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Thread: Newspaper & Magazine Articles (Text Only) - 1960's-1970's

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    Newspaper & Magazine Articles (Text Only) - 1960's-1970's

    Disc And Music Echo Magazine March 22, 1969

    By Ray Coleman

    Two years of being called the "Wild Man Of Pop" have tired Jimi Hendrix. He doesn't like the idea of middle-­aged women being terri­fied by the sight of him. And he wants to abdicate the title.

    "It's a shame that there isn't better communication between my generation and the older people," he says. "It's tragic that people should reject me just because of the way I look. What would they say if I rejected all the older generation because of the way they look? Yet I don't, you know."

    "In fact, a lot of older people are far groovier than some of my own generation. I enjoy talking to them, and go out of my way to make conversation."

    "What's age, anyway? It simply means someone's been around for a certain number of years. It depends on how a person's used those years - some old people are a gas. They don't deserve re­jection, do they, just because they're older than people who play and like popular music."

    He says he doesn't like people to scorn his appearance. "Those who do are those with closed minds. I used to listen to what people said, and go ,away, lie in bed and worry about it. But in the States, taxi drivers would drive up to me, take a look at my appearance, then drive away. You can't worry yourself about that - ­it's just conventional people want­ing the whole world to be con­ventional with them. Why should I be like Ihe taxi driver?"

    Jimi was sitting on the end of his bed in his Mayfair flat before starting another American tour. When he and the Experience return to Britain in May, they plan to rest and go their own ways until the end of the year. "Because," says Noel Redding, "we've been working so hard that we'll all collapse with exhaustion unless we switch off and relax."

    They plan separate holidays. But it is difficult to imagine Jimi Hendrix getting far away from music. He says he lives to create sounds. He cannot visualize life without a guitar. Like some old people need walking sticks to help them walk, so Hendrix relies on his guitar as his only method of real self.expression.

    It is the same with - all the brilliant musicians of his style and force: they can explain, but only so far, how they feel about their music. But only when they create their music - they really proiect themselves.

    "My music," says Jimi earnestly, "is my personal diary. A release of all my inner feelings, you know?Aggression, tenderness, sympathy, everything. Same with Noel and Mitch. It's a wedding of our feelings in music, and that's why people either dig our music or feel very strongly the other way about it. There isn't any halfway, really, because people don't have mixed feelings about us - they either like us, or don't."

    "The sort of release I get from my music - well, it's so great tbat I can't get the same release from makiug love to a girl. Some pop songs are so pretentious that I don't like being called a pop singer, you know? My music isn't pop. II's ME. That's why I like us being called the Experience. It's right."

    Of the sexual drive of his play­ing and singing, Jimi says: "Yeah, it's sex. Most things in life are motivated by sex, and music is such a personal expression it's bound to project sex. Is it so shameful? Is it any more sbameful than some of the erotic adverts you see in the papers or on television?"

    Hendrix is not religious - "my religion is a philosophy, my own, and it suits me." He believes organized religion, as he calls it, is a form of entertainment which "pleases some people, who go to church for happiness, and doesn't suit others."

    The Hendrix Experience's com­mercial success is enormous. There are few artists who could, alone, pack London's Royal Albert Hall. Concerts and huge record sales have made Jimi quite rich. His attitude to money is amusingly frank:

    "Before it all started happening nicely for us, I thought about the future. I saw so many cats in the music scene, who'd made a lot of money, blown it, ended up twisted, busted, rich but miserable, that I said: 'I'm going to make it better organized for me if I ever get too that stage."

    "I thought well, there's money to be made. I'm going to make it. But I'm not going crazy when it comes in. I have enough money now but I don't go out with a crash-bang policy of: "I own any­thing I want. "It's bad to get hooked upon a possession kick."

    "I've bought a lot of rings and starves and shawls and peace pipes, because I like these things. We'll still go on making money, and use it as we see fit. I don't really care if I stare tomorrow...I'd still give money away to people if Ihey needed it badly."

    "What's money except a piece of paper, just like a marriage licence?"

    But he does think that success has made him, Noel and Mitch much calmer. "We love our audiences really. So relaxed now, at concerts the communication is lovely. "If I'm out of tune, I just stop and get in tune. That's the way I like it to be. I'm not involved in real show business, and I don't come over very smooth! I admire people who do, but that's not my bag. I like anyone to come to see us - old ladies. anyone. If an old woman feels like coming to see an Experience, and raving around, she ought to do so, and she'd probably enjoy it."

    All three of them are involved in promoting new talent. Noel Redding is producing a group called Fat Mattress. Mitch is. launching The Mind Octopus very soon, and Jimi is helping to launch the Band of Gypsys.

    "But we'll still keep on with the Experience," says Jimi. "And even if people don't want to hear us any more, I think we'd have to jam together, or with other people. Music's that much a part of me."
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    Re: Newspaper & Magazine Articles (Text Only) - 1960's-1970's

    Melody Maker Magazine July 5, 1969

    Hendrix Split: Redding Goes, Group Grows

    Plans by Jimi Hendrix to enlarge his Experi­ence have led to British bass guitarist Noel Red­ding quitting the group.

    Noel decided to end his association with Hendrix, begun in September 1967, last weekend. The crux of the split, it appears, is that he was not consulted by Jimi over his plans to ex­pand the group from a trio into a "creative com­mune" which would in­clude writers as well as more musicians.

    Chas Chandler, ex-man­ager and record producer of the Experience, said at press time that Noel was expected to return to Lon­don from the States at the end of this week to discuss his future.

    Said Chandler...Ob­viously it is too early to make any statement until we have had a chance to sit down and work things out, but there are a lot of exciting possibilities for Noel."

    When he was last in London, Noel said he ex­pected to stay with the Experience until September, at least.

    It is not yet known whether drummer Mitch Mitchell will remain with Hendrix or also re­turn to Britain.

    Noel Redding's own group, Fat Mattress, have been set for the 9th National Jazz And Blues Festival - renamed the London Jazz Blues And Pop Festival - at West Drayton, Middlesex, on Saturday, August 9.

    Hendrix is currently reported to be grossing over 100,000 dollars a night on his appear­ances in the States.

    The Hendrix Experience last played in Britain in February when they gave a sell-out con­cert at the Royal Albert Hall.
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    Re: Newspaper & Magazine Articles (Text Only) - 1960's-1970's

    Circus Magazine November 1969

    Experience Break-Up: Noel Splits And Jimi Moves Uptown

    By Chris Hodenfield

    Jimi Hendrix is going back to his roots. He hasn't played a real Black club since the old roustabout days when he was Jimmy James, backing up the likes of the Isley Brothers, Little Richard, and Wilson Pickett. Earlier this summer, he asked to play Harlem's number one nightspot, the Apollo, but backed off at the standard demand of playing a one-week stand. Instead, he went one-step grittier, and played right out on 138th Street, right off Lennox Avenue in Harlem. Bro', that's IN. it.

    What brought this all about is not for us to decide. (New nationalism? A think-ethnic campaign? Shirking off the honky plastic kingdom over which he used to be the major golden calf?) The show was, whatever Jimi's inten­tions, a soul soul fest. His new band was also on hand to break things in, being of a slightly darker shade of rhythm.

    The stage was wooden platform four feet above the ground, and members of the Sam & Dave band were there to back up a succession of local talent. Screaming joking disk jockey Eddie O'Jay was a-panting, and bringing in Big Maybelle, J. D. Bryant, Chuck-a­luck, and Maxine Brown.

    And then the sky went dark. The stage looked ominous with the back completely filled with six seven-foot high Marshall amplifiers. Voices passed around all goshed.

    "Hey . . . you mean the Jimi Hen­drix Experience gon' be here?"

    "Yeah man, look at all that equip­ment, why sheet."

    Eddie O'Jay made the introduction four times, repeating it because the equipment kept snapping and crack­ling apart. (You couldn't get away with crap like that at the Apollo; you'd get booed off the stage.) O'Jay kept ex­plaining how, even though he never got to play any of Hendrix's records on his true soul show, this man was concerned with the young musician, and Brotherhood of all mankind, and things.

    I was hoping Jimi would come out in a blue tuxedo and break right into "Midnight Hour" or "Land of a Thousand Dances." But true to form (caIl him psychedelic, you may call him "far out," but whatever he's YOURS), he came out in white silk pants, fringes down to the ground, silk shirts and pink scarf wrapped around his head.

    He was slow at the beginning, start­ing with a ripped version of "Fire." He said, "this music might sound loud and funky, but that's what's in the air right now, isn't it?" And then "Foxey Lady," which charred the first six rows of packed standing fans. Then the "Star Spangled Banner," which sounded like feedback violins shot through with dis­sonance. Which broke into "Purple Haze," (which didn't take too much philosophical meat to understand.) He was joking with the crowd, dedicating songs to girls in the crowd with yeIlow underwear and embarrassed smiles. He wasn't coming off with his Madison Square Garden image of a huge-loined desperado whumping and jacking-off his axe tiredly, and then retiring to his den of lions, while the pimply boys and girls in the crowd leave with their images working overtime, but almost feeling cheated.

    No ... in Harlem, he was right down in it there, honest and true blue / black. "Red House" never sounded bluesier. To finish it all off, he an­nounced the Harlem National Anthem, and wah-wahhed off into "Voodoo

    These two cats seem to add that final dimension that was missing before in Hendrix's live music. On the "Are You Experienced" album, he taped over his own rhythm guitar, so as to have some sort of melody to fall back on. Larry Lee now keeps it present all the time.

    (I remember back in the days of Hendrix's first onslaught, and Cream just starting too, and the Yardbirds fin­ishing off their days as a trio, and the people immediately said "Look! All that sound! From a trio. A new con­cept, new music." Forget that the Who have been doing it all this time. Now Blind Faith had to bring in a fourth member for rhythm. Hendrix has him­self a rhythm guitarist.)

    Chile, Slight Return." (All new mean­ings arriving, chopping it all down with the edge of a hand.)

    His band still has Mitch Mitchell on drums, but Noel Redding abruptly split last June when he found Jimi was adding to the group without his con­sultation. Billy Cox, supposedly an old Army buddy of Hendrix's, plays bass, and I must confess, even as much as I like Noel, Cox is a much more present bassist. (Redding always was a guitar­ist anyway, not a bassman.) Larry Lee plays rhythm guitar, and is given time to take solos at times. At the concert, he sounded good enough to play lead for his own band.

    Also meandering around on the side­lines are Juma, in a floor-length dashi­ki, playing bongoes with kettle drum sounds, and Jerry Velez, unconcernedly popping and pumping on a bongo. With all this new addition to the group, the sound still remains Well Done Hen­drix. (Jimi eating out the guitar; Jimi playing with his elbow; Jimi swinging the Stratocaster around back so the neck comes out through his crotch; Jimi picking and grinning with his teeth snapping the strings. The hot Harlem fans going wild. Walking home, one guy shouted out in his excitement, "Man, I'm going home right now and practice on my guitar!" He sank to his knees in a spasm, clutching an imag­inary guitar in front of him. His friends jeering at him, but digging it.)

    Noel Redding, meanwhile, is stay­ing with the group Fat Matress, which he formed last Winter to keep himself occupied. Back then, people rushed to say that yes, the Jimi Hendrix Exper­ience was breaking up. With Noel in the Fat Matress will be Neil Landon, singer and writer; Jimmy Leverton, bass and keyboards, and Eric Dillon, drums. Landon used to be with the Flower Pot, and the other two have previously backed up Engelbert Hump­erdinck. When I talked to him in the Spring, however, he just said that the new band gave him something to do, which, seemingly, would be true. In the beginning, Jimi used to even direct the bass lines he wanted for a song, and Noel, frankly talented, should have been bored. But he saw no reason for a break-up then.

    He now plays lead guitar, and says the Fat Matress will have a "pop sound." Like the Byrds or Small Faces. A single, "Naturally," should be out soon, and the album, made by Polydor in England, will be distributed here by Atlantic.

    Hendrix has been working on an al­bum continually since the last album was wrapped up. A session here, a jam there kind of method. This month we should see his first "live" album, which he recorded at an Albert Hall concert, and at the Forum in Los Angeles. Visit­ing the Manhattan studio on a purple-lit recording night, they were all cast around the engineering room listening to the tapes of the "live" album yet to be released. It sounded similar in spirit to the Rolling Stones' "Got Live If You Want It." A speedfreak performance. "Foxey Lady's" introduction was stretched out into a minor feedback showcase, then into the ripply little segment where he's tapping his fingers on the strings on and on; explosion as he sounds like he's grinding the guitar against the microphone stand, then into a speeded-up version of the infamous jolly three-note "Foxey Lady" riff. The overall sound is a blistering distorted one. "Red House" sounds even better than on the "Smash Hits" album. As a finisher, as usual, was "I Don't Live Today." dedicated to the American In­dian. (His grandmother, yes, is a full­blooded Cherokee.)

    In the studio, as on stage, Jimi was the master of the Experience. There's no shittin' around, nossir. Jimi was right in there giving instructions to each of them, telling Mitch that he should come in at a certain point for a small drum display. The song was instrumental, and sounded something like that two-chord progression in the beginning of "Stone Free." Just a sim­ple whaddy-dat-whaddy guitar run. Except that they did take after take on it, battling their way through "any spare joints" and cans of Miller beer.

    This madness for perfection used to rankle Noel, who liked basic rock'n'roll and not the, what he called, "too much technicality" of the first two albums. "He used to have us do up to 40 or so takes on a song," said Noel, "and, you know, after that much you really can't play anymore." (Not all songs were like that, however. "The Wind Cries Mary," the longest cut of the album, was done in two tries.)

    Back on the home front of the pres­ent, the fodder of Jimi's publicity has shifted from Sex King to busted drug­gie. His smack and hashish run-in up at the Toronto airport gave immediate rise to eyebrows and knowing-it an­swers of, "Well, didn't you know?" Ru­mors fly about Hendrix's earlier days, and that the person who took care of him, fed him on a steady diet of speed. "He's out of it, really," they mutter in clandestine tones. You read any of his interviews, and it might be apparent that his mind does travel in whooping, circular patterns. But that is the ear­mark of heavy personal thinking as well as "speed." (Shucks man, get off it.)

    The man had some hard time of it up there in Toronto, and when he went back for his preliminary hearing, he was supposed to have been nothing but resentful and ornery-nostrilled to the judge. And well he might have been, for the whole thing sounds like a hoax and a plant to me.

    The drugs were found directly on top of clothes inside his luggage. Now who puts their stash right on top? Especially well-travelled freaks like Mr. Jimi, through border crossings. When he re­ported to the Toronto medical exam­ining board, his body was found clean and pure. Ain't a trace a shit in Jimi; but the word-of-mouth-and-press was not so clean.

    Seeing Jimi in Harlem, it was blaz­ingly apparent that he has a new spirit. He had become, say in the last year, almost a doll in the plastic house. (Not that he hadn't asked for it.) He still does his gymnastics, but with a snicker and an outright pleased laugh. He shot his eyes open to the people at the foot of the stage with a "ain't that a gas?" uptown cheer. He has that crazy-ass spirit that he had in Monterey, and his new no-nonsense band means that we'll hear some more drive and power and RESPECTING good music. Those windswept guitar lines we been wait­ing on.
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    Re: Newspaper & Magazine Articles (Text Only) - 1960's-1970's

    Disc And Music Echo Magazine February 17, 1968

    By Hugh Nolan

    For a guy to whom his music is more important than anything, you'd think being voted the World's Top Musician by Disc readers would make Jimi Hendrix feel his past endeavours had finally produced their reward so now he could sit back and take things more easily.

    But if you did think that it would merely prove how little you knew the by now near-legendary "wild man of pop."

    Although highly gratified to hear he had won this supreme musical accolade, Jimi said: "Yeah, but we still haven't even started!"

    And he outlined just a few of his plans for the future, which will make what he's been doing in the past look like the mere warblings of an amateur. Things like a revolutionary new stage show, with tapes, films and maybe an orchestra to help out a few songs; like having ex-Traffic man Dave Mason to produce all their future records; like a new album which will be completely different to anything he's ever done before.

    Jimi, Mitch Mitchell and Noel Redding heard the good news at Jimi's Marble Arch, London, flat, where they were grooving around listening to records and showing "home movies" which they had taken on the group's last British tour a few days before leaving for a giant tour of Jimi's native United States.

    "It's nice, it's really fantastically great that the kids who buy the records should realize how much we're trying to do musically. I really appreciate the compliment."

    "But I'm still a bit worried - think everyone should open their minds a 'bit more to the fact that there are three of us in the group. It's nice to know people think about me like that 'but don't forget Mitch and Noel!"

    "Mitch, particularly, has so much to contribute - ideas for other instruments and things for the records. Primarily, we are a group and our last LP, 'Axis-Bold As Love,' was designed to show what else we do besides my guitar-playing-like the words and the drumming."

    And what about the (probably unnecessarily doomy and alarmist) predictions by several pop authorities that for groups to survive in the ballad-strewn wastes of 1968 they'd have to break out of the basic guitar-drums formula, pro­bably by adding other varied instruments?

    Replied Jimi: "There's only so much you can do with a group - ­but I think that even if there were a thousand people in the group it still wouldn't be enough."

    "Usually, of course, we don't even think that there are just three of us, and instead just think of the sound we make and try and get that sound - only more so."

    "We have thought of augment­ing with other musicians onstage, for one particular stage show we're getting together, like with maybe a string quartet - but only for one song. The group will always be us three."

    The stage show which Jimi is getting together - though it's only being got together mentally so far - is planned for the autumn, when the Experience return from the States, and is described by Jimi as a "complete new concept in pop - no, not even pop. I don't like that word."

    It includes speakers at the back of the hall, positively NO an­nouncer, It completely improved sound, scenery, atmosphere, lights - '''but all· relating to the songs we do." Jimi also hopes to use a lot of tapes and films as well.

    And the group's eagerly awaited new LP?

    "Well, there'll be maybe two tracks from the new Bob Dylan album on it - in fact we've done one of them, 'All Along The Watchtower' already - just listen to this" - handing over a pair of stereo earphones and switching on a tape-recorder.

    The track was indeed very beautiful, retaining all the quantity of Dylan's original but with a lot of Jimi's earth and fire as well.

    "We could release it as a single tomorrow - or at least as soon as we mix it properly. But we haven't really decided yet."

    The group is keenly looking forward, too, to working with musician extraordinaire Dave Mason on their future recordings. "He thinks in a different way," says Jimi. '''He's got new ideas in recording techniques and a good ear for new sounds."

    "On the LP I'd like to do another version of "Burning Of The Midnight Lamp" as well. I liked that song but I don't think people really understood it. Maybe they will when we do it on the LP."

    Musician of the year he may well be, but for Jimi Hendrix a lot of things are only just begin­ning.
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    Re: Newspaper & Magazine Articles (Text Only) - 1960's-1970's

    Rolling Stone Magazine November 15, 1969

    By Sheila Weller

    LIBERTY, New York: Records, film, press and gossip are collectively ambi­tious in creating the image of a rock su­perstar. With Jimi Hendrix - as with Janis Joplin, Mick Jagger and Jim Mor­rison - mythology is particularly lavish.

    Unfortunately, it is also often irrever­sible - even when it's ill-founded or after the performer himself has gone through changes.

    Several weeks ago, Life magazine de­scribed Jimi as "a rock demigod" and devoted several color pages to kaleido­scopic projection of his face. Well, why not? The fisheye lens shot, on his first album cover shows him in arrogant dis­tortion: on the second album, he be­comes Buddha. Lest anyone forget, Lea­cock - Pennebaker's Monterey Pop has im­mortalized his pyromaniacal affair with the guitar. Rock media bedroom talk makes him King Stud of the groupies. Stories circulate that he is rude to audi­ences, stands up writers, hangs up photographers, that he doesn't talk.

    What Jimi's really all about - and where his music is going - is an alto­gether different thing,

    For most of the summer and early fall, Jimi rented a big Georgian-style horne in Liberty, New York - one of Woodstock's verdant "suburbs" - for the purpose of housing an eclectic family of musicians: Black Memphis blues guitarists; "new music" and jazz avantgardists; "Experience" member Mitch Mitchell; and - closest to Jimi and most influential - Juma Lewis, a multi-talented ex-pro­gressive jazzman who is now the leader of Woodstock's Aboriginal Music So­ciety.

    The hilltop compound - replete with wooded acreage and two horses - was intended for a peaceful, productive musi­cal growth period. But hassles did come, sometimes sending Jimi off on sanity - preserving vacations in Algeria and Morocco: local police were anxious to nab "big·time hippies" on anything from dope to speeding; the house was often hectic with hangers-on; pressure mounted from Jimi's commercial reps to stay within the well-hyped image and not go too far afield experimentally.

    But with it all, growth, exchange and - finally-unity was achieved among Jirni and the musicians, whose work-in­progress was evidenced in occasional pub­lic appearances in the New York area (at the Woodstock/Bethel.Festival, Har­lem's Apollo Theater, Greenwich Village's Salvation discotheque. and ABC's Dick Cnvett show) and has been recorded for Reprise on an LP which will be released in January. The name of the album, Gypsys, Suns and Rainbows, epitomizes the new Hendrix feeling.

    With c!ose friends of Jimi, I drove up to Liberty on a quiet September weekend. The melange of musicians and girls had departed. In a few weeks, Jimi himself was to give up the house, woods and horses for less idyllic prospects: a Manhattan loft and a November hearing on the narcotics possession charge he was slapped with in Toronto, May 3rd.

    Photographs have a funny way of be­traying his essentially fragile face and body. He is lean. Almost slight. Eating chocolate chip cookies on the living room couch in this big house - "furnished straight and comfortable" - he seems boyish and vulnerable.

    He offers questions with an unjustified fear of his own articulateness that is charming-but occasionally painful. "Do you, uh-where do you live in the city?" "What kind of music do you Iike - ­would you care to listen to?" He is self effacing almost to a fault: "Do you ever go to the Fillmore? No? - that was a silly question, sorry." 'Tm sorry, am I mumbling? Tell me when I'm mumbling. Damn ... I always mumble."

    It becomes uncomfortable, so one says: "Jimi, don't keep putting yourself down. There's everybody else to do that for you." He attaches to that statement, repeats it slowly, whips out the em­bossed Moroccan notebook in which he jots lyrics at all hours of day and night, and scribbles something down.

    Fingering through his record collection (extensive and catholic: e.g., Marlene Dietrich, David Peel and the Lower East Side, Schoenberg, Wes Montgomery), he pulls out Blind Faith; Crosby, Stills and Nash; and John Wesley Harding. The Dylan plays first. Jimi's face lights: "I love Dylan. I only met him once, about three years ago, back at the Kettle of Fish [a folk-rock era hangout] on Mac­Dougal Street. That was before I went to England. I think both of us were pretty drunk at the time, so he proba­bly doesn't remember it."

    In the middle of a track, Jimi gets up, plugs in his guitar, and - with eyes closed and his supple body curved gently over the instrument - pick up on "Frankie Lee and Judas Priest," riding the rest of the song home with a near-religious intensity.

    He talks intently to Juma and his girl. He cherishes real friends and will do any­thing for them, They, in turn, feel protective toward him. "Poor Jimi," one says. "Everyone's trying to hold him up for something. Those busts ... Even the highway patrol exploits him. They know his car: they stop him on the road between New York and Woodstock and harass him. Then they have something to gloat about for the rest of the day. Once a cop stopped me on the highway and started bragging: 'Hey, I just stopped Jimi Hendrix for the second time today.'''

    On the bookcase is a photograph of a Fifties Coasters-type R&B group: processed hair, metallic-threaded silk-lapel suits, shiny shoes. The thin kid on the far left in a high-conked pompadour, grinning over an electric guitar: is it? "That's okay," Jimi smiles at the im­pending laughter. "I don't try to cover up the past; I'm not ashamed of it." But he is genuinely humble about tbe present. For example, he'd been want­ing for some time to jam with jazz and "new music" avantgardists, but worried that such musicians didn't take him seri­ously enough to ever consider playing with him. "Tell me, honestly," he asked a friend, "what do those guys think of me? Do they think I'm jiving?"

    We are listening now· to the tape of such a session, the previous night's jam: Jimi on electric guitar, avantgardilst Michael Ephron on clavichord, Juma on congas and flute.. A beautiful fusion of disparate elements, disjunct and unified at alternating seconds. Now chaotic, now coming together. "Cosmic music," they call it. Ego-free music. Not the sort of stuff the waxlords make many bucks off. Not the kind of sound guaranteed to extend the popularity of a rock su­perstar.

    "1 don't wanf to be a clown anymore." "1 don't want to be a 'rock and roll star,''' Jimi says, emphatically. The forces of contention are never addressed but their pervasiveness has taken its toll on Jimi's stamina and peace of mind. Trying to remain a growing artist when a busi­ness empire has nuzzled you to its bosom takes a toughness, a shrewdness. For those who have a hardness of conviction but not of temperament it isn't a question of selling out but of dying, artistic­ally and spiritually. Refusing to die yet ill-equipped to fight dirty, many sensi­tive but commercially-lionized artists withdrew. I watch Jimi quietly digging the pictures of faraway people and places in a book, The Epic of Man ("South America wow, that's a whole dif­ferent world. Have you ever been there?") and I wonder just where he will be and what he will be doing five years from now.

    We crowd into Jimi's metal-fleck sil­ver Stingray ("I want to· paint it over­, maybe black") for a sunrise-drive to the waterfalls. ("I wish 1 could bring my guitar-and plug it in down there.") The talk is of puppies, daybreak, other innocentia. We climb down the rocks to the icy brook, then suddenly dis­cover the car keys are missing. Every­one shuffles through shoulder pouches and wallets. "Hey, don't worry," Jimi says. "They'll turn up. No use being hassled about it now. Jimi's taking pic­tures and writing poetry. "I want to write songs about tranquility, about beau­tiful things," he says.

    Back at the house, he pads around, emptying ashtrays, putting things in order. "I'm like a clucking old grand­mother," he smiles. "I've just gotta straighten things out a little." It's 7 AM and he has to be at the recording studio in Manhattan at 4 in the afternoon. Everyone's exhnusted.

    After a few hours of sleep, Jimi f!oats into the kitchen looking like a fuzzy lamb unmercifully awakened and underfed. He passes up the spread of eggs, pork chops. crescent rolls and tea: breakfast, instead, is a Theragran and a swig of tequila in milk. "Jimi, you never eat ... " Juma's girl worries aloud.

    We pile into the car for the two hour drive into Manhattan. Passing two Afro-haired guys in an Aston-Martin, Jimi turns and flashes a broad grin, extending his fingers in a peace salute. We turn up the radio on Stevie Wonder's "My Cherie Amour"; groove on Neil Diamond, Jackie DeShannon. The Turtles. Everything is everything: We're playing with a puppy, grateful for clear skies, clear road, clear AM station. What more could a carload of travelers in an inconspicuous blue Avis ask?

    We pull into a roadside stop. No giggly bell-bottomed young girls in sight, Jimi gets out and brings back chocolate milk and ice cream for everyone. Truckers pay no attention. Middle-aged couples glare disdainfully.

    The talk is of the session. They'll record at a studio on West 44th Street, then go somewhere else to mix it - may­be Bell Sound of A&R - because Jimi says the recording studio they're going to "has bad equipment....likes to take advantage of so-called longhair mu­sicians."

    Downtown traffic on the West Side highway is light at rush hour. The fort­resses of upper Riverside Drive are handsome in the sun, but the air has lost its freshness. Getting off the high­way at 45th Street, it's 4:45. The session. costing $200 an hour, was booked to be­gin at 4: 00. But delay couldn't be helped; no hassle. A carful of teen­agers alongside us has the radio turned up loud on "If Six Was Nine" - the cut being used as part of advertisment for Easy Rider. I ask Jimi if he's seen the film; he doesn't answer.

    Turning around, I find him stretched out on the back seat, legs curled up embryonically, hands clasped under his cheek. Sleeping soundly.....
    Last edited by RobbieRadio; 03-05-09 at 09:42 PM.

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    Re: Newspaper & Magazine Articles (Text Only) - 1960's-1970's

    No Info Available On This Article

    When Jimi Hendrix plays, the house comes down. It doesn't fall in small pieces, but in chunks, and the whole place topples on the audience, but it doesn't touch them because he's got them flying up there with him somewhere. That's the way it was at Winterland in San Francisco when we interviewed Jimi Hendrix. That's the way he makes it.

    "All my songs happen on the spur of the moment," he says, and he's not handing you a line, you know he's leveling with you. So you ask him if he has to compensate for this spon­taneity by using gimmicks.

    "On some records you hear all this clash and bang and fanciness, but all we're doing is laying down the guitar tracks and then we echo here and there, but we're not adding false electronic things. We use the same thing anyone else would, but we use it with imagination and common sense. Like "House Burning Down," we made the guitar sound like it was on fire. It's constantly changing dimensions, and up on top that lead guitar is cutting through everything."

    He tells you his most important thing is to communicate with the audience, to communicate with them honestly. His stage presence is usually expected to be sort of obscene with lots of gesturing, but this is not true most of the time. Jimi's presence is always cool, and he lets his emotions come through strong. At times he has turned his back on the audience - if that's the way he really felt. "When I don't say 'thank you,' or I turn my back to the audience, it's not against them, I'm just doing that to get a certain thing out. I might be up-tight about the guitar being out of tune or something. Things have to go
    through me and I have to show my feelings as soon as they're there."

    One problem Jimi has is that his instruments won't hold up, "like these two guitars I have now, they've been around for awhile and they just don't stay in tune. They might slip out of tune a bit right in the middle of the song, and I'll have to start fighting to get it back in tune. We tune up between every song because it's not a Flash GorGon show - everything all neat and rehearsed - it's not one of those kind of things. It's important for us to get our music across the best way we can. It means we have to do it natural, like tuning up before songs."

    He tells you about the trio, about working with Mitch Mitchell the drummer and Noel Redding on bass, and how tough it gets sometimes. "Sometimes they might want to tell me something and I might not be able to understand, and it gets frustrating. Anytime you make a song you want your own personal thing in it as well as the group. We don't compromise with each other very much, you know. Like one guy thinks one thing and he's going to stick with that one thing, so he does it the way he wants it."

    Jimi admits the trio doesn't do much practicing. "Most of our practice is thinking about it. They might hear the same tune I have, so they throw it around in their minds and picture the fingerboard. So then, when we go to the studios and I give them a rough idea, maybe Mitch and I will lay a track down completely by ourselves and then add the rest. As far as jam­ming out here on a show ... we try to listen to each other."

    "I just keep my music in my head. It doesn't even come out to the other guys until we go to the studio. Sometimes, if I have a new song, or if the guys want to take a vacation or something like that, maybe I'll go to the studio by myself and have an acid tape made and have a rough idea about the drums, guitar, bass and vocal. Then, other times, I'll just come in banging away on the guitar and be singing and say this is a new song."

    "We try to put our own self into it no matter what song we play," he says. That's how he feels about Jimi Hendrix, but how does a musician look at other musicians? "When I see a group I look for feeling, not the jump-around kind of feel­ing ... and then I look for togetherness, a communication be­tween the musicians. Originality comes about fourth or fifth."

    The night we talked with Jimi Hendrix it was the second anniversary of the trio. Jimi himself was born in Seattle, Wash­ington, twenty-one years ago. He left school early to join the Army Airborne. "I've played with millions of groups, played behind cats who are making it now." Jimi feels that those who influenced him while he was trying to make it were Muddy Waters, Elmore James, Eddie Cochran and B. B. King among others. But Jimi's style is not a mixture of the past, it is something which comes out of himself. "I write songs to re­lease frustration. I like to play lead sometimes so I can express myself. But the way I play lead is a raw type of way, it comes to you naturally."

    The way Jimi Hendrix plays may be natural for Jimi Hen­drix, but it's the opposite of most other guitarists. He plays a backwards/upside-down guitar, holding the neck in his right hand and playing with the bass strings on the bottom and the high strings on the top of the guitar.

