ARC-0001 Art Collins Papers, 1959-2005, 55.92 linear feet (l.f.)
The Art Collins Papers span the years 1959 to 2005, with the bulk of the papers dating between 1986 and 2004. The collection provides rich documentation of Collins’ role as an artist manager. The documents pertain to the careers of the artists Collins managed, with Iggy Pop as the primary focus of the collection but including other artists like Marianne Faithful and the Rolling Stones. The legal papers consist of song licensing contracts, tour information, album release information, royalty contracts and statements, and press releases. Other material related to Collins’ clients includes correspondence, newspaper and periodical clippings, audiovisual and printed material. The collection also contains audiovisual and printed materials from Collins’ personal music collection. These items span a wide range of rock groups (including John Lennon) and consist of periodicals, newspapers, books, sheet music, VHS and ¾ videocassettes, audiocassettes, DVD-video discs, and 45 RPM records. Collins’ papers provide documentation of the impact of a single performer on rock and roll—specifically that of Iggy Pop on punk—and a behind-the-scenes look at being an artist and manager in the rock music industry.
ARC-0002 Sire Records Collection, 1966-1994, undated, 72.0 l.f.
The Sire Records Collection documents two distinct eras of the record company founded by Seymour Stein. The first era dates from 1966 to 1980 and consists of hundreds of audiotapes from Sire’s recording sessions. The music genres documented on these tapes include blues, progressive rock, and punk rock. Artists include the Climax Blues Band, the Dead Boys, Flamin’ Groovies, Richard Hell, and the Stanky Brown Group. The second era of Sire Records began when the company became part of Warner Brothers, and this part of the collection contains 19 cartons of artist and business files that date from 1976 to 1994. These files are primarily correspondence regarding contracts and recordings and often include promotional materials such as photographs. The two musical genres best represented in the files are new wave and pop. Notable artists documented here are Madonna, The Ramones, and the Talking Heads. The collection provides insight into how artists were signed to a major record label, and it demonstrates the personal involvement that Stein had with the majority of the artists he discovered.
ARC-0003 Milt Gabler Collection, 1928-2006, 7.59 l.f.
The Milt Gabler Collection spans the years 1928 to 2006, with the bulk of the material dating between 1938 and 1969. The collection’s primary focus is Gabler’s career as founder of Commodore Records and as an artists and repertoire (A&R) executive for Decca Records. The collection includes material related to the Commodore Music Shop and Gabler’s Commodore Records years; artist files for those under contract with Decca Records and including photocopies of artists' cards, package information memoranda, label copy, handwritten notes, lyrics, lists of recordings, royalty statements, correspondence, and record personnel sheets; lyrics and sheet music composed by Gabler, much of which is handwritten; and correspondence between the Commodore Music Shop and its customers, which illustrates the enthusiasm with which records released on the Commodore label were received by the public. Additionally, the collection includes some of Gabler’s personal files, including awards, clippings, interview and radio transcripts, and some promotional material, as well as printed and audiovisual material. The printed materials relate to jazz and early rock and roll and include periodicals, newspapers, programs, and sheet music. Audiovisual materials in the collection include 1/4-inch audiotapes. Viewed as a whole, the Milt Gabler Collection documents Gabler’s influence on the popularity of swing-era jazz and early rock and roll, as well as his success as a record store owner, record producer, and songwriter.
ARC-0004 Mo Ostin Collection, 1961-1990, 43.75 l.f.
The Mo Ostin Collection spans the years of 1961 to 1990, with the bulk of the collection dating between 1963 and 1980. The collection primarily consists of artist files kept by Ostin while he was a recording executive at Warner Brothers and Reprise Records. These files contain biographical sketches, contracts, recording session schedules, album release planning information, and promotional releases. Significant artist files include Sammy Davis, Jr., Jimi Hendrix, John Lennon, Joni Mitchell, and Frank Sinatra. Other documents and items in the collection include photographs, legal papers, executive files, licenses, master purchases, appointment books, correspondence, events records, and information about publishers, agents, and managers. The collection provides a great deal of documentation on Ostin’s role as vice president and chairman of a prominent and successful recording label. Seen in a broader context, his influence on the cultural history of rock music is shown through his relationships with many highly acclaimed artists, whom he helped develop and produce in their early stages. The papers and documents provide an in-depth look at the role of the record executive and the importance of maintaining relationships with artists and other professionals in the recording industry, for which Ostin is highly praised.
