Last week my good friend in London, Bill Allerton (left), emailed to tell me that me that sometime next April he and Bill Forsyth would be closing their legendary side-by-side London record shops, Stand Out and Minus Zero.

In a follow up phone call, Bill told me the toll of “running a counter service shop” for 25 years had been “quite enough,” and he was very happy about the prospect of having some more time on his hands. For many years, record collectors have been doing more and more of their buying online, fewer people have been traveling to London to look for records, and of course Bill Forsyth had been talking about closing for some years. And so they finally decided the time had come. Bill told me he was “frankly thrilled” at the prospect of taking some time off, traveling, and shifting his record dealing to the web.

I can’t help feeling that what is good news for Bill & Bill, as they’re often referred to, is terrible news for their friends, disciples and customers. Their twin stores are an essential stop on any record collector’s pilgrimage to London.

I met Bill Allerton in 1975 on my first trip to London; I’d been corresponding with him and his best friend Colin Baker for some months (I found them through their ads in “The Rock Marketplace”; Alan Betrock’s primordial record collector magazine). When I wrote them I was coming to London, they arranged to meet me, and we’ve all been close ever since.

At the time, Bill was working in accounting for Virgin Records, but his true love was record collecting, particularly the Velvet Underground and Arthur Lee & Love. He lived in a one room flat in Clapham, filled with records, floor to ceiling piles of 60’s music newspapers, some pinball machines, and “fruit machines” (slot machines.) If you were careful, you could work your way around the room without hitting anything.

He sold rare records through the mail and on Saturdays in London’s famed Portobello Road market with Colin, under the “flyover.” His regular clientele made their way to him each weekend, looking for hard to find singles and albums, and hoping to absorb some of his and Colin’s tremendous knowledge. They knew more than anybody about 60’s records, and I felt lucky to have been adopted by them (over the years, I’ve probably made 25 or so trips to London, often staying with Colin, and chauffeured by Bill.)

Early on, I met Bill’s friend, Bill Forsyth, another collector/dealer who’s obsession was Bob Dylan, and in 1984 “the Bills” teamed up to open a record store, Plastic Passion, at 2 Blenheim Crescent in London (just around the corner from Portobello Road.) Plastic Passion was a vinyl wonderland, a long, very narrow space with heavy wooden doors at the front, a cramped office in the back, and walls covered with records even the most sophisticated collector had rarely if ever seen before. Immediately it became the prime hang-out for local collectors, and a must-visit location for anyone traveling to London. In those pre-internet days, most serious collectors visited London periodically, and they all turned up to see “the Bills.”

I spent countless hours there talking music with Bill & Bill and whoever happened to show up; one day many years ago an odd looking man with a top hat and leopard skin coat showed up and Bill A. introduced me to his regular customer, Screaming Lord Sutch (the legendary horror-rocker and early employer of Jimmy Page and Richie Blackmore.) Robert Plant was a regular customer too, as were many other “names.”

In 1990, Bill and Bill decided that while they enjoyed having a record store, working together just wasn’t working, and in a brilliant move, instead of closing Plastic Passion, they just split the long narrow space down the middle and opened two (very narrow !) record shops—Bill Allerton’s Stand Out Records on the right side (named after an Arthur Lee & Love song) and Bill Forsyth’s Minus Zero records on the left side (after a Dylan song, of course.) And so it has been ever since; two great record stores, each curated (I think that is the right word) by a very knowledgeable collector-dealer, filled with rare vinyl and for many years now, huge selections of obscure CD reissues that one could find nowhere else.

Their odd—probably unique—setup has been profiled in Mojo, The Wall Street Journal, Time Out London, The Guardian. But Adam Duritz, the dreadlocked singer of Counting Crows and another frequent customer, perhaps described best what makes the Stand Out/Plastic Passion setup so special, in an article in “Down The Rabbit Hole” magazine:

“Once upon a time, Immy and I were sitting in our favorite bi-polar record store in the world, London’s wonderfully schizophrenic two-stores-in-one Stand Out Records/Minus Zero Records, talking to the respective owners, the Bills (Stand Out’s Bill Allerton and Minus Zero’s Bill Forsyth), during one of our usual 2-4 hr visits to the tiny store(s). You see the way it works is that we go there with one or two ideas of things we think we want (and that’s all well and good) and then we end up spending the next two, three, or four hours endlessly listening to music as Bill and Bill compete across the two foot aisle that separates one store from the other to play us different music they’re sure we’ve never heard before (they’re often right) that they’re certain we’ll love (they’re pretty much ALWAYS right) and therefore purchase (they get us there too). We nearly always spend every penny we have and leave with several huge bags of CD’s each. Half the great music I’ve discovered over the past decade was played for me by the Bill’s in their tiny wonderland on Blenheim Crescent just off Portobello Road. It might seem strange to those of you who aren’t utterly obsessed with music, but they’ve been as big an influence in my life as any of my musical idols.”

The internet has been a mixed blessing for record collectors—sure it’s been great to find many of those records I’ve searched for fruitlessly, for so many years. But it’s hastened the demise of many a great record store—Rhino in LA (where I worked when I first met Bill Allerton), Beano’s in Croydon/London, even the Tower chain. And now Stand Out and Minus Zero.

I’m writing this as a requiem for two of the world’s great collector’s stores, but also to urge you, if you are in London or happen to be traveling there, to visit Bill & Bill before it’s too late. I’ll be there in November, and though Bill Allerton can’t wait for the end to come, I know it’s gonna be a sad sad day for a lot of record collectors around the world. Thanks guys, for so very very much.

Until they close, Stand Out and Minus Zero are discounting everything in their stores 25%.