    Jimi mostly uses a Stratocaster with Fender light gauge strings. He also has two Gibsons. "Some of the tracks on our new L.P. have a Gibson on them." He uses Sunn amps. "It doesn't make any difference what size the amps are as long as I know I have it. I'm not necessarily trying to be loud, I'm just trying to get this impact. I don't like to use mikes. To get the right sound it's a combination of both amp and fretting." He uses light gauge strings because he doesn't like them to scratch the board too much.

    Jimi feels it's important not to have a closed mind to new things that are happening. "You can't just get stuck up on guitar, you have to use a little bit of imagination and break away. There's millions of other kinds of instruments. There's horns, guitars, everything. Music is getting better and better, but the idea now is not to get as complicated as you can, but to get as much of yourself into it as you can."

    "Music has to go places. We'll squeeze as much as we really feel out of a three-piece group, but things happen naturally. We've got about four tracks that we haven't released yet. One has a very simple rhythm with a funky horn pattern in it, and a tiny bit of echo to make the horn sharper. It happens natur­ally, like when you hear something you might want to use strings with. But we haven't been able to get these things together because we've been on tour."

    You see that there's not much more to ask him, except maybe, that old cliche about what can he say to guys who are still out there trying to make it ... "It's pretty hard to give advice, but if these guys have really gotten into it and every­one ... mothers and friends ... have said 'Wow,' then they should try to get in touch with a major musician or have a representative of a record company come to one of their gigs. But tell them it's best "not" to sign anything too soon. Tell them to get some lawyers. Managers may not know it all, and a lawyer knows what's right."

    "You have to stick with it," he says, "Sometimes you are going to be so frustrated you want to give up the guitar ... you'll hate the guitar. But all of this is just a part of learning, because if you stick with it you're going to he rewarded."

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    Re: Newspaper & Magazine Articles (Text Only) - 1960's-1970's

    Article 1975

    By Dave Marsh


    Jimi Hendrix died in 1970, leaving behind a fabled Dutchman's Mine of un released music. But unfortunately, the releases since his de­mise in general have been disappointing (Cry of Love), and in some cases, downright shoddy (War Heroes).

    But late last year, Hendrix's last producer, impresario Alan Douglas, announced that there was still gold in the Hendrix vault. He estimated that there exists an additional unre­leased 600 hours of Jimi's music. Much of it, even a superficial listening can confirm, is first-rate; some of it, more intense hearings assure, is as good as anything the man ever played.

    The first of the new Hendrix records (on Reprise) won't be issued until sometime this year. Not all of the material is complete, and Douglas has some complicated decisions to make concerning what to overdub and what to leave alone. Some of those tapes reviewed here will almost definitely appear on com­mercial records; some of them may never emerge.
    The Hendrix tapes fall neatly into two cate­gories: jams and songs. The former are large­ly instrumental, with few vocals, if any. They were made during improvisatory, and gen­erally informal, jam sessions between Jimi and a number of other instrumental virtuosi. Among the other players featured are John McLaughlin, the dynamic young guitar player who was just then assembling the first Maha­vishnu Orchestra; Khalid Yasin (Larry Young), a mainstay, with McLaughlin, of Tony Wil­liams's Lifetime; and such rock guitarists as Johnny Winter, Stephen Stills, Little Feat's Lowell George, and others. The rhythm sec­tion for almost all of the material-songs and jams - is Billy Cox on bass and drummer Buddy Miles, though others sometimes step in. The best of the jams are with McLaughlin and Yasin.

    In their raw state, the McLaughlini Hendrix tapes are reportedly ten hours long. They were recorded in 1969 at the Record Plant in New York while Douglas was producing McLaughlin's Devotion LP up­stairs and Hendrix's final formal sessions below. The two master guitarists got together for a variety of dates, mostly following wee­hour sessions. The Yasin tapes were recorded under similar circumstances at about the same time.

    McLaughlin and Hendrix prodded each other. McLaughlin was still learning the dif­ferences between acoustic and electric play­ing, and he occasionally plays runs from the standard Chuck Berry-to-Hendrix rock hand­book. Hendrix is capable of responding with jazz licks, and obviously delights in learning from McLaughlin's experience in that idiom. There is much empathy on these sides, few false starts, and once they get started, Mc­Laughlin and Hendrix achieve the sort of in­terplay that producers of supersessions al­ways seek but rarely discover.

    The McLaughlin sessions were exploratory ones, while the dates with Yasin were more fully realized. Yasin was a more experienced jazz player than McLaughlin, with a more fully developed black self-consciousness than Hendrix. He must have been an attractive col­league to a man who had nearly been caught playing the role of Black Superstud to white rock America's fantasies. Then, too, Yasin was as interested in discovering the electric properties of his instrument, the organ, as Hendrix was with his guitar. On the tapes, Hendrix never needs to make the kind of elementary rock statement he does with McLaughlin. Freed by Yasin's flowing organ lines, he delves into the stac­cato notes, and the lines overflow with feedback. When Yasin moves to the fore, he uses his organ to build waves of feedback, shooting chords into the midst of them like lightning in a thunderstorm. The ef­fects are occasionally mechanical, but also frequently moving.

    Hendrix's tapes with other rock players are less interesting, in part because of the excellence of the McLaughlin/ Yasin dates. In general, the rock dates branch out from basic twelve­bar blues ideas, which Hendrix had probably already outgrown. For rock guitar fans, though, this may be the most interesting material available. If it is clear that Hendrix is never musical­ly challenged, it is equally apparent that he is moved to take some risks with showmanship.

    There are three basic subsets among the new Hendrix songs: First, there are stan­dard songs that Jimi adapted to fit his needs. Included among these are a devas­tating seven-minute version of "Gloria," and a slightly sluggish "Hoochie Koochie Man."

    Second, there are Hendrix originals, most of them considerably revamped from the ver­sions previously available. "51 st Anniver­sary," for instance, makes it obvious that the take on Smash Hits is nothing more than a preliminary exploration of the tune's possi­bilities. "Stone Free" is also longer and more introspective. Unfortunately, "Isabella" and "Machine Gun," done here as a medley, suf­fer from the same aimlessness that marred them on the Band of Gypsys album, where they first appeared. But when Hendrix de­cides to pen up with a truly tommy-gun spray of "machine gun" notes, the effect is devas­tating.

    Third, and most interesting of the Hendrix songs, are his new originals. Some of them, such as "Lover Man," were presented in somewhat bowdlerized versions in earlier posthumous reissues, but several others are completely new. These include "Crash Land­ing," "Somewhere," "New Rising Sun" (a piano/guitar duet of fragile beauty, which Douglas says has lyrics, somewhere), "Any­thing Is Possible," "Messenger," "Peace In Mississippi," "Message to Love," and "Far­ther On Down the Road." The central thrust of the music is toward a more soulful, R&B approach than previous Hendrix rock songs. As always, the lyrics are Dylanesque, half in tribute to the man Hen­drix listed among his greatest influences, and half a result of his own wild imagination.
    The greatest of the songs is "Crash Land­ing," which has all the properties Hendrix was famous for, in addition to a biting sense of sarcasm. And, as if the title weren't epitaph enough, he sings, in a chilled voice you'll re­member when the last note has died away:

    "I'm going to spank your hand and take away all of those stupid needles - l'm gonna try to make love straight for the very first and last time."

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    Re: Newspaper & Magazine Articles (Text Only) - 1960's-1970's

    Article From 1975

    Jimi Hendrix Makes A 'Crash Landing' From The Phantom Zone

    By Michael Gross

    Late at night, the cluster of rock neophytes bunched around the portals of Steve Paul's famous club, The Scene, would scatter like mice as Jimi Hendrix flashed out the door and disappeared down the grim streets of New York's Hell's Kitchen. Within minutes of shedding the nifty night­life. his stack-heeled boots would round a cobbled corner and dance into the familiar doorway or the Record Plant. There, night after night, a gang of engineers and friends would perk up at the master's entrance and set the huge recording spools spinning.

    For two years before his death, Hen­drix had been quietly recording a new, advanced album, but he died in Lon­don just months before its release. His label, Reprise, would say that intended album was Cry Of Love but it wasn't - or was it Rainbow Bridge or any of the other posthumous releases that soon came out in Jjmi's name. Hen­drix made the music, but his manager, Michael Jeffrey, controlled it, and until now, little has been known of what the legendary guitarist really recorded in 1969 and 1970. Now, thanks to jazz buff and Jimi Hendrix confidant Alan Douglas, the true story of Jimi's last musical inspirations will unfold at last on a series of albums for Reprise be­ginning with Crash Landing,

    Frustrated Innovator: "Jimi carne to fame through a great, unique and dev­astating pop formula that people loved, "his friend", and now Alan Doug­las' assistant, Ken Shaffer explained as the new disc was being readied for re­lease. "But by the time people heard his music on wax, it was a year and a half after he conceived and recorded it. Michael Jeffrey, Hendrix's manager at the time, was a keen business man. People have called him a heel, but he was protecting his business interests." That interest was in a group consisting of guitarist James Marshall Hendrix, bassist Noel Redding and drummer Mitch Mitchell, whose album, Are You Experienced, sent shock waves through the music business in the late sixties, and unheard of sounds through the ears of Jimi's new, but already rabid fans,

    Axis: Bold As Love and the superb two record set, Electric Ladyland, followed quickly, establishing the sound of Hendrix .. Jimi, however, wanted to move on. Late in 1969, Hendrix broke up The Experience, forming a transitional group, Band of Gypsys, with Buddy Miles and Billy Cox. "In '69, when Jimi was on stage with the Band of Gypsys." Shaffer continued, "he would play 'Foxy Lady' and the crowd would simply go ape. Then he'd play something experimental and they'd throw stuff at him." That's when the name-calling started. No one was ready to hear music that made them think, and very few musicians were at his level. Billy Cox and Buddy Miles play­ed the licks he heard, but the band Jimi dreamed of never materialized. So he got away from the bright lights, the business mayhem and the rock and roll crap and just went to the studio. "He disappeared for two years as far as the public was concerned. He played with everybody at that point and made a lot of different kinds of music."

    As the audience wondered, Hendrix played for himself and his friends in studios and apartments, Then, in the middle of 1969, he decided it was time to make records again and began look­ing for a producer who wouldn't be constrained by the old formulas. For a long time he'd known Alan Douglas, owner of a small special jazz label, and producer of such giants as John McLaughlin, John Coltrane, Timothy Leary and Billie Holliday. Hendrix, who had been brought up on R&B and jazz, was ready to abandon acid-rock and return to his roots.

    Douglas vs. Jeffrey: But Hendrix wasn't completely satisfied with the tracks he'd been doing with Douglas, and though a complete album was in the can, he'd intended to redo a num­ber of the songs which held up the release of the LP. Another problem stood in the way of the Hendrix-Doug­las collaboration besides the intended re-mix. Hendrix, did not have a con­tract with Reprise Records. Rather, he was owned by the Michael Jeffrey pro­duction company, and it was Jeffrey's job to deliver the records. Hendrix never dealt directly with Reprise, Jeffrey knew about Douglas producing Jimi, and those sessions eventually wound up on the posthumous albums released by Jeffrey through Reprise. Tracks like "Stepping Stone," 'Isabella" and "Dolly Dagger," originally in­tended for release on the one album he was doing when he died, would, after Jimi's death, be spread thinly across three slices of vinyl.

    "The Douglas sessions went on for months and Jeffrey finally got hip to what was going on," Shaffer continued, "Jeffrey got pissed off hecause an old man (Douglas was in his 40's) was in­fluencing Jimi to play R&B and jazz. Three out of five hours in the studio were nor spent on 'Dolly Dagger, but on strange stuff. So he informally en-joined Douglas from working with Jimi again." There was no court action, but Douglas realized that when push came to shove, Jeffrey could keep him from Hendrix. He made a concession to legality, if not morality, and when the scene got ugly, Douglas walked, remaining Jimi's friend, but no longer twirling his dials. "At that point," Ken went on, "Jimi started getting a little spaced out behind Jeffrey, but he couldn't hold a grudge, he wouldn't fight back, he'd just look at you and go 'WOOF WOOF: literally." "He con­tinued recording on his own, without a producer. In some cases he didn't even listen to the tracks. In others he would get hung up on a lick and overdub for hours." In all. he recorded over 600 hours of 16·track rape, as well as hundreds more hours of 8-track, 4-track and cassette tapes.

    "Jimi died in September. 1970. He recorded in The Record Plant before that, and then, in August. about a month before he went to England. he worked in Electric Lady Studios (which he helped design and finance)," For the next few years, rumors would fly about the manner of Jimi's death and his state of mind prior to it. According to Shaffer, Jimi couldn't have felt better. "No one killed Jimi. I know people who were there the night he took the white powder. There's a sense of outrage about it, but he wasn't murdered. He did not kill himself. Rather he died senselessly choking on his own vomit."

    Shadows Of The Ghost: "When Jimi died, the tapes were gathered from Electric Ladyland and The Record Plant and Jeffrey sorted through them----close to 1,000 hours in all - in less than two weeks. He came to the conclusion that everything be­sides the one nearly completed LP was no good. They were listening for finished, Experience-type material. That's why they only came up with 'Dolly Dagger.' We spent close to five months doing the same job. The tapes were unmarked, there were no muscians' logs, no dates. Some had Jeffrey's listening notes, On the McLaughlin tapes it said "Jimi with other guitarist - no good." This was even before Cry Of Love came out. They were then put into storage in a warehouse in New Jersey and when Jeffrey died they re­verted to the Hendrix estate, some law­yers, his relatives. The estate controlled by Jimi's family never exercised its artistic control after Jeffrey's death."

    The Panamanian Connection: As an estate can only stay in business for a certain amount of time, co-production rights to the warehouse tapes were eventually bought by a Panamanian corporation. They had been evaluated by Jeffrey as worthless, so Jimi's father sold them to the Panamanians, getting a 50-50 cut on any future use of them. The tapes would be stored in the warehouse to this day had not Alan Doug­las, one of the few people even aware of their existence, finally relented to the pressures of his close relationship with Jimi. He'd been approached be­fore, but Douglas would not join in the circus atmosphere of the Hendrix death cult. Then, a year ago, Don Schmitzerle, the general manager of Reprise Records, called Shaffer. He told Ken that he regretted the albums that had been released in Jimi's name by Re­prise, and that the Hendrix estate, along with the Panamanians, had just delivered a new album that was so bad he'd had to reject it. As a fan, Schmitz­erle wanted to know if there was any more good material still in existence. Shaffer got him together with Douglas and the chemistry was finally right. Douglas concluded Schmitzerle would not violate Hendrix any further, and told him about the warehouse tapes. As a sign of good faith Reprise agreed to withdraw several of the posthumous Hendrix albums from release, putting out one album combining just the good material. Douglas knew there was more good material in existence, and proceeded to get permission to release it with the blessings of the estate. He formed Dapaja Productions with the estate and the Panamanian connection, and shipped the tapes to Shaggy Dog Studios in Massachusetts. where the mammoth task of listening, evaluating, editing and, occasionally, overdubbing, was begun.

    Tracks Of A Titan: Crash Landing opens with "Message To Love." simply a Hendrix classic. His guitar work is startling, and the vocals are as funky as Hendrix ever got. It is a blockbuster opening to what may soon be acclaimed as Hendrix's finest album. "Somewhere Over The Rainbow" follows, truly a cry for love, a look at desperation, but most importantly, a plea for hope. As Hendrix talk-sings through the song. one gets the feeling he knew what was coming in the world, and a track like this comes at no better time. It's the anguished cry of an almost-beaten op­timist, yet hope is the refrain that runs through its lyrics.

    The title cut, a funky rocker with a Creedence/John Fogarty opening fol­lows. As the guitar begins its intricate line, the song strays from simplicity, but it remains a strong rock song. The same is true of "Come Down Hard On Me" which closes the side with a sexy rush.

    Side Two opens with "Peace In Mis­sissippi," a song Hendrix wrote when he heard Martin Luther King had been killed, The anger in the track is astounding, as marching feet, blazing guns, war cries, fear and grief combine - not as in "The Star Spangled Ban­ner," where Jimi took off alone, but rather in a tightly controlled, blues­based form. "With The Power," a re­working of an old number originally intended for Cry Of Love, is a guitar showcase that leads with a fierce one-­two punch into "Stone Free Again," another reworking, but so remarkably different from the original that it be­comes a new song. The rhythm track blisters and boils as Hendrix spits out the lyrics of one of his greatest an­thems.

    The album closes with "Captain Co­conut," a tribute to sixties psychedelia, with all the accompanying madness, sound effects and head-twisting stereo studio tricks. Pink Floyd might have learned from this track, as they, and most of this generation's stars, learned from the Hendrix legacy. Crash Land­ing is only 30 minutes long in it's en­tirety, but it is the most satisfying half­ hour of Hendrix since Electric Lady­land. The guitar work is superb, and Hendrix's musical accompaniment is unmatched anywhere in the product released during the five years since his death.

    Add these new albums to the reality, because they are what Jimi Hendrix was really about. "People thought he was played with llke a toy," Shaffer said as he turned off a tape of Hendrix and McLaughlin in his Tangiers decorated living room. "It was all part of the myth. Jimi was smart. He called the shots. But he became bigger than life. He had everything: he was gifted, rich, sexy as hell, and deserving of it all. But he was also "a blank screen" for peo­ples'
    fantasies." Now Shaffer, Alan Douglas, and Reprise Records intend to color in at least a part of that screen.

    More Black Gold

    Out of 600 hours of tape, Alan Douglas has culled at least three albums slated for release. The first, Crash Land­ing, is the most accessible, the most like what Hendrix fans already know. With the posthumous albums off the market, a one album collection of their best tracks will also be released. And there's more.

    One album side will contain a jam between Hendrix and jazz keyboardist Larry Young. It forecasts such later jazz-rock experiments as Miles Davis' Jack Johnson, McLaughlin's work with Mahavishnu Orchestra, Weather Re­port and Erie Hancock, and contains some of Hendrix' most incredible gui­tar work ever. Also available, probably for the flipside of the Larry Young tracks, are six tapes made with guitar­ist John McLaughlin. Ken Shaffer described these tapes as "transcendent," and even a short listening confirms that analysis. The McLaughlin tapes have been held up as a result of negotiations with Nat Weiss, John's lawver, who would like them for his own Nemperor label. Therefore, some of these jazz al­bums may be released separately by Weiss.

    Warners and Douglas will definitely release an album of Hendrix playing blues - new, standard, and reworked versions of his old songs, entitled Multi-colored Blues. If reaction to these three or four albums is good, Douglas will consider the release of live tapes, some of the superstar jam sessions, and other examples of Hendrix's '69-'70 experimental sessions.

    Black Gold: Listening to the album, Shaffer was reminded of a strange occurrence that, in a way, capsulizes the rip-off zoo that was Jimi Hendrix until now. A few months ago, during the editing sessions, the phone rang in Douglas' office. A distorted voice on the other end said he had some Hendrix tapes that might interest Douglas. When he said they were in a suitcase, Doug­las knew the voice meant business.

    The night Jimi died, his New York apartment had been robbed. His guitars were taken, as was a suitcase that con­tained, among other things, five cas­sette tapes. On those tapes were Jimi's recorded autobiography, made with Douglas in Jimi's apartment. On those tapes, Hendrix, told the story of a space man who came to earth and be­came a rock and roll star. The tapes were titled Black Gold. Douglas' ex­citement was obvious as he spoke to the mysterious caller. Without realizing his mistake, he asked if the suitcase had been stolen from Jimi's apartment. The caller freaked, hung up, and disappear­ed into the ozone. Somewhere out there, those tapes still exist - more of the real Hendrix legacy - and someone has them, locked away from the world in a suitcase that no one would ever recognize.
    Last edited by RobbieRadio; 03-06-09 at 10:15 PM.

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    Re: Newspaper & Magazine Articles (Text Only) - 1960's-1970's

    Anything in red I would like to know, as I don’t have this information yet

    May 1966
    THE VILLAGE VOICE (page ?) [B&W illustrated (with logo of cheetah/woman), advert for the Cheetah, NY] – Curtiss Knight, The Denims

    Saturday 11 June 1966
    MELODY MAKER, (page ?) ‘Eric, Jack & Ginger team up’ by unknown: A sensational new “Group’s Group” [Cream] starring Eric Clapton, Jack Bruce and Ginger Baker is being formed. The group say they hope to start playing at clubs, ballrooms and theatres in a month’s time.

    Saturday 11 June 1966
    MELODY MAKER, (page ?) ‘Chas Chandler: “America is just a big drag”’ by unknown: On Monday , Chas, Eric, Dave and Barry flew on holiday to Majorca here they have interests in several clubs. […] Despite Chas’s dislike of certain American attitudes the group is off for a new tour, with Herman’s Hermit’s, from July 1. [rest of article]

    Saturday 2 July 1966
    MELODY MAKER, (page ?) ‘Caught In The Act’ by unknown: “Is Georgie Fame Here Yet!” an anxious promoter asked Georgie Fame at the end of Hastings Pier on Friday night. “No”, said Georgie, completely deadpan. It was a typical start to a wild night for the Blue Flames. […] By daylight, they were blowing pure jazz, Mitch Mitchell driving along with Cliff Barton and Colin Green, Peter Coe and Eddie [Thornton] taking solo honours. [rest of article]
    [Jimi Hendrix Experience would play there a year and three months later on Sunday 22 October 1967]

    Saturday 6 August 1966
    MELODY MAKER, (page ?) ‘Animals Mystery’ by unknown: The forthcoming shake-up of the Animals personnel, currently touring America, remains something of a mystery. In London this week, agent Dick Katz told the MM: “They are reorganising when they get back in September, but more than that I can’t say. I’m still not absolutely certain that Eric Burdon will be leaving.”
    [Dick Katz would become the JHE agent in the UK]

    Saturday 13 August 1966
    RECORD MIRROR, (page ?) interview by [unknown]:
    Eric Clapton: “Who do I rate as guitarists? Jeff Beck and John Mayall’s new guy [Peter Green]. He’s good. He’s got out of all this muck. He’s going in the right direction… If I was sure that everything George Harrison played was his own ideas, I’d say he was good, but I’ve got this feeling it’s Paul McCartney telling him what to do. There are only about four groups in the country who are developing their own directions – The Beatles, The Kinks, The Small Faces and The Who, I suppose… I’m tired of being called a specialist musician. People thought Cream was going to be a blues band, but it’s not. It’s a pop group, really, we were a bit ragged at Windsor. It’ll take about two months before we’re okay. We’ve got about four good numbers and a few standards.”

    Around the 13 September 1966
    THE VILLAGE VOICE (page ?) Advertfor Café au Go Go, NY, it has Judy Roderick as the headliner, then The Times Square Two, and last but not least John Hammond & the Blue Flame.
    [Jimmy plays with his band ‘The Blue Flame’ [not ‘Blue Flames’ or ‘Jimmy James & the Blue Flames’ either. Jimi himself refers to the group as just ‘The Blue Flame’] as does an advert in Village Voice & an article in Crawdaddy. John Hammond also refers to Jimi’s group as ‘The Blue Flame’ but adds that together they called themselves ‘The Screaming Night Hawks’ over a two week period (Jimi’s regiment the 101st was known as ‘The Screaming Eagles’, sounds like Hammond’s having a joke here;-)]

    Saturday 24 September 1966
    DISC, (page ?) ‘NEWS-1 SHOCK OF THE WEEK! ‘FAME SPLITS WITH HIS BLUE FLAMES’ by [unknown] [rest of article?]

    Saturday 24 September 1966
    MELODY MAKER, (page ?) ‘Georgie Fame Snuffs Flames’ by [unknown] [rest of article?]

    Thursday 29 September 1966


    MELODY MAKER(page ?)Advert for 1st October gig: “Brian Auger Trinity with Julie Driscoll play London’s Blaises Club, Kensington, S.W.7.”
    [Jimmy jams with Brian Auger and ‘The Trinity’ at this gig & meets Johnny Hallyday]

    Saturday 30 September 1966
    NEW MUSICAL EXPRESS, (page ?) ‘Flames go out of Georgie’s life’ by[unknown] [rest of article?]

    Saturday 1 October 1966
    MELODY MAKER, (page ?) ‘Auger tour’ by [unknown]: The Brian Auger Trinity will make an eight-day tour of the South of France at the end of October, in a concert package topped by Johnny Hallyday. The group will have it’s own spot as well as backing the French star.
    (Page?) Advert for the Poytechnic gig with Cream & the Washington D.C.’s [which Jimi turned up at and jammed with Cream]

    Saturday 8 October 1966
    DISC & MUSIC ECHO, (page ?) ‘Georgie’s last date with Flames’ by [unknown]: Georgie Fame made his last concert appearance with the Blue Flames in Amsterdam last weekend. Georgie was appearing at the Grand Gala Du Disc in Holland where he met Tony Bennet and Dionne Warwick. George’s last numbers were “Sunny” and “Getaway.” [is there more?]

    Saturday 8 October 1966
    MELODY MAKER, (page ?) ‘Eric: still chosing the new Animals’ by [unknown]: Eric Burdon is still auditioning musicians to form his new Animals backing group. [is there more?]

    Saturday 15 October 1966

    L'EST RÉPUBLICAIN, (page ?): “‘A Lightning Visit With Johnny Hallyday’ [14 October, Cinéma Le Rio,Nancy. JHE's 1st mention in the press], by Alain Ganassi: A respirator. Behind it, two blue, piercing eyes, bloodshot from fatigue: that’s ‘Johnny’. It is 10 o’clock. His new agent (he started two days earlier) and his new ‘crew’ (they came with a tour bus: 28 people) are starting to get restless. Why the respirator? A cold, a terrible cold, but yesterday in Evreux at his first show since his rest cure he almost lost his voice. Why the delay? First his 9,500,000 French francs Aston Martin which broke down… So he contents himself with the Bentley of Jean-Pierre Bloch, his secretary. And then it was a difficult road was a difficult road: lots of traffic, it rained, and to top it all, the windscreens of the Bentley broke down. Anyway, Johnny came to play in Nancy before Paris, where he will play in a 'Musicorama' at the Olympia with Brian Auger and Julie Driscoll [& JHE!], with the seven latest songs which he recorded last week in London, and of which most were written during his stay at the clinic after his suicide attempt. This man is difficult to approach. There is a lot of talking, perhaps too much. His blue eyes are fixed at one point, somewhere out in infinity. He needs time. He needs a rest. "Your turn in five minutes," his agent urges him. The door shuts with a slam, we need to give Johnny time to get dressed. A lightning visit which leaves us with a bitter sad after taste. In just a few minutes time Johnny will sing on stage "Noir, c'est noir."
    ‘He Ends His Show Bare Chested!‘
    The button of his shirt jumps off, the white necktie is already in Johnny's hands. The theatre roars. Sweat is carving the face of the blonde young man as if it needs to be sculptured. He throws the necktie in the audience. Within fifteen minutes his shirt is soaking wet. The next twenty minutes he finishes his set of songs bare chested, using his muscles to mark the last bars. Johnny has the place turned upside down. He has told his 1,500 fans in Nancy who are packed in the large hall: "I haven't been in Nancy for three years. I have such good memories so here I am." They have applauded. He has played his major hits: "Les Coups", "Le Penitencier", etcetera: they have given him a standing ovation. "La Fille A Laquelle Je Pense", he almost cried the song, the song he wrote in the clinic after his suicide attempt, for Sylvie [Vartan]. The crying has died, the cheers have exploded. Fifteen hundred people (only young people were in the theatre) said to him: "We are here". He drops to the floor as if to say: I loved her, one can make a mistake. When he gets up again, he snapped at the microphone... "Our love has left us". A young girl jumps up, and throws a bouquet of roses on the stage. Johnny picks up one rose. He ends his show with it. The microphone gets broken. He doesn't need a microphone. He doesn't even need to sing. His body serves as a voice. The sweat is pouring. Half of the audience has stood up. Hands are waving, they are deaf because of the noise, by the shouting, by the drums. The spectacle is complete: the girl with the long hair who, sitting in her seat, literally is getting into a trance, the old lady who greedily takes picture after picture with her small camera with a flash until "gorilla's" put a stop to it! And then, see the police sergeant. He is exhausted, like Johnny and the audience. Nobody knows how many songs he has played, they have forgotten that he has a band of nine musicians, that they have seen "Chris" (a poor imitation of Antoine) in the first part of the programme, and Jimi Hendrix heading his own band.
    They have forgotten that the storm is over.

    Saturday 15 October 1966
    MELODY MAKER, (page ?) ‘The Raver’ by Bob Dawbarn: … ex-Blue Flame Mitch Mitchell forming Mitch’s Mates. [Bob’s still not heard the news!]

    Monday 17 October 1966

    RÉPUBLICAIN LORRAINE(page ?) [title?] [14 October, Cinéma Le Rio, Nancy]by [unknown]: ….Des deux parties de ce show, ce fut la premiere la plus «calme». Long Chris ouvrit le spectacle, suivi par un noir. Tommy Hemdrix, qui, apres avoir eu quelques ennuis avec sa bretelle de guitare, fit preuve d'une belle adresse en jonglant, puis en jouant de son instrument avec...les dents. Tour a tour le deux chefs d'orchestre de Johnny Hallyday, et enfin l'orchestre [les Blackburds], donnerant un apercu de leur vituosite, preparant la salle a la seconde partie…[ie Johnny]
    [Of the two parts of this show, it was the first that was more "calm". Long Chris opened the show followed by a black. Tommy Hemdrix [sic], who, after having some trouble with his guitar strap, showed a fine style by juggling, and playing his instrument with his teeth .... Alternately [these two band leaders?] of Johnny Hallyday, and finally his band [the Blackburds], gave an overview of their virtuosity, preparing the house for the second part[ie Johnny].]

    Monday 17 October 1966

    L’EST RÉPUBLICAIN (page ?) [title?] [15 October, Hôtel De Ville, Villerupt] by [unknown]: Long Chris, qui se prend pour un rédempteur, fut sifflé dans ses folk-songs. C’était trop tendre. Par contre, l’exhatation gagna tous les rangs du public lorsqu’un certain Jimmy, un Américain aux allures de papou, découvert dans un faubourg de Londres par Johnny, fit une exhibition assez remarquable à la guitare.. Non satisfait de jouer l’intument dans le dos, le « virtuose » fit une interprétation avec les dents. Sans doute avsait-il eu trop d’appétit la veille, á Nancy, puisqu’une corde cassa alors qu’il allait commencer sa performance. Mais ce n’était que partie remise…
    « J’ai une tête comme ça ! » confiait le machiniste. Attirée par la vacarme, la foule s’était attroupée devant l’hôtel de ville. Le concert était également écouté depuis les blcons des H.L.M. voisins.
    [Long Chris, who sees himself as a redeemer [saviour], was 'whistled' [a form of jeering] during his folk-songs. It was too soft. In contrast, the whole audience became ecstatic when a certain Jimmy, an American resembling a Papuan [New Guinea (French equiv. of 'WMO Borneo')], discovered in a suburb of London by Johnny, gave a remarkable exhibition on guitar .. Not satisfied playing the instrument behind his back, the "virtuoso" also gave an interpretation with his teeth. Without doubt he was too hungry the day before, in Nancy, since a string broke at the beginning of this performance. But it was only postponed ...
    "I have a head like that! [ie my head hurts! or ;-) I give head like that!]" Confided 'the/a machinist' [stage crew?/Jimi?]. Attracted by the uproar, a crowd had gathered in front of the town hall. The concert could be heard from the balconies of H.L.M. [Puplejim informs that this is an abbrv. of housing scheme/project] neighbors.]

