Moon Turn The Tides...Gently Gently Away

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

2009-09-30T11:06:00.000-07:00

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

1967/02/25 - "Saturday Scene", Corn Exchange, Chelmsford, Essex, England, UK

2009-09-29T16:19:00.000-07:00

The audio portion of this show is contained on the ATM release Summertime Blues (ATM 094)

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

2009-09-28T10:44:00.000-07:00

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

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?:

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

2009-09-28T05:52:00.000-07:00

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!

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

2009-09-27T13:10:00.000-07:00

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

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

2009-09-24T12:45:00.000-07:00

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

2009-09-24T12:34:00.000-07:00

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!

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

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

2009-09-24T12:10:00.000-07:00

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

1968/04/07 - "Wake at Generation" - Jimi Hendrix and Friends

2009-09-24T12:05:00.000-07:00

Generation Club, New York City, NY
April 7, 1968

From In From The Storm:

Unreleased D.A.Pennenbaker film featuring Jimi Hendrix, Janis Joplins Big Brother & The Holding Company, Buddy Guy, B.B.King, Joni Mitchell and Richie Havens plus various guests including Paul Butterfield and Elvin Bishop.

From youtube user jamminjimi about the videos posted above:

Generation Club, 52 West 8th Street, New York, NY, 1968-04-07. Jimi Hendrix - guitar Dave Woods or Roy Buchanan - guitar Ed "Bugs" Gregory - bass Glenway McTeer? - drums

Generation Club, 52 West 8th Street, New York, NY, 1968-04-07. Jimi watches Buddy Guy perform Stormy Monday

Video of "Wake at Generation" can be downloaded here:

MCP-VA16 Wake At Generation & Live at the Fillmore East

Flight into 1968 - DVD

Please take a moment to read about the crisis that sparked this monumental pairing of artists at the Generation Club in New York in commemoration of the life, spirit and work that Martin Luther King, jr. brought to this world:

King was booked in room 306 at the Lorraine Motel in Memphis, owned by black businessman Walter Bailey (and named after his wife). King's close friend and colleague, Reverend Ralph David Abernathy, who was present at the assassination, told the House Select Committee on Assassinations that King and his entourage stayed in room 306 at the Lorraine Motel so often that it was known as the "King-Abernathy Suite."

According to biographer Taylor Branch, King's last words were to musician Ben Branch, who was scheduled to perform that night at an event King was going to attend: "Ben, make sure you play 'Take My Hand, Precious Lord' in the meeting tonight. Play it real pretty."

At 6:01 p.m. on April 4, 1968, while he was standing on the motel's second floor balcony, King was struck by a single bullet fired from a rifle. The bullet travelled through the right side of his neck, smashing his throat and then going down his spinal cord before lodging in his shoulder.

King was rushed to St. Joseph's Hospital, where doctors opened his chest and performed manual heart massage. He was pronounced dead at 7:05 p.m. According to Taylor Branch, King's autopsy revealed that though he was only 39 years old, he had the heart of a 60 year old man

Source: Wikipedia

The following are all clips taken from this inspired night of performances for Martin Luther King, jr.:

1968/05/10 - Fillmore East, 2nd Avenue/6th Street, New York, NY - The Jimi Hendrix Experience

2009-09-24T12:00:00.000-07:00

Easily one of my favorite Jimi Hendrix performances, words don't need to be expressed to tell how good this tape is. Red House from this audience tape is the longest version known to have been played by Hendrix, not to be missed! Two shows were performed, but there is only info and an audience recording available for the second performance, which is what has been provided below from the 2007 bootleg release Thank You, and I Just Blew Another Amp!:

This was a companion disc with "Can You Dig That? torrented by Hans-Peter last Summer. An upgrade, compared with "Bill Grahan Presents..." and of course the best source for this concert in circulation.

The Jimi Hendrix Experience

"Thank You, and I Just Blew Another Amp!"
(For Trade Only FTO 011, 24/VI/2007, 1CDR)

Fillmore East
New York City, NY
May 10th, 1968 - 2nd Show

- Audience recording - 1st generation
- Digitally restored, phase & speed corrected
- Artwork included (original and edited)

Track list:
01. Lover Man
02. Fire
03. Foxy Lady
04. Red House
05. Hey Joe
06. The Sunshine Of Your Love
07. Hear My Train A-Comin'
08. Can You Please Crawl Out Your Window ?
09. Purple Haze
10. Wild Thing
Total time: 62:16

Notes (from "In From The Storm" site): This is an upgrade that has been doing the rounds in Summer 2007. Generally considered to be one of Hendrix' finest performances, it has has been bootlegged several times over the years. These bootlegs have all been missing "Wild Thing" (19), and collector's discs - including the ATM 093 "Bill Graham Presentes The Jimi Hendrix Experience" - have only featured 0:46 of the track. Although still incomplete, "Wild Thing" (19) clocks in at 3:16 here, making this set not only an upgrade in regard to generation, but also the longest and most complete version of the show to date.

This disc is compiled from 2 different 1st generation transfers of the recording, which were both unfortunately incomplete. The Main portion is taken from the 2nd
transfer, while "Hey Joe" (28) and parts of "Red House" (19) and "Purple Haze" (27) were patched from the 1st transfer. It has also been phase corrected and pitch adjusted (the pitch varied throughout the main source - on "Red House" (19) alone, pitch saged by about 7% from start to the end of the track!)

This version of the Fillmore East recording includes various in-between-song chat and tune-ups omitted from all pre-2007 bootleg versions of this show.

April 2007.

Check out an amazing collection of photos of Jimi on stage and backstage for the Fillmore gig Hendrix did in May of '68. Photos provided by flickr user rising70:

Check out more photos from this gig here

From Just Ask The Axis:

From Chris Dixon's 30th Anniversary Series

May 10, 1998 marks 30 years since Jimi's landmark Fillmore East 68 show. This has always been one of my favorites. Some time off from the road and being in his old haunts of NYC finds Jimi in a good, and musically adventurous, mood. He apologises for malfunctioning amps, saying "we haven't had a chance to get them overhauled in America" -curious as the band had been in the states for awhile-maybe some more amps got sent over during the break in the concert schedule?. Technical problems really aren't noticable, though he does have some tuning problems later in the set. In all, this is one of the best sounding audience tapes out there IMO- probably the result of the Fillmore's good sound/acoustics and a lucky taper position! A few highlights:

First concert appearance of the 'Lover Man' rewrite of 'Rock Me Baby'. Pretty loose with a longer intro. Jimi would return to 'Rock Me Baby' briefly in Aug 68 before settling into the 'Lover Man' version for good.

After 'Lover Man' he plays brief snatches of 'Surfin USA' and 'Summertime Blues', blaming it on "I just had a flash..."!

Great 'Red House'. I believe this is the first recording (and one of the few) of the black Les Paul Custom (it appears in pics from Newark in April), and it's rich, darker tone is immediately evident. Pictures show this Paul as having not only the original square-polepieced Alnico neck pickup, but what looks like a large P90 single coil in the bridge position instead of the traditional humbuck- this would make it a late 50's model (Jimi didn't seem to be a vintage guitar freak for the most part). Anyway, this is possibly the longest 'Red House' on the record at a little over 15 minutes! He plays an extra verse before the vocals enter, then a straight solo followed by a verse of that 'slapped' chordal technique. Doesn't sound like the heavy Les Paul body is quite as responsive to this as the lighter Flying V. Then there's a rare (for Red House) drum solo- these often appear in Jimi's show's when he's having guitar troubles, though he plays fills for a short while before dropping out. When he re-enters it's with wha-wha and he does a clean solo with that and then plays with it unaccompnied for a bit, ending with more 'slapped' chords with wha which sound more percussive so possibly he's using a drumstick on the strings. The band reenters and he cranks it up for a couple of verses with 'full shred' wha sound before finishing it off with the last vocal verse. Right up there with San Diego and RAH for my favorite versions!

'Hey Joe' also one of the, if not the, longest at about 7 minutes. The 'dramatic' intro has returned and is a bit longer. Plus, he does what is usually the final solo, then *returns* to the last two verses and another short solo before ending it.

First concert appearance of 'Sunshine Of Your Love', though they only goof on it for about 25 seconds! It wouldn't appear in full until the fall leg of the tour.

First regular concert appearance of 'Hear My Train' (though they did do an early version at BBC). Jimi introduces it a couple of minutes in as "a song we've never played before". Unusual features include a section played with teeth around 5:30 and a short double time section at end.

Last concert appearance of 'Can You Please Crawl Out Your Window?', though there is that alleged 'soundcheck' version, probably from Winterland 10/68.

'Purple Haze' gets a long intro and outro. Show apparently ended with Wild Thing (listed as incomplete on tape but not on my 'One Night Stand' CD). Pictures from the gig show a nice old sunburst Strat meeting it's maker at the end of this gig....
I usually try to play the impartial reporter but everyone should have this show IMHO!

1968/05/18-20 Miami Pop Festival and The Castaway Hotel, Miami, Florida

2009-09-24T11:55:00.000-07:00

From Woodstockstory.com:

Michael Lang, one of the organizers of Woodstock began his producing career in Miami, FL. The visionary is said to have opened one of the first head shops in the United States. The Miami Pop Festival was the largest music festival up to date, drawing over 100,000 people.

Taking place at Gulfstream Race Track on May 18-19, 1968, this festival is one of those events which was absolutely star-studded yet is completely shadowed by the success and similarities of the subsequent Woodstock and Monterey Pop Festivals. The Miami Pop Festival included bands such artists as Steppenwolf, Jimi Hendrix, The Mothers of Invention, Blue Cheer, and Crazy World of Arthur Brown, Chuck Berry, and Three Dog Night.

This festival marks the Jimi Hendrix performance that is claimed by die-hard fans and virtually nobody else. Although far from his most famous performance, his appearance at the Miami Pop Festival is seen by fans as one of his best. The song "Rainy Day, Dream Away" was also written in response to the cancellation of the Sunday installment of the festival due to, you guessed it- rain.

Most of the recollections of the festival lie in the extraordinary performance of Jimi Hendrix as well as the name behind the organization of the event.

It is reported by people who attended the festival that only about 400 people were interested in Hendrix enough to watch his performance. The rain and technical difficulties which plagued the Hendrix set resulted in Jimi tossing his guitar into the audience, only to be claimed by Frank Zappa. This article can be read in Guitar Player magazine.

The Miami Pop Festival is remembered as the first orchestration of producer Michael Lang pre-Woodstock as well as a lesser known and attended performance by Jimi Hendrix during his short career. Witnesses of the Hendrix performance revere it as one of the best performances not only by Hendrix, but of any musician in history. Many icons of the Woodstock festival had its roots in the Miami Pop Festival. It could also safely be assumed that there would not have even been a Woodstock without the festival in which Michael Lang made himself known.

From wikipedia:

The Miami Pop Festival was a two-day pop music event that took place in Hallendale, north of Miami, Florida, at the Gulfstream Race Track. The festival lasted from May 18–19, 1968, and an estimated 100,000 people attended. This concert was promoted by Michael Lang (promoter of Woodstock). There was also a second festival of the same name in December 1968.

Bands featured at the festival included Steppenwolf, The Jimi Hendrix Experience, The Mothers of Invention, Blue Cheer and Crazy World of Arthur Brown. Jimi Hendrix performed Fire, Foxy Lady, Getting my heart back together and Purple Haze. Sunday's concert was rained out. Because of this, Hendrix wrote "Rainy Day, Dream Away." Chuck Berry, Blues Image, Pacific Gas and Electric and Three Dog Night also performed. The opening act on the main stage on Saturday was a little-known group called The Package and the closing act on that same stage was Jimi Hendrix.

Photos of this historic festival can be purchased here

For a very comprehensive selection of photos of this performance, please go here, the following below come from none other rising70 on flickr

Check out 2 photos of Hendrix jamming at the Wreck Bar, The Castaway Hotel, Miami, Florida on May 20, 1968. Jimi jams on a Guild guitar with Noel Redding, Frank Zappa, Arthur Brown and Jimmy Carl Black!

Here is recently unearthed footage of Jimi and others from this festival (a non compressed version can be downloaded here:

Below is the info file and youtube clips derived from a soundboard recording of this amazing concert, download the none compressed version here

JIMI HENDRIX EXPERIENCE
MIAMI POP FESTIVAL, GULFSTREAM PARK, RACETRACK, HALLANDALE, FLORIDA
MAY 18, 1968 - 2nd SHOW
EX+ SOUNDBOARD RECORDING

lineage audio: MASTER > DAT > CDR > EAC > WAV > FLAC (Level 6)

PRESENTED BY JOINT PRODUCTION / 2 SHOWS / AROUND 25000 PEOPLE

others acts on the bill: MOTHERS OF INVENTION, JOHN LEE HOOKER, BLUE CHEER,
CRAZY WORLD OF ARTHUR BROWN

tracklisting:

1. INTRO
2. FOXY LADY
3. FIRE
4. HEAR MY TRAIN A COMIN
5. PURPLE HAZE
6. OUTRO

Enjoy, Share & Preserve Quality !!!
Brought to You by BP
[January 2006]
If anyone has artwork. It would be great.

1968/05/23 - 1968/05/26 - Italy - The Jimi Hendrix Experience

2009-09-24T11:52:00.000-07:00

This post is for Roberto Crema, thanks for the help! A major portion of the photos present in this post come from flickr user rising70.

Jimi Hendrix and his band, The Experience spend 4 days in Italy performing, jamming and having a good time during their stay in Italy.

May 23, 1968
Piper Club, Milano, Lombardia, Italy

May 24, 1968
Teatro Brancaccio, Rome/Roma, Lazio, Italy

May 25, 1968
Teatro Brancaccio, Rome/Roma, Lazio, Italy

May 26, 1968
Palasport, Bologna, Emilia Romagna, Italy

Check out Redding and Hendrix in Milan, Italy at the Hotel Windsor on 23 May 1968 here:

Jimi and The Experience at the Piper Club in Milano, also from the 23rd:

The following 2 days The Jimi Hendrix performed and enjoyed themselves in Rome:

The last day of The Experience in Italy is in Bologna, May 26th, 1968:

Set List for the May 26th performance in Bologna:

Fire
Hey Joe
Stone Free
Red House
Tax Free « Come On (Part I), Mary Had A Little Lamb
Purple Haze
Foxy Lady

The following links take you to all available recordings for the May 26th gig:

1968-05-26 Bologna (ATM 164-165)

Titan Top Show, Palasport, Bologna 26.05.68 - Vibratory 3 Source Merge

Palasport Bologna, 26 maggio 1968

Jimi Hendrix showed up more than 90 minutes late for the concert in Bologna, throwing the organisers and partners into panic.

In his book, Mitch Mitchell remembers the riots at the Palasport because of the public exasperated by Jimi’s delay, but Mitch probably confused this with Milan some days before; in fact, in Bologna the audience was impatient but fortunately there were many support groups that lengthened their sets filling in the waiting time.
The reality was that no one knew where Jimi was. The "official" reason provided by the organizers was that Jimi was very tired, but somebody also said that he was too drunk, but many years ago a boy from Florence told me a story about a bunch of guys who came from Florence just for the concert and they were heading on foot from the station towards the Palasport.

The Alexander Hotel, where Jimi was staying, was near the railway station and in front of the hotel were some gardens. As they walked by there, this group of fans recognized Jimi Hendrix, who was walking alone among the flowerbeds. At first they could not believe it, they couldn’t imagine meeting Jimi. However, they approached him and began to talk. Someone offered him a joint and the time passed. Then a member of the staff rushed into the gardens to look for Jimi and took him away, but before Jimi left one of the boys took some roses from a bush nearby and gave it to Jimi who used it as decoration for the scoop of his Stratocaster.

Later, Beppe Brilli announced the Jimi Hendrix Experience to an enthusiastic audience. Jimi saluted the audience and immediately apologized because he can’t make the best use of his equipment because of problems with the power supply. The concert then begins with Fire, a version quite similar to the studio version but the solo is performed without distortion. This was followed by Hey Joe, a very clean version. Also this is an excellent performance with little variation from the original. Stone Free is the third track proposed. Even here the sound of Jimi is less saturated than usual; the solo is performed without distortion. Then, probably distracted by technical problems, he messed around a bit with the tone and led the song towards the end.

Daniele Guidazzi, guitarist of one of the support groups, Ivan & the Meteors, recalls:

“What was most impressive, as a musician, was the arrival of this mountain of amplifiers because we had never seen before such a huge mass of amplifier in Italy”.
When Jimi arrived at the Palasport he was really pissed off because somebody stole some fuzz pedals.

“I remember that at one point whilst I was putting on my guitar, Jimi came on stage to make his point and we turned a sound check into a twenty minute jam. Jimi then disappeared into the dressing room. Another odd memory is that we had in our repertoire a song by Jimi and we wanted to play it knowing that he was there. The piece was "Stone Free" - we tried to play it in a very similar way to Jimi’s original version, but our singer, as most of the Italian singers of that period, didn’t speak English and obviously he only tried to imitate the words of the song and I’m sure that if Jimi had heard our rendition of his song he would have pissed himself laughing!”.

Red House was the fourth track. It was a wonderful ten minute version, beginning with very clean blues phrasing. Jimi soon abandons the words for an interlude in which he keeps the rhythm by striking the guitar strings and then a delicate solo with the wah wah pedal introduces the final stanza.
Jimi apologizes again to the audience and says that they will not play Foxy Lady because "there is not enough electrical power to play 'Foxy Lady'......we're trying to play electric music and we don't have enough electricity for our music, so we'll do a jam...... we're trying to play electric music and we do not have enough electricity for our own music, so we'll do a jam ...".

“Tax Free” is a splendid performance of more than ten minutes with a short bass and drums solo. Here, Jimi seems more relaxed. Hendrix apologized again to the public for the problems with the instruments. From here the recording is less good and the version of "Purple Haze" that follows is less aggressive than usual, maybe because Jimi uses only a natural wah wah and distortion amplifier with the volume up and without the fuzz face.

Despite of what he just said before, the Experience played "Foxy Lady", to meet the constant demands of the public. This is a strange version, very clean. The initial feedback is almost non-existent and both the solo and also the final is a bit confused while Jimi says “.Now, you know, you’re experienced”.

With this song ends the tour of the Jimi Hendrix Experience in Italy.

