RR Auction: The Ramones Archives of Daniel Rey

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Live auction in Boston, MA September 25, 2021




ER 25, 202



As a kid from New Jersey, Daniel Rey was eager to experience the lights and the loudness that sung like a siren from across the Lower Bay. He made the trip to NYC as a teen and beelined it to CBGB, a venue known for an underground music scene both cutting edge and nonconformist. It was there where Rey first encountered the Ramones, where he bore witness to the punk rock revolution, and where his life course was forever altered. But Rey was not cut out for the role of spectator. He joined his own punk band, Shrapnel, which released a single in 1979 called ‘Combat Love.’ The song, which featured background vocals by his friend Joey Ramone, would prove to be the first of many collaborations between himself and the Forest Hill rockers. By the time he was ready to trade in his guitar for a mixing board, Rey had cemented himself as a New York punk rock fixture and a trusted member of the Ramones’ inner sanctum.


Amassed during his nearly 30-year working relationship with the Ramones, Rey’s collection holds a veritable treasure trove of early punk rock keepsakes, which includes posters, invitations, handwritten lyrics, and incredible stage-used equipment and instruments, the bulk of which is spotlighted by Johnny Ramone’s go-to Mosrite Ventures II electric guitar—which he played at every Ramones performance and on nearly every Ramones recording until his retirement: from November 1977 through August 1996, for a total of 15 albums and approximately 1,985 shows—and an insanely rare stage-used Electro-Harmonix Mike Matthews Freedom Amp, one of two ever made, which was instrumental in the Ramones nailing down their patented punk rock sound.

After co-writing the song ‘Daytime Dilemma (Dangers of Love)’ with Joey Ramone, Rey made the jump from producing fledgling basement acts to working with legitimate punk rock royalty. He produced three Ramones albums—Halfway to Sanity, Brain Drain, and ¡Adios Amigos!—co-wrote numerous songs, including the 1989 hit ‘Pet Sematary’ and 1992’s ‘Poison Heart,’ and oftentimes served as a conduit or peacemaker between the band’s feuding members. Rey also produced Joey Ramone’s first and only solo album, Don’t Worry About Me, which was released posthumously in 2002, less than a year after his death. Like George Martin, Brian Epstein, Derek Taylor, and Neil Aspinall before him, Rey had the unique distinction of becoming intimately connected with a world famous band. One of the storied ‘5th Beatle’ members he was not, but Rey was most certainly on the short list for the ‘5th Ramone,’ a nomination personally applied to him by the band’s late frontman. In addition to the Ramones, Rey has worked with several notable musical acts, including White Zombie, The Misfits, Entombed, Richard Hell, and Ronnie Spector. He also recorded the theme song to Todd Solondz’s cult comedy Welcome to the Dollhouse.


LOT 9001 PUNK ART ‘PAPER BAG’ 1978 EXHIBITION INVITATION Very rare original ‘brown paper bag’ invitation to the ‘Punk Art’ exhibition, held at the Washington Project for the Arts in Washington, D.C., on May 15, 1978. Designed by Alice Denney, the invitation is printed on a small paper bag that measures 8.5 x 5 unfolded, with the front bearing an image by Miller, Ringma, and Hoppe of the Mona Lisa, with cracked frame glass that’s been spray painted “Punk Art.” The interior features directions, dress suggestions, “Punkly Formal,” and a list of special attendees at the gala opening, including: Animal, Neke Carson, John Holstrom, Steven Kramer, Ruth Marten, Punk Magazine, Marcia Resnik, Screaming Mad George, The Erasers, The Shrapnels, and more. In very good to fine condition, with overall creasing. The exhibition, which coined the phrase ‘punk art,’ drew from the community of visual artists associated with the club CBGB, including some who were involved in rock bands and some who provided art for the media and music industry.




LOT 9002 PUNK MAGAZINE 1978 CALENDAR Nearly complete rare original “1978 Punk Calendar” issued by Punk Magazine, 12 pages, 11 x 17, with the front cover featuring a caricature of the Ramones by underground artist Bobby London. Each month contains a variety of amusing trivia facts and birthday reminders, with the upper portion featuring a large music or entertainment-related image: Lou Reed (January), James Cagney and the Dead End Kids from Angels with Dirty Faces (February), Suicide (March), Iggy Pop (April), Debbie Harry (June), Bay City Rollers (July), Paley Brothers (August), three kids with 45 records (September), Richard Hell (October), Dead Boys (November), and James Dean (December). May is missing, as is the calendar’s closing credits page with Our Gang image. Some dates bear pencil notations. In very good to fine condition, with some creasing, soiling, and edge tears.



