View Full Version : 67-09-04, STOCKHOLM, DANS IN, GRONA LUND.rtf

01-20-18, 02:50 PM
Monday 4 September 1967
Stockholm, Dans In [Dance In(side)], Gröna Lund [Green Grove] 'tivoli' , Djurgården* [‘Gamepark’ (an island)], Sweden. *Thanks to Herman Cherusken for this info.

Concert at 22:00
Many, if not most, young Swedes could speak, or at least understand most English by this time.
Jimi is wearing: Orange/pink pattern shirt; choker & ‘other’ necklaces; pale yellow trousers w. round link chain &
purple scarf belts.
White/rose strat with cloth ‘0’s & X’s’ strap & (spare) painted flying V w. ‘floral roundels’ strap.
Audience for the two shows (Stora Scenen (big outdoors stage) plus Dans In): 16,000 people (record attendance)

1. Killing Floor (8), 2. Foxy Lady (9), 3. Catfish Blues (5), 4. Hey Joe (17), 5. Fire (7), 6. The Wind Cries Mary (8),
2. 7. Purple Haze (17)

[Aud = Audience]

Noel: Hello…Ta
Aud : [Girls shouting]: ‘Kiss me’, ‘Jimi’s got a girlfriend’ [etc.]
Man?: … you’re bits of pussy, all sit down
Jimi : Thank you very much, we’d like to start now…

1. KILLING FLOOR* (Chester ‘Howlin’ Wolf’ Burnett)

I should have quit you, long time ago
I should have quit you, baby, long time ago
I should have quit you, an’-uh
Went on back down to Mexico

If I’d of followed, yeah, my first mi-ind
Lord, if I’d of followed, pretty baby, my first mi-ind
I would have been gone, since my second time

Lord knows, I should have been gone
Lo-o-ord knows, I should have been gone
But you got me messin’ ’round here with you, baby
You got me cry-yin’ on the killin’ floor, yeah

* Where the animals are slaughtered in the meat processing factories in Chicago, involving hard physical
labour, and unpleasant, messy work. His much faster arrangement was Jimi’s early ‘signature’ tune,
recording two versions of it in late winter of ‘65/’66 and playing it at major junctures in his career,
including, significantly, his final concert. By one of his ‘heroes’, ‘Howlin Wolf’

Noel: Thank you very much
Jimi : Thank you…Yea-ah thank you very much… gimme a ‘A’ …Yeah, okay then, thank you very much.
I’d like to go ahead on and do a song named ‘Foxy Lady’ if you don’ mind…


Now you know you’re a cute little heart breaker
And you know you’re a sweet little love maker
I wanna take you home
oh-I won’t do you no ha-arm, yeah
You’ve got to be all mine, all mine
Ooh! foxy lady
I see you, I’m down on the scene
You make me, wanna get up and scream...yeah
I’ve made up my mind
I’m tired of wastin’ all my, precious time
You’ve got to be all mine, all mine
Ooh, foxy lady


I’m gonna take you home
I won’t do you no harm, no
You’ve got to be all mine, all mine
Ooh! foxy lady

Here I come, baby
I’m comin’ to get yah

Foxy lady, yeah
You look so good


*Interestingly Jimi played guitar on a 1966 recording ‘(My Girl) She’s A Fox’ by The Icemen

Jimi : Thank you very much,
Noel: Thank you. That was one from the LP…. We’ll do our blues number now
Jimi : Huh?
Aud : Red House?
Jimi : Come on, come up now huhuh…Yah it seems that I lost their guitar string, so what do I do between?
God knows A real nice clean little blues by Muddy Waters, and we’d like to do it our own clean little way.
Okay? A little thing goes something like this here…

3. CATFISH BLUES * (McKinley ‘Muddy Waters’ Morganfield, medley)
[remarkably similar to Butterfield Blues Band's 'Two Trains Running' (C. June 1966);)]

Well, I wish I was a catfish1
Swimmin’ i-in, Lo-ord, the deep blue sea
I’d have-uh all you pretty woman
Fishin’ after me, fishin’ after me

Whoa yeah, whoa yeah, whoa yeah
Well, I went down to my girlfriend’s house
And I sat down, Lordhavemercy-ha-ha, on her front step
And she says, “Come in now Jimi
My husband just now left, just now left”
An’ I say “Oh yeah?”
An’ she said “Sure enough he di-id”
Whoa yeah, whoa yeah, whoa yeah, whoa yeah

