The 1st printing poster pre-dates the concert and is printed on flat, matte stock. The distinguishing colors are turquoise and medium forest green, and this poster measures 14" x 23". This poster was the first printed by Neal, Stratford and Kerr, and the printer notation runs vertically up the lower right hand side of the image above the artist credit.

The 2nd printing was printed after the concert on glossy stock that presents a significantly darker blue and green than the original. The Neal, Stratford and Kerr credit is noted on this reprint. It measures 14 1/8" x 22 15/16".

The 3rd printing is on coated matte stock and has "W 2022" in the lower right hand margin. It resembles the 1st printing poster with lighter colors. It was printed in 2022 by Wolfgang's in a 100 copy run. This reprint measures 14" x 23".

The 4th printing is on coated matte stock and has "W 2022" in the lower right hand margin. It resembles the 2nd printing poster with darker colors. It was printed in 2022 by Wolfgang's in a 100 copy run. This reprint measures 14" x 23".

During the early days of the Fillmore, MacLean was the most "present" member of the staff. She collected tickets, passed out handbills, blew up balloons and counted money for Fillmore productions. Impressed with her lettering skill on the upcoming attractions chalkboards, Bill Graham surprised her with an easel and art supplies for Christmas, 1967, and MacLean's poster artist career was launched. Untrained in graphic arts, MacLean's early style evolved into ornate, Medieval-Gothic designs. Faces in her posters wore trance-like stares, steady and serene, and evoke the detached spirituality of the sixties.