LOT 9003 PLASMATICS 1978 CBGB CONCERT POSTER Rare original 10 x 17 poster for the first public performance by the punk rock / heavy metal band the Plasmatics, which was held at CBGB’s in New York on July 26, 1978. The poster shows two images of the band in a slaughterhouse, with Wendy O. Williams dressed scantily and wielding a chainsaw, and the other members clad in white butcher coats. In fine condition, with tack holes to the corners. Led by former porn star and stripper Wendy O. Williams, the Plasmatics were a controversial ‘shock rock’ group known for chaotic, destructive live shows, and outrageous theatrics, which included partial nudity, exploding equipment, and chainsawing guitars.



LOT 9004 SCREAMING MAD GEORGE ORIGINAL SKETCH INSCRIBED TO LEGS MCNEIL Fantastic original sketch by acclaimed special effects artist Screaming Mad George, accomplished in graphite on an off-white 11 x 14 sheet of illustration paper, signed and inscribed in the lower right in black ballpoint, “To ‘Legs,’ from MAD,” who writes his name in Japanese. The drawing, ostensibly a rough draft for a Punk Magazine front cover, depicts a strange encounter between a man, possibly the recipient “Legs,” and a skeleton, which appears to show the grimacing ‘punk’ absorbing the lifeforce of a guitarist. In very good to fine condition, with two tears to the word “Punk.”



LOT 9005 SHRAPNEL (2) 45 RPM SINGLE RECORDS Early pairing of Salute Records 45 RPM records for the Shrapnel singles ‘Combat Love / Hey’ and ‘Go Cruisin’ / Way Out World.’ The records are included. In overall fine condition. Accompanied by a 45 RPM record for the Wayne County and the Backstreet Boys single ‘Max’s Kansas City.’ The single ‘Combat Love’ features background vocals by Joey Ramone. ESTIMATE $400+


LOT 9006 SIRE RECORDS: RAMONES AND TALKING HEADS PROMOTIONAL DISPLAY Scarce 1977 Sire Records promotional cardboard wall display, 31.5 x 15, with both sides featuring album covers for the Ramones (selftitled debut and Leave Home), Talking Heads (Talking Heads: 77), Dead Boys (Young, Loud and Snotty), The Saints ((I’m) Stranded), and Richard Hell and the Voidoids (Blank Generation), with central text reading: “NEW WAVE rock ‘n’ roll. Get behind it before it gets past you.” In fine condition, with bumps to corners and wear to hanging hole. ESTIMATE $400+



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LOT 9008 RAMONES SIGNED ARTURO VEGA POSTER Desirable vintage circa mid-1970s black-andwhite 14.5 x 19.5 poster designed by Arturo Vega, signed in blue felt tip by Johnny, Joey, Dee Dee, and Tommy Ramone. The poster features an image of an open leather jacket and Ramones belt buckle, with “Ramones” across the top in white block letters. Vega’s facsimile signature is present in the lower right corner. Rolled and in fine condition, with a tear to the top edge. A noted punk rock graphic designer, Vega famously created the Ramones’ logo. ESTIMATE $800+


LOT 9009 JOHNNY RAMONE’S STAGE-USED AND OWNED MOSRITE VENTURES II GUITAR A 1965 Mosrite Ventures II electric guitar personally-owned and -used by Johnny Ramone (John Cummings) for nearly two decades as the guitarist for punk rock legends the Ramones, with the back of the guitar signed in black felt tip, “Johnny Ramone, My Main Guitar, 1977–1996.” Cummings played this guitar at every Ramones performance until his retirement: from November 1977 through August 1996, for a total of approximately 1,985 shows. Additionally, this guitar was used by Cummings for the recording of all 15 Ramones albums (studio and live) from this time period, and can be heard on any live Ramones bootleg from late 1977–1996, of which there are many. It was later displayed at the Rock & Roll Hall of Fame in Cleveland for a number of years. Accompanied by a detailed letter of authenticity from Chris Lamy, a close friend and historian of the Ramones. Description continued through page 19.


