, how the hell did it survive?

I can’t say enough about the displays. They were beautifully designed and conceived. Bravo Howard and Company!

One of the highlights for me was seeing Mick’s Jumpsuit from the 1972 tour, designed by Ossie Clark. Donated by guess who, yup, Mick himself.

Let’s head upstairs….

Upstairs has displays on the years 1973-2006, The Bigger Bang Tour.

This is the floor where all my items were displayed. The above item is killer. The original art for the “It’s Only Rock And Roll” album cover by Guy Peelaert, 1974.

My Keith Richards Bobby Lee guitar strap from the Tour of the Americas, 1975 was in a display with the famous Charlie Watts mariachi shirt from the same tour.

Next, I found my Keith Richards leather jacket, “Tattoo You” marketing notes, and single picks for “Tattoo You,” all written by Mick…1981.

Here’s my Keith linen pirate shirt in the 1978 “Some Girls” era display.

And a few more. My Mick handwritten rehearsal set list for the secret Sir Morgan’s Cove show in 1981, and Cockroaches ticket for the show on Blue Sunday.

The Hall of Fame knows how to do it right.

They ask for only scans and copies of all rare handwritten items and labeled them on the displays as reproductions. The originals safely in the hands of the owners.

I will post a Day Two with more photos soon….

Peace,

Gary Rocks

Guns N’ Roses set lists. Another collecting obsession, thanks in part to Marc Canter.

I must admit after collecting RNR memorabilia for almost 15 years, I really had no deep interest in collecting set lists.

I assumed most were all copies, there were dozens and dozens made for each show, and they had no real value.

That was until I bought Reckless Road by Marc Canter.

http://www.recklessroad.com/

When I saw Marc’s incredible collection of early GNR set lists and flyers, I quickly changed my tune. I found them fascinating. The different styles of writing, the various notes on them and the condition they were found in. These crumpled, torn, taped, beer and sweat stained, handwritten and copied concert gems often duck taped to the stage by guitar techs, were pieces I had to add to my collection.

Slash appears to have written most, if not all of the GNR set lists. His handwriting style or printing is very distinctive and he has a very specific style to certain letters. Check out the G’s. They are usually all written the same way. He approached writing the way an artist would. And he IS an accomplished artist.

In the early days Slash was the driving force behind the design of the band’s gig flyers. Often creating the original art and handwriting for them. He has an incredible ability to create intricate and interesting hand lettering.

*Check out Marc’s book to see early examples of his handiwork for his own bands, Tidus Sloan and Roadcrew.

The “Welcome To The Jungle” video set list. As verified by Marc and Slash through Matt Sorum. This is THE original written in black marker by Slash himself. My only original, and not a bad one to have.

http://garyrocks.wordpress.com/2013/02/03/yup-its-the-welcome-to-the-jungle-video-set-list-and-the-mystery-is-finally-uncovered/

Also in Slash’s hand this set list from the 1988 show at the Celebrity Theatre. A cool little drawing by Slash on the bottom. He liked this little guy. You can find him wearing a shirt with this face on it in many early GNR photos. Here’s the shirt on the front of Kerrang! magazine in 1988. I imagine the shirt came first, then the drawing.

The Paradise Club Boston set list, Oct 27, 1987.

Here’s the original.

The Orpheum Theatre Boston set list, May 11, 1988.

Tickets to the shows the set lists come from are also cool to collect. Makes a nice grouping to frame up together.

Here’s the stub from the show with the Boston Globe review.

Rare Love You Live record store display. Only two known to exist.

I have been fortunate to have just picked up this rarity. To the best of my knowledge, I am aware of only two that exist. And it took a bite out of my wallet.

Ok, enough with the bad puns….

This record store display promotes the Stones 1977 live album, “Love You Live.” Artwork by the famed pop artist Andy Warhol. Stones collectors are more than familiar with this album and the promotional items produced for it. They are some of the most sought after collectibles ever produced by the Stones. They also have a strong cross over interest to Warhol and pop art collectors as well.

It is well know Warhol was less than pleased with how Mick and the Stones used his art in designing the materials to promote the album.

He in fact has stated publicly he hates Mick’s handwritten treatment of “Love You Live” that appears as the typography on the cover design. As he puts it, ruining the beautiful image and art he created.

This display holds an actual album that sits and is help supported by Mick’s teeth. The “biting” was a theme that was used in all the materials Warhol designed.