    Saturday 22 October 1966
    L’EURE’ ÉCLAIR (page ?) [Le journal régional, les JHE’s’ premiére critique (13 Octobre, Le Novelty Cinéma, Evreux)]
    'Au Novelty', Soirée Mémorable, Avec Johnny Hallyday' par [unknown]. Soirée memorable jeudi dernier au Novelty, qui ..accueillait.. enfin – Johnny Hallyday […] Tous ses « fans » etaient venus de tout les departement pour contempler en chair et en [o]s idole n[…]. Les places etaient toutes occupées lorsque le [desu?] se leva sur une premiers partie des plus decevantes. Tout d’abord l’ami de toujours de Johnny. Long Chris, qui des son arrivée sur scene demanda au public : « Aimez vous le folk » ? (traduisez folk songs) la réponse fut un oui timide de quelques uns qui incita sans doute. Long Chris à « chanter ». Commes les autres interpretes de folk song (Dylan, Donovan, Joan Baez et Au[…]ray), il chant - la paix, la guerre, la liberte et originalite il nous dit aimer les chats. Seule la pilule semble encore manquer a son repertoire peu varie donc les textes de chansons rappellent du tres mauvais Bobby Lapointe (ce qui n’est pas peu dire).
    L’orchestre de Johnny Hallyday [‘Les Blackburds'] se produisit ensuite dans une débauche de sons. Aprés cet interméde assourdissant apparut la dernière « découverte » de Johnny Hallyday ['The Jimi Hendrix Experience']. Il s’agissait d’un chanteur guitariste à la chevelure broussailleuse, mauvais cocktail de James Brown et de Chuck Berry qui se contorsionné pendant un bon quatre d’heure sur la scène en jouant parfois de la guitare avec le dents.
    Il termina la première partie qui fut suive d’une assez long entracte.
    Il termina la premiere partie qui fut suivie durrant assez long entracte. Enfin Johnny apparut sur scene vetu (par pour long temps) d’un costume bleu marine tres originale, chemise du meme ton et cravate blanche. Il fut aussitot par les hurlement d’un public qui lui prouva qu’il etait toujours aussi populaire. Il interpréta beaucoup de nouvelles chansons qui racontent sa vie, ses amours et ses « ennuis » : « Noir c’est noir », « C’est fini (un titre evocateur) », « J’ai reçu un lettre ».
    Sa version du grand success de Percy Sledge : « When a man loves a woman », souleva enthousiasme.
    Si le spectacle êtait sur scene, il etait egalement autour.
    Lorsque Johnny Hallyday lança sa cravate, ils furent une dizaine à se battre posseder. Certains s’allongerent dans les allées, d’autres enlèverent leur chemise taperent du pied ou tenterent de s’approcher le plus pres possible à leur idole, en montant sur la balustrade de la fosse de orchestre qui fut endommagée.
    Maníant son public à sa guise, il demanda aux puis excites de s’asseoir avant de présenter ses musiciens’
    Enfin, ruissellant de sueur, aprés un dernier remerciement, il quitta le scène maigré les protestations, afin de soigner sa « fièvre de cheval ».
    [Legénde de le photo (de la reception sauvage par le public de Johnny): ‘Delirissima!...‘]

    [The local newspaper, the JHE’s’ first review (13 October, Le Novelty Cinéma, Evreux)] ‘At the Novelty’, ‘A Memorable Evening with Johnny Hallyday’ [13 October gig at Le Novelty Cinéma, Evreux] review by [unknown]:
    “It was a memorable evening last Thursday at the Novelty, which […] welcomed […] finally – Johnny Hallyday. All his “fans” came from every ‘departement’ [ie ‘county’] to see their idol in the flesh and in […]. Long Chris, Johnny’s life-long friend, started off. When he arrived on stage he asked the audience, “Do you like ‘le folk’?” (translated: ‘folk songs’) The response was a timid yes, some, no doubt, prompting Long Chris to "sing". Like other interpreters of folk song (Dylan, Donovan, Joan Baez and Aunray) he sings of - peace, war, freedom and originality, he tells us to love the ‘cats’.Only ‘the pill’ is missed, his repertoire varies little, with song lyrics reminiscent of the awful Bobby Lapointe (which is saying something)
    Then Johnny Hallyday's band [‘The Blackburds] played a "debauchery of sounds." After this deafening interlude, Johnny Hallyday’s latest “discovery” appeared[The Jimi Hendrix Experience]. He was a singer and guitarist with bushy hair. A poor cocktail of James Brown and Chuck Berry, who writhed on stage for a good quarter of an hour, sometimes playing the guitar with his teeth. He ended the first part, which was followed by a rather long intermission.Johnny finally appeared on stage, dressed (not for very long) in a very original, navy blue suit, a shirt of the same shade, and a white tie. The roar from the audience immediately proved to him that he was as popular as ever.He sang many new songs that told of his life, his loves and his "troubles”: “Black Is Black”, “It’s Over” (an evocative title), “I Got A Letter”.
    His version of Percy Sledge’s greatest success, “When A Man Loves A Woman,” was received enthusiastically.
    If there was a show on stage, it was also all around.When Johnny Hallyday threw his tie, they fought for ages to possess it. Some lay down in the aisles, others took off their shirts, stamped their feet or attempted to get as close as possible to their idol, climbing on the railing of the pit orchestra that got damaged.
    Wielding his audience at will, he asked the over excited to sit down before presenting his musicians.
    Finally, dripping with sweat after a final thanks, he left the stage.
    [Photo caption (of the wild audience reception for Johnny): ‘Delirious!...‘]]

    Saturday 29 October 1966
    RECORD MIRROR(page ?) (first article about the Jimi in a British paper) [photo caption: HILTON VALENTINE (below) and CHAS CHANDLER seen together during the Animals hitmaking days together (RM pics)] ‘EX Animal Adventures’ by Richard Green:
    Never one to let a good thing pass Chas Chandler has signed and brought to this country a 20 year old Negro called Jim [sic] Henrix [sic] who - among other things - plays the guitar with his teeth and is being hailed in some quarters as main contender for the title of ‘the next big thing’
    Chas first heard John [sic] playing in one of those myriad Greenwich Village clubs It wasn’t long before the ex-animal had convinced the young man that the streets of London could be turned into gold for him.
    “He looks like Dylan, he’s got all that hair sticking all over the place,” Chas told me. “He’s coloured but he doesn’t think like a coloured person. He’s got a very good idea of what he want’s to do.” Jim’s potential as a songwriter seems almost limitless he has, apparently, written over 200 songs already and is always putting pen to musical paper when new ideas strike him.
    “He’s better than Eric Clapton,” Chas claimed getting to the main point about Jim. “He played with the Cream at a London college date and played Clapton off the stage. Ginger Baker didn’t want him to go on because he said he had to have Eric there to work with him. Clapton admitted that Jim was a fantastic guitarist
    A serious sensation was caused when Jim went to Knuckles Club one evening And sat in with a band called the Deep Feeling. When he started playing the guitar with his teeth and producing unbelievable sounds people sat up and took notice.

    Saturday 19 November 1966
    MELODY MAKER (page ?):Advert for The Animals [and JHE] gig at The Hounslow Ricky Tick on the 26th. JHE are the support, although not advertised.

    Saturday 26 November 1966
    DISC & MUSIC ECHO (page ?): ‘Scene’ by [unknown]: Chas Chandler and Jim [sic] Hendricks [sic] raved when Viv Prince sat in with the Shevelles [19 November] at London’s Cromwellian.[…]At London’s Cromwellian Club on Saturday: Scott with Jonathan, Eric Burdon, Chas Chandler and Bill Wyman.

    Saturday 3 December 1966
    MELODY MAKER (page ?), Advert for John Mayall’s Blues Breakers at the Ram Jam Club. JHE are the support, although not advertised.

    Saturday 10 December 1966
    RECORD MIRROR (page ?), [Jimi’s first published interview, from 25 November at the Bag O’ Nails, London, it has a big photo of Jimi with this caption: “A moody pic of Jimi Hendrix who is raved over by Peter Jones”]
    MR. PHENOMENON! by Peter Jones:
    Now hear this – and kindly hear it good! Are you one of the fans who think there’s nothing much new happening on the pop scene? Right
    . . . then we want to bring your attention to a new artist, a new star-in-the-making, who we predict is going to whirl round the business like a tornado.
    Name: Jimi Hendrix. Occupation: Guitarist-singer-composer – showman – dervish – original. His group, just three-strong: The Jimi Hendrix Experience.
    Bill Harry and I dropped in at the Bag O’ Nails’ club in Kingley Street recently to hear the trio working out for the benefit of Press and bookers. An astonished Harry muttered: ‘‘Is that full, big blasting, swinging sound really being created by only three people?’’ It was, with the aid of a mountain of amplification equipment.
    Jimi was in full flight. Whirling like a demon, swirling his guitar every which away, this 20-year-old (looking rather like James Brown) was quite amazing.
    Visually he grabs the eyeballs with his techniques of playing the guitar with his teeth, elbow, rubbing it across the stage . . . but he also pleasurably hammers the eardrums with his expert playing. An astonishing technique . . . specially considering he started playing only five or six years ago.
    Sweatily exhausted, Jimi said afterwards: ‘‘I’ve only been in London three months – but Britain is really groovy. Just been working in Paris and Munich.’’
    In the trio: drummer Mitch Mitchell, a jazz fan, and rock ’n’ roll addict Noel Redding on bass. ‘‘We don’t want to be classed in any category,’’ said Jimi, ‘‘If it must have a tag. I’d like it to be called ‘Free feeling’. It’s a mixture of rock, freakout, blues and rave music.’’
    Guiding Jimi’s career here (discs have been cut; release information soon) are Chas Chandler, ex-animal, and Mike Jeffreys. Said Chas: I first heard Jimi play in Greenwich Village, a friend of mine an English girl, suggested I called to see him. I was knocked out by his technique and his showmanship. He’d only just started singing, though he’d had a lot of experience with top American groups.
    Anway, I suggested we got together – and he agreed. So we brought him over, auditioned to find the right musicians to follow his style – and gave the three of them the chance to find their feet on the continent. Now we’re waiting on a full work permit. . . .
    He really does play incredibly good guitar. You can watch him seven nights on the trot and he changes individual items each time. You just can’t get bored with him. It’s the first time I’ve seen such a brilliant musician who can put on such a good visual performance. He has this unique stage appeal. And this mastery of the instrument. We want to stick with just two musicians working with him. Noel and Mitch can follow his every mood – if we got even one more in it could spoil the understanding. Make it slower. Now we hope to get Jimi working the R and B clubs, building up a following.’’
    Believe us, Jimi really is something positively new. We think he’ll become a sensational success.
    About that thing of playing the guitar with his teeth: he says it doesn’t worry him. He doesn’t feel anything. ‘‘But I do have to brush my teeth three times a day.’’
    (page ?) [title]…. article by Tony Hall:
    “ Remember the name Jimi Hendrix […] I saw him at The Scotch Of St James’ one night recently. A most striking visual performer. And a helluva blues player and singer. He even plays guitar with his lips or elbow. But I thought he’d be difficult to record. So Chas took him in the studio. The result is quite the funkiest rhythm feel I’ve ever heard in this country. Very Atlantic-ish. It was so exciting to hear how Hendrix had inspired the musicians with him. Especially Georgie Fame’s drummer. Terrific. [rest of article]

    Friday 16 December 1966
    DISC & MUSIC ECHO (page ?): ‘Jimmy Hendrix on ‘Ready Steady’ by [unknown]: JIMMY HENDRIX, American soul singer managed by former Animal bassist Chas Chandler features his first single, “Hey Joe” on tonight’s “Ready, Steady, Go!”
    Jimmy, who formerly played for Ike and Tina Turner, goes on the road with his own trio, the Jimmy Hendrix Experience, this month. He appears at London’s
    Blaises club (21). Southampton (22) Hounslow’s Ricky Tick (23), and Forest Gate’s Upper Cut discotheque (26).

    Saturday 17 December 1966
    SOUTHERN EVENING ECHO (page ?), advert for the 22 December, Southampton Guildhall gig: “Geno Washington and The Ram Jam Band, plus Jimmy Hendric’s Experience” [sic]

    Saturday 24 December 1966
    MELODY MAKER (page ?):JIMI HENDRIX JOINS TRACK’by [unknown]: Jimi Hendrix, young American artist who came to Britain with ex-Animal Chas Chandler. Is the first signing for Polydor's new record label run by Who co-managers Kit Lambert and Chris Stamp, Track Records.
    The disc is titled "Hey Joe", by the Jimi Hendrix Experience and is going to be released tomorrow (Friday) but it will appear on the Polydor lablel – as Track Records does not become fully operational unti 1967. Said Kit Lambert: “We think Jimi’s record is so good; we didn't want to hold it back until Track officially came into being — so we’ve pre-released with Polydor Records.”
    (Page ?), ‘The Raver’s Weekly Tonic’ by Bob Dawbarn: Just visible at Chas Chandler’s birthday party on Sunday were Eric Burdon, George Bruno [ie 'Zoot' Money (Bruno was an alias)], Andy Sommers, Paul Williams, Brian Auger, Bill Wyman, Mitch Mitchell, Alan Price and Rent-A-Raver. .
    Saturday 24 December 1966
    NEW MUSICAL EXPRESS (page ?), ‘More singles reviews’ by [unknown]: ‘Jimi Hendrix’ “Hey Joe” / ”Stone Free” (Polydor)
    “Here’s a young man who could make a profound impression in the future. This is a raw uninhibited treatment of a traditional number. It’s in the insideous r-and-b pattern, with thundering drums, some spine-tingling guitar work and a hypnotic slow beat. It’s guttural, earthy, convincing and authentic. Flip: Much the same remarks apply to this side, except it’s faster-paced and more fancy-free. This is a disc for the connoisseurs.”

    Saturday 24 December 1966
    RECORD MIRROR, (page ?) [title?]review of Hey Joe by [unknown]:
    Should justice prevail, this’ll be a first-time hit. The most genuinely soulful record ever made in Britain. Jimi has really inspired the other two musicians. Dig the way the bass comes through. The best record Polydor has issued. A must.Flip [side] is more urgent and equally soul-laden.”

    [Day?] December 1966

    [UNKNOWN paper, (page ?)]. Advert: ‘BOXING DAY FOR ALL THE FAMILY’ [ha-ha!] Mondayafternoon 26th December THE JIMMI HENDRIX EXPERIENCE [sic]26 December The Upper Cut [owned by an ex-boxer;-)], London

    Saturday 31 December 1966
    MELODY MAKER(page ?) ‘Caught In The Act’ by Chris Welch: “Jimi Hendrix, a fantastic American guitarist, blew the minds of the star packed crowd who went to see him at ‘Blaises’ club, London, on Wednesday [21 December]. Among those in the audience were Pete Townsend, Roger Daltrey, John Entwhistle, Chas Chandler and Jeff Beck. They heard Jimi’s trio blast through some beautiful sounds like ‘Rock Me Baby’, ‘Third Stone from The Sun’, ‘Hey Joe’ and even an unusual version of ‘The Trogg’s’ ‘Wild Thing’. Jimi has great stage presence and an exceptional guitar technique which involved playing with his teeth on occasions and no hands at all on others! Jimi looks like becoming one of the big club names of ’67”

    Saturday 31? December 1966
    RECORD MIRROR, (page ?). Hey Joe enters their chart at No. 38 [rest of Chart info?]
    Last edited by stplsd; 01-29-11 at 01:43 PM.

  11. #10
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    Re: Newspaper & Magazine Articles (Text Only) - 1960's-1970's

    [Date?] January? 1967?
    DEBRIS (page?)[title?] interview by [unknown]:JH: [met Dylan in kettle of fish, but just giggled] [actual text?]

    [Day?] January 1967
    [UNKNOWN local paper] (page ?) Advert [picture of ad?] for7 January gig at New Century Hall, Manchester, Corporation Street: “300,000 people voted them a hit on TV”

    Saturday 7 January 1967
    DISC & MUSIC ECHO (page ?) – Chart No.15 [rest of chart info?]

    Saturday 7 January 1967
    NEW MUSICAL EXPRESS (page ?) – Chart No.25 [rest of chart info?]

    Saturday 7 January 1967
    MELODY MAKER (page ?) – Chart No. 26 [rest of chart info?]

    [Day?] January 1967
    THE SHEFFIELD STAR,(page ?). Advertfor gig at Mojo Club / Toll Bar Sheffield: “Roaring into 1967 with the new weirdo trio Jimi Hendrick’s Experience.”

    Saturday 14 January 1967
    BILLBOARD (Page ?) ‘Hits Of The World’ ‘Britain’ (from the UK’s ‘Record Retailer’ magazine)
    5 Happy Jack—Who (Reaction)—Fabulous
    25 I Feel Free—Cream (Reaction)—Dratleas [sic Dratleaf]
    41 Hey Joe—Jimi Hendrix (Polydor)—Yameta.

    Saturday 14 January 1967
    MELODY MAKER, (page ?) [title?] interview by [unknown]
    Pete Townsend: “We’ve got to the stage when we end the night by destroying everything – which is expensive. I think in pop, though, it’s good because it has a big impact and, personally, we find it a great laugh.
    There are two groups at the moment which I like very much – the Cream and The Jimi Hendrix Experience. In a way they’re a bit alike in that they both have fantastic guitarists and drummers. They’re also alike in that they both have tremendous records out at the moment, and they are both laying down some great stuff – what more can anyone want?

    Saturday 14 January 1967
    NEW MUSICAL EXPRESS, (page 16) ‘New To The Charts’ - ‘Wild With Jimi Hendrix’ by Keith Altham [This was the basis of the later promo hand-out and the ‘Are You Experienced’ sleeve notes put together by Dave Marsh]
    “The man for whom the words ‘wild one’ were invented has hit us! Jimi Hendrix, 22, from Seattle, USA — courtesy of ex-Animal Chas Chandler — debuts in the NME chart at Number 24 this week with his self-arranged ‘Hey Joe’.
    Hendrix is a one-man guitar explosion, with a stage act that leaves those who think pop has gone pretty with their mouths hanging open. What this man does to a guitar could get him arrested for assault.
    This is the story of his life in his own words:
    Jimi: ‘Bored to death at 16 I joined the army — airborne. A little less than a year of screaming ‘Ahhhhhhh!’ and ‘I’m falllllliiing’ all the time, so I squeezed my way out by breaking my ankle and hurting my back. Then I tried being serious with my first love — music.
    One of The Isley Brothers heard me playing in a club and said he had a job open. Sleeping between them tall tenements was hell — rats running across your chest, cockroaches stealing your last candybar — so I figured, ‘Yeah, I’ll gig.’
    But I got tired of playing in the key of F all the time and turned in my white mohair silk suit and patent leather shoes.
    A tour came through town with BB King, Sam Cooke, Chuck Jackson, Solomon Burke, Jackie Wilson and Hank Ballard. I learned an awful lot when I got a job guitar-picking behind all those names every night.
    In Atlanta I auditioned with Little Richard, copped the gig and worked with him all over the US, finally landing in Los Angeles and playing more gigs with Ike & Tina Turner.
    I quit Little Richard because of a money misunderstanding and to rest. But who can rest in New York? I got a job with another band. I had all these ideas and sounds in my brain and playing this ‘other people’s music’ all the time was hurting me. I jumped from the frying pan into the fire when I joined up with Joey Dee & The Starlighters. Mind you, this is an out of sight group, but..?!?!
    After sucking on a peppermint twist salary I had to quit, and begin playing with a jukebox band, and finally quit that too, with nothing but a ‘wish’ sandwich (two pieces of bread — wishing I had some meat between).
    Finally I formed up with three other guys under the name of The Blue Flame (no connection). I was living off sympathy until my English friend appeared from nowhere and persuaded Chas Chandler of The Animals to come down to where I was gigging and give an ear.
    We came here to England, picked out two of the best musicians — Noel Redding from The Loving Kind for bass and Mitch Mitchell, an ex-Blue Flame, on drums — and formed The Jimi Hendrix Experience.
    Now I’m going to make certain I don’t fluff it all up!’”

    Saturday 14 January 1967
    RECORD MIRROR (page ?): ‘Sex Gimmicks, And Jimi’ [photo of Jimi ‘eating’ his guitar on Ready Steady Go ’66, caption: JIMI HENDRIX – his hit “Hey Joe” is an old folk number, recently taken into the U.S. charts by West Coast group the Leaves] - review by Richard Green:
    “Two electric guitars happily emitting sounds as Jimi Hendrix left the stage at the BromleyCourtHotel last week [4 January]. Considering the indignities the instruments had suffered during the preceding 45 minutes, I wouldn’t have been surprised if they had got up and made a speech.
    Jimi’s reputation had preceded him into Kent, and a large part of his audience had gone along to see exactly what tricks he did get up to.
    More and more often during his act, I was reminded of the early days of The Who, when Pete Townshend was at his most violent. Except that Jimi takes it several stages further. He kisses the guitar, sits on it and treads on it. Quite apart from belting it with his elbow and caressing the amplifier with it.
    I asked Jimi later how much he relied upon the sex angle for effect?”
    Jimi: “No, not really. I guess there is some sex, but I don’t plan anything. I just do what I feel at the time,” he replied.
    [Richard Green: Question about gimmicks]
    Jimi: “ Gimmicks? Sure, but we don’t work things out though: we just let them happen.”
    He bought his first guitar – an acoustic – six years ago and after one month wanted to join a band. So he switched to an electric guitar and hit the road, Jack .
    “We played on the west coast and in Washington and down South,” Jimi said. “We had guys ten years ago in the States playing what groups are playing here now. Now they call it psychedelic.”
    The obvious comparison is between Jimi and Eric Clapton. Chas Chandler said in a recent RM interview that Jimi could play Eric off the stage. I wondered how Jimi felt about it. “I’ve played with him and he’s good,” he said. “It’s difficult to compare us because our styles are so different. He plays the B.B. King type of thing. My main thing is the blues, but people like Elmore James and a few others the people here wouldn’t know.”
    When Jimi and his two musicians had played “Hey Joe” on stage, the number was very different from the others in the act.
    Jimi: “That record isn’t us,” Jimi explained. “The next one’s gonna be different. We’re working on an LP which will be mainly our own stuff.”
    (Page?) [dodgyB&W ‘one eyed’ photo] ‘For Jimi Hendrix colour means his shade of music…’, ‘SCOPE’ ‘series in which stars discuss their pet subjects’, by Hugh Nolan: BEARDING the present Hon of the British pop scene, Mr. Jimi Hendrix, in his den – manager Chas Chandler’s London flat with the rest of his group sprawled about while relaxing in the middle of a gruelling, month-long tour—is a chaotic, disconcerting Experience.
    For the ferocious Mr. Hendrix, so wild onstage with his attacking guitar work and singing, is very much quieter and more easy going at home than you’d have a right to expect.
    But even so, when he’s relaxing he still expects what he says to be taken as seriously as what he says musically. It’s just that when he gets a guitar in his hands behind a mike he blasts listener’s minds with all the answers they wanted and quite a few they didn’t!
    So you’d be forgiven if you expected Jimi to be as wild and uninhibited offstage as he is on. He’s not. He pads around quietly, answering questions in a soft voice but firmly and with little hesitation, with an air of: “I’ve been around and I’ll tell you what I think but I’m not gonna shout about it.”
    But there is one subject in which Jimi is interested above all others and which he’ll defend any time: his music. As long as he can play in peace, playing what he wants to play the way he wants to play it, then he’s cool and nothing beyond that basic fact worries him unduly.
    For instance way back before the now historic occasion when ex-Animal Chandler was persuaded to hear at a New York and promptly brought him over to Britain to push him up to his present unique position on the scene, Hendrix played an awful lot of gigs all over the States, for a long time in the South.
    I was in Nashville, Tennessee, for quite a while and every afternoon we didn’t have anything to do, we’d go downtown and watch the fights,” says Jimi. “Yeah, it can get pretty bad down there.
    “But it’s the same thing all over the States --- It’s just that in the North they are more sneaky about it.
    “I did have one bad time in the South, when I was in the army and got stationed in Kentucky ‘bout nine months. Well, Kentucky’s right on the border of North and South and in that camp were some of the orneriest, most boot-licking guys. . . some of the officers. Man, it was terrible.”
    But out of the army again Jimi immediately started playing and could stop worrying so much about what it meant to be black in a white man’s country.
    Now he’s out of it completely, away from it all in Britain’s traditional free society. But is it?
    “Soon as I arrived over here I shared a flat with Chas and immediately complaints started to pour in. We used to get complaints about loud, late parties when we were out of town on a gig! Come back the next morning and hear all the complaints. . .
    “Chas got real mad about it. Me? No, I didn’t let it bug me very much.”
    Apart from incidents like that Jimi finds everything groovy in England, “Sometimes some kids will shout something at you while you’re waiting for a taxi on the corner. Otherwise it’s okay – everything’s fine.
    “I guess I don’t worry much about the whole scene any more. Man, I’d even play South Africa as long as there wasn’t any physical violence, and if they tried to get at me in other ways I just wouldn’t take much of it. Anyway, they can only call you names.
    “I just don’t give a damn—as long as I have beautiful England to come back to!
    “there’s so much I want to do. I want to get colour into music – I’d like to play a note and have it come out in colour. In fact I’ve got an electrician [Roger Mayer?] working on a machine to do that right now.”
    For the world at large the colour problem is a frightening and apparently insoluble mess. For Jimi Hendrix, music fanatic, it’s how to get the middle break of “Purple Haze” out of his guitar as something other than just sounds.

    Saturday 14 January 1967
    DISC & MUSIC ECHO, (page 7). “The Weird, Wild, Hit World of Jimi Hendrix” article by [unknown]: “Meeting Jimi Hendrix for the first time is indeed an experience, You’d be forgiven for mistaking him for the “Wild Man Of Borneo’s” understudy, with his outlandish appearance, flamboyant attire and shock of jet black Dylan-type hair.
    But beneath this extraordinary exterior is quite a cool character.
    Jimi is protégé of ex-Animal Chas Chandler, the beefy bass player with a ready smile. Chas saw and heard him playing a Greenwich Village coffee bar on the Animals’ last visit to New York and was sufficiently impressed to persuade him to try is luck in Britain.
    Jimi (21), from Seattle, Washington State, accepted gratefully. He’d tired of playing the guitar for pennies around pop places like Clarksville, Nashville, Memphis, Indianapolis. Even a gig with the Isley Brothers and a spot on a package tour with B.B. King, Sam Cooke, Chuck Jackson, Solomon Burke and Hank Ballard became a bit of a drag. Jimi wanted to be more than just a backing musician.
    Now he’s literally exploded upon the pop scene in London. Hippy club-dwellers and star artists alike are singing his praises in the same way that they predicted eventual success for names like Spencer Davis, Chris Farlowe and Georgie Fame.
    You may have already heard of Jimi Hendrix. In pop circles his name is rapidly becoming a household word. But seeing, as they say, is believing-and until you actually watch Jimi you won’t really appreciate the experience.
    Not only does he sing his own songs with great vigour. He also manages to play his guitar with almost every part of his body-including his teeth!”

    Saturday 21 January 1967
    BILLBOARD (Page 66) ‘Hits Of The World’ ‘Britain’ (from the UK’s ‘Record Retailer’ magazine)
    6 (5) Happy Jack—Who (Reaction)—Fabulous
    21 (25) I Feel Free—Cream (Reaction)—Dratleas [sic Dratleaf]
    32 (41) Hey Joe—Jimi Hendrix (Polydor)—Yameta.

    Saturday 21 January 1967
    DISC & MUSIC ECHO (page ?), ‘BY JIMI-NI! THIS MAN’S NOT ONLY EATING HIS GUITAR, HE’S PLAYING IT…’ [photo of Jimi ‘eating’ his guitar from TOTPs ‘66?] by Mike Ledgerwood: “THIS MAN is Jimi Hendrix. And he’s not eating his guitar – just playing it with his teeth.
    Jimi set the swinging London club scene alight last week [11 January] with a stage act that left pop's top names on their feet shouting for more. In the audience at the Bag O' Nails, rapidly becoming the new “In” club in town, was a galaxy of stars including BEATLES Paul and Ringo with Brian Epstein, ROLLING STONE Bill Wyman, HOLLIES Allan Clarke and Bobby Elliott, WHO'S Pete Townshend and John Entwistle. CREAM'S Eric Clapton, Lulu, Small Faces, Donovan, Fourmost, Eric Burdon's Animals, Georgie Fame, Geno Washington, DJs Chris Denning and Tony Hall and ex-Moody Blues singer Denny Laine. Jimi Herndrix is the Greenwich Village discovery of original Animal Chas Chandler, whose experienced eye spotted obvious star quality in this giant coloured American. Last week he was booked into the “Bag” and stars flocked to see him. It was certainly a night to remember. Jimi did two spots of powerful, full-blooded blues which produced some amazing sounds and guitar gymnastics. He looks set to become one of the brightest stars of '67.”
    (Page?) [title?] [obtained a statement from publicist Dick Katz on Tuesday 17 January 1967 stating that Jimi’s follow-up single to ‘Hey Joe’ was already recorded.] [actual text?]

    Saturday 21 January 1967
    NEW MUSICAL EXPRESS, (page 16) ‘Tailpieces’ by ‘Alley Cat’: [content of Jimi Hendrix entry?]
    (page 8/9) [Other article?]

    Saturday 21 January 1967
    MELODY MAKER, (page 8) “Hendrix—On the Crest of a Fave Rave” by Nick Jones [rest of article]
    (pages 16-17) Ads for Live Performances by The Jimi Hendrix Experience [details?]

    Saturday 21 January 1967
    [UNKNOWN paper]: Advert for JHE gig at ‘The Refectory’ [pub], London: “JIMI HENDRIX’S EXPERIENCE”

    Saturday 21 January 1967
    [UNKNOWN paper] (page ?) Advertfor JHE gig in Norwich: “ANOTHER ORFORD CELLAR SCOOP TONIGHT – National Top Ten Artistes Jimi Hendrix EXPERIENCE Smash Hit with “Hey Joe””
    Wednesday 25? January 1967
    EVENING CHRONICLE (Newcastle) (Page ?) [Advert] NEW CELLAR CLUB the £50,000 Disco Club built for the 18 to 25 Smart Set. BOOKED TO APPEAR 1st February – JIMI HENDRIX EXPERIENCE; 20th February GENO WASHINGTON.

    Wednesday 25? January 1967
    THE SHIELDS GAZETTE (South Shields) (Page ?) [Advert] NEW CELLAR CLUB the £50,000 Disco Club built for the 18 to 25 Smart Set. BOOKED TO APPEAR 20th February Geno Washington; February 1st – Jimi Hendrix Experience.