ESTIMATE $500,000+








LOT 9009

Cummings originally purchased this guitar between October 23, 1977 and October 30, 1977, to replace his original blue Ventures II slab body, which was stolen from the Sire Records van (with rest of the band’s gear) on the night of October 22, 1977, after the band’s show at the Aragon Ballroom in Chicago. Ironically, this guitar had been offered to Cummings earlier in 1977, but he passed on it feeling it was too expensive at $500, which was a little less than 10 times what he paid for his original Ventures II in 1974. Upon its purchasing, the guitar’s basswood body had already been refinished to white and the original vibrato tailpiece, which would have come on this guitar, had been removed by the original owner and replaced with a stop tailpiece (as Cummings had installed on his blue Ventures II in 1975). The original screw holes for the vibrato tailpiece are plugged and visible in front and in back of the stop tailpiece. The neck plate, used to cover the countersunk neck screws, had also been removed by the original owner and the four tiny screw holes that secured it were filled in the same manner as the bridge screws and are visible on the back of the guitar. Before the guitar’s delivery to Cummings, the original Kluson plastic button tuning machines were removed and their screw holes plugged and replaced with Grovers (present on the guitar) by Ramones guitar tech ‘Little Matt’ Lolya. The pickups, which were also original when Cummings received the guitar, were swapped out first for a Dimarzio FS1 in late 1979–early 1980 in the bridge position (now showing play wear to its cover), and in 1983 a Seymour Duncan SM model mini humbucker was fitted to the neck position: both pickups have been tested through an amplifier and are wired up and working.



LOT 9009

The toggle switch has a black Gibson-style ‘Rhythm / Treble’ poker chip, the nickel-plated brass non-roller bridge is original to the guitar, and behind the bridge is a piece of cardboard secured and covered with black gaffers tape to stabilize the bridge when playing. The floating nut is also original. The three-ply black/white/ black pickguard and pickups are affixed with an array of slotted screws and dome and flat-head Phillips screws (with one missing between the volume knob and toggle switch). The guitar was originally delivered to Cummings with two black Gibson-style ‘top hat’ bell reflector knobs for volume and tone. The volume knob was eventually replaced with a domed ‘tele’-style knob, and the bell reflector tone knob is still on the guitar and bears a battle scar chip at #3. The rosewood fingerboard bears no serial number; following the Aragon theft a few days earlier, Sire insisted that manifests carry gear serial numbers going forward. As this guitar had no serial number, it was simply identified on manifests as ‘RM1.’ The fretboard shows an incredible amount of wear to the bass side of the higher register frets, illustrating the ferociousness of Cummings’ aggressive down-stroke playing style. The neck was refretted at some point with heavier fret wire, and it retains its original finish and Mosrite logo, with the finish also showing extensive checking due to age and the environments the guitar was exposed to. There is extreme wear on the back of the neck from the first to fifth fret from playing. Likewise, the guitar exhibits numerous nicks, dings, and wear to the finish. Secured to the guitar with gaffer’s tape is Cummings’ original ‘Straps Unlimited, Inc.’ brand strap and three Ramones picks, which, along with the original strings, were used at the last Ramones show, which occurred at The Palace in Los Angeles, California on August 6, 1996. The guitar weighs in at a very light 7.2 pounds (with strap). Includes an unbranded, heavy duty ‘strat’-style case signed on the top by Johnny Ramone; the case features one replaced latch and one broken latch. The Ramones’ entire arsenal of gear was stolen a second time in Los Angeles in April 1983. Thankfully, however, this guitar was in the hotel being worked on by Matt Lolya and was the only piece of gear not stolen that night. It is believed that approximately 100-150 slab-bodied Ventures II guitars were produced in 1965, making them rare in their own right, with Cummings owning four of them.





Cummings used this amp live at CBGBs and at various other early Ramones shows, while also routinely lugging it to Monte Melnick and Tommy Ramone’s Performance Studios and to Arturo Vega’s loft throughout 1974 and 1975. As indicated by the tape setting markings, Cummings used this amplifier for guitar, with Joey Ramone using the second Freedom amp as a vocal monitor while the band rehearsed. Cummings used this amp live until he replaced it with Marshall Super Leads in late 1975, and, from then on, the two Mike Matthews amps were stored in the band’s rehearsal spaces and on occasion brought out and used for practice. According to Ramones producer and engineer Ed Stasium, he played through this amp for the second guitar on the band’s 1980 End of the Century LP: ‘It was a practice amp for him, but that’s what I used to do my tracking, through all the pain and the glory of making that album.’ This amp can be seen in the video of the Ramones’ first ever CBGBs performance, as well as in other early videos and photos.


