Keith and Les. A match made in heaven.

A rare in-store poster featuring Keith, 1975. Size 22″ x 29″.

With a music career that has now hit 50 years (The Rolling Stones performed their first gig on July 12, 1962), Keith (Keef) Richards has played just about every guitar under the sun. He puts his collection at “about 500”, which, amazingly, means he’s acquired a guitar every five weeks, on average, since 1962. Many of these have been Gibson guitars, some with legendary status. Here are just a few of the Gibson guitars Richards has riffed on.

1959 Gibson Les Paul Standard Sunburst

Even some ardent Gibson Les Paul fans forget this, but Keith Richards was the first big-name guitarist to tote a Sunburst Les Paul. His most fabled was an original 1959 Les Paul Standard. The guitar was bought new in 1961 from Farmers Music Store in Luton (U.K.) by John Bowen, who played with aspiring English popsters Mike Dean & The Kinsmen. Bowen had a Bigsby vibrato fitted at Selmer’s music store in London before trading it for another guitar in 1962. Soon after, a young Keith Richards, playing guitar in a little-known band called The Rolling Stones, walked in to Selmer’s and bought it.

Richards used the ’Burst extensively in the Stones’ early days. It was seen regularly from 1964 to 1966 when Keith began to favor Les Paul Customs. Appearances on TV show Ready Steady Go and classic songs like “The Last Time” and “Satisfaction” were all played on this ’59 ’Burst.

Keef sold the guitar to Mick Taylor in 1967 – the future Stone had replaced fellow Les Paul maestros Peter Green (and before him, Eric Clapton) in John Mayall’s Bluesbreakers.

There are photos of Mick Jagger with the ’59 Burst at some 1970 recording sessions – by which time Taylor was in The Stones – but it then disappeared. Rumor has it that the guitar was stolen in 1971, either from London’s Marquee Club after a gig, or from Nellcote in southern France during the recording of Exile on Main St. Whatever the truth, it did end up in the hands of Cosmo Verrico of the Heavy Metal Kids who were signed to Atlantic Records (alongside The Stones).

Verrico owned the ’59 until 1974, when he then sold it to Bernie Marsden (later of Whitesnake). Marsden kept the guitar for a little over a week before, perhaps rashly; he sold it to a U.K. collector. The fabled ’59 was sold again to another collector in 2006, “somewhere in Europe” according to auctioneers.

The 1975 catalog featured Keith on the cover.

Gibson Hummingbirds

Keef loved acoustics in the late ’60s. “Jumpin’ Jack Flash” and “Street Fighting Man” were both written on his favored Gibson Hummingbird (vintage unconfirmed). Says Keef: “I tuned to open D, six string. Open D or open E, which is the same thing – same intervals – but it would be slackened down some for D. Then there was a capo on it, to get that really tight sound. And there was another guitar over the top of that, but tuned to Nashville tuning. Both acoustics were put through a Phillips cassette recorder. Just jam the mic right in the guitar and play it back through an extension speaker.” In his Life autobiography, Richards reveals, “There are no electric instruments on ‘Street Fighting Man’ at all… All acoustic guitars. ‘Jumpin’ Jack Flash’ the same.”

Gibson Les Paul Customs

By 1966, Richards was using three-pickup Les Paul Customs (the so-called “Black Beauty”). He had four, at least. He first used one in ’66, but that was stolen on tour in 1967. He purchased a new one in London, and this one was later painted by himself and then-partner Anita Pallenberg. It is now apparently owned by a U.K. guitar collector.

So why did that one go? Various stories say Keef gave it away or forgetfully left it in a Canadian guitar shop. He bought two new Les Paul Customs for the Stones’ 1969 tour, and used one for open-G tuning on “Jumpin’ Jack Flash” and “Street Fighting Man” (live), the other in standard tuning. Both these Black Beauties were reportedly stolen from Nellcote in July 1971. Bad luck or simple carelessness? By ’73, Keef was still using a ’54 Custom for “Midnight Rambler” on The Stones’ ’72-73 tours. The Rolling Stones’ Rock and Roll Circus film shows Keith rocking one of his early LP Customs.

His black 1959 ES-355 has been used for live versions of “(I Can’t Get No) Satisfaction,” “Oh No Not You Again,” “She’s So Cold,” “Little T&A” and others.

Of course, there was also Keith’s Flying V (played at The Stones’ Hyde Park performance in 1969), his numerous Epiphones, and the Gibson L-5S guitars built specially for Richards and Ronnie Wood in the ’80s. Oh, and his Gibson Maestro fuzz pedal that birthed “Satisfaction.”

All information provided by the Gibson website.

http://www2.gibson.com/News-Lifestyle/Features/en-us/keith-richards-0502-2011.aspx

Hiro and The Rolling Stones. The Black and Blue Album cover.

Check out one of the finest Rolling Stones items in existence–the original album cover artwork for the Stones 1976 album Black and Blue.   This is the actual photograph used to produce the album cover, taken by the legendary Japanese fashion photographer Hiro.