ARC-0005 Eddie Cochran Historical Organization Collection, 1950-1993, 4.34 l.f.
The Eddie Cochran Historical Organization Collection spans the years 1950 to 1993. The collection is comprised of the administrative files of the historical organization; graphic materials depicting images of Cochran, including photographs, posters, and postcards; printed materials featuring Cochran, including newspapers, books, booklets, periodicals, clippings, and sheet music; and recordings by Cochran, in the form of videocassettes, 45 RPM and LP records, and mini video discs. Other artists included in the collection are Sharon Sheeley and Gene Vincent. The collection provides rich documentation of Eddie Cochran’s career, focusing on his vast impact on early rock and rockabilly music. The collection also offers a glimpse into the operations of the Eddie Cochran Historical Organization, highlighting Cochran’s impact on the public and the enthusiastic lengths music fans will go to in order to locate information about their idols and to preserve and honor their legacies.
ARC-0006 Alan Freed Collection, 1921-1999, undated, 16.01 l.f.
The Alan Freed Collection spans the years 1918 to 1992, with the bulk of the collection dating between 1954 and 1964. The collection consists primarily of financial and court documents relating to the commercial bribery case brought by the City of New York against Alan Freed, known as "Payola." These files contain accounting records, Assistant District Attorney notes, cancelled checks, contracts, correspondence, indictments, invoices, memoranda, music clearance sheets, reports, State of New York Grand Jury exhibits, subpoenas, witness statements and summaries, as well as many duplicate and annotated photocopies of documents. Other materials in the collection relate to Freed’s renowned career as a radio, television, and film personality and include lobby cards, magazine articles, movie posters, programs, an audio and video recording, sheet music, and yearbooks. The collection as a whole illustrates Freed's impact on the early history of rock and roll. Seen in a broader context, the collection provides insights to the recording and broadcasting industries in the 1950s and early 1960s, the resulting Payola scandal, and its long-lasting effects.
ARC-0007 Jerry Wexler Papers, 1943-2006, 4.26 l.f.
The Jerry Wexler Papers span the years 1943 to 2006. The collection consists of five series: correspondence, clippings, manuscript drafts from Wexler's 1993 memoir Rhythm and the Blues, scrapbooks, and subject files. There are also two boxes of oversize material that include mainly photographs and loose scrapbook pages. Wexler's personal correspondence serves as an important focus to the collection, featuring handwritten letters, cards, and other correspondence with individuals such as Stanley Booth, Ahmet and Nesuhi Ertegun, Aretha Franklin, and Dusty Springfield. The Jerry Wexler Papers also include unique, candid photographs of artists such as Bob Dylan, Aretha Franklin, and Wilson Pickett in the recording studio; images from the Muscle Shoals Recording Studio; and materials related to the production of Bob Dylan's Slow Train Coming.
ARC-0008 Immaculate Funk Collection (Rock and Roll Hall of Fame and Museum Collection), 1996-1999, 3.79 l.f.
The Immaculate Funk Collection (Rock and Roll Hall of Fame and Museum Collection) consists of 74 Beta SP videocassettes and 28 interview transcripts, dating from 1996 to 1999, and presumably used by FBN Productions' President Tom Thurman in his documentary film, Immaculate Funk: The Jerry Wexler Story. The Immaculate Funk Collection documents the influence of Jerry Wexler on the development of mainstream rhythm & blues through interviews with some of the "greats" of rock and roll history, including Solomon Burke, Ray Charles, Ahmet Ertegun, Aretha Franklin, Etta James, Willie Nelson, John Prine, and Henry Stone to name a few.
ARC-0009 Clive Davis Correspondence, 1963-2001, 0.42 l.f.
The Clive Davis Correspondence consists of letters between Clive Davis and various Arista and RCA recording artists and executives, spanning the years 1963 to 2001. In the correspondence, Davis and the artists discuss songs, lyrics, albums, and videos, as well as critical reception of the artists’ works, touring arrangements, record deals, and contracts. There are handwritten notes from several artists, including Aretha Franklin, Kenny G., Barry Manilow, Carlos Santana, and Carly Simon. The collection presents a sample of late 20th century American popular music, provides perspective on the artistic decisions and business practices of the sound recording industry during that period, and illustrates the relationships between recording artists and executives.
ARC-0010 Ben Fong-Torres Collection,1957, 1970, 0.21 l.f.
