Led Zeppelin - Rolling Stones - 1969

This poster advertised Led Zeppelin at Winterland in San Francisco with a note to fans that the Rolling Stones were coming later that week to the Oakland Coliseum. Led Zeppelin had released their second album in late October and was very active building the monster that they were to become and this was their fourth tour of North America in 1969 (to be followed by 5 tours in 1970!). Winterland, which held about 5,400 people, was Bill Graham’s alternative venue to the Fillmore West at the time, which could handle about 3,000. These were the last dates on the tour, with San Francisco still reigning as THE place to play and be recognized.  The band had just released Led Zeppelin II a few weeks earlier.

Also on the bill were the Bonzo Dog Band - a wacky British comedic jug band - and jazz great Roland Kirk, who insisted on being promoted as Rahsaan Roland Kirk & His Vibration Society - which one can see would not quite fit on the poster. This type of eclectic lineup was typical for a Bill Graham produced concert as he worked to broaden the musical appreciation of his audiences.

Phil Elwood, music critic for the San Francisco Examiner, wrote about the shows,

“Led Zeppelin is back in town, hovering like a blimp over Winterland and dropping its inimitable musical bombshells. This is the British blues-rock group's third visit to San Francisco and their long, late set early this morning (as part of a four act Bill Graham-produced concert) was almost as impressive as their local debut at the Fillmore West in January.

The Zeppelin seems to get louder but still retains a definitive sound. Guitarist Jimmy Page, even further shrouded in hair curls than ever before, plays like a dream. He understands the role of accompanist (to vocalist or instrumentalist) and yet can tear into a tough, biting solo in old style blues or electronic head music with no apparent change of pace. Led Zeppelin has the kind of musical magic on stage that only the great ones possess. Their crowd waits for them, knows them, responds to every chord and nuance. This is fine contemporary music. Mostly blues derived and done with flair and a knowing technique.”