LOT 9010 JOHNNY RAMONE’S STAGE-USED AND OWNED ELECTRO-HARMONIX MIKE MATTHEWS FREEDOM AMP Exceedingly rare Mike Matthews Freedom amplifier personally-owned and -used by Johnny Ramone (John Cummings) of punk rock legends the Ramones, signed on the right side in silver ink, “Johnny Ramone, Ramones original amp, 1974-75.” The amp, 24˝ x 24˝ x 9˝, is one of a matching pair of 4 x 10˝ speaker Freedom amps purchased by Cummings in early 1974. Freedom amps were manufactured in New York City by Mike Matthews’ Electro-Harmonix company, and of the approximately 2000 total Matthews amps that were produced, the majority being 1 x 10˝ speaker versions, only two black 4 x 10˝ Freedom amps are known to exist, both of which were owned by Cummings; the second Freedom 4 x 10˝ remains in a private collection. Accompanied by a detailed letter of authenticity from Chris Lamy, a close friend and historian of the Ramones.\ ESTIMATE $50,000+

Ramones producer Daniel Rey acquired this amp directly from Cummings, who offered one to Rey and one to a friend, when Cummings was cleaning out lockers at the Ramones’ rehearsal space at S.I.R. (Studios Instrument Rental). Rey recalls that Cummings pulled them out, turned to his friends, and asked: “Do you guys want these?” This amp was displayed as part of the 2016 ‘Hey Ho, Let’s Go: Ramones and the Birth of Punk’ exhibit, first at the Queens Museum in New York and then at the Grammy Museum in Los Angeles. Includes its original cardboard box. This incredible punk rock relic not only helped conceive the Ramones’ trademark sound, but it likewise helped cement the sound of an entire musical genre—a mind-blowing rock n’ roll rarity indelibly linked to the dirty, burgeoning style of early New York punk.




LOT 9011 JOEY RAMONE (3) STAGE-USED SHURE MICROPHONES ROM THE FINAL RAMONES CONCERT Amazing set of three Shure SM58 microphones used on stage by Joey Ramone during the Ramones’ last three or four shows, including the band’s final concert, which was held at The Palace in Los Angeles, California, on August 6, 1996. Each member of the Ramones was presented with special mementoes from their final show. Among the items presented to Joey Ramone were three of the microphones that he used that night. These were given to him by roadie Mitch ‘Bubbles’ Keller in a black zippered pouch, which is included with the lot. The Shure microphones, each 6.5˝ in length, are unidirectional vocal microphones with steel mesh covers that are used for live vocals on stage and in the studio, with this model designed to minimize wind and ‘pops’ and background noise. The Ramones used SM58’s for the last few years of their career. In overall fine condition, with scattered scuffs and marks, and some rusting to mesh. ESTIMATE $200+


+ 00 $2 AT E TIM ES


Rare pairing of studio-used Vic Firth Marky Ramone signature drumsticks, 16˝ in length, personally used by Marky during the last recording session for the Ramones’ final full-length record, Adios Amigos. In overall fine condition, with expected wear from use.




LOT 9014 JOEY RAMONE HANDWRITTEN LYRICS FOR ‘SHE TALKS TO RAINBOWS’ Handwritten lyrics by Joey Ramone for the song ‘She Talks to Rainbows,’ unsigned, penned in black ballpoint on two off-white 8.5 x 11 sheets. The lyrics, in full: “She’s a dark dark girl, got that gleam in her eye, quick as a whip, sweet as pie, stops traffic, at a blink of an eye, she talks to birds, she talks to angels, she talks to bees, she talks to trees, she dont talk to me, she drives me outta my mind, she drives me outta my mind, she talks to birds, she talks to rainbows, talks to fleas (leaves), she talk to, she dont talk to me, wont talk to me.” Ramone has crossed out the line, “she’s a witch.” In fine condition. ‘She Talks to Rainbows’ is the penultimate song on the Ramones’ the fourteenth and final studio album, Adios Amigos. The song was later covered in 1999 by Ronnie Spector of the Ronettes. ESTIMATE $200+

