Part of the Hippie world view included an idealization of Native Americans as people living in harmony with nature. This was in response to the racist contempt of Native Americans of the dominant society, and artists such as Stanley Mouse searched in old books to find early photographs of them which captured their dignity and humanity. The photograph pictured here on this “Poster From The Past” was taken in 1898 at the Omaha Exposition by Frank A. Reinhart. The subject was Chief Josh, a San Carlos Apache. The Hippie movement were at least making efforts to move beyond racism, and they saw images such as this as part of that effort.
It was 48 years ago on this day in 1967, that Van Morrison and The Daily Flash, played for two nights of Dance/concerts for the Family Dog’s Denver venue. This is their sixth event there and is noted as FD-D6. entitled “Prominent Chief”. It was printed one time. Lights by The Diogenes Lantern Works and rock poster created by the Dynamic Duo of Psychedelic Posters, …. Stanley Mouse & Alton Kelley…. Mouse Studios!
Share the “Prominent Chief” with a friend.
Respectfully Approved Professor Poster
In the mid ’60s, The Daily Flash found a way to fuse folk, rock, blues, bluegrass and jazz. That process lives on in this stunning line up. The new edition of The Daily Flash has earned a reputation as a dynamic vocal band of consummate instrumentalists. The band features ASCAP composers and does original tunes, but their favorite trick is interpretation. They breathe life into an eclectic repertoire of folk, rock, Celtic and Delta swamp fusion. The Daily Flash brings the spirit of the sixties into the 21st century and delivers to stages all around the Northwest.
Steve Lalor remains the Northwest’s quintessential acoustic folk performer. A veteran of the 60’s west coast folk scene (The Driftwood Singers) and founding member of The Daily Flash, Steve spent 11 years in the L.A. studio scene under contract with London, Universal, MGM, Psycho and Rhino recording companies. His crystal voice and syncopated 6 and 12 string finger picking have been described by Bumbershoot as, “Musicianship that CRACKLES with experience.”
Barry Curtis, a member of the Kingsmen since 1963, has shared stages with everyone from Chuck Berry to The Zombies. As an electric guitarist, he embodies a wide stylistic range including rural American blues, rock, r&b, country and folk. As a singer, he combines these influences with his formal training in choral music and other forms of harmonic group singing.
Don Wilhelm has been active in the Seattle scene since 1966. He has performed with founding members Roger Fisher and Steve Fossen in White Heart and Heart with founding members Roger Fisher and Steve Fossen, ShyAnne, and with Moby Grape‘s Don Stevenson in Washington James.His unique bass style contributes greatly to The Flash’s melodic and rhythmic character. His superb voice soars into alto territory, providing the band with the greatest possible vocal range.
Steve Peterson, also a Kingsmen since 1988, is one of the Northwest’s finest drummers. Steve has the ability to find the groove in any form of music. His precision and dynamic range gives The Flash its multi‑hued percussive style. His singing, Celtic whistle and mandolin work are compelling and contribute to the group’s amazing diversity.
Craig Bystrom has been sound engineering for the Kingsmensince 1982. Over the years, he has perfected the art of taking all of the individual instruments and voices in a band to create a dynamic group sound in any situation. He brings his wealth of talent and experience to The Flash and enables the band to sound its best at all times.
The Daily Flash continues to be a pioneer of Seattle music and a wonderful, explorative musical performance experience.
Equal parts blue-eyed soul shouter and wild-eyed poet-sorcerer, Van Morrison is among popular music’s true innovators, a restless seeker whose incantatory vocals and alchemical fusion of R&B, jazz, blues, and Celtic folk produced perhaps the most spiritually transcendent body of work in the rock & roll canon. Subject only to the whims of his own muse, his recordings cover extraordinary stylistic ground yet retain a consistency and purity virtually unmatched among his contemporaries, connected by the mythic power of his singular musical vision and his incendiary vocal delivery: spiraling repetitions of wails and whispers that bypass the confines of language to articulate emotional truths far beyond the scope of literal meaning.
George Ivan Morrison was born in Belfast, Northern Ireland, on August 31, 1945; his mother was a singer, while his father ardently collected classic American jazz and blues recordings. At 15, he quit school to join the local R&B band the Monarchs, touring military bases throughout Europe before returning home to form his own group, Them. Boasting a fiery, gritty sound heavily influenced byMorrison heroes like Howlin’ Wolf, Brownie McGhee, Sonny Boy Williamson, and Little Walter, Themquickly earned a devout local following and in late 1964 recorded their debut single, “Don’t Start Crying Now.” The follow-up, an electrifying reading of Big Joe Williams‘ “Baby Please Don’t Go,” cracked the U.K. Top Ten in early 1965. Though not a major hit upon its original release, Them‘s Morrison-penned “Gloria” endures among the true classics of the rock pantheon, covered by everyone from the Doors toPatti Smith. Lineup changes plagued the band throughout its lifespan, however, and at the insistence of producer Bert Berns, over time session musicians increasingly assumed the lion’s share of recording duties. A frustrated Morrison finally left Them following a 1966 tour of the U.S., quitting the music business and returning to Belfast.
