Showing posts with label Rock and Roll Hall of Fame. Show all posts
Showing posts with label Rock and Roll Hall of Fame. Show all posts

Peter Criss' Original ‘73 – ’74 Kiss Tour Used Drum Kit Hits The Auction Block

Peter Criss Drum Kit '73 - '74 Kiss Tour
Kiss may not be performing at the Rock and Roll Hall of Fame ceremony, but fans and collectors will definitely get VIP access to historical and some never before seen pieces of Kiss memorabilia in the upcoming Rock Gods and Metal Monsters Auction, hosted by Backstage Auctions

The online auction event contains over 200 auction lots of rare Kiss memorabilia dating back as far as back as 1973 and is filled with historically relevant Kiss relics. 

Peter Criss
Behind the Original Drum Kit
If you are looking for something in the "Holy Grail" range – Peter Criss’ personal drum kit that he used from 1973 – 1974 while on tour with Kiss should definitely be on at the top of your list of items to procure. 

As far as epic, historic and downright mind-blowing Kiss collectibles go, it is hard to imagine something more prestigious than his complete Ludwig drum kit, which was his very first official Kiss kit.

He premiered the kit in December of 1973 and played it all the way through 1974, before it was replaced by a stretch of Pearl kits. In addition to the super cool 24 inch glitter logo bass drum, it also contains the snare, various tom-toms, cymbals, cowbell, drum stool and even some of the original road cases.  

Original Peter Criss Solo Album
 Painting 1978
For the curators exclusive pop culture artwork, the original Eraldo Carugati painting used for Peter Criss’ solo album should be given serious consideration. In 1978 Bill Aucoin commissioned the artist to paint the images of all four band members to be used for the solo albums. To this day, the four solo face images are used on everything from posters to t-shirts and everything in between. This is the first time in history, that one of the original paintings will be publicly made available to the collectors market. 

"So often we think we have hit the peak of rare Kiss memorabilia and then another collection comes along, and collectively the pieces featured in this auction have moved us to a new summit with the private collections of Debra Svensk-Jenson (previously married to Peter Criss), Linda West and the late
Kiss Tour Promoter Bag 1970s
Ken Anderson, both  of Aucoin Management and rock photographer Chip Rock” says Backstage Auctions founder Jacques van Gool.

The auction will feature a wide range of Kiss memorabilia appealing to everyone’s taste and budget including; Gold and Platinum RIAA awards, rare t-shirts, jackets and crew attire, artist signed items, rare ephemera and personal notes, hand-written lyrics, sticks, picks and passes, rare vinyl and more. “There is enough historical Kiss memorabilia in this auction, that it would be worthy of a Rock and Roll Hall of Fame exhibit,” says van Gool. 

Kiss Plantinum Solo Album RIAA Awards
The Rock God and Metal Monsters Auction will also include hundreds of rare hard rock and heavy metal memorabilia from the private collections of David Ellefson, Frank Bello, Charlie Benante, Scott Ian, John Tempesta, Page Hamilton, Sean Yseult and several industry professionals. 

Of course giving fans and collectors direct access to authentic and rare pieces of rock history is always what the goal when we build our auction events, and this years Rock Gods and Metal Auction is no exception. This is a not-to-miss opportunity for fans and collectors around the world to own an authentic piece of one of the most significant genres of music history. 

Bidding will run from March 30 through April 6, 2014. A special VIP All Access preview of the entire auction catalog will be available beginning March 23rd.

For more information and to get your VIP All Access Pass: VIP Auction Registration 


ACE FREHLEY CONFIRMS NO ORIGINAL KISS PERFORMANCE AT HOF

Source: Eddie Trunk - Trunk Report

Exclusive new late tonight. Ace Frehley called into my radio show live tonight and confirmed that he and Peter are being denied the opportunity to perform at the R&R Hall Of Fame ceremony by Gene and Paul, who will perform instead with the current band. Ace said (and the HOF confirmed to me
Kiss
Kiss
directly) that the HOF wants the original band. However Gene and Paul to date have declined to allow this to happen.

