Wednesday, September 30, 2009

1966/10/XX - 1966/12/XX - The Jimi Hendrix Experience



From the BBC:

Hendrix jams with Cream
1 October 1966

In 1966 Eric Clapton was the undisputed king of rock guitar in Britain. That was until Hendrix turned up on the scene. Jimi had only been in England for a week, yet there was already talk of this amazing American guitarist who had been creating a storm in London's blues clubs.

In a particularly over confident gesture Hendrix asked if he could jam with Cream at their gig at Central London Polytechnic. Hendrix took the stage and tore through a version of 'Killing Floor' in double time. Cream soon regretted allowing him to join them. Hendrix's outrageous stage antics and dazzling guitar playing caused Clapton to leave the stage in a state of shock. He asked Chas Chandler afterwards "Is he always that f***ing good?"



Here is a version of Killing Floor recorded live at the Olympia Theatre in Paris, France on October 18, 1966. This is as close to what Jimi sounded like for that legendary jam!



The following photos were all taken at the end of 1966, which was the period when the Experience was first formed in England and was just getting off their feet. Little did the world know what was just right around the corner! All photos are taken directly from flickr user rising70

































Tuesday, September 29, 2009

Monday, September 28, 2009

1967/06/18 - Monterey Pop Festival - Monterey, California - The Jimi Hendrix Experience

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Coming off major success in the U.K, The EXP. came to Monterey for the Monterey Pop Festival, a spot they landed by the recomendation of Beatle Paul McCartney. Once in Monterey, Jimi went off to find a new strat. Shopping for the strat with Keith Altham, a journalist, according to Keith, Jimi found a Red Strat. Jimi didn't like it being Red, but said he would paint it with white, according to Altham. After the Rehearsals, or before hand, Jimi painted half of the Red Strat white, and painted designs all over the guitar with a few felt tip pens. At the time of the festival, backstage, Various acts went on. When it was down to the last few acts, The Who and Jimi got in a scuffle over who would go on first, a coin was flipped, The Who won. Jimi, according to the story given by Pete Townshend in "A Film About Jimi Hendrix", got up on a chair and played a amazing guitar solo and said if he was following The Who, He would pull out all the stops. So after The Who's set and Destructive Finale, the roadies of The Who came on and cleaned up, The EXP's roadies came on and set up, Jimi with his feather boa and jakcet, Introduced by Rolling Stone Brian Jones, came on in total darkness and played incredibly fast, the intro to Killing Floor, and went through the song with amazing energy. At the end of the song everyone stopped but Jimi who slammed on the Tremelo arm solo bending the last few hammer-on notes with stellar power, He would have made a stand if he left after just this song! After a few words, and tune up, you hear that feedback of Foxy Lady, and Jimi does the splits and a rather good solo. Next Jimi takes off his Jacket and Boa, You can see why if you see the footage, He was wearing about 4 layers of clothing at that time. Jimi introduces the next song as a thing by Bob Dylan, and plays Dylan's hit, soulfully, to the suprise of the audience, with no mistakes besides a missed verse which Jimi jokes off in the middle of the song. After a little tune up, The EXP. goes into a spin off of B.B. King's "Rock Me Baby", the same notes as the song to be later known as "Lover Man", and powers through the fast tune with amazing ease and lots of stage antics that the crowd eats up. Going on the energy, they go into Hey Joe, the big hit in the U.K. and to be in the U.S, at the solo Jimi pulls off a Teeth Solo, to the pure amazement of the crowd. "Oh no, I think i'm out of tune!" and they go into Can You See Me?, a fast, powerfull song, with a solid solo. Jimi annouces he's going to slow it down a little bit, and a they go into The Wind Cries Mary. After that they go into Purple Haze, very nice tone and solo. After switching to his Painted Strat, he says to the Crowd, "..I not losing my mind.." and more and announces it as "The English and American Anthem" and goes into feedback. Absolute silence is all across, you could hear a pin drop. Jimi pushes the guitar through hell in back, and at the very end off the feedback, goes into the chords of Wild Thing. Pulling out all the stops just like he said he would, playing behind his back, rolling over on his back, playing with his arm, you name it. At the end, Jimi bows and starts to ram the amps, so much that the roadies have to hold them up. After that Jimi plops the Guitar on the Ground and pushes down on the Tremelo arm a few times. Jimi gets up and grabs a thing of lighter fluid and a match. Jimi squirts the lighter fluid and the crowd is in complete silence still. Jimi lights a match and you can see the crowd's eye widen. Jimi drops the match and to the complete shock of the crowd, lights the guitar on fire. After watching it burn, he swings the burning guitar over his head and smashes it to pieces, throwing the pieces in the audience. Complete chaos erupts, some going crazy, some sitting there with shock. A announcer comes and says, "Jimi Hendrix!" and the feedback is still going off. The Gratefull Dead's on next. I think you know how that went.