After Berns relocated to New York City to form Bang Records, he convinced Morrison to travel stateside and record as a solo artist; the sessions produced arguably his most familiar hit, the jubilant “Brown-Eyed Girl” (originally titled “Brown-Skinned Girl”), a Top Ten smash in the summer of 1967. By contrast, however, the resulting album, Blowin’ Your Mind, was a bleak, bluesy effort highlighted by the harrowing “T.B. Sheets.” The sessions were originally intended to produce only material for singles, so when Berns released the LP against Morrison‘s wishes, he again retreated home to Ireland while the album tanked on the charts. Berns suffered a fatal heart attack in late 1967, which freed Morrison of his contractual obligations and energized him to start working on new material.
His first album for new label Warner Bros., 1968’s Astral Weeks, remains not only Morrison‘s masterpiece, but one of the greatest records ever made. A haunting, deeply personal collection of impressionistic folk-styled epics recorded by an all-star jazz backing unit including bassist Richard Davis and drummer Connie Kay, its poetic complexity earned critical raves but made only a minimal commercial impact. The follow-up, 1970’s Moondance, was every bit as brilliant; buoyant and optimistic where Astral Weeks had been dark and anguished, it cracked the Top 40, generating the perennials “Caravan” and “Into the Mystic.”
The first half of the 1970s was the most fertile creative period of Morrison‘s career. From Moondance onward, his records reflected an increasingly celebratory and profoundly mystical outlook spurred on in large part by his marriage to wife Janet Planet and the couple’s relocation to California. After His Band and the Street Choir yielded his biggest chart hit, “Domino,” Morrison released 1971’s Tupelo Honey, a lovely, pastoral meditation on wedded bliss highlighted by the single “Wild Night.” In the wake of the following year’s stirringSaint Dominic’s Preview, he formed the Caledonia Soul Orchestra, featured both on the studio effort Hard Nose the Highway and on the excellent live set It’s Too Late to Stop Now. However, in 1973 he not only dissolved the group but also divorced Planet and moved back to Belfast. The stunning 1974 LPVeedon Fleece chronicled Morrison‘s emotional turmoil; he then remained silent for three years, reportedly working on a number of aborted projects but releasing nothing until 1977’s aptly titled A Period of Transition.
Plagued for some time by chronic stage fright, Morrisonmounted his first tour in close to five years in support of 1978’s Wavelength; his performances became more and more erratic, however, and during a 1979 date at New York’s Palladium, he even stalked off-stage in mid-set and did not return. Into the Music, released later that year, evoked a more conventionally spiritual perspective than before, a pattern continued on successive outings for years to come. Albums like 1983’s Inarticulate Speech of the Heart, 1985’sA Sense of Wonder, and 1986’s No Guru, No Method, No Teacher are all largely cut from the same cloth, employing serenely beautiful musical backdrops to explore themes of faith and healing. For 1988’s Irish Heartbeat, however, Morrison teamed with another of his homeland’s musical institutions, the famedChieftains, for a collection of traditional folk songs.
Meanwhile, Avalon Sunset heralded a commercial rebirth of sorts in 1989. While “Whenever God Shines His Light,” a duet with Cliff Richard, became Morrison‘s first U.K. Top 20 hit in over two decades, the gorgeous “Have I Told You Lately That I Love You” emerged as something of a contemporary standard, with a Rod Stewart cover cracking the U.S. Top Five in 1993. Further proof of Morrison‘s renewed popularity arrived with the 1990 release of Mercury’s best-of package; far and away the best-selling album of his career, it introduced the singer to a new generation of fans. A new studio record, Enlightenment, appeared that same year, followed in 1991 by the ambitious double set Hymns to the Silence, widely hailed as his most impressive outing in years.
Following the uniformity of his 1980s work, the remainder of the decade proved impressively eclectic: 1993’s Too Long in Exile returned Morrison to his musical roots with covers of blues and R&B classics, while on 1995’s Days Like This he teamed with daughter Shana for a duet on “You Don’t Know Me.” For the Verve label, he cut 1996’s How Long Has This Been Going On, a traditional jazz record co-credited to longtime pianist Georgie Fame, while for the follow-up Tell Me Something: The Songs of Mose Allison he worked with guest of honor Allison himself. Morrison continued balancing the past and the future in the years to follow, alternating between new studio albums (1997’s The Healing Game, 1999’s Back on Top) and collections of rare and live material (1998’s The Philosopher’s Stone and 2000’s The Skiffle Sessionsand You Win Again).
It wasn’t until 2002 that an album of new material surfaced, but in May his long-anticipated Down the Road was released. Three years later, Morrison issued Magic Time.Pay the Devil, a country-tinged set, appeared in 2006 on Lost Highway Records. That same year, Morrison released his first commercial DVD, Live at Montreux 1980 and 1974, drawn from two separate appearances at the Montreux Jazz Festival. In 2008, Morrison released Keep It Simple, his first album of all-original material since 1999’s Back on Top. In November of that same year, Morrison performed the entireAstral Weeks album live at two shows at the Hollywood Bowl in Los Angeles, which resulted in 2009’s Astral Weeks: Live at the Hollywood Bowl album andAstral Weeks Live at the Hollywood Bowl: The Concert Film. His 34th studio album, Born to Sing: No Plan B, recorded in Belfast, appeared in the fall of 2012. In 2015, Morrison made his debut for RCA Records with Duets: Re-working the Catalogue, which found him sharing the vocal mike on 16 songs from throughout his career with artists such as Michael Bublé, Steve Winwood, Mick Hucknall, andJoss Stone.