What happens when you wait overnight for tickets to see The Rolling Stones.

An amazing collection of items from the early sixties, including a handwritten letter to a fan from Keith Richard.
The grouping is detailed below.
An example of how provenance can add incredible value of your collection.

All photographs come from http://www.tracks.co.uk/

Keith Richard Handwritten Letter.
A piece of white lined paper on which Keith Richard has handwritten a letter to a Rolling Stones fan. The letter reads
‘Dear Angela, Thanks for your letter, I hope you enjoyed the 2nd show as well. Anyone who queues for 2 days deserves to come backstage, and it was a pleasure meeting you.
Anyway must go – Keith Richard’.

The letter was written backstage at the Odeon Theatre, Leeds, England on October 9th 1965.

*Note…English slang for queues..or queuing.
A waiting list or other means of organizing people or objects into a first-come-first-served order.

An original black and white photograph of Angela and her friends queuing for tickets outside the Odeon Theatre, Leeds, England.

The photograph was taken on September 16th 1965 shortly before tickets went on sale for the show which was going to take place on October 9th 1965.

Tickets for the Rolling Stones show which took place at the Odeon Theatre, Leeds, England on October 9th 1965. Consists of a stub for the 1st performance and a complete unused ticket for the 2nd performance.

Newspaper article. An original newspaper article taken from the Yorkshire Post which details the girls two day wait for tickets to the show.

An original black and white photograph of Angela and her friends backstage with the Rolling Stones at the Odeon Theatre, Leeds, England.
The photograph was taken on October 9th 1965.

More rarities from the 1972 STP tour, simply the best Rolling Stones tour hands down.

This is an original concert tour handbill flyer for the Rolling Stones 1972 American Tour live LP that was never released.
The artist was Don Wilson.
The artwork is stunning. Reminiscent of the art deco style seen in the early jazz posters from the 1920′s-30′s.
Often referred to as “The Great Lost Live Album.”
There was also a flyer of Stevie Wonder from the back cover.
This is from the few ever printed only to be used in the photograph on the front cover of the LP.
Measures 10″ x 6.75″ printed in black on thin newsprint.

*from the collection of Gary Rocks

…..fast forward two years in 1974 and this concert and tour can be seen on the big screen in “Ladies and Gentleman: The Rolling Stones.”
Recently released on DVD.

The Stones being the ultimate showmen promoted the film in typical flashy Stones style.
With elaborate posters and giveaways at the theaters.

The concert film is Mick and the boys at their dirty and grittiest best.
Mick Taylor’s solos and slide guitar is nothing short of inspired and the band couldn’t be any tighter.
Full horn section with Bobby Keys and Jim Price…
“Midnight Rambler” is worth the price of the DVD if you haven’t already picked it up.
Mick slithering and squirming around like a snake, whipping the stage with his silk scarf.

A note to Exile designer John Van Hamersveld, from photographer Norman Seeff who shot the postcards for the album, on the back of a printer’s proof of the cards. He was less than pleased with the printing.

You can see a somewhat similar style used in
the art for the cover of the sheet music for “Tumbling Dice.”

Recently on eBay a backstage pass from the Madison Square Garden show was offered for $3000.
And if your inclined to spend a little more, you could have bought Mick Jagger’s authentic jump suit worn 7/26/1972, designed by Ossie Clark for MICK’S’ 29th birthday.
It was offered on eBay for an opening price, with a reserve for $25,000.

Check out this link too, interesting cuts and info on this infamous never to be released album.

http://www.rollingstonesnet.com/StonesOfficial72Live.html

Rare Rolling Stones memorabilia that’s rarely seen.

As far as collectors go, I’m pretty much a newbie.
There are plenty of folks out there that have been at this a lot longer than me.
They were buying in the early days scoffing up displays, toys, posters, autographs, when no one saw any of this stuff as being at all valuable.
It was for all intents and purposes seen as junk for Stones cuckoos and fanatics.

They had the last laugh.

Here’s a bunch of early Stones items that I’ve yet to see or run across.
Once in a great while you hear one of these babies sold privately for some sick amount of money.
On occasion they may show up in auction also commanding top dollar.

It’s stuff like this that keeps me collecting and constantly on the hunt.
Back to eBay.
Wish me luck.

Photo courtesy of Matt Lee.