-Uchi

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Set List:

Killing Floor
Foxy Lady
Like A Rolling Stone
Rock Me Baby
Hey Joe
Can You See Me
The Wind Cries Mary
Purple Haze
Wild Thing

Recordings are:

Soundtrack Recording







Video of All Songs except Can You See Me?:

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Below is an incredible collection of photos from this historic festival uploaded to flickr by user rising70























1967/06/20-24 - Fillmore West - San Francisco, California - The Jimi Hendrix Experience

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Seeing the performance at Monterey Pop, Bill Graham, owner of many concerts venues spread about the U.S, signed The EXP. to 4 days of gigs with the Jefferson Airplane. The EXP. was to open up for the Jefferson Airplane on the 4 days of shows. On the first night, Jimi and crew blew out the minds of the audience and played so well, the Jefferson Airplane refused to go on after them. Not much is really known of the contents of the shows, as there is no recording, pictures (to my knowledge), or film. It is known that these gigs were crucial to setting up the EXP as major acts in San Francisco, and when you can stand up the Jefferson Airplane, you can play!

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Sunday, September 27, 2009

1967/12/22 - "Christmas On Earth Continued", Olympia, Kensington, London, England, UK - The Jimi Hendrix Experience



Notes from youtube user H3rman123:

1967-12-22 (Friday): "Christmas On Earth Continued", Olympia, Kensington, London, England, UK

This is a composite of all the JHE footage that has turned up from this show, containing silent backstage footage, a rough sync to 'IDLT', Sgt Peppers, Foxy Lady and Wild Thing, and those very short snippets of Jimi playing the Flying V.


You can donwload the most complete collection of footage for this performance here.

Set List:

1. Sgt. Pepper's Lonely Hearts Club Band
2. Foxy Lady
3. Wild Thing






Thursday, September 24, 2009

1968/01/31 - The Copter Club: The Pan Am Building, New York City - The Jimi Hendrix Experience Interviewed by Jay Ruby



From Crosstown Torrents

From Experience Hendrix Magazine Winter 2000

The Copter Club: The Pan Am Building, New York City January 31, 1968

Interview By Jay Ruby

JAY RUBY: What's the musical scene like in England? Is it different from here?

JIMI HENDRIX: Well, yes, it is. It's a little more together as far as the musicians are concerned. They all know each other and they get a small place and everybody congregates around London. It's not that much different really. They have their own scene and we've got our own scene over here.

RUBY: You like it better over here?

HENDRIX: As a musician, not necessarily. I like to jam a lot and they don't do that much over there. I like to play with other cats, but you just can't do that over there sometimes.

RUBY: For what you are trying to do with your music, do you feel that the trio form is best?

HENDRIX: We set out to be a trio; that's the reason we are like this. We tried the organ for about fifteen minutes and it didn't work out. It made us sound like just anybody. But it isn't ideal that it's a trio. It just happened like that.

RUBY: Are you really into the destruct thing?

HENDRIX: Not basically. There are times when we do it; but we play millions and millions of gigs, and when we do this destruction maybe three or four times, it's because we feel like it. It might have been because we had some personal problems.

RUBY: So when you do it, it's because you're mad?

HENDRIX: Yes. Maybe we might be worked up or something, you know.

