{"product_id":"grand-funk-railroad-グランド-ファンク-レイルロード-original-japanese-first-tour-concert-poster-1971-legendary-korakuen-stadium-performance-ultra-rare-holy-grail-b2-size-approx-51-5-72-8-cm-51-73-cm-gallery-copy","title":"“Chicago” (シカゴ), Original Japanese First-Tour Concert Poster 1971, Nippon Budokan Tokyo Debut, Ultra Rare, B2 Size (approx. 51.5 × 72.8 cm \/ 51 × 73 cm) - Gallery","description":"\u003cp data-pm-slice=\"1 1 []\"\u003e\u003cspan\u003eAn exceptional original 1971 Japanese B2 advertising \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eChicago’s first Tokyo concert\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, held at \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNippon Budokan on 16 June 1971\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, during the band’s historic first Japanese tour.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIssued for \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKyodo Tokyo’s Rock Carnival No. 5\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, this striking design combines a monumental, star-filled Chicago logo with symmetrical red stripes, bold Japanese lettering and seven star-shaped photographic panels against a saturated blue field. The composition transforms the American flag into a coherent visual identity for the band’s arrival in Japan.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts historical significance is particularly precise. The poster belongs to \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eChicago’s original seven-member era\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, with \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eTerry Kath, Peter Cetera, Robert Lamm, Lee Loughnane, James Pankow, Walter Parazaider and Danny Seraphine\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, at a time when the group’s adventurous combination of rock, jazz, extended composition and brass arrangements was establishing an international audience.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe concert followed the release of \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eChicago III\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e and the band’s celebrated April 1971 Carnegie Hall engagement. It documents an early, expansive phase of their performing history—before the later albums and personnel changes that would reshape their identity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor collectors, the sheet brings together \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ethe first Japanese tour, the Tokyo debut, Nippon Budokan, the original lineup, distinctive stars-and-stripes graphics and the complete Rock Carnival campaign information\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePresented unbacked and restored in \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eExcellent+ condition\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, the poster retains strong colour, clear typography and its broad lower paper margin. It is a substantial surviving document of Chicago’s first encounter with Japanese audiences.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eDate \u0026amp; First Japanese Tour\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe poster advertises \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eWednesday, 16 June 1971\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, at \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNippon Budokan, Tokyo\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, with the original admission and performance times clearly distinguished:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eDoors open at 5:30 p.m.\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003ePerformance scheduled for 6:30 p.m.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe venue is identified as:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e日本武道館大ホール\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Nippon Budokan Main Hall”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis was \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eChicago’s Tokyo debut and the sole Tokyo engagement of their first Japanese tour\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe visit began with performances at \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eOsaka Festival Hall on 13 and 14 June\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, followed by the Budokan concert on 16 June. The distinction is important: this poster advertises the band’s \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003efirst appearance in Tokyo\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, rather than their first performance anywhere in Japan.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe original admission categories remain clearly legible:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eS — ¥3,000\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eA — ¥2,500\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eB — ¥2,100\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eC — ¥1,600\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe advance-sales announcement appears beside the concert details:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e都内プレイガイドで絶賛発売中\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Tickets now on sale at ticket agencies throughout Tokyo”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe named venue, exact date, admission times, ticket categories and sales notice preserve the poster’s original function as advertising for the forthcoming performance. This is a contemporary concert announcement, not a retrospective commemorative design.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eThe Original Seven \u0026amp; Chicago’s Early Legacy\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe 1971 Japanese visit belongs to the original seven-member configuration that established Chicago’s distinctive musical identity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTerry Kath, Peter Cetera and Robert Lamm\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e provided guitar, bass and keyboards respectively, together with three contrasting lead voices. \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eLee Loughnane, James Pankow and Walter Parazaider\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e supplied trumpet, trombone and woodwinds, while \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eDanny Seraphine\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e provided the drums.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe combination was fundamental to the band’s sound. The horns were not simply an ornamental addition to a conventional rock group: they were integrated into its arrangements, instrumental exchanges and extended compositions.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBy the time of the Japanese tour, Chicago had released three consecutive double albums: \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eChicago Transit Authority\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e in 1969, \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eChicago\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e—subsequently known as \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eChicago II\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e—in 1970, and \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eChicago III\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e in January 1971.