Roberto Crema

1968/XX/XX - Mylar Chamber with Jimi Hendrix - Ira Cohen

2009-09-24T11:48:00.000-07:00

A print of this magnificent image of Jimi Hendrix in Ira Cohens Mylar chamber can be purhcased here

Here is what Jimi had to say about Ira Cohens very special imaging techniques:

"Looking at these photos was like looking through butterfly wings."

From Ira Cohen: “A rare portrait of Jimi Hendrix with his double, one of the last portraits taken in the Mylar Chamber and one of the most memorable.”

To learn more about the fascinating world of Ira Cohen, please visit this page

1968/08/23 - "The New York Rock Festival", Singer Bowl, Flushing Meadows Park, Queens, New York, NY - The Jimi Hendrix Experience

2009-09-24T11:44:00.000-07:00

Set List:

Are You Experienced
Fire
Red House
I Don't Live Today
Like A Rolling Stone
Foxy Lady
Purple Haze
Hey Joe
Wild Thing »
Star Spangled Banner

To download an almost complete audio source along with a 23:15 color video of this performance, follow this link

All photos in this post are from none other, flickr member rising70.

Watch all available video of this gig here

From Just Ask The Axis

From Chris Dixon's 30th Anniversary Series © C S Dixon
August 23, 1998 marks 30 years since Jimi's show at the Singer Bowl outside NYC. The tape's a bit distorted and trebly but the balance is really pretty good- it's one of the few audience tapes where the voice is actually louder than the guitar (though the PA sounds a bit tinny). Jimi seems in good spirits and this is backed up by some backstage shots where he looks relaxed and happy. He's wearing a stage suit that is familiar from the BoG shows. A shot recently surfaced of him working intently on his guitars before the show- no guitar techs in those days!

Third recorded show in a row that opens w/ 'Are You Experienced?'. The guitar goes way out of tune in the middle and then drops out. Film reveals that he lays it on the stage and plays it with his feet while he straps on another! This show has him playing a Lake Placid Blue Strat that to my knowledge does not show up again.

'Red House' has some of it's opening solo (before vocals) cut on tape. Some nice soloing after vocals then guitar drops briefly out. He returns with the 'slapped' chordal interlude but it has a much sharper attack than usual- may be playing it with a drumstick?

'Like A Rolling Stone' makes a rare appearance, the first recorded example since the previous spring. This is one of the few, if not only, songs he did live that had no solo proper, but his fills and chordal embellishments on this never fail to amaze me!!

'Star Spangled Banner' makes it's second concert appearance, still just a snippet. It appears during the outro of Purple Haze during a little 'joking around' section- I also hear snatches of 'Amazing Grace' and 'Home On The Range'! A full version of SSB appears the following week...

'Hey Joe' has regained it's extended intro. Jimi dedicates it to "...all the Village people..."- now *there's* a creepy prophecy! Specifically mentions Tim Rose, whose version of HJ apparently inspired Jimi to cover same- maybe Rose was in the audience and Jimi was giving him a tip of the hat?

1968/09/04 - 1968/10/18 - All Along The Watchtower Single Release - The Jimi Hendrix Experience

2009-09-24T11:40:00.000-07:00

September 4, 1968
"All Along The Watchtower" b/w "The Burning Of The Midnight Lamp"
Reprise Records, United States, Catalog: 0767
Single Release

???
"All Along The Watchtower" b/w "Can You See Me?"
Polydor Records
Single Release

October 18, 1968
"All Along The Watchtower" b/w "Long Hot Summer Night"
Track Records, England, Catalog: 604 025
Single Release

1968/10/01-08 - Honolulu, Hawaii - The Jimi Hendrix Experience

2009-09-24T11:30:00.000-07:00

All of the following excerpts below come from the Jimi Hendrix Encylopedia:

October 1, 1968
Honolulu, Hawaii

Jimi Hendrix, Mitch Mitchell and Noel Redding fly from London's Heathrow International Airport to Los Angeles, California. Hendrix carries on to Honolulu, Hawaii without Mitchell and Redding. Upon Hendrix's arrival in Honolulu, he is promptly interviewed by Wayne Harada for the October 3 issue of The Honolulu Advertiser.

October 4, 1968
Honolulu, Hawaii

Mitch Mitchell and Noel Redding travel to Honolulu where they meet up with Hendrix. While on the island, The Experience stay at a rented house located near the foot of Diamond Head

October 5, 1968
Honolulu International Center, Honolulu, Hawaii
with Times Music Company

SETLIST:
Sunshine Of Your Love // Come On (Part One) // Hey Joe // I Don't Live Today // Foxey Lady // Star Spangled Banner // Purple Haze

The Jimi Hendrix Experience perform at the Honolulu International Center with support from Times Music Co.

October 6, 1968
Honolulu, Hawaii (plus Radio Station KPOI-FM)

On the Island of Maui, The Experience takes part in a series of photo shoots with Ron Raffaelli for A Visual Thing.

Where Jimi Hendrix was the first artist to fully recognize the value of controlling all major aspects of his music -- from producing and promoting his own tours to outfitting concert venues with better equipment to help enhance his performances -- he also recognized the importance of managing his image in the sale of merchandise. As a result, Jimi's manager, Michael Jeffrey employed Jerry Goldstein's A Visual Thing, a recognized firm who merchandised several top touring acts through the UK, to produce and market a variety of posters and subsequent tour books to the masses. The dramatic photos from this and susequent photos shoots around the island and back in California were the subject of several different product releases.

Following the Raffaelli photo calls, Jimi Hendrix was interviewed at radio station K-POI in Honolulu.

October 7, 1968
Honolulu, Hawaii

The group continues with the photo sessions with Ron Raffaelli. Hendrix and Raffaelli take a spin in Jimi's new Corvette Stingray but Jimi crashes it during the short-lived ride.

October 8, 1968
Honolulu, Hawaii
Los Angeles, California

The Experience take a return flight from Honolulu To Los Angeles.

Below is photos taken of Jimi and The Experience during their stay in what Jimi refered to as the cosmic sand box. All photos provided by flickr user rising70:

1968/10/16 - 1968/10/31 - TTG Studios, Hollywood, California - The Jimi Hendrix Experience

2009-09-24T11:15:00.000-07:00

Jimi Hendrix and The Experience had just completed 6 shows in 3 days at the historic Winterland Ballroom in San Fracnsico, CA a few weeks prior to booking time at TTG Studios, the most advanced studio set up of its time, having the only 16 track recorder around! Jimi, Mitch and Noel settled into a rented house in Benedict Canyon where they resided and had lavish parties, one of which almost killed Hendrix as he was stopped by a boulder before going off the side of a cliff in one of his many Corvettes. Jimi and his band were becoming more disconected. The amount of material pulled from just the trio of Mitch, Noel and Jimi was very little and the amount of musicians who would join Hendrix during his stay at TTG is a direct reflection of how the band had come to operate as a unit. The Experience had just finished their masterpiece, Electric Ladyland and would eventually release it during their time at TTG Studios. This would prove to be the bands first attempts on recordings for new songs to be included on the bands 4th LP. Little did the band know, Hendrix and The Experience would split up before an album of new material could be realized and released.

Check out the only footage to exist from Hendrix's stay in Los Angeles, October of 1968

All of the following detailed descriptions of Jimi's stay in Los Angeles comes from the official Hendrix Encyclopedia

October 16, 1968
Los Angeles, California

Jacoba Atlas interviews Jimi Hendrix at his rented house, for the February 1969 issue of Hullabaloo and January 1969 issue of Teen Set magazine.

Also, sometime around the beginning of his stay, Jimi jams with Jack Bruce and a few other friends, heres the notes from yuotube member ferrymuskitta:

Recorded Oktober 16th or 17th, 1968 at TTG Studios (Studio B), 1441 N. McCadden St. Hollywood, CA.

Jimi Hendrix - guitar, Jim McCarty - guitar, unknown - guitar. Jack Bruce - bass, Buddy Miles - drums.

Set list:

1. (JS 10) Jam #5 [12 Bar in E]
2. (JS 11) Jam #6 in E
3. (JS 12) I Just Wanna Make Love To You
4. (JS 6) Jam #1 [12 Bar Blues in E]
5. (JS 7) Jam #2 in D
6. (JS 8) Jam #3
7. Sunshine Of Your Love
8. (JS 9) Ka, #4 in D
9. Sunshine Of Your Love

October 18, 1968
TTG Studios, Hollywood, California
[ Studio Recordings ]

TAPE LOG:
Izabella // Messenger

Hendrix records his first version of "Izabella" with Mitchell and Redding at TTG Studios (a.k.a. - Sunset-Highland Studios) at 1441 N. McCadden Place in Hollywood, California. Also recorded during this session was an newly penned composition titled, "Messenger."

October 19, 1968
Fillmore West, San Francisco, California
Whiskey A Go Go, Hollywood, California
[ JAM SESSION ]

Hendrix and Mitch Mitchell attend Cream's final U.S. concert at the Fillmore West in San Francisco, California. Hendrix later jams with Lee Michaels at the Whiskey A Go Go in Hollywood and then throws a party back at his rented house. Hendrix reportedly trashes his Corvette Stingray in a severe accident; fortunately, he was not hurt in the accident.

October 20, 1968
TTG Studios, Hollywood, California
[ Studio Recordings ]

TAPE LOG:
Messenger [15 takes]

Fifteen takes of "Messenger" were completed at TTG Studios before the final rendition, which includes piano accompaniment by Lee Michaels was put to tape.

October 21, 1968
TTG Studios, Hollywood, California
[ Studio Recordings ]

TAPE LOG:
Call All The Devil's Children [27 takes]

Hendrix records twenty-seven takes of "Calling All The Devil's Children," a tongue-in-cheek "party" song.

October 22, 1968
TTG Studios, Hollywood, California
[ Studio Recordings ]

TAPE LOG:

Mr. Bad Luck (AKA Mr. Lost Soul) [26 takes] \\ Look Over Yonder
Back at TTG Studios, Hendrix revives the sessions of "Mr. Bad Luck" (previously known as "Mr. Lost Soul") and later decides to rename the song "Look Over Yonder" after the seventeenth take.

October 23, 1968
TTG Studios, Hollywood, California
[ Studio Recordings ]

TAPE LOG:

The New Rising Sun (AKA Hey Baby (New Rising Sun)) \\ Introductions \\ Peace
Hendrix makes early headway on a new track, "The New Rising Sun" later released as "Hey Baby (New Rising Sun)" posthumously on 1997's First Rays Of The New Rising Sun. Take two of the five renditions put to tape would be later chosen as the master recording. Also recorded were "Introductions" and "Peace."

October 24, 1968
TTG Studios, Hollywood, California
[ Studio Recordings ]

TAPE LOG:
Peace [15 takes] \\ Peace In Mississippi \\ Peace Jam \\ Here He Comes (AKA Lover Man)

This session started with the group revisiting the previous day's recording of "Peace," which was then replaced with fifteen fresh recordings of the track. "Peace In Mississippi," "Peace Jam," and "Here He Comes" are also recorded at TTG Studios on this day.

October 25, 1968
TTG Studios, Hollywood, California
[ Studio Recordings ]

TAPE LOG:

Slow Walkin' Talk
Jimi records a bass track on Robert Wyatt's "Slow Walkin' Talk" at TTG Studios. The track is later pressed onto a one-sided acetate recording.

October 27, 1968
TTG Studios, Hollywood, California
[ STUDIO RECORDINGS ]

TAPE LOG:
Jam Session

Back at TTG Studios, The Experience fail to make any headway on recordings, with only one recording, titled "Jam Session," considered complete from this session.

October 29, 1968
TTG Studios, Hollywood, California
[ STUDIO RECORDINGS ]

TAPE LOG:
Here He Comes (AKA Lover Man) // Electric Church - Red House

"Here He Comes" (later retitled as "Lover Man") and "Electric Church-Red House" are recorded at TTG Studios. The stunning "Electric Church-Red House" features both Mitchell and Buddy Miles on drums, Redding on Bass, and Lee Michaels on organ. The track is later released on the posthumous compilation Jimi Hendrix :Blues.

Hendrix completes a telephone interview with Alan Welsh for the November 9 issue of Melody Maker magazine.

October 30, 1968
TTG Studios, Hollywood, California
[ STUDIO RECORDINGS ]

TAPE LOG:
Let Me Stay // Magic Carpet // Morning Glory // Mr. Guy Fawkes // Yes, I Need Someone

Jimi Hendrix lends his hand as a producer at Eire Apparent's studio recordings at TTG. Included in this day's recording itinerary are "Let Me Stay," "Magic Carpet," "Morning Glory," "Mr. Guy Fawkes," and "Yes I Need Someone."

October 31, 1968
TTG Studios, Hollywood, California
[ STUDIO RECORDINGS ]

TAPE LOG:
Captive In The Sun // Clown

Hendrix returns to TTG Studios to continue work with Eire Apparent. Recordings for "Captive In The Sun" and "Clown" are completed during this session.

1969/01/04 - "Happening For Lulu", BBC Television Centre, Studio 4, Wood Lane, Shepherd's Bush, London W12, England - The Jimi Hendrix Experience

2009-09-24T11:00:00.000-07:00

Set List

Voodoo Child (slight return)
Hey Joe
Sunshine Of Your Love

1969/01/10 - Falkoner Centeret, Copenhagen - The Jimi Hendrix Experience

2009-09-24T10:50:00.000-07:00

1st show

Fire
Foxy Lady
Tax Free
Spanish Castle Magic
Red House
Sunshine Of Your Love
I Don't Live Today«Third Stone From The Sun
Purple Haze

2nd show

Johhny B. Goode
Sunshine Of Your Love
Red House
Fire
Voodoo Child (slight return)
Foxy Lady
Spanish Castle Magic
Hear My Train A Comin'

Below is an extensive list of audience derived sources for what would prove to be one of the more exceptional nights on the 1969 tour of Europe in early 1969:

1969-01-10 - Rabalder I Teateret

1969-01.10 - Welcome To The Electric Circus Vol 1, Copenhagen

Sweeping up the pieces of yesterday's life (JPIO2-95-102)- interviews

Jimi Hendrix Experience - Copenhagen - January 10, 1969 (1st Show) - ATM 27

FALKONER CENTERET, COPENHAGEN 10.JAN 1969 - 2nd SHOW

From Just Ask The Axis

From Chris Dixon's 30th Anniversary Series © C S Dixon
January 10th, 1999 marks 30 years since Jimi's show at the Falkoner Centret in Copenhagen, Denmark. The gruelling pace of this European jaunt continues (3 days / 6 shows with 2 more tomorrow!!). Despite this, Jimi & Co. turn in some great performances this night IMO. Tape survives of the complete first show and of just 4 songs from the second. The mix is reasonably listenable but, as is typical, the guitar loudest (no complaints). The vocals suffer the most, the victim of yet another woefully inadequate sound system. Songs in which the guitar phrases around the voice (I Don't Live Today, Red House) fare a bit better but on the louder stuff the voice is essentially missing. Funny, when you know what it's supposed to sound like you can at least imagine the words are being heard - much like convincing yourself you see the hidden pics in those optical illusions! Ah well...

(1st show setlist): Fire; Foxy Lady; Tax Free; Spanish Castle Magic; Red House; Sunshine of Your Love; I Don't Live Today; Star Spangled Banner; Purple Haze

'Foxy' features some clever variations on the solo otherwise sticks to usual form.

'Tax Free' makes its first documented appearance since the Oct 68 Winterland run. Jimi mentions composers Hansson & Karlsson - reasonable to guess they were in attendance at some of these shows. The opening chords have a much cleaner tone than previous (and later) versions. After the initial theme, Jimi speeds it up and does a riff briefly reminiscent of King Crimsons '21st Century Schizoid Man' (a current release at the time I think?). He then slows it down for a jazzy middle section similar to the 'War Heroes' studio version, tho not as much of a 3/4 feel. Some percussive chords, sounding much like the 'Red House' interludes of the period (a drumstick perhaps?) gives way to some nice altered chords from Jimi and we hear Mitch in full 'Elvin Jones' mode! Also some nice 'tapped' guitar licks during the speeded up coda...

'Spanish Castle' begins unusually with Mitch starting *before* Jimi instead of the other way around. Jimi's solo varies from it's usual opening statement. He throws in a few country-ish licks much like the previous night, then hits some great rythmic variations, stepping away from strict time and losing Noel and Mitch a bit in the process- some 'edge-of-the-seat' tension but they get locked back in soon enough! After restating the riff he does some unusual 'stops and fills' (sounding a bit like part of the later 'In From The Storm' bridge) before winding it down.

Jimi starts 'Red House' a little out of tune but covers it nicely. For some reason he stops singing (but not playing) after the first line - he starts over at the next 12 bars with a quick aside of "..let's try that one more time..."! The middle solo features a couple of rounds of 'full shred' solo (bridge pickup + depressed wah = ouch!) before the 'slapped' chords and a short 'free time' solo section where, once again, he visits some country-style licks.

Runs right into 'SOYL' but guitar trouble starts as soon as he goes to state the melody. A bass solo follows but Jimi returns quickly, albeit sticking to rythmic muted strums for quite awhile.

Jimi introduces 'VC(SR)' but then says "...we'd like to do 'electric storm' first...like to make a few sounds...electric church music, part one". Offers no further explanation, and does 'I Don't Live Today' instead. He goes nuts on the first solo, as intense as any 'Wild Thing' finale IMO! Even throws in a little 'Star Spangled Banner' and '3rd Stone'! The speeded up final section is very short, but that's certainly understandable!

(2nd show setlist (surviving on tape, that is)): Fire; Voodoo Child (SR); Foxy Lady; Spanish Castle Magic

At start of tape we hear Jimi trying to establish the opening feedback intro for 'Foxy' (always a moment of tension till the note catches!). Starts OK, but then the note jumps an octave, then back, then fizzles completely..so he starts 'Fire' instead- nice recovery!

'Foxy' does end up going off w/o further incident. Some nice variations on both the solo and coda (even a quote from 'Day Tripper' during the last chorus!)

A great 'Spanish Castle' ends the record of this night. Jimi's main solo goes on quite a few tangents, including some extremely long sustained notes, then moves into some random percussive effects on the neck. The pace slows and Jimi and Noel lock in on a descending chord progression that is similar to part of 'Cherokee Mist'. Eventually leads back to the main theme to close.
Quite a recovery from the previous night!