RUBY: How does it feel?

HENDRIX: Oh, this is the feeling like ... you feel very frustrated and the music gets louder and louder and you start thinking about different things, and all of a sudden, crash, bang. Eventually it goes up in smoke.

RUBY: Do you think about it ahead of time?

HENDRIX: No. You couldn't get that together. We did it once before and somebody said, 'That's great, why don't you plan it out.' Plan what out? It just happens, that's alL

RUBY: Whom do you admire most as a guitarist? Who's doing things that you like now?

HENDRIX: Well, it's very hard to say. But as far as the blues scene goes, some of the things that Albert King and Eric Clapton do are very good. I don't have any favorites. It's vety hard because thete are so many diffetent styles and it's so bad to put everybody in the same bag.

RUBY: Whom do you listen to?

HENDRIX: I like to listen to anybody as long as they don't bore me. I tend towatd the blues as fat as guitar players ate concerned. The music itself... I like things from Roland Kirk and the Mothers.

RUBY: A lot of people compare you to Clapton.

HENDRIX: That's one thing I don't like. First of all they do that, and then they say, 'O.K. now, blues first of all,' and we just say,' We don't want to play blues all the time.' We just don't feel like it all the time. We want to do other things, do nice songs or diffetent things. But, like, the blues is what we're supposed to dig. But, you see, there are other things we can play too. And we just don't think alike... sometimes the notes might sound like it, but it's a completely different scene between those notes.

MITCH MITCHELL: When we first started, Jimi was very much influenced by people like Dylan, and I wasn't into that scene at all. Now Jimi's gotten turned on to people like Mingus and Roland Kirk. We just learn from each other, balance each other. It's a lot better.

RUBY: And enjoy each other, right, and have the whole thing happen.

HENDRIX: Right. You should hear him get together on drums; that's another thing that makes me mad, too. All three of us, we all have our own little scene as far as music goes. Noel likes nice gutsy rock, and he plays guitar. He's been playing bass only since he's been with us. And Mitch plays a whole lot of drums and yet people get stuck on one thing.

RUBY: Some people have difficulty making the transition from concerts to records. You have not. Do you see yourselves as primarily a live or a studio group?

HENDRIX: Either you can dig it as a record or in person. Like some want to hear one thing~when you make a record you put a certain sound in the record or a certain little freaky thing like the sound of raindrops reversed and echoed and phased and all that. It's because you are trying to emphasize a certain point in the recotd. So people already have this in their minds when they go to see you, and they expect to hear that. But the main thing is the words, and they can feel the other thing and not necessarily hear it.

RUBY: The thing that turns me on way everything changes so fast. For instance, what you did on your first album is different from what you did on the second.

HENDRIX: Yes, we noticed that after we listened to it. We were really deep into making our second LP.

RUBY: This is not conscious, you're not aware of the fact?

HENDRIX: No, not at all. We try to make a change. You fix your life and say, 'Well, we're going to do this next time.' We get ideas-groovy ideas, you know. Everything's a very natural progression. I don't know-I might not be here tomorrow, so I'm doing what I'm doing now.

RUBY: This is very different from what music has been before. No music has ever changed as fast as this has.

HENDRIX: Well, I know what you mean, like the Chuck Berry scene. I'd feel guilty if we did something like that-using the same background with every single song and only different words. That shows that you're going in the word scene. It's like anybody who's hungry-that's young and wants to get into music-anybody like that has got to go into so many different bags. They have got so much to be influenced by, so many different things in the world.

RUBY: Is it just being young?

HENDRIX: Not necessarily, no. I mean 'young' being ideas, being hungry ... not necessarily being hungry for food.

RUBY: So maybe it's always going to change?

HENDRIX: Well, maybe. Maybe we'll settle down. There are some things ... but some things are just too personal. They might catch up to us later. Everyone starts talking about that-they have to pick on something, and they say, 'Instead of using guitar, bass, and drums, they're getting tiresome.' Dig Bob Dylan. He's been in this business for ages and he's really out of sight because there's a lot of personal things. You just don't want to put a lot of junk on top of it, like violins for certain numbers, unless it calls for it.