Photo courtesy of Ira Korman

Some girls give me money, Some girls buy me clothes.

I thought I’d start the New Year off by writing a post on one of my favorite Stones albums, Some Girls.

Some Girls is the 14th British and 16th American studio album by The Rolling Stones, released in 1978.
Considered a highlight of their output and the best of their post-Exile on Main St. records, the album revitalized the band’s career upon its release and re-established The Rolling Stones as a vital rock and roll band in an era infused with punk rock and disco.
It also became the band’s biggest-selling album in the United States, with more than six million copies to date.
Some Girls is ranked number 269 on Rolling Stone magazine’s list of the 500 greatest albums of all time.

At least as important for the band’s reinvigoration was the addition of Ronnie Wood to the lineup, as Some Girls was the first album recorded with him as a full member. His guitar playing style meshed with that of Keith Richards.
Wood’s slide guitar playing would become one of the band’s hallmarks, and his unconventional uses of the instrument are prominent on Some Girls.
In addition, Jagger, who had learned to play guitar over the previous decade, contributed a third guitar part to many songs. This gave songs like “Respectable” a three-guitar lineup.

Here’s the framed shirt Keith wore in the “Respectable” video shot on May 2, 1978.

Mick Jagger is generally regarded as the principal creative force behind Some Girls, a conception that, though disputable (Richards was present at all of the sessions), is plausible considering Richards’ various legal entanglements at the time. Jagger claimed in a 1995 interview to have written a great number of the album’s songs (though when the amount was pointed out to him he denied that the record was mostly his own), including its signature song, “Miss You.” In addition to punk, Jagger claims to have been influenced by dance music, most notably disco, during the recording of Some Girls, and cites New York City as a major inspiration for the album, an explanation for his lyrical preoccupation with the city throughout.

The inspiration for the record was really based in New York and the ways of the town. I think that gave it an extra spur and hardness. And then, of course, there was the punk thing that had started in 1976. Punk and disco were going on at the same time, so it was quite an interesting period. New York and London, too. Paris—there was punk there. Lots of dance music. Paris and New York had all this Latin dance music, which was really quite wonderful. Much more interesting than the stuff that came afterward.

Above is a complete Some Girls press kit signed by the band as well as Ian Stewart and Ian McLargen.
Ronnie Wood signed Woody which he never does.
The Art Collins collection.

Rare boxing style poster.

A real oddity.
The die-cut faces that were once part of the original graphics for the Some Girls album cover.
Mick threw these into the audience instead of his traditional rose petals during the brief 1978 tour.

The hunt for pictures of Keith Richards’ skull and lightning bolt belt chain ends.

First it started with finding this Rolling Stone cover with Mick and Keith.
Then I noticed the belt chain in the picture….Hmmmmm that looks kinda familiar.
Then it led me to finding out who shot the cover.
(Turns out it was photographed by known music and celebrity photographer, Mark Seliger.)
Then I found the photo.
Then I was able to blow up the section of the photo to better see the belt chain.
Then I tracked down the tour he wore this on, “Bridges To Babylon.”
Then I researched tours both before and after that tour.
Then I went online to find photos.
Then I found tons of pictures of Keith with the chain hanging from his belt loop.
Then I see the lightning bolt and skull.
Then I was happy.

As my wife tells my daughters, “Do your homework.”

Would you let your daughter marry one of The Rolling Stones?

One of the best sets of early Rolling Stones autographs I’ve ever seen.

But what makes this one of the best, isn’t necessarily the clear, clean signatures of all the Stones.

Or the fact that this item is in amazing condition and has been around since the early 60′s.

Or the fact that Mick even signed this twice.

Or that the legendary Brian Jones the original founder of the Stones has signed it. A signature that these days is not that easy to find.

But the title of this article that appeared in the British teen music magazine Rave.

“We find the girls who will marry them.”

This incredible early set of Stones autographs came from Jeff Gold of Recordmecca.

Bill Wyman apologizes to a fan on why he needs all his hair.

I suppose when you write a letter to any of The Rolling Stones, you might as well ask for something in the event they do answer you.
Why not a lock of their hair?
This fan writing to Bill Wyman did just that.
Bill being the gentleman he is, apologizes for not writing sooner and hopes our fan Ros likes the photo he sent.
He also mentions that he hopes she gets to see them in Newcastle and to look forward to the new release in 2-3 weeks.
He also regrets not being able to send any hair, as he needs all of it at the moment.
Fair enough Bill.
Thanks anyway.