Stand Out Records/ 020 7727 8406 /bill@standout.f2s.com
Minus Zero Records/ 020 7229 5424 /minuszero@fairadsl.co.uk /www.minuszerorecords.com
both at 2 Blenheim Crescent, London W11 1NN
Open Wed/Th/Fri/Sat 11-6
Sunday 12-4
Closed Mon/Tues


I’m a huge fan of Traffic, Blind Faith and Cream; but I must admit, I haven’t followed Steve Winwood or Eric Clapton’s solo work for a long time. But a year or so ago a friend gave me a copy of the DVD from the Crossroads Guitar Festival (2007), and the Clapton/Winwood Blind Faith semi-reunion absolutely floored me. Steve Winwood’s guitar playing on “Can’t Find My Way Home” was nothing short of a revelation (Jeff Beck’s two songs were also absolutely amazing, but that’s another story.)

I thought long and hard about going to New York to see Clapton and Winwood do their one-off series of shows last year, but didn’t get it together–so I was thrilled to hear they were doing a limited number of dates this year, and made it my business to get tickets to see them at the Hollywood Bowl this Tuesday. And by a stroke of luck, it was the last night of the tour (often the best, as the band has really found their groove.)

And they were absolutely incredible–hard as it is to believe, both of these guys are at the peak of their game. Winwood sang every bit as well as on the Traffic albums, and was equally fantastic on guitar, piano and of course organ. People in the audience who’d come to see Clapton said it over and over–Steve Winwood blew them away. And Clapton played like I’ve never seen him before–he sounded like he was in Cream again–not the tepid reunited Cream, but the Cream of 1967/68. His eyes were closed, and he seemed to be channeling the music. Everyone I talked to that night said the same thing–“Clapton was on fire.” The sound was fantastic too, and the projection screens focused on Clapton and Winwood’s fingers as much as their faces, which was a great decision–so interesting to see these masters at work, close up.

Below are some Youtube videos from the show. While the camera work leaves something to be desired, the sound is great, and they’ll give you an idea of just how extraordinary these two artists are. There are more clips on Youtube, as well as clips from the Crossroads show (check them out–they’re tremendous.) Unfortunately there isn’t as yet a clip of “Pearly Queen,” which was never my favorite Traffic song, but was a highlight of the concert for me–a wild psychedelic jam that sounded as if it could have been recorded at the Fillmore in ’67.

The clips here are “Mr Fantasy” (great electric guitar from both Clapton and Winwood,) “The Low Spark Of High Heeled Boys” (Winwood alone on acoustic piano–there is a point where the screen goes black, but keep with it–it comes back after a few seconds,) “Can’t Find My Way Home” (Clapton and Winwood on acoustic guitar,) and the first half of “Voodoo Chile (Slight Return)” (it ends abruptly, but is great nonetheless–with Winwood reprising the soulful organ he played on the Jimi Hendrix original.)

If you don’t know this music, go out and get Blind Faith’s only album, and an album or two by Traffic–“John Barleycorn Must Die” is my favorite, but “Best of Traffic” is a good place to start. For me, these are absolutely essential 60’s rock albums.


Some experiences just leave you shaking your head in confusion. Meeting Nico was one of those. 32 years later, I still can’t quite make sense of it. Here’s the story. December 1977. Sitting in my L.A. apartment late one night, reading BAM (Bay Area Music, the free music newspaper,) I came upon an ad I almost couldn’t believe–Nico was appearing the very next evening at Mabuhay Gardens, the San Francisco punk club. The great Nico, from the Velvet Underground ! I loved her solo albums, but I’d never heard of her playing live in America–yet, there it was–she was appearing the next evening only 350 miles north. I called the club; they confirmed it was actually happening. I quickly bought a plane ticket for the next afternoon, and reserved a hotel room for the night.

I brought my copy of Nico’s album “Desertshore” which I hoped to have her sign. Before the show I snuck backstage, scared but acting like I belonged, and miraculously nobody stopped me. And there she was, Nico. Much larger than the svelte model she had once been, but still, Nico ! It was amazing. I introduced myself, and asked if she would please sign my album. I told her I had flown all the way from Los Angeles just to see her. “No you didn’t !,” she replied curtly in that icy, Germanic voice. Somewhat taken aback, I insisted, yes, indeed, I had flown all the way from Los Angeles, just to see her. Again, she replied tersely “no you didn’t !” I was more than a bit intimidated by her brusk manner, not to mention the fact that here was the great Nico, a hero of mine, refusing to believe me. For the third time I insisted, “really Nico, I flew up here just to see you. I’m a huge fan.” This time she replied, as curtly as before, “then show me your plane ticket !”

Luckily I had it in my jacket pocket. After some fumbling, I fished it out, and showed her that indeed, I had flow up that afternoon, and was scheduled to return the next morning. That seemed to convince her, and without further comment she took my album and pen to sign it. She wrote “For Jeff, who came all the way from LA to see me, who seems to be on my side. Nico Dec 8, 1977.” Yow !

The show was great, just Nico and her harmonium, singing her solo work and Velvets songs. In hindsight, I’m sure she was having “issues” at the time. I still have the signed album, of course (above). Not to mention one of the weirder memories from a life in and around music.


I love those rare opportunities when I can showcase something that I’ve never seen nor knew existed—and this poster is exactly that.

If you take the time to click on the art and can decipher it, you’ll see it’s a poster for the Million Volt Light and Sound Rave, an electronic music and light festival held at the Chalk Farm Roundhouse in London, on January 28, 1967.

Sometimes referred to as the Carnival of Light Rave, the event featured live performances by the Soft Machine, Tonics (?), The New Vaudeville Band, and most importantly, the only playback ever of the legendary “Carnival of Light,” a fourteen minute sound collage by The Beatles, created especially for the event during the sessions for “Penny Lane” (and advertised on the poster as “Music Composed For The Occasion by Paul McCartney.”)

