BELLY JEWEL Arminski Silkscreen '95 Gig HANDBILL Poster

/ 77 S IN: / RN: 2474SILKSCREEN HANDBILL ON MEDIUM-HEAVY STOCKPOSTER ARTIST: MARK ARMINSKIAPPROXIMATE SIZE (IN INCHES): 4.25" X 8.5"PERFORMERS:BellyCatherine WheelJewelVENUE/LOCATION: Michigan Theatre (Ann Arbor, MI)DATE: Oct 17, 1995CONDITION: EXCELLENT - 9 OF 10 OR BETTERHARD TO FIND LIMITED ORIGINALONLY PRINTBiographyby Stephen Thomas ErlewineFollowing several years in Throwing Muses, as well as a brief detour in the Breeders in 1990, Tanya Donelly formed her own band, Belly, in 1992. With Belly, Donelly expanded her dreamy pop hooks into more concise, catchy songs, as well as harder-edged rock. The band's 1993 debut, Star, became one of the first beneficiaries of the commercialization of alternative rock; it rode to gold status within its first year of release, as "Feed the Tree" made headway on mainstream pop radio. Despite their strong start, Belly never became genuine stars, and once their 1995 follow-up, King, bombed, Donelly disbanded the group.Donelly (vocals, guitar) broke away from Throwing Muses in late 1991, forming Belly with fellow ex-Muse Fred Abong (bass), drummer Chris Gorman, and his guitarist brother Tom. Donelly hired Pixies producer Gil Norton to work on the group's debut EP, Slow Dust, which confirmed that her dream pop sensibilities had more hooks than many of her peers. Slow Dust reached number one on the British indie charts in early 1992, and two other EPs followed that year, generating strong word of mouth. Belly's debut album, Star, was released in February of 1993 to strong reviews, and its first single, "Feed the Tree," reached the U.K. Top 40, helping the album enter the British charts at number two. Shortly afterward, the single became a crossover hit in the U.S. The band added Gail Greenwood as bassist -- Abong left the band during the recording of Star -- that spring, and spent the remainder of 1993 on tour, helping send the album to gold status in America. During 1994, Belly recorded their second album with classic rock producer Glyn Johns. The resulting record, King, was more rock-oriented than its predecessor, partially because of Johns' work and partially because of Greenwood, who was a harder rocker than Donelly. King was expected to be Belly's breakthrough into the mainstream, yet was greeted with mixed reviews upon its spring release and quickly fell off the charts. In the wake of its failure, Donelly disbanded Belly in 1996, releasing her first solo EP, Sliding and Diving, at the end of the year. Greenwood joined L7 by the end of the year. Biographyby Jason Ankeny A contemporary folkie renowned for her expressive, crystalline voice, singer/songwriter Jewel was among the most successful of the many new female performers who dominated the pop charts throughout the 1990s. Born Jewel Kilcher on May 23, 1974, in Payson, UT, she was raised in remote Homer, AK, and began her music career at the age of six, regularly performing alongside her singer/songwriter parents in local Eskimo villages and tourist attractions. After her parents' divorce, she remained with her father, touring with him for the next seven years. While attending Michigan's Interlochen Fine Arts Academy, Jewel began writing her first songs; upon graduating, she joined her mother in San Diego, suffering through a series of short-lived day jobs before deciding to flee the nine-to-five world for good, at which time she moved into her van and began focusing on a career in music. Her first regular gig was at the Innerchange, a coffeehouse in Pacific Beach; word quickly spread, and by 1993 she was the subject of a rabuy local cult following. After signing to Atlantic, in early 1995 Jewel issued her debut LP, Pieces of You; the record was a slow starter, not even breaking into the Billboard pop charts until some 14 months after its release, but eventually the single "Who Will Save Your Soul" became a major hit, and soon the album was a best-seller as well. Two other hits, "You Were Meant for Me" and "Foolish Games," followed. In 1998 Jewel returned with Night Without Armor, a collection of her spoken word poetry; her hotly anticipated second album, Spirit, followed later that year, as did the seasonal collection Joy: A Holiday Collection. Chasing Down the Dawn -- a spoken word album featuring unabridged selections from the book of the same name -- was issued in fall 2000. This Way appeared a year later as a more lighthearted follow-up to Spirit. Fans and critics were shocked in 2003 when the slick dance-pop album 0304 appeared and were just as shocked when the singer allowed the Schick company to use the album's hit single, "Intuition," for a advertising campaign