Eric King’s Collector’s Guide to Psychedelic Rock Concert Posters

Eric King’s Collector’s Guide to Psychedelic Rock Concert Posters is the go-to source for information on these amazing pieces of art.

Introduction

In the late 1960s and early 1970s, a new style of rock music emerged that was characterized by its use of electric guitars, bass guitars, and drums, as well as its psychedelic visual elements. This new style of music, which came to be known as psychedelic rock, quickly gained popularity among young people in the United States and Europe.

In order to promote their new music, bands began to create colorful concert posters that would be displayed in order to attract attention and generate interest in their upcoming performances. These posters soon became collectors items, and today they are highly sought after by fans of psychedelic rock music.

If you are interested in collecting psychedelic rock concert posters, this guide will provide you with all the information you need to get started. In it, you will learn about the history of these posters, how to identify authentic examples, and where to find them for sale. With this guide in hand, you will be well on your way to assembling a collection that truly captures the spirit of psychedelia.

The Early Days of Psychedelic Rock (1964-1966)

In the early days of psychedelic rock, there were few if any collectible concert posters. The first posters for what can retrospectively be called psychedelic shows were made for the San Francisco Mime Troupe’s performances at the Fillmore Auditorium in early 1966. These handbills, though not yet psychedelic in appearance, helped to publicize San Francisco as a center of avant-garde music and culture.

The first real psychedelic concert posters were made for shows at the Avalon Ballroom and the Fillmore Auditorium in early 1966. The Avalon posters, in particular, are highly collectible today; they were designed by Wes Wilson, Stanley Mouse, and Alton Kelley, three of the most important artists in the history of rock poster art. The Fillmore posters from this period are also collectible, though not to the same extent as the Avalon posters.

In 1967, the psychedelic concert poster reached its peak of artistic development. This was the year of the Monterey Pop Festival, which featured some of the greatest performers of the era: Jimi Hendrix, Janis Joplin, Otis Redding, Simon and Garfunkel, The Who, and many others. The festival was documented in D.A. Pennebaker’s classic film Monterey Pop, and the promotional posters for the event are among the most valuable and sought-after concert posters in existence.

Other notable examples of psychedelic concert posters from 1967 include those made for shows by The Grateful Dead (known as “Deadheads”), Jefferson Airplane, and Big Brother and the Holding Company (featuring Janis Joplin). All of these artists were based in or near San Francisco, which was still the epicenter of psychedelic rock at this time.

The Summer of Love and Beyond (1967-1969)

In the late sixties, Psychedelic concert posters were ubiquitous in every American city, large or small. They advertised often impromptu shows by local and touring bands, and alerted the young and hip to San Francisco’s “Love-ins”, the Monterey Pop Festival, and Woodstock. The artists who created these amazing posters — Stanley Mouse, Alton Kelly, Rick Griffin, Victor Moscoso, Wes Wilson, JimPhillips Sr., and others — became legends in their own right.

Psychedelic Concert Posters of the Summer of Love and Beyond chronicles more than 200 full-color reproductions of original handbills and posters promoting shows by such legendary groups as the Grateful Dead, Jefferson Airplane, Jimi Hendrix Experience, Cream, Pink Floyd, The Doors, The Who, Santana, Beatles, Rolling Stones, Led Zeppelin, and many more. Arranged chronologically and by artist/designer whenever possible, this book captures the flavor of each season during this most amazing era in music history.

The Post-Woodstock Era (1970-1973)

By 1970, the psychedelic concert scene had moved away from San Francisco and was blossoming in many other parts of the country. Posters from this era are often colorful and depict scenes of peace, love, and not taking oneself too seriously.

One of the most iconic images from this period is the “fingers” poster, designed by Lee Conklin for a show featuring the Grateful Dead, Quicksilver Messenger Service, and the New Riders of the Purple Sage. This design would go on to be used for several other concerts, including a show with Crosby, Stills, Nash & Young in 1970.

Another popular image from this period is Stanley Mouse’s Ace of Hearts design, which was first used for a Quicksilver Messenger Service concert in 1966 but was revived for several more shows in the early 1970s.

In 1971, Bill Graham opened his Fillmore East venue in New York City, and Fillmore-branded concert posters became some of the most sought-after collectibles in the psychedelic rock scene. Many different artists created designs for Fillmore East shows, including Jim Shepard, who did several well-known posters for Jimi Hendrix concerts.

The Punk and New Wave Years (1974-1981)

The Punk and New Wave Years (1974-1981)
During the punk and New Wave years of the mid-1970s to early 1980s, many concert promoters shifted away from hiring commercial poster artists to create advertisements for their events. Instead, these years saw a DIY aesthetic adopted in which posters were often handwritten or created with xerox machines. This period also saw the rise of punk zines, which frequently featured punk and New Wave concert information. While many of these zines are now collectors items, at the time they served an important function in promoting shows and connecting like-minded music fans.

The Revival Era (1982-present)

The Revival Era is the current “golden age” of psychedelic concert poster collecting. With the reemergence of classic rock in the 1980s, there was a newfound interest in all things psychedelic, including concert posters. This resulted in a new wave of artists creating psychedelic-inspired designs for both classic rock and modern bands.

Today, Revival Era posters are some of the most sought-after by collectors. Many of these artists are still active and creating new work, so there is always something new to collect. Some of the most popular Revival Era artists include:

Martin Sharp: Sharp was one of the leading figures in the Australian psychedelic art scene in the 1960s and 1970s. He is best known for his work with pop singer Organizations covering a full drum set with old-timey lettering style reminiscent of carnival posters.

Stanley Mouse: A leading figure in the California psychedelic poster scene, Mouse is best known for his work with The Grateful Dead and The Mole People. His intricate designs often incorporate mind-bending optical illusions.

Greg Irons: Irons was a prolific underground comix artist who also created many iconic concert posters, including several for The Grateful Dead and Jimi Hendrix. His bold, graphic style is instantly recognizable.

This is just a small sampling of the many talented artists who have been creating Revisionist Psychedelic concert posters over the past few decades. With so much great work being produced, there’s always something new to discover in this ever-evolving field.

Conclusion

In conclusion, Eric King’s Collector’s Guide to Psychedelic Rock Concert Posters is a great resource for collectors and fans of psychedelic rock music. The book provides detailed information on a wide variety of posters, and is a valuable addition to any collection.