The genesis of the track came in December 1966 from designer David Vaughan, who had recently painted a psychedelic design on a piano owned by Paul McCartney. About the same time as he delivered the piano to McCartney’s Cavendish Avenue address, he asked if McCartney would contribute a musical piece for the upcoming event. To Vaughan’s surprise McCartney agreed, and drafted all of the Beatles to participate.

“Carnival of Light” was only played once, at the Million Volt Light and Sound Rave, and has never been released nor bootlegged. Beatles expert Mark Lewisohn, one of the few who have ever heard the track, says the song included “distorted, hypnotic drum and organ sounds, a distorted lead guitar, the sound of a church organ, various effects (water gargling was one) and, perhaps most intimidating of all, John Lennon and McCartney screaming dementedly and bawling aloud random phrases like ‘Are you alright?’ and ‘Barcelona!”

In 1996 McCartney tried to release the track on the compilation album The Beatles Anthology 2, but George Harrison voted to reject it, because according to McCartney “he didn’t like avant garde music.”

While I knew there had been a handbill for this event, this poster wasn’t something I knew existed (I’ve since discovered the existence of only one other copy, illustrated in the UK Poster book “High Art.”) It’s a great psychedelic image, and very desirable, as pretty much any British 60’s psychedelic concert poster is extremely rare. But it’s the Beatles connection that makes this a true killer collectible. Available on the Recordmecca website.

(Electric Poets, who also played the Rave, were a short-lived band featuring Soft Machine’s Daevid Allen and Robert Wyatt with Gilli Smith; Allen and Smith went on to found the progressive rock band Gong.)

The Virtual Museum: Dylan’s First Concert

Friday, April 12, 1963 was a very important date for the then 22 year old Bob Dylan. For on that night, Dylan played New York’s Town Hall—his first-ever concert as a headliner.

Prior to that night, Dylan had only headlined in small clubs and at the 200 seat Carnegie Recital Hall, where he drew fewer than 70 people. Though he’d occasionally played a few songs on larger stages as part of multi-artist bills, this was the first ever proper Bob Dylan concert (with many thousands to follow !)

A crowd of 900 attended the Town Hall show, which took place six weeks prior to the release of Dylan’s 2nd album, “The Freewheelin’ Bob Dylan.” Columbia Records recorded the show for a proposed but never released live album; however various tracks have surfaced over the years on compilations and promo cd’s.

Above is the handbill (identical to the poster) and a signed program for the show, which we recently sold. The program features the first appearance of Dylan’s poem, “My Life In A Stolen Moment,” reprinted many times in future years. We know of only a few other copies of this extremely rare program.

On our website, Recordmecca, we are currently offering a Dylan signed program from his famous Halloween, 1964 concert at New York’s Philharmonic Hall (released as part of Dylan’s “Bootleg Series.”)


Here’s a particularly nice signed John Coltrane album, that I found on Ebay tonight, minimum bid $1000. Looks great, eh ? Very similar to other authentic Coltrane signatures and inscriptions I’ve seen. Just as messy and dashed-off as the other Coltrane autographs out there, don’t you think ?

Only one problem. And it’s a big one. The signed album is a two-disc John Coltrane reissue on the Prestige label that was released in the early 1970’s. And John Coltrane died of liver cancer at Huntington Hospital in Long Island, NY on July 17, 1967, at the age of 40. Oops.

It’s another posthumous autograph–an autograph from beyond the grave ! Now John Coltrane was a true genius, and could do miraculous things with his instrument. But as far as we know, he never mastered time travel, and so we must conclude this autograph is a fake. It’s a particularly good forgery, and must have been done by a professional. Fortunately, though, his skills at copying autographs are obviously greater than his ability to research dates.

My friend Gary Johnson of Rockaway Records has a great posthumous autograph story. While at a radio station-sponsored collectibles show some years back, he saw a signed copy of Jimi Hendrix’s album “The Cry of Love.” He asked the seller about it’s history, and was told it came from the collection of a 60’s disc jockey. Most probably got it signed himself. Very rare, indeed. Expensive, but where are you gonna find another one–right ? When the dealer had finished explaining the album’s provenance, Gary delivered the punchline– that Jimi Hendrix died in 1970, a full year before “The Cry of Love” was released.

Of course there are still many unique and genuine autographs and artifacts out there. I still love collecting the real thing; I’m lucky enough to own some Coltrane musical manuscripts and a number of Hendrix items, and for me, the novelty never wears off. It’s as close as I’ll ever get to the “mojo” of these incredible artists. But I always do my research before buying.

If you’re thinking about buying an artist signed or artist owned item, I can’t stress enough the importance of following a few simple rules. These will protect you and help insure you only buy “the good stuff.”

First, do your research. Know exactly what you’re buying, and who you’re buying it from. Are they established and respected in the field ? Are they experts in what they are selling ? Does the deal seem too good to be true ? It might just be.

These things are rare–I’d be suspicious of someone with a huge inventory of items signed or owned by highly collectible artists . Google the seller and see what comes up. And most important, insist the seller guarantee the item’s authenticity with no time limit. If it’s an expensive item, I’d ask for that guarantee in writing, too. Most dealers out there do their best to represent things accurately, and a seller offering genuine items will have no problem doing this.

Below, you’ll find posts with some pretty special authentic items, and more advice on how to avoid being taken. I hope it’s helpful. And of course there’s a lot more to look at on my website, Recordmecca.

And do let us know if you have anything you’re thinking of selling–we’re always looking for special items and rare vinyl.

(I have notified the seller of the Coltrane album that it can’t possibly be real; I await their reply. It’s always possible they were taken themselves.)

UPDATE: 12 hours after I notified the seller, the auction has been taken down. I never heard back from them, but applaud them on ending the listing quickly.