As former Atlantic Records Vice President/Creative Director, Graphics Bob Defrin explains in his letter of authenticity, “Many years ago, before digital print production, artwork for printing was prepared on boards which would then be sent out to be converted to printing films.  This would include typography and photographs, whether prints or transparencies.  This would entail the need for storage once the material was returned.

At Atlantic Records we had a large area which was used for this purpose and was called the art file room.  When material was returned, the art production department would then store it alphabetically in bins.  Because of space consideration these bins would, periodically, have to be cleared of material that was no longer needed.  As I was leaving the office one evening I passed a large pile of boards left in the hallway ready to be discarded. I decided to rummage through the pile to see if there was anything I wanted to hang on my wall at home or in the office.  There I came across the original color print used for the front and back covers of the Rolling Stones Black and Blue album.  I decided that rather than have this go in the trash, I would take it home.”

An excellent decision.

The photographer, Hiro, is a highly respected and very collectible photographer in his own right.  He has printed this image only once, in an edition of 10, and these sold out many years ago at $10,000 .

He hasn’t never sold prints of this photograph otherwise.  As this is the original artwork used to produce this famous album cover, however, this print is truly unique and historically important.   The images Hiro’s studio stamp on the bottom right edge of the mount board.

The print measures 27 3/4″ x 18 7/8″, and the art board measures 31 1/2″ x 21.”   A truly museum-quality piece of rock history.

Price on request. Please contact Jeff Gold at Recordmecca.com

“Senator Javits, I’d like to introduce Mick Jagger and Bianca Jagger.” “Oh yeah, and they have a check for you for $350,000.”

A rare and fascinating as well as historical lot of Mick Jagger items from the early 70′s. Mick Jagger and his new bride Bianca traveled to New York to present Senator Jacob Javits of New York, a sizable check for $350,000 to aid the Nicaraguan Earthquake victims, of which Bianca’s family were some.

Here is an autograph signed by both Mick and Bianca on a US Senate notepad, as well as original news clippings from the meeting of the two.

In 1973, The Stones gave a benefit concert in LA to help to raise money. the ticket stub shown is from that show.The watch pictured was later donated by Jagger to LA radio station KMET-FM, who ran a week long auction to raise  additional money for the victims.

The watch was a gift from Atlantic Records President Ahmet Ertegun, to Jagger right about the time the Stones signed the deal with Atlantic.

Guns N’ Roses hit Tokyo, Japan December, 1988. And yeah, they still hate Poison.

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.

Slash Uncensored! Slash’s cover Guitar World 1992. Outakes, letters, and more outakes.

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.

Wow.

Guns N’ Roses vs. Poison. Welcome To Their Jungle.

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.

Okay…you’ve seen what I have, here’s some stuff I want.

Figured it might be time after roughly three years to maybe post some pictures and descriptions of some things I’m looking to add to my collection.
Most of what I’m looking for can be best described as what I don’t know about. It’s always more fun and exciting to stumble upon something you’ve never seen or heard of before.
But, there are some items I would love to add to my collection.
If you have any of these items or know where they are, I’m always interested in talking.

Rock and Roll Photography. Visual storytelling at it’s best.

Copyright Rob Shanahan.

Copyright Rob Shanahan.

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.

Enjoy.

In honor of Keith Richards’ 68th birthday, some of my favorite Keith items.

Handwritten letter to a fan, circa 1965.

Keith's pirate worn in the "Respectable" video in May of 1978.

Keith's leather jacket worn in the late 70's.

Keith's Bobby Lee guitar strap used during the Tour of the Americas, 1975.

Main Offender Tour bag.

Signed rubber skull from backstage. "Who is the guy?"

A rare Rolling Stones signed tour program, Winnipeg, Canada 7/14/66….and a friendship to boot.

I was contacted several weeks ago by someone researching early signed items.
He found my blog about early signed Stones items, posted a question hoping to get some advice.
We spoke over the next several weeks and talked about our personal passions and lives as much as the item pictured.
So not only was I able to acquire this wonderful signed program, but more importantly made a friend as well.
I’m proud to own this and the memories of his Dad that came with it.
Thanks Todd, it has found a great home.

Here’s the email he sent me regarding the piece pictured.

“My father, Jim Paulson, was a prominent radio/TV broadcaster in Canada up until his passing in ’07. Right from his teens in the ’50′s he was a serious autograph collector starting with various people who were on the covers of the current TIME magazines. In ’66 he was working for Winnipeg radio station CKRC as one of their top DJ’s and that’s how this collection of Rolling Stones autographs came about. He (as he had told me in the past) was the show’s MC for the station that night, therefore was able to have access to the boys. As well as the Stones, he’d met many people throughout his career and since these are really HIS memories.“

The Rolling Stones’ 1966 American Tour was a concert tour by the band. The tour commenced on June 24 and concluded on July 28, 1966. On this tour, the band supported their album Aftermath. The last gig of the tour in Honolulu, Hawaii was broadcast in the Hawaiian radio K-POI.

An ad from the show.