Ace said it was important he let the fans know exactly what was happening since tickets are about to go on sale to the public and he didn’t want fans to purchase them expecting a reunion performance even for a song or two. Ace said he is undecided if he will even attend in light of this decision. Even though the HOF would prefer the original band, they will not stand in the way of the current band playing if that is all Gene and Paul are willing to do.

Assume anything is possible that something could change, but at this time there are no plans at all for Ace and Peter to play, or perhaps even be there depending what they decide. As I have said consistently when there was news to share I would let it come directly from a member, and tonight Ace let everyone know exactly what was going on. Said he was most upset for the fans who voted them in and were hoping to see a song or two, but also said it is now time to move on. He is working on a new album and said the stress was really killing him about the HOF and he needed to let fans know what was up before tickets went on sale. Peter will likely have a similar statement on his site tomorrow.

I’ll continue to keep you posted as more info develops but that’s where things are at now. I’m sure the audio will be on YouTube of Ace’s call but you can hear the entire show next weekend as usual on all affiliate stations and online outlets as well. Sad day for long time Kiss fans but at least we know where things stand as of now. The producer/director for the HOF show Joel Gallen expressed an interest in coming on the air soon. As usual my door is open to any and all to discuss. More soon.

Original Story Here: Eddie Trunk - Trunk Report

Vintage Rock 'n Roll Posters are a Hot Ticket at Backstage Auctions


Let's be honest here; who grew up NOT having a poster pinned to their wall? Exactly - and while your parents complained, truth is they did it too. As will your children...and their children. Fact is that posters are so much more than just an over sized sheet of paper. Some might call them art, others see them as legitimate collectibles but whatever the motivation, in the end it all comes down to this one simple word.....'Magic'.

Rolling Stones 1975 Original North American Tour Poster
Rolling Stones 1975 Original North American Tour Poster

Whether it was your favorite album, your first concert, an iconic image that defined 'you' or simply a reminder of good times, posters have meaning. So much so that endless books have been written about them, websites are dedicated to them and ultimately, they have become staples in our culture - and our collection. Backstage Auctions is offering nearly 100 collectible posters, lithographs and unique proof prints in their 2012 Rock & Pop Auction, which is taking place this very week.

Leading the pack is a nice collection of almost 50 San Francisco concert posters from the old & new Fillmore, containing many of the great names from those memorable years, such as Janis Joplin, Byrds, Jefferson Airplane, Santana and naturally, the Grateful Dead.

Grateful Dead 1966 Fillmore West BG-41 Original Poster
Grateful Dead 1966 Fillmore West BG-41 Original Poster

A most impressive assortment of rare proof prints featuring Pink Floyd, Bruce Springsteen, Billy Joel, Bob Dylan and the Rolling Stones is certain to receive much attention, if nothing else for the simple fact that these proofs are one of only a handful and often vary from the final version.

Bruce Springsteen 1984 "Born In The USA" Album Art Proof Prints
Bruce Springsteen 1984 "Born In The USA"
Album Art Proof Prints

Some of these lots even contain the original photos used for the artwork and it goes without saying that something like that gives a whole different meaning to the word 'exclusive'.

Bruce Springsteen 1984 "Born In The USA" Album "Photo" Proof
Bruce Springsteen 1984 "Born In The USA" Album "Photo" Proof

Another grouping that deserves a special mention is the collection of original punk posters, showcasing the likes of the Sex Pistols, the Clash, Blondie, to the more obscure D.O.A., Lydia Lunch, Mumps and Teenage Jesus & The Jerks.