We’re Looking To Buy Music Collectibles & Rare Records

During these challenging economic times, I thought I’d remind everyone that we’re actively looking for high-end music collectibles and rare vinyl in excellent condition. For the right material, we can pay well–so if you’ve got anything you’re thinking of selling, please do let us know.

You can reach us at:



Though I’ve been collecting records and memorabilia since 1971, I still can’t wait for the mailman (or Fedex) to arrive on days when I’m expecting something new and groovy. This was very much the case a few days ago, when this most amazing handbill arrived. It advertises a January 8, 1968 concert by the Jimi Hendrix Experience in Stockholm, Sweden. My Swedish friend, Johan Kugelberg, kindly translated it:

“The Jimi Hendrix Experience are coming to Konserthuset (the venue) Monday, January 8, 1968. Tickets available from the 11th of December, 1967. Christmas gift suggestion ! Wish for tickets or give as a gift to others. The Jimi Hendrix Gala, January 8.”

I’ve seen a lot of holiday promotions before, but Jimi Hendrix tickets for Christmas ? I certainly would have been happy had I found them under the tree. The back side lists three locations where tickets were sold, and as you can see, the designer took the Christmas motif perhaps a bit too far, adorning Jimi, Mitch and Noel in Elf hats. Jimi signed this handbill, but drew a question mark and arrow to his own image, no doubt a bit confused by his head gear.

I got this from a gentleman who’s mother got the autograph. It’s almost too much to contemplate–having a mother who went to see Jimi Hendrix in 1968, somehow got backstage and got his autograph (on a handbill yet !), saved it for 41 years, and then gave it to her son. Now that’s a record collector’s dream.

Know Who You’re Buying From–And Do Your Homework

Here’s a weird story. My friend Gary Greenberg (who has a great blog about his collecting exploits called Garyrocks) contacted me last week about something he’d found on Ebay. Since I just settled a contentious lawsuit (see below) I’m going to be circumspect in telling this story, but the short version is that Gary had found some memorabilia allegedly owned by a member of a highly collectible classic-rock band. He’d negotiated a pretty good deal with the seller and asked me if I wanted to partner with him on the purchase (there were two items; I’d buy one, he’d buy one.)

We discussed the authenticity of the items and it seemed Gary had done his homework–he’d had a lot of communication with the seller, who was allegedly selling the items on behalf a roadie for the band, there was indeed a roadie with that name, and there was a letter of authenticity from him, which looked genuine. So we decided to go ahead with the purchase. Since I had more money in my PayPal account that day, we decided I’d pay and that he’d reimburse me. He sent me the seller’s name and name of someone else with the same last name who had the PayPal account I’d be transferring the funds into–I assumed it was the seller’s wife. Now the story gets interesting.

Being a research obsessive and by nature a skeptical guy, I googled the names to see what I could find. They were unusual names, especially the presumed wife’s name–so I thought I might find something. I like to know who I’m buying things from, and if you’re patient you can sometimes find information about the person you’re doing business with–maybe they are active in the online collecting community, or have their own business, or on occasion, someone has done business with them and has written positively (or negatively) about the experience.

Amazingly, it took all of about 15 seconds to find a 2005 newspaper article about a huge, multi-million dollar fraud committed by someone with the same name as the seller (who was in prison when it was written,) and who was married to someone with the exact same name as was on the PayPal account. The very unusual name. Uh-oh.

Now of course I can’t be sure that these were the same people, but they were a couple with the same two unusual names, living in the same foreign country, and the husband had been in the music business. And come to think of it, his feedback on ebay was unimpressive to say the least.

I let Gary know what I’d found and we both agreed sending this guy nearly $1500 was probably not the world’s best idea. Sure, maybe it was a bizarre coincidence. But the odds of two couples having the same two unusual names, being in the music business, living in the same country as the seller were pretty remote indeed. And if it was the same guy, well sure, he might have gone straight. Who knows, maybe the stuff was real. But I certainly wasn’t going to risk $1500. to find out.

As I wrote in the last post, if you’re buying memorabilia online, it’s essential to know who you’re buying from, and to do your homework. I know doing your homework isn’t always the most pleasant way to spend your leisure time–but like mom and dad always said, it’s good for you. And here’s a perfect example of exactly why.

–Jeff Gold
(and don’t forget; insist on a lifetime guarantee of authenticity too !)

Autograph Forgeries, Forensics, and Autograph Experts

Anyone with an email account knows about the online scams and rip-offs that proliferate on the internet. And as most colletors know, there is no shortage of fake autographs and memorabilia being offered online, on Ebay and elsewhere.

As earlier posts about my lawsuit against Peter McKenzie (re: Bob Dylan memorabilia he sold me) illustrate, issues of authentication can be very difficult, costly and time consuming to resolve.

Sellers often claim their items have been authenticated by autograph experts or forensic examiners, and assure you that their item comes with a certificate of authenticity. However, online anyone can call him or herself an expert—and if someone is dishonest enough to sell you a forged item, they’ll have no reservations about giving you a worthless certificate of authenticity too.

So for those buying collectibles, I offer some very basic information that should be helpful.

First rule—if it seems too good to be true, it virtually always is. If a dealer or retail store has what seems like an endless supply of signed Beatles albums, Jimi Hendrix signed guitars, Bob Dylan inscribed items and other “holy grail” collectibles, be VERY suspicious.

These things just aren’t around—and when you do see them, they
command high prices commensurate with their rarity. There are no bargains with the truly great stuff—it sells itself. I’ve been collecting records and memorabilia since 1971, worked in the record industry for 20 years, and have bought numerous collections from record executives– and I can tell you first hand, the truly rare, unique stuff just doesn’t show up.

If the signed American Beatles albums some dealers are offering for $15,000. were genuine, people like myself would be beating down the doors to buy them. An authentic signed U.S. Beatles album is worth at least $75,000; at present only 11 are known to exist. By the time the Beatles came to American, security was so tight nobody got near them. (There are a greater number of UK signed albums, but they’re still very rare and very expensive.)