The Ben Fong-Torres Collection spans the years 1957 and 1970 and consists of a folder of Bill Gavin’s record programming lists and an audiocassette interview that Torres did with David Crosby on July 23, 1970 for Rolling Stone. Bill Gavin was the host of Lucky Lager Dance Time, a weekly countdown show popular in the western United States during the 1940s and founder of the radio playlist publication the Gavin Report. The Gavin Report was used by radio stations and record companies to determine which songs should receive airplay during the early Top 40 era.
ARC-0011 Gold Star Recording Studios Records, 1950-1969, undated, 6.55 l.f.
The Gold Star Recording Studios Records span the years 1950 to 1969 and include undated material. The records consist of documents and recordings related to the operation of the studio during its most active periods in the 1950s and 1960s. The collection includes a lease for the studio, as well as records of business transactions, recording session log sheets, audio recordings, and architectural plans for Gold Star studios and its control rooms. The records provide insight to the operations of an independent recording studio. The architectural plans are especially noteworthy, as the special construction of the studios and equipment made possible Phil Spector's "Wall of Sound" technique.
ARC-0012 Stan Cornyn Papers, 1950-2002, undated, 9.25 l.f.
The Stan Cornyn Papers span the years 1950 to 2002, with the bulk of the material dating between 1996 and 2002. The collection consists of annotated manuscript drafts of Cornyn's book, Exploding: The Highs, Hits, Hype, Heroes, and Hustlers of the Warner Music Group; galley proofs; audiocassettes of interviews; VHS video tapes; a CD-R; and notes, E-mail, and memoranda between Cornyn and his editors. The collection represents the attempts of a longtime music industry insider to chronicle the increasing commercialization of popular music in the United States. Cornyn focused particularly on the departure of Mo Ostin from Warner Brothers as a hallmark of the industry's decline. As the collection includes a substantial amount of Cornyn's research material, notes, and edited drafts, the researcher may find noteworthy information and historical anecdotes that did not make it into the final publication.
ARC-0014 Ahmet Ertegun Papers, 1920-2007, undated, approx. 90 l.f.
The Ahmet Ertegun Papers span the years 1920 to 2007, including undated materials, with the bulk of the material dating between 1970 and 2000. The collection consists of Ertegun’s address, appointment, and pass books; awards; events and travel files; biographical and educational information; clippings; correspondence; materials related to Ertegun’s death; family materials; legal documents; notes; photographs; audio and video recordings. The collection primarily documents the personal lives of Ahmet and Mica Ertegun, with some documentation of Atlantic Records, most significantly in the 1990s. There are some earlier Atlantic materials where Herb Abramson, Nesuhi Ertegun, and Jerry Wexler are featured. Mica Ertegun’s rise as a prominent interior designer can also be traced through the appointment books and correspondence.
ARC-0015 Soul Asylum Collection, 1982-1996, 1.0 l.f.
The Dan Murphy-Soul Asylum Collection spans the years 1982 to 1996, with the bulk of the material between 1985 and 1993. The collection consists of audiovisual materials, ephemera, graphic materials, manuscripts, and publications. The audiovisual materials include 7-inch singles, audiocassettes, and a CD. The ephemera consist of publicity material for the band. Included in graphic materials are a variety of cards, publicity photographs, snapshots of the band and its individual members, and posters. Manuscripts consist of handwritten lyrics and studio notes. Publications are internal tour calendars and magazines in which the band was featured. The collection highlights the growth of a rock band from obscurity to international superstardom and provides some perspective into Soul Asylum's creative process and life on the road.
ARC-0016 Hal Blaine Papers, 1959-2010, undated, 1.21 l.f.
The Hal Blaine Papers span the years 1959 to 2010 and include some undated material. The bulk of the collection dates from between 1959 and 1987. The collection consists of Blaine's appointment books, a session journal, a cash book, and an address book. Artists of note in the collection include Ray Charles, Bobby Darin, Doris Day, the Fifth Dimension, and Phil Spector. The collection documents the rigorous schedules kept by session musicians and, more specifically, illustrates Blaine’s contributions to iconic rock and roll productions.
ARC-0019 Kathleen Mackay Research Papers, 1967-2007, 0.63 l.f.