Sex Pistols 1978 Warner Bros. Promo Poster
Sex Pistols 1978 Warner Bros. Promo Poster
And while not necessarily a poster, the auction also features a small collection of silk screen banners which all came from the recently closed Rock and Roll Hall Of Fame New York Annex. With measurements exceeding 10 - 15 foot, these are impressive and prestigious pieces of serious wall decoration

Eric Clapton 1970s Silkscreen JUMBO Wall Banner
Eric Clapton 1970s Silkscreen JUMBO Wall Banner
NY Rock and Roll Hall of Fame Annex

The Backstage Auctions' 2012 Rock 'n Pop Auction is open for bidding November 3 - 11th, but is available now for previewing the entire catalog. VIP All Access Registration is FREE and only takes a minute or two.

View Posters:  Posters & Handbills

View Proof Prints and Banners:  Original Artwork

Punk Rock Revival at Backstage Auctions


Jaw dropping punk rarities hit the auction block.

1977 Punk girl Ebet Roberts -  CBGB's

With well over 100 Punk-Rock lots, Backstage Auctions is celebrating a ten-year spanning era of anti-establishment music (1975 - 1985) that ultimately evolved in a subculture of expressive youthful rebellion, a distinctive fashion and a variety of anti-authority ideologies.

The majority of the Punk collection comes from Europe, where it was part of a traveling exhibition for years. Aptly titled 'I Punk, You Punk, We Punk', the exhibition focused on the correlation between music, fashion, art and design, where musicians and fans were equally photogenic. "Absolutely stoked" as Backstage Auctions owner Jacques van Gool puts it, who lived in Europe through the birth of Punk and was fortunate to experience it firsthand.

1976 Ramones at CBGBs - Signed Photo


"Saving Punk mementos was the last thing on your mind in those days. It was all about the experience and we couldn't be bothered with preserving a shirt or a poster. Seeing this collection makes me realize how unique and historically significant those years were".




As can be expected, the Sex Pistols have their middle finger strongly wrapped around the punk torch with nearly 30 lots that include an impressive parade of concert and promotional posters, t-shirts, cards and, yes, the infamous 'God Save The Queen' flag (God Save The Queen - Sex Pistols).

Sex Pistols 1977 God Save The Queen Flag

The Clash 1970s fully signed photo


Also present are desirable collectibles by legendary artists and bands such as Blondie, Dead Boys, Ramones, Patti Smith, Buzzcocks, Iggy Pop and The Clash, many of whom have already been embraced by the Roll 'n Roll Hall of Fame.


Exceedingly rare Destroy shirt 


There are few genres where fashion makes an equally strong statement as the music itself and Punk arguably is at the forefront of it all. And within that, Malcolm McLaren and Vivienne Westwood created the epicenter of the 'classic' Punk look through stores such as 'Sex' and 'Seditionaries'. One of the most prolific images is that of Johnny Rotten wearing a 'Destroy' shirt, which also is in the auction.


Debbie Harry - Blondie 1970s
rare collection of photo negatives


With a broad assortment of autographed items, posters, shirts, records, pins & buttons, photos, slides and negatives, the auction has something for everyone. Or simply put - 'Let's All Punk!"






Backstage Auctions' - 2012 Rock 'n Pop Auction is open for bidding November 3 - 11th, but is available now for previewing the entire catalog. VIP All Access Registration is free and only takes a minute or two.



An Insiders View of the Memorabilia Scene

By Stephen M.H. Braitman

It never fails that our truly personal “Rosebud” is humble, perhaps common, and not what others expect. When asked what he would save if the flood waters were rising, Jacques van Gool reflected a moment and then said without embarrassment: a 1975 issue of the Dutch magazine Muziek Express with Kiss on the cover.
Apparently it was the first time Kiss had made the cover. “Emotionally, that magazine brings home more memories to me than anything else.” It was, as he said, “a life-changer.”
Jacques van Gool - Backstage Auctions 
That change in life turned van Gool into a music collector, growing a personal collection into a significant leisure activity apart from his main gig in the globetrotting corporate world. When he and his wife Kelli became fed up with relentless travel and no home life, they seized on the opportunity to capitalize on their obsession with music memorabilia. Jacques and Kelli now run Backstage Auctions in Houston, focusing on collectibles personally owned by artists, managers, producers and promoters.
We wanted to hear from van Gool as someone totally immersed in the world of music memorabilia for a perspective many collectors simply can’t have. Like other professionals in his field, he has a view that is helpful on many levels to understand the dynamics of the market. Like, what the heck is happening now? And should I buy everything in sight?
We’ve had a certain amount of controversy over what constitutes “music memorabilia” lately, like Elvis’ medicine bottles. How do you define it? Is absolutely everything worth buying and selling?