1969/02/18 - 1969/02/24 - Royal Albert Hall - The Jimi Hendrix Experience

2009-09-24T10:40:00.000-07:00

Below is a list of various sources for Jimi's two concert stint at the Royal Albert Hall in 1969.

Prince Albert Does Not Bite The Tongue - RAH 1969-02-18 & 24

Jimi Hendrix - ATM 227-228 JimiHendrixExperience [SBD]

1969-02-24 Royal Albert Hall Soundcheck (WatchTower WT 2005144 2005 1CD) FLAC

Royal Albert Hall In 5.1 - 24 FEB 69

1969-02-18 (Tuesday): Royal Albert Hall, London, England

Tax Free
Fire
Hear My Train A Comin'
Foxy Lady
Red House
Sunshine Of Your Love
Spanish Castle Magic«Message To Love
Star Spangled Banner
Purple Haze
Voodoo Child (slight return)

1969-02-24 (Monday): Royal Albert Hall, London, England

Soundcheck:

Hey Joe
Hound Dog I,II,III,IV,V
Voodoo Child (slight return) I#,II
Hear My Train A Comin'

Concert Set List:

Lover Man
Stone Free
Hear My Train A Comin'
I Don't Live Today
Red House
Foxy Lady
Sunshine Of Your Love
Bleeding Heart
Fire
Little Wing
Voodoo Child (slight return)
Room Full Of Mirrors
Purple Haze
Wild Thing
Smashing The Amps

Watch Jimi Hendrix - Bleedin' Heart - Royal Albert Hall - Blues in Music | View More Free Videos Online at Veoh.com

Below is an interview conducted with Jimi Hendrix in March 69, very briefly after the Royal Albert Hall performances:

Jimi Hendrix Interview

London, England 1969

By Jane de Mendelssohn

JANE: Tell me about your Indian heritage.

JlMI: Well, my grandmother's a full-blooded Indian, that's aIL She used to make clothes for me. And everybody used to.laugh at me when I went to school, you know, the regular sob story. And then, er....yeah, she is, she's full-blodded Cherokee. (laughs)

JANE: And is she still around?

JIMI: Yeah, up in Seattle, Vancouver, British Columbia now.

JANE: And does she live on a reservation?

JIMI: No, she lives in a groovy apartment building. She has a television and a radio and stuff like that. She still has her long silver hair though.

JANE: Can't you tell me something about the whole Indian heritage scene. I don't know much about it.

JIMI: It's just another part of our family, that's all. There's not too much to know. There's a lot of people in Seattle that have a lot of Indian mixed in them.

JANE: Do they still take peyote?

JIMI: Oh yes, it's all over the place. It's mostly around the south-west and all that, around the desert areas, you know. But you know all Indians have different ways of stimulants their own steps toward god, spiritual forms, or whatever ....which it should he kept as, nothing but a step, mind you.

JANE: What I'd really like to ask is ... well, you're very big these days, you've become a real pop giant ...

JlMI: Oh, don't tell me those things (laughs)

JANE: Everybody's writing about you, talking about you, you won the Rolling Stone magazine Performer of the Year award. I want to know how it all affects you as a human being....

JlMI: Well, I'm trying nol to let it affect me at all. It's nothing but a brand, it's the way the public identifies me probably with them, but I don't think that way and it's like anybody else, I just happen to have a chance to be heard.

JANE: Does it touch you?

JlMI: Yeah, it touches me and so forth.

JANE: Do you feel that it cuts you off at all?

JIMI: Yeah, a lotta times. I can't have fun like anybody else. I used to be able to go somewhere, down the Wimpy or something like that, you know earlier on, but most of the time I go down there now there's always people asking for autographs, somebody looking at me really strange, you know, whispering and all that. So then, quite naturally you get complexes about that ... My head's in a position now where I have to take a rest or else I'll completely crack up pretty soon, in the next few hours or days ... (laughs)

JANE: Do you think it's true that teeny boppers don't go for you so much as the sophisticated heads?

JIMI: I've found out that just by looking for myself you know, that you'll find almost anybody in our audience. You see a nine-year old and you see a ninety year old, all ages. It used to be mostly the young people, young adults, you know, like around the Fillmore and the Forum and so., anywhere we play, but now it's anybody almost, you find all kinds of people there. You find a lot of straight people there, so therefore we play twice as loud just to see where they're really at, and they dig it, the louder the hetter, they're just not getting into the fact that it does make you drunk if you let it - just take you away, you know.

JANE: Do you get hustled a lot by people wanting bread and banging on your door?

JIMI: Oh constantly, yeah, I try to treat everybody fairly but if I did I wouldn't he able to buy another guitar. So therefore I just don't go around too much, except when I find a certain little scene going, and just go there if I want to go anywhere. But I stay in bed most of the time, or go to the park or somewhere. That's where I write some of my best songs, in bed, just laying there. I was laying there thinking of some when you came in. A really nice piece of music that I'm getting together for this late summer LP that I'd like to do with this cat named Al Brown in America. It's called the First Ray of the New Rising Sun, and it gives my own ... you know, anybody can protest for instance, like in records or whatever you use your music for, anybody can protest but hardly anybody tries to give a decent type of solution, at least a mean time solution, you know.

JANE: You've got the reputation for being very moody. I was almost afraid to come.

JlMI: Moody? Oh that's silly, you fall into the same ... (laughs)! shouldn't say that. That's what you're supposed to think...The establishment, they project a certain image and if it works, they have it made. They knock down somebody else for instance, you know, like saying I'm moody or so and so is evil or saying bla bla, woof woof is a maniac or something, so that everybody gets scared to actually know about me. So that's part of the establishment's games.

JANE: You were quoted in the Sunday Mirror as saying that it was time for a change from the pretty songs the Beatles made, time for something else.

JIMI: Aah. I don't know if I said that. Which paper is that in? Sunday Mirror. Well, most of those papers are all screwed up anyway, they come over here and they do their interviews, we turn the cats on you know, give "em wine and all that, and they go back and they're so stoned they don't know what they're writing about. No I didn't say nothing like that. I wouldn't, there's no reason to.

JANE: What do you think about the Beatles?

JIMI: I think they're excellent and fantastic writers and musicians and so forth, you know.

JANE: Do you think their era of enormous influence has passed? Do you think another big influence is moving in?

JIMI: Well ... yeah, people are starting to get a little more hep to music nowadays. It's not so easy to throw hog-wash on anybody. The Beatles are doing their thing. I think they're going towards the past a little more. Like for instance their last LP was ... I consider it to he like an inventory of the past ten years,rock music you know. There's a lot of people that's waiting for something else to happen now anyway.

JANE: Don't you think it's you? I've got this feeling.

JIMI: Me? (laughs)

JANE: Well, it seems to me to be moving down to the animal, and that's what you are. The Beatles aren't animal.

JIMI: The Beatles are part of the establishment. They're starting to melt that way too. We must watch out. It's just like a young cat protesting in school fur instance, saying that's not right, this is not right, so he goes out and says something about it and everybody says Yeah Man, that's what it's about man, we're with you. Soon as he reaches about 25 years old and starts getting into the establishment scene, you know, he got his degree and all this, and now he's a lawyer or whatever he wants to be, and all this feeling for everybody else, well he forgets it himself because he's comfortable now, he's nice and fat and got his little gig together, so then he just forgets about the younger people, all his friends, what they used to say when they were in school, and he melts into part of the establishment. And that's not saying nothin' bad about a person at all, it's just scenes some people go through. Compare that with the Beatles' music, that's the way I look at it. It's like a person who starts out with something really on fire, you know ... but now they're still good, as a matter of fact they're better than they used to be, you know, but they seemed a little more closer to the public beforehand. Now they're doing things, like for instance 'Happiness is a Warm Gun, bang bang, shoot shoot and all these little songs

JANE: D'you dig that?

JIM!: Not necessarily, no.

JANE: What about violence?

JIMI: I don't dig it too much, no. It's best to have violence on stage and watch it thru TV than do it yourself. So what we do, we get up there and like, found that it worked both ways; we'd do our thing, you know and so many people would dig it, would really be turned on by it, and they don't bother their old ladies as much when they get home, don't beat their old ladies up as much (laughs) because there's hardly anything left in them, we try to drain all the violence and that out of their system. That's why you watch wrestling matches and football games, you get it all out of your system, unless you want to do it for real yourself, and then you'd be a violent person. Bad. Bad.

JANE: Well, what about the violent trends in America today, the Black Power scene saying we've tried everything else, now we're going to slam you baby ...

JIMI: Well, that's what the establishment's waiting for, for people to start fighting against their own selves like for instance black against white, yellow against pink and all that. But that's not the idea of the thing, the idea is against the new and the old, and the establishment causes this by playing games, by turning the different colours against each other to make the younger generation weak. So what they do is they let you fight, they let you go out into the streets and riot and all that but they'll put you in jail...

JANE: Well in fact the establishment seems to get frightened by all this violence in the States because ...

JllMI: Propaganda, propaganda, everyone has their own brand of propaganda ...

JANE: It still seems that if you burn down a few warehouses in the States today ...

JIMI: Oh they should bum down more, I think.

JANE: Well right! That's what I was asking you! JIMI: They should burn down the whole area.

JANE: Would you do it if you were there?

JIM!: Well if I wasn't a guitar player I probably would, yeah. I'd probably be in jail, 'cos like I get very stubborn, like with the police. I used to gel into arguments with them millions of times, they used to tell me to be quiet and I just CAN'T be quiet, there's no reason to be, especially if I have something to say. So I'd probably wind up getting killed. But I have to feel those things. I hear about violence and all that, but really for me to say anything about that.... I just can't jump on the bandwagon just because it might be happening today. 'Cos like for instance how they exploit and prostitute the Groupie scene, you know, that's a violent scene, it's the same thing.

JANE: But you must have an enormous amount of energy and if it weren't coming out through your music, maybe you'd be very violent.

JIM!: Well I am very violent anyway, in defense you know.

JANE: How liberated do you think you are?

JIM!: You mean free? I don't know. That's pretty hard to say. In music we get to do anything we want to do. But I get restricted when I get around a lot of people sometimes, or even with one person too long.

JANE: What, on a head scene?

JIM!: Yeah, like for instance on a love scene. If I stay with one person too long, if I feel more obligated than I do please, that makes me, as it were, have to get away. So l don't know how free feeling like that it - if every time you turn around you might be with somebody. Like if you're writing a song or something like that, and you want to get the words down or you're thinking about something, and all of a sudden these people pop up ... not saying you because I'm digging this interview. And at least it's a different face. (laughs).

JANE: It was surprisingly easy to get an interview with you. I mean if you want one with Paul McCartney it can take weeks to set it up.....

JIMI: Well, maybe 'cos I'm not Paul McCartney. You get a lot of....oh no, I shouldn't say that...

JANE: Why not?

JIMI: There's a lot of things I shouldn't say. But you have time don't you. Great, we can get into a whole lot of things. There's this thing I was writing, LP sleeve notes for one of our LP's. We've got about three lined up now. Now we're trying to get them released but everybody else wants us to be released stars and so forth, so now we have to do this film, like round in August or something like that, and then before that we have to do an American tour, April and May, and we'll only have just a few weeks to edit these recordings that we did. Can I play some of those from the Albert HaIl to you? Yeah? Can I? Is that alright? .....what was the question, I forgot, what was we talking about? .....oh yeah, about being hard to see folks and all that. That's silly, that's the stupidest game you could ever play. It's not like 'oh can't see you today, far too much on, tomorrow baby....

JANE: All your songs seem to be directed at chicks. Is that from personal experience. For instance, there's one phrase 'I wanna make you mine' ... what d'you mean?

JIMI: 0h, just the cat would like to make love to you that's all, whoever's singing the song, you know.

JANE: D'you see him as somebody else, outside of yourself?

JIMI: Well sometimes. I don't look at it as me singing the song, I look at it as anybody singing the song. It's hard to say. I just don't put myself in all those positions 'cos I've already been through them already, all the things I mostly sing about. There are so many other things I like to get into myself personally, but in the meantime I can write down, some other experiences, yeah, you're right, like you say. But I don't necessarily use those direct words when I'm talking to somebody (laughs). I don't say 'I wanna make you mine....

JANE: When you write songs, is it the music you hear before the words?

JIMI: Sometimes, it all depends. A lot of times I write a lot of words all over the place, anywhere, on matchboxes or on napkins, and then sometimes music comes across to me just when I'm sitting around doing nothing, and then the music makes me think of a few words I might have written, you know, so I go back to those few words if I can find them and you know, just get it together. Sometimes it all happens at the same time. All depends on what you might want to say. Different moods you might be in...

JANE: But do you sit down and think I want to say this to them and then compose the song around what you want to say?

JIMI: Yeah, definitely. Sometimes, there's things I'd like to say. A lot of songs are fantasy type songs so that people think you don't know what you're talking abont at all but it all depends on what the track before and after might have been. Like you might tell them something kinda hard but you don't want to be a completely hard character in their minds and be known for all that 'cos there's other sides of you and sometimes they leak on to the record too, you know, that's when the fantasy songs corne in. Like for instance.1983 - that's something to keep your mind off what's happening today but not necessarily completely hiding away from it like some people might do, with certain drugs and so forth ...

JANE: But is this awareness actually conscious when you write the song, or do you write it, listen to it and then realize what motivates you afterwards?

JIMI: Well, honest to God truth, on the first LP I didn't know what I was writing ahout then. Most of the songs, like Purple Haze and Wind Cries Mary, were about ten pages long but then we're restricted to a certain time limit so I had to break them all down, so once I'd broken the songs down I didn"t know whether they were going to be understood or not. Maybe some of the meanings got lost by breaking them down, which I never do any more, it's such a drag.

JANE: Your songs don't tend to be analyzed and intellectualized by reviewers like for instance the Beatles songs.

JIMI: Mmm, which is kinda good, because our songs are like a personal diary.

JANE: Well it's just this basicness in your music that makes me see you as the innovator of a new era.

JIMI: Yeah, but ihat's how it should be in any scene though. Like I said about the carpenter, if he really digs that he should put all his heart into really getting that together, if it means going to school or whatever it means. And in music, you gotta say something real just as quick as you can. I just say what I feel, you know, what I feel, and let them fight over it, if it's interesting enough. But that's the idea of it, make it very basic. During a certain age which was past not so long ago they started getting really superficial, and the music started getting too complicated, and in order to get into that yon have to be really true to yourself, and none of those cats were doing that, they just puts sounds here or sounds there ... It doesn't seem like I'm busy 'cos I'm just sitting here, but after all being busy can be just sitting here in this kind of scene, you know ... I haven't had no time off to myself since I've been in this scene ... and anything that doesn't have to do with music, I don't think about it too much, like shirts and stuff. People just make me so uptight sometimes, but I can't really let it show all the time because it's not really a good influence on anybody else ... Oh no, don't take any pictures now 'cos my hair's all messed up. I just hate pictures, it always comes back on me later on. People are always saying do you remember that picture that was in the so-and-so' and I say no I don't fucking remember it.....Some music is such bullshit nowadays, and that's why there's so many good groups going towards establishment because it's comfortable there, it's not so hard, you don't have to keep scuffling for the rest of your life. I couldn't even save up some money and go to the hills, because there's always problems, you know, always hang-ups. Most people would like to retire and just disappear from the scene which I'd love to do, but then there's still things I'd like to say. I wish it wasn't so important to me, I wish I could just turn my mind off, you know, forget about the scene. But there's so much rubbish going by and for us trying to do our thing, there's so much rubbish said about us. I'd like to get things straight in this interview. I spend most of my time just writing songs and so forth, and not making too much contact with people 'cos they don't know how to act. They act just like the.....the pigs that run these places you know ... countries. They base everything on the status thing, that's why there's people starving, because humans haven't got their priorities right. I don't feel like talking to most people because they're just bullshitting, they don't even know the difference between us and the Cream for instance, or Blue Cheer.

JANE: Do you still take acid?

JIMI: Not necessarily, no. I don't get a chance to get into all that because I'm writing songs and so forth. Anyway, I just used it for a certain thing, as a step towards seeing it both ways, if you like ...

JANE: Do you feel good on stage?

JIMI: Oh yeah, I love to be on stage, not necessarily on stage but I love to play, that's why we play so loud 'cos it makes us feel good anyway.

JANE: Does the atmosphere in the audience affect you to the extent of changing the way you play?

JIMI: It never changes me to a negative feeling. I just ignore the negative thing 'cos I know exactly what I'm doing when we're on stage, you know. And if the audience doesn't dig it, well I don't know, there's nothing else we can do. Like you say, music is what it's all about, it's not us three up there facing about 15,000 people it's the sounds we make that are important. Oh I can't explain, you know what it is you're not daft.

JANE: Well, I know what it is to me, your music is something in the middle between us, a medium between human beings, and the groovier the music the faster the communication.

JIMI: It's all spiritual. Except when the eardrums come in (laughs).

JANE: Can you get outside of yourself enough to see the picture other people must see.

JIMI: Yeah, I can do that a lotta times. That's what makes me stay away from them 'cos most of them have dirty minds anyway. What I see them seeing is really useless. I talked to a lot of old ladies one time, seeing exactly how they think, and wow, their impressions must really be weird.

JANE: Do you like kids?

JIMI: Yeah, I like kids. I guess I like them any age. It's a drag to grow up because you're not really growing up, you're just losing. You're only as old as you think you are, as long as your mind can still function openly you're still young.

JANE: D'you mind getting older?

JIMI: Not at all, no.

JANE: Can you think of yourself as being 80?

JIMI: Not too much, no. I don't think I'll be around when I'm 80. There's other things to do besides sitting around waiting for 80 to come along, so I don't think about that too much.

JANE: And death. Does it bother you?

JIMI: No, not at all. This is only here we're going through, you're not even classified as a man yet. Your body's only a physical vehicle to carry you from one place to another without getting into a lot of trouble. So you have this body tossed upon you that you have to carry around and cherish and protect and so forth, but even that body exhausts itself, so you get into a whole lotta other scenes, which are bigger. This is nothing but child's play - so-called grown-ups. Children don't play games. Well, they do, but adults play the more serious games that can get people killed for no reason at all. People who fear death, it's a complete case of insecurity. That's why the world's screwed up today, because people base things too much on what they see and not on what they feel.

JANE: They don't even know what they feel.

JIMI: Right, well it's time for a direction.

JANE: And did you have this awareness before you made it or has money made a difference?