RUBY: When you record, who does the effects?

HENDRIX: All those things are our own mind ... all those things are coming out of us. ... We do a lot of things. Like, on the last track of the last LP (Axis: Bold As Love), it's called phasing. It makes it sound like planes going through your membranes and chromosomes. A cat got that together accidentally and he turned us on to it. That's the sound we wanted, it was a special sound, and we didn't want to use tapes of airplanes, we wanted to have the music itself warped.

RUBY: When you put a song together for a recording session, what do you do? Do you play first and then put the sounds in or do you put them together at the same time?

HENDRIX: Well, it depends. Sometimes we play through Leslie speakers and then sometimes we might put it on afterward as we play. A lot of times we record the three of us as one instrument and then build around that.

RUBY: You don't do an arrangement ahead of time?

HENDRIX: Oh Yes. We have ideas in our minds and then we'll add to them.

RUBY: Lets get back to the blues for a minute. How do you define it?

HENDRIX: You can have your own blues. It doesn't necessarily mean that folk blues is the only type of blues in the world. I heard some Irish folk songs that were so funky-the words were so together and the feel. That was a great scene. We do this blues one on the last track of the LP (Axis: Bold As Love), on the first side. It's called 'If 6 Was 9.' That's what you call a great feeling of blues. We don't even try to give it a name. Everybody has some kind of blues to offer, you know.

RUBY: What about the white/black scene? Is white blues really blues?

HENDRIX: Well I'll tel you. The Bloomfield band is ridiculously out of sight and you can feel what they're doing no matter what color the eyes or armpits might be...Because I can really feel it, I want it. I say, O.K. they've got this white cat down in the Village playing harmonica, really funky. So we all go down to the Village and then, wow, he turned me on to so much, I said, "Look at that." He was really deep into it and nobody could touch him there because he was in his own little scene. He so happy. I don't care like I said before, it all depends on how your ears are together and how your mind is and where your ears are.

RUBY: They say that in England, it's a whole different thing. The don't make a distinction. It's sound and it doesn't matter what color you are, you're playing. We've still got that hang-up here.

HENDRIX: It isn't really a hang-up because that's human - being dumbsighted anyway, you know. That's natural, just like being in a fight, nobody can go out on the street with this little boy. America's little boy. Countries to me are just like little kids, playing with different toys. But all these countries will soon grow up.

RUBY: Let's talk about jazz.

HENDRIX: Charlie Mingus and he (Noel Redding) care of the rest.

RUBY: How about Coltrane?

NOEL REDDING: Oh yes, he's great. There are so many cats, they've got their own little scenes. Mitch digs Elvin Jones a lot, and there's Charlie Williams and the structure of Richard Davis. I like Coltrane as well. But Kirk is nearer to what I actually like. It's very comparable to Jimi. A lot of people call Jimi a joker for using electronic effects. Well, Kirk is a joker when he plays two horns, not that I really mean that. There are only two kinds of music-good and bad-regardless of what you play or what sort of bag you might be in. We haven't even started yet. He hasn't even started yet-Roland Kirk. You can hear so much for the future. You can hear some of the things he's going into-not necessarily about notes, but you can hear the feelings. It's people like Kirk who are cutting down snobbery, because in every kind of music, even in rock "n' roll, it exists. Where people just can't see anything outside. It's like certain jazz musicians I met in London recently who just don't want to know anything else apart from maybe Sun Ra, and it's a bad scene. If you can't sit outside your music-outside one particular scene, man, you need something done to your head.

HENDRIX: There's so much happening, especially if you have an open mind for music, because, as we all know, music is an art.

1968/02/16 - 1968/02/18 - Way Down In Texas Land - The Jimi Hendrix Experience



The Jimi Hendrix Experience
1968-02-16
State Fair Music Hall, Dallas, TX


Set List for this performance:

Are You Experienced
Fire
The Wind Cries Mary
Tax Free
Foxy Lady
Hey Joe
Spanish Castle Magic
Red House
Purple Haze
Wild Thing

For a link to download a really great sounding audience recording for the first show in Texas, click here

From Just Ask The Axis:

From Chris Dixon's 30th Anniversary Series © C S Dixon
February 16, 1998 marks 30 years since Jimi's appearance at the State Fair Music Hall, Dallas Texas.