LOT 9013 JOHNNY RAMONE’S MARK-2 (JRB000) SIGNATURE MODEL GUITAR Teal-bodied Japanese Mosrite Mark II Johnny Ramone signature electric guitar (Serial No. JRB000), personally owned and used by Johnny Ramone. Includes the original hardshell Ramones guitar case, two Ramones/Fillmore guitar picks, and a guitar strap. In fine condition. Accompanied by a certificate of authenticity signed by Ramone, which affirms that the “guitar is one of Mark-2 Johnny Ramone signature models specially supervised and authorized by Mr. Johnny Ramone himself,” and by a signed letter of authenticity from his widow, Linda, which reads: “This certifies that the Blue Mosrite Mark-2, serial number JRB000, was the first Johnny Ramone Model produced by the Fillmore Company. The guitar was sent to Johnny Ramone and it was owned and used by Johnny Ramone.” ESTIMATE $3,500+


‘DO YOU REMEMBER 9015 ARTURO VEGA’S 1978-1980 LOFT NOTEBOOK WITH HANDWRITTEN LYRICS BY JOEY RAMONE Incredible circa 1978–1980 notebook from Arturo Vega’s famed Lower Manhattan loft at 6 E. 2nd St. in New York City’s East Village, which contains very early working handwritten lyrics by Joey Ramone for the song ‘Do You Remember Rock ‘n’ Roll Radio,’ featuring verses that do not appear on the recorded version. The lyrics are spread out over three pages, with one page reading: “Hangin out in LA + there nowhere to go, it aint Christmas if there aint no snow [these lyrics would be used in the song ‘Danny Says’ from the same album] Disco’s just a commie plot to destroy rock n roll, heavy metal makes you lame, disco eats away your brain.” On a second page: “Heavy metal keeps you lame, disco eats away your brain, and lately it all sounds the same to me.” On a third page deeper in the book are Joey’s partial final lyrics: “Do you remember lyin in bed, covers pulled up over your head, radio playing so no one could see. Lately it all sounds the same to me.” Recorded with Phil Spector in early 1979, ‘Do You Remember Rock ‘n’ Roll Radio?’ was the second single from the band’s fifth studio album, End of the Century. Also featured in the 33-page (dual-sided) notebook, 5.25 x 7.75, are various sketches and notes made in the hand of Vega, the band’s longtime artistic director who designed the Ramones’ iconic logo, which include: heads and sinister-looking faces, a setlist written from Ramones live shows in 1980, a stage lighting set-up, some accounting numbers, phone number and addresses for various people like guitar tech ‘Little Matt’ Loyla, and a design for the Ramones “Official Fun Club” seal. The notebook also includes handwritten lyrics by journalist Legs McNeil, one of the founders of the seminal Punk magazine that gave the movement its name. In very good to fine condition, with one page detached and the front cover no longer present. Vega’s sprawling 6,420-square-foot loft was where the Ramones played one of their earliest shows in 1975, and it also served as a welcome crash pad for Joey and Dee Dee Ramone. The notebook was acquired by producer Daniel Rey from McNeil, who had originally obtained the notebook from Vega. ESTIMATE $200+







LOT 9016 JOEY RAMONE HANDWRITTEN LYRICS FOR ‘SEARCHING FOR SOMETHING’ Handwritten lyrics by Joey Ramone for the song ‘Searching for Something,’ unsigned, penned in blue and black ballpoint on three off-white 8 x 10.5 notebook pages. Ramone adds the title vertically to left side, “Searchin For Something,” and then, in the upper section, he writes: “Susan Says, Intro, Waterloo Sunset.” The lyrics, in full (spelling retained): “Susan moved up to Rochester she can’t stand the crack anymore shes clean & sober now & she just glows Her mom lives theyre There’s an Ashram Trees & open space it suits her very well & man it shows yeah we went on up to South Fallsburg for some spiritual comforting & I felt like a million dollars something that money just can’t bring her eyes are filled with diamonds everybody knows her name guru mae my my my my baby everybody loves you everybody loves you needs you mesmorizing Guru my went back to India Susan waits for her return she got a good job in New York City & she lives in the Ashram Her eyes are filled with wonder as she waits for her return I found shes goin off to India now shes going to India after all its a main concern.” In fine condition.