    Wednesday 25 January 1967
    VARIETY, (page ?) [title?] by [unknown]: “Hendrix is now being readied for his American debut. Jeffery plans to make the preliminary arrangements on his trip to the US, scheduled for early February.” [rest of article]

    Saturday 28 January 1967
    BILLBOARD (Page ?) ‘Hits Of The World’ ‘Britain’ (from the UK’s ‘Record Retailer’ magazine)
    3 ( 6) Happy Jack—Who (Reaction)—Fabulous
    13 (21) I Feel Free—Cream (Reaction)—Dratleas [sic Dratleaf]
    16 (32) Hey Joe—Jimi Hendrix (Polydor)—Yameta.
    26 (--) Let’s Spend The Night Together—Rolling Stones (Decca)—Mirage

    Saturday 28 January 1967
    NEW MUSICAL EXPRESS: (page 2) ‘The Jimi Hendrix Experience. TheScene’s Wildest Raver’ article/interview [20 January,Anim, London]by John King: “Off stage he’s nervous, shy, gentle. But performing he’s the wildest thing Happening on the London club scene.
    The most obvious thing about Jimi Hendrix is that he’s not pretty – neither is his raw, exciting brand of beat music. This has not stopped him from setting the pop scene on it’s ear. The perceptive Mr Jagger has dropped into a late night club to hear his brilliant guitar-antics and the shrewd Mr. McCartney has invited him back to a little evening soirée with John Mayall and Marianne Faithfull.
    In short, the Jimi Hendrix Experience is happening on the London club scene and ‘Hey Joe’ (No.8 this week) is reflecting the enthusiasm.”
    Jimi: “The record [Hey Joe] is really a cowboy song.”
    John: “Said Jimi when I met him in his managers London office last Friday.”
    Jimi: “The approach is R&B but that’s the way we happened to feel it. I never do a number the same way twice – quite often I change the words.”
    Not a singer
    Jimi: “The one thing I really hate is miming – it’s so phoney. So far the only thing I was asked to mime was a Radio London appearance and I felt guilty just standing there holding a guitar. If you want to scream and holler at a record you can do that at home – I’m strictly a live performer.
    I know I can’t sing – I’m primarily a guitarist. Some people think I’m good and that’s what I want to find out. I’ve been working with myself and my ideas for 21 years. Now I want to find out from everyone else if they are any good.
    I dream a lot and I put a lot of dreams down as songs, I wrote one called ‘First Around The Corner’ and another called ‘The Purple Haze’, which was all about a dream I had that I was walking under the sea.”
    John: “Hendrix is surprised by his immediate success in England. In spite of the overwhelming confidence which ex-Animal Chas Chandler- now his manager- had in him. He’s even more surprised that he is able to play and perform what he really likes and get paid for it. His musical influences are rooted in the ‘blues’ and he claims that artists like B.B. King and ‘early’ Muddy Waters had most influence on his playing although he also performs a number of contemporary Bob Dylan compositions and tunes like ‘Wild Thing’ in his stage act.”
    Jimi: “You have a lot of groovy groups here in England but some of the sounds are just too clean. You can’t expect deep feeling to come out of music put down on bits of paper with arrangements. I feel everything I play – it’s got to be inside you.”
    John: “Apart from music Jimi also takes an interest in science fiction -
    Jimi: “I want to be the first man to write about the blues scene on Venus”
    John: - and lists his most fascinating experience as jumping by parachute while he was enlisted in the U.S. Airborne Division.”
    Jimi “It’s the most alone feeling in The World, and every time you jump you’re scared that maybe this time it won’t open. Then you feel that tug on your collar and there’s that big, beautiful, white, mushroom above you, and the air is going ‘ssssssh’ past your ears. That’s when you begin talking to yourself again.”
    John: “Jimi is a startling looking character – he has hair which looks like a guardsman’s busby that’s been let out in the rain and wears assorted military uniforms which make him look like the last of the Comancheros. Essentially he is a nervous person - at least at interviews – a gentle kind of person who is a good deal more sensitive than those who point the finger of derision.”
    Jimi: “I wear my hair long because that’s the way I like it. It was long in New York and it’s longer now because young people here are more open in their attitudes.”
    Insult to Army ?
    Jimi: “Some people have told me that they think wearing a military jacket is an insult to the British army. Let me tell you I wear this old British coat out of respect. This was worn by one of those cat’s who used to look after the donkeys which pulled the cannons way back in 1900. This coat has a history –there’s life to it. I don’t like war but I respect a fighting man and his courage. Maybe the guy who wore this coat got killed in action. Would people rather his coat be hung up and go mouldy somewhere to be forgotten like him?
    Men like that should not be forgotten and if I wear this coat I remember. [smiles] Anyway I wear it because it’s comfortable!
    Do you know my biggest problem?”
    John: “Said Jimi with a worried frown as I prepared to leave.”
    Jimi: “I just can’t look straight into a camera and smile. If I don’t feel like smiling - I just can’t do it man. It’s like being told to be happy to order!”
    (Page 8) [title?] by [unknown]:Cat, Hendrix in Walkers Tour […rest of text?]

    (Page 8/9) [title?] by [unknown]: “Most of the tracks for Jimi Hendrix’ first LP have now been completed. As yet untitled, it is planned for early April release by Polydor [sic] The album includes six self-penned numbers, ‘Can You See Me,’ ‘51st Anniversary,’ ‘Third Stone From The Sun,’ ‘Here He Comes,’ ‘Foxy Lady,’ and ‘Purple Haze.’

    Saturday 28 January 1967
    MELODY MAKER (Cover) [banner caps text across bottom of cover:] ‘POP THINK IN’ JIMI HENDRIX’
    (page ?): ‘POP THINK IN’ JIMI HENDRIX, interview [21 January,Montagu Square, London] with ‘rough’ photo, ‘AFTER CHINA TAKES OVER THE WHOLE WORLD, THEN THE WHOLE WORLD WILL KNOW WHY AMERICA’S TRYING SO HARD IN VIETNAM.’ by [unknown]
    FREAK-OUT: “Well, whatever the word means to you add a few musical notes to that. Each to his own. I think for a new freak-out, people should get really high and dig a Mrs. Miller single on 33rpm. Then can talk about that for about two weeks until they’re bored - then you look for something else. Musically, freak-out is something like playing the wrong notes. It’s playing the opposite to what you think the notes should be. If you hit it right with the amount of feedback it can come up very nice. It’s like playing wrong notes seriously, dig? It’s a lotta fun.”
    TEETH: “Dracula! Not saying that I am though. I’ve never broken any but I was thinking one time, for a freak-out of course, of putting bits of paper in my mouth before the show and then spitting it out like all my teeth were dropping out.”
    BOB DYLAN: “Oh, yeah! I think he’s too much. Really out of sight. We do ‘Like A Rolling Stone’ on stage. Dylan’s got a lot of feel. They talk about him like a dog - they gotta do that - but it’s because they don’t really understand his words, man. If people really want to dig him, they should go out and buy a book - find out what he’s saying. A publisher’s book with the words in it. I have one or two singles of Dylan that were withdrawn from the shops just a few days after release. They’re too much. Man, there’s one about this 15-year-old chick. Too much!”
    MEXICO: “I can’t say too much about it, really I guess I think about open-air jails, ‘cos man, they have them there.”
    THE MONKEES: “Oh god, I hate them! Dishwater. I really hate somebody like that to make it so big. You can’t knock anybody for making it, but people like The Monkees!”
    AMBITION: “I want to be Marilyn Monroe’s understudy. And I mean understudy. In about 30 years’ time, maybe.”
    ENGLISH FOOD: “Oh God. Man, see English food… it’s difficult to explain. Mashed potatoes - that’s all I can remember, mashed potatoes. And I ain’t gonna say anything good about that!”
    IN-CLUBS: “Ouch! That word. Must it always be that word? Anything that is ‘in’ has got to be terrible, man. The only ones I’ve seen are the ones I’ve played in. They’re usually pretty
    crummy premises - but I guess you should go down there for pleasure and see them like that.”
    TOURING: “I don’t like to stay in one place. The girls, you know. As long as I’m
    comfortable when I’m travelling, I guess I could do it all the time.”
    CALIFORNIA: “I think that’s the best place in the world. It’s getting a bit hung up on Sunset Strip at the moment, but the weather’s nice. And there’s lots of funny little people. I like the cars - man, beautiful cars. Not too many Volkswagens, which is good. Oh yeah, I nearly forgot. The girls - they even come down to the gigs. I can’t think of much else to say. That’s where I’d like to die, man. I don’t think the English police uniform would go down too big over there.”
    THE CREAM “I played with them about a week after I got here. I think the one I like best is Eric Clapton. I don’t know too much about the other guys. I think possibly Eric and I think along the same lines, but it’s hard to get it across to the other musicians and to the other 50 million people who might be listening. I’m not sure if Eric is playing exactly what he wants to - but I know that if I played my own scene all night, I’d probably bore everybody to death.”
    CHICKS: “I think, naturally, of chicks on the farm! Real chicks, hens and roosters, and eggs — though I don’t like them too much. I think I know what you’re getting at though! Farmland, horses, you know, little furry three-toed birds! Member of the bird family you know, old chap!”
    LOVE: “Right, I won’t make a silly answer. Something I guess a mother rat has for her babies. Oh! Don’t rats eat their babies? Well, I guess that’s all love too, man.”
    VIETNAM: “After China takes over the whole world, then the whole world will know why America’s trying so hard in Vietnam.”
    ENGLISH POP SCENE: “After a while it looks as though it’s starting, but it never quite gets right off the ground. I think if it wasn’t for the backbone groups, like Spencer Davis, the scene would really drop down. I think they’re doing a very good job. They are about as soulful as I think any English group should get you see, The Beatles man, they were where it was all at. When they dropped out altogether things changed, because they were the group who really kept the scene going. They were holding it up. As soon as The Beatles begin to relax their grip, the bottom starts falling out again. The only ones holding it up at the moment, coming through in any way, are the solid performers like Tom Jones, Dusty Springfield, Spencer Davis and all that. The Troggs and that scene just aren’t solid. Reg Presley writes songs and all that - they have a lot of hits - but a group like them will never really get any respect. The Who, they’re solid - but I’d have to listen to more of your singles to go any further than that.”
    (Page ?) [ad for Jimi at the Ram Jam club]

    Saturday 28 January 1967
    DISC & MUSIC ECHO, (page ?) ‘Jimi’s Favourite Things’ - interview by Mike Ledgerwood
    Home: ‘I now share a flat with Chas Chandler. It used to belong to Ringo. In fact they only took the drums away the other day. There’s stereo all over the place, and a very kinky bathroom and lots of mirrors.’
    Favourite Food: ‘Spaghetti, strawberry shortcake with whipped cream, and banana cream pie. I like typical soul food too - greens and rice.’
    Favourite Drink: ‘I still like milk, once in a while. Scotch and coke, rum and coke, and American root beer.’
    Pets: ‘I love animals. Deer and horses are the prettiest. I used to have dogs and cats as a kid - I used to bring a stray dog home every night till my pa let me keep one. Then it was the ugliest of them all it was really Prince Hendrix but we just called it dawg!’
    Cars: ‘With all these backward streets I don’t think I could drive here. I had one back home but a girl-friend wrecked it, she ran it straight through a hamburger joint. After that I started to devote more time to my music than to girls.’
    Ambition: ‘To be known as having a particular sound. I’d like to be recognised for my music the same way as someone like Chuck Berry.’
    Records: ‘Some Motown records are good, but I really dig the blues - though only when I’m alone and can really listen. I like Elmore James, Robert Johnson - he’s so cool - and the very early Muddy Waters. That sort of music gets the message over, and comes through so easily.’
    Fears: ‘Sitting right here, you can’t last forever, I hope I won’t lose my gigs. I’d like to go from one gig straight onto another. If I write something about three or four in the morning, I can’t wait to hear it played. It’s even a drag to have to wait for the other cats to arrive. It’s like being almost addicted to music. Music makes me high on stage, and that’s the truth.’
    Marriage: ‘I almost did that the time of that car incident. With music there’s no time for anything else, I’m already married to my music. You’d have to work a whole lot of voodoo on me to get me married. A girl tried once, crazy kat. She put a lock of her hair in the heel of my shoe. I had to go a doctor afterwards You wouldn’t think these sort of things happen, but I can tell you it’s real scary when it does.’
    Hobbies: ‘I used to like to paint at school. The teacher used to say paint three scenes, and I’d do abstract stuff like Martian Sunset, no bull!!’
    Politics: ‘All I know is what I read in the papers. I don’t care so long as they don’t drop the bomb before I get a chance to make money!’
    Smokes: ‘If I didn’t smoke I’d be fat as a pig. My nerves are very bad. I like tipped cigarettes mostly, alternating with menthol ones a pack over a day and a half.’
    Religion: ‘There are so many different beliefs that something must be phoney. I used to go to Sunday School, but the only thing I believe in now is music.’
    Dress: ‘Most of the time I get hung up on one particular thing, and can’t stay out of it. I don’t want to ever look at a tie again. I had enough of shiny suits and patent leather when I was with an R & B band. Clothes like that restrict your personality, you’re just one of the other cats.’
    Likes: ‘Thunderstorms I like to watch the lightning, especially on the fields; and flowers when I’m on my own. Science-fiction: it’s about the only thing I read. I read anything I can on Bob Dylan though.’
    Dislikes: ‘Flashy people and flashy conversation.’
    Favourite Colours: ‘Black, and blue.’
    Other article?: [reported that Jimi Hendrix was going to record a follow up single to ‘Hey Joe’ and tracks for an LP next week.]

    Saturday 28 January 1967
    [UNKNOWN paper] (page ?)– Advert for JHE gig at ‘The Upper Cut’, London: “THE JIMI HENDRIX EXPERIENCE The American Top Soul Singer and guitarist extraordinary. Gentlemen 8/6d. Ladies. 7/6d.”
    [This club was owned by ex-boxer Billy Walker hence the name.]
    Last edited by stplsd; 01-30-11 at 01:04 AM.

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    Re: Newspaper & Magazine Articles (Text Only) - 1960's-1970's

    [Day?] February 1967
    [Unknown paper] (page?) [title?] by [unknown]:Hendrix: “The Americans are fighting Vietnam for the complete free world. As soon as they move out, they’ll be at the mercy of the communists. For that matter, the yellow danger (China) should not be under estimated. Of course, war is horrible, but at present, it’s still the only guarantee to maintain peace.” [rest of text]

    [Day?] February 1967
    NORTHERN DISPATCH (page?): Advert:ENTERTAINMENT – “The Greatest experience of your life, you have to see it to believe it. Thursday Nite at the lmperial Hotel, Darlington, the biggest rave on the London scene – The fantastic JIMMIE HENDRIX EXPERIENCE Don’t miss this man who is Dylan, Clapton and James Brown all in one. No 7 in the charts with “Hey Joe”. Plus your own WEST COAST PROMOTION Commencing 8 p.m Adm. 10/.”

    Wednesday 1 February 1967
    THE SHIELDS GAZETTE (South Shields) (Page ?) [Advert]CELLAR CLUB The £50,000 Disco Club Tonight’s Group— Jimmie Hendrix Experience; Tomorrow Night – THE TRANSIT

    Thursday 2 February 1967
    THE SHIELDS GAZETTE (South Shields) (Page ?) The Top Twenty by arrangement with Melody Maker.
    01 (1) I’m A Believer, Monkees, RCA
    02 (2) Mathew and Son, Cat Stevens, Deram
    03 (3) Night of Fear, The Move, Deram
    04 (8) Hey Joe, Jimi Hendrix, Polydor
    05 (4) Let’s Spend the Night Together, Rolling Stones, Decca
    09 (9) Sitting in the Park, Georgie Fame, Columbia
    10 (6) Happy Jack, The Who, Reaction
    11 (15) I Feel Free, Cream, Reaction
    13 (30) I’m A Man, Spencer Davis, Fontana

    Friday 3 February 1967
    NORTHERN ECHO,(page?), Interview [2 February, Imperial] by Charles Westberg: ‘ A Guitar—something to get your teeth into.’ by Charles Westberg (review): “The R. and B. Club’s policy of picking groups before they mature fully proved a success last night when Jimi Hendricks and The Experience, whose record. Hey Joe, is number four in the top ten, played to a packed hall of 200 at the Hotel, Darlington. Jimi’s views on the American group The Love supposed to be their contemporaries, were far from complimentary.
    A gimmick
    “Don’t talk to me about The Love. I’m just waiting to meet them and tell them what I think of them,” he said. His views on English groups are limited. “I just dig Spencer Davis and The Cream.” When asked about a gimmick, he said that he didn’t really have one... although he plays his guitar with his teeth. “A gimmick is no good unless you have talent,” said Jimi. Jimi’s comments about the North-East were favourable. “The crowds really listen and are not afraid to tell you what they think of your music,” he said. Highly coloured and fashionable clothes brought comments too. “Carnaby Street doesn’t interest me. I have never found anything there that I like. Anything that I fancy I try to get,” he explained. Jimi—“I don’t like to stay anywhere a long time”—hopes to return to the North East soon. But nothing has been planned

    Friday 3? February 1967
    EVENING DESPATCH (Darlington) (Page ?) [title?][2 February, Imperialreview] by Allene James: "About 200 young people stopped dancing and crowded around the platform to see the man himself at work. One couldn't deny that this artiste is a colourful one, both in his dress and comments, and in an interview after his performance he told me: 'The group and I have only been together since September and, yeah man, we're pretty happy about our present position in the charts."

    Friday 3 February 1967
    HULL TIMES (page?), interview [1 February, Anim, London] [title?] by Alan Jones -
    Alan: “What makes The Experience so popular?”
    Jimi: “Oh goodness, I don’t know. I can’t believe it’s happening…
    Alan: [question?]
    Jimi: “Most people believe that to be a good blues musician one has to suffer. I don’t believe this. I just like the sound of the blues. When I hear certain notes I feel real happy…
    Alan: [question?]
    Jimi: “I can’t stay in one place too long. I have to move on. I don’t know why. I’m scared, scared of - what’s the word? – vegetating. There’s so much to see and places to go. I wish I could travel all the time. I don’t know how long I will be here…
    Alan: [question?]
    Jimi: “Oh, I feel embarrassed when I hear a compere giving me a big build-up before I go on stage or I see my name in lights outside a theatre. I can’t believe it is happening to me.”

    [Day?] February 1967
    [UNKNOWN paper, (page ?)]: ‘Gloomy Saville’ by Norman Jopling: “I have seldom seen a less enthusiastic audience than the one at the Saville Theatre last Sunday [29 January]which turned up to see a bill headed by the Who and the Jimi Hendrix Experience. The bill of fare was a sad faux pas and open up with a five-piece beat group called the Thoughts, who were followed by the Koobas and the least said about these two groups, the better for all concerned. The audience seemed to be thinking the same way – there was an almost negative response. Compere Mike Quinn was hilarious, especially in acting as though he had to cope with mobs of screaming exciting girls – he did a sort of Tony Hall gone very wrong and proved embarrassing – but he was resplendant in those carpet slippers and dressing gown which he wore. Jimi Hendrix received the best reaction – especially the gimmick of having loads of technicians rushing on and off stage trying to fix the mikes which wouldn't work. Let's have some more of that. Jimi's guitar work was quite incredible but predictable and noisy too. His singing was not too bad, but he looked so terrifying that I was scared he would jump down into the stalls and carry away some of the audience. He was supported vocally by his bass guitarist who looked like an ersatz Bob Dylan, or was it a Caucasian Jimi Hendrix? The Who came on [...] but even the frantic, despairing enthusiasm of Mike Quinn couldn't keep the audience from clapping any longer than a few seconds after they departed. The moral of this story is that if the audience's average age is above sixteen, try to use a little imagination to entertain.

    [Day?]February 1967
    [2 UNKNOWN papers, (pages?)] - had different photo adverts for “THE JIMI HENDRIX EXPERIENCE + ALL NIGHT WORKERS”at The Ram Jam Club, London

    Saturday 4 February 1967
    BILLBOARD (Page 77) ‘Hits Of The World’ ‘Britain’ (from the UK’s ‘Record Retailer’ magazine)
    05 ( 3) Happy Jack—Who (Reaction)—Fabulous
    07 (26) Let’s Spend The Night Together—Rolling Stones (Decca)—Mirage
    09 (16) Hey Joe—Jimi Hendrix (Polydor)—Yameta.
    11 (13) I Feel Free—Cream (Reaction)—Dratleas [sic Dratleaf]

    Saturday 4 February 1967
    NEW MUSICAL EXPRESS (page?): [Saville, 29 January review] [title?] 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. but 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!”

    Saturday 4 February 1967
    DISC & MUSIC ECHO (page?): ‘JIMI 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 [29 January]. 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.”

    Saturday 4 February 1967
    MELODY MAKER, Cover photo & article (page?), ‘It’s Jumping Jimi!’ by [unknown]: “’Hendrix leads Stones in Pop 50 race’. Jimi Hendrix - the newest name in pop excitement! This week the phenomenal American guitarist and singer , discovered by ex-Animal Chas Chandler, has pushed aside The Rolling Stones and taken over the number four slot in the MM pop 50, with his first record ‘Hey Joe’.
    In the few weeks Hendrix has been resident in Britain, he has broken box office records up and down the country, with his powerful group, the Experience.
    Records were broken when they played at the Marquee Club recently, and on Sunday they were a sensation at Brian Epstein’s Saville Theatre.
    Said Chas Chandler on Monday: “Everything has happened as I hoped and believed it would. It’s certainly a nice feeling.
    “We are deciding now whether to release a new single or an album first.”
    Jimi Hendrix and the Experience go to Belgium and Holland in March and to….
    JIMI HENDRIX v THE WHO! (front page) ‘Caught In The Act ‘ ‘Jimi Hendrix – Who battle at Saville’ by Chris Welch: “Jimi Hendrix v the Who!
    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 sights and sounds. After the Koobas and Thoughts 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. He stormed through “Like A Rolling Stone”, “Can You See Me”, “Hey Joe”, and the the incredible ‘Wild Thing’, ending in a freak-out of guitar biting, feed-back and uproar. “Follow that”, was the feeling.”
    Then came the Who – as wild and unpredictable as ever. They played their best for months. Gone were smoke bombs and amplifier smashing. In there place were good singing and playing. There was still violence –
    John Entwhistle took delight in kicking to pieces a miniature walking doll with flashing lights. During these incidents, Keith in flowered shirt and red trousers sang “Barbara Ann” John groaned “Boris the Spider” and Roger and Pete gave the seal to a great show with the Who mini-opera “A Quick One While He’s Away” –
    (Page?) Melody Maker’s Pop 50: Hey Joe at No. 4

    [Day?] February 1967
    [UNKNOWN paper, (page?)]Advert for 6 February, The Star Hotel, Croydon : “JIMI HENDRIX”

    Monday 6 February 1967
    WEST ONE (The Polytechnic, London student paper), ‘Jimi Hendrix Talks To Stephen Barker’ interview by Steve Barker:
    [“During the interview Jimi played me a tape of ‘Purple Haze’ without the vocals and invited me along to the next day’s studio session when the vocals would be recorded, but this trip was cancelled by Chas Chandler.”]
    Late last year the Cream appeared at the Poly, bringing a lost looking young negro guitarist to appear for the first time in Britain. The guitarist with the medusan hair was Jimi Hendrix, who during the first few months of 1967 established his group, the Experience, in the avant-garde of the pop world.
    I spoke to Jimi at his flat where he apologised for keeping me from lectures by playing his collection of blues records and tracks from his new single and L.P. to be released in late March.
    Modesty and thoughtfulness are not qualities normally possessed by a pop star, but then Jimi Hendrix was different: -
    SB :How does the British scene compare with America?
    Jimi: I thought it would be a whole lot of cats who could play it but not really feel it. But I was surprised, especially when I heard Eric Clapton. Man, it was ridiculous, I thought God!
    [On The Beatles and The Monkees:]
    SB : What about The Beatles and the things they’re doing now?
    Jimi: Oh yes I think it’s good, they’re one group you really can’t put down because they’re just too much and it’s so embarrassing man, when America is sending over ‘The Monkees’ . Oh God! That kills me. I’m so embarrassed that America could be so stupid as to make somebody like that. They could have at least done it with a group that had something to offer – they got groups in ‘The States’ starving to death trying to get breaks and then these fairies come up.
    On Bob Dylan
    Jimi: “I saw him one time but both of us were stoned out of our minds. I remember it vaguely. It was at this place called ‘The Kettle of Fish’ in the Village. We were both stoned there and we just hung around laughing - yeah, we just laughed. People have always got to put him down, I really dig him though. I like that ‘Highway 61 Revisited’ album and especially ‘Just Like Tom Thumbs Blues’. He doesn’t inspire me actually because I could never write the kind of words he does, but he’s helped me out in trying to write ‘cause I got a thousand songs that will never be finished. I just lie around and write two or three words but now I have a little more confidence in trying to finish one. When I was down in ‘The Village’ Dylan was starving down there, I hear he used to have a pad with him all the time to put down what he sees around him. But he doesn’t have to be stoned when he writes although he probably is a cat like that… I’d like to play some sessions behind Dylan, his group ought to be a little more creative.
    On Donovan:
    Jimi: He’s nice, kinda sweet! He’s a nice cat in his own groove, all about flowers and people wearing golden underwear1. I like Donovan as a person, but nobody is going to listen to this ‘love’ bit.”
    On LSD
    Jimi: These days everybody thinks that everybody else has to have trips, and everybody thinks people are singing about trips.
    On ‘I Don’t Live Today’
    Jimi: I wrote this song called ‘I Don’t Live Today’, we got the music together in the studio – it’s a freak-out tune. I might as well say that ‘cause everyone else is going to anyway. ‘Freak-out’ was old Californian lingo for humping in the back seat of a car - I’m being frank that’s all, so I guess I’ll get deported soon.
    On ‘The Move’s stage act:
    Jimi: “There’s this cat smashing a car when he might be singing a song about ‘I love you baby’ – now what does that have to do with it? Now if he was saying the car is evil and the music is in the background and he’s out there reading poetry with his little green and gold robe on, that might have some meaning. Singing ‘Love is strange’ while smashing an MG* up is just stupid.”
    On the pop scene:
    Jimi: “We are the eccentric English – now we’ve got some money, let’s be mad.”
    On ‘psychedelic’ music:
    Jimi: “One thing I hate, man, when these cat’s say, ‘Look at the band, they’re playing psychedelic music’ and all they’re really doing is flashing lights on them and playing Johnny B. Goode with the wrong chords. It’s terrible.”
    On free form jazz:
    Jimi: “I like Charlie Mingus and this other cat who plays all the horns, Roland Kirk. I like very different jazz, not all this regular stuff. Most of it is blowing blues and that’s why I like free-form jazz. The groovy stuff instead of the old-time hits - like they get up there and play ‘How High is the Moon’ for hours and hours it gets to be a drag.
    I really would like to meet Roland Kirk and I’d like him to play with us. If people read this they’ll say, ‘That guy must be joking,’ but I really think we’re doing the same things. We have different moods and I think some of the moods are on the same level that Roland Kirk is doing. ‘
    1 Reference to smugging dope – listen Monterey intro to Wild Thing
    *MG – an English manufacturer of sports cars

    Thursday 9 February 1967
    THE SHIELDS GAZETTE (South Shields) (Page ?) ‘Your David Jenkins . . . put’s the Young Ones on record’ [B&W photo of Jimi on stage at the New Cellar Club 1st Feb., caption: ‘Jimi Hendrix’] “Jimi will soon be leading the fleet” [1st Feb. review] by David Jenkins:
    JIMI Hendrix IS an experience. Like a drop of gin in a bucket of retired tonic, heady serum for post-teen starvation (which, finger shakily on my own pulse, I diagnose these days).
    The actual teen scene of the Cellar Club though, like Madame Tussaud's. The 23-year-old next to me gasped: "Go," and people turned to stare.
    Playing his guitar with his teeth, his Indian head-­dress tubes of hair flailing, he fixes a glorious enrap­tured grin on his face. Little spouts of sweat gloop from temples.
    More important, the fiery body of sound, the completely original effect he squeezes out of his guitar -"Follow that," said Les Gofton, lead singer of The Bond, who were to take over later—make Hendrix the most exciting animal in the cage at the moment.
    But the Cellar is in­habited by so many blocks. A Wild Thing like you never heard it raises a small cheer, small beer. What on earth do they want?
    Well, wait a couple of years, when you have heard another 10,000 bum discs, as I have, and you too will fall about a Hendrix. (He came up specially to South Shields for this one-night appearance). Some day soon, he will be the admiral-in-chief. Pipe him aboard somebody, for heaven's sake.
    ‘News on the Pop scene this week’ [Top ten chart info?]
    [This issue?] (Page?) ‘THE BOND . . . THEY ARE DEVELOPING RAPIDLY’ [4 B&W photo portraits of the group’s members]
    SITTING in a small room with The Bond blasting out all the stops is rather like squatting on the ocean floor in a bathyscape full of hot porridge. You certainly cannot think, and can hardly even move for the noise as The Bond, the newest group on the South Shields rounds, bump and thump through a number like Dead Squirrel.
    They reckoned they were having an off-night when I barged in on one of their reheasals recently. It was being held in an upstairs room, 30ft. by 10ft., in the MethodistChurch in Frederick Street, South Shields.
    With my ear only a matter of inches from the woofer, it is not surprising that the only sane thought that had time and space to enter my brain-pan was a question: Is there room for another group in South Shields?
    While they possess some valuable equipment — like the soulish voice of Les Gofton, and the really excellent drumming of Rob Thompson—I could not yet see evidence of that edge of subtlety that earns vital out-of-town engagements.
    Tend to rely on the solid ‘Cellar’-type rockers, the sort of stuff, give or take a growl, I have heard all over the country. But then, they have been together for only ten weeks and may well find they are developing individually at a rapid pace.
    The Bond-they take their name from an advertising slogan of a patent adhesive—are an amalgam of two now-defunct groups. The Sneakers. and The Way In. The pleasantly scruffy line-up is completed with Jim Fraser. On bass guitar, and Dave Bainbridge (who, I think) would prefer more natty garb) on guitar.
    They are aged between 17 and 20, and have already had quite a few bookings. It is also true that they have a following of both dollies and students of beat, who are currently going
    Glassy-eyed over their 22-minute renditions of Witch Doctor.
    Their manager is 22-year-old Dave Walker, who confesses: "I retired in March.” He is u-at present resting between jobs, it seems, but is making a grand job of managing The Bond.
    His introductory leaflet for the group reads: “Modern science gave us the thermionic valve and we packed lots of them together into bigboxes called amplifiers where they glowed red hot to keep us warm on cold evenings. . .”
    Now here I see a ray of promise for the group. It is a sad fact that these days in the world of pop (well, hasn’t it always been so?) it is completely the way that you say things that matters. It may be with sesuous hands or with writhing hips, or it may be the cooler intellectual approach of a Mr. Walker.

    [Day?] February 1967
    [UNKNOWN paper (page?)]: ‘So This Is... Freak Out!’ by Terry Greenwood [review of 8 February Bromel Club, Bromley gig]: “FREAK OUT! The magic words in pop music today. But what do they mean? First, a bit of background... Since the heyday of the Beatles, the pundits have predicted quick deaths for all phases of pop music. But it is still with us, and is definitely here to stay. But the fans are no longer content to follow their favourite group from club to club just to dance and listen to the music. The fans demand more. They must have something to look at, something to make them laugh and something to scare them stiff. And that is where the freak-out comes in. It is simply idiotic, adolescent, destructive, stupid and meaningless visual entertainment. It is the biggest con going. But, however much pop papers knock it, freak-out is well and truly in. For instance, at a place called the Roundhouse in Chalk Farm, recently, some wellknown groups who will remain nameless, but were The Who, The Pink Floyd and The Move, wielded lumps of iron and axes, and proceeded to smash up a car. Throughout what they called a Giant Freak-Out All-Night Rave, television sets were obliterated, guitars rendered useless, and amplifiers ground into the stage, creating a diabolical din. Naturally, the place was packed. A couple of girls, so I am told, enjoyed themselves so much that they decided to strip to the waist. And, oh this was great fun! Bits of glass flying about all over the place and deafening electrical whistle piercing your ear-drums. I can't think of a better way to spend and evening. What's the matter with you people? Don't you realise you are being taken for a ride? You are paying good money to support this load of rubbish. If anything, you are the freaks. I think I'll ask the local breaker if I can sell tickets for admittance to his yard for the next time he demolishes a car. Should make a bomb. But the sad thing about it is this freak-out fever has spread to South East London. And, like the other suckers, local fans are supporting it. [...] But what made my blood boil was when the King Freak himself, the one and only Jimi Hendrix, appeared at the Bromel Club, Downham, recently. The place was packed. It must have been one of the biggest crowds the Bromel Club has had. Jimi, whom I rate highly as a guitarist, started his half-hour spot off well with some good numbers, including Bob Dylan's "Like A Rolling Stone". But it was far too loud.
    Lean, tousle-haired Jimi must have had his amplifiers turned right up to exploding point as he plucked one guitar with his teeth and jumped up and down on a second, creating a deafening electrical whine. Some call this "free expression". But pop music is no longer music—it is merely sounds, and definitely the sound of '67. Jimi Hendrix has said: "Musically, freak-out is almost like playing wrong notes. It's playing wrong opposite notes to what you think the notes should be. If you hit it right with the right amount of feedback [electrical whine] it can come up very nice." And he should know. For, with these "sounds", Jimi climbed high in the charts with "Hey Joe", a record, I must admit, I think is great.