Yeah, okay then

Well, there’s two, there’s two trains runnin’
But there’s now none, Lord, is goin’ my way
You know there’s-uh one train runnin’ at midnight
Other one leaves just ‘fore day, leaves just ‘fore day
Leaves just ‘fore day I said “Oh yeah? Oh yeah? Baby” [Drum solo] *Introduced by Tommy Vance at some point as ‘Experiencing the Blues’, from a posthumous broadcast, I am
sure, this was the only time this title was ever used, but has been posthumously, almost religiously, clung to by
a few Brit fans; apart from them, universally (including JHE’s own stage introductions and all contemporary
articles) it is titled ‘Catfish Blues’. Although this is just a digression, as it is clearly, basically Jimi’s take on
Paul Butterfield’s “Two Trains Running”. He just reversed the verse order.
Butterfield took the verses from Muddy Waters’ ‘Still A Fool & ‘Rolling Stone’. Both Muddy’s songs
are themselves variations of other older ‘blues’ songs, eg:

1Huddie ‘Lead Belly’ Ledbetter, “Easy Rider” (1948 – See Jimi’s song title, “Ezy Ryder”):
If I was a catfish swmmin’ in the deep blue sea
I would start all you women divin’ after me..

Butterfield (and Muddy) played in ‘The Village’ regularly when Jimi was based there and no doubt where he would
have heard Butterfield’s TTR. Jimi, twice, claimed to have played with Butterfield’s band - a jam?
Bloomfield said he 1st heard of Jimi at that time when PBBB were playing there and went to see Jimi play at the
‘Cafe Wha?’ – and was blown away;)
Interestingly, when Jimi had recently arrived in London, Butterfield’s band was on a package tour of cinemas in
the UK with Eric Burdon’s Animals etc. Chas was noted in the press as attending the London gig, very likely Jimi
(who was unknown to most of the press and even if so was not a comment worth celeb at the time)
accompanied him;).
Noel: Thank you very much, Mitch on drums there…Good old Mitch…
Aud : [Clap for a long time]
Noel: … got ‘The Clap’* in ‘ere……
Aud : [Start clapping in time]
Jimi : Thank you very much, that was really out o’ sight, you know, with the way you all clappin’, and all that stuff.
That’s enough to turn anybody on, know wha’ I’m sayin’…Right now I hope-uh. We’d like to do the song that
really started us together you know, and-uh like I said…Oh yea-ah? What’d they say? Sköl or something like
that, well anyway heh, before this cat loses his eyes, we’d like to get into this song. Oh, right now there’s a certain
time right here, we’d like to toon up if you don’t mind okay? We’d like to take one minute to toon up…Yeah well
we was gonna play a song an’-it, song named ‘Are You Experienced’ but, some-somebody i-is. Right hah?
Somebody is okay. We’re gonna do ‘Hey Joe’ for you, all right, here you go...

* ie Gonorrhea (VD), a joke

4. HEY JOE* (William ‘Billy’ Roberts)

Hey-hey Joe, where you goin’ with that gun in your hand?
Hey-hey Joe, I said where you goin’ with that gun in your hand?

I’m goin’ down to shoot my old lady
You know I caught her messin’ ‘round with another man
I’m going down to shoot my old lady
You know I caught her messin’ ‘round with another man
An’ that ain’t too cool

Hey-hey Joe, I said, I heard you shot your old lady down
You shot her down
Yes I did, I shot her
You know I caught her messin’ ‘round town
Yes I did, I shot her
You know I caught her messin’ ‘round town
I gave her the gun

Hey-ey Joe, I said
Oh, where you gonna run to now, where you gonna go?
Hey-ey Joe, I said
Where you gonna run to now, where you gonna go?
I’m goin’ way down south, way down to Mexico way
I’m goin’ way down south, way down where I can be free
Ain’t no one gonna find me
Ain’t no hangman gonna
He ain’t gonna put a rope around me
Yeah, you’d better believe it, baby
Hey, hey-ey Joe, you’d better run on down
You’d better, goodbye everybody

Noel: Thank you very much, ta
Jimi : Thank you very much, right
Noel: Good in ‘ere, isn’ it? …The all ladies phenomenon
Jimi : Okay then…Okay we’re gonna do ‘Let Me-we’re gonna try and do ‘Let Me Stand Next to Your Old Lady’
I mean your girlfriend I mean huh ‘Let me Stand Next to Your Fire’ okay [Girls shouting] One two. One, two,
three, four…

* Hendrix acknowledged that he used Tim Rose’s (one of "The Village people") uniquely slower arrangement,
including his lyric changes and the addition of harmony backing vocals. Previous releases by ‘The Leaves’,
‘Love’ and ‘The Byrds’ were very much faster, had slightly different lyrics and didn’t feature harmony vocals.