JIMI: Well, listen, I could have stayed at home. I could have stayed in L.A., but I just couldn't stay in one place too long because I wanted to see other things. That's why I went in the army beforehand, when I was 16, so I could really get all that mess over and concentrate on the music I play, which calls for travelling all over the place in my own way. I travel most places without any money actually. And so when the money comes along, well, it's just another part of living really. I don't dig the way the world's going these days, but it's nice to get experience out of it, that's the money, tbat's what I consider riches.

JANE: And do you believe that you can change anything, anybody?

JIM!: Well, the idea is trying. But I'm just gonna do it and if it works great!

JANE: It's really all down to your music, isn't it?

JIM!: Yeah, that's it, that's what we're talking about. Music. Talking isn't really my scene. Playing is. There's certain people on this earth that have the power to do different things, for instance in the Black Power Movement they're using it wrongly. But in the musical movement you can't call that using it wrongly 'cos that's a natural talent. Protest is all over with. It's the solutions everybody wants now, not just protest. The Beatles could do it, they could turn the world around, or at least attempt to. But you see it might make them a little more uncomfortable in their position. But me, I don't care about my position. What I have to say I'd be glad to say it. You see it comes out in my music, and then you have to go through scenes like the releasing of an LP and you can't release one every month, and you can't do this and you can't do that. And all the public image bit.... in my book it doesn't have to move along. People should get out of images and all that, and start getting into their own gigs, and give forth whatever they can, in their own bags, you know. Instead of laying back and digging someone else and saying Oh Wow! oh wow! look at that, such imagery and all that shit. That's what made me cut my hair off because of this being a slave to the public and all that, you know ... I used to dig all those scenes with the clothes and the hair and all that but then people start misusing those scenes as our image and all that, which it is, but it's nothing to talk about, it's just the way I felt like going through, according to my own taste. But then people start trying to prostitute that idea, and it gets to be a hang up. You find yourself almost running away. You have to grab hold of yourself. People, they don't give me inspiration except bad inspiration, to write songs like Cross Town Traffic and all that, 'cos that's the way they put themselves in front of me, the way they present themselves ... ...

1969/04/18 - North Hall, Ellis Auditorium Amphitheatre, Memphis, TN - The Jimi Hendrix Experience

2009-09-24T10:39:00.000-07:00

2nd Show Set List

Fire
I Don't Live Today
Hear My Train A Comin'
Sunshine Of Your Love#
Stone Free#
Foxy Lady
Star Spangled Banner
Purple Haze
Voodoo Child (slight return)

The following was included with the audio derived recording from the second performance in Memphis 1969:

Gary Serkin recorded this performance on a portable cassette recorder, one of the first on the market. He and friends drove from Nashville to see this show, and waited in line for a while as the first show of the night went longer than expected. Gary says at one point he left his cassette recorder on a railing while waiting in line to enter, and only remembered it right as his group got close to the entrance, when he rapidly sprinted back and luckily found it right where he had left it. They sat in row six in the middle. Gary is one of Jimi's fans from way way back - he claims to have seen "Shotgun" on Night Train when it aired in Nashville in 1965, and he swears the weirdo guitar player in the background was all he could watch. He had all the albums and knew that a Jimi Hendrix concert was not something for which he would need to open the microphones up all the way for, which avoids the overdriven sound often found on close-up Jimi audience tapes. That's Gary you hear talking from time to time in the show - hey, he was a teenager and had no idea this recording would be circulating worldwide for decades to come. He's the one who says "He cut off all his hair" and requests "Crosstown Traffic". His friend from high school is the other loud mouth who cuts in from time to time. Gary said at one point during I Don't Live Today (sounds like about 3:00 in) Jimi took his guitar and held it by the neck in his right hand and just waved it around the stage, swooping and diving, all the while making those wonderful sounds. The audience went crazy. Gary also says later on that he had to flip the tape, so after Sunshine Of Your Love he stopped and since it was quiet he decided to see how the recording was going, so he hit rewind for a second then turned up the volume and hit play... but he was unprepared for just how loud it would be, so right from the sixth row after SOYL the whole crowd around him, and who knows maybe even Jimi, could hear a half-second of the end of it play back again! Whoops!! But all went well and the tape survives. Gary said he didn't make himself a personal backup tape until 1980 or so, but he played the master regularly and would spin copies for anyone who asked, which got to be quite a few people. So the master tape got quite a bit of use.

From Just Ask The Axis

From Chris Dixon's 30th Anniversary Series © C S Dixon
18 April 1999 marks 30 years since the 1969 Experience show at Ellis Auditorium Amphitheater in Memphis, Tennessee, the 3rd date of the Exp's last tour. There were two shows this night with the second surviving on tape. The tape sounds somewhat distant but has a fairly good balance with voice and guitar loudest and drums on the low side (pics show Mitch returning to his black Ludwig kit after a 'fling' with a flashy gold sparkle kit in Philly). Tape features quite a bit of nearby audience chatter, but I just call that 'audio verite'. One voice early on is heard to exclaim "...he cut off all his hair!..". Not quite true (paints a picture though, eh?) but Jimi's hair was considerably shorter around this time. Apparently the band were quite late for the shows. The local paper gave a less than glowing review but our standards are a little different so let's have a look...

(Setlist) Fire; I Don't Live Today; Hear My Train; Sunshine of Your Love; Stone Free; Foxy Lady; Star Spangled Banner; Purple Haze; Voodoo Child (SR)

'IDLT' gets a very short first solo but a slightly extended feedback interlude before the final 'speed up' section. Jimi breaks it down to some muted strumming and around 6:00 then builds back up for some more soloing. After the song, we hear someone yell "Turn that damn git-tar DOWN!" with the exact same inflection as Jimi's overdubbed aside on ELL's 'Voodoo Chile' jam!

Jimi's spoken intro to 'Hear My Train' is interspersed with some nice off-the-cuff riffs. One of the earliest examples of Jimi singing "Well, I hear my train a coming..." at the very beginning of the song. After a particularly fast line in the first solo you hear someone break out laughing....hey, I know the feeling! The long first solo breaks down around 5:30 and we get some nice guitar/voice unison 'scatting'. Near the end he repeats the title vocal line more times than usual, finally substituting the words "I hear my freedom coming", a line familiar from a jam of the same name from the TTG sessions.

Jimi starts the 'SOYL' solo by imitating Clapton's original but Noel doesn't go to the '4' chord so Jimi pulls back to some muted strumming and we get a bass solo, then the by-now familiar build up. During the final verse the tape fades out....

...and fades in on the opening verse of 'Stone Free'! Anyone's guess as to what's missing between the two. Probably not too much as the tape is about right for a complete concert (Unless it's missing from the tape, this is a rare night with no 'Red House'). Anyway, SF extremely short this night after the 10+ minute version from the previous show (only a couple of minutes though, again, the opening is missing). Relatively seldom performed, we only have 3 more documented Experience versions after this.

In the lull before 'SSB' we hear a voice call for 'Crosstown Traffic' (wishful thinking - sadly, he never played it live). Jimi pumps the wah steadily early in SSB, sounding almost like the pulsing Univibe on the familiar Woodstock version. He plays the "...rockets red glare, bombs bursting through air..." line then starts the "Gave truth through the night..." line but, realizing he's forgotten to do the 'bombs bursting' sound effects, he goes back for a bit of same before starting over on the "Gave truth.." line!

VC(SR) now firmly established as a set closer, as it (or, occasionally, Purple Haze) will close virtually every show from here on out. A unique 'hammer on' riff near the end and finishes it off with a little dental work!
Chris

1969/05/24 - International Sports Arena, San Diego, CA - The Jimi Hendrix Experience

2009-09-24T10:30:00.000-07:00

Jimi Hendrix
1969-05-24
International Sports Arena
San Diego, CA

Set List:

1. Fire
2. Hey Joe
3. Spanish Castle Magic/Sunshine Of Your Love
4. Red House
5. I Don't Live Today
6. Purple Haze
7. Voodoo Child (Slight Return)

Check out a very comprehensive write up about one of the last gigs performed by the original Jimi Hendrix Experience here. Here is a small excerpt:

Jimi talked quite a bit to the audience between songs, including one extended rap where he told them "You people down here are witnessing some really beautiful times. Like, groovy times you'll be telling your children and their children's children about, man. This is, like, the epicenter of where it's happening, right here in California . I just wanted you to know that, even though I think you know it already. Does it ever rain here? Would you care if it did? I didn't think so."

This concert along with 3 other concerts, all spanning the 4 years of his professional music career, can be purchased at amazon new and used, click here if you don't own this fantastic 4 disc live box set!

1969/06/20 - 1969/06/22 - Newport Pop Festival - The Jimi Hendrix Experience + Jam Ensemble

2009-09-24T10:28:00.000-07:00

Friday, June 20, 1969

Albert King, Edwin Hawkins Singers, The Jimi Hendrix Experience, Joe Cocker, Southwind, Spirit and Taj Mahal.

Saturday, June 21, 1969

Albert Collins, Brenton Wood, Buffy Ste. Marie, Charity, Creedence Clearwater Revival, Eric Burdon, Friends of Distinction, Jethro Tull, Lee Michaels, Love, Steppenwolf and Sweetwater.

Sunday, June 22, 1969

Booker T & the MGs, Chambers Brothers, Flock, Grass Roots, Johnny Winter, Marvin Gaye, Mother Earth, Jimi Hendrix, Buddy Miles, Mother Earth, Eric Burdon (jam), Poco (formerly Pogo), The Byrds, The Rascals and Three Dog Night .

The following information below details Jimi Hendrix's two performances at what was to be the largest gathering of people for a music festival up until that point.

1969-06-20 (Friday): "Newport '69 Pop Festival", San Fernando Valley State College, Devonshire Downs, Northridge, CA

Set List:

Stone Free»drum solo»
Third Stone From The Sun»
Are You Experienced»
Stone Free « Don't Step On The Grass
Sunshine Of Your Love
Fire
Hear My Train A Comin'
Red House
Foxy Lady
Like A Rolling Stone
Voodoo Child (slight return)»drum solo»
Purple Haze

1969-06-22 (Sunday): "Newport '69 Pop Festival", San Fernando Valley State College, Devonshire Downs, Northridge, CA

Set List

Earth Versus Space«Keep On Groovin', Gypsy Eyes, Machine Gun
The Things That I Used To Do
The Sky Is Crying
We Gotta Live Together»
Feeling So Good
Power Of Soul«The Train Kept A Rollin, Earth Blues»
Hear My Train A Comin'»
Voodoo Child (slight return)»
Come On (Part I)»uptempo jam

Below are photos, links to video and soundboard/audience recordings from both performances Jimi gave at the Newport Pop Festival on the last leg of Jimi's 1969 spring tour:

1969-06-22 Newport 16MM DVD Upgrade

1969-06-20 Newport69 Vibratory Merge

ATM 032-034 Earth Vs. Space - Newport Pop - 1969-06-20.22

Jimi Hendrix ATM 113 Newport Revisited

www.musikfoto.com

From Just Ask The Axis

From Chris Dixon's 30th Anniversary Series © C S Dixon

22 June 1999 marks 30 years since Jimi's return to the Newport (Ca) Pop stage for an extended jam session with Buddy Miles and others (BTW, let the record show that although the 'Newport Pop Fest' designation for this event is the common one, the official name of the event was simply "Newport '69". Also, it should not be confused with the Newport, Rhode Island festival series).

Lore has it that Jimi, dis-satisfied with the Experience's uneven performance two days earlier, had returned feeling like he owed the crowd something. Though Jimi of course took part in innumerable club and studio jams, documented and not, this is a unique item in the Jimi archives in that it is a full length large scale concert set. Like most jams this session rambles a bit, but it contains some very interesting playing from Jimi IMO (not that he was ever exactly *un*interesting!).

In his usual 'stream-of-consciousness' jamming style, Jimi touches on a lot of themes, some from then-familiar songs and some forming kernels of songs which would appear more formally in the year to come.

The recording is similar to that of the Experience two days earlier in that it is from the festival's PA soundboard. Like the previous tape the vocals are loudest but the instruments can all be heard fairly well, though during the jams where there are a lot of musicians onstage inevitably some are lost in the mix. Jimi's sound is more clean and trebly here due to the fact he is playing through Fender Dual Showman amps and dual 15" JBL loaded speaker cabinets. This is likely due to the jam being hastily organized and Jimi's Marshalls being trucked toward the Denver gig later in the week. Possibly the Fenders were rented directly from the company since they were located near LA. The pics from this gig also show Jimi using a white Strat with a Telecaster neck. The circumstances of this combination are still a bit of a mystery as the only other documented uses are at the Newport gig June 20 and during a club jam around the same time in a shot recently unearthed by Univibes magazine (can be seen on their website). He may have used it at Denver Pop on June 26 though all the shots I've seen from Denver show the black Strat.

Anyway, generating a setlist for this is a tough one as there are so many bits and pieces of songs that weave in and out of the jams. I'm just going to give a running timeline as I noted them while listening. My timings are derived from the 'It Never Takes An End' boot CD (defunct Swingin' Pig label). There are some more complete (only slightly, in most cases) versions of these jams available on tape but I only have the CD so it'll have to do.....

The first jam opens with Jimi saying "...we're gonna forget about everything alive and dead and call it 'Earth Vs. Space'...". This jam has only Jimi, Buddy and bass (possibly Brad Campbell from Janis's band). Buddy sets up a fast groove vaguely reminiscent of Stone Free and the Astro Man Jam. Jimi starts ad-libbing lyrics, starting with the "keep on movin" theme we would later hear in 'Midnight Lightning'. At 4:32 we get a quick riff and a few lyrics from 'Gypsy Eyes'. At 5:02 the 'Midnight Lightning' lyrics re-appear with some vocal call-and-response between Buddy and Jimi, followed by some solo scat singing by Buddy at 6:45. At 7:20 Jimi touches on the 'Outside Woman Blues' riff then switches to a two chord riff, then says "I forgot the words, but there ain't no words. We're going to look around and make up some words"! After a couple of lines at 8:22 where he mentions "...going down to the Red House...", we get a few lines which would become familiar from 'Machine Gun' ("..tearin my body all apart..") but here making their first public appearance. At 11:00 he touches on the later-to-be 'Stepping Stone' chorus and finishes up with some more ad-libbed vocals centered around "...sometimes I wonder..." before the tape fades out.

Jimi introduces the old blues standard 'The Things I Used To Do', which had been the subject of a studio jam session with Jimi, Johnny Winter and Steven Stills the previous month. The band here is still just gtr/bass/drums. We hear Jimi answer a heckle or shouted request with "I wish I could" - wonder what the question was!? We hear the crowd yelling at one another to "Sit down!" but, unlike the Experience show, the distracted crowd doesn't seem to bother Jimi. The crowd noise in general comes and goes on this tape, at times so suddenly that it almost sounds dubbed in! The guitar's a bit distant as Jimi starts the tune, but gets louder and we hear some nice clean-toned blues playing from Jimi. He sings the first two verses with some nice fills but sadly the tape fades at just under 4 minutes just as Jimi's stepping on the gas for some heavier soloing. Ah well...

The tape fades back in on what appears to be the tail end of a different jam featuring a larger band including a female vocalist, possibly Tracy Nelson, and a flautist unknown. Buddy does some introductory vocalizing, joined by harpist Lee Oskar, who will remain throughout. At 2:20 Jimi starts a slightly slower 'Message Of Love' riff, only the 3rd public appearance of same (it's next would be as a song proper at Woodstock). At 3:20 the aforementioned female vocalist starts singing parts of 'The Train Kept A Rollin' as Jimi switches to the 'Power of Soul' riff, a first public appearance for that and our first example of him playing it with Buddy (though they had jammed before this). At 4:23 Jimi plays a line similar to Cream's 'I Feel Free' and we get some sudden audience cheering, reason not clear. Jimi sings some of the PoS words, then touches on the lyrics from the track called 'Somewhere', also to be used in 'Earth Blues'. Around now we hear the flute and a sax, possibly two (at least three sax players have been cited, most oft-mentioned being 'Snooky' Flowers). At 9:25 Jimi touches on the main riff from VC(SR) but veers into the lyrics from 'Hear My Train'. The band stays on the root chord during the chorus since they don't know the arrangement (same thing will happen with the house band on the Cavett show the following month). At 12:15 Jimi goes into the VC(SR) intro proper and familiar verses. The harp is still loud and clear, louder than the guitar at times for a unique variation on this old song! We get a fairly aggressive solo by Jimi and it seems by now he has adjusted the Fender amps/JBLs to lose some of the treble edge for a sound that's at least a little closer to his usual Marshall tone. A sax solo at 16:15, another new flavor for VC(SR). Jimi changes to a 3 chord descending riff at 18:00, sounding a bit like a slowed down 'Watchtower', and the harp takes a solo. At 19:30 Jimi introduces a new variation that's reminiscent of 'Calling All Devil's Children' and Buddy takes a turn ad-libbing some vocals. At 12:15 there's a brief lull then Jimi kicks it into a double-time blues workout. Jimi solos at 22:30 then the harp takes a turn. Jimi touches briefly on Cream's 'Outside Woman Blues' then continues the 'free association' with a few bars of 'Sunshine of Your Love'. He then falls into the theme of 'Come On (Pt. 1)', cueing the band on the stops as he sings the opening verse and plows through the chromatic climb into the usual solo spot. The band gets a little lost behind Jimi and stay on the root chord but Jimi's on a roll and keeps right on soloing with full wah, morphing into some fast chordal work ala the 'Killing Floor' intro. At 28:00 he does a snatch of 'The Star Spangled Banner', another case of odd context as he plays over the fast rock groove, then he reprises the 'Come On' riff briefly before pulling back to feature the harp (who never really left anyway- shades of 'Don' in those BOG sessions!). At 32:00 the, or a, sax is featured and lastly we hear the band change keys just before the tape fades out once again.

When the music fades back up the groove is similar so could simply be a continuation. We hear Buddy saying "..we could go on and on but we're going to bring it home...". Jimi slows the riff down a bit to a descending 4 chord progression. Buddy touches on the "we gotta live together" refrain then starts a section commonly listed as 'Feel All Right', no doubt named for the vocal refrain that Buddy repeats a few thousand times :). At 4:20 Jimi does some soloing with the wah, cleverly returning to the chordal comping at the end of each phrase. The flute flutters in and out of the mix and at one point we hear the female vocalist again. At 6:00 the guitar pulls back and drops out - a hint of tuning problem beforehand could well mean Jimi had broken a string. Buddy continues on (of course) and the guitar reappears at 8:19 just before the CD track fades out. This jam apparently runs another 20+ minutes on tape (though is still incomplete!), though from what I've read much of it is Buddy's show...
With all the cuts and fades in this tape, seems that that there may well be more out there somewhere (same goes for some cuts in the 6/20 Experience show, for ex. between 'Hear My Train' and 'Red House'). There are pics of the above jam that show Eric Burdon onstage but he's not in plain evidence on the audio so maybe his parts are among the missing material? Who knows if/when the missing bits will show up? Too cynical to hold my breath but would like to be pleasantly surprised!

