Do I collect anything other than Rolling Stones memorabilia? Welcome To My Jungle.

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 promo items.

The “Welcome to the Jungle” welcome floor mat.
Only a 1000 were made and distributed to record executive heavies to promote the album and single.
It would have been tough to get this signed.

Next is a rare record store display for “The Spaghetti Incident,” Slash’s last album with the band. It’s about the size of a paint can.

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.

Some Girls Standee. How rare is it? How much is it worth? Really.

Plug in “Rolling Stones display” into the ebay search bar and you’ll likely see these listings.
The top 5 are all the Some Girls standees from 1978.
Prices ranging from a whopping $3800.00 down to $450.

The least expensive condition being only fair.
This piece has become a pretty commonly seen display on ebay.
Despite being one of the most collectible of all Stones albums, Some Girls displays are not all that rare.
Unlike the amazing English posters.
One produced for each Stone.

Shown is the English in-store poster promoting the new album.
Examples of both Mick and Keith from the individual series.

In 1978 when the album was released the Stones as always broke the rules, and pushed the boundaries of design yet again.

This piece stands roughly 52″ tall.
Meant to stand on the floor of a record store, there was also a counter display version.

The point of this post is to say, prices vary wildly on ebay, you should shop around before you jump and buy.
My advice would be to never pay more than $750 for this particular piece.
If you’re going to drop $3000 on piece for your collection, spend your money on a nice set of 60′s signatures.

You’ll even save yourself a few bucks.

Rare Rolling Stones 3-D Satanic Promo Display sells for record price.

Price $12,605.15.

The description on ebay is as follows:
The Rolling Stones ULTRA RARE Shop promotional display stand for the 1968 release of there psychedelic masterpiece. Satanic Majesties.This was the Stones answer to the release of Sgt Pepper and the 3D plaque contains the Beatles faces mixed into the flowers.There were many thousand small 3D flashers made but only 150 of these large size 14″ x 14″. I have only saw 1 listed on ebay and they want £3000 this is only for the plaque.To find the plaque and original shop display stand is like hens teeth.The whole stand size is Height 755mm Width 495mm. Condition is very good for age slight dog ear to corners also pin hole to the H in the.

No I didn’t buy this. I have a daughter in college and another one ready to go next year.
But whoever did, wow.

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.

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

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.

Giving Mick Jagger the gift of time. Not that he needs it.

I guess when it comes to giving Mick Jagger a present, you got to think the guy has just about everything.
I mean what could you possibly give him he either couldn’t buy himself or doesn’t already own?
Clothes. Nah.
Wine. Boring.
Hmmmmmm, how ’bout a nice watch?

Well that’s exactly what Ahmet Ertegun gave Mick Jagger back
sometime in the early 70′s.
An Eterna Matic Concept 80 wristwatch.
He had engraved on the back, Mick Here’s to a Million or 2? Ahmet.
My guess he was talking about the sales of an upcoming album.
Maybe Sticky Fingers or Exile given the time period.
Since at this point The Stones had just recently come on board with Atlantic, it’s not unusual Ahmet was hoping for a long and successful relationship with them.

Ahmet co-founder and executive of Atlantic Records used his personal skills in negotiating the signing of The Rolling Stones to Atlantic when they were shopping for a record company to distribute their independent Rolling Stones Records label.

He personally “did the deal” with Mick Jagger, when other labels had actually offered the band more money.

This watch was later donated by Jagger to an auction run by LA radio station KMET-FM back in 1973 in a week long auction they ran to raise money for the victims of the Nicaraguan Earthquake.
Mick was of course married to Bianca at the time, and her having family there got Mick very involved in this worthy cause.

The Stones gave a benefit concert in LA and donated at the proceeds to help the victims.

A unique piece of memorabilia owned by Jagger with a great history behind it .

A RARE TICEKT STUB FROM THE STONES NICARAGUAN BENEFIT SHOW IN LA.

Who’s the Boss????

You really don’t want to piss of your partner.
Especially when he’s Keith Richards.
But Mick needed to test himself in 1985 by going solo for the first time in his career
with She’s the Boss.

When The Rolling Stones signed with CBS Records in 1983, one of the options available to them was for individual projects, and Jagger – ready to spread his wings after recording exclusively with his famous band for twenty years – eagerly began working on She’s the Boss.

Following the release of Undercover, Jagger began composing material for his first solo project, sanctioning the help of various musician friends in the studio when recording began in May 1984. Of those involved were Pete Townshend, Jeff Beck, Carlos Alomar and Herbie Hancock, while Jagger would share production duties with Bill Laswell and Nile Rodgers.

Keenly aware of the current musical trends – and taking advantage of his freedom – Jagger endeavored to make She’s the Boss sound hip and contemporary, giving the album a very mid-1980s character with its use of synthesizers and drum machines.

Keith Richards, Jagger’s longtime musical partner in The Rolling Stones, was not pleased that Jagger was pursuing solo work, feeling that their band should be each others’ first priority. The growing friction between both musicians would erupt – in a most publicized way – in 1986, before they resolved their differences a couple of years later.

She’s the Boss was released in February 1985 – preceded by its lead song “Just Another Night”. Both the album and its first single became worldwide hits, with “Just Another Night” reaching #1 on the US Mainstream Rock chart and #12 on the US pop chart, and She’s the Boss going to #6 in the UK and #13 in the US, where it went platinum. Follow-up single “Lucky In Love” would be a Top 40 US hit. Although critical response to the album was warm, many later reviewers consider She’s the Boss – with its distinct 1980s production techniques – to sound somewhat dated in style.[citation needed]

The success of the album – impacted by Jagger’s solo appearance at Live Aid that July and his rush-recorded duet hit cover of “Dancing In The Street” with David Bowie – influenced Jagger to record a successor, Primitive Cool, which would be released in 1987.

Although originally released by CBS, She’s the Boss was acquired and reissued by Atlantic Records in 1993 following the release of Jagger’s third album, Wandering Spirit.

In 1986, Jamaican reggae singer Patrick Alley attempted to sue Jagger over the song “Just Another Night,” which Alley claims he had recorded in 1979 and released on his 1982 album, A Touch of Patrick Alley. Alley claimed that Sly Dunbar (who played drums on She’s the Boss) also played on his recording. The case was cleared in 1988, with Jagger stating “My reputation is really cleared. If you’re well known, people stand up and take shots at you.”

http://en.wikipedia.org/wiki/She%27s_The_Boss

The following are direct from the files of a former publicist and personal assistant to Mick Jagger.
Typed and xeroxed lyrics with hand written annotations by Jagger.