All right, baby, dig this, yeah
You don’t care for me, I don’t-uh care about that
You’ve got a new fool hah, I like to laugh at
I have only one-uh, burnin’ desire
Let me stand next to your fire
(Let me stand next to your fire) Hey, let me stand
(Let me stand next to your fire) Whoa, let me stand
(Let me stand next to your fire) ….
(Let me stand next to your fire) …..

Yeah, listen here baby and stop acting so damn crazy
You say your mom ain’t home, it ain’t my concern
Just don’t play with me and you won’t get burned
I have only one-uh, itchin’ desire
Let me stand next to your… [I][plays trill]
(Let me stand next to your fire) Whoa, let me stand
(Let me stand next to your fire) Yea-eah let me stand
(Let me stand next to your fire) Yes, let me stand
(Let me stand next to your fire)

Yeah, move over Rover* and let Jimi take over
You know what I’m talkin’ about, yeah


That’s what I’m talkin’ about, yeah
Now dig this, yeah
You try to, give me your money
You better save it babe
Save it for your rainy day-uh
I have only one itchin’ desire
Let me stand next to your… [plays whammy bend]
(Let me stand next to your fire)
Hey let me stand
(Let me stand next to your fire) Hey let me stand, baby
(Let me stand next to your fire) I ain’t gonna do you no harm
(Let me stand next to your fire) Hey

*From ‘Two Old Maids’ (Trad. Arr. Jimmy Hendrix 1965 & (‘Jimi’) 1969-70;)) [mistakenly aka ‘Stoop Down Baby’
from a Chick Willis title only recorded in 1972!]: “Old Mother Hubbard went to the cupboard… But when she bent
over Rover took over. ‘Cause you know he had a bone of his own” ha-ha-ha. Jimi covered this at least five times
from 1965 to 1970 and also references Mother Hubbard & bone during his Maui rap. Rover also gets a mention
in ‘Highway of Broken Hearts’ ‘Keep On Groovin’ & ‘Hound Dog’. This, coupled with the story of Jimi asking
Noel’s mother Margaret if he could warm himself at the fire, in her house at New Year’s eve 1966/67, (when,
according to Chas, the band were all tripping;)) would appear to be the inspiration.

Noel : Thank you very much…
Mitch: You’re special
Noel : …it’s off the LP… farts…quick fart
Jimi : Yeah we’re havin’ slight difficulty, this won’-this won’t take one second [tuning]…I’m sorry for taking
your time, we’d like to do a slow number now, this is called ‘The Wind Cries Mary’ One, two, three, four…


After all the Jacks are in their boxes
And the clowns have a-all gone to bed
You can hear happiness
Staggering on down the street
Footprints dressed in red
And the wi-ind it whispers, “Mary”

A broom is drearily sweeping
Up the broken pieces of yesterdays life
Somewhere a Queen is weeping
Somewhe-ere a King has no wife
And the wind it cries, “Mary”


The traffic lights they turn blue tomorrow
They shine their emptiness down on my bed
The tiny island sags down the stream*
‘Cause the life they’d lived it is, is dead
And the wi-ind it screams, “Mary”

Will the wind ever remember
The names it has blown in the past?
And with its crutch, it’s old age and it’s wisdom
It whispers “No this will be the last”
And the wi-ind it cries, “Mary”

1Very reminiscent of “Mary” from Philip Farmer’s sci-fi book ‘Night Of Light’ which also features the Purple
Haze and is obviously a source for some early lyric imagery. You’d need to read it;) Kathy’s story about it
being written after they had a fight and she ran off into the street, followed by Jimi, but left him by catching a
taxi (soon to return) fits well as the other more ‘prosaic’ source.
*Stream of traffic? Tripping, the road is often seen like a river (of flowing exotic text etc., think Rick Griffin
etc., if you’ve been there;) [Dylan: ‘Highway of diamonds with nobody on it’] and a traffic “island”’s light box
‘sags’ in sympathy with his mood.