LYRICS LOT 9017 DANIEL REY HANDWRITTEN LYRICS FOR‘I WANNA LIVE,’ WITH PENCIL NOTATIONS BY JOEY RAMONE Handwritten lyrics by producer Daniel Rey for the Ramones song ‘I Wanna Live,’ unsigned, penned in black ballpoint on an off-white 8.5 x 11 sheet, which is accompanied by a photocopy of the lyrics, both of which feature pencil notations by Joey Ramone, who used the latter as his singing copy. The lyrics read: “Ive been thinkin it over, and I know just what to do, Ive been thinkin it over, and I know I just cant trust myself / I’m a gypsy prince, covered in diamonds and pearls, But when my love exposes me, I know I’m just a damn fool / I give what I gotta give, I give what I need to live, I give what I gotta give, It’s important if I wanna live / I wanna live, I wanna live my life, I wanna live, I wanna live my life / As I load my pistol, fine German steel, never thought I’d be down & out, having my last meal, but I know I can do it, It just took a few years, As I exicute my killers, The morning is near.” In fine condition. Co-written by Dee Dee Ramone and producer Daniel Rey, ‘I Wanna Live’ was the first song and second single from the Ramones’ tenth studio album, 1987’s Halfway to Sanity. ESTIMATE $200+




Handwritten lyrics by Dee Dee Ramone for the song ‘Cretin Family,’ unsigned, penned in ballpoint on two off-white 8.25 x 11.5 sheets. Ramone writes the title above, “Cretin Family,” and the lyrics below, in full: “I am not so upset, about my horriable self, But why dont you, go upset yourself / Hey Here’s the mirror, see your stupide face, What a disgrace man, and you know it’s true / Dont stare at me, its freaking me out, Look what happeneng now, its all your fault, you cant do nothin, absoloutly nothin okay, why dont you get a hula hoop an, do the cretin hop an, I am never ever wrong, dont tell me what to do, Here’s a little curse, its from me too you, Its nothin’s gonna happen, nothin ever will, youll be misserable every day, your luck will allway’s be bad, Cretin Family, Cretin Family, Cretin Family, everyone’s against me.” In fine condition. Co-written by Dee Dee and producer Daniel Rey, ‘Cretin Family’ is the eighth track on the fourteenth and final studio album by the Ramones; it’s also the tenth track on the Ramones live album Greatest Hits Live, which was recorded at The Academy in New York City on February 29, 1996.

LOT 9019 DEE DEE RAMONE HAND-DRAWN MAP OF ‘THE CHELSEA HOTEL BASEMENT’ Original hand-drawn “Map of the Chelsea Hotel Basement” by Dee Dee Ramone, accomplished in red and black felt tip and hot pink and neon yellow acrylic paint on stretched canvas measuring 18 x 14, signed in the lower right corner, “By Dee Dee Ramone.” The overhead layout marks various rooms, fixtures, and access points, such as storage rooms, hallways, fuse boxes, toilets, elevators, motor generator, porcelain tub, and more, with the far right making note of a “Concrete Stage.” In fine condition. This hand-drawn map was obtained by Daniel Rey from Ramones artistic director Arturo Vega in the summer of 2002, not long after Dee Dee’s passing. It was later displayed at the Grammy Museum at L.A. Live from September 16, 2016–February 28, 2017, and it includes the original box and inventory tag.

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ESTIMATE $1,200+


LOT 9020 RAMONES SIGNED SCRIPT FOR THE ‘SUBSTITUTE’ MUSIC VIDEO Staple-bound fifth and final draft shooting script for the Ramones’ music video ‘Substitute,’ seven pages, 8.5 x 11, dated December 22, 1993, signed on the front cover in black ballpoint by Joey, Marky, and CJ Ramone, and in blue ballpoint by Johnny Ramone. In fine condition. ESTIMATE $200+


LOT 9021 RAMONES SIGNED 8-TRACK TAPE Sire Records 8-track tape for the Ramones’ 1976 self-titled debut album, signed on the back in black felt tip by Johnny, Tommy, Dee Dee, and Joey Ramone, who adds “’97.” In fine condition. An uncommon format signed by all four members who played on the album.