Here are a few other items that shows Andy’s obsession with teeth…

Andy and Mick hanging out at the release party for the album at Trax in NYC in 1977. The album Mick is holding is my signed album from the Art Collins collection. Art is standing in the background patiently waiting for the photographer to snap the picture, so he can get his album back.

The album.

Happy Hunting.

Gary Rocks.

Rare original art produced for a billboard promoting The Rolling Stones Let It Bleed found.

The Rolling Stones are certainly not strangers when it comes to the art of self promotion.

They rule. Plain and simple.

There has been no other band in the history of rock n’ roll that knows how to stir up controversy and buzz over what they are doing or about to do, better than Mick and company.

And Sunset Blvd in LA is where we saw a lot of their ideas come to life.

Shown here are several examples of billboard advertising, an all but dying medium these days, where the Stones strutted their stuff.

Usually the Stones used billboard advertising to promote a new album.

The LA scene is where you can find about every artist during the 70′s and 80′s using this larger than life opportunity to deliver their message.

And as we know the Stones didn’t shy away from imagery that would infuriate and disturb anyone who looked at it. The infamous “Black and Blue” board whose image of a bound and beaten woman eventually had to be pulled down.

Even in announcing their upcoming “50 And Counting” tour, the Stones took to the streets to create anticipation and buzz around the announcement.

The above original art was recently found looks to be created to promote the Stones new London album “Let It Bleed.” It is unknown if in fact the art was ever used or made it’s way to a billboard. This is first major introduction of Mick Taylor as well.

As you can see from the recognizable clothing, Mick is his iconic omega shirt and scarf, this is clearly from the 1969 Ya Ya’s period.

I’m thrilled to now own this incredible never before seen rarity, coming from my good friend Jeff Gold of Recordmecca.

Thanks Jeff.

This one is a keeper.

Happy Hunting.

Gary Rocks

Finally….after many years I’ve added some Who to what I’ve been collecting..

The photos here are from a recent purchase that came from Ken White. He was given the above items from Alan Smith who received them from Mick Bratby, member of the Who’s crew during the 1976 tour of US and Canada.

The Who Tour 1976 was The Who‘s second concert tour for their The Who By Numbers album.

After spending most of the last three months of 1975 supporting The Who By Numbers, the group again embarked on a series of tours in 1976, with two stints in North America and several shows in the United Kingdom and Europe. The group added “Slip Kid” to the act in February-March, playing to a backing tape recording much like with “Baba O’Riley” and “Won’t Get Fooled Again“, but it was dropped from the act after eight shows; otherwise “Squeeze Box“, and “Dreaming from the Waist” were the only songs the band played from the new album, while they continued to do a lengthy Tommy selection as in 1975.

“The Who By Numbers” tour poster for the 1976 tour.

1976 was also drummer Keith Moon’s final year touring with the band, as the London performances on 15 December, 1977 at Kilburn and 25 May, 1978 at Shepperton Studios weren’t actually part of any tours, but rather were special shows filmed specifically for inclusion in The Kids Are Alright film.

The first show of the group’s first North American tour of the year in Boston began disastrously, (figures, my home town) with Moon collapsing on stage after only two numbers, forcing a makeup performance three weeks later. Lead singer Roger Daltrey explained that Moon was very ill, adding “Why do our tours always start like this,” obviously referring to the incident at the Cow Palace during the first show of their 1973 North American tour, when Moon also collapsed.

I had friends that went to this show and are still pissed off.

The band’s second North American trip featured Moon’s final U.S. concert at the Seattle Center Coliseum in Seattle, Washington on 14 October, as well as his final concert before a paying crowd at Maple Leaf Gardens in Toronto on 21 October. The group would not perform at all between the Toronto and Kilburn shows, the only band activity during that time being early sessions for Who Are You.

A crew jacket bearing the Indian logo for the tour.

So…Slash comes to Boston, what does he wear? An Aerosmith t-shirt of course.

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.

1966 The Rolling Stones Tour of Britain. And another great signed program.

The Rolling Stones‘ 1966 British Tour was a concert tour by the band. The tour commenced on September 23 and concluded on October 9, 1966.

I’ve been fortunate to have been able to pick up my second signed program from the 1966 tour, the first being the American tour seen below.

The newest is from the 1966 British tour with a beautiful clean set of signatures on the “A Biography By Charlie Watts” page inside the program. Artwork by of course, Charlie Watts.