The Kathleen Mackay Research Papers span the years of 1967 to 2007, with the bulk of the collection dating between 2005 and 2007. The collection consists primarily of interviews conducted as research for Mackay’s 2007 book, Bob Dylan: Intimate Insights from Friends and Fellow Musicians. This collection also includes drafts of the aforementioned book from 2006, interviews on audio cassette, and a copy of the Monterey International Pop Festival’s annual program from 1967. Artists of note in the collection are Rosanne Cash, Liam Clancy, Kris Kristofferson, Ronnie Hawkins, and Maria Muldaur among others. Mackay's collection provides a behind-the-scenes look at rock music journalism and biography, as well as the research, primary source material, and editing required by the writing process.
ARC-0020 Joint Show Posters, 1967 July 17, 4.0 l.f.
The Joint Show opened on July 17, 1967, in the Moore Gallery in San Francisco, Ca. It was the first art show to celebrate psychedelic rock concert poster artists and their work. The show showcased the big five: Rick Griffin, Alton Kelley, Victor Moscoso, Stanley Mouse, and Wes Wilson. Each of the five artists created a poster exclusively for the show, which was also made available for purchase. The show helped to create an acceptance of rock concert poster art in the larger art world and the museum community, and led to more gallery shows and the inclusion of these types of works into museum collections. This collection contains four of the five original posters.
ARC-0021 Robert Christgau Collection, 1970-1999, 1.0 l.f.
The Robert Christgau Collection spans the years 1970 to 1999, with the bulk of the material dating between 1977 and 1985. The collection consists of newspaper clippings, correspondence, and materials related to the College Music Journal. The newspaper clippings are from Christgau's personal collection. The correspondence consists of letters to Christgau asking him to review specific publications. The collection offers great research value regarding the music scene of the 1970s and 1980s.
ARC-0022 Wilco Collection, 1989-2008, 1.52 l.f.
The Wilco Collection spans the years 1989 to 2008 and consists of five concert posters and three tour itineraries for both Wilco and Uncle Tupelo.
ARC-0023 Alan Light Papers, 1976-2003, undated, 4.27 l.f.
The Alan Light Papers span the years 1976 to 2003. The bulk of the collection dates from 1997 to 2002, when Light was editor-in-chief at Spin magazine and working on three book projects: Tupac Shakur, The Vibe History of Hip Hop, and The Skills to Pay the Bills: The Story of the Beastie Boys. The collection predominantly consists of clipped articles and copies of articles, interview audio recordings and transcripts, manuscripts, and correspondence. The collection emphasizes Light’s research process, through his extensive research files and interviews, as well as the practicalities of publication, through writer and photograph agreements, budgets, and correspondence between Light and his literary agent Sarah Lazin. The collection also provides insight into Light’s editorial style, with handwritten edits, notations, and drafts for The Vibe History of Hip Hop. Seen within a broader context, the research files offer a condensed documentation of the history of hip hop through the 1990s. There is a focus not only on individual rap artists, producers, and record executives, but also on the controversies that surrounded the hip hop world related to violence, sampling rights, and censorship debates.
ARC-0024 Michael Ochs Collection, 1948-1994, undated, 38.42 l.f.
The Michael Ochs Collection spans the years 1948 to 1994 with the bulk of the material dating between 1975-1985. The collection is approximately 32.82 linear feet. The documents pertain to Ochs’ career as a rock and roll photographer, his career as a publicist for Columbia Records, the courses he taught at UCLA and his radio programs. Some prominent artists included in the collection include: Fleetwood Mac, Ella Fitzgerald, Dean Martin, Jimi Hendrix, Bob Seger, The Rolling Stones, Grace Slick, and Elvis Presley. The collection provides rich documentation of both Ochs’ role in the rock and roll music industry and a history of the rock and roll genre itself. Ochs' research and interviews provide intircate details and information for anyone with an interest in the history of rock and roll music.
ARC-0025 Duane Sycz Photographs, 1990s, 2010, 1.88 l.f.
The Duane Sycz Photographs collection contains images from the early 1990s and 2010 by Duane Sycz of DRS Photography. The images were taken at Ohio concert venues, such as Blossom Music Center, the Covelli Centre, and Richfield Coliseum. Various performers are pictured, including Chuck Berry, Alice Cooper, Brett Michaels of Poison, Ted Nugent, and Tom Petty and the Heartbreakers. The collection consists of 13 printed photographs and 557 JPEG files on three DVD-RW discs. The predominant size of the printed photographs is 14" x 11". The collection provides a sampling of Sycz's photographic work for various live performances in Ohio. Seen in a broader context, the collection provides insight into the artists who toured the Ohio area, their stage and lighting setups, and the fashions of the period.