Next, let’s talk about autographs and autograph authenticators. Common sense dictates that no one can be an expert at everything. I’m pretty good with a few artists, but I know what I don’t know.
When I need an expert, I gravitate towards people who are experts in authenticating specific artists.

Frank Caiazzo has been studying the autographs and handwriting of The Beatles exclusively for 22 years, and is universally regarded as the world foremost authority on the subject. He can tell you if a set of Beatles signatures is authentic, the year it was signed, and that John, Paul and George signed their names, but Ringo’s signature was signed by Beatles road manager Neil Aspinall.

There are other qualified Beatles experts too–Perry Cox and the folks at Tracks in England certainly know their autographs and rare Beatles records too. Roger Epperson is an expert at many musical artists. These people have spent many years learning their craft, and while their expertise doesn’t come cheaply, it’s worth it.

On the other hand, there is presently an “organization” selling their services on Ebay who, for a fee of $6.00, will authenticate any signature being offered on Ebay. I don’t know anything about them—but it seems pretty absurd to me that anyone could actually do this. And for $6.00 ?

Then there is the field of forensic document examination. Again, there are many people out there claiming to be forensic examiners—some whom are writing hundreds of certificates of authenticity every year for people selling fake items. A “Forensic COA” is always a warning sign for me.

An actual court-certified forensic document examiner charges a hefty hourly fee to compare “questioned” handwriting to “known” examples of that person’s handwriting, to determine whether the questioned writing is authentic. They often use highly sophisticated scientific equipment in their analysis. This is an expensive proposition—I spent $15,000. on forensics in the Peter McKenzie/Bob Dylan case (I wish I knew about the $6.00 Ebay guys back then !)

Among other things, a real certified forensic document examiner serves a 2 year apprenticeship, often works for the government before going out on their own, and in my experience has no interest in authenticating autographs for a living (in fact I couldn’t get the examiner I eventually hired on the phone until I explained this was for a lawsuit, and not just to authenticate Dylan autographs.)

A forensics expert isn’t an autograph expert, they are experts at comparing handwriting. And that’s a very important point. Their opinion is only as good as the authentic examples they are given. In the McKenzie case, the examiner, Jim Blanco had over 100 pages of absolutely authentic Dylan writing and signatures, from a variety of absolutely unimpeachable sources.

If someone tells you something was authenticated by a forensic examiner, ask them how many known authentic examples they compared the examined item to, where the exemplars came from, and how they can be sure the exemplars were authentic. Perhaps—let’s give them the benefit of a doubt—some of these folks who call themselves forensic examiners are just doing quickie examinations, comparing the forgeries to other forgeries they’ve been supplied with. As they say, garbage in, garbage out.

When looking at a signature or handwriting, an expert concentrates on three basic areas in determining its authenticity—the writing’s line quality, letter forms, and letter proportions.

Line quality considers the motion, speed and flow of the writing, which also is reflected in the pen pressure. Is the writing assured and fast, or shaky and slow ? Is the pen pressure consistent ?

Letter forms considers the way in which a letter was made and it’s resulting visual appearance–the path the pen took to create a letter, and the habitual nature of everyone’s handwriting.

Letter proportions considers the letters relationships to one another—are they close together or spaced farther apart? A person will habitually place certain letters closer to each other, with others having more space between them. Height relationships of letters, connecting strokes, punctuation, the crossing of “t’s” and dotting of “i’s” are also habitual.

Even the best forgers won’t be able to exactly reproduce the line quality, letter forms, and letter proportions of the original writer. They may be able to exactly reproduce the letter forms and spacing, but not the speed and pen pressure. Or perhaps someone can approximate a signature’s flow and speed, but their letter forms and relationship of the letters won’t be exact.

Pretty complicated, eh ? So where does that leave the ordinary collector. First and foremost, don’t be discouraged. There are many authentic and extraordinary items out there. I have many things in my own collection that continue to amaze and intrigue me decades after I acquired them. And it doesn’t hurt that they’ve been great investments too. There is great stuff out there. But finding it requires some work and due diligence on the collector’s part. Here’s are some rules of thumb that should be useful for any collector.

First, know who you’re buying from. Is the dealer someone with a reputation and a track record ? Are they experts in the field ? Are they well known and respected ?

Second, always get a written lifetime guarantee of authenticity. Any honest dealer should be willing to provide this to you, with no hesitation. And of course, make sure they’ll be there to back it up, should there ever be a problem.

And third, do your homework. Don’t be afraid to ask lots of questions. An honest dealer will have no problem answering any questions, and to the best of their ability, to explain the history of the item. It’s a cliché, but it’s true—information is power.

I hope this has been helpful—please feel free to leave any comments or questions below. And thanks to Jim Blanco, certified forensics examiner, who’s essay “Handwriting Identification: Formula for Authenticity” I borrowed from liberally.

Jeff Gold
January 7, 2009

OOPS–"Dylan Signs With MGM Records"

(double click to enlarge)

As readers of this blog know, I’ve got a ton of respect for the late Ralph J. Gleason, the legendary music critic from the San Francisco Chronicle and co-founder of Rolling Stone magazine. Gleason was an early supporter and friend of Bob Dylan’s. But here’s Gleason’s column from the December 30, 1966 Chronicle where he really gets it wrong, announcing that Dylan has signed with MGM Records.

It has been known that Dylan’s manager, Albert Grossman, had negotiated with MGM for Dylan’s services–but I never knew it had been “announced” that Dylan had jumped ship. I’d guess this was information Gleason got from Grossman. Knowing Grossman’s reputation as a tough and canny negotiator, it’s entirely likely he gave Gleason this “exclusive” as a negotiating ploy to alarm Columbia Records into upping their offer for Dylan. Remember, Dylan was an extremely popular (and highly prestigious) artist Columbia could ill-afford to lose, having released his highly lauded “Blonde on Blonde” earlier in the year (Gleason has so much detail in terms of the deal, Dylan’s royalties, etc. that I think it unlikely this could come from anyone but Grossman.)