Chris

1969/06/27 - 1969/06/29 - Denver Pop Festival, Mile High Stadium, Denver, CO - The Jimi Hendrix Experience

2009-09-24T10:26:00.000-07:00

Set List:

Tax Free«Tomorrow Never Knows
Hear My Train A Comin'
Fire
Spanish Castle Magic
Red House
Foxy Lady
Star Spangled Banner»
Purple Haze
Voodoo Child (slight return)

The only footage known to exist of the Experiences performance at the 1969 Denver Pop Festival can be viewed below, audio of Tax Free from this same performance is overdubbed onto the small fragments of film that were preserved from this show:

For a very detailed look into what occured at the Denver Pop Festival in 1969, follow this link

Denver Pop Festival
Mile High Stadium, Denver
June 27th ~ June 29th 1969

Performers:

Friday ~ June 27th

Big Mama Thornton
The Flock
Three Dog Night
Frank Zappa and the Mothers of Invention
Iron Butterfly

Saturday ~ June 28th

Aeorta
Zephyr with Tommy Bolin
Poco
Johnny Winter
Tim Buckley
Creedence Clearwater Revival

Sunday ~ June 29th

Aum
Rev. Cleophus Robinson
Sweetwater
Joe Cocker
Three Dog Night
The Jimi Hendrix Experience

Experience Hendrix LLC has a live audio stream of the entire audience made recording, follow this link to listen!

Below is a list of downloadable, non compressed versions of audio and video:

Denver Pop Jun 29,1969 1st Gen ATM 207

Denver Pop ATM 118

A Sign of the 3rd World War-Denver Stereo Merge

1969-06-29 Denver - 8mm films

Flickr member bobompicture provided the following photos and description of this event online, check them out below:

"Jimi playing Voodo Child as I remember. Unknown stage hand on right . The police threw pepper gas at people trying to sneak into concert and 30,000 got gassed. This was at Mile High stadium. We tore down the chicken wire seperating the crowd from the artists and stormed the stage. I was in the front row- Other artists at the three day fest two weeks prior to Woodstock included Frank Zappa, Credence Clearwater, Three Dog Night, Iron Butterfly, Big Mama Thorton, Flock, Spirit. It cost $15.00 for three days!"

"This is one of the last photos taken of Noel Redding with the Jimi Hendrix Experience. He quit the band after this show. June 28, 1969. I was fortunate enough to see the show close up and had my camera."

The photos and scans below come, as usual, come from flickr member rising70:

1969/07/XX // 1969/09/XX - Tinker Street Cinema & Jimi's Rented House Traver Hollow Road, Boiceville, Ulster County, New York - Gypsy Sun and Rainbows

2009-09-24T10:24:00.000-07:00

The Woodstock rehearsals would prove to be as much of a reward to Jimi as it was a failure. In the book Black Gold, it mentions in great detail how the Jimi's manager and label didn't understand or want this type of direction for Hendrix. The format of the 3 piece rock trio format was a very easy thing to sale. An expanded group meant that there was going to be more people to pay and less focus on the stage gimmicks and normal songs Jimi had ben giving to the masses for 3 straight years. Hendrix had a lot of material ready for Woodstock that never got to see the light of day, largely due to his management forcing him to keep certain songs in the set list. This is one of ym favorite periods for Jimi, not because he gives a jaw dropping performance or recording but because you really hear Hendrix using a very stripped down earthy tone. No more huge amps or huge sound just by himself, he put more trust into the musicians around him and the dynamic created is unlike any other band he was in. This experiment eventually failed and the band was scrapped and Jimi would further his exploration towards fusion, funk, soul, r&b and other experiemental forms of music Jimi was pulling into one tapestry of sound with the Band of Gypsys and later the reformed Jimi hendrix Experience. Check out the recordings from this period, lots of really nice mellow and electrified jams, some waisted space but all in all, Jimi was communicating with his band now, something that was left out the door long before his first band broke up. - Erik Otis

Small excerpt written by Mike Daley about Jimi's new band Gypsys Sun and Rainbows:

"By the summer of 1969, the Hendrix Experience had completed their last American tour. Bassist Noel Redding marked the occasion by resigning from the band and Hendrix began to formulate plans to put together a new band. His evolving Electric Church concept was freer and more experimental, more communal, than the tight Experience power-trio had been. Feeling burned by his clashes with Redding, Hendrix sought to create a supportive, fluid backdrop for his music, unmarred by ego clashes. He was concerned with surrounding himself with trustworthy compatriots, which meant for him musicians that he had known pre-fame. Mike Jeffrey, distrustful of Hendrix's new direction, nonetheless rented an eight-bedroom house for his charge near Woodstock, at the end of Tavor Hollow Road near the villages of Shokan and Boiceville. Hendrix, in turn, put his old army buddy Billy Cox on notice to step in on bass, who at Hendrix's request looked up another old friend, guitarist Larry Lee. Jerry Velez was a Puerto-Rican born, Bronx raised percussionist that Hendrix had met at the Scene club in New York. He was one of the first to be invited to stay at Hendrix's Shokan retreat. Another percussionist, respected for his work around Woodstock, was Juma Sultan, and he was quickly pulled into the fray. The new group, to be dubbed Gypsy Suns and Rainbows, was almost complete."

During this time, Hendrix was captured by an audience recording performing at the Tinker Street Cinema, Woodstock, USA on August 10, 1969, a little over a week before The Woodstock gig

Tinker Street Jam Line Up:

Jimi, Juma Sultan: bass, Earl Cross: trumpet,
Ali Kaboi: drums, Michael Carabello (from Santana): congas
and José Areas (Santana): percussion.

Songs performed:

The Dance
Sundance
JL 13 (Earth Blues)
Star Spangled Banner

The biggest collection of rehearsal recordings for the 3 month period Jimi Hendrix dedicated to getting his new band togethar for the Woodstock performance can be downloaded here

The performance from the summer of 1969 with Jimi and some of Santanas band from that time at Tinker Street Cinema mentioned above can be found here. Below is a picture of Jimi and an experimental untit performing at Tinker Street Cinema:

Also, here is a 3 track upgrade to a few of the songs present in the 3 disc collection featuring most of the rehearsals during the sumer of 69; click here to download.

Below is the info file for the largest collection of material sourced for this period.

GYPSY SUN & RAINBOWS
Shokan: Jammin' Back At The House (ATM 221-223)

Woodstock Festival rehearsals
Jimi's rented house, Traver Hollow Road, Boiceville, Ulster County, New York,
July - September 1969
Extraordinary Archives Traded Material series of the highest quality Hendrix recordings available in traders' circuits.
All recordings in the ATM series are taken from the lowest generation masters available, and they have all been digitally restored unless otherwise indicated.
Thanks to Hans-Peter Johnsen

Disc 1:
1. Back On The Desert (aka. Dance On The Desert) > Acoustic Medley
2. Izabella > The Rumble
3. Izabella / Machine Gun Jam
4. Univibe Jam
5. Message To Love
6. Mannish Boy
7. Mannish Boy > Izabella > You Make Me Feel
8. Ain't Got Nobody
9. The Dance
10. Sundance
11. Freeform Jam

Disc 2:
1. Izabella
2. Izabella
3. Izabella
4. Message To Love
5. Jam Back At The House (aka. Beginning)
6. Jam in E
7. Jam Back At The House (aka. Beginning)
8. Machine Gun / If Six Was Nine
9. Flute Instrumental
10. Flute Instrumental
11. Why I Sing The Blues
Alternate mixes:
12. Izabella [alternate mix with lower percussion]
13. Sundance [alternate mix with echo]

Disc 3:
1. Lover Man
2. Lover Man > Drums
3. Hear My Train A-Comin'
4. Spanish Castle Magic
5. Instrumental Jam
6. Jams with Mitch incl. Villanova Junction
Alternate mixes:
7. Flute Jam (from "leakage channel")
8. Instrumental Jam (Flute Jam mixed out)
9. Jams > Villanova Junction (Flute Jam mixed out)

This set collects material recorded at Jimi's house on Traver Hollow Road in the summer of 1969. Most were probably recorded on the 4-track machine that Eddie Kramer installed at Jimi's request; some are possibly recorded on 2-track. The first 2 tracks on Disc 1 were recorded by Gerry Guida on a portable reel recorder.

Although this material has often been referred to as The Woodstock Rehearsals, much of this could never have been considered for inclusion at that show. In addition, this isn't a "complete" Shokan collection; Other recordings include the Ephron jams (ATM 193-194 "At His Best?") and possibly the jams with a 2nd guitarist that were collected on ATM 072-073 "Healing Power". Portions of these recordings have previously appeared on the collectors' sets ATM 003 "The Woodstock Rehearsals", ATM 044 Drinking Wine, Sipping Time" and ATM 072-073 "Healing Power". Some of those are upgraded here. There's also little definite information regarding recording dates and personnel. While most of these recordings are thought to be from August, some could also be from July or September.

The first 2 tracks were earlier thought to have been recorded in Beverly Hills in mid-1969; John McDermott and Gerry Guida recently confirmed that they were recorded on Guida's portable reel machine at the Shokan house. There are two songs with vocals by Larry, Why I Sing the Blues and Ain't Got Nobody, where Jimi's playing is not evident. The final block of material is just Jimi and Mitch. It has been speculated from the themes quoted in this section that it might come from after Woodstock, possibly early September, so it was placed last in the collection.

All relevant informations on ATM series and Hendrix bootlegs, including detailed tracklists, on Hans-Peter Johnsen's In From The Storm site: http://home.online.no/~hpjohnse/hendrix.html

1969/12/31 - 1970/01/28 - Fillmore East and "Winter Festival For Peace", Madison Square Garden, New York, New York - Band of Gypsys

2009-09-23T20:37:00.000-07:00

BAND OF GYPSYS - Box of Gypsys Vol.1 - Revised (Rev.A: ATM 066/218/219/069/070/071)

The Complete Live recordings by the Band Of Gypsys compiled from the best available sources on 6CD's. This revised version of ATM 066-071 "Box of Gypsys" incorporates approx. 9 min's of additional material from Fillmore East, New York City, NY 31.12.69; The revision only concerns Discs 2 & 3, and this set is in effect
just the original "Box of Gypsys" set with Discs 2 & 3 replaced by ATM 218-219 "Band of Gypsys: Goodbye to '69". If you already have the original set, you just need to replace these 2 discs in order to upgrade to the revised version.

Disc 1: Fillmore East, New York City, December 31, 1969 - 1st Show

1. Intro
2. Power Of Soul
3. Lover Man
4. Hear My Train A Comin'
5. Them Changes
6. Izabella
7. Machine Gun
8. Stop
9. Ezy Rider
10. Bleeding Heart
11. Earth Blues
12. Burning Desire

Disc 2: Fillmore East, New York City, December 31, 1969 - 2nd Show

1. Introduction
2. Auld Lang Syne
3. Who Knows
4. Stepping Stone
5. Burning Desire
6. Fire
7. Ezy Rider
8. Machine Gun
9. Power Of Soul
10. Stone Free

Disc 3:

1. Them Changes
2. Message To Love
3. Stop
4. Foxy Lady
5. Voodoo Child
6. Purple Haze

All relevant informations on ATM series and Hendrix bootlegs, including detailed tracklists, on Hans-Peter
Johnsen's In From The Storm site: http://home.online.no/~hpjohnse/hendrix.html

BAND OF GYPSYS - Box of Gypsys Vol.2 - Revised (Rev.A: ATM 066/218/219/069/070/071)

The Complete Live recordings by the Band Of Gypsys compiled from the best available sources on 6CD

Disc 4: Fillmore East, New York City, January 1, 1970 - 1st Show

1. Intro / Who Knows
2. Machine Gun
3. Them Changes
4. Power Of Soul
5. Stepping Stone
6. Foxy Lady
7. Stop
8. Earth Blues

Disc 5:Fillmore East, New York City, January 1, 1070 - 2nd Show

1. Stone Free
2. Them Changes
3. Power Of Soul
4. Message To Love
5. Earth Blues
6. Machine Gun
7. Burning Desire

Disc 6:

1. Voodoo Child
2. We Gotta Live Together
3. Wild Thing
4. Hey Joe
5. Purple Haze

Winter Festival for Peace, Madison Square Garden, New York, January 28, 1970

6. Intro
7. Who Knows
8. Earth Blues

Madison Square Garden show was aborted after two songs had been played. Below are two photos of Hendrix on stage during the Madison Square Garden performance:

Here is Hendrix backstage:

All relevant informations on ATM series and Hendrix bootlegs, including detailed tracklists, on Hans-Peter Johnsen's In From The Storm site: http://home.online.no/~hpjohnse/hendrix.html

A full version of the balcony shot film taken from Jimi's first show on the second evening of Band of Gypsys concerts, uploaded by crosstown member bolexje, can be grabbed here. The ground floor angle, also shot in black and white can be obtained here.

From crosstown member bolexje:

"So, here as promised the RAW UNCUT reel-to-reel B&W footage from the Band of Gypsies fillmore concert on 1 1 1970. It's 53 minutes of video, all shot from the balcony on a reel-to-reel recorder by Jan Blom."

"So here is the second installment of the Band of Gypsys new years concert: This time it is ALL the existing BLACK & WHITE footage of the ground floor camera, operated by Woody Vasulky, on this memorable concert. Box it together with my previous post, the 'Balcony Video' , which contains ALL the existing footage shot by Jan Blom from the balcony. Then you have a nice double DVD. To make the whole experience even better, I have included the film that was shot that night of the VOICES OF EAST HARLEM, the support act of the Band Of Gypsys in the Fillmore."

Another source of film can be grabbed here, this one being in color!

1970/01/23 - Record Plant Studios, New York City, New York - Band of Gypsys

2009-09-23T20:31:00.000-07:00

January 23, 1970, Record Plant Studios, New York City, New York

Tape Log:

Villanova Junction Blues // MLK // Slow Time Blues // Country Blues // Burning Desire // Blue Suede Shoes // Freedom // Midnight Lightning // Highways Of Desire // Seven Dollars In My Pocket // Country Blues // Once I Had A Woman

The Band of Gypsys were paving a way in the music world with fresh new ideas and sounds, which was documented very heavily through the Fillmore concerts they did at the beginning of the 1970 and studio recordings suronding the 5 concert dates the band put forth. This recording date of January 23, 1970 at the historic Record Plant Studios in New York shows Hendrix and company flying through ideas, never holding back for a minute. Hendrix was now fully embracing another side to his legacy and all of the recordings that have surfaced officially and not officially prove that the Band of Gypsys was an extremely important aspect to music from 1970 and on. Check out some youtube audio only recordings of Jimi during this intense evening of jamming and rehearsing. - Erik Otis

1970/04/08 - Single Release: "Stepping Stone" b/w "Izabella" (Reprise Records) - Band of Gypsys

2009-09-23T19:58:00.000-07:00

From Experience Hendrix:

"With Band Of Gypsys riding high in the Billboard US album chart, Reprise Records issued the single "Stepping Stone" coupled with "Izabella". Apart from "All Along The Watchtower", Jimi had little success at US Top 40 radio. "Stepping Stone" and "Izabella" proved to be no exception. Moreover, Capitol Records complained that Reprise was trying to distract consumers from Band Of Gypsys. As the delivery of that album had resolved a bitter lawsuit between Hendrix, Capitol, and Reprise, the single quickly faded from view and has since become a prized collector's item. For those unable to track down an original vinyl copy, both versions can now be heard as part of the Voodoo Child: The Jimi Hendrix Collection issued in May 2001."

1970/04/25 - Los Angeles Forum, Los Angeles, California - The Jimi Hendrix Experience

2009-09-23T19:56:00.000-07:00

Set List for the 1970 LA Forum Gig:

Spanish Castle Magic
Foxy Lady
Lover Man
Getting My Heart Back Together (Hear My Train A Comin')
Message To Love
Ezy Ryder
Machine Gun
Room Full Of Mirrors
Hey Baby (Land of The New Rising Sun)
Villanova Junction
Drum Solo
Freedom
Star Spangled Banner
Purple Haze
Voodoo Child (slight return)

This is a Hendrix show that sounds very nice on all of the sources available, Hendrix was in a very good mood this evening and it is very evident in his playing. Some very nice excursions from the norm on this set and some very spirited soloing all the way through out. Jimi seemed like he could really hear his bandmates as everyone stays locked in the entire show, something not so common place with inadequate pa micing and speaker set ups of the time.

The band had just morphed from Band of Gypsys into a new modified version of The Jimi Hendrix Experience. Gone was Buddy Miles and in the throne was Mitch Mitchell again. Noel Redding was summoned to start rehearsals with Mitch Mitchell and Jimi Hendrix but that ideas was very short lived and bassist Billy Cox was instead choosen, the bass player who played a key role in the Band of Gypsys period. Now Jimi had his old army buddy Billy Cox on tour and now you can really hear what a bass player with finess and a style more closer to Jimi's could do for Hendrix's more colorful and earthly sound he was tapping into in 1970. This is the first show from their 1970 North American shows dubbed The Cry of Love Tour with a weekend schedule that would accomidate their work on studio projects, mainly the double album Jimi was working on before he sadly died. - Erik Otis

If you would like to hear this show in streaming audio, Experience Hendrix has graciously uploaded this shwo to their server, listen here

Here are 4 audience sourced audio recordings from this LA Forum 1970 concert, enjoy!