Charlie Watts. Gentleman, Artist, Horse Breeder, Cricket Fanatic, Jazz bandleader and one of the world’s greatest drummers.

Charles Robert “Charlie” Watts (born 2 June, 1941) is an English drummer best known as a member (from January 1963 through the present) of The Rolling Stones. He is a jazz bandleader, record producer, commercial artist and horse breeder. Mick Jagger sometimes refers to Watts as “The Wembley Whammer” when introducing him during concerts.

Charlie Watts was born to a lorry driver for a precursor of British Rail and his wife at University College Hospital, London, and raised (along with his sister Linda) in Islington and then Wembley. He attended Tylers Croft Secondary Modern School from 1952 to 1956; as a schoolboy, he displayed a talent for art, cricket and football.

Watts’s parents gave him his first drum kit in 1955; he was interested in jazz, and would practice drumming along with jazz records he collected. After completing secondary school, he enrolled at Harrow Art School (now the University of Westminster), which he attended until 1960. After leaving school, Watts worked as a graphic designer for an advertising company, and also played drums occasionally with local bands in coffee shops and clubs. In 1961 he met Alexis Korner, who invited him to join his band, Blues Incorporated. At that time Watts was on his way to a sojourn working as a graphic designer in Denmark, but he accepted Korner’s offer when he returned to London in February 1962.

Watts played regularly with Blues Incorporated as well as working at the advertising firm of Charles, Hobson, and Grey. It was in mid-1962 that Watts first met Brian Jones, Ian “Stu” Stewart, Mick Jagger and Keith Richards, who also frequented the London rhythm and blues clubs; but it wasn’t until January 1963 that Watts finally agreed to join the Rolling Stones.

Watts has been involved in many activities outside his high-profile life as a member of the Rolling Stones.
In 1964, he published a cartoon tribute to Charlie Parker entitled Ode to a High Flying Bird.

Although he has made his name in rock, his personal tastes focus on jazz; in the late 70s, he joined Ian “Stu” Stewart in the back-to-the-roots boogie-woogie band Rocket 88, which featured many of the UK’s top jazz, rock and R&B musicians. In the 1980s, he toured worldwide with a big band that included such names as Evan Parker, Courtney Pine, and Jack Bruce, who was also a member of Rocket 88. In 1991, he organized a jazz quintet as another tribute to Charlie Parker. 1993 saw the release of Warm And Tender, by the Charlie Watts Quintet, which included vocalist Bernard Fowler. This same group then released Long Ago And Far Away in 1996. Both records included a collection of Great American Songbook standards. After a successful collaboration with Jim Keltner on The Rolling Stones’ Bridges to Babylon, Charlie and Jim released a techno/instrumental album called simply Charlie Watts/Jim Keltner Project. Featuring the names of his favourite jazz drummers, Charlie stated that even though the tracks bore such names as the “Elvin Suite” in honor of the late Elvin Jones, Max Roach and Roy Haynes, they were not copying their style of drumming, but rather, capturing a feeling by those artists. Watts At Scott’s was recorded with his group, The Charlie Watts Tentet, at the famous jazz club in London, Ronnie Scott’s. In April 2009 he started to do concerts with “The ABC&D of Boogie Woogie” together with pianists Axel Zwingenberger and Ben Waters plus his childhood friend Dave Green on bass.

Besides his musical creativity, he contributed graphic art to early records such as the Between the Buttons record sleeve and was responsible for the famous 1975 tour announcement press conference in New York City. The band surprised the throng of waiting reporters by driving and playing “Brown Sugar” on the back of a flatbed truck in the middle of Manhattan traffic; a gimmick AC/DC copied later the same year, Status Quo repeated the trick for the 1984 video to “The Wanderer” and U2 would later emulate it in the 2004 video for “All Because of You”. Watts remembered this was a common way for New Orleans jazz bands to promote upcoming dates. Moreover, with Jagger, he designed the elaborate stages for tours, first contributing to the lotus-shaped design of that 1975 Tour of the Americas, as well as the 1989–1990 Steel Wheels/Urban Jungle Tour.