introducing their new razor. Goodbye Alice in Wonderland, released in May 2006, was a return to the warm sound of her earlier work. Led by the single "Again and Again," it reached the Top Ten. Working with producer John Rich of Big & Rich, Jewel released the country-tinged Perfectly Clear in 2008. Biographyby Andy Kellman By using their influences as a mere launching pad and consistently developing their many strengths, Catherine Wheel was able to outlast all of their early peers. With their initial singles and first album, the band from East Anglia fit snugly with the remainder of bands that the British press eventually labeled as shoegazers, a short-lived sub-scene of bands that were characterized by an inactive stage presence, loads of effects pedals, and buried vocals. However, the always tuneful Catherine Wheel survived by refusing to repeat themselves and remaining accessible to their constantly swelling fanbase through touring like dogs. The band's extensive discography plays like a how-to guide for bands that aspire to do most things imaginable within the domain of bass/drum/guitar/vocals with enthusiasm and sharp skill. They might not have reached the level of popularity that they aimed for, but their career was one that most bands would commit felonies to experience.Formed by Rob Dickinson (vocals and guitar), Brian Futter (guitar), Dave Hawes (bass), and Neil Sims (drums) in 1990, Catherine Wheel debuted on the tiny Norwich independent label Wilde Club with the She's My Friend and Painful Thing singles. Though inspired by the likes of Echo and the Bunnymen and the House of Love, even the band's earliest recordings strayed from being derivative. Those singles earned them a spot on John Peel's BBC show. One listener was famed producer and "non-musician" Brian Eno, who was delighted enough by what he heard to phone the band's manager up and express admiration. Eno, who had his Opal label at the time, threw his hat into the ring of people wanting to release the band's future material. Since the tiny Opal imprint didn't fit into the big plans the band had for themselves, they declined to sign on with the bald wonder. Creation boss Alan McGee was another interested major figure. Since McGee was about to become knee-deep in debt, thanks to the extensive costs of My Bloody Valentine's Loveless, the band passed on the pre-Oasis label. Fontana had the ability to market the band on a wider scale and the label's licensing deal with Mercury in the U.S. made them more attractive. Signed to Fontana, the band set about wrangling a producer for their debut full-length. Being huge fans of Talk Talk's sonically expansive records, they contacted the band's associate, Tim Friese-Greene. To their pleasant surprise, Friese-Greene had bought the Wild Club singles and needed no convincing to work with them. Friese-Greene became the fifth Wheel as much as he was the fifth member of Talk Talk, playing a crucial role in sound development, production, and adding his trademark keyboards when necessary. Ferment gained the band a small following in their native land and abroad on the strength of the epic "Black Metallic," which remained the band's most recognized song throughout their career. The cinematic Chrome followed in 1993, toughening the band's sound and providing increased exposure on U.S. alternative radio through "Crank." Dickinson's increased confidence as a singer allowed them more emotional depth. Another strong alliance was forged with engineer Gil Norton during the recording sessions. As always, extensive touring ensued and the band's heavier edge on stage was captured on 1995's Happy Days, which hardcore fans dismissed for being too flat-out rock for their tastes. Neo-metal single "Waydown" was the radio staple in the U.S., giving the band more exposure than ever. At this point, the band was criticized for abandoning Britain, which was something of a fallacy. Although they would routinely circle the U.S. multiple times while touring, only in relative terms did it appear that they were neglecting their homeland. Meanwhile, Catherine Wheel had been stockpiling spectacular B-sides that only rabuy collectors and those who would listen to their tales of depleted wallets knew about. To provide a stop-gap between albums, Like Cats and Dogs was released in 1996, which only contained a small fraction of thoseThis is an original single sheet printed paper poster advertisement (A.K.A. handbill, flyer or print) for a concert performance gig by professional musicians at a music venue. Guaranteed original and authentic, printed 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. 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