Jacques van Gool: Honestly, I try not to define it. To me, memorabilia is anything that you enjoy collecting. And if you ask a thousand people why they collect, you probably get a thousand different answers. So, if collecting medicine bottles is your thing, then by default those bottles become memorabilia to that collector.
Having said that, I personally don’t believe that absolutely everything is worth buying and selling. We’ve been offered many very personal items over the years and that’s where I draw the line. Sure, I’ll take Bruce Springsteen’s boots, jeans and sweaty shirt any day, but I’ll pass on socks and underwear. I’ll gladly offer up Bob Dylan’s handwritten lyrics or letters, but an expired passport or a hospital bill with a social security number goes a step too far. I realize that the lines have been blurred over time, but I still believe that true music memorabilia is comprised of items that were meant to be collected: records, posters, shirts, autographs, photos, instruments, lyrics, magazines, etc.
Fortunately, that still makes up 95% of what’s out there, so I think we can easily group the remaining 5% as novelty items, which, by nature and design, attract mostly a different audience than the traditional collector.
At what point do you recommend that an object be authenticated? How rampant in the industry are counterfeits and frauds? And what categories of memorabilia are most suspect?

Jacques van Gool: Oh man, you sure know how to ask the tough questions, don’t you? I guess that once it became clear that there was money to be made in music memorabilia (and this goes back to the 1970s), you started seeing the first counterfeits. It likely began with autographs but has since spilled over to high-end concert posters, rare vinyl, vintage T-shirts, toys, tour programs, you name it.
It’s really no different than what you see among sports or movie memorabilia, or art, coins, stamps, jewelry — heck, even wine for that matter. I’m not sure that you can weed it out, but as an auctioneer you have an obligation to your buyers to protect them from fraudulent practices. We’ve eliminated it by exclusively representing the authentic source of whatever we auction, which creates huge peace of mind for everyone involved.
Short of that, if you want to sell or buy an item that comes from a secondary source, you really need to do your homework. Fortunately, there are many experts in many different fields who can help you authenticate. I must add, though, that you have to make sure that this expert is truly independent and has no other agenda but to serve you with the highest level of integrity.
Naturally, the most suspect area is that of signed memorabilia, simply because we all want a fully signed Beatles photo or poster from 1964. The reality is that only so many true signed pieces are in circulation and once the prices start to hit the four and five-digit levels, it’ll bring out the crooks from around the world. I’ve seen loads of fake autographs coming from Australia and Europe and Canada, so it’s not an American problem per se.
I’m not even going to touch the whole subject of whether to use a forensic expert or an autograph expert. At the end of the day, even though this is a massively complex issue, I believe that it’ll come down to something very simple: If you, as a buyer — in heart and mind — are happy and satisfied with the item you bought, than that’s all there is to it.
Every collector has a unique standard to which they measure their own collection. Some may need three independent reviews, letters and documents to pull the trigger, whereas the next buyer acts on impulse and buys simply because he or she likes what they see. That’s something that we (the sellers) can’t control. But what we can do — and must do — is take every step possible to provide the right stuff. After all, we are being looked upon to uphold a standard, and I like to believe that — since we have seen it all — we should know how to separate right from wrong.
There are many auction houses and retailers dealing in music items, and there’s tons of stuff out there — and not even counting eBay! Is there too much stuff? Is this a bubble market?

