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View Full Version : 1967-01-29 'The Who v. Jimi Hendrix Experience' The Saville Theater, London, England



Dolly Dagger
03-04-11, 06:57 PM
Sunday, January 29th, 1967
The Saville Theater, London, England - 2 SHOWS

no recording has surfaced

Setlist according to eyewitness accounts

Rock Me Baby
Like A Rolling Stone
Hey Joe
Wild Thing

http://crosstowntorrents.org/gallery/files/5/4/6/5/scanjpg080012_869993.jpg

billo528
03-07-11, 03:00 PM
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thunderbaas
06-29-11, 08:50 PM
Another Poster21285

buffalorattle
03-29-13, 06:17 PM
196952191621917

buffalorattle
11-03-13, 03:06 AM
21915

jhendrixfanatic
06-03-15, 06:21 PM
Jimi Saville Theatre January 29-1967-Soundcheck


http://crosstowntorrents.org/attachment.php?attachmentid=24717&stc=1


http://crosstowntorrents.org/attachment.php?attachmentid=24718&stc=1

stplsd
08-28-15, 02:10 PM
Sunday 29 January 1967
London, Saville Theatre, 135-149 Shaftsbury Avenue, Soho, England. JHE
Rehearsal: songs unknown
Concerts 30 mins. x2
Supporting The Who
With: The Koobas, The Thoughts
#1 Rehearsal: Cape; ‘khaki’ jacket; no shirt; red ‘iron cross’ necklace; the pinky ring; black elephant cord trousers; white/rose strat w. red ‘cowboy’ strap.
#2 Show: Cape; blue velvet suit; ‘orange’ satin shirt; red ‘iron cross’ necklace; the pinky ring; white/rose strat w. red ‘cowboy’ strap.
#3 Show: Blue velvet suit; black satin shirt; pince-nez shades; the pinky ring; white/rose strat w. red ‘cowboy’ strap; worn black/rose strat w. ‘floral roundel’ cloth strap; fuzz face.
#4 Backstage: Cape; Vets jacket; pale shirt; plain neckerchief; pince-nez, blue velvet suit trousers?
Noel is back to using Chas’ four-string Gibson EB2 bass.
M.C: Mike Quinn
Film: colour, both shows, by Peter Whitehead (Wholly Communion, b/w (1965); Charlie Is My Darling (Rolling Stones, 1966); Tonight Let’s All Make Love In London, colour (1967); Benefit Of The Doubt, colour & b/w (1967)):
[?] mins, silent [?] Colour – rehearsal, backstage, concerts x2 & leaving in a taxi.
Photographed (rehearsal) by Alec Byrne
Program: Colourful psyche art by Marijke Koger of ‘’The Fool’
Attending: Brian Epstein, John Lennon, Paul McCartney, The Cream, Brian May (later of ‘Queen’) and others.

Songs:

Rock Me Baby (BB King)
Like A Rolling Stone (Bob Dylan)
Can You See Me
Hey Joe (Billy Roberts)
Wild Thing (James ‘Chip Taylor’ Voight)
and others unknown

Noel: “Bad amps.”

Chas Chandler: "The best thing was he seemed to be able to talk to the audience. Before, if an amplifier broke down on stage he wouldn't be in total control but the first night he played the Saville Theatre...with The Who his amplifier caved in and he started talking and chatting up the audience."

Pete Townsend: ‘It was OK at the Saville, it was good. But I felt a bit edgy about it. I said to Kit Lambert, our manager, “It’s just that we shouldn’t be playing with somebody of that class. They shouldn’t be our backing-group. It’s not that I can’t stand the competition - it’s just that I can’t stand the competition!”

"A couple days [sic, over a month. Ed.] later we appeared with them at the Saville Theatre [29-01-67]... Jimi opened for us, and he had exactly the same rig as me, I actually felt I'd given too much away....”

"It was always me who went to people like Jim Marshall and Dave Hill [sic; Dave ‘Reeves’] who started Sound City, which became Hiwatt amps - and pushed them to make bigger, better and cleaner-distorting big amplifiers. And I handed all that to Jimi. I've never really recovered from that..." [Pete does love to lay it on;) Ed.]

Eric Clapton: We’d been to see Hendrix about two nights before at the Saville Theatre… and he played this gig that was just blinding. I don’t think Jack had really taken him in before. I knew what the guy was capable of from the minute I met him. It was the complete embodiment of the different aspects of rock and roll guitar rolled up into one. I could sense it coming off the guy. And when he did see it that night, after the gig he went home and came up with the riff [for ‘Sunshine Of Your Love’] It was strictly a dedication to Jimi. And then we wrote a song on top of it. [I wrote] the turnaround in the chorus, and some of the lyrics too. [The rest of the lyrics were written by Pete Brown, in the early morning while looking out the window at the sunrise; The Cream recorded the song in April 1967 at Atlantic studios in New York City]

Jack Bruce: “I did see him at the ‘Saville’
Bob Elliot: “The story is that all three of you went and saw him at the ‘Saville’
JB: “Yeah, I certainly saw him there. I don’t remember if we went as a band. The ‘Saville’ was kind of a hang, it was a place that you went anyway, whoever was playing because it was a very nice backstage hang.”
BE: We’ve heard that ‘Sunshine Of Your Love’ was written after seeing Jimi play at the ‘Saville Theatre.’ Were you in fact inspired by Jimi when you wrote that song?
JB: “No! Absolutely no truth in that whatsoever. It had nothing to do with Jimi. In fact nothing that I wrote had anything to do with Jimi. No. I was kind of following my own path.”