It’s interesting to note Gleason’s take on Dylan’s dissatisfaction with Columbia for the Freewheelin’/Talking John Birch Society contremps, the shipment of the “Positively 4th Street” single that mistakenly played “Can You Please Crawl Out Your Window,” and the aborted “Bob Dylan In Concert” album–he certainly would have been in a position to know (for more on these, see the July 2007 entry below and www.searchingforagem.com, the ultimate Dylan discography site.)

It’s also interesting to see the that “the broken vertebrae” in Dylan’s neck (from the motorcycle crash) are “still tender enough to prevent him from hanging a guitar around his neck and performing” but that there are tentative plans for an April tour. Sure. You bet.

I’d like to thank my friend Gene Sculatti, a Dylan and Gleason scholar, for this article, which I’d never seen before. Gene had the good sense to clip this out of the Chronicle back in the day.

Best wishes to everyone for a happy, healthy new year, and in the next post we’ll talk in more depth about forensic document examination and the Peter McKenzie lawsuit.

Dylan Memorabilia/Peter McKenzie Lawsuit Settled

As readers of this blog and followers of the Bob Dylan collecting scene may know, in November 2007 I filed a lawsuit in the New York Supreme Court against Peter McKenzie, accusing him of fraud, breach of contract and unjust enrichment. The suit came about because of questions about the authenticity of some signed and inscribed Bob Dylan items McKenzie had sold me (this is all a matter of public record; see the posting directly below for the complete story.)

It is my great pleasure to report that after 15 months of forensic examinations, court proceedings and legal haggling, the lawsuit has been settled. Unfortunately I’m legally bound to not disclose the specific terms of the settlement, much as I’d like to. But I can say that I’m extremely pleased with the outcome of the suit. As a longtime collector and a dealer, I felt it very important to pursue this despite the high cost of doing so, in terms of dollars, aggravation and time spent.

I’d like to sincerely thank the many people who helped bring this to a satisfying resolution, particularly Dylan manuscript expert George Hecksher, collector Barry Ollman, Jasen Emmons, curatorial director of the Experience Music Project (and curator of the museum exhibition “Bob Dylan’s American Journey”,) Jeff Rosen from the Dylan office, my attorney Mike Gibson, and certified forensics examiner Jim Blanco.

I’ve said it before, but it bears repeating–if you’re buying high-end collectibles, do your research, know who you’re buying from, and most importantly, insist on a guarantee of authenticity with no time limit. And remember, if it seems too good to be true, it almost always is.

As of the time of this writing, Reed Orenstein’s lawsuit against Peter McKenzie (see below) is still active.

Check back as we’ll be writing more about issues of authenticity, what a real forensic document examiner does, why most certificates of authenticity are worthless (even so-called forensic ones–more on that later,) and how to protect yourself when buying autographs and memorabilia.

In the future, I’ll be writing much more regularly too.

Jeff Gold
November 19, 2008

And remember, we’re always interested in buying your music collectibles too !


Those who know me know I’m obsessed with documenting the authenticity of the items I collect and sell. Every week I spend countless hours on the phone, internet, and speaking to people in person to make sure EVERYTHING I offer for sale is absolutely genuine. And then I guarantee everything to be authentic with no time limit—a lifetime guarantee.

Unfortunately this is not the case with every dealer, and there is a lot of inauthentic material out there being passed off as genuine. As music collectibles continue to escalate in value, there is more motivation for unscrupulous people to be dishonest—and so it’s more important than ever to do your research, know who you are buying from, and get that all important lifetime guarantee.

I’ve been eager for some time to write about some inauthentic Bob Dylan material I purchased—but as there is a lawsuit pending, my lawyer advised me not to. Yesterday the New York Post wrote about the suit, and I now feel the need to respond without delay.

Last year, a highly regarded forensics expert advised me that some signed Dylan items I purchased from Peter McKenzie’s collection were not authentic. McKenzie was a teenager in 1961 when a then-unknown Bob Dylan slept on his parent’s couch for a few months. McKenzie had a number of early Dylan handwritten song lyrics from that era, and in 1991 began selling these as well as albums Dylan had signed and inscribed for him. He also contacted other friends of Dylan’s from the early 60’s, and brokered and sold some similar material for them.

In December, 2006 McKenzie contacted me for the first time after seeing an online listing for an item that had originally come from him. In January 2007, he contacted me again and offered to sell me two signed Dylan items, which I purchased for $9,000.

In mid 2007 a highly regarded New York rare book dealer who had previously sold me Dylan material offered me a number of Dylan items that had come from “Peter McKenzie’s collection.” I purchased 4 of these for approximately $40,000., and then contacted McKenzie, who confirmed that they had come from him.

Over the next few months, McKenzie offered to sell me many other Dylan items, and I purchased a number of these in a few separate transactions for a total of $44,000.
Every time I purchased something, McKenzie came up with something new to offer me, and I became concerned at the sheer volume of material that he was offering me. In this business, a seemingly unending supply of rare material is always a red flag. I knew his family had a relationship with Dylan in the early 60’s and he had sold some important artifacts, but at some point, logic would dictate, the supply would likely dry up.

One day McKenzie mentioned he’d bought something on Ebay and the amount he’d paid, and so I went online, found the listing, and saw his Ebay user ID. I was spending a lot of money with him, had become concerned, and thought it prudent to keep an eye on his Ebay purchases (which is publicly available information.)