    Friday 10 February 1967
    BRISTOL EVENING POST (page?) ‘An Experience In Sound’ – review by Nicholas Williams: “Jimi Hendrix Experience went to the New Bristol Entertainments Centre [Locarno Ballroom] last night and left it reeling with the sound of his way-out guitar.
    Backed by a two-man group he bombarded his audience with an unbelievable wall of sound, which he somehow coaxed from his electric guitar. He played it in the usual way. He played it under his arm, over his shoulder and between his legs. He scraped it on the stage floor and over the amplifiers – he even plucked the strings with his teeth.Something had to snap - and it did. He broke a string at the end of the show. But that’s nothing unusual. “I buy several sets a week” said Hendrix.
    He drove his way through Dylan’s ‘Like A Rolling Stone’, ‘Wild Thing’ and ‘Hey Joe’”

    [Day?] February 1967
    [UNKNOWN paper (page?)]: Advert for The Plaza’, Newbury: “Jimi Hendrix”

    Saturday 11 February 1967
    BILLBOARD (Page 34) review‘Who & Hendrix An Upbeat Team In Saville Date’ by Mike Stafford: London— Brian Epstein’s attempt to establish his Saville Theater into a pop showcase is having it’s ups and downs. But his teaming of the Who and the Jimi Hendrix act last Sunday (29) was definitely upbeat.
    The loudest screams of the evening went to the Hendrix group. Unknown to British fans weeks ago. Hendrix has built up a huge following in the London clubs, since being brought over from New York by ex-Animal Caas [sic] Chandler. The audience shouted for more after his “Wild Thing” when he discarded a microphone and, leaning against the amplifier, played guitar with his foot.
    The Who deserved their place at the top of the bill, however. One of Britains most creative groups, it has had many international hits, among them “My Generation” and “I’m A Boy” in it’s 35—minute act, the group included these and packed in 14 others. It’s current high—flier, “Happy Jack,” came over particularly well.
    (Page 58) ‘Hits Of The World’ ‘Britain’ (from the UK’s ‘Record Retailer’ magazine)
    4 ( 7) Let’s Spend The Night Together—Rolling Stones (Decca)—Mirage
    6 ( 9) Hey Joe—Jimi Hendrix (Polydor)—Yameta
    9 ( 5) Happy Jack—Who (Reaction)—Fabulous
    12 (11) I Feel Free—Cream (Reaction)—Dratleas [sic Dratleaf]

    Saturday 11 February 1967
    THE PLAZA BULLETIN (11 February) - review by unknown: “Last night at ‘The Plaza’, Newbury, ‘The Jimi Hendrix Experience’ roared and romped their way through an hour and a quarter’s worth of music that shattered the senses both aurally and visually. Resplendent in red corduroy trousers and antique waistcoat, Jim proceeded to show just how many positions it was possible to play the guitar in, at the same time showing his very own professional skill which must rate him as one of the most outstanding newcomers on the scene since Jeff Beck or Eric Clapton.
    Outstanding for ‘The Experience’ on drums was Mitch Mitchell, youthful understudy of ex-Pretty Things drummer Viv Prince.
    Throughout the evening, Jimi showed flashes of on-stage humour for which he must be given full credit. ‘Hey Joe’ current chart rider, was introduced as being written by Mickey Mouse; after a sudden frenzy of excitement in which he attacked his amplifier with his guitar (not a new idea, but somehow done refreshingly) he announced ‘Anyone wanna buy an’ ole guitar?’ This one don’t tune so well.’
    The finish came suddenly, in an excess of violence. Mitch Mitchell attacked a cymbal stand and it broke into pieces, then distributed his drum kit round the stage and finally squirted the other two with a handy water pistol. The bass guitarist locked his guitar in it’s case and then kicked it about over the stage. Jimi attacked his huge amplifier with his guitar, breaking all the strings and nearly toppling the amplifier onto his hand. He then squatted on the guitar with both feet and rocked to and fro. Then the evening came to it’s conclusion in a storm of feedback, flying microphones and water pistols

    [Day?]February 1967
    [UNKNOWN paper (page?)].Advert for 11 February, Blue Moon, Cheltenham gig: – “Hey Joe:--Top Ten Hit JIMMIE HENDRIX EXPERIENCE”

    Saturday 11 February 1967
    RECORD MIRROR, (cover) article [title?] by[unknown] – [text?]

    Saturday 11 February 1967
    NEW MUSICAL EXPRESS (Page 7) NMETop Thirty
    01. I’m a Believer, The Monkees (Page One) [#1 last week]
    02. Let’s Spend the Night Together, Rolling Stones (Decca) [#4 last week]
    03. This Is My Song, Petula Clark (Pye) [new this week]
    04. Matthew & Son, Cat Stevens (Deram) [#2 last week]
    05. I’ve Been a Bad Bad Boy, Paul Jones (HMV) [#5 last week]
    06. Night of Fear, Move (Deram) [#3 last week]
    07. Hey, Joe, Jimi Hendrix (Polydor) [#8 last week]
    08. Green Green Grass of Home,” Tom Jones (Decca) [#6 last week]
    09. Release Me, Engelbert Humperdinck (Decca) [#15 last week]
    10. I’m a Man, Spencer Davis Group (Fontana) [#10 last week]
    (Page 8) ‘Humperdinck in Walker’s Tour – All the Dates’ [Humperdinck joins package tour w/ Walker Bros.-Cat Stevens-Jimi Hendrix] [rest of text]

    Sunday 12 February 1967
    POLITIKEN (page 12) ‘Hey, Jimi Hendrix’ by Hellmann [text?]

    [Day?] February 1967
    [UNKNOWN paper (page?)]. Advert for 14 February, Grays Civic Hall gig: “YOU DARE NOT MISS THE DISCOVERIES OF ’67 THE JIMI HENDRIX EXPERIENCE”

    Saturday 18 February 1967
    BILLBOARD (Page 60)‘Hits Of The World’ ‘Britain’ (from the UK’s ‘Record Retailer’ magazine)
    3 ( 4) Let’s Spend The Night Together—Rolling Stones (Decca)—Mirage
    6 ( 6) Hey Joe—Jimi Hendrix (Polydor)—Yameta.
    16 (12) I Feel Fine [sic Free]—Cream (Reaction)—Dratleas [sic Dratleaf]
    21 ( 9) Happy Jack—Who (Reaction)—Fabulous
    (Page 81) ‘Polydor In Major Expansion To Keep Pace With Soaring Sales’ …Ironically, the company which has done much to popularise American r&b in Britain is high in the charts with “Hey Joe,” a Polydor label single by American artist Jimi Hendrix who was discovered by Animal’s manager Mike Jefferey and brought to Britain. This international approach by this German-owned company has also enabled Polydor to take the plunge into compatible stereo-mono disk product ahead of Philips… Polydor is also bringing out two new pop labels, Camp for the Campbell Connoly publishing house, and Kit Lambert’s Track label will handle Lambert’s act, the Who, and new U.K. artists. These new labels show the great domestic strength of Polydor, which complements the company’s strong international repertoire. Polydor’s managing director Roland Rennie has an open door policy o allowing publishers, agents and independent producers who have a hit catalog potential to launch their own labels under Polydor’s sponsorship. This move has already resulted in his company aquiring two of Britains hotest record acts, the Who, and Cream through Robert Stigwood’s label, Reaction.

    Saturday 18 February 1967
    DISC & MUSIC ECHO, (page ?) [unknown title] by[unknown]:[‘The follow-up to ‘Hey Joe’ will be ‘Purple Haze.’] [actual text? Is there any more?]

    Saturday 18 February 1967
    MELODY MAKER, (page ?)[unknown title] by [unknown] -[The follow-up to ‘Hey Joe’ will be ‘Purple Haze. Jimi has also written the B-side ‘52nd [sic] Anniversary].
    [actual text? Is there any more?]

    Saturday 18 February 1967
    NEW MUSICAL EXPRESS (page?), [unknown title] by [unknown]: ‘Jimi Hendrix’ second single, the self-penned ‘Purple Haze,’ will be the first release on the new Track label. It is set for March 24, to coincide with the issue of Jimi’s first LP, Are You Experienced. The Hendrix Experience plays a string of Wand club dates.”

    Tuesday 21 February 1967
    BATH AND WILTS EVENING CHRONICLE (page?), photo’s and report [title?] by Josephine Bayne: “Fans were stunned into silence. As Jimi Hendrix bellowed ‘Lord Have Mercy’ from his alter on the Pavilion stage at Bath [20 February] last night, and his worshippers gazed in silent adoration from below. I echoed his sentiments as my ribs reverberated with the intolerable volume of electronic sound.
    His appearance was almost as awesome as the noise. His long, tousled hair fell about his face and over the collar of his gold spangled jacket, which must have come from a certain boutique in Soho, whose military merchandise recently landed a young man in court.
    The power of his delivery stunned the fans into silence and they were able to produce only conventional applause, punctuated by a few exhausted squeaks in place of screams.
    Jimi – whose full title is Jimi Hendrix Experience, and he is an experience – exploded on to the pop scene with ‘Hey Joe,’ which is quite a pleasant easy going number, at present rated No. 7 in the charts.
    Why he needs to create horrific wailing effects on his guitar, and turn the amplifiers to full strength, I cannot imagine. His voice, when it can be heard, should be adequate to transmit his message. The personality that accompanies it is even more forceful.
    He has a new single due for release next month, which is apparently freakish. Perhaps someone should tell him that the ‘freakier than thou’ competition is over and music is on the way back.”

    [Day?] February 1967
    [UNKNOWN paper (page?)]- Advertfor22 February gig at The Roundhouse: “the JIMI HENDRIXEXPERIENCE with THE FLIES and SANDY &HILARY

    Thursday 23 February 1967
    HITWEEK (No. 23) (page?): [The first JHE LP will be titled ‘Are You Experienced?’.] [actual text? is there more?]

    [Day?] February 1967
    [UNKNOWN paper (page?)]– Advert for 25 February, gig:”Bob Anthony Presenation, Corn Exchange, Chelmsford, 8 to 11.30 p.m. Saturday Scene, ‘”HEY JOE” The JIMI HENDRIX EXPERIENCE Plus! THE SOUL TRINITY” 8/6 in advance 10/- on the night

    Saturday 25 February 1967
    KINK [magazine] interview [16 February, 34Montagu Square, London] by Cees Mentink and Photographed by Albert Bokslag -
    CM: “When the ‘Kink’ team arrived Chas Chandler was mixing a track in the studio while Jimi was at the hairdresser. After two hours Jimi arrived in a bad mood.”
    Jimi: “The more expensive the hairdresser the worse the results.” Jimi then disappeared for a while with a lady friend and returned in a happier mood
    CM: “Satisfied with his handiwork”
    Jimi: “It’s a groovy town [London], they understand me. I tried to for years [to get some success] in New York and here it took me only weeks. […] before Chas was satisfied with ‘Hey Joe’ we spent many hours sweating in the studio […] if it was up to him he would sleep in the studio. The combination of producer / manager is marvellous […][rest of article?]

    Saturday 25 February 1966
    MELODY MAKER, (page 13) review [title?] [by telephone?] of Purple Haze by Paul McCartney: “So, Jimi freaks out and sounds all the better for it. It’s breaking out all over the place, you know. I thought it would be one of those things that people might keep down but it’s breaking through all over. You can’t stop it. Hooray! Fingers Hendrix. An absolute ace on the guitar. This is yet another incredible record from the great Twinkle Teeth Hendrix!”

    Saturday 25 February 1967
    RECORD MIRROR, (page 4) ‘Jimi Doesn’t Think He’s a Big Name Yet’ interview [15 February] by - (RM)] –
    RM: “Songwriter Jimi Hendrix has a fertile imagination that doesn’t discount the existence of UFO’s or life beyond death – an imagination weaned on Science Fiction, poetry and painting.”
    Jimi: “At school I used to write poetry a lot, then I was really happy. Like in school, my poems were mostly about flowers and nature, and people wearing robes. And then I used to paint a picture of, say, a really pretty mountain, then write about four lines of poetry about it. I don’t hardly get a chance to paint now. The girl in the office bought me a paint-box, but I haven’t had a chance to buy paper. I like to paint different things, but I don’t like to paint people.
    They’d picked out Loving [sic] Confusion to be our next single but I had this thing on my mind about walking on the sea. Then I wrote Purple Haze.
    Up to now I’ve written about 100 songs, but most of them are in those New York Hotels I got thrown out of. When I go back I’m going to collect them from these hotel rooms where I missed the rent.
    I’m not ashamed to say that I can’t write no happy songs. ‘Fotsy [sic] Lady’ is about the only happy song I’ve written. Don’t feel very happy when I start writing.”
    We’ve had two little records and I’m just wondering how the people are going to take the next one. I think everyone will think we’ve used different instruments, but it’s still two guitars and drums. At one point the guitar sounds like a flute. I recorded it exactly as we do it on stage – everything we do on record, we can do on stage. If we had a disc with a violin on it, we’d hire a violin player to come on stage for that one number.
    Jimi’s first album will be released next month.
    Jimi: “The album will be different and all the songs will be mine except for ‘Like A Rolling Stone’ and maybe a Muddy Waters number [Catfish Blues]. We like to have our own sound.
    I’m writing a number ‘I Don’t Live Today’, it’s really weird, man; I hope we can get it ready for the L.P.”

    Saturday 25 February 1967
    NEW MUSICAL EXPRESS - Hey Joe’s last chart entry at No. 24 [Chart details?]

    [Day?] February 1967
    [UNKNOWN paper (page?)]– Advert for, Cliffs Pavilion, Southend On Sea gig: “ON STAGE GRAND POP FESTIVAL JIMI HENDRIX EXPERIENCE”

    [Day?] February 1967
    [UNKNOWN paper (page?)]: ‘Every Ounce Of Energy’ by Richard Baker [Review: 26 February]: “Mantovani is obviously more popular in Southend than Dave Dee, Dozy, Beaky, Mick and Tich. Tickets for the Mantovani concert at the Cliffs Pavilion sold out a few days ago but the Dave Dee show on Sunday was pretty sparsely attended. This did not prevent the group giving every ounce of their energies to their young fans. Dave Dee, as if determined to be mobbed, came down into the audience and the whole stage show was colourful and exciting. Jimi Hendrix, whom the rest of the audience had come to see, manipulated his guitar rather than played it. Dressed in orange velvet, he threw the instrument over the rest of the equipment, played it behind his back, between his legs and with his tongue! At the end of his act, as if in contempt of the whole business, he kicked over the amplifiers and walked off stage! Peter Murray compered the show very slickly, giving the whole proceedings a really professional air. The bill was completed by The Koobas, who featured a vaudeville version of “Sally,” The Nashville Teens and local group Force Five.

    [Day?] February 1967
    [UNKNOWN local paper (page?)]: Advert: “The Pavilion, Worthing. Thursday 23 February. UNBELIEVABLE THE JIMMI HENDRIX EXPERIENCE (HEY JOE) Admission 6/- 7.30 to 10.45 pm

    Saturday 25 February 1967
    BILLBOARD (Page 62) ‘Hits Of The World’ ‘Britain’ (from the UK’s ‘Record Retailer’ magazine)
    03 ( 3) Let’s Spend The Night Together—Rolling Stones (Decca)— Mirage
    14 ( 6) Hey Joe—Jimi Hendrix (Polydor)—Yameta.
    27 (16) I Feel Fine [sic Free]—Cream (Reaction)—Dratleas [sic Dratleaf]
    36 (21) Happy Jack—Who (Reaction)—Fabulous
    Last edited by stplsd; 01-30-11 at 01:11 AM.

  13. #12
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    Re: Newspaper & Magazine Articles (Text Only) - 1960's-1970's

    MARCH 1967 PART 1:

    March/April? 1967
    CIAO BIG (page?) [Large B&W Photo Of Jimi] ‘Lo “Sconvolgente” [The “Shocking”] Jimi Hendrix’
    Jimi Hendrix invece è un cantante chitarrista americano trapiantato in Inghilterra. Scoperto dall’ex Animal Chas Chandler. Jimi, con el suo trio, The Experience ha ottenuto un grande successo. Il disco che ascolteremo, “Hey Joe”, è un blues lento ed eccitante, che però dà solo una mezza idea delle qualità delle cantante che deve parte del suo successo a sconvolgenti e drammatiche interpretazione visive.
    Jimi Hendrix on the other hand, is an American singer, guitarist transplanted to England. Discovered by former Animal Chas Chandler. Jimi with his trio, The Experience has been a great success. The record that we’re listening to, "Hey Joe" is a slow and exciting blues, but gives only half an idea of the quality of the singer that owes part of his success to shocking and dramatic visual interpretation.
    [feature] Il [The] Match
    I Round –
    1) “Let’s Spend The Night Together.” The Rolling Stones
    2) “Show Me” Joe Tex
    3) “Peep, Peep, Pop, Pop” Dearly Beloved’s
    II Round –
    1) “Il mondo è con noi” Dik Dik
    2) “Thread Your Needle” Brenda Lee
    3) “Look At Granny Roon Roon [sic, run run]” Howard Tate
    III Round –
    1) “Mellow Yellow” Donovan
    2) “Ride On Baby” Chris Farlowe
    3) “Love Is Here And Now You’re Gone” Supremes
    IV Round –
    1) “Hey Joe” Jimi Hendrix
    2) “Jimmy Mack” Martha & The Vandellas
    3) ?

    [Day?] March 1967
    PROMOTIONAL MUSIC-TRADE HANDOUT, later slightly edited and used for the back cover notes of the Track & Polydor releases of ‘Are You Experienced, by Dave Marsh:
    The Jimi Hendix Experience
    [Large, posed upper bodyB&W photo of Jimi here]
    In existence for just five months, this exciting group has already made it’s mark on the charts, in studios, in boardrooms and firmly in the minds of all those fortunate enough to have witnessed an experience.
    Eight short weeks is all it has taken to establish that this trio has the potential to become one of the major pop names of 1967
    “Quite the most exciting and remarkable act that I have seen ina very long time, Jimi looks like becoming one of the big names of 1967.”
    Chris Welch – Melody Maker
    “This extraordinarily gifted singer, guitarist is clearly destined to become a great star in the very near future.”
    Virginia Ironside – Daily Mail
    Jimi Hendrix Guitar and Vocal
    Born Seattle, Washington, November 27, 19425 [date changed by hand, when used for ‘Are You Experienced’ it was changed again to 47!]. Left school early and joined the Army-Airborne, but was invalided out with a broken ankle and an injured back [chucked out, due to his sub-standard performance and being, generally, a misfit]. Started hitching [touring] around the Southern States, guitar pickin’, eventually made it to New York working with a Vaudeville act [?], his first professional job [Not!]. One night one of the Isley Brothers [friend Tony Rice, actually] heard him playing [in ‘Small’s ParadiseHarlem] and offered him a place in their band
    “Yeah, I’ll gig, may as well, man, sleeping outside between thm tall tenements was hell. Rats running all across your chest, cockroaches stealin’ your last candy bar from your very pockets.”
    He soon tired of playing the same old numbers every night, turned in his white silk stage suit [he wore with the Isley Brothers] and matching patent boots and headed once more for Nashville. A tour came through town headed by BB King, Sam Cooke, Solomon Burke, Chuck Jackson, and Jackie Wilson. Through the M.C. Georgeous George, Jimi managed to join thre show and toured all over the States, backing these great artists, learning much of his artistry on the way.
    One day he missed the tour bus and found himself stranded in Kansas City, peniless. He scraped enough together to make it to Atlanta Georgia, where he he joined the Little Richard package tour, again touring all over, finally playing with Ike and Tina Turner on the West Coast. When the tour arrived in New York Jimi left Little Richard and became one of Joey Dee’s Starliters, at a time when this band was big news internationally.
    In August 1966 Jimi went solo with a backing band, playing in Greenwich Village for the princely sum of fifteen dollars a night. Ex-Animal Chas Chandler and Mike Jeffery, the Animals’ manager persuaded him to come to England, obtained a work permit and he arrived in September, since which time he has already excited many audiences up and down the country.
    Jimi has rejected the accepted image of the coloured American artiste, i.e. processed hair, slick silk suits, meticulously rehearsed rather stereotyped dancing on stage. He has the same professionalism, but at the same time a more relaxed though dynamic approach on stage. His already large band of fans see him as a sort of Bob Dylan, lyrically, but generating the excitement of, perhaps, Mick Jagger.
    “I came to England, picked out the best musicians, the best equipment, and all we are trying to do now is create, create, create, our own personal sound, our own personal being.”

    bass guitar Noel Redding [Noel’s bit is relegated to last on the ‘Are You Experienced’ cover]
    21 year old ex-art student has been playing guitar with various groups since he left school five years ago. He was in Germany with the “Burnettes” when the beat boom was in it’s early stages, playing all over the Continent in fact, backing several internationally known artistes. When the lead singer of the group decided to go solo, Noel re-formed the others into “The Loving Kind” in October 1965. Unhappy at the groups lack of record success, and being not a little ambitious, Noel went this own way and attended an audition Jimi was holding in October 1966. He was persuaded to change from guitar to bass guitar, which he managed to do very successfully, making a strong contribution to the driving rhythm behind Jimi’s extraordinary lead guitar.
    drummer Mitch Mitchell
    Nineteen year old Mitch is a product of Acts Educational and the CoronaStageSchool. There he met Chris Sandford of “Coronation Street” fame and joined the Coronets, his backing group. “Not Too Little, Not Too Much” became a hit but the group disbanded due to Chris’s many acting commitments. Mitch then became a session man before joining the Riot Squad. After leaving this group Mitch then had a year’s spell with Georgie Fame’s Blue Flames, which lasted until October 1966. A chance meeting with Chas Chandler in November last year resulted in Mitch joining The Experience.
    Young and refreshing in ideas but truly a well seasoned professional drummer, Mitch plays a key role in the sound of this exciting trio.
    [‘Floating heads’ – most are Jimi’s - mutiple image, promo picture of the group here]
    Mitch Mitchell Jimi Hendrix Noel Redding [photo captions underneath their respective heads]

    [Day?] March 1967
    EVENING CHRONICLE (Newcastle) (Page ?) [Advert] CLUB a’ GO GO, TONIGHT 8—2 a.m. : 5/- & 8/6, ALEX HARVEY; March 10 (Doors Open 6.30 p.m.) JIMI HENDRIX & THE EXPERIENCE

    Wednesday 1 March 1967 (1st US article?)
    CRAWDADDY (Page 21), ‘What Goes On’ news column article by [unknown]:
    ### JIMI HENDRIX, 22-year-old Seattle-born blues—singer whom Charles Chandler (former Animal) discovered playing with the Blue Flame [Jimmy’s group- note not ‘Blue Flame[s]’, or ‘Jimmy James and the...] in New York, has broken into the British music scene with fantastic success; his record of "Hey, Joe” is already #9 in England. ###

    Wednesday 1 March 1967
    INTERNATIONAL TIMES, (page ?) ‘Jimi is here to stay’ article/interview by [unknown]:
    [the following is probably the interview from this piece]
    [Jimi:] “Britain is our station now. We’ll stay here till the end of June, then we’ll see if we can get something going in America, and then we’ll come back here. We’ll be staying here off and on all the time.”

    Wednesday 1 March 1967
    BEAT INSTRUMENTAL, (page 38). “Hendrix the Gen Article” interview by Kevin Swift -
    He was born in Seattle 20 years ago, he plays superb blues guitar, and what's more, he plays it from the heart, not from other artist's records. He is Jimi Hendrix, a very hot property in more than one sense, and he's come to Britain just at the right time. The scene was already set by the English blues men and visiting Americans, now we have the "gen" article, a young American blues star with a style that is born of deep "feel", hard work and experience. If you belong to the school that believes you must suffer before you can play blues, this bloke qualifies with no trouble at all. He is a rolling stone in the true sense of the phrase, and his rolling has taken him all over the States.
    BI : “[What was your starting point in your home town of Seattle]?”
    JH: “[I learned to play little by little on a guitar, which belonged to one of my father's friends who came to play cards. While the two men played. I would creep out on to the porch with the friend's guitar and see what I could get out of it]. I didn't know that I would have to put the strings round the other way because I was left-handed, but it just didn't feel right, I can remember thinking to myself, 'there's something wrong here'. One night my dad's friend was stoned and he sold me his guitar for five dollars. I changed the strings round but it was way out of tune when I'd finished. I didn't know a thing about tuning so I went down to the store and ran my fingers across the strings on a guitar they had there. After that I was able to tune my own. Then I got tired of the guitar and put it aside. But when I heard Chuck Berry it revived my interest. I learned all the riffs I could. I formed this group with some other guys, but they drowned me out. I didn't know why at first, but after about three months I realised I'd have to get an electric guitar. My first was a Danelectro, which my dad bought for me; must have busted him for a Iong time.
    Then I went into the Army for a while, and I didn't play much guitar because the only guitars available were right-handed ones. After I came out I just moved around. I went to Clarksville where the group I was with worked for a set-up called W & W. Man; they paid us so little that we decided that the two Ws stood for Wicked and Wrong. Then we got in with a club owner, who seemed to like us a lot. He bought us some new gear. I had a Silvertone amp and the others got Fender Bandmasters. But this guy took our money and he was sort of holding us back; we moved about some more. Eventually I ended up on the big package tours.
    BI : “Why do you think Chicago had the biggest reputation for blues men?”
    JH: "Most of the guitarists come from the South, In Atlanta and Louisiana there are some great guys. There's Albert Collins, Albert King and Al King. You haven't heard of them here, but they are some of the greatest guitarists in the world. Most of the cats born in the South move North. They end up in Chicago because that is a sort of middle city and the competition isn't as fierce there as it is further north.
    BI : “After hearing all these great guitarists, were you at all influenced?”
    JH: "Well, I don't like to get hung up on any one guitarist, because I always feel kinda unfaithful when I move on to someone else. I should say that my influences were B. B. King and Elmore James."
    BI : “Many people have asked you why you didn't complete the obvious image by engaging two blues-soaked men as drummer and bassist. Instead of the extremely talented, but slightly pop-influenced, Noel Redding and Mitch Mitchell?”
    JH: "If I'd had two blues men with me we would have gone straight into one bag, the blues, that's not for me. This way we can do anything and develop our own music. We might do our own arrangement of a Howlin' Wolf number followed straight away by 'Wild Thing', or a Bobby Dylan number. We'll do things in own way and make our own sound."
    BI : Let's hope that "our own sound" is one which the British public will take to and remain with. We can't afford to let this man roll off back to the States.
    Saturday 4 March 1967
    BILLBOARD (Page 66)‘Hits Of The World’ ‘Britain’ (from the UK’s ‘Record Retailer’ magazine)
    6 ( 3) Let’s Spend The Night Together—Rolling Stones (Decca)— Mirage
    23 (14) Hey Joe—Jimi Hendrix (Polydor)—Yameta.
    27 (16) I Feel Fine [sic Free]—Cream (Reaction)—Dratleas [sic Dratleaf]
    49 (36) Happy Jack—Who (Reaction)—Fabulous

    Saturday 4 March 1967
    MELODY MAKER: [page ?] [title?] “The first Jimi Hendrix Experience LP, ‘Are You Experienced’ was finished yesterday. All the tracks have been written by Jimi.”

    Thursday 9 March 1967
    EVENING CHRONICLE (Newcastle) (Page ?) [Advert] CLUB a’ GO GO [this is his manager Mike Jeffery’s club] Friday 8—2 a.m. : 6/- & 10/-, Doors Open 6.30 p.m. JIMI HENDRIX & THE EXPERIENCE

    Friday 10 March 1967
    EVENING CHRONICLE (Newcastle) (Page ?) [Advert] CLUB a’ GO GO, Tonite 8—2 a.m. : 6/- & 10/-, Doors Open 6.30 p.m. JIMI HENDRIX & THE EXPERIENCE

    Saturday 11 March 1967
    BILLBOARD (Page 66)‘Hits Of The World’ ‘Britain’ (from the UK’s ‘Record Retailer’ magazine)
    12 ( 6) Let’s Spend The Night Together—Rolling Stones (Decca)— Mirage
    27 (23) Hey Joe—Jimi Hendrix (Polydor)—Yameta.
    49 (36) I Feel Free—Cream (Reaction)—Dratleas [sic Dratleaf]
    Off chart Happy Jack—Who (Reaction)—Fabulous

    Saturday 11 March 1967
    [Soft Machine’s funeral party. Mitch and many others attend unknown].
    DISC & MUSIC ECHO [page ?] [title?]: “Absorbing the funeral music at London’s Speakeasy Club this week [8 March]: Jimi Hendrix, John Entwhistle and Roger Daltrey.”

    Early March 1967
    [UNKNOWN paper] (page ?)– Interview by Miranda Ward: “The Byrds flew into London for a brief holiday before undertaking a short, but hectic, promotional trip on the continent [..] Whilst they were on the continent I had a chat with Jimi Hendrix who’d renewed a brief acquaintance with them:
    Jimi: “They are too good a group to be ignored - in fact they should be respected. They
    have achieved what thousands of groups are straining to achieve: their own distinctive sound.. and they are progressing with every track they produce [...] They are one of the best and most individual groups around today.”
    “We are sitting over dinner at London’s Speakeasy club where they were to make their only live appearance on this trip. We were both looking forward to it and wondering how the audience would react [...][rest of text?]
    [NOTE: The Byrds performed at the Speakeasy on 14 March, but Jimi was unable to attend as he was in Holland.]

    Friday 11 March 1967
    NEW MUSICAL EXPRESS (Front page advert for Walker Bros. tour [Jimi’s 1st “tour” of the UK])

    Professional name:




    Real name:

    James Maurice Hendrix

    John Mitchell

    Noel David Redding

    Birth place:

    Seattle 22 Washington

    Ealing, London

    Folkestone, Kent

    Birth Date:

    November 27, 1945

    July 9, 1947

    December 25, 1945

    Personal points:

    5ft 11 ins : 11st 3lbs : dark brown eyes, black sometimes dark brown hair

    5ft 8ins : 9st 4lbs : brown eyes. light brown hair

    5ft. 9 1/2 ins.; 8st. 9lbs.; greeny – grey eyes, brown hair

    Parents names:


    Phyllis and Jack


    Brothers and sisters names:



    Anthony and Vicky

    Present home:


    Lancaster Gate

    Bayswater, London

    Instruments played:

    Guitar, piano, organ drums, bass

    Drums / Afro percussion, congas

    Bass guitar, ordinary guitar

    Where educated:

    Seattle, VancouverBC,
    3 weeks in San Francisco

    EalingCollege, Arts Educational, CoronaAcademy, (the last two were drama schools)

    Hythe primary school, FolkestoneGrammar school, Folkestone College of Art

    Musical education:

    None except radio and records, going to gigs to listen to the guitar players

    Advice from session drummers Kenny Clare, etc., but no formal tuition

    Learnt the violin when I was 12, also the banjo from a book, then self taught guitar

    Age entered show business:


    3 years old, (10 years professionally)


    First public appearance as amateur:

    Seattle when I was 16

    Dancing school show 1950

    Leas Cliff Hall, Folkestone, aged 14

    First professional appearance:

    Seattle when I was 16

    Ovaltine advert 1957

    Kingston Jazz Cellar, 1962

    Biggest break in career:

    Meeting Chas Chandler and forming group

    Joining Georgie Fame

    Joining Jimi Hendrix Experience

    Biggest disappointment:

    When the tour bus left me broke and stranded in Kansas City

    “The Riot Squad” being so unsuccessful and trying so hard

    When I was playing with The Loving Kind, we made three records which were all flops

    TV debut:

    Ready, Steady, Go

    Jennings At School, 1960

    Ready, Steady, Go, December, 1966

    Radio debut:

    Pop North, Saturday Club

    “Macbeth” BBC, 1960 (Young MacDuff)

    B.F.N. in Germany when with a group called The Burnetts

    Own TV or radio series:


    Compere of “In search of Adventure” Rediffusion 1963



    Stone Free, Purple Haze, 51st Anniversary; Can You See Me; The Wind Cries Mary; Third Stone From The Sun; Love Or Confusion; Foxy Lady; I Don’t Live Today etc.

