Back when the Rolling Stones released their debut in 1964 and Keith Richards was a devotee off the Epiphone Casino--which would be his main guitar until moved to a Les Paul--the quintet told anyone who would listen that their favorite artists were the first generation of African American electric blues artists who settled in Chicago, especially Muddy Waters, Little Walter, and Howling Wolf along with Chuck Berry and the artists who influenced them like Robert Johnson, Charlie Patton, and Son House.

If you're a fan, too, be sure to check out Confessin' the Blues, a new collection of blues classics curated by the Rolling Stones which will benefit the Willie Dixon Blues Heaven Foundation. Rolling Stone Ron Wood did the cover art for the collection which features five 10" vinyl records and 6 art cards by Christoph Mueller along with an essay by Colin Larkin, author of the Virgin Encyclopedia of the Blues. Confessin' the Blues features legendary tracks like Slim Harpo's "I'm A King Bee" and Eddie Taylor's "Ride 'Em On Down" as well as influential recordings by Robert Johnson and Big Bill Broonzy.  Visit the Rolling Stones website for more info and also check out our feature on the history of the Epiphone Casino.

Those of you lucky enough to have seen the The Rolling Stones' Exhibitionism exhibit chronicling the history of the world's last great rock 'n' roll band also saw what appears to be Keith Richards' long lost Epiphone Casino.

Andy Babiuk, author of Beatles Gear, spoke to Epiphone.com about compiling a similar history of The Rolling Stones' historic instruments and found that although Keith's original 1963 Epiphone Casino was crucial to the band's early sound (including the Chess Records session for their first #1 single, "Satisfaction"), the historic instrument has been "missing" for decades.

"Yeah...It's unfortunate," Babiuk told Epiphone.com. "When I did that book for them, there were a lot of things I found out that were stolen from them. And unfortunately, it was done by people who were supposed to be watching their stuff for them. It's kind of sad state of affairs but it is what it is. And Keith would wish to have it back. We got him another old one just like it because he really wanted his Epiphone back and we can't get the original back. We got him a vintage model. Everything was the same on it and he likes it quite a bit."