ALLMAN BROTHERS Johnny Winter RARE 1979 Gig POSTER Manor Downs Texas Bill NARUM

Description: Very Good+, 7 of 10 or better. Allman Brothers Band & Johnny Winter Austin, Texas 1979 Manor Downs 17" X 22" Concert/ Gig Poster Condition: Very Good+, 7 of 10 or better. Paper stock shows typical aging with a few edge nicks, otherwise no writing, holes or tears, see photos SB-59544Allman Brothers Band & Johnny WinterAustin, Texas 1979 Manor Downs 17" X 22" Concert/ Gig PosterRARE!Condition: Very Good+, 7 of 10 or better. Paper stock shows typical aging with a few edge nicks, otherwise no writing, holes or tears, see photosSee Item Specifics section above for additional details ALLMAN BROTHERS Johnny Winter RARE 1979 Gig POSTER Manor Downs Texas Bill NARUM The Allman Brothers Band was an American rock band formed in Jacksonville, Florida in 1969[2] by brothers Duane Allman (founder, slide guitar and lead guitar) and Gregg Allman (vocals, keyboards, songwriting), as well as Dickey Betts (lead guitar, vocals, songwriting), Berry Oakley (bass guitar), Butch Trucks (drums), and Jai Johanny "Jaimoe" Johanson (drums). The band incorporated elements of blues, jazz, and country music, and their live shows featured jam band-style improvisation and instrumentals. The group's first two studio releases, The Allman Brothers Band (1969) and Idlewild South (1970) (both released by Capricorn Records), stalled commercially, but their 1971 live release, At Fillmore East, represented an artistic and commercial breakthrough. The album features extended renderings of their songs "In Memory of Elizabeth Reed" and "Whipping Post", and is considered among the best live albums ever made. Group leader Duane Allman was killed in a motorcycle accident later that year – on October 29, 1971 – and the band dedicated Eat a Peach (1972) to his memory, a dual studio/live album that cemented the band's popularity and featured Gregg Allman's "Melissa" and Dickey Betts's "Blue Sky". Following the motorcycling death of bassist Berry Oakley exactly one year and 13 days later on November 11, 1972, the group recruited keyboardist Chuck Leavell and bassist Lamar Williams for 1973's Brothers and Sisters. This album included Betts's hit single "Ramblin' Man" and instrumental "Jessica". These tunes went on to become classic rock radio staples, and placed the group at the forefront of 1970s rock music. Internal turmoil overtook them soon after; the group dissolved in 1976, reformed briefly at the end of the decade with additional personnel changes, and dissolved again in 1982. The band reformed once more in 1989, releasing a string of new albums and touring heavily. A series of personnel changes in the late 1990s was capped by the departure of Betts. The group found stability during the 2000s with bassist Oteil Burbridge and guitarists Warren Haynes and Derek Trucks (the nephew of their original drummer) and became renowned for their month-long string of shows at New York City's Beacon Theatre each spring. The band retired for good in October 2014 after their final show at the Beacon Theatre. Butch Trucks died of a self-inflicted gunshot wound on January 24, 2017, in West Palm Beach, Florida, at the age of 69. Gregg Allman died from complications arising from liver cancer on May 27, 2017, at his home in Savannah, Georgia, also at the age of 69. The band has been awarded seven gold and four platinum albums,[3] and was inducted into the Rock and Roll Hall of Fame in 1995. Rolling Stone ranked them 52nd on their list of the 100 Greatest Artists of All Time in 2004.[4] John Dawson Winter III (February 23, 1944 – July 16, 2014), known as Johnny Winter, was an American blues singer and guitarist.[1] Best known for his high-energy blues-rock albums and live performances in the late 1960s and 1970s, Winter also produced three Grammy Award-winning albums for blues singer and guitarist Muddy Waters. After his time with Waters, Winter recorded several Grammy-nominated blues albums. In 1988, he was inducted into the Blues Foundation Hall of Fame and in 2003, he was ranked 63rd in Rolling Stone magazine's list of the "100 Greatest Guitarists of All Time".[2] Contents Early career Johnny Winter was born in Beaumont, Texas, on February 23, 1944.[3] He and younger brother Edgar (born 1946) were nurtured at an early age by their parents in musical pursuits.[3] Their father, Leland, Mississippi native John Dawson Winter, Jr. (1909–2001), was also a musician who played saxophone and guitar and sang at churches, weddings, Kiwanis and Rotary Club gatherings. Johnny and his brother, both of whom were born with albinism, began performing at an early age. When he was ten years old, the brothers appeared on a local children's show with Johnny playing ukulele. His recording career began at the age of fifteen, when his band Johnny and the Jammers released "School Day Blues" on a Houston record label.