There are many instances where Jagger and Richards have lauded Watts as the key member of The Rolling Stones. Richards went so far as to say in a 2005 Guitar Player magazine interview that the Rolling Stones would not be, or could not continue as, the Rolling Stones without Watts. An example of Watts’s importance was demonstrated in 1993, after Bill Wyman had left the band. After auditioning several bassists, Jagger and Richards asked Watts to choose the new bass player; he selected the respected session musician Darryl Jones, who had previously been a sideman for both Miles Davis and Sting.

In 1989, the Rolling Stones were inducted into the Rock and Roll Hall of Fame. In the July 2006 issue of Modern Drummer, Watts was voted into the Modern Drummer Hall of Fame along with Steve Gadd, Keith Moon, Buddy Rich and other highly esteemed drummers.

Charlie Watts plays Gretsch drums and a variety of brands of cymbals, mostly UFIP. His drums are 1956-7 Gretsch Round Badge: a 22″ (56 cm) bass drum, a 16″ (41 cm) floor tom, a 12″ (30 cm) tom and a 5-by-14-inch (13 cm × 36 cm) snare drum. Cymbals he is known to use include: an 18″ UFIP Natural Series Fast China, a UFIP Rough Series China with rivets, a very old UFIP Flat Ride, an Avedis Zildjian Swish, and a very old set of hi-hats, brand unknown.

The TAMI Show afterparty….Mick Jagger’s glass? Bill Wyman’s cigarette?

THE FOLLOWING ITEMS IN THIS POST ARE FOR SALE. Contact me at ggae55@gmail.com

L to R standing: Ron Armstrong, Bill Wyman, Keith Richards, Earl Steely (Misfits), Mick Jagger, Joey Paige (“Shindig” regular), Charlie Watts, Bob Mosley and Eddie Dunn (both Misfits).”“L to R kneeling: Joel Scott Hill, (later Canned Heat and Flying Burrito Brothers), unknown press photographer, Harold Kirby (Joel’s bassist, now deceased; by the way, Willie Kellogg played with Joel but was packing his drums).

On Nov. 1, 1964, the Rolling Stones, fresh off of taping “The T.A.M.I. Show” (where the upstart Brits were upstaged by James Brown), made their first San Diego appearance, at Balboa Bowl (now Starlight Bowl).
Also performing that night were locals Joel Scott Hill & the Invaders (also known as the Strangers), The Misfits and Rosie and the Originals. Downtown record-shop owner Danny Milsap, who promoted the concert, paid the Stones $400, he recalled in a 1998 retrospective in the San Diego Reader: “I remember paying Rosie and the Originals $500!”
Hitmaker (“Angel Baby”) and future Rock and Roll Hall of Famer Rosie Hamlin and company didn’t stick around for the backstage photo, but Misfits drummer Ron Armstrong identifies who did.

In honor of the release of The TAMI Show on DVD, some rare and never seen collectibles from the after party.
Mick Jagger’s glass scoffed up by this fan as well as a cigarette bummed from Bill Wyman.
Both labeled the night of the party by him packed away in a box and just recently unearthed and purchased by me. The letter from the original owner can be seen below.

I wonder how long DNA hangs around?

I should know having watched enough CSI and Law and Order
marathons with my girls.

The T.A.M.I. Show is a 1964 concert film, released by American International Pictures. It includes performances by numerous popular rock and roll and R&B musicians from the United States and England. It was shot with TV cameras by director Steve Binder and his crew from The Steve Allen Show, and was the second of a small handful of productions to be recorded in Electronovision – one of the first high-definition video cameras that captured somewhere between 1000-1100 lines at 25fps. Then, via kinescope recording, it was converted to film with sufficient enhanced resolution to allow big-screen enlargement.

The concert was held at the Santa Monica Civic Auditorium on October 28 and 29, 1964. Free tickets were distributed to local high school students. Jan and Dean emceed the event and performed its theme song, “Here They Come (From All Over the World)”. Jack Nitzsche was the show’s music director. The acronym “T.A.M.I.” was used inconsistently in the show’s publicity to mean both Teenage Awards Music International and Teen Age Music International. The best footage from each of the two concert dates was edited into the film, which was released on December 29, 1964.