Noel : …you very much
Jimi : Yeah thank you very much…oh-oh a-huh that’s a new thing, thank you very much…Yeah we got a new
song-uh. It’s dead, Aw hey…Anyway we got this one more last song we’d like to do…
Aud : Red House
Jimi : …and then, oh, man, but see.
Mitch: Wot?
Jimi : We-we play-do ‘Red House’ but see, he forgot his guitar, you know he played the regular guitar on that
one, you know old time folks wooden guitar, let’s see him play that part ‘F’ ha-huh.. And so-uh, [Noel starts to
play bass line from Red House] ah that’s why we’re not gonna play it.
Noel : Ha-ha-ha
Jimi : Dig this is-uh ‘Bob Dylan’s Grandmother’ on bass, Noel Redding, have you got tha-ha-at? We got, okay,
okay…Over-uh and then we have ‘Miss Queen Bee’ -
Mitch: Hah-hah
Jimi : -better known as Mitch Mitchell on drums
Noel : Oh yeah we got Jimi ‘Henpecked’
Aud : [Laughter]
Noel : That’s only for people that can understand English
Jimi : Yeah, I think, I think that’s British chicken, over… there
? : Noel
Noel : Yes. Do you have chickens over here? Chickens go cluck, cluck, cluck
Jimi : [Guitar makes chicken noises] Okay, we only got one more song to do, we’d like to dedicate it to everybody
in here, you know. God! look at those people over there! Gollee! Oh, I’m scared now, oh I can’t go on.
Aud : [Laughter]
Jimi : Look at those people there, man, I don’ know what t’do, “We’re in love” oh, hmmm [guitar
‘says’ …?] yeah [guitar ‘says’ ‘Look at that’] okay, man, [in funny voice:] “You’re a whore” ha-ha. Anyway heh-heh
Noel : It’s the last song, thank you for listenin’ to us, been very nice.
Jimi : That’s why I couldn’t bend the guitar notes, you know….there. Okay we got one more last number to do.
Okay now, Noel don’t say anything but listen. Like-uh one time, now listen, if you can-uh understand this. One time
man, I was walkin’ round the streets in Stockton-hm-Stockholm, you know, and this girl* say ‘Hey baby I got somethin’
to turn you on to’ I says ‘Yeah?’ she says ‘Yeah man’ you know, I said ‘What does it represent’ you know ‘What is it’
or somethin’ like that, she says ‘Well you can take it any kind o’ way, you know’ and-uh so a-huh I went on and did this
aah and the next thing I know man everything was just nothing but purple haze can you understand that? Nothing but
this purple haze and it sounded like this to me…

* Eva Sundqvist? – She sent Jimi roses each time he played in Stockholm, and they had several sexual liasons
from 1967. She met him again after the show in 1969 and conceived his only known son - Daniel

Purple haze all in my brain
Lately things they don’t seem the same
I’m actin’ funny, but I don’t know why
‘Scuse me while I kiss this guy*

Purple haze all around
Don’t know if I’m coming up or down.
Am I happy or in misery?
Whatever it is, that gi-irl put a spell on me
Help me, baby
Help, baby, yeah


Ooh aah, ooh aah, ooh aah, ooh aah

Purple haze all in my eyes
Don’t know if it’s-uh day or night.
You’ve got me blowin’, blowin’ my mind.
Is it tomorrow or just the end of time?

Help me, baby
Help, me baby, yeah
Yea-eah, purple haze
(Purple haze)
Yea-eah, purple haze
(Purple haze)

Oh, you got me blowin’ my mind
(Purple haze)

[Guitar breaks down]

[Bass & drum jam]

[Jimi comes back in with wild feedback & plays the ‘[B][I]REVEILLE’ army bugle call]

1Very reminiscent of “the Purple Haze” from Philip Farmer’s sci-fi, book ‘Night Of Light’ which also features a
certain “Mary” and is obviously a source for some early lyric imagery, you’d need to read it;) Jimi was a fan
of Flash Gordon, interestingly the 1940 Flash Gordon serial was compiled in 1966 into a feature film
length package for TV, titled, “The Purple Death From Outerspace.”
*Similar to Lennon’s, cheeky ‘mondegreen’, ‘big teaser’, often heard as ‘prick teaser’; as no doubt the
Beatles sang live on ‘Day Tripper’, on occasion too, eg hear Mitch & Noel’s vocals on ‘Day Tripper’ ;).
Jimi’s original ‘kiss the sky’, was often heard as - ‘kiss this guy’, which Jimi, sometimes, jokingly, did
actually articulate, gesturing toward Mitch or Noel as heard on tape and seen in film a few times. He later
sometimes pointed towards the sky to make it clear.
Jimi talking about his time in the army Airborne: “...‘cause once you get out there everything is so
quiet, all you hear is the breezes-s-s-s..”. He used this parachuting image in three lyrics: in the first song he
wrote for his ‘Jimi Hendrix Experience’, Stone Free “...ride the breeze”, next was Purple Haze, “. . .kiss the
sky,” and then in Little Wing “..riding with the wind” He later sometimes quoted the tune ‘The Breeze And I’,
another related reference.

Jimi :Thank you very much, Thank you very much, thank you
Noel : Thank you very much…