Jacques van Gool: I agree that there is a ton of stuff out there and naturally, from a competitive viewpoint, I’d like to see less; but that’s a bit of a double edged-sword. The fact that so many generic auction houses have jumped on the music memorabilia market also helps the rest of us in that it supports and promotes the overall hobby. The more places there are where you can buy collectibles, the more potential there is to create or generate new collectors, something that in the end is always good for our business.
I don’t believe it is a bubble market, though. Collecting music memorabilia is something that I see continuing for as long as there is music. The only fluctuations you will see is in the number of sellers. When the market is strong, there will always be an increase in auctioneers, retailers and stores that want a piece of that pie. When the market slows down, some will retreat and move on to something else. The diehards will always remain loyal and fortunately, there are some great music memorabilia stores and sellers who have truly been dedicated to serving the market for decades.

What type of people are actually spending thousands of dollars on higher-priced items and objects? Are there enough rich or well-off collectors out there, or is the market mixed with pure investors?

Jacques van Gool:  Well, you never can have enough rich collectors as far as I consider, but in reality, the real high-rollers make up for perhaps 5 or at best 10 percent of collectors. The beauty of collecting is that literally everyone can do it — and does do it. As such, you’ll see a perfect bell-shaped graph, which I believe to be a reasonable reflection of the income classes in the industrial world.
You’ll always have a good chunk of collectors that solely operate at the lower value end, the largest population is to be found in the middle, and only a small percentage operates at the very top of the curve. I have always operated on that principle and, as such, aim to have our auctions reflect all three levels. In other words, I always want to have something to offer for every wallet, and no one should ever feel left out.
As for who buys the higher-end collectibles, in my experience that’s an exotic blend of clients. Naturally they have one thing in common, which is sufficient disposable income, but as far as their motives for collecting, I think only a small portion buys for the purpose of “investing.” Most high-end collectors are still true fans and motivated by the exclusivity of the item.
Are the voracious buying habits of showplace retail establishments like Hard Rock Cafe and museums like the Rock And Roll Hall of Fame and Experience Museum drying up collectibles and driving up prices?

Jacques van Gool: The museums used to buy in the very beginning, but once they established themselves, they have for the largest part relied on donations. The HRC has many deals directly with musicians who will provide them constantly with new material. By the way, most of the products you’ll see these days are reproductions.
The Hall of Fame is almost exclusively donations, which are mostly on temporary loan. They rotate their pieces fairly quickly and at some point, most of it will be returned to the consignor.
If your question is whether places like these generate a positive effect on collecting as a whole, I’d say the answer is yes. Everyone who likes music has visited at least once a Hard Rock Café, and you can’t help but be excited about the cool stuff that’s hanging on the walls. As a true collector, you naturally would love to have a piece just like that, whether it’s a signed guitar, a vintage concert poster or a record award. And that’s where the auctioneers and memorabilia sellers come into play. I’m all in support of places like the Rock Hall and the Hard Rock Cafes because, in the end, it’s good for the hobby, thus it’s good for business.
Is there any comprehensive database yet for music memorabilia similar to those available for fine art, like Artfact.com? Or is it still the Wild West — nobody really knows what’s out there, and new stuff is always being discovered? In other words, how mature is the field of collecting music memorabilia?