A few noteworthy things about this show:


Show opener is the first documented live performance of 'Are You Experienced'. He doesn't do the free-form intro that marks later versions, just right into the album version (y'know-'chunk chunk chunka chunk chunk',etc)

First performance of 'Tax Free'. 10 minute rendition with drum solo. Middle section breaks down but doesn't switch to the 3/4 jazz feel like the War Heroes version...

First US performance of 'Spanish Castle Magic' (4th recorded rendition overall). Unlike the extended versions in later concerts, this is a fairly straight reading lasting only around 4 minutes...

Second U.S. 'Red House'. This too is a pretty straight reading lasting only 5 minutes (and some nice playing, too!)

Jimi introduces 'Purple Haze' as being from "11 B.C."! Also, introduces an extended free-form guitar intro as something "pertaining" to PH. Halfway through it he stops to tell the audience "..I'm pertaining now...Can you hear me pertain?..."! Jimi obviously in a good mood this night-jokes with the audience after AYE about buying some cool boots earlier in the day, making him "the biggest square in the building" which of course became the name of the boot CD of this show!



===================

The Jimi Hendrix Experience
1968-02-17
Will Rogers Auditorium, Fort Worth, TX


Set List for this performance:

Sgt. Pepper's Lonely Hearts Club Band
Can You Please Crawl Out Your Window
The Wind Cries Mary
Fire
Catfish Blues
Foxy Lady « Outside Woman Blues, Sunshine Of Your Love
Hey Joe
Purple Haze
Wild Thing

Audience recording for the second performance in Texas can be downloaded here

Jimi and others backstage from this night:



From Just Ask The Axis:

From Chris Dixon's 30th Anniversary Series © C S Dixon
17 February 1998 is 30th anniversary of Jimi's show at Will Rogers Auditorium, Ft. Worth Texas.:


2nd US appearance of 'Sgt Pepper'. BTW every time Jimi did Sgt. Pepper live, it was the show opener.

2nd live 'Can You Please Crawl...' and 1st US appearance (the soundcheck version of late could be from Winterland 2/3, though ). This song was only performed 5 times, including the aforementioned soundcheck (which could also be from Winterland 10/68

More funny Jimi stage patter- repeats bit from day before about his new "pointy-toed shoes" making him the "biggest square in the building". Introduces 'Wind Cries Mary as being from 1776 and Fire as from "...1932, with Everly Bros and Tom Mix..."! Says 'Tune Up Time' will be the next single'. Also he's having equipment problems and blames the stage crew for "sabotaging" the gear so they can come out on stage!!

Last live 'Catfish Blues' (that's how Noel introduces it) save one last version 2 1/2 years later, 8/31/70.

He thanks openers "(Moving) Sidewalks", which featured future ZZ Topper Billy Gibbons.

Sure sounds like he smashes a guitar during set-closing Wild Thing!




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The Jimi Hendrix Experience
1968-02-18
Music Hall, Houston, TX


Set List for this performance:

Sgt. Pepper's Lonely Hearts Club Band
Fire
Hey Joe
Foxy Lady
The Wind Cries Mary
I Don't Live Today
Catfish Blues
Purple Haze
Wild Thing

The audience recording for this show can be grabbed here

The following page has some photos for sale from this gig, check it out here





From Just Ask The Axis:

Review of 18 February 1968 Houston Music Hall by Joe Morgan

The recent uncovering and subsequent posting of this show by the folks at Experience Hendrix adds a significant piece to the puzzle that was Jimi Hendrix's life and all-too-brief meteoric musical career.