    The Mind Octopus

    She’s So Fine (not finished yet)

    TV acting appearances:


    Emergency Ward 10, Redcap, Jennings At School, Whacko, Probation Officer, Love and Mr. Lewisham, Our Mutual Friend


    Biggest influence in career:

    Blues, Elmore James, B.B. King, early Muddy Waters, Bob Dylan

    My parents

    Mick Green (ex Pirates now of The Dakotas)

    Former occupation before show business:

    Drop out (school that is)


    Art Student, delivery driver, factory worker, waiter


    Reading science fiction, painting landscapes, daydreaming, MUSIC

    Driving, motor racing, MUSIC!!

    Travelling, girls, sound equipment, cars

    Favourite colour:

    Sometimes black, blue, certain shades of red, purple

    Royal blue, emerald green, black

    Mauve or pink

    Favourite food:

    Strawberry shortcake, spaghetti

    Steak Au Poivre

    Anything – but curries are nice

    Favourite drink:

    Pineapple, orange juice, chocolate milk shakes

    Asti Spumante

    Gin and tonic or German beer

    Favourite clothes:

    Slightly different things

    Smart casual or very formal


    Favourite singers:

    Dylan, Muddy Waters, Elmore James, B.B. King, Ray Charles

    Jon Henricks, Graham Nash

    Steve Marriot and Derek Knight and Ray Charles

    Favourite actor / actress:

    Sometimes Paul Newman, sometimes Natalie Wood

    Woody Allen / Francoise Doleauc

    Jerry Lewis / Elke Sommer

    Favourite bands / instru - mentalists:

    Cream, John Mayall, Spencer Davis, Shotgun Express

    Elvin Jones, Roland Kirk, Quincy Jones, Wes Montgomery

    Ray Charles, Mick Green, Jimmy McGriff

    Favourite composers:

    Dylan, Muddy Waters, Mozart

    Curtis Mayfield, Steve Cropper, Jon Henricks, John Coltrane,

    Ray Charles, Ray Davies, Brian Wilson

    Favourite groups:

    Beatles, Cream

    Beatles, Hollies, Cream, Who

    Booker T & MG’s, Beach Boys, Pirates



    M.G. / Triumph Vitesse

    Clapped out Austin A70 (1952)

    Miscellaneous likes:

    Music, hair, mountains, fields

    Girls with long hair

    Sleeping, driving, girls, mini skirts, swimming in Spain

    Miscellaneous dislikes:

    Marmalade, cold sheets

    Trad jazz and incompetent musicians

    Getting up, slow drivers, “last orders”, English roads and law

    Best friend:

    Tony Garland, Eric Clapton

    “Twink” (drummer of In Crowd)

    Neil Landon, Jimmy Leverton

    Most thrilling experience:

    Jumping out of a plane, jumping back in, getting thrown back out


    When I first saw the Mediterranean when I was in Spain

    Tastes in music:

    Psychedelic, classical (own up), BLUES of course

    Free form jazz, organ groove, anything well played

    Rock and roll, modern jazz, Booker T stuff

    Origin of stage name:

    88% from birth certificate, 12% from mis-spelling

    Mitch is remembered easily

    My mother


    My two little furry minded guitars

    Old English Sheepdog called “Zoot”


    Personal ambition:

    Have my own style of music. To see my mother and family again

    To improve both musically and financially. To be more understanding of other people’s problems

    To be happy and own a club in Spain and play in a group in my own club

    Professional ambition:

    To be a movie and caress the screen with my shining light

    As above

    To keep having success. To be recognised as a bass guitarist

    (Page ?) 'HUSH NOW SAYS JIM!’ by [unknown]: Jimi Hendrix is to seek an injunction to prevent Decca from releasing (on its London-American; label) a single titled "Hush Now," credited to ; Jimi Hendrix and Curtis Knight. Jimi is claiming that the recording was obtained several years ago in New York, when he was engaged to de­monstrate the use of a "wha-wha pedal." The disc has been on sale since last Friday.
    Last edited by stplsd; 01-29-11 at 02:29 PM.

  14. #13
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    Re: Newspaper & Magazine Articles (Text Only) - 1960's-1970's

    MARCH 1967 PART 2:

    Anything in red I would please like to know, as I don’t have this information yet, thank you

    Sunday 12 March 1967
    THE YORKSHIRE EVENING POST [date ?] [page ?]: ‘Chaos After Police Break Up Crowded Pop Show’ [Ilkley, Gyro Club], by [unknown]: “There was chaos when police stopped a pop show last night. A door was ripped off its hinges, pictures were slashed and torn from their frames, electrical fittings and furniture were broken and the carpets were littered with broken glass at the Troutbeck Hotel, Ilkley. The Jimi Hendrix Experience were told to stop playing in the middle of their second number. Police told the audience of 800 that they would have to leave because the club was overcrowded. Jimi remarked “I wish they had let me play before emptying the club.”

    Sunday 12 March 1967
    ILKLEY GAZETTE [date ?][page ?] ‘Pop Fans Amok in Hotel’ [Ilkley, Gyro Club] (‘quoted’ from a national newspaper [?]) by [unknown]: “800 teenagers [running riot after police halted a pop concert] ‘in mid verse’. They ripped off doors, pulled out electrical fittings and smashed furniture after a police sergeant stepped on stage and stopped pop singer Jimi Hendrix half-way through a number.”
    A ‘spokesman for the Troutbeck.’ said he was surprised how ‘quiet and orderly’ the fans were and said limited damage had been caused simply because there were so many of them.
    A police officer confirmed this by telling the Gazette that no official complaints of vandalism had been received. He explained that officers were initially called to the hotel by residents because nearby roads were blocked by cars belonging to Hendrix fans. It was then discovered that the ballroom was seriously overcrowded and the decision taken to stop the concert in an attempt to reduce the audience to its legal limit of about 250. Chaos ensued and the concert did not resume.

    Sunday 12 March 1967
    THE YORKSHIRE POST [date ?] [page ?]: “700 in uproar at beat club after police stop show.” By Reginald Brace: “Uproar broke out on an Ilkley pop club last night when […] show because they thought the audience was too big for the […] A door was ripped off, pictures tor[…] drinking glasses smashed at the Gyro Club […] Hotel. The Performance, by the Jimi Hendrix Experience […] was not resumed.
    Hendrix an American singer-guitarist […] number when the police moved in. Mr. […] of the club told me: “They thought th[…][rest of text?]

    Friday 17 March 1967
    [UNKNOWN paper] (page ?) [title?] review of ‘Purple Haze’ by [unknown]:
    […] not to me as instantly commercial as ‘Hey Joe’, but […] rather a stronger showcase for this wild haired talent, that groaning guitar and that fury tipped voice.” [rest of text?]

    Saturday 18 March 1967
    BILLBOARD (Page 66)‘Hits Of The World’ ‘Britain’ (from the UK’s ‘Record Retailer’ magazine)
    18 (12) Let’s Spend The Night Together—Rolling Stones (Decca)— Mirage
    43 (27) Hey Joe—Jimi Hendrix (Polydor)—Yameta.
    Off chart I Feel Free—Cream (Reaction)—Dratleas [sic Dratleaf]
    48 ‘My Friend Jack [eats sugar lumps’ (with LSD on them presumably - “Happy Jack”?]—Smoke

    Saturday 18 March 1967
    HUMO magazine [page ?]: ‘JimiHendrix Shows His Teeth’ article and interview [St Pieters Woluwe, 06 March], by Jan Waldrop:
    The big quiet Zonienwoud still rustles in the cold spring wind. A grey, hesitating sun sets the branches alight and an old man, old and warped as the branches of the weathered trees, gathers wood. A frayed cigarette-stump hangs out of his toothless mouth, a fact that is clearly in evidence as the mentioned mouth falls open at the arrival of Jimi Hendrix - “I have never seen anything like that before!” Thousands have said the same when they witnessed the new pop-phenomenon Jimi Hendrix. I had already read this in all the foreign music magazines, but one has to see it at first hand before one can endorse it. Short and sweet: it’s true. The ‘Black Bob Dylan’ as some call him, is a curiosity on it’s own. Jimi has an overwhelming amount of dark hair which semi-carelessly waves around his head. He has a fantastic, almost picturesque, primitive head. His white as a sheet teeth pierce as a battery of ready to fire field-guns through his wide lips. Between his friendly dog eyes lies a nose like a trampled down rubber hose. And if he feared in spite of all this he would remain unnoticed, Jimi wears cracking-red trousers and a fantastic military dress coat.
    Jimi: “This jacket dates from the Crimean War [1850’s]. From a Russian, I believe.”
    Jan : “Any blood stains still?”
    Jimi: “No, I had it cleaned.”
    In the meantime producer Pierre Meyers and his camera crew are busy setting up the lights
    and cameras. An amount of sturdy walkers, many with dogs (every shape, size and colour)
    gather curiously around Jimi. But he only has attention for a signpost where with large
    letters it says that ‘It is forbidden to wash your vehicle in the pond’. At such preventive
    measures Jimi gives a chuckle and he spits in ‘De Vijver Van De Verdronken Kinderen’ [‘The
    Pond Of Drowned Children’]. A little further away an old person stirs patiently with a stick in
    the shallow pond.
    “That one doesn’t give up hope” ponders Jimi.
    Jan : “Do you play long?”
    Jimi: “No, not all that long. About six years now.”
    Jan : “How old are you?”
    Jimi: “Twenty-two [sic]. I was born in 1945 [sic] in Seattle, state of Washington.”
    Jan : “Did you live there all the time?”
    Jimi: “Jesus, no! I couldn’t stick it at home. I left school early. School wasn’t for me. So according
    to my dad I thus had to work. So I did that for a couple of weeks…for my dad. He had a not all that well running contracting firm and in me he saw a cheap labourer. I didn’t see it that way. I had to carry stones and cement all day and he pocketed the money. At the age of fifteen [sic] I ran away after a blazing row with my dad. He hit me on the face and I ran away. Because I didn’t have a cent in my pocket, I walked into the first recruiting office I saw and went into the army.”
    Jan : “What did you think of the army?”
    Jimi: “Horrible! A mess. The only thing which I liked was parachute jumping but I wasn’t all that
    good at it. After about half a year I made a terrible drop, broke my ankle and hurt my back. Just on time, because the army was really getting on my nerves.”
    Jan : “Do you dislike a regular life?”
    Jimi: “Enormously. As soon as I’ve done something a few times or I stayed somewhere a few
    weeks, I have enough of it! Then I must do something else or I walk with my head against the wall in misery.”
    Jan : What did you do when you left the army?
    Jimi: Well, that took a while because I first had to be patched up. After that I went South. While
    in the army I had started to play guitar seriously and with that I was gonna try and make some money.
    Jan : And? Was that successful?
    Jimi: Not at all! For years I lived in misery and the biggest mess you could imagine. I slept
    wherever I could and stole my meals. I played in bars and on the streets and sometimes I made a few dollars. When things would become too boring I would go with some friends and we would beat up a policeman. Within half an hour we would have a smashing row. Sometimes you would end up in jail, but the food would be great, so it wasn’t that bad. Most of the police guys were bastards, but there were also some good ones. They didn’t hit that hard as some others and you could eat better. But even that got boring. One evening I had a gig in a club – something which happened rarely – and one of ‘The Isley Brothers’ was in the audience. He asked me if I wanted to play in their backing group and I said “Yeah man, groovy”. But it wasn’t that groovy. I had to sleep in the clubs where they performed and it was full of cockroaches and rats. Those dingy beasts would walk at night on top of you and would eat your last bar of chocolate. Again I started to play on the streets. After a couple of months a complete soul package came to town, with Sam Cooke, Solomon Burke, Jackie Wilson, Hank Ballard, Ben E. King and Chuck Jackson. I got the job in the band and played backing for them. I learned a lot there. Not enough to get a job in the band of Little Richard. I had to do an audition for him in Atlanta and he thought I was OK. With him I went all over America. In Los Angeles I got enough of him and played behind ‘Ike and Tina Turner’. But even then I didn’t make enough money.
    Jan : What is enough?
    Jimi: Well, I made enough to buy bread, but not enough to put something between it…
    Jan : What kind of music do you play nowadays?
    Jimi: Blues, man. Blues. For me that’s the only music there is. ‘Hey Joe’ is the blues version of a
    one hundred year old cowboy song. Strictly speaking it isn’t such a commercial song and I was amazed the number ended up so high in the charts. Our next single ‘Purple Haze’ is commercially even worse.
    Jan : So why do you release it then?
    Jimi: Because we like it ourselves. I care less if the records sell or not. Making music is much
    more important.
    Jan : And money?
    Jimi: I don’t give a shit about that. As long as I have enough money to eat and I can play what I
    want, I’m satisfied. I only hope to make enough money so that I can have a house built for my father.
    Jan : I thought you had a row with him?
    Jimi: Yes I do. In the seven years I’ve been away from home I have never seen him. I phoned him once, when I had just arrived in England. I wanted to tell him what I had accomplished.
    Jan : And what did he say?
    Jimi: He asked me who I had stolen the money from to go over to England.
    Jan : So why do you want to have a house built for him?
    Jimi: To get back at him. Oh well, after all he did give me my first guitar. First I had to prove that
    I could play a couple of songs on a guitar of a friend, but I did get that thing still.
    Jan : Why do you dress yourself so strikingly?
    Jimi: I have an enormous dislike for ordinary things and ordinary people. Folks with ‘nice
    eyebrows’ and things like that, those who dress so common.
    Jan : What kind of guy are you yourself?
    Jimi: Me? Well, I’m a quiet person. Usually I don’t talk that much. What I have to say, I say with
    my guitar…
    Jan : What do you think about these TV recordings for ‘Vibrato’?
    Jimi: Oh, is that the name of the program? Well, it is bloody cold outside and it’s a disaster that
    we can’t play live. I can’t mime. I can’t play a song the same way twice. I feel it differently every time… When the recordings start again and I plan to leave, I get a big, warm hand and Jimi says: “Now ya take it real easy, ya hear” And this friendly American goodbye is a sincere one too.

    Saturday 18 March 1967
    MELODY MAKER, [page ?] ‘Jimi Hendrix: Purple Haze’ review by [unknown]: “Powerful new single from the ‘Hey Joe’ man – but difficult to assess it’s commerciality. Climbing to freakish heights, it contains all the stunning Hendrix characteristics, with flashing, weaving guitar and a fat, churning sound from The Experience. It’s a great record, full of atmosphere and excitement, with Hendrix’ dynamic personality shining through every groove. If there’s any justice in The World, this will be a Top Ten hit.“
    (page 5) [title] interview by[unknown] Charlie Watts: “It has been great to see Mitch Mitchell come out of Georgie [Fame]’s band and be let loose. It’s rather like a civil servant becoming a demolition worker.”
    [page ?] [title] by [unknown] :‘Month’s Delay On First Hendrix LP’ article by unknown: “The first Jimi Hendrix LP, ’Are You Experienced?’ has been held up in the middle of production. Manager Chas Chandler told MM on Monday. [Chas:] “Due to a fault we have decided to re-record all but six of the LP tracks. “But Jimi has also written about fifteen more numbers since we started work on the LP so we’re going to record all those as well. I’m afraid it’s starting from scratch all over again – and will mean hat the release of the album is going to be delayed for over one month.” [Hype!]

    Saturday 18 March 1967
    NEW MUSICAL EXPRESS, (page 8/9) article by [unknown]: ‘MASSIVE U.S. CAMPAIGN TO PUSH HENDRIX’
    A massive campaign hailing Jimi Hendrix as “the greatest talent since the Rolling Stones” is being launched in America. This is the immediate outcome of a deal signed in Los Angeles on Tuesday - by the Hendrix Experience’s co-manager, Mike Jeffrey - which gives American distribution of Jimi’s recordings to the powerful Warner-Reprise company.
    Initial fee paid to Hendrix for his signature is reported to be “in excess of 50,000 dollars.” Mo Austin [sic. Ostin], president of Warner-Reprise, described it as the highest fee the company has ever paid for a new artist.
    A spokesman for the company announced that meetings are now in progress between Jeffrey and Austin with a view to inaugurating a vast U.S. publicity campaign on Hendrix. He added: “We shall introduce a completely new conception in promotion which should put Jimi right at the top in a very short time.”
    Warner-Reprise is expected to rush-release Jimi’s “Purple Haze,” being issued in Britain next Thursday (23rd) as the first single on the new Track label - formed by the Who’s co-managers Kit Lambert and Chris Stamp, in association with Polydor Records.
    (Page?) [Half page ad for Purple Haze]

    Thursday 23 March 1967
    HITWEEK[page ?] [title?] interview (13 March, Hotel Schiller Amsterdam) by Peter Schroeder –
    Noel: “We almost finished an LP, another two tracks to go I think.” [rest of text?]

    Saturday 25 March 1967
    KINK magazine [page ?] [title?]: [14 March,Vara TV Studio, Amsterdam] An intense happy Judith Bosch announces Jimi Hendrix as ‘The Guitar Eater’. The cameramen have clear instructions to especially focus on the interesting head of Hendrix, and most of all, at the moments he will be playing the guitar with his teeth. However, he barely opens his mouth at all [during ‘Hey Joe’] and plays uninspired…Inbar jumps up like an angry goblin and demands his cameramen to take only long shots, ‘cause those close ups are only making things worse. After the second song [‘Stone Free’] and without waiting for any reaction, Hendrix leaves the stage, which is ‘nicely’ registered in the long shot. The public reacts mildly, not understanding, and two minutes later Hendrix is on his way to [Hotel] Schiller to prepare for the bubbling night life of Amsterdam
    Kink telephoned Jimi’s [16 March, Anim, London] office about the ‘Fanclub’ TV show [14 March, Vara TV, Amsterdam]: Jimi: “The small one [Ralph Inbar] thwarted me…you can’t expect me to play with my teeth while they play a record in the background […] during the rehearsals everybody loved it except the small fellow. Besides, the whole thing was badly organised. I had to wait for hours before it was our turn […]
    Ralph Inbar (when asked by Kink for his reaction said) [Jimi Hendrix is] “a liar” [and the whole affair was due to] “revenge or shortage of dope” […] [actual text? rest of text?]

    Saturday 25 March 1967
    BILLBOARD (Page 56)‘Hits Of The World’ ‘Britain’ (from the UK’s ‘Record Retailer’ magazine)
    2 (2) Penny Lane/Strawberry Fields Forever—Beatles (Parlophone)—Northern-George Martin
    17 (9) Mellow Yellow—Donovan (Pye)— Mickie Most
    29 (18) Let’s Spend The Night Together/Ruby Tuesday—Rolling Stones (Decca)— Mirage
    43 (27) Hey Joe—Jimi Hendrix (Polydor)—Yameta.
    45 (48) My Friend Jack [‘Eats sugar lumps’ (with LSD on them presumably) - “Happy Jack”?]—Smoke [hash I would wager?]

    Saturday 25 March 1967
    NEW MUSICAL EXPRESS, (pages 6 & 10) ‘Top Singles Reviewed’ by Derek Johnson [Purple Haze] [text?]

    Saturday 25 March 1967
    RECORD MIRROR (page ?) [title?] Purple Haze review by Peter Jones: Not, to me as consistantly communircative as ‘Hey Joe’, but it is rather a stronger showcase for the wild-haired talent.

    [Day?] March 1967
    NEW MUSICAL EXPRESS (page ?)[title?] Interviewby Keith Altham
    Jimi: “Most will come to see The Walkers [beginning 31 March, Astoria, London]. Those who come to hear Engelbert sing ‘Release Me’ may not dig me, but that’s not tragic. We’ll play for ourselves – we’ve done it before, where the audience stands about with their mouths open and you have to wait ten minutes before they clap.”

    [Day?] March 1967
    DISC AND MUSIC ECHO (page ?) [title?] Interview by unknown:
    Jimi: “I’m a bit worried about the type of people who’re gonna see the tour [beginning 31 March, Astoria, London]. If they come to see The Walker Brothers, then they’re not going to want us. I just hope they listen – but if they do scream for The Walkers during our act I’ll just ignore them and play for myself.”

    [Day?] March 1967
    SUOSIKKI [‘Favourite’ (a youth magazine) (page ?) article by [unknown]: “Jimi Hendrix […] is the most fat lipped blues singer in The World, and this year he is attempting to become at least as famous as James Brown was yesterday […] Jimi looks like an African Negro who has come to wash dishes in Soho […][rest of text]
    Last edited by stplsd; 01-29-11 at 02:34 PM.

  15. #14
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    Re: Newspaper & Magazine Articles (Text Only) - 1960's-1970's

    [Day?] April 1967
    [UNKNOWN paper, page ?] ‘WATT?’ London, April 1 (AP) – American pop star Jimi Hendrix, 21, was slightly injured when his electric guitar caught fire during his stage act at the Finsbury Park Astoria Friday night

    Saturday 1 April 1967
    BILLBOARD (Front page): “Psychedelic” bright green & yellow banner advert across the bottom of the page ‘coming THE JIMI HENDRIX EXPERIENCE [in ‘vibrating’ brown text] on [reprise logo here]
    (Page 16)TALENT’ ‘Fan Mags Challenge P.R. Man’ NEW YORK — New disk acts aren't having as difficult a time of breaking into the teen fan magazines as indicated in last week's Billboard, say several publicily and public rela­tions men.
    Martin Hoffman, of Mercury Records' publicity department in New York, writes: I’ll agree that breaking new acts via teen magazines is increasingly rougher because of the increased competition the individ­ual publications face among themselves . . . but similar to the problem of airplay on tight format stations, you don't put your public relations head in the sand.
    "The situation places a greater responsibility on the individ­ual and label publicists to unearth new outlets and to find new and diversified angles with which to approach the existing, mass circulation publications. For example, pictures sell stories. Candid coverage of artists activities, both personal and professional, are fodder for fans. At Mercury we have cameras and have learned to use them to the extent of 'semi-pro sophis­tication' so that we can back up a story graphically. It requires spending time with the artists, possibly travelling to work locations and other areas consistent with the angles of the story. It requires advance planning because of the 60-90-and sometimes more days of lead time that most fan publica­tions require. Spade work via early mailings and bulletins to familiarize editors with happen­ings and happening people are vital so that when an act does break, the publication knows where to go for additional information and photos.
    "More and more daily and weekly consumer publications have added teen columnists and reporters and local coverage therein is often an important stepping stone to coverage in the national mass circulation publications. We find, too, a growing receptivity on the part of metropolitan dailies to assign writers to interview teen acts, cover their appearances or re­port their remarks. It's part, perhaps. of the growing adult awareness that the Pepsi gen­eration is growing in numbers and controling or influencing a larger slice of the economy than ever before.
    "Fan mag coverage on acts such as Keith, Blues Magoos, Left Banke has gone consistently up in keeping with their sales and consumer mail pill . . . which would indicate a form of parity. The point is that our p.r. department has worked toward creating this acceptance. unearthed angles, obtained pictures and kept editors consistently informed and aware of them, their product, their prog­ress and their popularity.
    "As radio exposure does not begin and end with the tight format outlets, neither does press exposure need rely on the three or four top mass circula­tion publications. However, as with radio, when they're ready for us, we're ready for them . . . and they're receptive to our efforts because we have made an Avis-like pitch."
    John Kurland, who runs a public relations office, rebuts with: "The mags have deadlines of six weeks to three months, which means that a new hot singles act could get a spread in a teen mag and if they proved. as many do to be one-shots, the magazines would be out of luck two or three months later when their stories appeared and the groups were already on that well-traveled road to oblivion. Also, the major magazines depend a great deal on their unsolicited mail. One of the most important factors in determining the amount of space their readers would prefer them to devote to a new group. All of them, however, keep sections open for newcomers so that they can have some representation of the new faces. Also, if there is some greater reluctance on the part of the major magazines, it may be that they have become more sophisticated with their growth. developing a kind of immunity to the types which they've had over the years.
    "Representing Paul Revere & the Raiders, the Mamas and Papas, the Hollies, and Herman’s Hermits among others, we find that the teen mag situa­tion is healthier than ever be­fore. primarily because the field has solidified and many of the less scrupulous one-shot maga­zines have gone under. What remains primarily are magazines with a greater circulation, greater integrity and greater respect for their association with the record industry and the recording artists which they feature."
    And Stephen Kahn, publisher of Flip Magazine, writes: "Despite the demands our readers make for infinite material on such performers as The Monkees and Paul Revere and the Raiders, Flip takes express care to introduce new talent. For in­stance, in the current issue, we have a feature entitled "Groovy Groups To Watch," which includes the Sopwith Carmel, Terry Knight and the Pack, the Sidekicks, Dr. West's Medicine Show and Junk Band, Interna­tional Submarine Band, the Doors, Every Mother's Son, and the Jefferson Airplane.
    ‘Blues Project Go All The Way At Café Au Go Go’NEW YORK by Charles Barrett
    Armed with effective equipment and talent, the Blues Project dished out some fresh and revelatory numbers at the Cafe Au Go Go here last week.
    The group has been playing to capacity audiences since it opened at the club March 17. One number, "Flute Thing," characterized with echoing, amplified flute work and solos by each of the boys, was effective. Each member of the group showed he could carry a set along and yet maintain that thread of unity that is necessary.
    A new LP by the group on Verve-Folkways is scheduled for release in June with "Flute Work" included. Peter Walker, new Vanguard recording artist, did "Rainy Day Raga" from his new LP of the same name. Wal­ker commands listening, too; he could ride high in the new -'raga" wave. Also on the bill, was the Gary Burton Quartet, a contemporary jazz group which records for RCA Victor.
    ‘Certify Stones Disk’New York [… Let’s Spend The Night Together million seller gold disk, Between The Buttons LP 6th consecutive Stones gold album]
    (Page 40) ‘New Action LP’s: The Electric Prunes (Reprise)
    ‘Four-star albums’ ‘Blues’: Otis Spann ‘The Blues Is Where It’s At’
    ‘Break out Singles’ ‘Regional Breakouts’:
    Cat Stevens ‘Mathew and Son’
    Tim Rose ‘Morning Dew’
    James Brown (& Vickie Anderson) ‘Think’
    (Page 54) ‘Music From The Capitals of the World’. ‘HAMBURG’ Stigwood-Yaskiel International has started a big publicity campaign around The Cream, The Who, Jimi Hendrix and the Easybeats (all Polydor here)…etc
    ‘LONDON’ […News of Stax package tour and 1st releases on their label in Europe inc. Otis Redding’s ‘Day Tripper’, then stuff about Jonathan King’s visit to NY & LA to promote his anti-drug single ‘Round Round’: (Today You’re Just High… Tomorrow You’re Dead)’, and a bit about Brian Jones soundtrack for ’Mond und Toschlag’ Germany’s entry at Cannes film fest etc…]
    Kit Lambert and Chris Stamp’s new label track [sic] distributed by Polydor, entered the charts in it’s first week with the Jimi Hendrix “Purple Haze” single. The disk will be issued in the U.S. by Warner Bros-Reprise under a contract signed by Hendrix’s manager Mike Jeffreys [sic] in Los Angeles. The deal is claimed to be in excess of $50,000.
    (Page 58) ‘Hits of the World’. ‘BRITAIN’ (from the UK’s ‘Record Retailer’ magazine) [new entry] @ 39 ‘Purple Haze’
    (Page 67) [picture of a bare-headed GI sitting in the jungle] ‘RED CROSS’… at his side in Viet-Nam… help us help

    Saturday 1 April 1967
    NEW MUSICAL EXPRESS (page ?): Purple Haze enters their chart at No.25. [Chart info?]

    Saturday 1 April 1967
    DISC & MUSIC ECHO (front page) “’Walkers, Englebert, Hendrix and Cat’ Teen Preview Pages 10 & 11”.
    (Page 10) [text?]
    (Page 11) [text?]

    Saturday 1 April 1967
    FRANTIC scenes surround the Hendrix Experience every time they play and these three lively musicians too often find themselves in wild situations. When they played York University the reception was the same as usual but the problems, which attended their trip, provided a rather strange contrast to their "all go" stage life. Noel Redding, bass man with the Experience reports:
    We had a photo session in London in the afternoon and we were late leaving. Jerry, our road manager, had already left with the gear and we were to follow in Mitch's car. We set off at 5 p.m. and belted off towards Nottingham but, after only a few miles, the generator went. We just about made it into Nottingham, left the car at a garage and started to look round for something to get us to York, which was still a good 100 miles away. First we tried to ring the University to tell them that we might be late arriving but we just couldn't get through. Eventually we hired a car and about 9.45 p.m. we were on our way again. We turned up at midnight. Fortunately we weren't due on until 1 a.m.
    The gear was all set up. We were cheesed off and tired, but the booking was O.K. In fact it was very, very good indeed.
    People ask me if Jimi is hard to follow. I don't find him hard to keep up with at all. We have about the first two numbers arranged and after that it's just up to him and we follow. I used to play guitar myself and I watch him closely. On this particular night I was watching him so closely that I nearly had a bit of an accident. I just happened to look round and I saw that the top cabinet in my Marshall set-up had moved with the vibrations and was just about tottering on the edge of the other one. It would have fallen on my head if I hadn't turned round. Luckily there were no other hang-ups on this occasion. Jimi's always well prepared anyway. He always has two guitars plugged in, one he uses and the other he leaves at the side of the amp; he uses a fuzz box and has both guitars plugged into their own units.
    After the gig, which finished around 2 a.m. we set off back to Nottingham but when we arrived it was 6 a.m. and the garage didn't open until 9. There was nothing for it but to sit in the van. We were cold. miserable and tired. Eventually the guy came to open the garage, we got the car out and Jerry who is a genius of a mechanic fixed it all up.
    We left Nottingham around 10 a.m. We were making good time on the motorway when "bang", we had a blowout, at 70 m.p.h.! We pulled over and as we didn't have a wheel brace we just sat there. Eventually an AA man came along and helped us out and at 2 p.m. we were on our way again. The thing was that we had a gig that night at 6 o'clock. I needn't tell you how tired we were. But at least it had been a good gig. They were flashing these colour slides on the walls as we played and the whole thing was great. About the only bad gig we've had so far was at South Shields. We arrived a little late and we were in a bit of a rush. We were on the back of a revolving stage just getting tuned, ready to be swung round any minute. We had got these new 200 watt units and just as we were tuning Jimi's amp blew up. He quickly plugged into mine and I looked round for something to borrow. In the end I had to make do with a tiny amp which the other group had been using, it must have been all of 5 watts. As we swung round we opened up and the sound was terrible. My bass was just buzzing like mad. Jerry came up, gave me the P.A. amp and put the vocals through this tiny thing. Of course from then on we couldn't hear a word except in the breaks where we were singing and not playing, even then we just heard a tiny whisper. As if that wasn't enough at the end of the spot we were taken back round on the revolving stage and as we went the audience grabbed us. I was hanging on to Jimi and he was hanging on to Mitch and we very nearly got crushed against the wall as we went round. It's quite a life working with Jimi but I enjoy it.

    Saturday 1 April 1967
    FABULOUS 208 [page ?], ‘Jimmy Hendrix!’ [by Steve Marriot of the ‘Small Faces’] “This piece on Jimi Hendrix was Steve Marriot’s idea and he wrote it himself: This is Jimi Hendrix-guitarist, showman extraordinaire, surely the widest, grooviest thing to happen since The Rollling Stones and The Who.
    When Jimi lays it down-it stays down. Seeing his act is an experience only to be experienced (sweet double hipness you lay it down we’ll pick it up). Backed by Noel Redding, and Johnny (Mitch) Mitchell whose athletic vibrant drumming pushes the thing along.
    Jimi has been quoted as saying that their recording of Hey Joe isn’t them or what they want to do.
    All I can say to this is that this record is tremendous.
    Jimi Hendrix followers should also cop an earful of the flip side Stone Free. Flipsides usually depict what the artist really wants to do, but the thing with this particular record is…. That both sides are a groove.”