I usually end up buying another program to frame up with the one I have signed. I was attracted to this set and example because of the page they decided to sign on. The signatures are large and super clean.

It’s hard to find items from the early days signed on white background, lighter paper or album. Most of the Stones early album covers were all pretty much dark and black making it difficult for them to sign in pen on the covers. It was also hard to sign over the dark photos.

So most of the early signed Stones albums you see are usually signed on the back.

Depending on much text was on the reverse of the album, usually a lot, will often effects how appealing the signatures are and how clean they appear to be. This can also be a huge factor in determining value. It’s why signed albums are the most rare of all signed items. Really great ones are just super hard to find.

Remember, there were no sharpies in the 60′s.

Peace and happy hunting.

Gary Rocks

Guns N’ Roses and The American Music Awards. Not f***ing made for prime time.

Guns N’ Roses and The America Music Awards, a Dick Clark Production never really hit it off. GNR were never quite ready for prime time.

Heavily nominated throughout the years the band, Slash and Duff in particular, had their “moments” on stage. Their acceptance speeches in 199o has been awarded one of the “5 Most Memorable Moments” in AMA history.

Guns N’ Roses’ Acceptance Speech (1990): In true rock and roll fashion, the members of Guns N’ Roses brought out their alcohol and cigarettes on stage while accepting their award at the 1990 AMAs. Looking a little worse for wear, guitarist Slash even dropped the f-bomb during the family-friendly award show, immediately cuing the “exit stage left” music to kick in.

The American Music Awards is an annual awards ceremony created by Dick Clark in 1973. Guns N’ Roses have received four awards from eight nominations.

Year	Nominated work	Award	Result
1989	“Sweet Child o’ Mine“	Favorite Pop/Rock Single	Won
	Guns N’ Roses	Favorite Heavy Metal/Hard Rock Artist	Nominated
	Appetite for Destruction	Favorite Heavy Metal/Hard Rock Album	Nominated
1990	Guns N’ Roses	Favorite Heavy Metal/Hard Rock Artist	Won
	Appetite for Destruction	Favorite Heavy Metal/Hard Rock Album	Won
1992	Guns N’ Roses	Favorite Heavy Metal/Hard Rock Artist	Won
		Favorite Pop/Rock Band/Duo/Group	Nominated
	Use Your Illusion I	Favorite Heavy Metal/Hard Rock Album	Nominated

Above you see their award for Favorite Heavy Metal Artist in 1991. I am thrilled to own this rare gem as part of my GNR collection. And equally thrilled it has a bit of history behind it. As only GNR could give it.

RN’FR!

The greatest Stones album ever, Exile on Main Street and the 1972 tour. And the rarest of all Stones memorabilia.

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.

Super rare promo poster featuring 3-Ball Charlie.

Rare Exile record store display.

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.

Below is a rare printers proof of the 12 card set included in Exile double album, shot by famed South African photographer, Norman Seeff. Here he writes a note on the reverse of the card set to John Van H. expressing his displeasure with the quality of the reproduction.

The next two items might be two of my favorite Exile period pieces. Flyers for the lost live album. You can see the proposed design above.

These are two unused flyers of both Mick and Stevie Wonder printed on newsprint. The art is beautiful art deco 1920′s style.

The Rolling Stones and Guns N’ Roses. How much freakin’ bad ass-ness can one stage take?

The Rolling Stones‘ Steel Wheels Tour was a concert tour which was launched in North America in August 1989 to promote the band’s album Steel Wheels; it continued to Japan in February 1990, with ten shows at the Tokyo Dome. The European leg of the tour, which featured a different stage and logo, was called the Urban Jungle Tour; it ran from May to August 1990. These would be the last live concerts for the band with original member Bill Wyman on bass guitar.

The tour was an enormous financial success, cementing The Rolling Stones’ return to full commercial power after a seven-year hiatus in touring marked by well-publicized acrimony among band members.

Performances from the tour were documented on the album Flashpoint, and the video Live at the Max, both released in 1991.

Opening acts for the tour included Living Colour, Dan Reed Network  and Guns N’ Roses.

Here’s a great boxing style poster signed by Slash in 2008 and Duff in 2011.

Ripped right off some wall. Below is an article written in the L.A. Times.

SHOWDOWN AT THE COLISEUM : Guns N’ Roses Take on the Rolling Stones : For years, there was only one choice as ‘The World’s Greatest Rock ‘n’ Roll Band’–but it’s all over now

October 15, 1989|ROBERT HILBURN

Lots of people think the world’s greatest rock band will be on stage this week when the Rolling Stones and Guns N’ Roses appear at the Los Angeles Memorial Coliseum, but don’t assume they’re all referring to the Stones.