A month or so later I saw that McKenzie had purchased three vintage Dylan albums in a short time on Ebay. I asked myself “If Peter McKenzie had known Dylan and had all this memorabilia, why would he be buying a copy of “Bob Dylan’s Greatest Hits” and two copies of “The Freewheelin’ Bob Dylan ?”

An alarm bell rang a few weeks later when McKenzie offered me a “signed and inscribed” copy of “The Freewheelin’ Bob Dylan” which he told me he’d gotten 20 years ago from a mutual friend of his and Dylan’s. When he sent me a photo of it, it appeared identical to one of the copies he’d bought on Ebay a few weeks earlier, with an inscription and signature added. Both album covers had multiple scratches, imperfections, and flaws in exactly the same places—it seemed obvious that they were one and the same.

I had Peter send me the “signed” “Freewheelin’” on approval, and hired a highly regarded certified forensic document examiner (formerly with the US Treasury Department) to conduct a formal comparison of the Ebay “Freewheelin’” to the one Peter was offering me.
I also had him examine a group of other material I’d purchased from McKenzie, the rare book dealer, and other items from my personal collection. A forensic document examiner compares questioned items to “known examples” to determine whether or not a questioned item is genuine. Another top collector and I were able to provide over 100 pages of known authentic Dylan handwriting samples, including documents, published lyrics, and one of Dylan’s songwriting notebooks.

The forensics examiner concluded that the “Ebay Freewheelin’” was in fact the same album that McKenzie was offering me, with an inscription added after the fact. He determined that some of the items I had purchased from McKenzie and the book dealer were genuine, while others were found to be “not genuine.”

In short order, I hired a lawyer in New York (McKenzie resides there) who called and confronted McKenzie with the bad news. McKenzie denied that anything was not authentic, but asked to speak with me. He insisted he would give me a full refund and implored me to keep this “between us” (something I never agreed to do.) The book dealer, when contacted, expressed concern and made full restitution to me for the “not genuine” items they’d sold me from “Peter McKenzie’s collection.”

In a second lawsuit filed against McKenzie accusing him of selling non-authentic Bob Dylan items, plantiff Reed Orenstein (a longtime friend of McKenzie) states that McKenzie admitted to him that he had forged Dylan’s signature on the “Ebay Freewheelin’.”

For a number of months McKenzie continued to insist that he would make full restitution — but he never came up with the money. Eventually I decided the only way I would recover what I’d spent was to file a lawsuit. When I notified a number of dealers and Dylan experts about this, at my lawyer’s insistence I was careful to only relate the facts of the case, letting people come to their own conclusions.

When the New York Post called my lawyer last week, I initially refused comment, as it was my desire to litigate this case in the appropriate forum—the courts. As McKenzie has chosen to take this matter to the media, I now feel obligated to respond, if only to clear the record.

This case is ONLY about recovering the money I spent with Peter McKenzie. McKenzie claims that I’m suing him because I couldn’t sell the material–but other than one item I purchased on behalf of James Musser at Skyline Books, and a harmonica in a signed case later sold to Musser, I never tried to sell any of these items (in fact I planned on keeping most for my personal collection.) Both of the items James Musser purchased have been forensically examined and found to be authentic. In fact, I have spent approximately $14,000 on forensics in this case to date.

The article claims McKenzie has been selling me memorabilia since 1991—however I never spoke to him or communicated with him in any way before December 2006, and never purchased anything from him until January 2007.

I care very much about my reputation and good name. I’ve worked hard to build my business, and care passionately about my clients and fellow collectors. I’ve been a collector of rare records and music memorabilia for 37 years, and a record business executive for many of those. I still on occasion consult for record companies, as well as the Rock & Roll Hall of Fame and Museum in Cleveland, and the Experience Music Project in Seattle. I was a curatorial consultant to the recent museum exhibition “Bob Dylan’s American Journey.”

In other words, I don’t take any of this lightly. I’m very upset that I bought material that an expert found wasn’t authentic. But I’m very happy that I didn’t sell any of it—that would have troubled me terribly.

So there it is—the story in a nutshell. I hope people find this instructive, and once again, it’s a reminder that you can never be too careful. Don’t be afraid to ask lots of questions, do your own research, know who you are buying from, and always insist on a guarantee of authenticity, with no time limit !

Jeffrey Gold
June 24, 2008

Update: see post Dylan Memorabilia/Peter McKenzie Lawsuit Settled

An Extraordinary Queen Collectible

Forgive the terrible pun, but here is a truly “Killer Queen” collectible–a handwritten letter sent by the Queen frontman Freddie Mercury to Elektra Records founder Jac Holzman, the legendary music executive who signed Queen. As you may know, Queen is one of the most collectible groups in the world. And any artifact related to Freddie Mercury is highly sought after.

Mercury sent this letter to Holzman in 1973, as the band was finishing “Queen ll,” thanking him for his “genuine interest (in Queen) from the very start.” Holzman was very aggressive in pursuing and signing Queen, which he wrote about with great eloquence in his excellent book “Following The Music” (if you’re a fan of Elektra, or it’s artists, I can’t recommend this book more highly. Holzman signed many extremely important artists, including The Doors, Tim Buckley, the Butterfield Blues Band, The Stooges, the Incredible String Band, Judy Collins, and many more.)

The full text of the letter reads: “Dear Jac, Just thought I’d drop you a line to say we’re all absolutely bowled over at the reaction with which Queen are happening in the States. I’d like to thank you, personally, for your genuine interest from the very start. Both Brian and John have recently excelled themselves in their performance and presentation, and you’ll be pleased to know that they don’t make it look so easy anymore. I hope you like “Queen ll.” We’ve worked like demons on it, with a lot of sweat and blood gone into it, but it’s been worthwhile. Brian, John and Roger send you their fondest. Looking forward to seeing you again soon, Love, Freddie Mercury.”