[3] During this same period, he was able to see performances by classic blues artists such as Muddy Waters, B.B. King, and Bobby Bland. In the early days, Winter would sometimes sit in with Roy Head and the Traits when they performed in the Beaumont area, and in 1967, Winter recorded a single with the Traits: "Tramp" backed with "Parchman Farm" (Universal Records 30496). In 1968, he released his first album The Progressive Blues Experiment, on Austin's Sonobeat Records. Signing with Columbia Records Johnny Winter, Santa Monica Civic Auditorium, 1969 Winter caught his biggest break in December 1968, when Mike Bloomfield, whom he met and jammed with in Chicago, invited him to sing and play a song during a Bloomfield and Al Kooper concert at the Fillmore East in New York City. As it happened, representatives of Columbia Records (which had released the Top Ten Bloomfield/Kooper/Stills Super Session album) were at the concert. Winter played and sang B.B. King's "It's My Own Fault" to loud applause and, within a few days, was signed to what was reportedly the largest advance in the history of the recording industry at that time—$600,000.[3] Winter's first Columbia album, Johnny Winter, was recorded and released in 1969.[4] It featured the same backing musicians with whom he had recorded The Progressive Blues Experiment, bassist Tommy Shannon and drummer Uncle John Turner, plus Edgar Winter on keyboards and saxophone, and (for his "Mean Mistreater") Willie Dixon on upright bass and Big Walter Horton on harmonica. The album featured a few selections that became Winter signature songs, including his composition "Dallas" (an acoustic blues, on which Winter played a steel-bodied, resonator guitar), John Lee "Sonny Boy" Williamson's "Good Morning Little School Girl", and B.B. King's "Be Careful with a Fool".[4] The album's success coincided with Imperial Records picking up The Progressive Blues Experiment for wider release.[5] The same year, the Winter trio toured and performed at several rock festivals, including Woodstock.[5] With brother Edgar added as a full member of the group, Winter also recorded his second album, Second Winter, in Nashville in 1969.[6] The two-record album, which only had three recorded sides (the fourth was blank), introduced a couple more staples of Winter's concerts, including Chuck Berry's "Johnny B. Goode" and Bob Dylan's "Highway 61 Revisited".[6] Also at this time Johnny entered into an intimate, albeit short-lived affair with Janis Joplin, which culminated in a concert at New York's Madison Square Garden, where Johnny joined her on stage to sing and perform.[3] Unofficial albums Contrary to urban legend, Johnny Winter did not perform with Jimi Hendrix and Jim Morrison on the infamous 1968 Hendrix bootleg album Woke up this Morning and Found Myself Dead from New York City's the Scene club. According to Winter, "I never even met Jim Morrison! There's a whole album of Jimi and Jim and I'm supposedly on the album but I don't think I am 'cause I never met Jim Morrison in my life! I'm sure I never, never played with Jim Morrison at all! I don't know how that [rumor] got started."[7] Beginning in 1969, the first of numerous Johnny Winter albums was released which were cobbled together from approximately fifteen singles (about 30 "sides") he recorded before signing with Columbia in 1969.[3] Many were produced by Roy Ames, owner of Home Cooking Records/Clarity Music Publishing, who had briefly managed Winter. According to an article from the Houston Press, Winter left town for the express purpose of getting away from him. Ames died on August 14, 2003, of natural causes at age 66. As Ames left no obvious heirs, the ownership rights of the Ames master recordings remains unclear. As Winter stated in an interview when the subject of Roy Ames came up, "This guy has screwed so many people it makes me mad to even talk about him." Johnny Winter And In 1970, when his brother Edgar released a solo album Entrance and formed Edgar Winter's White Trash, an R&B/jazz-rock group, the original trio disbanded.[5] Johnny Winter then formed a new band with the remnants of the McCoys—guitarist Rick Derringer, bassist Randy Jo Hobbs, and drummer Randy Z (who was Derringer's brother, their family name being Zehringer). Originally to be called "Johnny Winter and the McCoys", the name was shortened to "Johnny Winter And", which was also the name of their first album.[3] The album included Derringer's "Rock and Roll, Hoochie Koo" and signaled a more rock-oriented direction for Winter.