The Stones have been called the world’s greatest band for so long now that no one even considered the possibility on past tours of another group actually upstaging the masters.

But the Stones’ seven-year absence from touring has made the once-invincible band seem vulnerable, and rock observers and fans have began wondering if it isn’t time to nominate another group as the world’s greatest.

Guns N’ Roses is just one of several contenders, but it is the only one of the potential rivals that will be on the same bill with the Stones during the tour.

There is such a sense of drama surrounding the Stones/Roses match-up that you can imagine a ring announcer stepping up to the microphone and introducing the contestants at the Coliseum, the only place on the Stones’ 3 1/2-month tour where Roses will be appearing.

“In this corner,” he might say, “from Los Angeles, California . . . a band that was formed just four years ago, but which has already sold more than 12 million records, including such mega-hits as ‘Sweet Child o’ Mine,’ ‘Welcome to the Jungle’ and ‘Patience’ . . .

“A group whose lead singer Axl Rose conveys the charisma and mystery of such rock immortals as Jim Morrison . . . a band whose image and music live up to the sex, drugs and rock ‘n’ roll attitude so fully that it has been called the bastard offspring of the Rolling Stones themselves.

“L.A.’s own . . . GUNS N’ ROSES.”

When the cheering wanes, the announcer continues:

“And now the defending champions . . . from London, England, a band that has helped shape rock ‘n’ roll for more than 25  years . . a band with more than three dozen Top 40 singles, including such masterworks as ‘Satisfaction,’ ‘Honky Tonk Women’ and ‘Tumbling Dice’ . . .

“A band whose lead singer, Mick Jagger, was outraging parents before Jim Morrison was even cutting classes at UCLA . . . a band that returned to live shows this summer after a seven-year layoff and is still able to pack stadiums around the country.

“Ladies and gentlemen . . . THE ROLLING STONES.”

Start your amps.

“I don’t see the Coliseum concerts as a contest at all,” a 17-year-old rock fan said shortly after the Stones/Roses package was announced in August.

A 20-year-old fan who overheard the remarks in a West Hollywood record store, also balked at the idea of the concert’s being a true battle of the bands.

“Showdown? It’s going to be a wipe-out,” he said condescendingly.

The noteworthy thing is that the two Southern California fans were supporting different groups.

Gerald Macy, 17, said he thinks the Stones’ reputation and great backlog of material make it impossible for Guns N’ Roses to upstage them. “Everybody my age has been listening to the Stones and waiting to see them all our lives. I like Guns N’ Roses, but there would be no Guns N’ Roses without the Stones.”

But Bill Hardin, 20, said he thinks time is against the Stones. “I’m interested in seeing them, but they don’t mean anything to me,” he said.

“Guns N’ Roses are like the Stones were 20 years ago, and who wouldn’t rather have seen the Stones then than now? It’s like Muhammad Ali getting into the ring with Mike Tyson or something. You respect the Stones, but Guns N’ Roses are today .”

There’s no way–short of an exit poll–to know precisely what role Guns N’ Roses played in convincing more than 275,000 fans to pay from $35 (the Ticketmaster charge) to $500 (the broker charge for choice seats) to see Wednesday’s Coliseum match-up, which will be repeated Thursday, Saturday and next Sunday. Industry observers, however, believe the L.A.-based quintet may have been responsible for as much as 20 to 40% of the sales.

“The Who’s failure to sell out even a single show in August at the Coliseum demonstrated the value of having some insurance, which a hot new band like Guns N’ Roses provides,” said a concert producer who is not involved with the local Stones dates and asked that his name not be used.

“I believe the Stones are much a stronger draw in Southern California than the Who and that they would have been able to sell out at least two Coliseum shows, maybe even a third on their own, but Guns N’ Roses  guaranteed a third date and enabled the promoters to add a fourth.”

Joseph Rascoff, business manager for the Stones and producer of the tour, said the sluggish Who sales in Los Angeles and San Diego didn’t worry him.

“The Rolling Stones had planned from the begining to have a current album out and (work toward) being meaningful in the 1989 music environment,” he said. “This gave their tour a whole different dimension and momentum than the Who tour, which had a lot of nostalgic overtones.”

Photos by Paul Natkin.