As you might imagine, artists don’t often send record executives this kind of personal letter of thanks. Jac was touched, and kept the letter it in his files. Recently Jac decided he’d like to sell this letter, and use the proceeds to fund a music scholorship in Freddie’s name. He’s asked Recordmecca to sell it on his behalf, and we will be conducting an auction for it on Ebay beginning June 16 (check here on that date for a link.) The minimum bid will be $9,999.

When collecting autographs and letters, the important things to consider are the provenance (where did the item originate, how has it come to market), content (in the case of a letter, does the text relate to why the writer is famous, or shed light on their career or work), timing (when in the writer’s career does it date from), format (typed letters are less desirable than handwritten ones; personalized stationery adds value) and of course who the seller is and what kind of guarantee of authenticity they offer.

In every way, this letter is a home run. It comes from the original recipient, a famed record executive who signed Queen, and who has written a two-page letter of authenticity to accompany it. The content and date couldn’t be better; Mercury writes just as Queen has broken big in America, to the man who made it possible, expressing his sincerest thanks. The format is equally impressive—this is completely handwritten on die-cut Queen stationery. And of course, we guarantee everything we sell to be authentic with no time limit.

This is as unique and historic a Queen collectible as we’ve ever seen. If you would like more information or to be notified when our auction takes place, please email us.


A great day indeed–the lead in the Associated Press story said it all:

NEW YORK – Thanks to Bob Dylan, rock ‘n’ roll has finally broken through the Pulitzer wall. Dylan, the most acclaimed and influential songwriter of the past half century, who more than anyone brought rock from the streets to the lecture hall, received an honorary Pulitzer Prize on Monday, cited for his “profound impact on popular music and American culture, marked by lyrical compositions of extraordinary poetic power.

It was the first time Pulitzer judges, who have long favored classical music, and, more recently, jazz, awarded an art form once dismissed as barbaric, even subversive.

“I am in disbelief,” Dylan fan and fellow Pulitzer winner Junot Diaz said of Dylan’s award.

Me too. The Pulitzer committee has finally done the right thing. At the top of this post is a mid-60’s bumper sticker (by San Diego Poster Print) from my collection that pretty much says it all, don’t you think ?

And on the subject, if you’re anywhere near the Los Angeles area between now and June 8, make it your business to see the final stop of “Bob Dylan’s American Journey, 1956-1966” at the Skirball Cultural Center. While I’m far from an objective observer (having been a curatorial consultant and lender to the exhibit) this first ever authorized museum show devoted to Dylan is nothing short of astounding. It includes more than 150 awe-inspiring Dylan artifacts (his first acoustic guitar, and original typed/handwritten lyric sheets for “Blowin’ In The Wind” and “Gates of Eden”,) rare audio (the only known tape of his debut concert at the Carnegie Charter Hall,) rare video (outtakes from “Eat The Document” and much rare live and interview footage,) and other incredible things you’ll never see anywhere else (Woody Guthrie’s t-shirt that he wore at Brooklyn State Hospital, and his original lyrics to “Grand Coolie Dam.”) I’ve seen the exhibit numerous times, in Seattle, New York, and now here, and this installation is by far the best. I doubt you’ll ever have the opportunity again to see this amazing collection of Dylan artifacts, film, and tape–so do check it out (free admission on Thursdays too.)

That’s it for now. Congratulations Bob !

Hendrix, the Grateful Dead, Moby Grape, Country Joe and The Doors–At the beginning

I love reading contemporary accounts of the birth of rock–I find it fascinating to see what people (and “critics”) thought about the bands and the music as it was happening. In that light, these pages from the August, 1967 issue of Mojo Navigator Rock & Roll News are particularly interesting.

Mojo Navigator was arguably the first rock fanzine; begun in 1965 by David Harris and Greg Shaw, it chronicled the San Francisco/Bay Area rock scene, and later, the rock music scene at large. Issues are extremely rare, as it was available only by subscription and at a few retail outlets. And of course, few people kept these kind of things for long. I’ve reproduced here the cover of this issue (Vol 2, No. 2) and some particularly interesting pages. First, a 3 page joint review of the debut albums from The Grateful Dead, Moby Grape, and Country Joe & The Fish. With benefit of hindsight, all three are today regarded as psychedelic rock classics (and in my opinion, masterpieces.) If you don’t own these, and are interested in the San Francisco scene, get them (and the debut albums by Quicksilver Messenger Service, Jefferson Airplane, and Steve Miller Band) and you’ll have a pretty great picture of how important and vital the music coming out of this area was. In all 3 cases I think David Harris of the Navigator gets it right.

Next is Harris’ review of the UK issue of Jimi Hendrix’s debut album “Are You Experienced” (not yet released in the US, though he’d just played the Monterey Pop Festival and Fillmore.) Most fans of rock guitar and psychedelic music would agree this album is probably the most auspicious debut of all time. And Harris, most definitely, gets it right again, when he begins his review “Jimi Hendrix, Noel Redding and Mitch Mitchell are without a doubt the most important musical, and in some ways, dramatic, happening in the world today.” Yes, he was going out on a limb, considering Hendrix at this time had only had 1 single (“Hey Joe”) released stateside at the time of his writing. But he was absolutely correct. This article/review is filled with interesting and little known trivia, such as Hendrix, “when asked to perform certain songs from the album, admitted he had forgotten them, and them, and stated that he had made them up at the session and had never played them since !” I’ve been a Hendrix fanatic and collector for 37 years, and have NEVER heard that story. Just shows why it’s so fascinating to read accounts written while history was being made. This issue also features a very early interview with the Doors, but we’ll leave that for another time & place.

Anyway, hope you enjoy this. If you do, or don’t, or have any input as to the kinds of things you would like to see here, please write me at: Recordmecca@earthlink.net or post a comment below.

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