    [Day?] April 1967
    US Los Angeles
    WORLD COUNTDOWN (Vol.2, #6 Hollywood[page ?])
    [Early publicity release from Derek Taylor on the planned “Monterey International Festival of Pop - '67", flanked by photos of Dylan, Warhol, and Carl Wilson (none of whom had anything to do with the festival)]
    "California was chosen as home for the Festival because it is within the twin melting-pots of San Francisco and Los Angeles that the fun and funky, the freaky, the folk and the rock were so mingled that music mixed in California spoke out to the world with poetry and pageantry and in such a profusion of light and color that there was no one who did not hear and see that something fine was happening.”

    Monday 3 April 1967
    EVENING NEWS [page ?]: ‘Frenzied Fans At Pop Show’ [02 April, Worcester, Gaumont Cinema] by [unknown]:[…] Most people had not really come to see Jimi Hendrix, but he left the audience breathless with the sheer force and volume that his three man group pounded out. His left hand heavily bandaged from a burn he received doing his act on Friday. He opened with his hit ‘Hey Joe’ and then went into the similar ‘Purple Haze’. A lengthy version of ‘Like A Rolling Stone’ followed before his act ended with the Troggs’ ‘Wild Thing’. Jimi battered his guitar against his amplifiers, and the drums fell down to close an act that is better suited to the clubs than the barrenness of a package show.” [rest of text?]

    Monday 3 April 1967
    West Germany
    BRAVO [page ?], [full page B&W photo with three small in concert shots] ‘Jimi Hendrix: Besessen von Musik’ [obsessed with music] - interview [at ‘Antenna’ publishing house, March] by [unknown]:„Der schwarze Bob Dylan“- wird er genannt [he is called ‘The black Bob Dylan’]. Jim! Hendrix hält das für heftig übertrieben. Er wünscht keinen Verglich mit seinem großen Vorbild. Tatsächlich beschränkt sich die Ähnlichkeit mehr oder weniger auf die Haartracht. In musikalischer Hinsicht sind die beiden Krausköpfe sehr verschieden. Dylan wirkt wie ein stilles Wasser neben Hendrix, bei dem sozusagen immer Windstärke 12 herrscht. Viel besse paßt auf ihn der Name seiner Begleitgruppe, „The Experience“. Das ist es. Wer ihn gehört und dazu noch gesehen hat, der ist um eine Erfahrung reicher!

    Thursday 6 April 1967
    YORKSHIRE EVENING POST [page ?] – review of 5 April, Odeon Cinema, Leeds gig by [unknown]: [ “The Jimi Hendrix Experience had gimmicks galore (including split trousers) but did not impress.”

    Thursday 6 April 1967
    YORKSHIRE POST[page ?] – review of 5 April,Odeon Cinema, Leeds gig by [unknown]: “The Jimi Hendrix Experience was one I would prefer not to repeat.”

    Friday 7 April 1967
    UK (Scotland)
    DAILY RECORD (page 4) 'POP SHOP' ‘The Jimi Sound Is Racing To Success’ by Donald Bruce [interview] [picture caption]: JIMI HENDRIX. . . looks like a wild-eyed revolutionary from the Caribbean.
    “Talking to Jimi Hendrix [6 April, Odeon Cinema, Glasgow] about him and his Experience is, in itself, quite an experience. For one thing, Jimi (see pic) is scarcely likely to qualify for a best-looking bloke competition. For another thing he's from the West Coast(no, not Largs, lady, Seattle), and that's like listening to someone who mixes Scotch with a bit of German, a lot of American and a wee tottie French.
    He doesn’t talk. He drawls ah, ya know, well, ya see, it’s this way, ah don’t know, yea, I guess so, well, it’s hard to say. And so on. What can’t be contradicted is that the Jimi Hendrix Experience (Jimi and two others) in Glasgow last night on the Walker Brothers’ show, have made the biggest impact in the shortest possible time on the pop scene since maybe the Walker Brothers themselves.
    Jimi has only been in Britain since last September. But in that time he has been described by Mr. Brian Epstein (no mug) as "the greatest talent since the Rolling Stones," and, more practically, he has had one record ("Hey, Joe") in the top five, with his present one, "Purple Haze" racing crazily to the top.
    So why should Jimi worry if he looks like a wild-eyed revolutionary from the Caribbean and that he talks with the shut-eye still in his big mouth (see pic again)?
    Jimi itself is a gimmick. He says it's just easier to spell that way than Jimmy. Hendrix, though, sure thing, is for real.
    He was playing in what he calls "The Village" last autumn, which is Greenwich Village, on the raw edge of New York, crammed with way out clubs with way in signs.
    Chas Chandler, an ex-Animal, found the way in and Jimi found the way out-to London, England, with Chas who figured that Jimi Hendrix was just what the whole explosive pop scene in Britain was waiting for.
    Who's to say he's wrong, in view of the astonishing climax to six months in the business, a nation-wide tour with the biggest pop names going around?
    Initially, Jimi got around him Mitch Mitchell, who used to play with Georgie Fame and the Blue Flames, and the bassist, Noel Redding, who used to be one of the Lovin' Kind, and that added up to Experience.
    "Anything that happens, whether it's good or bad, is an experience. Anything that happens in music is an experience, good or bad."
    Jimi figures that the happening, or the event, or the non-happening or just the experience, has been a good thing. It's an amalgam of all he feels in music, in that he is a blues man, Noel is a rock 'n' roll man, and Mitch is just mad about jazz.
    "Hey Joe" finishing at No.5 knocked Jimi out, because, as he says, it's a 100 year-old traditional cowboy song.
    "Purple Haze" is different from "Hey, Joe" in every way, including authorship.
    Jimi wrote it himself, mainly in studios, and that's some going, because some rehearsal studios, he says, have virtually kicked him and the Experience out because their music has been "too loud."
    Certainly, it's brooding, threatening beat will find it's natural home in dark cafes and thumping Juke boxes, or in dimly lit clubs where jungle rhythms find an irresistible affinity
    And for those who worry about these things, purple haze is what happens to a young man when the drug of love overcomes him. Or as Jimi puts it: “He likes this girl so much, that he doesn’t know what he’s in, ya know. A sort of daze, ah suppose. That’s what the song is all about.” Certainly, when the purple haze clears, it’s going to open out into the bright sunlight of the top one, two, three, four or five, ya know, ah suppose.”

    11. (9) Penny Lane/Strawberry Fields Forever - The Beatles
    15. (-) Purple Haze - The Jimi Hendrix Experience

    Saturday 8 April 1967
    BILLBOARD (Page 60) ‘Hits Of The World’ ‘Britain’ (from the UK’s ‘Record Retailer’ magazine): @ 32 ‘Purple Haze’

    [Day?] April 1967
    EVENING CHRONICLE (Newcastle) (page ?) [B&W advert for forthcoming Walker Bros tour]

    Saturday 8 April 1967
    NEW MUSICAL EXPRESS (page 12) [B&W photo, caption: ‘Relaxing backstage on the opening night at Finsbury Park, Astoria (L to R ) Jimi Hendrix, Cat Stevens, Gary Leeds and Englebert Humperdinck’], ‘Walker Surprises’ by Keith Altham: “WE WERE WELL We were well and truly blitzed with "mini-happenings" on the Walker Brothers’ Tour opening night, at Finsbury Park Astoria last Friday, when Jimi Hendrix literally set the scene alight after his guitar exploded in a sheet of flames at the end of his act.
    The curtain fell and rose again on the Walkers’ exciting act to reveal an Amazon-like fan mobbing Scott Engel and gallantly being rescued (or was it abetted?) by publicist Brian Sommerville.
    Cat Stevens wore a Stetson and gun holster to convince us all that "I'm Gonna Get Me A Gun" was just a little old cowboy song and nothing controversial, while Engelbert Humperdinck was smooth, suave and sophisticated and followed Hendrix rather like Dr. Jekyll following Mr. Hyde.
    The Walkers proved to be supreme pop stars, giving us a sensible selection of "songs to scream to" (but what a pity no one takes time out to listen to Scott Engel’s fine voice), including "Land Of A Thousand Dances," "Hold On I’m Coming," "What Now My Love," "The Sun Ain’t Gonna Shine Anymore." "I Need You, " and finishing with "Oop Oop A Doop."
    Lovable "Leeds "—the Walkers’ auxiliary drummer, gave us "Turn On Your Light" as his solo spot. He proved he still had his supporters.
    Cat Stevens looked good—in green Edwardian frock coat—sounded good, especially on "Matthew And Son" and "Here Comes My Baby."
    An intelligent variation in numbers, in which he also performed "I Love My Dog," "If I Were A Carpenter." and "I’m Gonna Get Me A Gun" rounded off a first-class performance.
    To me Stevens was the surprise packet on the show.
    Engelbert Humperdinck closed the first half and appeared the picture of sartorial elegance in a tuxedo, singing a selection of songs more obviously suited to a cabaret audience.
    This might have misfired had it not been for his professional approach and excellent stage manner. His best reaction was undoubtedly for his huge hit, "Release Me" and a fine vocal performance of "Summertime" well suited to his strong voice.
    Other numbers were "Ain’t That Good News, " "Let Me Be Yours," "Midnight Hour," "Ten Guitars" and "Jambalaya."
    The Jimi Hendrix Experience are a musical labyrinth—you either find your way into the solid wall of incredible sound, or you sit back and gasp at Hendrix’ guitar antics and showmanship, wondering what it’s all about.
    The sounds are something new—you either dig it or you do not.
    "Foxey Lady," "Can You See Me" and Jimi’s two hits "Hey Joe," and "Purple Haze," were the entire Hendrix programme.
    Finale to Hendrix’ act came about when his guitar burst into flames by "accident" we are assured, and precipitated the entrance of a security officer who sprayed detergent from a canister all over compere Nick Jones.
    The Californians’ act was all but drowned by a posse of young "ladies" seated directly behind the reviewers. The show was opened by the Quotations, who later provided brilliant backings for Cat Stevens and the Walkers.

    Saturday 8 April 1967
    MELODY MAKER, Cover & [page ?] ‘Hendrix: ‘clean act’ by Chis Welch - “Guitar star Jimi Hendrix who jumped into the MM Pop 30 this week at 15 with “Purple Haze” was warned to “clean up” his act on his tour with the Walker Brothers this week.
    The tour opened at Finsbury Park Astoria, London, last Friday and his manager Chas Chandler told the MM on Monday: “After Jimi’s performances on Saturday and Sunday night I was told he had got to change his act. The tour organisers said he was too suggestive. I think this is a joke myself and there’s not a chance of his changing his set.”
    Said Jimi: “All I want to do is play my guitar and sing. I’m bemused, I play the way I play and I can’t understand the situation at all.”
    At the opening night Jimi sustained a burned hand when his guitar accidentally burst into flames at the climax of his act.
    Writes MM’s Chris Welch who was reviewing the show: “Hendrix was lying on stage playing the guitar with his teeth when it suddenly burst into flames.
    “Jimi leapt backwards and ran off stage followed by his group. The guitar was left burning dangerously near the closed curtains, and compere Nick Jones ran and tried to pick it up, burning his hand in the attempt. An attendant rushed on stage with a fire extinguisher and put out the flames which were leaping ten feet in the air”
    [Article below: “DRUGS AND POP”]

    Saturday 8 April 1967
    CARLISLE AND CUMBERLAND JOURNAL[unpublished article] by reporter Lorraine Walsh:
    “Forty minutes before curtains up [7 April,ABC Cinema], the right hand side door was briefly opened up to allow the press in. They included reporters and photographers from the Cumberland News, the Carlisle [Cumberland] Journal, and the Newcastle Journal. Engelbert Humperdinck caused quite a upset when he ordered the senior doorman to go out on to Warwick Road and stop a street hawker from selling uncomplimentary photographs of himself taken two years previously when he was working under the name of Gerry Dorsey.
    The sea of faces pushing on the glass of the main front doors soon dissuaded the doorman from attempting to open the doors to take action on the street, and the incident was soon forgotten when Humperdinck was promoted to the star number one dressing room over the top of the bill, the Walker Brothers. They said they would gladly take the most humble dressing room and upon entering this room they all promptly sat on the floor to greet the press, as had been the procedure they had adopted on their recent Japanese tour.
    Dressing rooms four and five were occupied by the Jimi Hendrix Experience and Cat Stevens. Jimi Hendrix was the only performer to excuse himself from the press call, complaining of a swollen ankle, the result he said from a fall during his service with the army, two [sic] years earlier. Noel and Mitch did however persuade Jimi to come into the corridor to sign a few autographs…The curtain rose at 19:07 and the Quotations did a fine job of warming the capacity audience up to a fine concert ahead. Compere Nick Jones took over the mike after four numbers and after a breezy display of his unique Liverpool wit, he introduced the Californians who dazzled the audience with their fabulous Beach Boys surfing sound…Nick Jones then had the unenviable task of entertaining the fans during the four minute interval that followed.
    Soon the chants of Jimi, Jimi drowned the compere’s voice and the curtain lifted to screams of ecstasy from the Cumbrian fans. One young girl ran down the main aisle and managed to vault over the orchestra pit into Jimi’s own arms. A Carlisle Corporation bouncer named Ginger Watson gently escorted her off stage and the Lonsdale ABC echoed to the haunting sound of ‘Hey Joe’, Jimi’s opening number.
    In the following numbers only ‘Purple Haze’ was distinguishable in the screams and cries of delight from the 2,000 fans. Jimi did a good impression of making love to his guitar on stage and then proceeded to pluck the strings with his teeth, at this stage, uppity St John’s Ambulance Brigade were busy reviving young girls who had either fainted or become hysterical. As the curtain came down 21 year old Nick Jones tried to keep his composure and prepare the audience to greet Engelbert Humperdinck, only to be drowned out by the continuing screams for Jimi.”

    Saturday 8 April 1967
    DISC & MUSIC ECHO [page ?][title?] article by Jaye Harries: “I felt sorry for poor Jimi Hendrix, but I was quite impressed, considering he didn’t seem to fit in with the rest of the bill. I like ‘Hey Joe’ and it’s quite something the way he attacks that guitar. But did he reallly have to “cremate” it at he end? That burning bit was a bit naughty, I thought
    (Page?) [title?] .”- Jimi: “I am bemused by the whole thing [7 April,ABC Cinema, Carlisle]. All I want to do is sing and play guitar”[rest of text?]
    [Page ?][title?] “Jimi Hendrix lost his voice shortly before his Dee Time debut [4 April, BBC TV, Manchester] […][more text?]
    [Page ?] [title?] (1 April Ipswich, Gaumont Cinema report by [unknown]: “Gary Leeds (The Walker Brothers drummer) and Jimi Hendrix formed a mini play reading group by reciting American comic strips together.”
    “A French TV unit was at Ipswich Odeon theatre on Saturday filming Jimi’s act for a new 90-minute pop programme.” [Bouton Rouge]

    Saturday 8 April 1967
    RECORD MIRROR(page ?) [title?] unknown article: “[…] Amen Corner resident every Wednesday at London’s Speakeasy club - and Jim! Hendrix often sits In with them [...][rest of text?]

    [Day?] April 1967
    [UNKNOWN paper](page ?) [title?] Maurice King (tour promoter) : “All the Rank theatres on the tour have complained to me about Jimi’s act and if he doesn’t clean it up he will be banned from their theatres.”

    [Day?] April 1967
    [UNKNOWN paper](page ?) [title?] Chas: The incident is closed and Jimi’s act remains the same

    [Day?] April 1967
    THE NEW MUSICAL EXPRESS (page ?) [title?]: Barry Clayman (tour promoter): “The Hendrix Experience have toned down their act as requested by ourselves and by the Rank and ABC circuits

    [Day?] April 1967
    [UNKNOWN paper](page ?)[later date?]: Dick Katz (agent): It was all a publicity stunt - and it paid off!

    [Day?] April 1967
    [UNKNOWN paper](page ?): ‘Great Pop And Faint Beat’ [13 April,Gaumont Cinema, Wolverhampton,] by John Ogden: “ [...] Yet only one fainting girl was carried out. Extraordinary! And Why? Gaumont manager Mr. Joe Alexander told me after the second house. The cinema has worked out a new policy. Anyone carried out in a faint is revived, as usual, then shown the door. Under no circumstances are they allowed back in again. It started at the last concert. There were 20 fainters. This time there was one. “These girls are only exhibitionists,” said Mr. Alexander. “Once they know they won’t see any more when they faint they manage, somehow, to restrain themselves.”
    [...] Cat Stevens was a lively performer, while Jimi Hendrix played some great stuff which, in the second house, was not as appreciated as it deserved.” [rest of text?]

    Friday 14 April 1967
    CARLISLE & CUMBERLAND JOURNAL (page ?), review [title?] byAndy Park:
    “Back to Friday and the ‘A.B.C.’ theatre in Carlisle [7 April] [...] It was truly entertaining, but why, why, why, are the vocalists mikes not turned up and the guitars down?
    The show kicked off with the Beach Boy sound of the Companions [sic] Their harmony was terrific and you could hear every word.
    The Jimi Hendrix Experience were next and I noted: ‘Backing fantastic, but this is a bad intro, I cannot hear a word he is singing!’
    Then Engelbert took the stage, the girls started screaming, older people clapped, and he started what turned out to be a really professional act. He had the audience at his fingertips. Both ‘Release Me’ and ‘Midnight Hour’ brought the house down. Next came Cat Stevens, again the backing was far too loud, but his reception was good.
    Finally the stars of the show, The Walker Brothers, took the stage and with backing from the eleven piece Quotations and some clever spot light opening, they turned in a great performance. The result screams nearly raised the roof. To sum up, a great show.” [rest of text?]
    [Page ?] [title?]: [photo caption (inside boutique)]: “Girl customers howled with delight when into their miniskirt emporium [7 April,Fringe Boutique, Carlisle] walked American guitarist Jimi Hendrix and his drummer Mitch Mitchell.”

    Friday 14 April 1967
    DERBYSHIRE TIMES (page ?): ‘Release Me From This Noisy Mob!’ – [8 April, ABC Cinema, Chesterfield] review by ‘RFS’: “Jimi Hendrix and The Experience is one Experience I would rather forget. This volatile performer, who manages to look remarkably like a Negress on occasions, was completely unintelligible.”

    Saturday 15 April 1967
    BILLBOARD (Page 58) ‘Hits Of The World’ ‘Britain’ (from the UK’s ‘Record Retailer’ magazine): @ 22 Jimi Hendrix -- Purple Haze
    France’: @ 7 Johnny Hallyday—Hey Joe

    Saturday 15 April 1967
    NEW MUSICAL EXPRESS (page 4)‘Hendrix IS Out of This WorldEven his ex-Animal manager needed a split personality!’ [31 March interview]by Keith Altham
    “Out of this world” is a much misapplied phrase, but when it’s applied to that extraordinary guitarist Jimi Hendrix, it’s appropriate. Looking as incredible as anything conceived by science-fiction writer Isaac Asimov, whose work he endlessly devours, Jimi is composing some numbers of equally unearthly inspiration.
    There is one titled "Remember," about a manic-depressive, described as “raw nerves on record." another called "Teddy Bears Live For Ever," and a third concerning a visitor from another planet who decides that the human race is an unworthy animal to rule the earth and so destroys it, turning the world over to the chickens!
    Hendrix is managed by Chas Chandler, the ex-Animal, who has developed a kind of split personality to cope with the new image.
    One moment will find him the good-natured ex-pop star wearing his Lord Kitchener uniform with gold braid, and the next immaculately attired in black suit and tie as Mr. Chandler, businessman—complaining resignedly about having to buy a £2,000 mixing tape-machine instead of the Lincoln Continental his heart desires. Both Chas and his protege share a newly acquired apartment off Edgware Road, where, together with newly acquired publicist Chris Williams. I found myself last Friday surveying a room dominated by a psychedelic painting (bought by Chas while under the "affluence of inkahol" in New York), lt depicted
    A bleeding eye letting droplets fall on a naked woman.
    There was a brass scuttle from which projected a number of empty wine bottles—relics of some bygone happening, a book about vampires, the inevitable blind eye of the TV set, and an award for the Animals' best group award, "House of the Rising Sun." on the mantelpiece, together with a model cannon.
    The rest of the Chandler war souvenirs collection is yet to be installed, and the floor was covered with LPs and singles from Solomon Burke to the Beatles.
    I was played tracks for the new LP by Jimi, and after one prolonged electrical neurosis, there was a mind-shattering instrumental from the three musicians who comprise the Experience.
    As the last decibel faded into infinity, Chris produced an exercise in self-control by observing: "They play so well together, don't they?"
    Hendrix, together with drummer Mitch Mitchell, who looks like a young Peter Cook, and bass player Noel Redding, are something new in musical and visual dimensions.
    Jimi is a musical perfectionist who does not expect everyone to understand, and believes even those who come only to stand and gawk may eventually catch on.
    On a tour which boasts contradictions in musical terms like Engelbert and Jimi. he has come to terms with himself,
    "Most will come to see the Walkers," said Jimi. "Those who come to hear Engelbert sing 'Release Me' may not dig me, but that's not tragic.
    "We'll play for ourselves—we've done it before, where the audience stands about with their mouths open and you wait ten minutes before they clap."
    Originally "Purple Haze," his current NME chart entry, was written about a dream Jimi had that he was able to walk under the sea. Had the lyric been changed to make it more commercial? And was he satisfied as with the original version?
    "Well . . ." said Jimi, and there was a significant pause, "I'm constantly fighting with myself over this kind of thing—but I'd never release any record I didn't like.
    "You've got to gentle people along for a while until they are clued in on the scene.
    "I worry about my music—you worry about anything that you've built your whole life around.
    "It's good to be able to cut loose occasionally—we were in Holland doing a TV show last week, and the equipment was the best ever.
    "They said play as loud as you like. and we were really grooving when this little fairy comes running in and yells. 'Stop! Stop! Stop!—the ceiling in the studio below is falling down.' And it was, too—plaster and all," added Jimi with enthusiasm.
    "I'm getting so worried that my hair is falling out in patches." he sighed, tugging at a tuft in a hedge of hair which looks as if it could withstand a clip from a combine harvester.
    Trend Setter
    Jimi has noted that since he adopted his bush-look that a number of other stars have been following suit—Gary Leeds is the latest bristling addition on the tour. "I just thought it was a groovy style," grinned Jimi, "Now everyone is running around with these damn curls. Most of 'em are perms—but there's nothing wrong with perms—I used to get my hair straightened back on the block."
    There has been a hold-up in Jimi's first LP because of the switch to the Track label. and tapes have been damaged in the transferring of studios.
    "We're calling it Are You Experienced?." affirmed Jimi. I smiled and noted. "There's nothing wrong with that!" emphasized Jimi.
    Full of new ideas, Jimi came up with another on recording techniques. "Sometimes when I'm playing I make noises in my throat—almost subconsciously," said Jimi. "Jazz men like Erroll Garner do it a lot as they improvise. I'm going to get a little radio mike, hang it around my neck and record them—maybe I'll incorporate some throat sounds on a disc."
    Beck Flip
    Among Jimi's favourite singles at present is the flip side of the new Jeff Beck record, a number called "Bolero."
    "Beautiful guitar," commented Jimi.
    We talked of Mitch's new green suede boots—and how Mitch thinks high heels are coming back.
    "Y'know what I'd really like to do in the act?" said Mitch, his eyes alight with the gleam of inspiration. "I'd like to pour paraffin all over my drums while the guy from Premier [drum manufacture] is sitting in the audience.
    "Then, at the end of the act, I'd set fire to 'em, and up they go in flames—just to see his face."
    That was the night Jimi's guitar accidentally caught fire on stage, and "the fireman rushes in from the pouring rain—very strange!"
    (Page 8) “Hendrix ‘Publicity Stunt’” The first night of the Walker Brothers’ tour was when I started to worry. I knew where it was at when it came to specialist blues scenes, but this was in front of audiences who had come to see the Walker Brothers, Englebert Humperdinck, and Cat Stevens. All the sweet people follow us on the bill, so we have to make it hot for them. We have to hit ‘em and hit ‘em good.” [correct text? rest of text?]
    (Page 13) ‘Visit the Uppercut And Talk With Otis Redding’, with Barry Peakes candid camera’
    (Page ?) [article ?] by Alan Smith
    (Page?) ‘About the Club’ by Norrie Drummond: “Top names – Since the club opened at Christmas most of the top pop names have played there. The Who, the Move, Small Faces, Jimi Hendrix, Dave Dee and Co., Geno Washington, and many more have all appeared.”

    Saturday 15 April 1967
    MELODY MAKER (page ?) ‘WHO SAYS JIMI HENDRIX CAN'T SING? (HE DOES!)’ [interview] by Chris Welch: Jimi Hendrix can't sing! "Oo sez so?" outraged Hendrix fans will demand, at this startling statement. But before Melody Maker readers who dig the sounds of "Purple Haze," "Hey Joe" and enjoy the stage act of Jimi, Noel Redding and Mitch Mitchell reach for their red ink ball-points and search frantically for the address of Mailbag, it should be understood the statment comes from—Jimi Hendrix.
    Jimi, who came to Britain from America last year under the aegis of -Animal Chas Chandler, who is now his manager, brought tremendous excitement to the group world with a hard-hitting sound with its roots in blues and Bob Dylan laced with freak-out showmanship.
    The music is loud, deafening . . . but it has a lot of soul and invention, the terminology of the hippy, it's valid.
    Jimi is a happy, uncomplicated person, who gets his kicks from playing and has the American affinity for showmanship which Britishers find hard to adopt naturally, or even understand.
    If Eric Clapton appeared on a pop show biting a flaming guitar with his teeth, he would be regarded as a traitor by thousands of dedicated fans. But says Jimi: "I regard myself as a guitarist and entertainer," and that doesn't stop him from creating something original and remaining true his musical beliefs.
    I met Jimi at his bright and airy apartment at the top of a modem block near Marble Arch. He was listening excitedly to acetates of tracks from his forthcoming LP.
    He smoked endless cigarettes and crouched on a low stool dressed in flowery, violently coloured shirt and trousers in a sparsely furnished room. The screen of a TV set was covered in soot and hadn't been used for weeks. The hi-fi equipment was bright and new and in constant use.
    "I can't read a note of music," grinned Jimi, fingering the burnt-out wreck of his guitar which burst into flames on the opening night of his tour with the Walker Brothers.
    How was the tour going? "The bosses of the tour are giving us hell," he revealed pleasantly. "The organisers don't give us a chance to tune up before we go on stage. They say we are obscene and vulgar, but we play our act as we have always played it everywhere else, and there have never been complaints before.
    " We refuse to change our act, and the result is my amplifier sometimes gets cut off at the funniest times.
    "I wonder why? But I don't let them hang me up. I play to the people and I don't think our actions are obscene. We just get excited by the music, and carried away.
    “The thing that surprises me about the tour is the Walker Brothers. I expect them to sing all pretty songs, but they have a good variety of numbers. Cat Stevens is great too, and Engelbert Humperdinck is very, very professional. He knows exactly what he is doing.
    “It’s really funny playing for this tour. I don't know if it's like it on all tours but just before I go on I turn round and find a guitar string is broken, or I find my guitar is all out of tune after I just tuned it. I kinda don't know what to say about that. They just don't give a damn about us. But they are not getting rid of us unless we are officially thrown off the tour."
    Where did Jimi find his first hit number—"Hey Joe"—and had he heard the many other versions?
    "'Hey Joe' is a traditional song and it's about 100 years old. Lots of people have done different arrangements of it, and Timmy Rose was the first to do it slowly. I like it played slowly. There are probably 1,000 ver­sions of it fast by the Byrds, Standelles, Love and others."
    The style of the Experience seems very well formed. Was it exported from New York?
    "No, the style was formed here in England. When I first came over I was having little plays together with Mitch and Noel. Noel can play really fast bass, and Mitch—well he is one of the best drummers. He can do anything."
    Who were Jimi's influences? "Well, I like a lot of guitar players, but I don't copy. I like Eric Clapton and some of the things Jeff Beck does and that cat Vic Briggs. I was really surprised to find so many blues guitar players here. They mostly play the same style but you can sure tell the dif­ferences. Pete Townshend is very différent. He's ridiculous."
    Where is Jimi happiest playing? "I like playing clubs, but I don't want to play them for the rest of my life. We are satisfied with what we are doing at the moment, because it's playing the way we feel. I just want to make the music acceptable. It's free form.
    "I just wish I could sing really nice, but I know I can't sing. I just feel the words out. I just try all right to hit a pretty note, but it's hard. I’m more of an entertainer and performer than a singer."

    Saturday 15 April 1967
    DISC & MUSIC ECHO (page ?): [8 April 1967 ABC Cinema, Chesterfield] report [title?] by [unknown]: “[Jimi] […] had four stitches put in his foot after a fuzz box foot control broke during his show…but he was able to go on for the second house.” [rest of text?]
    (Page 8) “‘Me Vulgar? You Must Be Joking’. Says Hendrix” - interview by [unknown]:
    Jimi: “We wondered about the bill before the tour started, and it’s certainly true that any reception we get form the fans is more of an after effect…All the sweet people follow us on the bill, so we have to make it hot for them. We have to hit ‘em and hit ‘em good. Although I wasn’t scared starting my first big tour, we did wonder how they would accept us, there being so many different acts and us probably the most extreme of all. In Blackpool, the police slipped Mitch and Noel in through side doors and took me around the block five times before helping me in. I lost some hair, but I might have lost the lot if they hadn’t been guarding me!”
    Mr. Hendrix, of course, didn’t exactly endear the powers-that-be when his guitar burst into flames on opening night [31 March, Astoria], he fled to the wings, hotfoot, presumably, and the abandoned guitar came close to igniting the curtains.
    “I was on my knees at the time and the guitar had kept giving me slight electric shocks and shorting out. When it burst into flames I was kinda shocked, and that’s why I just ran off. That guitar is completely ruined - I guess I’ll hang it on my bedroom wall as a memento”
    […] “[Jimi has] completed the 12 self-written tracks for his first LP.” [rest of text?]

    Saturday 15 April 1967
    BOLTON EVENING NEWS (page ?): ‘Screaming Teenage Girls Raid Stage’ by [unknown]: “Hysterical girls fought savagely with attendants protecting the stage when the Walker Brothers starred in a pop concert in Bolton last night. Several managed to battle past the ring of security men and staff at the Odeon Theatre and get on stage, where lead singer Scott Walker had to be rescued when they clung desperately to him as he sang. In sensational scenes during their first-house performance doz-ens of screaming and weeping girls were carried or dragged to the door and thrown out. Many more had to be treated by St John Ambulance Brigade workers after they had fainted. When the Walkers came on stage the screams reached fever pitch and hundreds of fans surged forward to the stage and threw embroidered cushion, scarves, handkerchiefs and an autograph book on the stage.[...] [rest of text?]
    The girls, who thought they deserved to see the Walkers, but did not, were those who spent hours writing two petitions for a meeting with their idols. One, signed by Shirley Powell, Lynette Olsen, Andrea Olsen, and Christine Clare, contained the word “Please” written 70,000 times.

    [Day?] April 1967
    [UNKNOWN paper] (page ?)– review by [unknown]: “[…] They were followed by the Jimi Hendrix Experience, who are surely the oddest looking group to appear at the De Montford Hall [16 April, Leicester]. When I tried not to look, the sound they made was different and not unattractive.” [rest of text?]