This is an excellent show from Jimi's first real tour of the United States after the triumph at Monterey and the Monkees debacle. He had played selected shows and club dates but not toured as a headliner. Consequently he was playing small venues to "select" crowds for the most part, especially in the more distant markets. This provides us the opportunity to hear Jimi's music more clearly, without being drowned out by the crush of bodies and the screams of the more "enthusiastic" members of the crowd. This show is also remarkable in the fact that it completes a trio of recorded shows, all played in Texas on succeeding nights. Dallas on 2/16, Ft. Worth on 2/17, and this show in Houston on 2/18. (Thanks for pointing that out, Jason!) This leads one to believe that the taper might have been the same person, and there's a certain amount of evidence for this. All three recordings certainly seem "slower" than normal and indeed pitch testing indicates Jimi's guitar sounding in D, a whole-step lower than normal tuning and a half-step lower than his usual E-flat. At some point I hope to transfer the recordings to my Portastudio and experiment with raising the speed and pitch just to see what the effect might be.

At any rate, being able to set these three shows side-by-side and compare them gives us great insight as to how Jimi constructed his sets at this point in his career. There were more repeats from night to night, but don't forget that Jimi had far fewer songs to choose from at this point, AXIS having only been out for a month or so. Also, I'm sure he felt some pressure to "play the hits" in these rural markets. He probably felt at times almost like he was going back to the "Chitlin Circuit", with small crowds who could be more or less into it, and a few remarks on this tape will bear witness to that. He must've wondered at this point if he would ever achieve the recognition in America that had been afforded to him "across the pond". Little did he know...!

A brief comparison of the three shows indicates similar running time of around an hour. "Fire", "Hey Joe" and "Purple Haze" were played at all three, as was the increasingly rare "Wind Cries Mary", which was played fairly frequently on this tour and then put away forever. I've always been puzzled that Chris Dixon's review of the Dallas show indicates that "Red House" was played after "Spanish Castle Magic" but the timing of my copy matches up to that listed on the website and there is no "Red House" nor is there any audible cut between the end of "Spanish" and the beginning of the jam into PH where the "Red House"is supposed to be. In fact, Jimi talks over the whole thing and his rap seems intact. The format for all three shows seems to be the hits, one long song with a drum solo, (Tax Free for 2/16, Catfish Blues for the others) and a close with a solo wall-of-sound intro into Purple Haze, followed by a "Wild Thing" encore at all three shows. Jimi was probably really laying the "show" on during the encore, giving the down-home crowd what they wanted.

A few words about the recording, and then the show itself. It certainly sounds like it could have been the same machine as the other shows, but the lack of hiss here indicates that this is probably a very lo-gen recording, maybe even the master tape itself. The recorder was most likely a small reel-to-reel as the fidelity certainly seems better than the cassette recorders of the time would have been able to produce. The worst defects the recording suffers from are occasional moments when the tape sounds "mangled", possibly chewed on by the capstan at some point. These are fairly rare. The tape also suffers from saturated levels from the sheer volume Jimi was playing at at the time. However, neither of these detract significantly from the listenability or the quality of the music.

Show opens with an intro, some guy who sounds like a high-school principal introducing another fellow named Steve Lundane. During the speech two ear-shattering bursts of feedback blast everyone as a fair warning! Steve Lundane sounds African-American, possibly a DJ? He introduces Jimi proper, who begins playing without speaking, the intro to "Sgt Pepper". This evidently was played many times on this tour, then put away until mid-1970. "Fire" follows, after brief applause. Noel is very audible here during the call-and-response, a nice treat. Jimi's playing is terrific, sometimes loose and funky, sometimes very tight and sometimes a tasteful blend of the two. He keeps the solos short and to the point, very much like the records for the most part.

After "Fire" Jimi makes some remarks about "welcome to...what is this? Wonderland...Tennesee...Mexico!" A few folks laugh. Jimi wipes the smiles from their faces with a wall of feedback which leads into a funky "Hey Joe", the arpeggiated line usually heard at the ending starting the song instead.

During "Foxy Lady" Jimi masterfully controls the feedback as he delivers the song, the Fuzz Face in full effect on the solo. During the outro he lets the bass strings ring as he plays on the treble, creating the "guitar army" by himself!