Jacques van Gool:  I don’t think it’s mature, but it is certainly maturing. Ever since the ’70s, people — mostly dedicated fans — have been putting together price guides which, if anything, are often helpful sources to knowing what is out there. You can find books these days dedicated solely to guitars, vinyl, T-shirts, posters, etc. On top of that, there are great band- or artist-related price guides for The Beatles, Kiss, Madonna, Rolling Stones and so on. Also, with the continued accessibility of the Internet, you’ll start to find more and more decent Web sites dedicated to pricing and inventory.
So I believe the hobby is getting better. That said, I believe this hobby is still too young to have established a reliable and consistent platform for pricing. I still see too many extremes in pricing to be able to say that a certain poster or shirt or autograph is worth “X” and “X” only. The best you have these days are ranges. But on the upside, the ranges have become more defined and more reliable, which is the result of collectors and Web sites comparing sales data.
What doesn’t make it any easier is the fact that new discoveries are being made on an almost daily basis, and many will have an effect (up or down) on what was established previously.
But, in a way, that’s the beauty of collecting music memorabilia. Unlike cars, coins or stamps, where you pretty much know what’s there, music memorabilia is much more diverse.
Lastly, we shouldn’t forget that this isn’t an exact science. We collect mostly because of our passion, and when you translate passion into value, the number in the end will be different for most of us. To me, that’s also the beauty of collecting music memorabilia. One collector will pay $50 for a certain poster, whereas the next collector will pay $500.
I find absolute pricing to be a bit of a dangerous undertaking, and I personally would like to see us concentrate more on ranges instead. Once we have widely established and accepted ranges, it’s up to the collector to decide whether on not to follow those guidelines. It certainly will make the whole negotiating part a little easier and, better yet, will provide a great aid in assessing the true value of a collectible.
Stephen M.H. Braitman is a music appraiser, writer, collector, and fan.

More Surprises in Store for Ward and Black Sabbath



Black Sabbath’s early days were marked by poverty. Singer Ozzy Osbourne, at one point, couldn’t even afford a pair of shoes. And any food the four had was shared equally among the band mates, remembers drummer Bill Ward. So, understandably, their appearance was somewhat shabby and rough. To say the four looked like street people wouldn’t be too far off the mark.


Musically, Sabbath’s voluminous riffs, punishing rhythms and eerie, macabre lyrics failed to make a good first impression with critics. Not at all sunny or uplifting, Sabbath in the late ‘60s and early ‘70s was more attuned to the dark side of humanity, unable to turn a blind eye to the horrors of the Vietnam War, mental illness or the breakdown of civilization. Theirs was an unrelentingly aggressive sound, massive and raging with an undisguised frustration, furious angst and equal sympathy for both angels and the devil that, perhaps, even outdid that of The Rolling Stones.


All this, as any good record label executive would tell you, is not exactly a formula for churning out hit records. But there was something about Sabbath that struck a chord with the disaffected, and their money was just as green as everybody else’s. Still, to drummer Bill Ward, the chart momentum Sabbath built with its self-titled debut and then, its masterwork, Paranoid, in 1970 was an absolute shock. And all of the success Sabbath has experienced since then has been no less surprising.
With a sense of bemusement and wonderment, Ward has taken all of it in. And so, the release of a “Classic Albums” series DVD, from Eagle Vision, on the making of the Paranoid LP is, again, one of those pleasant happenstances that keep filling Ward with pride and satisfaction over what Sabbath has accomplished.
“Well, I think it’s a nice surprise. It came as a surprise,” explains Ward. “I don’t have any expectations or leftover ideas of what Black Sabbath [can] do, other than possibly tour and make another album, which is always, of course, in my mind, as it is for all of us from time to time. So things [like this] are surprises, like [when] we were inducted into the [Rock And Roll] Hall Of Fame in New York. I kind of take it as it comes, and I tend to go with the ebb and flow of things that happen. So, you know, I’ve been enjoying it. It’s almost like receiving accolades after so many years of being involved [with Sabbath]. So in that sense, it’s been a very nice surprise.”
As for his thoughts on whether the documentary does a good in detailing the creation of an album that many believe drew up the blueprint for heavy metal, Ward was complimentary of its makers.
“I thought it was pretty good,” says Ward. “Yeah, I thought it was pretty good in the sense that it’s something different. For instance, I don’t think we’ve had an opportunity to see Black Sabbath quite like that before - you know, parts broken down. And it’s somewhat informal and yet very informative at the same time. So I think we’re joining the ranks of TV media (laughs). Finally, we’re getting there. So, in that sense, I think it’s quite good.”

And, in the end, a film like this that celebrates the often-maligned musical abilities and songcraft of Sabbath is confirmation that their critics had it all wrong from the start.

- Peter Lindblad