Chris Stamp: “[After the Savile there was a party at Brian Epstein’s]. Jack Bruce and Eric Clapton and Ginger Baker were there—they were just invited because they were in the audience. They had seen Jimi and all they could talk about was their career was over. He just blew away everything that they thought they were gonna be doing.”

Brian May (guitarist, later of Queen): "Freddie [Mercury], particularly, was a manic fan of Hendrix. I was converted when I saw him at one of Brian Epstein's shows, where he supported The Who.
I can still remember the feeling now, I thought this guy's so good I don't want to admit it. I was already playing; I was in groups. This guy came along, who was so far in advance of everyone else, and it was like he was on the same road but almost out of sight, ahead of us all. It was frightening and a bit upsetting, really.
I went to see him a lot after that, and I just became devoted to him, wondering how he did it. I really thought I was pretty good before I saw Hendrix, and then I thought: 'Yeah, not so good!'"

"Hendrix had that frightening quality as well. I'd put a lot of work into playing guitar and was thinking I was pretty damn good. But Hendrix came along and destroyed everyone. I was deeply jealous, that was the first emotion I felt. A friend played the B-side of Hey Joe, Stone Free, and Hendrix was playing scat and singing along with it and I thought it had to be a trick that he'd cooked up in the studio. When I saw him at the Saville Theatre, supporting The Who, I couldn't believe it. I felt excited, overwhelmed and also completely deflated. He changed all of our lives in an instant."

Disc & Music Echo (Thursday 2 February), ‘JIM! BRINGS THE ROOF DOWN!’ by Mike Ledgerwood:
“THE WHO, it was rumoured, had threatened to raze London’s Saville Theatre to the ground in their bill-topping act last Sunday. Fortunately they didn‘t. It would have been a terrible waste of an excellent showplace.
But instead the roof was nearly brought down by the power-packed excitement of Jimi Hendrix - making his public debut, outside club gigs. Jimi is surely the musical phenomenon of recent limes. His popularity - on the strength of just a few appearances, the odd TV, an unusual record ... and LOTS of talk - has rocketed with a force seldom equalled in the world of pop.
Here’s a musician to the very core. A guitar genius who plays with incredible feeling and fervour. If he never gets another hit disc, his showmanship and those wild exercises onstage will carry him through.
Sunday, despite early amp and mike mishaps was his night. From ‘Rock Me Baby’ through a knockout Like
A Rolling Stone and ‘Hey Joe’ to his version of ‘Wild Thing ‘which, incidentally makes the Troggs‘ hit sound a rather tame disc.
Even the incredible Who, themselves veritable leaders on the sound scene, seemed hard-put to follow this tousle-haired giant.”

Melody Maker (Thursday 2 February) JIMI HENDRIX v THE WHO! (front page) ‘Caught In The Act ‘ ‘Jimi Hendrix – Who battle at Saville’ by Chris Welch: “It was a close battle at London’s Saville Theatre on Sunday. and fans will still be arguing about the winners. Either way, two of Britain’s most exciting groups thrilled the crowds with hard-hitting sounds and sights. After the Koobas came the Experience. And what an Experience! Jimi was hit by PA trouble, but the crowd were so keyed up they laughed sympathetically while Jimi searched for a mike that worked. The incredible ‘Wild Thing’ ended in a freak out of guitar biting.feed-back and uproar. Follow that - was the feeling.”

New Musical Express (Friday 3 February), [Saville review] by Norrie Drummond -
“I can’t help wondering just what the Who are all about. Their concert at London’s Saville theatre on Sunday was a mixed-up ragbag of their hit songs, new group compositions, flashing lights and winking toy robots wandering around the stage.
Oh, it was all pleasant and inoffensive enough - perhaps too inoffensive - and the sound was good, but all their former excitement seemed to have disappeared..., It could easily have been that I was simply disappointed with the Who after seeing the Jimi Hendrix Experience, which closed the first half of the show.
Despite the fact that only one mike was working and a meeting of the ETU seemed to be taking place onstage at the same time, they brought the first spark of life from a hitherto unresponsive audience.
Hendrix doesn’t only play his guitar - he caresses it, abuses it, mothers it and talks to it. He has a love-hate relationship with it. He is often happy with it, occasionally annoyed by it. bat always the master of it.
He played ‘Wild Thing’ the way the Troggs never could, and ‘Like A Rolling Stone the way Dylan never would. He plays his guitar with his teeth, his fret, his amplifier, his elbow, occasionally his hands, and sometimes it plays on its own. Jimi Hendrix also sings very well!”

For more photos etc. see:
http://jimihendrix-lifelines.net/pho...115/index.html (http://jimihendrix-lifelines.net/photos-11/photos-18/styled-115/index.html)