[8] When Johnny Winter And began to tour, Randy Z was replaced with drummer Bobby Caldwell. Their mixture of the new rock songs with Winter's blues songs was captured on the live album Live Johnny Winter And. It included a new performance of "It's My Own Fault", the song which brought Winter to the attention of Columbia Records. Winter's momentum was throttled when he sank into heroin addiction during the Johnny Winter And days. After he sought treatment for and recovered from the addiction, Winter was put in front of the music press by manager Steve Paul to discuss the addiction candidly.[3] By 1973, he returned to the music scene with the release of Still Alive and Well, a basic blend of blues and hard rock, whose title track was written by Rick Derringer. His comeback concert at Long Island, New York's Nassau Coliseum featured the "And" line-up minus Rick Derringer and Bobby Caldwell. Also performing on stage was Johnny's wife Susie. Saints & Sinners and John Dawson Winter III, two albums released in 1974, continue in the same direction.[9] In 1975, Johnny returned to Bogalusa, Louisiana, to produce an album for Thunderhead, a Southern rock band which included Pat Rush and Bobby "T" Torello, who would later play with Winter.[10] A second live Winter album, Captured Live!, was released in 1976 and features an extended performance of "Highway 61 Revisited".[11] Muddy Waters sessions In live performances, Winter often told the story about how, as a child, he dreamed of playing with the blues guitarist Muddy Waters. He got his chance in 1974, when renowned blues artists and their younger brethren came together to honor the musician (Muddy Waters) responsible for bringing blues to Chicago, and the resulting concert presented many blues classics and was the start of an admired TV series: Soundstage (this particular session was called "Blues Summit in Chicago"). And in 1977, after Waters' long-time label Chess Records went out of business,[3] Winter brought Waters into the studio to record Hard Again for Blue Sky Records, a label set up by Winter's manager and distributed by Columbia.[12] In addition to producing the album, Winter played guitar with Waters veteran James Cotton on harmonica. Winter produced two more studio albums for Waters, I'm Ready (with Big Walter Horton on harmonica) and King Bee and a best-selling live album Muddy "Mississippi" Waters – Live.[12] The partnership produced three Grammy Awards for Waters and an additional Grammy for Winter's own Nothin' But the Blues, with backing by members of Waters' band. Waters told Deep Blues author Robert Palmer that Winter had done remarkable work in reproducing the sound and atmosphere of Waters's vintage Chess Records recordings of the 1950s. AllMusic writer Mark Deming noted: "Between Hard Again and The Last Waltz [1976 concert film by The Band], Waters enjoyed a major career boost, and he found himself touring again for large and enthusiastic crowds".[12] Lawsuit against DC Comics In 1996, Johnny and Edgar filed suit against DC Comics and the creators of the Jonah Hex: Riders of the Worm and Such limited series, claiming, among other things, defamation: two characters named Johnny and Edgar Autumn in the series strongly resemble the Winters. The brothers claimed the comics falsely portrayed them as "vile, depraved, stupid, cowardly, subhuman individuals who engage in wanton acts of violence, murder and bestiality for pleasure and who should be killed."[13] The California Supreme Court sided with DC Comics, holding that the comic books were deserving of First Amendment protection.[14] Later career and death Woodstock Reunion, Parr Meadows, Ridge, New York, 1979 After his time with Blue Sky Records, Winter began recording for several labels, including Alligator, Point Blank, and Virgin, where he focused on blues-oriented material.[3] In 1992, he married Susan Warford.[15] In 2004, he received a Grammy Award nomination for his I'm a Bluesman album. Beginning in 2007, a series of live Winter albums titled the Live Bootleg Series and a live DVD all entered the Top 10 Billboard Blues chart. In 2009, The Woodstock Experience album was released, which includes eight songs that Winter performed at the 1969 festival. In 2011, Johnny Winter released Roots on Megaforce Records. It includes Winter's interpretation of eleven early blues and rock 'n' roll classics and features several guest artists (Vince Gill, Sonny Landreth, Susan Tedeschi, Edgar Winter, Warren Haynes, and Derek Trucks). His last studio album, Step Back (which features appearances by Joe Bonamassa, Eric Clapton, Billy Gibbons, Leslie West, Brian Setzer, Dr. John, Paul Nelson, Ben Harper and Joe Perry), was