Jimi intros the next song as "something that'll bore you for about a dozen and a half days, a song called...Tune-up time! That's the name of the next song!" Jimi finally gets the guitar in tune. "Now we'd like to do another song, The Wind Cries Mary."

The crowd seems very quiet at this point, but it seems to be very respectful, similar to the crowds he played for in Scandinavia. They clap for the song, then they shut up and listen. Wish some of the later tapes had this vibe! Jimi's fills are very pretty and creative. The solo features some nice elaborations on the recorded version, fast trills on the high strings adding a Baroque touch.

"I Don't Live Today" is dedicated to "all the minority groups, especially the Indians". Jimi finally stretches out, extending the song to almost six minutes, and pulling out the whole bag of tricks. Some of the tape mangle is prevalent here, but it's clear that all of the effects Jimi would be later known for are displayed on this song. He uses the feedback symphonically, creating multiple textures that ring simultaneously and produce otherworldly harmonies as he dives and raises the whammy in time with the song's rhythm. Finally he breaks the song down to the "nothing but existing" line and exits quick-time with the outro. Not too different from the album, but a good three minutes of freakout added in. After the song, Jimi seems to be talking to someone off the stage, possibly about a song request? After that Jimi says into the mike "we'd like to do our OWN thing for you, you know Muddy Waters blues...our OWN thing." After this we get the final known version of "Catfish Blues" save for the 8/31/70 version in Stockholm. It's a great version, too, Jimi really savoring the vibe. His drawl seems especially deep as he spreads it on thick for the Southern crowd. The guitar roars like a locomotive and stampedes through the stratosphere as he celebrates the depth of the primitive rhythm. We get the "Two Trains Running" verse, then "Rolling and Tumbling", then the stage is left to Mitch, who shows off his chops with polyrhythmic tom rolls and fancy bass footwork.

After Jimi returns to the stage, he does something I've never heard him do before. He plays for a few seconds at mid-volume, then turns the guitar down until it is barely audible. In fact, at one point he seems to turn it off altogether and it seems like you can still hear the strings rattling against the frets as he strums. The crowd is almost totally hushed at this point, then Jimi roars back with a double-time version of the riff, waterfalls of sound cascading down in a classic rave-up ending.

Jimi checks his tuning, then introduces the next song: "As you all know, we recorded Purple Haze in 1932, we'd like to do for you the later edition, the third, all-new psychedelic edition, 1948 style..." The solo intro into the song is pure Jimi, the guitar alternately moaning and screaming as the feedback layers on top of itself. The recorder mic cuts out as its tiny limiter is overwhelmed, then the sound returns as Jimi strums mountains of purple mist, dying howls of trapped beasts, splintered cliffs collapsing into Jovian canyons. Robots march, and out of the chaos emerges the thunderous, two-note riff. The solo is a note-for-note match of the recording, actually a nice little melody if you've ever sung it to yourself. Noel's 'oohs' and 'aahs' are easily heard in the mix.

The solo coda is more eye-watering, ear-bleeding ululations on the high frets before sliding down into a whammy crash-dive. The crowd hand seems a little timid, and Jimi makes a remark that "if we was gettin' paid by applause alone, we'd be starvin' to death right now." Maybe he felt like the crowd wasn't into it for some reason. After he says this, he gets his best hand so far as the crowd is obviously eager to show they are not unappreciative. This leads to his old tried-and-true "You can boo if you want to, just boo in key." Then it's time for "that one more last song: Tune-up time!". Then he says something like "man, the visitors from your universe are very small if that's what you think about, and you're right. Imagine everybody coming back from the war, any kind of war of the world and instead of singing about 'all the children dead?' (sings hymn style)...all that mess...what if they marched down the street singing a song...that will be in tune...and it's like an international anthem, where everybody can sing...so that's what we're gonna do...we're gonna sing a song that everybody can sing to, goes something like this here." The crashing riff of "Wild Thing" explodes, Jimi and Noel singing together, Noel's English accent such a nice counterpoint to Jimi's drawl. Jimi no doubt is pulling out all the stops, with lightning fast riffs that double up on themselves before falling back into the rhythm of the song. On the final chorus, the song cuts, but it doesn't matter. Even the sun has to set sometime. This is a great addition to the live archive, a must-hear if you are a fan of Jimi's concert performances. Mucho kudos and a big JH hug to the folks over at Experience Hendrix for putting this out for the public to enjoy.

