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

….Off we go to the Rock And Roll Hall of Fame for the “Rolling Stones: 50 Years Of Satisfaction” exhibit.

Suffice to say when THE Rock And Roll Hall Of Fame called me and asked if I’d be interested in putting some of my collection on loan for the upcoming “Rolling Stones: 50 Years of Satisfaction” exhibit, I was freakin’ blown away.

Let me think about it….Aaaaaah, YES! YES! YES!

So, off I went to pack up and say goodbye to my babies for the next two years. I mean seriously, how do you say no to this???

Sniff, sniff….separation anxiety is beginning to set in.

“Bye, bye kids….Call me every once in awhile and let me know you’re okay.”

“Okay?”

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.

http://rockhall.com/exhibits/rolling-stones-50-years-of-satisfaction/

These are the hand picked pieces from my collection the Hall Of Fame chose to exhibit and that will be traveling around the country.

Mick’s handwritten marketing notes for “Tattoo You.”

Keith’s Bobby Lee guitar strap used during The 1975 “Tour Of The Americas.”

Keith’s linen pirate shirt worn on tour during the mid 70′s and in the “Respectable” video.

Keith’s leopard lined leather jacket from the 70′s.

Cockroaches t-shirt and stub from the Stones secret gig at Sir Morgan’s Cove in 1981.

Mick’s handwritten selections for singles from “Tattoo You.”

Mick’s handwritten rehearsal set list for the Sir Morgan’s Cove show.

and the letter back….. pretty cool.

The Rolling Stones autographs. The “real deals” are there, you just have to do your homework.

Probably the one question I’m asked constantly by those who know I collect or have seen my collection is, “How do you know it’s real?”
My answer is usually, “I just know.”
As easy as that sounds, it’s not that easy.
But with a little work you will know, and you can protect yourself and your collection.

Start with the simple notion that 95% of autographs sold on eBay and through memorabilia sites are fakes.
Yup, 95%.
Why is that?
Easy.
These alleged reputable dealers are looking for people who don’t know what they’re are looking at.
People that want to believe at that price, it’s too good to be true.
Want to believe that the dealer is reputable.
And to borrow a quote, “There’s a sucker born every minute.”

Check out this link to find out who really said this.

http://www.historybuff.com/library/refbarnum.html

So how do you know if a set of signatures you’re buying is fake?
If there’s a certificate of authenticity offered, it’s fake.

Any a-hole can print up a impressive looking “certificate”, sign it, offer a lifetime guarantee, and sell pretty much anything.
People think this is their protection.
Sorry, it don’t mean shit.
You need to know your stuff. Buy from the right people. Get knowledgeable.
Read up.
Study.
It’s work.
But like anything else, you want to make good decisions, you do your homework.
I own many signed Stones items.
Frankly it’s easier to buy a legit set of vintage autographs from the Brian Jones era, than a set from today.

Begin at the beginning.
Familiarize yourself with the earliest signatures of the band.
What did they sign like in the 60′s say. Gather images you find online and through eBay and compare them.
Try to think of the circumstances in which they might have signed these items, how much time they had, what they were signing. A card, paper, magazine.
All bands in the 60′s signed in ballpoint pen.
There were no sharpies.
Study how their styles changed throughout the years.
Usually over the years, not unlike us all, our signatures deteriorate and get sloppy.
We get lazy.
No different for rock stars.
Look at Charlie Watts today, barely understandable or readable.
A large C and B.
Stands for “Charlie Boy”, the way he used to originally sign his name back in the 60′s.
A signature reduced to letters.

I found on eBay a year or so ago a signed album.
It was a “Get your Ya Ya’s Out,” signed by all the original Stones, including Brian Jones.
The album as recorded in 1969 and released in September of 1970.
See where I’m going with this?
How could this be signed by Brian Jones if he died in July of 69 and the album was released in 1970?
This is the kind of crap that goes on all the time.

Of course it came with a certificate of authenticity.

Buy from reputable dealers. If you do your homework and ask around you can find them.
I buy from Recordmecca in LA, and Tracks in the UK.
These guys know their shit.
They give a lifetime guarantee and it means something.

Some examples I own are shown here. Bought from the dealers listed above.

