October is the kind of month that takes one into the past, the time of year that invites ghost tales and apparitions, and lends the night to the sights and sounds of the Otherworld. When the full moon rose on that eerie Friday the thirteenth day of October, 2000, it illuminated more than the Biloxi fog creeping up behind the well-placed covered stage. As it cleared the treetops, a perfect setting was in line for a lucky crowd at the Gulf Coast Harley; a mix of bikers and motorcycle enthusiasts, as well as organizers, vendors and volunteers (many weary from a long festival day) only adding to the time machine blend of old and new. The fall chill was crisp and spooky as a local act performed their last song. Stage crew and musicians bustled across the raised stage making it impossible to tell one from another. As the fog took over the rolling dew laden hills behind, the veteran influences began to sort out onstage. A Fender Strat and Telecaster were set up on the left during the brief soundcheck of the drums. In the shadows at the right a bass level was quickly established as a wine colored rhythm guitar was simply plugged into its Fender DeVille amp. A leather duster clad vocalist took her place at the mic, and the crowd grew a little louder as the sound of Harleys fell faint when the announcement was made.

Just before 9pm on Friday the 13th, under a bright full moon in October 2000, standing there like it was no big deal - Big Brother and the Holding Company. It began with a song most people there, young and old, knew the words to - "Down On Me"; Mississippi native vocalist Lisa Mills began it a'cappella, just as everyone knows it, and the rest of the band held up their end of the song just as well. With Sam Andrew and Peter Albin backing, the song brought the crowd to life. Friends gathered together and moved closer, beers were heard opening. One Hippie lit some incense, another something that obviously wasn't, and a bottle of Southern Comfort was passed around up front.

The second song was a rousing rendition of "Combination Of The Two" which features Sam Andrew singing the always peppy lead with a scat through parts, and sharing leads with Joel Hoekstra, on loan from "Love, Janis". Both attain maximum altitude during their solos, with Dave Getz supplying the firm and steady beat while hidden behind his blue kit, as it glistened with the falling dew, as fog is known when it's on you.

Two local girls, ( Lici Beveridge & Shelley ?) were recruited to back singer Lisa Mills on "Chain Of Fools". Although a beautiful redhead as well, her southern tones did more to liken her to Bonnie Raitt in my ears, and it was a tune well suited to her style. As Joel Hoekstra worked into a solo, everyone was grooving, but it was obvious that this was a song driven by Peter Albin's punchy bass lines.

The next song was introduced by Sam as one that "...makes the deep philosophical statement, 'Oh, it's just Aunt Bea!'" before his classic riff opened "I Need A Man To Love". A BBHC standard, it also provided a good platform for Lisa Mills vocalization, as well as Joel's technique. A great rendition of a great song, Big Brother's veteran players seemed to enjoy playing the tune, and with the tune as Sam and/or Peter's backing vox would occasionally include the reference to Mayberry's MamaSan - Aunt Bea, instead of "can't be!"

The fun onstage was not missed by the crowd, or unappreciated. As the group had warmed up under the stage lights, the attendance had swelled quite a bit, nearly doubling my original estimate of 2-300. Drawing people from a nearby club, "across the moors" as it appeared in the eerie fog laden eve, the crowd now had many younger faces. Some were there to hear the group they had been told of from the 60's, but most were getting their first taste of the Holding Co.

New songs from BBHC were next, the first begins without introduction, and became a funky groove with Sam on the lead vox fit for dancing, featuring the rhythm section, as well as a tasty bass solo. Perhaps fueled by the polyrhythmic percussion or the polyester pants, Peter played with impeccable chops, receiving a healthy roar from the crowd often. After Lisa Mills introduces the rhythm section, Sam leads the band through the last verse, while Joel goes through assorted guitar gizmos, on a tune I can only give the moniker "Cool Baby", as repeated in the chorus, and by Sam's cheerful words after saying the same.

"Save Your Love", a reggae-esque composition highlighted Sam Andrew on vocals, with Peter Albin and Lisa Mills Backing. Dave Getz' syncopated rhythms added with the jazzy flair of Sam's vocal stylings lent itself well to the feel of the night, and was very tight in performance and arrangement, ending as Joel exercises his Strat a' la reggae Van Halen.

As a drum mic was reset, Sam offers up CDs and T-shirts as Peter models one. In response to someone's prompt to give one away, Sam was heard to say jokingly, "I think he does sometimes!".