ARC-0026 Doug Fieger Papers, 1978-2010, undated. 7.83 l.f.
The Doug Fieger Papers span the years 1978 to 2010, with the bulk of the papers dating between 1979 and 1981. The collection provides rich documentation of the power pop group, The Knack. The majority of the articles and clippings, audiovisual materials, business files, fan club documents, lyrics, and posters in the collection follow the career of the Knack from their smash hit in 1979, "My Sharona," to the revitalization of the song in 1994 in the film, Reality Bites. The personal files and publications in the collection more accurately portray Fieger's interest in the lives of his family, friends, and colleagues, the role of Nick that he played on TV's Roseanne, and his love of vintage guitars. The collection highlights the life of a rock band from obscurity to superstardom and back again. It also provides perspective into Fieger's creative process, his career with and without the Knack, and his personal interests.
ARC-0027 Ray Topping Papers, 1943-2006, undated, 60.21 l.f.
The Ray Topping Papers span the years 1943 to 2006 and include undated material, with the bulk dating between 1965 and 1985. The papers consist of primarily handwritten documents that make up Topping's discographies, artist files, record label information, and research files. These detailed documents illustrate Topping's vast knowledge of American recorded music covering the post-war period from 1945 through to 1975. The personal files give the researcher an inside-look to Ray Topping's personal life, focusing mostly on his love for American musical culture as it is shown through his travel documents and correspondence. The graphic and printed materials provide a context for the music and artists of the time period that Topping was researching. Many rare and interesting magazines and clippings give a unique and in-depth look at American rock and roll and roots music. Researchers will find Ray Topping's meticulous and detailed discographies of particular note, as well as anyone interested in post-war American music, featuring artists such as B.B. King, Little Richard, and Ike Turner. Also, the history and inner workings of many record labels, such as Ace, King Records, and Modern Records are of high research value.
ARC-0028 FAME Studios Records, 1959-2005, undated, 35.21 l.f.
The FAME Studios Records span the years 1961 to 1998. The majority of the collection is contained within the artist files, contracts, and financial records, which consist of correspondence, artist biographies, photographs, and other documents related to the musicians of FAME Studios. Other materials in the collection include administrative files, appointment books, notes, and phone message logs presumably maintained by Rick Hall's administrative assistant. Finally, the collection contains 1,018 color and black-and-white digital image files of Rick Hall, Muscle Shoals, the FAME recording studio, and various artists associated with FAME Studios, including Duane Allman, Paul Anka, Clarence Carter, Mac Davis, the Del Rays, Dominoes, Janie Fricke, Larry Gatlin, Bobbie Gentry, Gus Hardin, Etta James, Little Richard, Clyde McPhatter, Ronnie Milsap, Liza Minnelli, Wayne Newton, the Osmonds, Wilson Pickett, Lou Rawls, Otis Redding, Candi Staton, Irma Thomas,Travis Wammack, and Jerry Wexler. The FAME Studios Records provides a unique look into the business aspect of American country and soul music during the 1960s and 1970s, and documents the evolution of the Muscle Shoals music scene. Original order of the materials was maintained.
ARC-0029 Herb Staehr Collection, circa 1950-2007, 74.5 l.f.
The Herb Staehr Collection spans the years circa 1950 to 2007, with the bulk of the material dating between 1968 and 2007. It comprises 65 linear feet of material mainly related to Alvin Lee and Ten Years After, but also to Eric Clapton and Cream. Staehr, author of Alvin Lee & Ten Years After: Visual History, was the preeminent collector of Alvin Lee and Ten Years After memorabilia. The bulk of the collection consists of bootleg concert recordings, with some papers, scrapbooks, and photographic material. The collection is divided into six series: papers, scrapbooks, photographs, slides, negatives, concert recordings, and contact sheets. The collection will be valuable to researchers interested in the history of Ten Years After, English blues-rock, and Woodstock, as well to those looking for images of Eric Clapton or Alvin Lee.
ARC-0030 Terry Stewart Collection, 1926-2014, undated, 95.57 l.f.