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese records established a broad musical vocabulary, ranging from compact songs to multi-part suites, sustained instrumental passages and music shaped by jazz, blues and rock. The early catalogue already included \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“Beginnings,” “Does Anybody Really Know What Time It Is?,” “Make Me Smile” and “25 or 6 to 4,”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e alongside more exploratory material.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor collectors, the presence of the original lineup is a substantial distinction. The poster belongs to the period in which \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKath’s guitar, the three-piece horn section, the contrasting vocalists and the rhythm section’s flexibility\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e were central to Chicago’s live identity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe design reflects that collective character. Seven separate photographic panels and the accompanying English personnel credits present the ensemble as a group of individual musicians, rather than subordinating the band to a single featured performer.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\n\u003cem\u003e\u003cspan\u003eChicago III\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, Carnegie Hall \u0026amp; the 1971 Concert Season\u003c\/span\u003e\n\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eReleased on \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e11 January 1971\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eChicago III\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e was the band’s third double album in less than two years. It included \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“Free” and “Lowdown”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, together with extended sequences such as \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“Travel Suite”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“Elegy.”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Budokan appearance therefore belongs to the \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eChicago III\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e period, when the band’s concise songs coexisted with ambitious, multi-section compositions.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJust over two months before the Tokyo concert, Chicago had performed \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eeight shows at Carnegie Hall between 5 and 10 April 1971\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. Those performances were recorded, with selections subsequently issued as \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eChicago at Carnegie Hall\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e later that year.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe proximity gives the Japanese poster a particularly useful historical context. It documents the same original ensemble, in the same concert season, as one of the defining live recordings of early Chicago.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe stars-and-stripes imagery also has a visual relationship with the period. \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eChicago III\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e used a tattered American flag as its cover concept; this Japanese concert poster develops a distinct, cleaner arrangement of red bars, white stars and the blue Chicago logo. It is not a reproduction of the album sleeve, but the shared motif situates it naturally within the band’s contemporary visual identity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis poster should also be distinguished from material associated with \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eLive in Japan\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e. That album was recorded at \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eOsaka Festival Hall during the following year’s visit in 1972\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. The present sheet belongs to the earlier, inaugural tour and the band’s first Budokan appearance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts significance lies in that original introduction: \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eChicago arriving in Tokyo with the early repertoire and original lineup, before the Japanese relationship documented by the subsequent live album had fully developed\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eKyodo Tokyo, Rock Carnival \u0026amp; the Japanese Campaign\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eThe production credit appears at the lower left of the printed image:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eA KYODO TOKYO PRESENTATION 1971\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAcross the top, the Japanese heading identifies the concert as:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eロック カーニバル #5\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Rock Carnival No. 5”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe numbered designation places the sheet within Kyodo Tokyo’s important sequence of international presentations in 1971. It precedes the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNo. 6\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e campaign for Grand Funk Railroad, \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNo. 7\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e for Led Zeppelin and \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNo. 8\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e for Elton John.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis series connection gives the poster an additional collecting dimension. It is both a significant Chicago object and part of a coherent group of Japanese concert graphics documenting a remarkable season of international touring.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe original credits name \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNippon Broadcasting System and Tokyo Channel 12\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e as organisers. Supporting publications are \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eHeibon Punch, New Music Magazine and Music Life\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese details preserve the Japanese media context surrounding the performance, linking concert promotion with broadcasting and the music press.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eParticularly evocative is the diagonal promotional wording within the blue field:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eアメリカで人気沸騰……話題のニューロックが爆発する！\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“A sensation in America… the much-talked-about new rock explodes!”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe phrase captures the language through which Chicago was being introduced to Japanese audiences. It presents the band as a contemporary musical phenomenon, with the excitement of something newly arriving, rather than through the retrospective language of an established greatest-hits career.