LA Forum '70 (+Cal Expo) (ATM 048-049)

1970-4-25 ATM 130-131 STEREO

April 25, 1970 - 3rd Source Upgrade

1970-04-25 4th Source (ATM 241 + Bonus Disc)

Below is a compilation of photos taken from various sources at the LA Forum gig in 1970:

1970/04/26 - "Cal Expo", State Fairgrounds, Sacramento, California - The Jimi Hendrix Experience

2009-09-23T19:55:00.000-07:00

Set List:

Lover Man
Spanish Castle Magic
Freedom
Machine Gun
Foxy Lady
Room Full Of Mirrors
Ezy Ryder
Purple Haze »
Star Spangled Banner
Voodoo Child (slight return)

To download an audience recording from this performance, click on this link

From Univibes:

Jimi Plays Sacramento (26 April 1970)

by Phil Carson

By the spring of 1970 Jimi Hendrix had arrived at a crossroads in his life and career. His circumstances required decisions, if not solutions.

Hendrix had not toured since June 1969 and had played only a handful of concerts since then. His ad hoc band, Gypsy Suns, Moons and Rainbows headlined Woodstock in August 1969 and performed at the United Block Association's benefit concert in Harlem two weeks later. Although playing with this ensemble undoubtedly contributed to Jimi's development as a musician and served his need to hang out with friends under relaxed conditions, its cumbersome numbers and level of talent didn't promise a touring band. Nonetheless, with Mitch Mitchell on drums and Billy Cox on bass, this interim group held the seeds for a later, tighter band.

In fall and winter, 1969-1970, Hendrix's experimental Band of Gypsys spent an inordinate amount of time jamming in the studio; then headlined at Bill Graham's Fillmore East on New Year's Eve and Day. But that band too burst apart from various pressures, and disintegrated onstage at the Winter Festival For Peace at New York City's Madison Square Garden on 28 January 1970.

Jimi's recording situation was no less troubled. He hadn't finished more than a handful of tracks since producing Electric Ladyland nearly two years earlier. And Ed Chalpin's contractual claims needed to be addressed... Eddie Kramer spent February 1970 mixing the Band Of Gypsys live LP. It would be released in the U.S. on 25 March 1970. But by that time Jimi had already moved on. He had to be free.

On the brighter side construction resumed on Hendrix's dream studio in New York City, Electric Lady. That meant Jimi had to tour and generate cash. With his predatory manager, Michael Jeffery, undoubtedly applying pressure for a lucrative tour, Jimi flirted with re-forming the Experience. But his feeble attempt to convince Rolling Stone writer John Burks in a farcical interview on 4 February 1970 fell short of convincing and Jimi ultimately balked at Noel's return. Instead Jimi asked old friend Billy Cox to take over on bass guitar, and Mitch Mitchell would resume his role as Jimi's drummer.

At this stage Jimi managed to have his 1970 American tour scheduled for weekends to allow him weekdays to devote to studio work on his envisioned double album, tentatively titled, First Rays Of The New Rising Sun. Hendrix and his freshly christened Cry of Love band opened a thirty-date American tour in California with two back-to-back concerts on the last weekend in April 1970. Apparently the new trio established itself in Los Angeles in mid-month to prepare for the tour, though no tapes of those rehearsals have surfaced.

As Cox recalls in the book Jimi Hendrix: Sessions, "After the business at Madison Square Garden I was real suspect. I agreed to come back in February, but that fell apart as well. I didn't hear from Jimi for about a month. Then I got a phone call from him... He promised and promised that I would have no hassles, so, like a fool, I came back for the third time," Cox recalls. "Mitch was cool. He didn't even talk about the Band of Gypsys. He just went about his business... There was a real respect between Mitch and Jimi. We just got down to playing...."

The band quickly caught fire. While less nimble and cerebral than Noel Redding, Billy Cox added a soulful thunder to Hendrix's new band that the thin British bassist never mustered. Mitch Mitchell's amazing technical skills and ability to read the guitarist's mind made him the chosen drummer for any Hendrix group. Jimi could now blend Experience tunes with the Band of Gypsys' more experimental music. More importantly, Jimi would debut fresh compositions with a new sound.

According to Mitch, though the new band could produce great music, there would be little show. Hendrix now largely disdained his earlier histrionics and of course Billy Cox didn't go for flash. In Hendrix's mind the music should speak for itself, though many fans never caught up with him and continued to demand a "show." Behind the scenes, however, The Usual Scene commenced at high pitch. "For the Forum gig we were staying at Rodeo Drive again, at the hotel," Mitch recalled in Inside The Experience. "I had a suite there; [Hendrix] had one with his own private elevator. Talk about hangers-on. I went up to see him once during the week we were there and stayed about two minutes. I thought, 'I don't want anything to do with this.' He didn't want all these people around but he didn't know how to say no."

Nonetheless, Jimi Hendrix somehow managed to overcome the obstacles in his life and transform turmoil into productive energy. Though hardly the ultimate arrangement to fully develop his uncharted talents, Jimi's Cry of Love band would produce some of his best live music to date. In the studio his new compositions and bright, clean sound reflected an artist who had attained a new level of maturity and sophistication. In April 1970 Hendrix headed out on tour with renewed purpose, mixing as much of his new material into his set as possible and exploring the dynamics of his trio. The first show of the tour took place at the L.A. Forum on Saturday, 25 April, and the next day Hendrix & Co. flew north to Sacramento to headline an afternoon, outdoor gig at Cal Expo at the state fairgrounds. California audiences had not seen Jimi since 20 and 22 June 1969, during an outdoor festival with mixed results at the Newport Pop Festival in Northridge.

The L.A. Forum show proved to be a blistering performance that lasted a full hour and a half. The set contained most of the songs that he played the next day at Cal Expo and, indeed, on the rest of his American tour. Seven songs came from the Experience songbook, four from the Band of Gypsys, and three were completely new. Photographs of Jimi at the Forum show capture him in a distinctive, red, white, and blue headband; a dark, ruffled shirt; floral vest; faux leopard skin belt; and black pants with leather patches. It's likely that Jimi enjoyed partying after his show in L.A. Sunrise may have caught him by surprise.

Promoters for the next show at Cal Expo in Sacramento ignored Hendrix's name for his new band and advertised "The Jimi Hendrix Experience in a beautiful afternoon concert." Fans were invited to "bring a picnic lunch, a blanket & a smile." Ironically, an entity known as "Strongwinds" presented the show. Music would begin at 3 p.m. The flyer said "other groups to be announced," and by show time a group known as Blue Mountain Eagle and The Buddy Miles Express would open the event.

On 26 April Hendrix & Co. traveled to Sacramento, California's capital, eighty miles northeast of San Francisco. The state fairgrounds just east of downtown included a large, oval racetrack with a grandstand along the straight-away on the west side. For the concert promoters erected a stage at the foot of the grandstand, facing up into the seats. About 8,000 tickets were sold.

Larry Hulst, 24-years-old and fresh from service as a medic in Vietnam, had been to a Joe Cocker concert the night before in San Francisco with friends and they were a tad burned out. But they weren't going to miss a chance to see Hendrix. Hulst had begun to develop an affinity for photography and he took a camera to the show with a couple rolls of black-and-white film. He'd grown up in Sacramento and had already experienced Hendrix.

"In '67 I bought his first album," Hulst recalls today at his home in Colorado Springs, Colorado. "Then in '68 I took the double album to Vietnam. I played it an awful lot there."

Before packing for Vietnam Hulst had caught the Jimi Hendrix Experience at Balboa Stadium in San Diego on 3 September 1968, and a week and a half later at Memorial Auditorium in Sacramento on the 15th. "The first show of Hendrix was far more exciting - just to be in the building with him. He was the best in San Diego. I don't have much of a memory of it, but I thought I'd seen what I needed to see."

As for Cal Expo, Hulst recalls: "It was the largest show [ever] in Sacramento, which meant that everything was two or three times larger in scale - meaning more police, more hassle to get into the place, more area to figure out where you could stand and not be in front of somebody who'd yell at you. Back then there were two groups of people, those who sat down and those who stood up. If you stood up in front of people they would yell at you. That was their job, I guess."

Buddy Miles' opening set left no lasting impression on Hulst. As for the Cry of Love's appearance, Hulst recalls: "I remember Hendrix came in a white limousine and drove into the staging area and walked right up. He didn't have a sound-check."

Steve Avis, now 43 and still living in Sacramento, also attended the Cal Expo show. He too had already seen Hendrix. "I caught Hendrix once with Soft Machine at the Men's Gym at Sacramento State College on 8 February 1968. That was a revolutionary change in music, the best show I ever saw. We were 14 years old, went first through the door, and we got right in front of the stage. If he had reached down I could touch him. He had his Flying V leaning up against an amp. We could hear him talking to Noel and Mitch. The power went out early in the show and he said, 'Aw shucks, just when it was gettin' good.'"

"Every time I saw him I was just totally blown away," Avis adds. "He would go off for a while and you could just totally relate to that. I could relate not just as a guitar player but in a spiritual way. Those major chords made you feel kind of happy, kind of mystical."

As for the Cal Expo show on 26 April 1970, Avis recalled three years ago for Straight Ahead: "It was a sunny afternoon, but patches of clouds scattered the sky. My friend Kent and I stayed in the trailer at my parents house the night before. The next day we headed to the race track at Cal Expo for the concert. We had already bought tickets in advance for $3.75 (those were the days!)... There were a lot of people sitting on blankets and a sweet smell filled the air. The stage was directly in front of us so we sat down with some friends. They had a camera that I had a chance to use...."

"There was a long intermission at which time the stage was being set for Hendrix... A black Stratocaster leaning against one of the three Marshall stacks... Although this was my third Hendrix concert, being a guitarist myself I was anxious to see what new "tricks" he had up his sleeve... Finally they were introduced...."

Photos of Hendrix reveal him with the same choker and medallion 'round his neck and in the same floral vest as the night before. It is hard to tell if he has the same or a very similar dark, ruffled shirt at Cal Expo as at the Forum show the night before. The same red-white-and-blue scarf appears 'round his head. As it is somewhat unusual to see Jimi wear the same outfit two days in a row, there is a possibility that Hendrix did not sleep between the two concerts, nor even changed his clothes. [Note: In color slides taken by James Hill at the Cal Expo gig, Jimi is also wearing an additional red jacket - Caesar Glebbeek.]

Those in charge of stage preparations had stayed up late as well. Aside from the stage construction itself, the Strongwinds promoter (whose identity eludes us) gathered a small crew of young men to create a large, painted backdrop for the stage. One young guy named Craig Chaquico (pronounced cha-kee-so) joined the crew. "I remember going through my brother's albums and finding Are You Experienced," Chaquico says today from his home near San Francisco. "I put the headphones on and, man, it changed my life. Up until then I had been listening to the Beach Boys. I didn't know this stuff existed."

As the Cal Expo date approached, artist Mark Hensen got hired to produce a promotional poster for the concert. Miniature posters served as tickets. "Hensen was also asked to paint the backdrop and asked me and other guys to help him," Chaquico recalls. "He designed it, we helped him paint it. Ourpayment would be to keep any paint and canvas we didn't use. For starving art students that was great. So the production company bought two six foot-wide rolls of canvas, forty feet long. The original backdrop was supposed to be three segments. One segment was to be an American flag. The next was to be a big, trippy peace sign. The other side was to be the English flag, because Jimi's group had American and English musicians."

"I was like 14 or 15 years old, I'm getting backstage the night before. Part of my payment was also supposed to be free tickets too. We stayed up all night painting this backdrop and the American flag goes pretty well. The peace sign went pretty smooth. It's three in the morning. 'Okay, let's do the English flag. What does that look like again? Red with some crosses on it?' We couldn't remember exactly what it looked like. No one had an encyclopedia, it's three or four in the morning, we got to get this thing done, we're running out of time, it's all got to be set-up and no one knows what the damn English flag looks like, at least closely enough to paint it. Logic is maybe not our best asset at that point. Someone says, 'Let's draw the Vietcong flag. It's just a star with a blue and red background.' It made sense to us at that point, but we got so much shit. People either loved it or hated it. But it went up."

For Chaquico this proved to be only the first phase of his Hendrix adventure. "Back then things were not as well-organized as they are now so the promoter hadn't gotten enough crew to handle the stage set-up," he explains. "All of us kids with paint all over our hands and T-shirts got drafted at the last minute to help Hendrix's road crew carry the amps out of the truck and onto the stage. I got to be one of Hendrix's roadies for an afternoon!"

"I remember seeing a big road case with guitar cords, Wah-wah pedals, Fuzz-faces. I had never seen so many pieces of guitar equipment. I would save for months to buy just a guitar chord. Here everything was in this big box. I said something to a roadie like, 'Hey man, can I have one of those Wah-wah pedals?' He thought about it for a second, but said 'No way man! I can't give everybody one of Jimi Hendrix's Wah-wah pedals!'"

"At one point a bunch of kids, who didn't have tickets, were trying to get in over the fence. The promoter suddenly drafted us to become security and said, 'Make sure those kids don't jump over the fence.' So I ran over there and I'm looking at these guys on the other side of the fence and I think, 'What the fuck am I doing? I go to school with those guys! I'm not security, I'm outta here." By some estimates the gate-crashers nearly doubled the paid audience of 8,000.

Sometime during the break between The Buddy Miles Express and the Cry of Love someone threw out hundreds of coffee can lids, or small frisbees, which provided diversion until The Man plugged in.

1970/05/04 - Holding Together, Village Gate, New York - Jimi Hendrix, Noel Redding and Johnny Winter

2009-09-23T19:50:00.000-07:00

May 04,1970 Village Gate,Bleecker Streer/Thompson Street, New York City, U.S.A. "Holding Together" benefit for Timothy Leary

1. Getting My Heart Back Together Again
2. Freedom
3. Red House

Michael Horowitz - An annotated Bibliography of Timothy Leary

1970/05/08 - The Fieldhouse, University of Oklahoma, Norman, OK - The Jimi Hendrix Experience

2009-09-23T19:41:00.000-07:00

The Jimi Hendrix Experience
The Fieldhouse, University of Oklahoma, Norman, OK

Set List for The Norman Oklahoma gig:

Fire
Spanish Castle Magic
Machine Gun
Lover Man
Foxy Lady
Hear My Train A Comin'
Message To Love
Red House
The Star Spangled Banner
Purple Haze
Voodoo Child (Slight Return)

Another great show from The Cry of love Tour of 1970, Jimi really blew the house away with incredible versions of old materil along with lots of new material he was working on for his new album and the material that made it's way from the Band of Gypsys period. Machine Gun is given a flamenco orientated intro that is unlike anything else Hendrix has done live, very ethereal and powerful. Hendrix was very intune with the political landscape of the time, and the killings at Kent State definitely had their affect on Hendrix's mood, paticularly during Machine Gun, Red House and Hear My Train a Comin', some of the shows biggest highlights. As Jimi did with a lot of shows past mid 68, he closed the show out with Voodoo Child (Slight Return), and this version is quite compelling when comparing it to other versions performed live. Jimi was now looking forward and the Cry of Love tour shows are very forward statements from an artists who was desperatly searching for what was next. - Erik Otis

From Just Ask The Axis:

From Chris Dixon's 30th Anniversary Series © C S Dixon
May 8, 2000 marks 30 years since Jimi played the Field House at the University of Oklahoma in Norman, OK. Unrest at American college campuses on this week was at an all-time fever pitch, with the protests over the escalation of the Viet Nam war having boiled over into the killing of 4 students at Kent State University in Ohio at the start of the week (as a paperboy in nearby Cleveland, I remember delivering the headlines the next day). The Univ. of Okla. was no exception, with protests, marches and confrontations taking place up to and surrounding Jimi's shows. It would be a mistake to presume exactly what was on Jimi's mind at any given point but there was some undeniably urgent music made this night, and the mood of the week surely played a part.

There were two shows by Jimi this night, a relative rarity at this point in his career. The second show was recorded on reel to reel by a Lee Agnew. Copies of the tape had circulated for years in varying quality, some quite dire, but only in the last couple of years was the original master reel located and digitally copied for a *vast* improvement in quality to most collections - yet another example of the need to constantly seek out and share Jimi tapes! The tape is quite good quality as period audience recordings go, with some tape speed variations (especially later in the show, common as recorder's batteries begin to fade) and a few cuts. The mix is good with vocals clear and the guitar not overpowering, so the taper must have been off axis of the Marshalls and back a bit as there are some boomy hall acoustics evident. There's nice solid bass (could've been equalized on remaster, if so it was a good call IMO) and Mitch is well heard except during the very loudest sections.

(Setlist): Fire; Spanish Castle Magic; Machine Gun; Lover Man; Foxy Lady; Hear My Train; Message Of Love; Red House; Star Spangled Banner; Purple Haze; Voodoo Child (SR)

'Fire' begins a bit unusually with Mitch setting up a drum pattern and Jimi repeating the first two chords a couple of times before starting the song proper. He may be having a little guitar trouble- nothing obvious, but he skips some words on the chorus before the solo and fluffs a couple of notes at the modulation. He slips in the quote from 'Outside Woman Blues' during the stops after the solo then drops out altogether, perhaps to sort out something with his gear. Mitch continues with a good 4 minutes of drum solo. Jimi re-enters with the same 'Outside Woman' riff then does a little more soloing before hitting the last verse. The drum solo makes this version over 8 min. long, unusual for 'Fire'.

Jimi is heard to introduce SCM as "..a little Spanish Castle (makes sound as if hitting a joint, then in a choked voice as if holding it in)....Magic", immediately hitting the opening riff! The solo atypically starts with some longer sustain/feedback notes then gets faster at 2:15 with the wah added just after (this is a spot where Mitch gets lost a bit in the din). Short solo leads to final verse at 3:15 and a little more soloing to end at 4:20 for a fairly short version.

Jimi asks crowd to "...forget about the hogwash and bullshit..." and dedicates 'Machine Gun' to "...the soldiers fighting in Chicago, Berkeley...Kent State (meaning the street 'soldiers' no doubt), Oklahoma (the last two amid cheers)...". Jimi then plays an off-the-cuff 1:30 intro that is one of the most haunting things I have ever heard! All of Jimi's music reflects his genius, but sometimes everything just falls into an even deeper place, and this is one of those times for me (every Jimi fan has their own, of course). Somewhat silly to try and pick apart such organic flows of imagination, but just to describe it in general, he starts with some lines from his 'Bolero' piece, moves to some sliding intervals ala 'Castles Made of Sand', segues to some flamenco style lines, then finishes with an absolutely brilliant chord progression that mixes some *very* high-on-the-neck notes with open strings, every note ringing out perfectly and the tension setting things up for the release of the familiar 'Machine Gun' opening. Again, we can never know what Jimi was thinking but I've always thought of this unique piece as a chilling eulogy for the Kent State victims, perfectly conjuring the mood of the moment. After this one-of-a-kind intro, Billy pushes the groove over Mitch's military rolls as Jimi gets into about a minute of soloing before the vocals enter, including a very Spanish-sounding run at 2:40. The main solo starts at 5:00 with some long wailing notes, then Jimi lets his own bullets fly like rain with some intense faster playing. At 7:00 they do the secondary riff and Jimi sings of a mother weeping and crying for her son in the war. At 8:25 we get a mini feedback 'symphonette' then some more high speed soloing, leading to 'Taps' at 9:00. Billy's bass is especially resonant, the low E note acting as a sort of low tolling funeral bell. At 10:00 Jimi does the 'rat-a-tat', then does a bit of quieter playing with the 'wobbly' whammy vibrato, back to the rat-a-tats and trails off with a final tail of feedback, saying what sounds like "..right back to home.." at the end. A standout rendition.