The T.A.M.I. Show is particularly well known for James Brown’s performance, which features his legendary dance moves and remarkable energy. In interviews, Keith Richards of The Rolling Stones has claimed that choosing to follow Brown & The Famous Flames was the biggest mistake of their careers, because no matter how well they performed, they could not top him. In a web-published interview,

Binder takes credit for persuading the Stones to follow James Brown, and serve as the centerpiece for the grand finale where all the performers dance together onstage. In addition, throughout the film, were numerous go-go dancers in the background or beside the performers. Among them were a very young Toni Basil and Teri Garr. It also featured The Supremes performing three back-to-back #1 singles, signaling their reign as the most successful girl group of that era. Diana Ross would go on to work with the director Steve Binder on several of her television specials including her first solo television special and more importantly her iconic Central Park concert, Live from New York Worldwide: For One and for All.

http://en.wikipedia.org/wiki/The_T.A.M.I._Show

Read more: http://www.sdnn.com/sandiego/2009-12-03/concerts-music-clubs/misfits-rolling-stones-snapshot-provides-glimpse-into-san-diegos-rock-n-roll-roots#ixzz0j8AOxdsD

The film was shown unedited and in its entirety on cable television in Canada in 1984 (20th anniversary of its release), on the First Choice Network. However, there has never been an authorized home video release of the film in any format until the authorized DVD release in March 2010, though bootlegs have abounded. (A DVD release of the complete film by First Look Studios was planned for 2007, but subsequently withdrawn.) Also, because of a rights dispute, the footage of The Beach Boys’ performance was deleted from all prints made after the movie’s brief initial theatrical run, and is therefore absent from most of the bootlegs. All of the four Beach Boys tunes eventually surfaced on DVD in Sights and Sounds of Summer, a special CD/DVD edition of Sounds of Summer: The Very Best of The Beach Boys.

In 2006, The T.A.M.I. Show was named to the National Film Registry by the U.S. Library of Congress. Dick Clark Productions acquired ownership of the concert film. On March 23 2010, Shout! Factory released the full show on a restored, digitally remastered and fully authorized DVD.

A sequel, 1966′s The Big T.N.T. Show, was produced by the same executive producer, Henry G. Saperstein.

Here’s a rare ticket from that show both front and back.

Mick Jagger stands by himself while everyone rush the food table.

Keith Richards and “The Lost Sessions” Longview Farms, 1981.

Much has been written and documented about the now infamous Keith Richards “Lost Sessions” from Longview Farms in North Brookfield, MA prior to the 1981 tour.
When Keith, Patti Hansen his wife, Jane Rose his manager and Alan Dunn and his wife visited Gil Markle’s legendary Longview Farms to check it out before the 1981 Tattoo You tour, Keith as usual made his visit memorable.

Bootlegs galore have been made of those handful of classic songs Keith played on piano along with his Screwdriver and friends sitting close by.

Here is the story written by Gil Markle. Pictured here is the actual Master Tape of that session from Art Collins former Exec. President of Rolling Stones records from 1981-1986.

An excerpt from Mojo Magazine referencing the session.

The Master Tape labeled artist Keith Richards and the songs he sang/takes etc.

The following is an account taken from Gil Markle’s incredible website, “Diary of a Studio Owner.”

http://www.studiowner.com/essays/essay.asp?books=0&pagnum=3018

I was true to the promise I made to Patti Hansen, although it took me a day or two longer than expected to deliver.
“What d’ya think, Keith,” I began. “We’ve been in here for days, it seems. I’ve got to do some things in Worcester. You’ve got to go to Rome. Why don’t I call Bill Mahoney, the pilot, and get you and Patti out of here before the front comes through?”
There really was a lot of bad weather on the way, and it’s best not to fool around with that unless you really have to.
“Sounds O.K. to me,” Keith said. “Sounds O.K. to me. Either that or you’ve got to give me a job banging nails with those lads out in the barn.”
Wouldn’t that be something, I mused. Last remaining superstar guitarist knuckles down with North Brookfield country strong hands — building a Sound Stage for the use of his band, the Rolling Stones.
That didn’t happen, of course. Instead, we called Mahoney and set up a departure out of Worcester for Teterboro at 11 AM the next morning. And I set about doing some rough mixes of the two-inch recording tape I’d made the night before. The piano demos I’d done with Keith. As luck would have it, our Chief Engineer, Jesse Henderson, had taken a week to do some engineering chores for Sha Na Na, in California. And so I had to engineer myself, leaving Reed Desplaines, Night Manager, to play assistant engineer — running back and forth to the tape library for more reels of virgin tape. This for studio buffs: we used three Neumann ’87 microphones on the Steinway, which Pat Metheny left with us two years ago. The piano, I mean. Mikes in our top-secret positions. Another Neumann ’87 on him, close up, with a pop filter; voice highly compressed using an Eleven-seventy-six limiter set at twelve-to-one. Finally, a good measure of live acoustic reverb on either side of his voice, in stereo. Lots of E.Q., on everything. I had only one shot at this, and I wanted it to be right the first time.
The live mix was great all by itself, and the best results of that extraordinary session were in fact recorded directly onto our Studer mastering deck, and not the 24-track. 30 ips; no noise reduction, very hot on AMPEX 456 tape.
“Listen to this one, Keith,” I said, just before driving him to the airport.
I selected the live stereo tape of “The Nearness of You,”1 a classic Hoagy Carmichael ballad dating from the late ’30′s. Keith Richards playing the Steinway, and singing, too.