The Terry Stewart Collection contains rock and roll ephemera collected by Stewart over the course of several decades. The materials date from 1926-2014, and include undated items. The collection is organized by format into six series: artist and subject files, photographs, posters, programs, audio-video recordings, and personal. From a general point of view, the collection offers an extensive survey of rock and roll as it appears in advertisements, film, and on stage. The collection documents Stewart's personal interests, which include Alan Freed, doo-wop vocal groups, Elvis Presley, record labels, and rock and roll films. Please note this is a more up to date and complete account of the collection than what is currently available at catalog.rockhall.com.
ARC-0031 Atlantic Recording Corporation Records, 1928-1990, undated, 3.31 l.f.
The Atlantic Recording Corporation Records span the years 1956 to 1989 and includes some undated material. The records showcase the role of a specific artists and repertoire (A & R) representative, Yves Beauvais, in the context of the history of Atlantic Records. The artist files document details about the recording process and interactions between the record company and the artists, while the ephemera, printing proofs, and sketches provide insight to the planning and execution of album artwork. The artists most heavily depicted in the Atlantic Recording Corporation Records are the Led Zeppelin and the Rolling Stones, two of Atlantic's most successful groups. The information regarding these bands will be of particular interest to both fans and researchers, providing a first-hand, inside look at their lives and careers.
ARC-0032 Modern Music Records, 1948-2002, undated, 2.21 l.f.
The Modern Music Records document the publishing side of the music industry. The records span from the company's earliest days in the late 1940s, when it was founded by Jules Bihari, to a few documents from the 1990s through 2002. The bulk of the collection dates from the early 1970s, and the contents only document select parts of the business. Of particular note are materials related to the subject of copyright, and the records demonstrate how Bihari and his two brothers, Joe and Saul, added their names or pseudonyms to a song in order to receive shares of the royalties. The collection also contains information about many of Modern Music's subsidiary record labels, including Flair and Kent Records. The collection is arranged alphabetically by file title.
ARC-0033 Lenny Kaye Collection, 1954-1992, 2010, 0.42 l.f.
The Lenny Kaye Collection spans the years 1954 to 1992 and 2010, with the bulk of the material dating between 1969 and 1984. The collection consists of business documents from Elektra Records and notes for a speech Kaye gave to the Association of Midwest Museums annual conference in 2010. The Elektra materials include catalogs, clippings, correspondence, press releases, and records, illustrating Elektra's influence and importance within the music industry.
ARC-0035 David Russell Collection, 1983-2003, undated, 29.0 l.f.
The David Russell Collection spans the years 1983 to 2003 and includes undated material, with the bulk of the collection dating between 1985 and 1995. The collection provides unique insight to the intricate process of producing individual concerts and world tours for major artists. It consists of tour production materials, including detailed documents about production, personnel, stage design, and travel itineraries; as well as personal files with information about Russell's life while on tour; and graphic materials that add a visual landscape to the collection. The stage blueprints are of particular note. Bands included in the materials are Bon Jovi, Cher, Peter Gabriel, Janet Jackson, R.E.M, Pink Floyd, and Tina Turner.
ARC-0036 Bomp! Records Collection, 1944-2007, undated, 31.89 l.f.
The Bomp! Records Collection spans the years 1944 to 2007 and includes undated material. It consists of audiovisual materials, periodicals, the personal and business papers of Greg Shaw, Shaw's "Scene" files, and manuscript drafts, as well as promotional material and ephemera. The audiovisual materials consist mainly of bootleg concert and album recordings on audiocassette, but there are also several audiotape reels. The periodicals contain zines and single issues of commercial magazines. The papers consist of correspondence, clippings, and other personal- and business-related files collected by Greg Shaw. The Bomp! Records Collection will be useful to researchers interested in the indie underground culture of the 1970s and 1980s in the United States and the origins and evolution of punk rock. The zines are of particular note as a record of fan documentation and general counterculture from the 1960s to the 1990s. The newspapers will be of interest to researchers studying 1960s youth culture.
ARC-0037 Jeff Gold Collection, 1938-2010, undated, 35.33 l.f.
The Jeff Gold Collection contains of a wide array of items that document various artists and people in the music industry, specifically from the late 1950s through 2010. There are six series that organize the items by format or source, including artist files, subject files, posters, 16 Magazine, and audiovisual materials, as well as materials from the collections of Art Collins and Ralph Gleason. Please note that files may contain only one item about the artist or subject, such as a press release or photograph.
ARC-0038 Anita Gelman Collection, 1970, 1980s, 0.21 l.f.
