“It’s Only Rock and Roll But I Like It.” The best record store display EVER.

If I could stick my pen in my heart
And spill it all over the stage
Would it satisfy ya, would it slide on by ya
Would you think the boy is strange? Ain’t he strange?

If I could win ya, if I could sing ya
A love song so divine
Would it be enough for your cheating heart
If I broke down and cried? If I cried?

I said I know it’s only rock ‘n roll but I like it
I know it’s only rock ‘n roll but I like it, like it, yes, I do
Oh, well, I like it, I like it, I like it
I said can’t you see that this old boy has been a lonely?

If I could stick a knife in my heart
Suicide right on stage
Would it be enough for your teenage lust
Would it help to ease the pain? Ease your brain?

If I could dig down deep in my heart
Feelings would flood on the page
Would it satisfy ya, would it slide on by ya
Would ya think the boy’s insane? He’s insane

I said I know it’s only rock ‘n roll but I like it
I said I know it’s only rock’n roll but I like it, like it, yes, I do
Oh, well, I like it, I like it, I like it
I said can’t you see that this old boy has been a lonely?

And do ya think that you’re the only girl around?
I bet you think that you’re the only woman in town

I said I know it’s only rock ‘n roll but I like it
I said I know it’s only rock ‘n roll but I like it
I said I know it’s only rock ‘n roll but I like it, like it, yes, I do
Oh, well, I like it, I like it. I like it…

I remember seeing this in record stores back in 1974.
I had just graduated high school and was attending my first year of art school.
This was the kind of illustration I wanted to do.
By today’s standards, pretty lame.
Back then, it didn’t get any better.

It’s Only Rock ‘n’ Roll would mark The Stones’ first effort in the producer’s chair since Their Satanic Majesties Request, and the first for Jagger and Richards under their pseudonym “The Glimmer Twins”. On the choice to produce, Richards said at the time, “I think we’d come to a point with Jimmy (Miller) where the contribution level had dropped because it’d got to be a habit, a way of life, for Jimmy to do one Stones album a year. He’d got over the initial sort of excitement which you can feel on Beggars Banquet and Let It Bleed. Also, Mick and I felt that we wanted to try and do it ourselves because we really felt we knew much more about techniques and recording and had our own ideas of how we wanted things to go. Goats Head Soup hadn’t turned out as we wanted to – not blaming Jimmy or anything like that… But it was obvious that it was time for a change in that particular part of the process of making records.” Starting with this release, all future Rolling Stones albums would either be produced by them or in collaboration with an outside producer.

Most of the album’s backing tracks were recorded first at Musicland, with Jagger’s vocals recorded after, with Richards saying, “Jagger often comes up with his best stuff alone in the studio with just an engineer.”.

Source http://en.wikipedia.org/wiki/It%27s_Only_Rock_%27n%27_Roll

RARE IN STORE POSTER, CASHBOX AD AND SHEET MUSIC USING THE SAME ARTWORK.

This display would for the most part make no sense unless you had seen the video.
Or more likely they designed the displays etc. and built the idea behind the video afterwards.
Check it out.

http://www.dailymotion.com/video/xg8pz_rolling-stones-its-only-rock-roll_music

One of the most iconic logos of our time, red lips and a tongue.

http://www.johnpasche.com/flash6.html

Hard to believe the logo that was designed back in 1971 by John Pasche would be one of the most enduring recognizable images of our time, certainly in rock and roll, The Rolling Stones tongue.

Pasche was a 24-year-old postgraduate design student at London’s Royal College of Art when Jagger went looking for new talent, having become dissatisfied with the record label’s artworks. After meeting the singer, Pasche designed a tour poster and was commissioned to come up with a band logo.

Pasche said: “Mick had a picture of Kali, the Hindu goddess, which he was very keen on. India was very much in fashion at the time, but I thought something like that might go out of date.”

A picture of the Goddess Kali from which the logo was inspired from.

The inspiration for the eventual logo, which took Pasche around two weeks of work, has never been in doubt.

“I wanted something anti-authority, but I suppose the mouth idea came from when I met Jagger for the first time at the Stones’ offices. I went into this sort of wood-panelled boardroom and there he was. Face to face with him, the first thing you were aware of was the size of his lips and his mouth.”

The logo first appeared on the inside sleeve of the 1971 album Sticky Fingers and has been used ever since, soon becoming a visual shorthand for the group as well as the stage design for gigs such as the Stones’ show at the Superbowl in 2006.

Initially paid just £50, when the Stones copyrighted the design Pasche received a share of royalties rights, later selling this for a lump sum.

Pasche, who also worked with the Who and Paul McCartney, said he never expected the image to be used for so long: “I’m still amazed by how popular it is. I get emails from people saying, ‘I’ve just had the logo tattooed on my arm.’”

Source http://www.guardian.co.uk/music/2008/sep/02/therollingstones.design

Some examples of how the Stones new logo was merchandised and produced back in the early 70′s. It is still emblazoned on every t-shirt sold at every Stones concert worldwide today.

The first Stones Manufactured Tongue pin, circa 1971.

The ad that appeared in rock magazines selling some of the origial merchandising of the new logo.

Aerosmith’s Draw The Line. Al made it Art.

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.