“It’s not the pale moon, that excites me,
that thrills, and delights me;
Oh no, It’s just the nearness of you.”

“Far out, Gil. Voice sounds great. Sounds great.”
“ZIP — BUZZ . . .” There was a loud, familiar noise on the tape.
“What the hell was that?” Keith asked, with a look of anguish on his face.
“Jane Rose taking a picture of you with her Polaroid camera,” I replied.
“Bloody well ruins that take, didn’t it?”
“No, Keith,” I said. “I think I can razor it out later. We’ve got this tune about six times, anyway. So don’t worry.”
Recording enthusiasts will be interested to know that the eventual edits on these ten or so tunes — classic Keith Richards piano demos — took nearly two weeks’ work. I found the time to do it only a month after the Stones had finally gone, and performed the edits on a 7 1/2 ips dub inadvertently left behind at my house on Cape Cod. Editing at 7 1/2 ips is no fun, as you may know. Several hundred cuts were required, since Keith never really bothered to begin or end any of the tunes. He’d just keep on playing, and singing, with me scrambling to keep tape on the tape machines, late at night in the A-Control Room at Long View Farm.
Don’t
Blue Monday
Studio A at Long View is the one people travel considerable distances to use, and I think you’d hear it said at the Farm that I can make it work pretty much as well as anybody can. Mixing tape is what I like to do. I can make really good, live, super-present mixes. That’s what got me into all this, back in ’72, when I was still teaching Philosophy at Clark. I figured I needed some time off to build a studio to make some mixes in. And that’s how Long View came about.
So when I tell you that the live stereo tape of Keith Richards sounded good, you better believe me that it did.
Oh, what a feeling
Apartment Number 9
We drove Keith Richards and Patti Hansen to the airport the next day. 300-foot overcast; visibility a quarter of a mile in rain and fog. Mahoney couldn’t make it in, missing two instrument approaches in an attempt to land 75 X-Ray. So Randall Barbera, who works for me, as you may remember, offered to drive Keith and Patti over to Westfield in the Cadillac. Westfield was still operating, and only about 45 minutes away. They had a wonderful trip, I learned later. Cruising along on a light powdering, Stolni’s and orange juice, and a fantastic compilation of fifties rock ‘n’ roll classics played at high volume on those wonderful-sounding Auratones mounted on the rear deck of the car. Pete Wolf of the J. Geils Band had left this particular cassette behind. By mistake, I’m sure, because it was a real beauty. “Earth Angel,” “Good Golly, Miss Molly,” “Tears on my Pillow,” and songs like that.
“Take this and listen to it on the way to Westfield, Keith. Only remember it’s not mine but Pete Wolf’s, and he’s certain to want it back.”
“O.K.” Keith said laughing. “I’ll bring it back with me. See you.”
“See you, Keith,” I said.
“Bye, Gil,” Patti said, and then they roared off.
And you take it from here, Pete, if you want that cassette back. He won’t give it to me.
Let’s all pause for a second and note that Keith Richards said “O.K. I’ll bring it back with me.” Meaning the cassette of course. Meaning also that he intended on coming back to Long View. That this gig was going to happen, after all. It was during Randall’s trip to Westfield with Keith Richards that I figured it out all over again — that the Rolling Stones were coming to Long View Farm.

Maybe I’m just a bit slow, sometimes.