Before the next song, Sam introduces the tune as "maybe a little touchy-feelie," Peter adds "...but since it's getting chilly....This is from our very first record, a song written by Sam Andrew, 'Call On Me'." to the cheers of an enthusiastic group of attendants. A slow dance duet between Sam Andrew and Lisa Mills, Joel adds his R&B stylings throughout the song, with Peter and Dave adding backing harmonies. (Hidden behind the drum kit almost completely, Dave Getz may have done a lot of vox, unseen by me). Sam closes the song with the "Jingle Bells" melody, for a bit of fun.

The Psychedelic Anthem "Summertime" begins without introduction, the first word of the song does that for any who aren't clued in by the opening riffs. The crowd fell quiet, mesmerized by the song and soaking in the full October moon, now hanging directly overhead, as bright as the stagelights and reflected by the mist surrounding us.

Sam and Joel swelled through the first bars. Lisa Mills sang the classic as she had the others in the set. She was able to express and use her creative talents, blending the stylings of many great singers who have done the song with her ability to create a vocal line of her own without infringing on the listener's memories associated with the tune. Peter Albin's bass lines walk with Lisa through the verses as Dave keeps a steady slow meter, with enticing fills.

But the highlight of the song is the dual solos by Sam Andrew, and tonight with Joel Hoekstra. The intricate harmonies and delicate dissonance prevail upon the entranced crowd, as a roaring cheer mounts with the tension of the building leads being traded. The last verse is alive with fills and trills swapped between guitars, bass and drums sharp as a pin while vocals wail, again hypnotizing their listeners, most motionless but alive in the experience, until the last note had drifted completely into the Friday the 13th fog.

Afterwards, Joel Hoekstra had the grin of someone just off their first roller coaster ride; I later learned that it was his first live appearance with the group.

Dave Getz kicks out the drum riffs and counts the band into "Do What You Love", title track from their '98 effort - it fit well with the other material and got it going with its funky flavour. Joel takes a solo break, offering up a mix of bluesy leads and high pitched wails as well as displaying a proficient two-handed technique on the neck.

Peter Albin denies writing the next song, "Blindman", but takes the lead vocal chores for the tune, claiming it's a "trad. arrangement" before delivering an upbeat verse. Sam takes a lead, playing a couple of melodies fitting with the beat, including "Hall Of The Mountain King" for just a moment - teasing some die hard fans of the early material.

The up-tempo tune keeps the energy high as Peter informs the audience they "...are going to do a spooky song. This is Friday the 13th, isn't it?" Dave Getz begins a low rumble as Sam and Joel weave a middle eastern feel with Peter's bass before Sam counts them in to "Take Off", another from the '98 album. With the feel of the early San Francisco sound it adds Indian Harmonies and Joel does some of his best work to the building pulse of the rhythm section.

A slow lead begins "Hold On Me" (?), another R&B styled tune, featuring Lisa and Sam sharing vocals. Although I'm unfamiliar with the song, it lends itself well to the groups musical origins, and to its singers style.

Next up Lisa adds her tones to "Me And Bobby McGee", doing the first verse almost unaccompanied before the band breaks into a country-fried rendition of the Kristofferson composition.

After a thanks to the audience, and a quick merchandise plug accompanied by Peter Albin's wearing a Cheap Thrills Tee as a shroud, Big Brother treats everyone with "Piece Of My Heart", to a whooping crowd. The once wide eyed listeners were now a frenzy of dance, cheering every lead and chorus. The band sang backing vocals, but was joined by the fans who sang right along 'til the end.

Peter thanks the crowd and announces that some blues are forthcoming. A quick guitar solo later "Ball & Chain" is revealed. One of BBHC's most famous tunes, it gives Joel a chance to show his blues chops, and Lisa Mills wails it in the best spirit of the song. As for the veteran members, well, they wrote the book on this arrangement and haven't slipped an inch, punching every stop and change with the passion and excellence that put San Francisco on the music map and them in the rock and roll Hall of Fame.

The last song of the night came as little surprise to the faithful who remained, "Mercedes-Benz" performed by Lisa a' capella. Joined by the crowd in sing-along style, it was a treat for all present.

The group stayed to meet some fans after, rewarding those who braved the chill night for a great experience. Sam wished to thank Ron at the Gulf Coast Harley, saying "he was cool."

Surrealism had surrounded us, free for all and without chemicals. A time travel in sound, from straight-sober to spaced-out just by listening.