Jimi lightens the mood with some sort of joke about funny "cigars" going around to much laughter, then intros 'Lover Man' with a crack about a 300lb guy "coming up the street" to surprise the protagonist. Features some offbeat (literally and figuratively) playing coming out of the 'Flight of the Bumblebee' section!

'Foxy' starts to show some extreme tape speed fluctuations. Since it's about the midpoint of the tape the reel apparently runs out, the tape cutting in and out then stopping altogether prematurely at 2:15. Unfortunately the speed fluctuations continue throughout the second half but aren't too distracting for the most part.

'Hear My Train' starts this time with Jimi singing the chorus line acapella. Sounds like he sneaks in a little tuning during his opening riffs. He does some clean playing with the wah, leading to the vocals. He goes into the main solo at 2:45. At 4:00 we hear some held trills bent up and down with the whammy ala the BoG 'Machine Gun'. He hits the last "gonna leave this town" verse at 4:35 and stretches it out, with longer sections of soloing between the vocal lines. A nice little climbing fill after the last stop. More soloing ends to a slightly abrupt ending at just under 8:00.

'Message of Love' sees Mitch getting them into a double time feel coming out of the solo. This and 'Machine Gun' are the only 'new' songs at this show, with 'Roomful of Mirrors', 'Ezy Rider' and 'Freedom' conspicuously absent. Not many shows featured *all* the newer songs, but I wouldn't be surprised if they were performed at the early show as Jimi often seemed to treat double headers as one long show of sorts.

We hear the buzz of guitars being switched and 'Red House' again features the familiar 'quack' of the Flying V, Jimi having gotten it the previous weekend (on reflection, maybe he took delivery of the custom made V directly from a Gibson factory rep since he'd been in the upper midwest and Gibson at that time was in Kalamazoo, Michigan ?). He toys with the opening triad again at the start of the second verse. Some sweet blues bending leads to the verses at 1:50. Mitch's rimshots during the verse are plainly audible, a type of detail lost on many audience tapes! Middle solo is a full three 12-bar verses long, Jimi's tone pretty clean throughout even while the playing gets more intense. Adds wah for the 3rd round and slips in some nice sliding intervals. A cool little arpeggio at the very end.

Tape cuts to Jimi introing 'SSB' with some words about how "we used to have to sing it all pretty" but now they're gonna do it the way it is! We hear him briefly toy with a 'Bolero' type phrase with the Univibe then dedicate the anthem to "...all who have died for various causes, all the ones who will, all those that fight in the streets...". This version features some extra feedback effects at the start and a few more embellishments on the melody lines. Right after the "flag was still there" line we hear a nearby firecracker, the gunshot-like sound startling and a bit ironic on this week. At the end the guitar stops and Jimi says "...in the spirit of the day, dig this..."

...and launches into 'Purple Haze'. This night "...the pigs put a spell on me". We get a little teeth playing in the main solo and, per usual, in the tag.

'VC(SR)' follows a brief introduction of the band. The solo here sounds especially piercing and trebly (must've been *loud* in front of those Marshalls!). Some ascending unison bends at 2:30. Unfortunately, the tape runs out for good during the solo at about the 3:30 mark.
A good show and well documented. Wish we could hear the early show!

Chris

For a comprehensive overview of this incredible performance, with lots of photos and quotes, click here

Download the most current version of an audience recording made for this show here. Speed corrections and drops outs have been removed from the original tape that was circulated amongst collectors, this is a really great recording that has had some much needed work done to it.

1970/06/20 - Swing Auditorium, San Bernardino, California - The Jimi Hendrix Experience

2009-09-23T18:55:00.000-07:00

Set List:

All Along the Watchtower
Room Full of Mirrors
Machine Gun
Message To Love
Hear My Train A Comin'
Foxy Lady
Hey Joe
Purple Haze
Voodoo Chile (slight return)
Keep On Groovin'

The photo collection below was shot and provided online by crosstown member Mourning Star:

The following are links to two versions of the same audience recording made for this show:

1970-06-20 San Bernadino 2nd gen

Swing in San Bernardino - APE+Art

From Just Ask The Axis:

From Chris Dixon's 30th Anniversary Series © C S Dixon
June 20, 2000 marks 30 years since Jimi's 1970 concert at the Swing Auditorium in San Bernardino, California. Jimi did 4 concert dates in the western US on this week but this is the only one which exists on tape as of now (he played Albuquerque the night before, Ventura (Ca) the day after, and Denver three days later).

The tape of this night is unfortunately a pretty rough listen. It's quite distorted and apparently was recorded from some distance, as it is further muddied by hall acoustics. Jimi's vocals are very low and even the between-song talking is hard to make out. Billy's bass is audible but boomy and Mitch is barely heard at all. The taper may have been off to the side or behind the stage as even the guitar, while most prominent, sounds distant and ambient. Tape hiss, speed fluctuations and phasing don't help either. There are cuts between most songs, in some cases clipping the starts.

The tape times out to a little over 40 minutes, a very short show if complete though tape cuts mean there could have been additional songs performed. There are anecdotal reports that Jimi rushed through the show, possibly in a bad mood due to hecklers (there are reports of a rowdy crowd and some destruction outside the venue by non ticketholders). Almost all between-song chat is cut or inaudible so it's hard to sense his general mood but some of the songs, especially later in the set, do seem faster and shorter than usual. The tape as commonly circulated ran quite fast but that's a very simple fix upon listening (assuming one has a pitch control on their tape or CD player- highly recommended if one is into the vintage stuff!) and even after pitch correction some of the tempos do seem a bit rushed. It's been reported by an eyewitness that he began the next nights show by saying he'd "make up for San Bernardino..." but exactly what, if anything, was wrong here remains a mystery.

(Setlist): All Along The Watchtower; Room Full of Mirrors; Machine Gun; Message to Love; Hear My Train; Foxy Lady; Hey Joe; Purple Haze; Voodoo Child (SR)

After some barely discernible words which suggest his oft-heard opening rap about forgetting everything else and building their own world, and a few melodic opening riffs, Jimi opens with a surprise- the second ever known live rendition of 'All Along The Watchtower' and the only known instance of Jimi opening a show with the song. The only previous known concert performance was with Noel, way back in Jan '69. He'd always avoided playing it when it was a hit single, despite many shouted requests at shows. Most of the parts from the Electric Ladyland classic are represented here, Jimi doing a nice job of replicating the various overdubs live (though he does leave out the final 'embellished chord' movement of the main solo). Throws in some nice guitar riffs along with the shouted title refrain at the end. AATW would go on to be performed at a half dozen of the remaining (documented) '70 shows.

Jimi introduces 'Room Full of Mirrors' by name, one of few audible stage comments. It gets a slightly extended solo section, going to some fast rhythm guitar comping (a bit like some old 'Killing Floor' intros) and a solo w/ wah that sounds for a sec like it could break into 'Gypsy Eyes'! Comes back to the "broken glass..." verse and finishes with a brief solo guitar break before the last chord. At almost 5 minutes it's the longest of our available live versions.

After a few inaudible spoken comments (perhaps mentioning soldiers fighting in San Berdoo?), 'Machine Gun' gets a brief free form guitar excursion before the intro proper w/ Jimi visiting his mellow flamenco-flavored meditation on E. Hard to tell exactly when/what Jimi is singing during the opening verses. Main solo comes at 4:30, Jimi getting into it nicely for a set highlight and Billy periodically revisiting the rumbling variation of the bass riff that we heard at the Baltimore show. Jimi manipulates the Univibe speed control at 5:50 (though at times it's hard to separate the 'swoosh' of the Univibe from the tape phasing!). He moves to some lower flowing, or legato, runs then goes to the secondary riff and last verse. Follows with some 'rockets red glare' style feedback w/ whammy, finishing with the 'wobbly' vibrato'ed notes and a few 'rat-a-tats'.

Sounds like he moves directly to the 'Message To Love' intro (could be a tape cut, if so it's not as obvious as most others here), with a brisk tempo. He delays beginning of second verse a few bars. Solo features a unique riff at 3:00 using some sliding intervals.

A tape cut puts us into the first notes of 'Hear My Train'. He doesn't do much soloing at start and is into the vocals by :45. The solo starts with the wah at 2:00 and is very short, only a minute or so, before he returns to the "gonna leave this town..." verse. Billy tries out a bass line variation just after that verse. It ends quite suddenly after a little more soloing at 5:20, one of the shorter concert renditions.

Another tape cut before 'Foxy'. Uses teeth for part of the main solo.

'Hey Joe' gets cut *very* short, ending just after the chromatic climb at the end of the solo for a time of only about 1:45. Perhaps sensing a short version coming on, he gets the 'I Feel Fine' quote out of the way during the first few lines of verse!

Yet another tape cut takes into the start of 'Purple Haze'. Atypically appears this night w/o 'Star Spangled Banner', unless the national anthem did not get recorded. Jimi misses a couple of his target notes and bends near the end, perhaps evidence of distraction(s).

VC(SR) again has the recently revived 'muted wah' intro. Some of Jimi's fills sound twangy, almost rockabilly. The last solo breaks down to some rhythmic strumming and he does the 'Keep On Groovin' verse at 5:20. He restates the intro riff and the tape ends just as he begins the 'dental coda'.

Chris

1970/07/04 - "Second Atlanta International Pop Festival", Middle Georgia Raceway, Byron, Georgia - The Jimi Hendrix Experience

2009-09-23T18:49:00.000-07:00

Jimi Hendrix Experience
1970-07-04
Atlanta International Pop Festival
Middle Georgia Raceway
Byron, GA

Set List:

Intro
Fire
Lover Man
Spanish Castle Magic
Red House
Room Full Of Mirrors
Hear My Train A Comin'
Message To Love
All Along The Watchtower
Freedom
Foxy Lady
Purple Haze
Hey Joe
Voodoo Child
Stone Free
The Star Spangled Banner
Straight Ahead
Hey Baby (New Rising Sun)

Crosstown Torrents has the following sources available for download:

Vibratory Atlanta '70 3 Source Merge (Version 2.0)

1970-07-04 Atlanta Pop Festival stereo AUD (requested)

(ATM DVD 005) The Atlanta Reel - 1970-07-04

Wikipedia Description:

The second Atlanta International Pop Festival was a music festival held at the Middle Georgia Raceway in Byron, Georgia. Originally scheduled for July 3 to July 5, 1970, it did not finish until near dawn on the 6th. It was the only successor to the first Atlanta International Pop Festival 1969. The event was promoted by Alex Cooley, who had organised the same event the previous year, as well as the Texas International Pop Festival

Like the Woodstock festival the previous summer, the event was promoted as "three days of peace, love and music." Tickets for the festival were priced at $14. Also like Woodstock, it became an "open event" when the promoter threw open the gates. An estimated 350,000 to 500,000, and possibly 600,000 people attended.

Performers included the The Allman Brothers Band, Jethro Tull (scheduled but did not perform, citing laryngitis), Terry Reid, B.B. King, Procol Harum, Jimi Hendrix, Chambers Brothers, Poco, Grand Funk Railroad, Captain Beefheart, Ravi Shankar, 10 Years After, Johnny Winter, John Sebastian, Mountain, and Spirit.[2][1][3] Jimi Hendrix played his rendition of the Star Spangled Banner for the fireworks around midnight on the 4th of July.

Check out a really nice site that details what occured at the second Atlanta Pop Festival here

Flickr user ejmc has graciously provided some amazing photos of this festival here

1970/07/28 - 1970/08/14 - Rainbow Bridge Vibratory Colour-Sound Experiment - The Jimi Hendrix Experience

2009-09-22T14:00:00.000-07:00

Rainbow Bridge Wikipedia Description:

Rainbow Bridge is a 1972 film directed by Chuck Wein that features footage from a Jimi Hendrix concert, and a short piece of conversation between Hartley, Wein and Hendrix. It was mainly financed by Hendrix manager Mike Jeffery, hence his appearance. The film is about Pat Hartley's "spiritual awakening" via a visit to the 'Rainbow Bridge' planetary meditation cult on Maui, where, as part of the proceedings Jimi Hendrix visits to play a concert during a 'Rainbow Bridge' mass meditation/colour/sound "experiment". The "Rainbow Bridge" concert was a free concert by Jimi Hendrix that was held on July 30, 1970, in a horse pasture above Seabury Hall, on the "Upcountry" slopes of Haleakala, the volcano that makes up 75% of the island of Maui, Hawaii, although it probably last erupted in the 1600s, it is officially considered as being active. - A modest audience of a few hundred island hippies, surfers, and students turned up following announcements that Hendrix would play a free concert for a film. Hendrix was also in Hawaii to play the last concert on his 'Cry of Love' tour with his reformed 'Jimi Hendrix Experience' (with Billy Cox replacing Noel Redding on bass & backing vocals. Mitch Mitchell & Cox were also - previously - members of Gypsy Sun and Rainbows). The director Chuck Wein introduced Hendrix' performance (no mention of a group name) as the driving force of this 'Rainbow Bridge' "experiment" , (this title is often mistaken as being the name of the site of this concert rather than the name of this "Planetary meditation" cult). The original cut, not surprisingly used very little of the concert footage, as this was not intended to be a concert film and no music from the performance was released on the official Reprise LP "Rainbow Bridge- Original Motion Picture Soundtrack" for contractual reasons and due to the original music soundtrack being unreleasable due to its very substandard sonic quality on account of strong winds that day. The album does include, however, the studio tracks featured in the film. However, the music from the concert was distributed as a bootleg recording for three decades, before Radioactive Records released this same bootleg recording on the 2003 album, The Rainbow Bridge Concert: The Early Show until it was withdrawn due to a court action by 'Experience Hendrix' which makes this officially a 'bootleg' CD release. The 'Rainbow Bridge' concert was the penultimate performance by Hendrix in the United States, his last was two days later on 01 August 1970, in Honolulu, Hawaii. Hendrix died less than two months later on September 18, 1970 in London, England.

1970-07-30 (Thursday): "Rainbow Bridge Vibratory Colour-Sound Experiment", Haleakala Crater, Maui, Hawaii, USA

1st show
Spanish Castle Magic
Lover Man
Hey Baby (The Land Of The New Rising Sun) »
In From The Storm
Message To Love
Foxy Lady
Hear My Train A Comin'
Voodoo Child (slight return) »drum solo »
Fire
Purple Haze

2nd show
Dolly Dagger »
Villanova Junction »
Ezy Ryder
Red House
Freedom
Beginning »
Straight Ahead
Hey Baby (The Land Of The New Rising Sun) (intro only) »
Keep On Groovin' »
Race With The Devil » drum solo »
Stone Free « Hey Joe

If you would like to grab some audio from this show, check out any of the following sources:

Rainbow Bridge 1970-07-30 (HAZE 001) pre-overdubs

(The Complete) Rainbow Bridge [Rock of Ages ROA 1001, 2cd, flac + Art]

Into the Clouds, Haleakala Volcano Crater, Maui, HI 30.07.70 Complete 1st & 2nd Show

All circulating video sources:

Hendrix@Maui

The Jimi Hendrix Experience: Live Rarities 2xDVD NTSC

1970-08-01 (Saturday): Honolulu International Center Arena, Honolulu, Hawaii, USA

Straight Ahead
Ezy Ryder
Hey Baby (New Rising Sun)
Spanish Castle Magic
Red House

Check out a streaming audio recording provided online by Experience Hendrix of the last performance Hendrix would give on American soil here. Crosstown Torrents has a version you can download here.

Below is a collection of photos archiving Jimi's stay in Maui, 1970. All photos taken from flickr user rising70:

Interview With Melinda Merryweather From The Rainbow Bridge Film

From Straight Ahead Magazine October/November 1995 Vol. 79/80

Interview By Steve Roby

When conducting research it doesn't matter how many articles you locate from various obscure print sources, what really counts is directly talking with someone who was involved on a first-hand basis. In the last issue of Straight Ahead we offered what we thought was a detailed accounting of the Rainbow Bridge movie project and how Jimi figured in. With a little bit of luck, or guidance from Jimi above, I was pointed in the direction of Melinda Merryweather. Melinda was directly associated with the making of Rainbow Bridge and shared some time with Jimi while he stayed on the island of Maui in 1970. Her insights and personal observations for this time period are essential as none of the current books on Hendrix document Jimi's whereabouts from August 1 - 14.

I would personally like to thank her for sharing this information with me and the readers of Straight Ahead. Also thanks go out to Rick Brand for steering me in Melinda's direction.

Can you give us some information on your background and how you got involved with the Rainbow Bridge film project?

I was a good friend of Chuck Wein, who was the director of Rainbow Bridge. I had known Chuck from the days when I was a model at Eileen Ford's in New York. Chuck had a friend by the name of Terrain. Terrain was a very interesting woman whom Jimi had heard about. She had a 300-page book of Jimi's music decoded with color vibrations and she was into color-sound healing. Jimi actually inquired and then found Terrain and Chuck through a vegetarian restaurant in Los Angeles called Help. I think Jimi was staying at the Beverly Rodeo Hyatt ...

Was this in 1970?

It was probably 1969 or early 1970. Jimi somehow got in touch with Terrain because he had heard that she was decoding his music ... every note has a color, and all colors have different healing abilities attached to them. At that point in time, Terrain was living on Orion street in the valley. She, Chuck, and Jimi all took acid together at that house and they talked about the decoding of his music. She would say this is the color yellow and then put on a bit of Strauss or somebody like that and the whole room would fill with yellow. I believe Beethoven was also into the correlation of colors and notes. Jimi was very interested in this and would write colors down first and then turn it into a notes. Jimi had told terrain that he was from another planet located near an astroid belt off Mars. He came to Earth to show it's people a new energy.