The Anita Gelman Collection spans 1970 and the 1980s, with the bulk of the materials dating between 1982 and 1984. The collection provides rich visual evidence in the form of 35mm color slides, black-and-white photographs, and color Polaroids of Gelman's role as the a professional cosmetologist for MTV (including VH1 and the Movie Channel) and Epic Records. The materials document Gelman's work with such artists as Nick Ashford, the Fat Boys, Herbie Hancock, the Isley Brothers, Los Lobos, Scandal, the Stray Cats, and Steven Tyler. A bonus to the collection is the photocopied performance agreements between the Früt Palace (Hall Road, Mount Clemens, Michigan) and various artists, including Detroit Featuring Mitch Ryder, the MC5, Parliament & the Funkadelic, and the Stooges. The Anita Gelman Collection provides a glimpse into the visual history of 1980s rock and pop music and culture, specifically through the hair styles, makeup, and costumes for which the era is best known.
ARC-0039 Continental Club Collection, 1993-2009, undated, 0.21 l.f.
The Continental Club Collection spans the years 1993 to 2009 and includes undated material. The collection documents the history of the popular New York City night club, located in the East Village and open from 1990 to 2006. The bulk of the collection consists of photographs from shows performed at the club. Artists of note include Sebastian Bach, Motörhead, The Ramones, and Patti Smith. Other materials include clippings, correspondence, flyers, and publications. The collection highlights the history of the New York City punk rock music scene and the community that formed around the Continental Club.
ARC-0040 Custom Coach Records, 1976-1980, undated, 4.21 l.f.
The Custom Coach Records consist of the production records for Johnny Cash's tour bus "JC Unit One" that was custom-designed for Cash and his wife, June Carter Cash, in 1980. The records include the original blue prints, modification specifications, notes, operation manuals, and photographs; as well as information on the Custom Coach company itself. The records provide insight into the lifestyle of a touring musician and its effects on the creation of a custom-made tour bus.
ARC-0041 Elvis Presley Set List, 1974, 1991, 0.21 l.f.
This is a setlist, handwritten by Elvis Presley, from a concert in Memphis on March 20, 1974. Songs on setlist include (in order): "See See Rider," "I Got a Woman," "Love Me," "Trying to Get to You," "All Shook Up," "Steam Roller Blues," "Teddy Bear" - "Don't Be Cruel," "Love Me Tender" Medley, "Fever," "Polk Salad Annie," "Why Me Lord," "How Great Thou Art," "Suspicious," "Blueberry Hill," "Can't Stop Loving You," "Help Me," "American Trilogy," "Let Me Be There," "My Baby Left Me," "Lawdy Miss Clawdy," "Funny Time Slips Away," and "Can't Help Falling in Love." Also included is a letter of authenticity from Charlie Hodge, a close friend of Presley.
ARC-0042 Bonnie Raitt Contract, 1969 July 28, 0.21 l.f.
This is the original contract, signed on July 28, 1969, for Raitt's first concert, performed on August 13, 1969 at Pennypacker Park in Philadelphia, Pennsylvania.
ARC-0043 Jimi Hendrix Lyrics (Rock and Roll Hall of Fame Foundation Collection), undated, 0.21 l.f.
This is Jimi Hendrix's original, handwritten lyrics to the song "Purple Haze."
ARC-0044 Rick Dees Papers, 1967, 1976-2003, undated, 7.46 l.f.
The Rick Dees Papers span the years 1967, 1976 to 2003, and include undated material. The materials include advertising, awards, clippings, correspondence, items related to Disco Duck, photographic materials, and Rick Dees’ Weekly Top 40 shows 95-100. The various materials included here chronicle Dees' career as a popular radio personality and a late night talk show host. Highlights of the collection include Dee’s 1967 FCC Radio Operator's Permit, a copy of Dee’s handwritten lyrics to the hit song Disco Duck, thank you letters from Presidents Ronald Reagan and George Bush, and audio of his Weekly Top 40 radio show. The photographic materials, which include photographs, slides, and negatives, comprise the largest portion of the collection and include images of Dees' 1990 late night talk show Into the Night and showcase television personalities of the era and musicians, including James Brown. Other photographs include Dees with David Bowie, Cher, Genesis, Janet Jackson, Julian Lennon, and Little Richard. This collection gives researchers a look into Dees' career as well as his private life. His awards, certificates of recognition, and the magazine clippings showcase his level of success, while the photographs and correspondence give insight to his personal life. Seen in a broader context, the collection provides a look at the career of disc jockeys from the mid-1970s to the early 2000s and the recognition and career opportunities that were afforded them.