released on September 2, 2014. Nelson and Winter won a Grammy Award in the Best Blues Album category for Step Back in 2015. Nelson said Winter knew it was an award winner and Winter told him "If we don't win a Grammy for this, they're nuts." [16] Winter continued to perform live, including at festivals throughout North America and Europe. He headlined such prestigious events as the New Orleans Jazz & Heritage Festival, Chicago Blues Festival, the 2009 Sweden Rock Festival, the Warren Haynes Christmas Jam, and Rockpalast. He also performed with the Allman Brothers at the Beacon Theater in New York City on the 40th anniversary of their debut. In 2007 and 2010, Winter performed at Eric Clapton's Crossroads Guitar Festivals. Two guitar instructional DVDs were produced by Cherry Lane Music and the Hal Leonard Corporation. The Gibson Guitar Company released the signature Johnny Winter Firebird guitar in a ceremony in Nashville with Slash presenting. Winter was professionally active until the time of his death near Zurich, Switzerland, on July 16, 2014.[17] He was found dead in his hotel room two days after his last performance, at the Cahors Blues Festival in France.[18] The cause of Winter's death was not officially released.[19] According to his guitarist friend and record producer Paul Nelson, Winter died of emphysema combined with pneumonia.[20] Writing in Rolling Stone magazine, after Winter's death, David Marchese said, "Winter was one of the first blues rock guitar virtuosos, releasing a string of popular and fiery albums in the late Sixties and early Seventies, becoming an arena-level concert draw in the process ... [he] made an iconic life for himself by playing the blues.[21] Material loss On June 25, 2019, The New York Times Magazine listed Johnny Winter among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.[22] Recognition and legacy Winter produced three Grammy Award-winning albums by Muddy Waters – Hard Again (1977), I'm Ready (1978), and Muddy "Mississippi" Waters – Live (1979).[23] Several of Winter's own albums were nominated for Grammy Awards – Guitar Slinger (1984) and Serious Business (1985) for Best Traditional Blues Album, and Let Me In (1991) and I'm a Bluesman (2004) for Best Contemporary Blues Album. In 2015 Winter posthumously won the Grammy Award for Best Blues Album for Step Back.[24] The album also won the 2015 Blues Music Award for Best Rock Blues Album.[25] At the 18th Maple Blues Awards in 2015, Winter was also posthumously awarded the B.B. King International Artist of The Year Award.[26] In 1980, Winter was on the cover of the first issue of Guitar World. In 1988, he was inducted into the Blues Hall of Fame, the first non-African-American performer to be inducted into the Hall.[27] There was a character in the video game Heavy Rain named after Winter. Multiple guitarists have cited Winter as an influence, including Joe Perry, Frank Marino, Michael Schenker, Adrian Smith, and Alex Skolnick. man cave mancave Austin native, Bill Narum (narum) was at the forefront of nearly every advancement in the arts since he was born in the Texas state capital to two UT students who became professional artists. narum’s began his professional career with sleek pen-and-inks of Houston’s sixties counterculture, where his album covers, poster art, T-shirts and political cartooning became synonymous with it’s counter culture movement in the late 1960s and early 1970s. He later co-founded radio station KLOL. narum’s trade mark signature is recognized world wide for the artwork and staging he created for “that little ol’ band from Texas” – ZZ Top. In the early 1970s, narum returned to Austin to join with fellow Sheauxnough Studio artists in creating artwork for the underground press and various music venues, including the famous concert hall Armadillo World Headquarters. narum opened GOGO Studios in the 1980s to service Austin’s burgeoning music industry producing album covers, posters and logo designs for Stevie Ray Vaughan and many local musicians, clubs and record labels. In 1988, narum was voted Austin Poster Artist of the Year in the Austin Chronicle’s People’s Choice Awards for his Continental Club poster series. In 1993, narum was awarded a Certificate of Appreciation from the City of Austin for providing a valued and distinguished service to the public through his artwork. narum’s artwork has been acquired by City and State historical preservation archives and private collectors world wide. narum began experimenting with computer graphics in the mid-1980s and was also involved with several innovative multimedia and Internet related projects, as well as producing artwork for the music industry. To everyone’s shock and