How did you get invovled with this scene?

I was a good friend of Chuck, and Chuck was interested in making a movie. I was with Chuck and some other people when Michael Jefferey came to Maui. Somebody pointed him out and said that's Jimi's manager. I knew Chuck had this concept for a movie. We were also interested in getting Jimi to write some music for this project... you'd watch somebody surf and then take the pattern of them surfing and turning it into music rather than just having some music used for the surfing segment... let the surfing actually create the music! So I saw Michael Jeffery and I introduced myself. I was fearless of him and I knew this project was meant to be. I then told him I have a friend I would like you to meet and we have this concept for a film and I understand Jimi's looking for a concept for a film, maybe we can merge this all together. The next thing you know we're going off to Hawaii and making this film. We made it at a place called Seabury Hall which was a private girl's school that was closed for summer vacation. The original house was a beautiful huge mansion and the guy that came to be our vegetarian chef, his grandparents used to own that house. It had dorms, tennis courts, and ponds ... and all sorts of things. We just descended on it to make this film. Jimi loved that place and he referred to it as The Cosmic Sandbox. He was with us for about two to three weeks. In your Rainbow Bridge article it was mentioned that he was there for one day when it reality it was weeks.

What was your involvement with the film?

I did the art direction and ended up being in most of the film.

Now who are you in the film and what scenes can we see you in?

I am just myself. If you are familiar with the movie you can see me riding up barefoot on a horse at the beginning of the film. I have long brown hair and I am riding a horse with just a blanket on it. In another scene I am the one who says "Hartley is coming to check on us and we better all get it together." There's another scene where I am on a surfboard inside a swimming pool getting my chart read. You can also see me in the scene where someone is trying convince me that if I smoke cigarettes - I'll never go to heaven. Also there's a segment where I am fencing with a rabbit. I am dressed all in white and the rabbit is in black.

Many of those scenes you described have been cut and the only way you can currently get the film is on a 74-minute video distributed by Rhino.

The original two-hour version of Rainbow Bridge was an incredible film. A lot of the political comments that certain people didn't want in it were chopped out. The film got taken away from us a couple of times. It was quite a procedure to finally get that film out there to the public. We spoke about our government's's total disregard for the environment. When that film first opened to the underground audience you couldn't even get in - people were standing in the aisles! I hope someday that the original version is redistributed.

I know what you mean. I first saw it when it was distributed to the theaters and the rap scene with Jimi, Pat Hartley and Chuck gave me goosebumps. I loved the film so much I sneaked a tape recorder in to re-live it.

If anybody has never been in his presence, I sincerely believe that scene in the attic is one of the most precious scenes. It shows a very real side of Jimi.

Where was that attic?

That attic was in Seabury Hall and was it filmed before the concert and not on the same day as described in your article. If you recall, all those people were rowing that boat in that same attic. Also, when Jimi pokes his head out of the window he doesn't say "Put that in your hat" he says "Get back on your God damn heads!" That whole scene was Jimi's idea.

Was that in the school house?

They say it was in the school house, but it was actually in one of the rooms at the original house. The original house has the living room, a kitchen and a large dinning room. The minister and the people around the school lived in the big house and all the school rooms were attached on the side with the dorms.

How did the word get out to the people on Maui about this free unscheduled concert?

We didn't let everybody know until about a few days before, and then we just put it through the coconut wireless. (laughs) No ... just tell somebody and before the end of the day everyone will know . You can see in that concert how absolutely magical it all was. I had the flags flapping the background designating the end of the Picean age. At the front of the stage you can see the full rainbow spectrum wrapped in silk. This all took place on the side of a volcano called Haleakala, which translates from Hawaiian to House of the Sun.

I've read that those who attended the concert were supposed to sit near their respective zodiac flags. Is that true?

Yes. Every sign of the of the zodiac has a certain color and we had everyone sit next to their particular sign. Some people did say to us things like - "But I'm a Scorpio and I came with a Cancer" and we told them - hey, you're going to get to see Jimi on the side of a crater for free, and take part of a concert you'll never forget... just go along with it. When Jimi got up on stage and started he actually played each color. For example if you were a Scorpio you could feel the red.

As a collector, I've always heard the rumor of a third set that was played, yet all we have" are tapes of two sets. Was there a third?

Yes, he played three 45-minute sets. In between sets we all played in this sacred Hopi tent we had next to the stage. I wish I knew where a lot of that footage was today. Somebody else asked me that. There was only one concert, but as I remember it there were three sets. I don't know if you can see on the current video tape, but everyone Om'd before Jimi went on stage. Jimi then played a note for each zodiac sign and then he merged them altogether. People were literarily crying when the concert started. It sounded like cellos, then it sounded like violins, and then it sounded like a harp. It rose and then it fell like a full orchestra. Then out of nowhere comes Billy with this slow funky bass. Jimi then walked up to the mike and started signing "Hey gypsy baby ... " The power of the music was incredible! He was in unbelievable form that day. He loved the whole thing. The concert was a full-blown, three-dimensional, no-one-gets-out-without -being-touched performance. Jimi was and still is the master without a doubt.

Wasn't there an opening act too?

There was two beautiful twin sisters dressed in rainbow colored silk with a guy playing guitar. They played music while everybody was filing in and finding their designated zodiac spots. I made these huge silk flags on bamboo poles that had all the zodiac symbols on them.

You were really involved with this project, weren't you?

It was an opportunity to do all the things you ever wanted to do to create the most amazing concert and the people at Warner Bros. said - "go ahead, do what you want to do." I'll never forget when Chuck first threw the concept at them ... one guy turned to the other and said, "I don't know what the hell he's talking about, but give him the money. We had the best music ... Jimi's ... We were going to film on the most spot on Earth ... We invited the most outrageous people from every walk of life to represent their lifestyle... Has smugglers, psychic color healers, coke heads, acid heads, priests, nuns, gays, groupies, environmentalist, and Venutions who worked for Werner Von Brown. Chuck got the most energized people from all of these lifestyles and meshed them all together. Warner Bros. later called us and said, "we need to see footage." We desperately went through reels of film and said, "oh my God, what can we send them? They won't understand any of this!" If you look back at this film years from now it will be an incredible documentary of those times.

Was the local paper accurate when it said there was about 700 to 800 people attending?

Yes. The next day in the newspaper there were reports of people seeing flying saucers and hearing music coming from rocks. People were even calling the radio stations wanting to know what was going on. There were UFO sightings down by the harbor and near the volcano. One of the camera at the concert fell of his stand when he saw through his lens what he swears was a flying saucer. The funny thing about it, when he first arrived, he thought we were the ones out of our minds.

Did he capture any film of it?

Chuck says there is a piece of film with something strange on it. At one on the original version of the film, Jimi looks up and says, "there go my friends."

What did Jimi think about the Hawaiian islands?

Jimi told me on the day we drove over to see the concert sight that he would like to live in Hawaii. He wanted to grow grapes on the side of the crater and make wine. I can remember that day. It felt like we were children on our first picnic. He also told me that same day he thought that they would eventually be able to cure cancer with sound.

There is a scene in the movie where Jimi is at the beach. He is talking with Pat Hartley and the sun is setting in the background. I noticed Jimi's foot is bandaged. What happened?

He cut his foot on some coral. Jimi was supposed leave Maui and to return back to the London on the 14th, but someone sent them a note back saying he cut his foot while surfing. He did go to the hospital for it, but they just bandaged it. The next day he was walking with a cane, which was really just a huge piece of driftwood. When we were walking over the rocks it was like being with this old wise man who was taking me on a tour of his domain. He then asked me to sit down on the couch. It was the perfect spot etched by nature in the rocks ... a nature made couch. He turned to me and said, "Mable is whipping up some clouds to cool us off." What a wonderful experience. There are very few men who will play those wonderful games in life to get the most out of simple moments. I know why he jumped out of airplanes when he was in the service. I loved this man so much!

Tell us about some of your personal experiences with Jimi.

Jimi was always searching for a higher cosmic consciousness. Chuck had given him some great books like The Tibetan Book of the Dead, and Jimi asked him for more. Chuck then gave him The Secret Places of the Lion. He loved to explore, learn and pull more in. Jimi was the most humble, polite, brilliant, funny, and sexy man I've ever known.

What can you tell us about Chuck?

Chuck is very intelligent. He graduated from Harvard when he was 18. He speaks many languages and is terribly bright and interesting. He did a lot of Andy Warhol's original work.

Not much is known about where Jimi went after the Honolulu show on August 1. Did he return to Maui?

Yes, he returned to Rainbow Bridge. He had a place to stay at Seabury Hall. In fact that place where he pokes his head out of the window is in the hallway where his room was. Jimi also had a rented house just outside of the town of Lahina. He played guitar everyday for hours while he was in Maui. .. like someone who was learning. You know, like when you see kids in the backroom learning the notes and experimenting. He just couldn't get enough.

Did Jimi seem to be under any pressure about his next album he was working on or any upcoming tours?

One day I told him it was his turn to choose what we were going to shoot. Chuck kind of ran the film with the philosophy - what ever the most energy of the day was directed what we did that day. So I told Jimi it's your day, what do you want to shoot? We were sitting in his room and he said, " I'm gonna die and leave here." In my heart at that second I knew it was the truth. We stared at each other for that second, that seemed like forever, that it was really real. It was like we both knew it was real, but we couldn't respond to it. Then he started to laugh that really cute little laugh of his, and put one finger by his mouth and said, "now let's just play some music." That day we also played ping pong together and I won the shirt off of his back. You can see that same shirt on loan and in full display at the Hard Rock Cafe in La Jolla.

He was a great guitarist, but lousy at ping pong?

Well, neither was I. One day we were driving around Maui together and somebody had given Jimi some great Maui Wowie. We were bragging about our best pot stories ... you know, I have the best pot... no I have the best pot... The sun was getting ready to set and Jimi asked me to roll joints and I told him 1 couldn't. Most of my life it seemed like somebody always rolled it for me. So I told him, "I'll drive the car, you roll." He said, "No I can't rolL" We laughed so hard we had tears in our eyes. I don't know how the car stayed on the road. We did finally pull over and managed to pull it off. The sun was setting in Maui in the summer of 1970 - all was good!

When was the last time you saw Jimi?

It was on a typical magical Hawaiian afternoon in Maui ... a little rain, a little sun all mixed to gether with these three-dimensional clouds and wonderful fragrance in the air. We were standing by a private plane that would take him to Oahu. (Editor's Note: Most direct flights returning to the mainland depart from the island of Oahu.) Jimi asked me to come back with him, but 1 told him we had all this shooting left to do. I said that I would come and decorate Electric Lady Studios for him in September. He then looked me right in the eye and said, "I won't be here." Not I won't be there, I wont be here. It was like that moment we shared in his room and I knew it was the absolute truth. We looked in each others with such strength and hugged the hug of life. He got on the plane and took the seat with the window facing me. The engine started and he put his face close to the glass. Jimi then gave me a nod and a gesture with those beautiful hands of his, like a pilot would who was heading out on a dangerous mission. 1 blew him a kiss and he pointed behind me. I turned around and there was this most incredible rainbow that streamed for miles. The plane taxied off and I knew I would never see Jimi on this earth again.

Can you leave with us with any closing thoughts about Jimi?

When I later met Jimi's father, Al Hendrix, at Electric Lady Studios and at Jimi's funeral, 1 could see where Jimi got his gentleness and his kindness from. His father is the most gentle, kind, sweet person that emanates this graciousness. Jimi was so cordial to people it was unbelievable ... and what a wonderful mixture with all that power! The kindness and gentleness combined with all that power he drove out of the guitar it was amazing!

Check out a very long extended reherasal dedicated to Merryweather recorded while Jimi was in Maui in the summer of 1970, this recording can be puurchased on the Experience Hendrix official bootleg label Dagger Records release Morning Symphony Ideas. This is what Experience Hendrix had to say about this recording:

"Experience Hendrix acquired the tape from Melinda Merryweather, a friend of Jimi's who worked on the Rainbow Bridge film in Hawaii. During a meeting in May 1998, Merryweather explained that Jimi recorded "Scorpio Woman" during his August 1970 stay on the island of Maui. While filming for Rainbow Bridge involved a host of island locations, Jimi spent part of his time on Maui near the historic village of Lahaina. Merryweather vividly remembers Jimi relaxing, playing guitar, developing new ideas, and enjoying the beauty of Maui during his Lahaina stay."

1970/XX/XX - Record Cover for Proposed Album by Jimi Hendrix and Gil Evans - Mati Klarwein

2009-09-22T13:50:00.000-07:00

From the official Mati Klarwein site:

In an interview with Conny Lindström and Peter Holmlund, Mati mentions that he was working on a painting for a record cover to an album that was never finished, a collaboration between Jimi Hendrix and Gil Evans. "Unfortunately Jimi died during the recordings and it was never released".

Below is a shot of Mati relaxing with Jimi Hendrix and Stella Douglas, taken in the seventies by Caterine Milinaire:

1970/09/03 - KB Hallen, Copenhagen, Denmark - Hendrix/Cox/Mitchell Experience

2009-09-22T13:23:00.000-07:00

Coming off a disasterous gig the night before in Aarhus, Denmark, Jimi and Kristen Nefer and Gang traveled off to Copenhagen to play what would be one of the Last Concerts, and certainly one of the most powerful ones, of the Cry Of Love tour. Seeming to put all his energy into making up for the disaster in Aarhus the night before, Jimi and Crew blasted through a long, powerfull, tight set. As shown in available 8mm films and pictures, Jimi was very energetic, doing his splts and playg behind his and with his teeth. Although seen in some pictures in the back of the stage, the black Flying V seen at shows like Maui and Isle of Wight was not used, instead Jimi used a combination of the Black and White strats. This show is full of great examples of Billy, Mitch, and Jimi really starting to form a tight seal a group. The show starts out with Stone Free, a rare occurence in itself! Then slings itself into a tight Foxy Lady, very well played, no slip up. Then comes Message to Love, tight, energetic as always but it seems straight into a soulful, gripping, Hey Baby. And right after the audience gets it's mind blown from Hey Baby, Jimi goes straight into All Along The Watchtower! Another suprise! After a minute or two of tuning up, Jimi goes into a frightening Machine Gun, then Spanish Castle Magic. While Jimi goes backstage, puts on a pair of teal colored pants, Mitch starts a mind blowing drum solo, ending with the Intro drum solo to Ezy Rider, which the Audience is fully into, clapping and enjoying every moment, Jimi comes in and give an extremely powerful version, one of the best, Billy Cox gives great timing and some nice embelishments to the standard line, and Mitch gives his usual %110. This one highlights the show in my view. Going through Freedom, Red House, and a nice In From The Storm, Jimi heads into Purple Haze, topped with a nice Teeth Solo, the only Purple Haze I can think of with a teeth solo. After Purple Haze, Jimi blasts through a 12 minute Voodoo Child (Slight Return). Probably tired and blown out from 2 hour set, Jimi amazingly enough comes back from behind the stage, to the massive joy of the fans, and plays a two song encore of Hey Joe and Fire! Definately listen to this one!

- Uchi

Set List:

Stone Free
Foxy Lady
Message To Love
Hey Baby (The Land Of The New Rising Sun)
All Along The Watchtower
Machine Gun
Spanish Castle Magic
Ezy Ryder
Freedom
Red House
In From The Storm
Purple Haze
Voodoo Child (Slight Return)>>Sunshine Of Your Love>>Calling All Devil's Children
Hey Joe
Fire

Some of the audience sourced recordings of the Copenhagen show are:

Copenhagen '70 Vibratory Merge

Copenhagen 09.03.70 (ATM 084-085)

8mm Film snippits:

1970-09-03 Copenhagen 8mm Resynced

Check out the silent footage here:

http://www.youtube.com/watch?v=W6ZCY4M-7TA

http://www.youtube.com/watch?v=VU7BL7cdfsk

Below is an incredible source of photos of one of Jimi's finest performances. All pictures below have been uploaded online by flickr member rising70, we thank him dearly for his photos on flickr:

1970/09/11 - Cumberland Hotel, London - Jimi's Last Interview w/ Keith Altham

2009-09-21T06:06:00.000-07:00

An entire transcript of Jimi's last interview done with Keith Altham can be found at the official Jimi Hendrix site here

At the end of the interview, Hendrix brings everything to a suprisingly funny ending:

ALTHAM: Do you feel personally that you have enough money to live comfortably without necessarily making more as a sort of professional entertainer?

HENDRIX: Ah, I don't think so, not the way I'd like to live, because like I want to get up in the morning and just roll over in my bed into an indoor swimming pool and then swim to the breakfast table, come up for air and get maybe a drink of orange juice or something like that. Then just flop over from the chair into the swimming pool, swim into the bathroom and go on and shave and whatever.

ALTHAM: You don't want to live just comfortably, you wanna live luxuriously?

HENDRIX: No! Is that luxurious? I was thinking about a tent, maybe, [laughs] overhanging ... overhanging this ... a mountain stream! [laughter].

Below is audio only youtube clips of this 30 minute interview, to download a non compressed version of this interview, follow this link

1970/09/18 - Samarkland Hotel, London - The Story of Life

2009-09-20T08:55:00.000-07:00

Below is lyrics/poetry Jimi Hendrix wrote the day before he left this earth inside Samarkland Hotel, London on September 18, 1970. The piece is titled The Story of Life:

The story of jesus
So easy to explain
After they crucified him,
A woman, she claimed his name
The story of jesus
The whole Bible knows
Went all across the desert
And in the middle, he found a rose

There should be no questions
There should be no lies
He was married ever happily after
All the tears we cry
No use in arguing
All the use to the man that moans
When each man falls in battle
His soul it has to roam
Angles of heaven
Flying saucers to some,
Made easter sunday
The name of the rising sun

The story is written
By so many people who dared,
To lay down the truth
To so very many who cared
To carry the cross
Of jesus and beyond
We will guide the light
This time with a woman in our arms
We as men
Cant explain the reason why
The womans always mentioned
At the moment that we die
All we know
Is God is by our side,
And he says the word
So easy yet so hard

I wish not to be alone,
So I must respect my other heart
Oh, the story
Of jesus is the story
Of you and me
No use in feeling lonely,
I am searching to be free

The story
Of life is quicker
Than the wink of an eye
The story of love
Is hello and goodbye
Until we meet again