ARC-0045 James Brawley Collection, 1967-1992, undated, 26.0 l.f.
The James Brawley Collection spans the years 1967 to 1992 and includes undated material, with the bulk of the material dating between 1976 and 1979. The collection primarily consists of bootleg audiocassette tapes Brawley recorded at various rock concerts, mostly in New York City. Each audiocassette has a corresponding note card. Artists of note include Blondie, John Cale, The Clash, The Dead Boys, Dr. John, Richard Hell, the Patti Smith Group, The Ramones, The Talking Heads, Television, and X. Venues of note include CBGB's, Max's Kansas City, The Bottom Line, My Father's Place, and Bond's International Casino. Brawley's collection provides rich insight to the punk rock music scene of the late 1960s and 1970s. The collection provides evidence of the evolution of punk through raw bootleg audio recordings.
ARC-0046 Artists Against Piracy Collection, 2000-2001, 0.42 l.f.
The Artists Against Piracy (AAP) Collection spans the years 2000 and 2001. The files were collected by The Baker/Northrop Media Group, specifically Sheryl Northrop, the public relations representative for AAP. The collection includes press kits; press releases; articles about AAP as well as the individuals, legal cases, companies, and organizations involved; and correspondence directed to AAP. The collection offers an overview of the music piracy problem as it was viewed in the early 2000s, as well as its perceived effects on artists and their intellectual property rights.
ARC-0047 Four Tops Collection, 1967-1991, undated, 6.33 l.f.
The Four Tops Collection spans the years 1967 to 1991, with the bulk of the material dating between 1974-1978. The majority of the collection is business records. These records include invoices, tour information, contracts, song information, and bank records. Also included in the collection is correspondence, printed materials, including microphone and amplifier instruction manuals, photographs, and a 1/4-inch audio tape reel. The Collection provides rich insight to the daily life of a popular recording and touring musical group; the financial aspects in particular. The Four Tops Collection is organized by format, with business records first, listed alphabetically by file title. The business records include invoices, bank statements, tour information, contracts, song information, original sheet music, receipts, and insurance documents. Other formats of material follow, arranged alphabetically by file title.
ARC-0048 Specialty Records Collection, 1947-1994, undated, 1.34 l.f.
The Specialty Records Collection spans the years 1947 to 1994 and includes undated material. The collection consists of album flats and an album cover, black-and-white promotional photographs, correspondence, deejay tip sheets, flyers, record labels, record sleeves, publications, record review cards, and juke box title strips--all created by Specialty Records to promote their artists and their work. The collection provides documentation of the ways in which early R&B and gospel artists were marketed, including Alex Bradford, Guitar Slim, Joe Liggins, Brother Joe May, Percy Mayfield, Roy Milton, the Original Gospel Harmonettes, the Pilgrim Travelers, Lloyd Price, and the Soul Stirrers (featuring Sam Cooke). Specialty Record's role in the development of rock and roll is also highlighted through collection materials related to Little Richard.
ARC-0049 Scotty Moore Papers, 1950-2008, undated, 8.75 l.f.
The Scotty Moore Papers span the years 1950 to 2008 and include undated materials. The papers contain Moore's personal files, photographic material, clippings, and publications. His personal files provide an in-depth look at the career and life of Moore; the correspondence and contracts are of particular note. Moore's photographic materials consist of photographs and slides spanning Moore's career and personal life. Moore's relationship with Elvis Presley and their work together is documented through the clippings in the collection. Overall, the papers showcase Moore's career from his early days at Sun records to the present, providing rich insight to the life of a rock and roll guitarist and legend.
ARC-0050 Hollywood Knitting Factory Posters, 2002-2009, 4.0 l.f.
Hollywood Knitting Factory Posters spans the years 2002 to 2009. The collection consists of 35 different concert posters for performances held at the venue. Ten of the posters are available here only in digital form. Artists include Darren Grealish and Jim Mazza. The collection provides a glimpse into the types of acts that appeared at the Hollywood Knitting Factory, and how the shows were promoted. Seen in a broader context, the collection provides insights to how national venues promoted alternative rock from 2002-2009, the bands that played during that era, and the artists that created the posters.
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