sorrow, narum died on Wednesday, November 18, 2009. His passing leaves the art and music communities of Texas poorer, as the rich palette of his work that spanned decades and mediums is unparalleled. Bill Narum (January 11, 1947 – November 18, 2009) was an artist, illustrator, and Texas counter-culture icon known for his work in popular entertainment, and for being one of the few non-natives to have lived with the Tarahumara tribe of northern Mexico in Copper Canyon. He was also the brother of artists Jon Eric Narum and Heidi Narum Hyatt, along with Wendy Narum and Kurt Narum (deceased). They are the five children born to the talented artists, Bill and Mary Narum. Bill was also the father of two women, Michelle Narum and Nico Narum D'Auterive, and the grandfather of Alexandria Groce and Logan Narum. Biography In the late 1960s Narum co-founded the Houston, Texas FM rock and roll radio station KLOL and worked as art director for Space City News, an underground newspaper.[1] He also worked with KPFT-FM, the Pacifica radio station in Houston, and was a founder of Space City Video. In the 1970s a friendship with guitarist Billy Gibbons led him to become the house artist for rock band ZZ Top, designing posters, album covers, and stage sets.[2] Narum also provided murals for ZZ Top's fleet of semis. Narum created concert posters for many artists including Captain Beefheart, Ravi Shankar and Humble Pie.[2] Music venues in Austin such as the Armadillo World Headquarters and Continental Club also used Narum's posters to promote their monthly slate of acts.[3] In 1993 he was awarded a Certificate of Appreciation from the City of Austin, Texas where he resided. Narum later went on to work for the computer game development company Origin Systems,[4] and followed by opening his own game development company, Go-Go Studios in Austin, Texas in the mid-1990s where he acted as art director and CEO. Narum died on November 18, 2009 at his home in Austin. Close friend, Margaret Moser, reported that the cause of death was an "apparent heart attack or something that took him quickly while sitting in his studio at the art table in his chair."[5] In 2005 he was elected president of the South Austin Popular Culture Center.[6] A retrospect of Narum's work was the subject of a 2005 art show at the museum, titled “You Call That Art.” [3] On November 28, 2009 there was a tribute at Threadgill's restaurant in Austin, to honor Narum, with proceeds going to establish a memorial fund. Saw It on the X Bill Narum: that little ol' artist from Austin By Margaret Moser, Fri., April 1, 2005 print write a letter Saw It on the X Photo By John Anderson To hear Bill Narum tell it, Austin was founded as an arts colony, so as a native son, what else could he become? In fact, the 58-year-old graphic artist has been at the forefront of nearly every advancement in the arts since he was born in the Texas state capital to two UT students who became professional artists. Narum's sleek pen-and-inks of Houston's Sixties counterculture, where he grew up and later co-founded radio station KLOL, gave way to a keen interest in Seventies video technology and the Eighties boom of game designing in Austin. Yet Narum's claim to fame is bad, nationwide: He was the artistic/graphic architect of that little ol' band from Texas, ZZ Top. The breadth and depth of his career is on display this weekend at the South Austin Museum of Popular Culture. Saw It on the X The text from the museum's brochure is as enticing as Narum's iconic skulls, cactus, and barbed wire used to embody bone-crushing Texas rock & roll. "Ever seen the stage sets that ZZ Top uses? Listened to KLOL in Houston in the late Sixties? Watched concert footage filmed at the Armadillo World Headquarters? Coveted that 1973 Springsteen Texas Tour poster? Read about the Texas booth at MIDEM in Paris? Well, boys and girls, you've been looking at, reading about, and listening to the creative works of Bill Narum." Sitting at a table in Threadgill's south restaurant on Easter Sunday, Narum points through the window to the beer garden and talks about his part in designing it. In the filtered sunlight, his handsome face is crosshatched with age lines, signs of a life well-lived falling into place when he smiles. His eyes are as blue as Texas skies. His "significant other," Gloria Hill, whispers bits of personal information, such as his recent election as president of the board of directors to the South Austin Museum of Popular Culture. Saw It on the X Both have been busy working on Narum's exhibit, pulling together the vast array of media he's used throughout his 40-year career. They're assembling what SAMPOC director Leea Mechling describes as "the