This show was part of the massive country-and-western booking that Clifford was doing at the second Antone’s location way up north on Great Northern Boulevard. He was booking consistently and directly from Nashville, something that very few in Austin were doing in those days. And they were high quality acts in the bargain. It was a unique period for “Austin’s Home of the Blues” Particularly unique culinarily, as the fine line of Antone’s sandwiches were sold in the club, along with Lebanese delicacies such as stuffed grape leave and couscous.

This is the only performance that I’ve ever seen of the “Killer”, one of the founding fathers of rock and roll. And what an incredible show it was – with Jerry Lee Lewis pulling out all the stops. It was an extremely high energy performance, and the joint was packed and jumping. The sets were very short, but he did four of them with fifteen-minute breaks in between. And those breaks were a good thing. The very air in the place was charged with driven energy, and while everyone was enjoying the show immensely, that energy carried a definite edge to it -– a quality of his performances for which Jerry Lee was well known. I have never seen more fights or altercations both in and outside the club as I did that night. One rather large brawl even managed to spill over onto our front-row table from a group two tables over. We were sitting right in front of Jerry Lee, and he looked smilingly down on the melee, at one time throwing his head back in obvious glee. Quite a show.

As I said, the treatment of this poster was an homage to the style of my colleague, Guy Juke. I would repeat this again, with elaboration, almost a year later with the Stevie Ray Vaughan gig on my birthday at Steamboat Springs 1874 on Sixth Street. Juke (real name DeForest White) has probably had the greatest influence on my work than any other Austin artist. It seemed appropriate to marry that style to this visage of the Killer.