Here’s another Slash t-shirt from the Julien’s auction back in March of 2011.
This shirt graced the inside cover of the Julien’s auction catalog, as well as being prominently featured in a Japanese magazine, called Playerin 1998.
Slash is photographed in his studio by Rick Gould/ICP wearing the shirt.
A little more info on the band…..
Slash’s Snakepit were an American rocksupergroup from Los Angeles, California, formed by then-Guns N’ Roses guitarist Slash in 1993. Though often described as a solo or side project, Slash stated that Snakepit was a band, with equal contributions by all members. The first lineup of the band consisted of Slash, two of his Guns N’ Roses band mates—drummer Matt Sorum and guitarist Gilby Clarke—as well as Alice in Chains bassist Mike Inez and former Jellyfish live guitarist Eric Dover on lead vocals.
Their debut album, It’s Five O’Clock Somewhere, was released in 1995. For the supporting tour, Slash enlisted James LoMenzo and Brian Tichy, of Pride and Glory, in place of Inez and Sorum who had other commitments. They played shows in the US, Europe, Japan and Australia before Geffen Records pulled their financial support for the tour, with Slash returning to Guns N’ Roses and Slash’s Snakepit disbanding.
Following his departure from Guns N’ Roses in 1996, Slash formed the cover band Slash’s Blues Ball. After a tour in 1997, Slash approached Blues Ball bassist Johnny Griparic about forming a new lineup of Slash’s Snakepit. The new lineup consisted of Slash, Griparic, singer Rod Jackson, guitarist Ryan Roxie and drummer Matt Laug (Roxie and Laug were both former members of Alice Cooper‘s solo band). They recorded and released their second album entitled Ain’t Life Grand in 2000, which was preceded by a tour supporting AC/DC and followed by their own headlining tour. For the tour, Keri Kelli joined the group in place of Ryan Roxie, who departed following the completion of the album. However, after the final show, Slash disbanded Slash’s Snakepit due to a lack of commitment from his band members.
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.
Here’s a very cool lot of GNR items from the tour in Japan, December 1988.
….A room service receipt signed by Slash, two photos of a very young Izzy and Slash, an All Access Laminate, interview itineraries and schedules, as well as an after show party pass once the day was done.
I can only imagine that after party. Lots of stress to release.
Perhaps the most interesting item in this lot is a magazine in which Slash has added a few unique touches of his own to.
The band’s long running feud with Poison can be seen here in all it’s glory. No love lost here.
Here’s a great lot of photo outtakes and letters from the cover shoot for Guitar World, February 1992 with our friend Slash.
A letter from Brad Tolinski, Editor -In-Chief of Guitar World to GNR publicist Bryn Bridenthal. he states the enclosed color stats our his “favorite” choices for both the cover and interior photos for the February issue.
Slash had different ideas.
Shown is another letter from Bryn to Slash on Geffen stationary asking for his approval of the shots.
By MONDAY.
In all caps.
She also mentions she spoke to Jann Wenner of Rolling Stone Magazine, telling him that you, Slash were not interested in inducting The Yardbirds into the Rock and Roll Hall of Fame.
But…. that Slash would be interested in inducting Jimi Hendrix.
Here’s an incredible rare and never before seen piece of Guns N’ Roses memorabilia. A postcard from 1987 sent by the boys to their publicist, Bryn Bridenthal at Geffen Records.
This postcard sends support to Bridenthal who had been involved in a well publicized fight with some members of Poison backstage at the L.A. Forum.
Axl Rose had called Poison a “bunch of poseurs” who represent “everything bad about rock and roll” and Poison’s Bobby Dahl and Bret Michaels retaliated at a Motley Crue afterparty by throwing beer on Bridenthal and then dumping a bucket of ice water on her head.
She later sued the Poison members which resulted in an out of court settlement.
*Click on the L.A. Times photos to enlarge it and read about the lawsuit.
Here are some additional photos from a HUGE PR file on GNR from 1986. Photocopies of almost every one of their appearances, phone messages, letters and correspondence with various Rock publications and magazines. A handwritten letter from Slash regarding the “Crucible” interview. Very cool lot from the very early days.
These rarities all came from my buddy Jeff Gold at Recordmecca. Check out his site for amazing rare vinyl and insane memorabilia. http://recordmecca.com/
This magazine cover from the 1988 tour of Japan with Poison on it, “embellished” by Slash, shows there was definitely was no love between these two bands.
I’ve been fortunate in my years in advertising to have met some pretty cool people.
Like say, Slash for instance.
I’ve always been a HUGE Guns N’ Roses and Slash fan.
Their critically acclaimed debut album “Appetite for Destruction” is still one of my top five favorite rock albums.
Most if not all critics agree it set the bar for heavy metal rock in the 80′s.
I just finished up a TV campaign for the L.A. Zoo promoting a new exhibit called The Lair in which Slash and the venerable wise cracking octogenarian, Betty White starred.
We shot 5 different TV spots over the course of a day at the zoo.
They were both a joy to work with.
And Slash is the real deal.
The rock icon you would expect him to be.
But down to earth and soft spoken.
A true gentleman.
I was completely beside myself.
I happened to have a few rare GNR items in my collection, one I brought along to the TV shoot to have Slash sign for me.
An original ticket and flyer, circa 80′s, from one of their gigs at the famed Troubadour in West Hollywood.
The band’s stomping ground and where they played several of their most memorable performances.
Here are a few pictures from the shoot, as well as some other rare items from my collection.
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’.
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.