quirky, irreverent undertones for which he is so well known." "Bill Narum's work is an excellent example of groundbreaking counterculture artwork from the Sixties to present day," she continues. "He's applied his talents to radio, newspaper, film, poetry, painting. He's a major contributor to the cultural dynamics of not only Austin, but Texas, the United States, and the world." Such effusive praise doesn't engender any false modesty in Narum, but neither does he shy away from acknowledging his role in the Texas counterculture. Asked about his long, strange trip, Narum couches his replies in historical context, making it clear that for him, everything works for a reason. That's certainly true for ZZ Top. Narum's canvases knew no bounds with the beard trio from Houston. In addition to their logos, album covers, stage sets, T-shirts, and merchandising, he designed murals for the band's fleet of semis and tour buses that left little question as to where they were from. ("Everything that could be stripped from their exteriors was. Fans ripped it all off"). Creem magazine once called to verify that ZZ Top's stage set was three times the size of the Rolling Stones'. And when the Top received a standing ovation and encore on the Stones' 1981 tour, their opening slot gig was summarily canceled. "We were the number one eight-track tape seller," laughs Narum. "That's how we tested if the sound was good. As soon as it was mixed, we'd burn it to an eight-track and throw it in the van. We'd listen there to see if the mix was good." Saw It on the X Narum speaks as though he was the fourth member of ZZ Top. "He was part of the band," insists his partner Hill, her golden brown eyes shining in support of his, shaping of ZZ Top's image. Turning to Narum, Hill's expression is resolute in that the band's visual personality was as much a part of their success as their Texas-style blues-rock. And she's right. So how does one cram nearly all that art career into one show? The question makes both Narum and Hill laugh. "The last show I had, 'Zooids,' was in 1978 or '79 at the Armadillo," says Narum. "This is a much smaller space, but it's the Museum of Popular Culture, so there's a taste of everything – posters, newspaper covers, underground comics, illustrations, album covers, T-shirts, books, videos, paintings, some of my solar energy designs – even a dashiki of mine from the Sixties." Saw It on the X As Narum reels off the various exhibits, he reflects on the evolution of his style and the hard line on the changing face of poster art. "In the fifth grade, I'd been drawing girlie cartoons from Playboy in a notebook, and I left it in my desk after class. The next day I was reprimanded for disrupting class because they were passing around my notebook. The teacher called my parents and turned it over to them. My mom looked at it and said, 'I have one thing to ask you: Did you trace these or draw these?' 'I drew them.' I told her. 'Well, okay. That's good,' she said. "I had to fight the entire Texas education system in order to get a career, but I had the backing of my parents. "Right now, we're not poster artists. Technically, the only thing that distinguishes a poster from its similar cousin the handbill is the vehicle by which it's conveyed to a third party. If you hand something to someone, it's a handbill. If you post it, it's a poster. It has to be posted to be a poster. "You can be too good an artist to be an effective poster artist. A lot of young artists have forgotten that, and a lot of today's posters don't qualify as such because you've got to have a cause-and-effect on delivering an audience. It's an advertising medium, a promotional device. "Today's technology works hand in hand; it moves people away from print, but at the same time, it gives it another life on the Net. The Internet allows visual images a bigger life than they could get in print. A second time around." Allman Brothers Band & Johnny Winter Austin, Texas 1979 Manor Downs 17" X 22" Concert/ Gig Poster Condition: Very Good+, 7 of 10 or better. Paper stock shows typical aging with a few edge nicks, otherwise no writing, holes or tears, see photos SB-59544 This is an original single sheet paper poster advertisement (A.K.A. street art, handbill, flyer or print) for a concert performance gig by professional musicians at a music venue. Guaranteed original and authentic, produced prior to, and in conjunction with the promotion of the event. A Sound Deal does not sell poster re-prints, scans or duplications of any kind, so please don't ask. Over 26 years on Ebay! 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Location: Fischer, Texas

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