“When the music’s finally finished and the crowd is all long gone, â€¦.
within the poster lies the memories that linger and live on”Â Professor Poster
This “Poster From The Past” focuses on a wild looking man with his hair standing upward off the sides and top of his head. He also sports a pair of “Granny Glasses” a name that comes from their association with old people, grandmothers who wore that style of glasses from the turn of the 20th century. Although psychedelic artists were mostly all self taught, the rock artist here, the late Bob Fried, had a great deal of classical art school training and was an instructor at the San Francisco Art Institute.
It was on this day 47 years ago, back in 1968. that Big Brother & the Holding Company along with The Crazy World of Authur Brown and Foundations played the Fillmore Auditorium. The following two nights the party moved over to the Winterland Arena just a couple of blocks away.This is BG Fillmore poster number #124 in the series which was printed one time legitimately and once again in 1990 a pirate printing was done by Pyramid Books over in England.
Share a crazy man with a friend!
Wildly Approved byÂ Professor Poster
Big Brother and the Holding Company
Big Brother are primarily remembered as the group that gave Janis Joplin her start. There’s no denying both that Joplin was by far the band’s most striking asset, and that Big Brother would never have made a significant impression if they hadn’t been fortunate enough to add her to their lineup shortly after forming. But Big Brother also occupies a significant place in the history of San Francisco psychedelic rock, as one of the bands that best captured the era’s loosest, reckless, and indulgent qualities in its high-energy mutations of blues and folk-rock.
Big Brother were formed in 1965 in the Haight-Ashbury; by the time Joplin joined in mid-1966, the lineup was Sam Andrew and James Gurley on guitar, Peter Albin on bass, and David Getz on drums.Joplin, a recent arrival from Texas, entered the band at the instigation of Chet Helms, who (other thanBill Graham) was the most important San Francisco rock promoter. Big Brother, like the Grateful Deadand Quicksilver Messenger Service, were not great songwriters or singers. They didn’t entirely welcome Joplin‘s presence at first, though, and Joplin did not dominate the group right away, sharing the lead vocals with other members.
It soon became evident to both band and audience that Joplin‘s fiery wail — mature and emotionally wrenching, even at that early stage — had to be spotlighted to make Big Brother a contender. But Big Brother weren’t superfluous to the effort, interpreting folk and blues with an inventive (if sometimes sloppy) eclecticism that often gave way to distorted guitar jamming, and matching Joplin‘s passion with a high-spirited, anything-goes ethos of their own.
Big Brother catapulted themselves into national attention with their performance at the Monterey Pop Festival in June 1967, particularly with Joplin‘s galvanizing interpretation of “Ball and Chain” (which was a highlight of the film of the event). High-powered management and record label bids rolled in immediately, but unfortunately Big Brother had tied themselves up in a bad contract with the small Mainstream label, at a time when they were stranded on the road and needed cash. Their one Mainstream album (released in 1967) actually isn’t bad at all, containing some of their stronger cuts, such as “Down on Me” and “Coo Coo.” It didn’t fully capture the band’s strengths, and with the help of new high-powered manager Albert Grossman (also handler of Bob Dylan, the Band, and Peter, Paul & Mary), they extricated themselves from the Mainstream deal and signed with Columbia.
The one Big Brother album for Columbia that featuredJoplin, Cheap Thrills (1968), wasn’t completed without problems of its own. John Simon found the band so difficult to work with that he withdrew his production credit from the final LP, which was assembled from both studio sessions and live material (recorded for an aborted concert album). Cheap Thrills nonetheless went to number one when it was finally released, and though it too was an erratic affair, it contained some of the best moments of acid rock’s glory days, including “Ball and Chain,” “Summertime,” “Combination of the Two,” and “Piece of My Heart.”Cheap Thrills made Big Brother superstars, a designation that was short-lived. By the end of 1968,Joplin had decided to go solo, a move from which neither she nor Big Brother ever fully recovered. That’s putting matters too simply: Joplin never found a backing band as sympathetic, but did record some excellent material in the remaining two years of her life. Big Brother, on the other hand, had the wind totally knocked out of their sails. Although they did re-form for a while in the early ’70s with different singers (indeed, they continued to perform in watered-down variations into the ’90s), nothing would ever be the same.
The Crazy World Of Arthur Brown
One of the most electrifying one-shot artists of the ’60s, British singer Arthur Brown briefly set the charts alight in 1968, as well as thrilling audiences with his theatrical performances, which saw him wearing helmets of fire and outlandish costumes. His debut album was surely one of the most left-field commercial successes of the late ’60s, if not of rock history. In addition to topping the British charts (and reaching number two in the U.S.) with his brilliantly demonic single “Fire,” the self-proclaimed god of hellfire actually scored a Top Ten LP with his 1968 debut. Unveiling Brown’s demented, fire-obsessed lyrical visions and swooping, theatrical vocals, it showcased his band’s manic, agitated psychedelic sound, which was anchored by incendiary drumming, Pete Townshend’s production, and an organist who could be best described as Jimmy Smith on acid. Brown’s original band broke up in early 1969; in the early ’70s he released several albums with Kingdom Come, which saw him pursuing a maddeningly obscure and less exciting brand of art rock. He recorded off and on after, with an additional flash of fame springing from his role as a priest in the film Tommy.
Formed : 1967 in England, the Foundations evolved out of a group called The Ramong Sound. They were an eight man multi-racial group made up of three white Londoners, four West Indians and a Sri Lankan. For appoximately one and a half monthsÂ Arthur BrownÂ was in the group. They had a number 1 hit with their first release, “Baby, Now That I’ve Found You”, They followed up with “Back On My Feet Again” which went to number 18 and “Any Old Time (You’re Lonely Or Sad)” which got to number 48.
The original lead singer Clem Curtis and another member tenor sax player Mike Elliott left in 1968. The Foundations had two more big hits with Curtis’s replacement, lead singer Colin Young. “Build Me Up Buttercup” went number 2 in 1968 and In The Bad Bad Old Days” which went to number 8 in 1969. The group’s last chart entry was with their own composition “Born To Live, Born To Die” which charted number 46.
The group disbanded towards the end of 1970. Since the 1970’s Clem Curtis has continued to perform in a revived version of the group, and he and original guitarist Alan Warner have recorded new versions of the Foundations classic tracks.