Beautiful exmaple from Recordmecca

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

Collectors are Out Of Their Heads for early Rolling Stones signed items in the latest RR Auction.

Early Rolling Stones autographed items continue to bring strong prices in auction even in this down economy.

I imagine this gives Stones collectors some “Satisfaction” in knowing their collections are continuing to increase in value and scarcity.

Just recently RR Auction of Amherst, New Hampshire ran the Joey Ramone auction ending February 21st featuring rare items from Joey’s estate. The Beatles, The Stones, Elvis, The Doors, Jimi Hendrix among others were also represented.

An Out of Our Heads album signed on the back cover in blue ballpoint by Mick Jagger and Brian Jones, black felt tip by Keith Richards and Charlie Watts, and black ballpoint by Bill Wyman. In very good condition, with some light scattered foxing and toning, general rubbing wear to the front cover, and a few slight brushes to the signatures brought a whopping $7620.00 plus a 20% buyer’s premium.

Below you can see a copy of the album described.

Also a more recent Rolling Stones limited edition lithograph for the album “Stripped” signed by Mick, Keith, Ronnie and Charlie brought $4300.00.

Both a steal when you consider there were two Beatles signed red label Parlophone 45′s that each went in excess of $22,000.

Wait, what?!?!?!?

Okay Rolling Stones collectors, grab your tongues….Wait till you see this!

Doesn’t get much more rare than this. The Rolling Stones Big 6 Guitar with the original packaging. The HOLY GRAIL of all Stones guitar toys.

Made by Selcol in the 60′s and is about ten times more rare than any of the Beatles Selcol guitars and toys.

If only they had made a Charlie Watts drum…

This beauty is owned by Ira Korman, Stones collector extraordinaire. This piece is in near-mint condition and comes with the original cord and pic. Amazing.

Congrats Ira for finding and sharing this rarity with us.

Okay, put your tongues back in your mouth….

You can see more of Ira’s rarities by visiting www.therollingstonesmuseum.com

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.

Keith Richards and Ronnie Wood’s other band.

Here is a rare group of very hard to find New Barbarians memorabilia from my collection. Included is various Crew, Guest and VIP backstage passes and laminates with artwork by Ronnie Wood himself.

Included in this rare lot is paperwork from a huge PR file on the band that documents the various press interviews and the band’s itinerary during the tour.

Here’s a little background on the band.

The New Barbarians played two concerts in Canada and eighteen shows across the United States in April and May 1979; in August 1979, the band also supported Led Zeppelin at the Knebworth Festival 1979.

The group was formed and led by Rolling Stones and Faces guitarist Ronnie Wood, primarily to promote his latest LP Gimme Some Neck. The line-up included Rolling Stones member Keith Richards, bassist Stanley Clarke, former Faces keyboardist Ian McLagan, Rolling Stones confederate and saxophonist Bobby Keys and drummer Joseph Zigaboo Modeliste of The Meters. For the Knebworth show Clarke was replaced on short notice by bassist Phillip Chen, who had to learn all the songs in one day.

The band played a mix of classic rock & roll, R&B, blues and country music, along with Ron Wood solo material and Jagger/Richards songs. Wood sang lead on most numbers (with Richards, McLagan and Clarke providing back-up vocals), as well as playing guitar, pedal steel, harmonica and saxophone.

The New Barbarians debuted as the Rolling Stones’ support act at two charity concerts to benefit the CNIB at the Oshawa Civic Auditorium near Toronto, Ontario on 22 April 1979, fulfilling one of the conditions of Richards’ 1978 sentence for possession of heroin. The band’s eighteen-gig US tour followed. They made news in Milwaukee, Wisconsin when fans rioted, apparently due to their expectation that the show would feature “special guests”, who did not appear.Another line-up of the New Barbarians – with Andy Newmark, Reggie McBride, MacKenzie Phillips and Johnnie Lee Schell replacing Clarke, Modeliste and Richards – played a “make-up date” in Milwaukee in January 1980 to help the promoter recoup the cost of the damages caused by the riot.

In October 2006 Ronnie Wood’s record label, Wooden Records, released a two-disc CD (followed a few months later by a triple LP set) of a New Barbarians concert at the (now former) Capital Center Arena in Largo, Maryland, entitled Buried Alive: Live in Maryland.