As always, anyone who has more info on this show or any others out there, or Jimi stories to tell, you can drop me an e-mail at tallboy@tampabay.rr.com.

Joe Morgan

1968/03/26 - Public Music Hall, Cleveland, OH - The Jimi Hendrix Experience



Two shows were performed on the night of March 26, 1968 by The Jimi Hendrix Experience, set list information only exists for the second show.

2nd Show Set List:

Sgt. Pepper's Lonely Hearts Club Band
Fire
I Don't Live Today
Red House
Foxy Lady
Spanish Castle Magic
Manic Depression
Purple Haze
Wild Thing « Taps

To obtain an audience sourced recording from this early 1968 show, click on this link

Check out a photo of Jimi during an interview on Radio WKYC Interview with Chuck Dunaway at 4.30pm



Below is photos of Jimi and his band backstage and on stage for the 2 shows he gave Cleveland on March 26, 1968.







From Just Ask The Axis:

From Chris Dixon's 30th Anniversary Series © C S Dixon
March 26, 1998 is 30 years since the only Jimi show ever in Cleveland.

Jimi's only appearance in my hometown! Sadly I was only 11 and didn't go. There were two shows that night and the first was marked by a bomb scare. The crowds at both shows were rowdy and tore up Music Hall so bad that Jimi wasn't welcome back to Cleveland (robbing me of the chance to see him, as I certainly would have in 69 or 70!). I remember shortly afterward tearing an article about the show out of a Time magazine in the school library- it was titled 'Fireman, spare that guitar!' and written, I read later, by Joe Ezterhaus, Clevelander-turned Rolling Stone writer-turned big time screenwriter. Also read later that PR man Michael Goldstein was from my home 'burb of Shaker Heights and there was a description of Jimi tooling around Shaker in the Corvette he bought that day in Cleve- jeez, he was right there!

Anyway, the second show survives on tape. Not too bad sounding for the era but, as is typical, the vocals are buried on the loud songs. Some great shots survive from the shows and I can see that the PA stacks were a mere 2 Altec Voice of the Theater cabs (15" speaker and 1" horn) per side- I got more PA than that in my garage!! Near the beginning of the show Jimi says (I think) "Welcome to Cleveland"- one of the few times I can think of him referring to (or maybe, knowing) the town he's in during a show! Couple of musical notes:


Opens with increasingly rare 'Sgt Pepper'. Only later recorded versions are 9 months later in Providence then twice in 1970 (Philly and IoW).

Pretty slow 'Red House' and ever longer- over 11 minutes now (though the tape is a little slow). Middle part features a wah solo followed by the 'slapped' chordal bit into a couple of heavy handed verses.

Sixth documented 'Spanish Castle Magic' still close to record at under 5 min.

Great, and ever rare, 'Manic Depression', 3rd of 7 recorded live ones. Before playing it the crowd is yelling out requests and Jimi says "we want to play Stone Free but first we'll do Manic Depression", however after MD he says "we can only do 2 more so just pretend we did Stone Free" !!

Before Wild Thing he uses the 'I'll take off my hat if you take off your pants" line as the crowd's been yelling about the damn hat since the third song! Wild Thing has a higher-than-usual # of quotes. Before starting the familiar chords he does that 'Leader of the Pack' line, then a few words (mentions the soldiers coming back with 'feedback guitars'), then a few bars of what sounds like 'Dear Mr Fantasy' (though contains hints of his later 'Bolero' progression)! Also, after the usual 'Strangers in the Night' quote he plays what I think is a Jeff Beck line from 'Shapes Of Things', though it might be something else (Cream?) that I can't quite put my finger on at the moment .
The tape continues for quite awhile after the show ends and at one point you hear a guy yell something like "whoa, better put your crash helmets on!" ??????....guess we'll never know.....

Cleveland Rocked