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe poster’s documentary value therefore extends beyond its date and venue. It preserves \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ehow the group was presented, which organisations supported the concert, and the promotional language used to communicate its significance\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eDesign Notes\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eA monumental star-filled logo:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the large blue Chicago script dominates the upper composition, with white stars distributed through its sweeping letterforms. The treatment turns the band name into the principal image while retaining its distinctive calligraphic character.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eA unified stars-and-stripes composition:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e repeated red horizontal bars flank the logo, while the blue lower field continues the American-flag palette. The motif is developed across the entire sheet rather than confined to a small decorative device.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eSeven star-shaped photographic panels:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the individual portraits are arranged at different angles across the lower section. Their repeated shape connects them visually with the stars inside the logo, creating continuity between the band’s identity and its members.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginal English personnel credits:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the musicians’ names follow curved and angled paths around the photographic panels. Their placement introduces movement into an otherwise strongly structured composition and reinforces the seven-member character of the ensemble.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eMonumental Japanese lettering:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the large black Japanese band name occupies the centre of the upper section, balanced by the smaller special-concert wording. Its solid forms contrast effectively with the flowing blue logo above.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eElegant date and time typography:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the oversized numerals announcing \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e16 June\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, together with the fine-lined concert times, give the central information band unusual clarity and refinement. Functional advertising becomes an integral part of the design.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eA restrained but powerful palette:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e red, blue, black and the warm paper ground create a composition of considerable graphic economy. The monochrome photographs provide tonal detail without weakening the overall colour structure.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe diagonal promotional slogan:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the short Japanese declaration about the arrival of “new rock” cuts through the blue field, adding an energetic accent between the photographic panels.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePeriod production credits retained:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the Kyodo Tokyo imprint and Japanese broadcasting and publishing credits remain legible, anchoring the image to its original local campaign.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe broad lower margin:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the surviving unprinted paper beneath the composition provides a clear finish to the sheet and remains an important feature of the example offered.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eText Translations\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cspan\u003eKey poster text (Japanese → English):\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eロック カーニバル #5\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Rock Carnival No. 5”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eシカゴ 特別公演\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Chicago — Special Concert”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e6月16日（水）\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Wednesday, 16 June”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e6:30 P.M.開演\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Performance begins at 6:30 p.m.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e5:30 P.M.開場\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Doors open at 5:30 p.m.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e日本武道館大ホール\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Nippon Budokan Main Hall”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e都内プレイガイドで絶賛発売中\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Tickets now on sale at ticket agencies throughout Tokyo”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eアメリカで人気沸騰……話題のニューロックが爆発する！\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“A sensation in America… the much-talked-about new rock explodes!”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e主催＝ニッポン放送／東京12チャンネル\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Organisers: Nippon Broadcasting System \/ Tokyo Channel 12”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e後援＝平凡パンチ／ニューミュージック・マガジン／ミュージック・ライフ\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“Supporting publications: Heibon Punch \/ New Music Magazine \/ Music Life”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eお問合せ＝キョードー東京 407-8157\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003e“For enquiries: Kyodo Tokyo, 407-8157”\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan\u003eCondition Report\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOverall condition: Excellent+ for its age and format — unbacked.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAn exceptionally attractive original 1971 Japanese concert poster, retaining strong colour, clear photographic detail and crisp typography throughout the principal composition.\u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eColour:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the blue field and logo retain excellent depth, while the red stripes remain bright and well balanced. The black lettering provides strong contrast against the lightly toned paper ground.\u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eConsidering its age, rarity and direct association with Chicago’s Tokyo debut, this is a particularly appealing surviving example. The combination of the original lineup, the first Japanese tour and the coherent stars-and-stripes composition gives it substantial interest as both a music collectible and a piece of early-1970s Japanese graphic design.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePlease review all provided photographs, including the detailed front and reverse imagery—they show the exact poster offered.\u003c\/span\u003e\u003c\/p\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57554898223482,"sku":null,"price":1430.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/Scanfrom2026-11-1204_37_18PM.jpg?v=1794477634","url":"https:\/\/japanposter.co.uk\/products\/grand-funk-railroad-%e3%82%b0%e3%83%a9%e3%83%b3%e3%83%89-%e3%83%95%e3%82%a1%e3%83%b3%e3%82%af-%e3%83%ac%e3%82%a4%e3%83%ab%e3%83%ad%e3%83%bc%e3%83%89-original-japanese-first-tour-concert-poster-1971-legendary-korakuen-stadium-performance-ultra-rare-holy-grail-b2-size-approx-51-5-72-8-cm-51-73-cm-gallery-copy","provider":"Japan Poster Shop","version":"1.0","type":"link"}