LOT 9022 JOEY RAMONE SIGNED BEATLES WATCH Attractive The Beatles watch made by Apple Corps Ltd., with engraved leather strap and dial featuring “The Beatles” over the green ‘Apple Records’ logo with track titles from their acclaimed 1968 ‘White Album.’ The watch includes its original wooden ‘guitar case,’ certificate of authenticity, and cardboard box, which is signed and inscribed in black ballpoint, “To Daniel, the 5th Ramone, Enjoy! Your mate, Joey Ramone.” The box bears an edition label marked as “B001, 01.” In fine condition. ESTIMATE $1,000+


H E YH O LOT 9023 RAMONES SIGNED ‘ ANTHOLOGY’ POSTER Color 24 x 36 Rhino Records / Warner Bros. poster promoting the release of Hey! Ho! Let’s Go: The Anthology, the 1999 Ramones compilation album, signed in black felt tip by Johnny, Tommy, Marky, Dee Dee, and Joey Ramone, who adds “99.” The poster shows a pair of legs next to large bright pink text: “Ramones, Anthology.” Lower right corner bears a “Warner Archives” designation. Rolled and in fine condition. ESTIMATE $200+

G O !




Black leather motorcycle jacket personally-owned and -worn by Daniel Rey. The jacket, no size, features snap down lapels, shoulder epaulets, zippered sleeve cuffs and side pockets, attached belt with rectangle buckle, and a small coin flap pocket. The back of the jacket bears three embroidered patches: two that read “RAMONES” and “MONDO BIZARRO,” and the third is a central Ramones ‘presidential seal’ logo. The inner collar tag is missing. In fine condition, with expected signs of use and wear.



LOT 9024

s Halfway rlier Ramones album The producer of ea ed with dit cre is Drain, Rey to Sanity and Brain ‘Poison o— arr s for Mondo Biz co-writing five song ‘Tomorn,’ Ma Endure,’ ‘Main Heart,’ ‘Strength to case.’ ad He a Is ay,’ and ‘Heidi row She Goes Aw deep: s run s ne with the Ramo Rey’s collaboration ‘Daytime o Tough to Die song he co-wrote the To popular the as ll of Love),’ as we Dilemma (Dangers jority of ma the did t Sematary,’ Ramones single ‘Pe Don’t um alb lo so mone’s 2002 guitar work on Joey Ra nes’ mo Ra the d d he produce Worry About Me, an s! igo Am s dio ¡A , studio album fourteenth and final

A metal cross pendant worn on a necklace by Iggy Pop, 1 x 1.75, with a small loop to the upper portion and much of its original black enamel coating no longer present. In fine condition. Iggy Pop wore this cross during the 1977 Idiot Tour, and he can be seen wearing it during the last four shows of the tour: Montreal, Toronto, Boston, and New York. The consignor, who was in the front row of the latter concert, retrieved the cross from the floor after Pop had leaned over the stage and an excited female fan had ripped it from his neck. Accompanied by an original ticket stub for that Iggy Pop concert, which was held at the Palladium in New York City on March 18, 1977, the same date Pop’s debut album, The Idiot, was released on RCA Records. ESTIMATE $200+



LOT 9026


LOT 9026 MISFITS STAGE-USED ‘FIEND SKULL’ SPEAKER CLOTH SIGNED BY DOYLE Amazing stage-used ‘Fiend Skull’ speaker cloth removed from a speaker cabinet used by horror punk legends the Misfits. The grille cloth measures 26.25 x 39.75, prominently features the band’s iconic off-white skull logo, and is signed in the lower right corner in gold ink by guitarist Doyle Wolfgang von Frankenstein. Also included is a semi-glossy 8.5 x 11 paperstock photo of Doyle, which is signed in red felt tip and shows four similar speaker covers in the background. In fine condition. The recipient of this speaker cover, Daniel Rey, produced both albums that the reunited Misfits did with replacement vocalist Michale Graves—1997’s American Psycho and 1999’s Famous Monsters. The Misfits inadvertently found their fiendish mascot when they released their 1979 single ‘Horror Business,’ which featured on its front cover a skeletal figure inspired by the titular character from the 1946 film serial The Crimson Ghost. The imagery stuck and the ‘Fiend Skull,’ as it’s been coined, has been used as the official Misfits logo ever since. ESTIMATE $800+

LOT 9027 MISFITS (4) SIGNED BUSINESS CARDS Terrific set of four Misfits business cards, 3.5 x 2, each featuring their iconic ‘Crimson Ghost’ mascot and personalized to each member—“Michale Graves, Vocalist,” “Doyle, Guitarist,” “Jerry Only, Bassist,” and “Dr. Chud, Drummer”—all of whom sign their respective card in green felt tip. In overall fine condition. ESTIMATE $200+


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