    Tuesday 18 April 1967
    WOBURN REPORTER (page ?): ‘Teenage Tonsils At The Ready’ by Disc Spinner: “A ten-year-old boy was injured as the Walker Brothers scrambled for safety through a crowd of teenagers on their arrival at the Granada cinema [11 April]
    Bedford, Granada late Tuesday afternoon. The boy, 10-year-old Guiseppe Porcelli, of 29 Wellington Street, Bedford, was taken to hospital, but was brought back, complete with bandaged head, to see the second house of the stage show that evening. Sure enough the Granada was packed out. Some of the mums were there, some of the young ‘uns too, but for the most they were teenage girls with tonsils at the ready for a thorough and continuous screaming.
    Quite mad
    And scream they did, right from the Quotations (Walker Brothers backing group) through the Californians, who had trouble with their amplifying equipment in the first show, and going quite mad when three hirsute and weirdly dressed characters came on. I am referring to the Jimi Hendrix Experience. They began with “Hey Joe.” Jimi showed that he really can play the guitar with his teeth, and they ended with their new record “Purple Haze.’

    Thursday 20 April 1967
    BIRMINGHAM EVENING MAIL & DESPATCH (page ?) - review of 19 April, Odeon Cinema, Birmingham gig by [unknown]:[…] but the zany methods of Jimi Hendrix had a surprising appeal – especially for those who liked to hear a guitar played by tooth.” [rest of text?]

    Thursday 21 April 1967
    EVENING CHRONICLE (Newcastle) (page ?) [B&W advert for that night’s Walker Bros tour]

    Thursday 21 April 1967
    LINCOLNSHIRE ECHO (21 April) – review/interview by [unknown]: “A great guy on and off stage, Jimi Hendrix was in a very bouncy mood [20 April,Lincoln, ABC]. His opening remark was: ‘I’m gonna put a curse on everyone so that all their babies are born naked.’ A remark which he obviously thought had some deep significance. He was wearing turquoise trousers and an old fashioned military jacket trimmed with silver braid and fur.
    ‘When I was six my grandmother gave me a Spanish jacket covered with baubles, and ever since I have loved ‘freaky’ clothes,’ he explained. He described his clothes as ‘freak and funky’
    - and his wild music as a touch of blues, jazz and rock.”
    - He also agreed that some of his music is psychedelic – no real beat and a sound in which the imagination of the audience plays a large part…”

    Friday 21 April 1967
    UK (Scotland)
    SCOTTISH DAILY EXPRESS: “Jimi Hendrix [...] And a Blackpool hotel turned him away [14 April], denying that any booking had been made. But in the same city, 1,000 screaming fans took a sizeable chunk out of his luxuriant hair-style when they pursued him after the show.” [rest of text?]

    Saturday 22 April 1967
    BILLBOARD (Page 18) TOP 20 Pop Spotlights’: Jonathan King—Round Round [anti-drug song] Britain’s “Everyone’s Gone To The Moon” man is back and this vital message lyric material with a wild dance beat should fast re-establish him on the HOT 10. Arrangements and performance loaded with electricity. [They picked this cash-in nonsense, over Hey Joe!?]
    (Page 55) [full page B&W ad] Really Entertaining! ALAN PRICE SET Simon Smith and His Amazing Dancing Bear.
    (Page 56) [full page ad Red text left side, white on black on right. Left side has a Union Jack flag at the top, underneath has]: “BEST OF THE BRITISH!” [under that, in small black print in a red box has]: “5 chart oriented singles from England-hand picked & potential from… [Warner/Reprise logos here]
    [Right side has]:
    The Montanas “Ciao Baby” (Warner)
    Jackie Trent “Humming Bird” (Warner)
    Tony Hatch “Beautiful In The Night (Warner)
    Sandie Shaw “Puppet On A String” (Reprise)
    The Jimi Hendrix Experience “Hey Joe” (Reprise)
    (Page 66) ‘Hits Of The World’ ‘Britain’ (from the UK’s ‘Record Retailer’ magazine):
    @ 11 Jimi Hendrix — Purple Haze
    France’: @ 3 Johnny Hallyday—Hey Joe

    Saturday 22 April 1967
    MELODY MAKER (page ?), [title?] by [unknown]: “The Experience was mobbed at the stage door as they went into the Odeon [15 April]. Jimi lost a lot of hair to girls with scissors and Mitch Mitchell received leg injuries.”
    (page ?)[title?] “The Jimi Hendrix Experience refused entry to a Blackpool hotel where they had booked in advance, and were forced to spend the night walking around Blackpool.”
    (page ?)[title?] ‘Who Says Jimi Hendrix Can’t Sing, (He Does!)
    (page ?) interview [title?] by Chris Welch: “I met Jimi at his bright and airy apartment […] [rest of text?]
    He smoked endless cigarettes and crouched on a low stool dressed in a flowery, violently coloured shirt and trousers in a sparsely furnished room. The screen of a TV set was covered in soot and hadn’t been used for weeks. The hi-fi equipment was bright and new and in constant use.
    “I can’t read a note of music,” grinned Jimi fingering the burnt out wreck of his guitar which burst into flames on the opening night of his tour with the Walker Brothers.
    How was the tour going?
    The bosses of the tour are giving us hell. The organisers don’t give us a chance to tune up before we go on-stage. They say we are obscene and vulgar, but we play our act as we’ve always played it. … We refuse to change our act, and the result is my amplifier sometimes get’s cut off at the funniest times. I wonder why? … Just before I go on I turn round and find a guitar string is broken, or I find my guitar is all out of tune. … But they are not getting rid of us unless we are officially thrown off the tour. […] [rest of text?]

    Saturday 22 April 1967
    MELODY MAKER (cover)‘HENDRIX DOUBLE HIT BID’ by [unknown]: A new single by the Jimi Hendrix Experience will be released next month—while “Purple Haze” is still in the Pop 30.
    The title is “The Wind Cries Mary,” written by Jimi, which is released on May 5.
    Hendrix’ manager Chas Chandler told the NME on Monday: “The new single is different from anything people would expect him to do. It is so distinctive and the demand for him is so great at the moment that there is no reason why both singles should not be in the chart at the same time.”
    The groups first LP “Are You Experienced?” will be released at the end of May. The Jimi Hendrix Experience will spend most of May on a series of major promotion trips to the Continent, visiting France, Germany, Sweden, Denmark and Finland.
    On Sunday, the Experience was mobbed as they went into the Odeon, Blackpool[14 April]. Jim [sic] lost a lot of hair to girls with scissors and drummer Mitch Mitchell received leg injuries.

    Wednesday 26 April 1967
    BRISTOL EVENING POST(page ?) –review [title?] of 25 April, Colston Hall, Bristol by [unknown]: “The Jimi Hendrix Experience were completely out of place on this particular package show. Hendrix played well with the guitar behind his back, better with his teeth, and was a maestro playing straight. The group’s music was weird, exciting and inventive, but it was too way out for the Walker fans. Cat Stevens was also on the bill. His tiny voice couldn’t be heard, but he jerked and jiggled away merrily – and everyone seemed perfectly happy.”

    [Day?] April 1967
    [UNKNOWN local paper](page ?)‘Despite Objections I Made It Backstage’ review of 27 April, ABC Cinema, Aldershot by Steve Mann: “The only people I had the chance to speak to were The Jimi Hendrix Experience. Jimi, Mitch and Noel were extremely pleased with their reception, and said the crowd was one of the most enthusiastic of the whole tour. They signed about 30 autograph books, and seemed really pleased to talk to me. Janice Parsonage [fan] really enjoyed the show, and was especially pleased to meet the Jimi Hendrix Experience. She was delighted to find that bass player Noel Redding was wearing a shirt in exactly the same material as her dress! She also seems to have fallen in love with drummer Mitch, and came away from the show the proud possessor of one of his drum sticks.

    Friday 28 April 1967
    LINCOLNSHIRE CHRONICLE (page ?) Review by ‘G-Man’: “I wasn’t impressed with the performance [20 AprilLincoln, ABC] of singer Jimi Hendrix…his movements were far too suggestive for an audience mostly in the 14-18 age group. I didn’t like his music either, although the sound he made, taken from his movements, had some girls in hysterics. Jimi Hendrix opened with ‘Hey Joe’ and finished with his latest record ‘Purple Haze’.”
    Jimi: “The bosses of the tour are giving us hell. The organisers don’t give us a chance to tune up before we go on stage. They say we are vulgar and obscene, but we play our act as we have always done everywhere else, and there have never been complaints before. We refuse to change our act and the result is my amplifier gets cut off at the funniest times, I wonder why? But I don’t let them hang me up. I play to the people and I don’t think our actions are obscene. We just get carried away by the music. It’s really funny playing for this tour. I don’t know if it’s like this on all tours, but just before I go on, I turn around and find a guitar string is broken, or my guitar is all out of tune after I just tuned it up. But they are not getting rid of us unless we’re officially thrown of the tour.

    Saturday 29 April 1967
    [UNKNOWN paper (page ?), ‘JIMI BANNED’ by [unknown]:JIMI HENDRIX, controverslal
    coloured star hit trouble recently after allegations about his act on the Walker Brothers tour, has
    now been banned from Spanish TV- because of his long hair!
    Jimi was due to fly to Madrid and Barcelona in June, but plans were cancelled after Spanish authorities had seen photographs of the group.
    Said manager Chas Chandler on Tuesday: “It’s stupid. I thought we were living in 1967. I didn’t know people still behaved like this.
    “Jimi was booked for Spain by his agent, Dick Katz, but after we sent out photos for Spanish TV magazines we were told they weren’t allowed to have long-haired people on TV.”
    Added ex-Animal Chas: “I thought people were used to pop star’s long hair by now. But when
    the Animals and I were on holiday in Majorca last year we were forever being stopped and questioned by the police.”
    Jimi ends his tour with the Walker Brothers, Cat Stevens and Engelbert Humperdinck at Tooting Granada on Sunday.

    Saturday 29 April 1967
    LOS ANGELES—Monterey, scene of jazz and folk festivals, will host the first international pop music festival at the Fairgrounds, June 16-18. A unique aspect of the bash is that it is being developed by a non-profit corporation which hopes to establish music scholarships with the box-office returns.
    On the artistic side, such contemporary names as Johnny Rivers, the Mamas and Papas, Simon and Garfunkel, the Beach Boys, Byrds, Jefferson Airplane and Buffalo Springfield, are among the first acts mentioned as performers.
    On the business end, Ben Shapiro as director and Alan Parisier as production supervisor, have formed the Monterey International Pop Festival/67 organization to develop the three-day event. Producer Lou Adler is heavily involved in the event which is also considering seminars on various aspects of the music business to round out the activities.
    A steering committee of young people associated with big-beat music hopes to attract other successful acts to the festival. Working capital reportedly totaling $40,000 has been provided to launch the festival.
    (Page 16) ‘CHART Spotlight’—Predicted to reach the Hot 100 Chart:
    Lynne Randell—Ciao Baby (Epic) [etc— several others]
    ‘R&B Spotlights’
    Bo Diddley—Wrecking My Love Life (Checker)
    B.B. King—I Don’t Want You to Cut Off Your Hair (Bluesway)
    Lee Moses—Bad Girl (Musicor)
    Bar Kays—Soul Finger (Volt) [etc]
    (Page 21) [full page B&W ad] ‘Jonathan King’ “TODAY YOU’RE JUST HIGH… TOMORROW - YOU’RE DEAD” An open letter to America: I have stepped away from my studies at Cambridge University, England because I can see a frightening new evolution. Acceptance of drug taking. Teenagers, adults… grass, acid, pills, heroin, etc. Drugs are to anarchy as food is to a starving man… etc. [what a creep!]
    (Page 23) [full page B&W ad] ‘Jimi Hendrix’ [in a semi-circle above the ‘3 floating heads’ photo, and below this in ‘vibrating’ text] ‘EXPERIENCE’. ‘Becomes the Psychedelic single of this year… ANY YEAR!’“Hey Joe”. #0572 Another singles chart imperative from [Reprise logo]’
    (Page 56) ‘Hits Of The World’ ‘Britain’ (from the UK’s ‘Record Retailer’ magazine):
    @ 6 Jimi Hendrix — Purple Haze
    France’: @ 3 Johnny Hallyday—Hey Joe

    Saturday 29 April 1967
    DISC & MUSIC ECHO (page ?), ‘JIMI LOOKS LIKE BECOMING A LIVING LEGEND’ Wind Cries Mary review by Penny Valentine: “Wind Cries Mary (Track) – As popular as Jimi Hendrix is it seems odd to suddenly issue another record so quickly after his last – as good even though it is. But ours not to reason why, and certainly the record is superb.
    Let us look at the record in the light of Hendrix becoming something of legend in his field. He wrote the song himself and sings it clearly and strongly sounding oddly like Dylan. It is very slow and more gentle than past efforts. His guitar sounds prettier, the ugly lurching has gone. It is a very careful record and one rather to listen to with satisfaction than to jump about raving to. It is a record of understatement. As such it may not have immediate commercial success, but as such it is a good indication of how this man is going to expand musically.” OUT NEXT FRIDAY.
    Photo caption: “Hendrix…sounds like Dylan.”
    [Page ?] Interview by [unknown]: Charlie Watts: “Jimi Hendrix should be up there at No.1. He’s my scene.”
    Last edited by stplsd; 01-29-11 at 02:55 PM.

  16. #15
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    Re: Newspaper & Magazine Articles (Text Only) - 1960's-1970's

    Stplsd: Lots of good info. Thanks.

  17. #16
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    Re: Newspaper & Magazine Articles (Text Only) - 1960's-1970's

    MAY 1967:

    Anything in red I would please like to know, as I don’t have this information yet, thank you

    Monday 1 May 1967
    BEAT INSTRUMENTAL (page ?): [Cover photo of group, backstage at the BBC for TOTP in 1966]
    “SONG WRITERS COLUMN” by [unknown]: According to Jimi Hendrix, he was walking under the sea when he thought of "Purple Haze". But don’t worry it was all part of a dream he had. No one can see the connection between the dream and the song, but that’s his story.
    “HENDRIX L.P” [Chas Chandler interview & brief Hendrix quote], article by Ray Jones: SOMETIME around the end of the month, there'll be a debut LP out from the Jimi Hendrix Experience, which must be the loudest (and most exciting) threesome currently stampeding the clubs. No title yet for the album, but all the songs have been written by Jimi himself. Jimi is very much on a composing kick these days… Says ex - Animal Chas Chandler, Jimi's manager-producer:
    CC: "I told him one day that he sounded like a manic depressive. It was at a Press reception. So while he was answering the questions he came up with a song about
    manic-depressives. We kidded him about teddy-bears and he wrote a song about them in a car going from a hotel to the airport. [Univibes: Jimi probably wrote ‘Teddy Bears Live Forever’ on his way to Hamburg in mid March 1967 and recorded it at the end of March. Jimi signed a poster on 9 April 1967 with the words ‘Teddy Bears Never Die.’] One, 'The Wind Cries Mary', is a new and rather Dylanish sort of thing—and Alan Price is very keen on recording it. Bur so far, we've not done much about pushing Jimi's songs around to other artists —he just does them himself.”
    RJ: [Question about Jimi’s use of electronic effects on the LP]?”
    CC: "The LP? Well, there is double-tracking, but only three musicians. Jjmi uses a special fitting on his Fender Stratocaster—it looks like a fuzz-box. But it's of special high frequency and knocks the guitar up an octave for a second track recording. A bloke showed it to him when he was working in the ChislehurstCaves. Now it's been improved and has a foot
    switch and volume control. Sounds great on one special LP number, 'Let Me Stand Next To Your Fire', which is quite a number."
    RJ: “So far, Jimi's career has gone exactly as you dreamed it would. Two criticisms crop up from time to time. One: he's much too loud?”
    CC: "People who just hear the loudness are blind to what he's really doing. Certainly he isn't going to change. We've had this technical problem from time to time, but somehow it's all right now. In Hamburg, recently, we heard from a Japanese firm who specialise in amplification, and so on, and they're doing a brandnew special design for Jimi. It's revolutionary: and things can't go wrong with it. At present, he is using bigger valves In his amps to save wear and tear on them."
    RJ: “The other criticism: that his stage act is too sexy?”
    CC: "This is ridiculous. It all adds up to narrow-minded-ness. It comes from older folk who probably go to strip clubs for their kicks. Then they put pop music down. No, we're all out to build up the sheer personal excitement of Jimi."
    RJ: “[Question about Jimi’s guitars]”
    CC: “[Jimi always uses Fenders, and is hoping for a tie-up with them. He's been through six already—two stolen, two others "fogged" up on him. Always has two with him on dates. Funny thing with Jimi—he's a left-handed guitarist, but he just won't use a left-handed, specially-built instrument. Says they can't be as good because there aren't so many made. He just reverses the strings.] But recently we went to a club where there was a rather aged trio playing. Jimi felt like playing. So he went up, borrowed the guitarist's
    instrument which was strung the right way, and played it left-handed. I thought I'd seen
    everything, but this was ridiculous. Sheer brilliance. [On another occasion, Jimi
    actually fell off the stage, ending up 30 feet into the raving audience. He shed his guitar,
    chucked it on stage. Not surprisingly, the neck broke in two.]”
    Now Jimi wants a chance to take his talents back to America — it was in Greenwich Village that Chas first heard him. He was due to tour with the Beach Boys but, instead, went out with the Walker Brothers in Britain. Jimi, generally, is now very much the Londoner.
    RJ: “[Question to Jimi about group finances]?”
    JH: "[Noel, Mitch and Chas Chandler are on a share of the profits]. I worked too long as a backing-group musician for too little bread to let my own group go short. It's a hard life and the boys are very important to me."

    Wednesday 3 May 1967.
    BØRGE, (page 27) report by [anon]: “Knud Torbjørnsen and Anders Stefansen’s SBA [Scandinavian Booking Agency], has pulled off a real coup. They have booked England’s, big, new, Rhythm & Blues name - Jimmy [sic] Hendrix Experience for a concert at the Falkoner Centret on the 21st of May. Jimmy Hendrix is in the Danish charts at the moment with the song ‘Hey Joe’.”
    [photo caption] “Jimmy [sic] Hendrix Experience, Concert at the Falkoner Centret.”

    Thursday 4 May 1967
    HITWEEK (page ?) Review: 28 April, UFO gig [title?] by [unknown]: “Jimi sat at the front on the floor listening to ‘Tomorrow’s set. After the second song he stood up listening and after the third song he took away Junior’s [John Wood] bass and joined the group.”

    Friday 5 May 1967
    SLOUGH OBSERVER (page ?)– review [title?] by [unknown]: “As for The Jimi Hendrix Experience [28 April, Adelphi cinema] – yes, well it was wearing a rainbow coloured jacket and yellow trousers, Mr Hendrix and two cohorts brought a deafened audience the ‘new music’ otherwise known as psychedelic and if there was one note of music in it, I couldn’t find it. Despite this black spot in the evening, the performance was often enjoyable, always diverting and youthfully rowdy.”
    Friday 5 May 1967
    (page ?) – review [title?] by [unknown]: “Jimi Hendrix and the Experience are certainly popular [28 April, Adelphi cinema], but personally I did not like the amplifier worshipping, playing the guitar under the thigh and behind the back, throwing oneself on the floor. I liked their clothes, flowered shirts, shocking pink scarves, striped blazers and bouffant hair.”

    Saturday 6 May 1967
    DISC & MUSIC ECHO(page ?) - Interview [43 Upper Berkeley Street],by [unknown]: ‘Hendrix Is Hazy!’ [text?]
    (Page ?) interview [43 Upper Berkeley Street] [title?] by [unknown] - Mitch: [‘The Mind Octopus’ (never finished)] “should be on the second LP.” [actual text? rest of text?]
    (Page ?) ‘Jimi Joins Who At Big Festival’ [Monterey news][text?]
    Saturday 6 May 1967
    (page ?), interview [43 Upper Berkeley Street] by [unknown]: ‘Question Time – Second verdict on Donovan’
    (Page 6/10) ‘Top Singles Reviewed’ by Derek Johnson ‘The Wind Cries Mary’: “A beautiful record, the best showcase yet for Jimi’s inherent feeling for the blues. Shades of Ray Charles, Percy Sledge, and the singers own distinctive quality […] thought provoking […] a subtle flowing accompaniment, with some delicious guitar work, make this a quality blues ballad. Not normally commercial, but with his current popularity. Jimi should notch another hit.” [rest of text?]
    (Page 7) Top Thirty
    1. “Puppet on a String,” Sandie Shaw (Pye)
    2. “Somethin’ Stupid,” Frank and Nancy Sinatra (Reprise)
    3. “A Little Bit Me, A Little Bit You,” Monkees (RCA)
    4. “Dedicated to the One I Love,” Mama’s & Papa’s (RCA)
    5. “Purple Haze,” Jimi Hendrix (Track)

    Tuesday 9 May 1967
    THE DAILY SKETCH (page ?): ‘Just Wild (Parents and Fans That Is) About Jimi’ [3 April, London interview & photo’s] by Ann Nightingale:
    You might think that Jimi Hendrix would appear menacingly swinging from tree-tops, brandishing a spear, and yelling blood-curdling cries of "Aargh!"
    For Jimi, who makes Mick Jagger look as respectable as Edward Heath and as genial as David Frost, could pass for a hottentot on the rampage; looks as if his foot-long hair has been petrified by a thousand shock waves, and is given to playing the guitar with his teeth,
    When the Jimi Hendrix Experience made its first appearance in Britain a few months ago, he was immediately dubbed "the Wild Man of Borneo," and the group was referred to as "an unfortunate experience."
    And yet—his first record, "Hey Joe," went straight into the Top 10: his second disc, "Purple Haze," is currently number six, and this week his new disc, “The Wind Cries Mary" (Track), should provide him with two records simultaneously in the Top 10.
    Later this month, the wild sounds from his first LP. Are You Experienced? should have parents moaning for the quieter days of the Rolling Stones.
    The Jimi Hendrix Experience has, it seems, filled a very necessary gap in becoming the Group They Love to Hate.
    Mums and dads started to like the top pop names, but they are almost guaranteed not to dig Mr. Hendrix.
    Yet Jimi Hendrix is no snarling jungle primitive.
    Though the gold-braided military jacket over the black satin shirt could be taken as incongruous, Jimi off-stage behaves with a quiet polite charm that's almost olde worlde.
    He stands up when you enter a room, lights all your cigarettes, and says:
    “Do go on," if he thinks he might be interrupting you.
    That "ugly" image, however, doesn't worry him in the slightest. And he says: “Some of the fans think I’m cuddly, and as long as people buy my records I’ll be happy.”
    He could be laughing all the way to the bank.”

    [Day?] > 11 May 1967
    ARE YOU EXPERIENCED, back cover notes of the Barclay release, by Jean Coghe of ‘Rock & Folk’ magazine:
    “Jimi m'a défini sa musique comme étant du • Freak'n Funky • Il a
    de suite voulu associer à sa réussite Mich Michell et Noël Redding. Il se
    déclare trés content d’eux car ils jouent dans son esprit. C’est évident. La
    batterie de Mitchell es percutante à souhait; quand à la basse de Redding,
    elle complète le tout d’une façon admirable. L’intégrité, l’homogénéité du
    groupe est réelie, efficace. Jimi pense qu'il ne lui aurait pas été possible
    de réaliser l’Expérience avc des musiciens blancs américains; non qu'ils
    soient inférieurs aux Anglais, ce n’est qu'une question de mentalité et d'etat
    d’espirit nécessaires a la musique d’Hendrix…
    Le métier, Jimi l'a appris auprès des grands noms du R’n’B, qui lui
    ont apporté l'expérience, mais il déclare n'avoir guère été influencé par
    leurs genres respectifs… Son style lui est propre. Cela fait déjà plusieurs
    années qu’il se l’est crée, mais ce n'est que depuis quelque temps qu'on
    lui attache de l'importance.
    Jimi admet toutefois qu'il a été marqué par une certaine forme de blues
    dont il a tres vite donné une version • Free-Form •. Il pense — il en a le
    droit — que sa musique est bien à lui et espère que le nom de Hendrix
    sera bientot synonyme d’un style de musique, comme l’est celui de Chuck
    Berry par exemple.
    Sa dextérité deviendra légendaire. Ses doigts parcourent le manche de
    années de métier, de pratique. La guitare n’a, pour lui, plus aucun secret
    Généralement tout est improvisé. Jimi est, dans l’exécution de ses mouve-
    ments, d’une rapidité à toute épreuve; du revers de la main, du coude, il
    caresse sa guitare; bien sûr, Il a quelques trucs faciles, comme le fait de
    gratter ses cordes derrière la nuque ou entre les jambes. Mais, alors que
    chez d'autres, cela tourne au numèro de cirque, chez Hendrix, on dénote
    autre chose. Il a besoin de ces acrobaties.
    Je m’explique. Pour Jimi, la guitare c'est tout. Il m'a confié par ailleurs
    que sa guitare tenait chez lui, l’importance et la place que peut avoir une
    femme chez d'autres. J'ai alors, en toute pudeur, comparé son jeu de scène
    instinctif à l‘accommlissement de l’acte sexuel, ce qui ne l’a nullement offusqué ;
    il ne m'a guère contredit!
    Il peut jouer avec les dents, je vous affirme que ce n’est pas du bluff
    Je l'ai vu et entendu interprété ainsi le solo de • Hey Joe • : il est tout en
    sueur et plus rien, désormais, ne pourra le sortir de ce monde qu'il vient
    de se créer. Arrive alors le dernier morceau, une fantastique version de
    • Wild Thing • Déjà, entre-temps, il a plusieurs fois changé de guitare, à
    cause des cordes cassées, ou parce qu’il désirait obtenir une nouvelle
    sonorité. C’est alors qu'il atteint le sommet, le moment d’extase. Il frotte
    le manche de sa guitare contre un pied de micro puis se retournant vers ses
    amplis, il s'acharne une nouvelle fois contre eux et commence à donner de
    violents coups de reins. La sonorité atteint alors son paroxysme d'énerve-
    ment tandis que la basse vrombit, que la batterie cogne, et que les baguet-
    tes violent en éclats. Le visage hagard, il en arrive à taper de sa guitare les
    amplis qui se mettent à vaciller dangereusement. Soudain, il délaisse
    sa guitare et, comme vidé. quitte précipitemment la scène, pendant que se
    prolongent longtemps encore les effets de larsen... Grandiose, démentiel,
    suffoquant, délirant…”

    Friday 12 May 1967
    THE LEADER (page ?): ‘An Imperial Victory For Hendrix’, review [6 May, Imperial Ballroom, Nelson] by Tony Skinner:
    “He came, he saw, he conquered. That, we feel, is an apt description of Jimi Hendrix’s performance at the Imperial Ballroom on Saturday. Jimi, the most famous exponent of the new Psychedelic sound, had the packed crowd going wild at his antics with the guitar. During his 45 minutes performance he demonstrated his ability to use this instrument by playing it while holding it in his teeth, over his head and round his neck. After his act we spoke to him and found that, contrary to popular opinion, he has been a musician for some time – 12 years, in fact. He has been in England for seven years [sic] . Jimi said that he did not go on stage with any particular arrangement in mind –it just played as he went on. “I never treat the same song in the same way more than once,” he said. His favourite music comes in the Soul category as served up by Otis Redding and he enjoys playing music similar to that of his latest hit “Purple Haze.”

    Saturday 13 May 1967
    RECORD MIRROR (page ?), ‘SAVILLE REVIEW’ [7 May, London]by Derek Botwood:
    “It seems to be all the rage for groups to have a line-up of only three people. There were two such groups at the Saville last week - The 1-2-3, and The Jimi ilendrix Experience - The 1-2-3 should take a lesson from Jimi Hendrix - you’ve got to be very good musicians if there are only three of you to make the sound.
    Jimi Hendrix lacked nothing. He’s really out of sight - he gave a knock-out performance, wilder and better than ever before, with a very controlled noise - and I mean noise in the best possible sense of the word. So much so that I couldn’t even hear the sound of his fans screaming while he was playing - and I assure you they WERE screaming - despite Hendrix ‘s announcement that “Screaming fans are like a herd of little piglets squealing”.
    He played all his hit numbers brilliantly, did a great version of Bob Dylan’s ‘Like A Rolling Stone,’ and finished off his act with a fantastic wild rendering of ‘Wild Thing.’”
    Saturday 13 May 1967
    (cover) ‘TOP POP NEWS’: Elvis wedding in full, HENDRIX – FOUR TOPS
    (page ?), ‘JIMI HENDRIX’ [7 May] review by Norrie Drummond:
    “The Jimi Hendrix Experience is without doubt one of the most exciting acts in Britain at the moment, His concert at London’s Saville Theatre on Sunday was one of the most successful to be held there.
    Dressed in a red velvet suit and frilled shirt, Jimi and his group - Mitch Mitchell (drums) and Noel Redding (bass guitar) played for 45 minutes as coloured spotlights winked and flashed on stage.
    He opened with ‘Foxy Lady’ and continued with ‘Can You See Me’, ‘Hev Joe’ and ‘Like A Rolling Stone’. Then came ‘Purple Haze’ and ‘The Wind Cries Mary” before he closed with ‘Wild Thing’.
    Unfortunately Jimi had a lot of trouble with his guitar, and at one point quipped: “If Eric Clapton‘s in the audience can he come up here and tune this thing?’ I’m told he was in the audience.
    (Page ?), interview [43 Upper Berkeley Street] by [unknown]: ‘Question Time – Second verdict on Donovan’ [text?]
    (Page 7) Top Thirty
    1. “Puppet On A String,” Sandie Shaw [Pye]
    2. “Dedicated To The One I Love,” Mamas & Papas [RCA]
    3. “Somethin’ Stupid,” Frank and Nancy Sinatra [Reprise]
    4. “Silence Is Golden,” Tremeloes [CBS]
    5. “Purple Haze,” Jimi Hendrix [Track]

    24. “Wind Cries Mary” Jimi Hendrix [Track]
    (Page 8) Hendrix Live EP Monterey Fixed [text?]
    (page 13) ‘Question Time with Jimi Hendrix’: interview by Keith Altham
    THE REAL JIMI HENDRIX is now beginning to emerge from behind that skilfully placed publicity screen of early days when success was too fragile to toss in the air and see what came down.
    His retorts are more spontaneous and there is a "Jaggered edge" to some which indicates a not unreasonable impatience with those misguided people who think he is more of a freak attraction than a gifted musician.
    He is in fact an extraordinarily talented guitarist with a strikingly ugly appearance trying quite sincerely to produce songs and sounds which are reflective of today – his music – "NOW" music.
    The sub-plot to this question-time was kindly provided by drummer Mitch Mitchell on a phone aside, who was having the most fascinating conversation with the Metropolitan Water Board in connection with his stopcock!
    Now that you have completed your first major tour with the Walker Brothers, are you happy with the results?
    Sure, the tour was good experience, but our billing-position was all wrong. I was setting the stage on fire for everyone else, following those pretty people like the Quotations and the Californians. I think we deserved to close the first half – that Engel-flumplefuff hadn't any stage presence. He never got anything going. Stopped it all stone dead.
    But it was a gas, in spite of the hassles. I really learned a lot about British audiences, because every night we had two more to meet and after every show Chas and I would discuss how everything went down and ways to improve.
    It was a good tour though – one guy jumped about twenty feet from a box in the theatre at Luton on to the stage just to shake hands with us. We'd step outside the stage door where the teeny boppers were and think "Oh they won't bother about us" and get torn apart! We were good in something called Leicester, too.
    Why did you decide to change your stage numbers?
    Because I realised you can't fight the whole world at once, but we only brought in numbers that have some life of their own. We did Dylan's 'Like A Rolling Stone' and 'Wild Thing' – you can get inside the composer's mind on those things but we're not going in for any of this 'Midnight Hour' kick – no "gotta, gotta, gotta" because we don't have ta, have ta, have ta!
    Are you concerned that a second single, 'The Wind Cries Mary' has now entered the chart, while 'Purple Haze' is still selling so well?
    We never thought 'Purple Haze' would be this big. Maybe we should have waited for it to cool down before releasing 'Mary'!
    (Mitch Mitchell, experienced guitarist, is explaining very carefully to the authorities about his flooded flat on another phone in the office: "The top came off the tap and there's a jet of boiling water about six feet high hitting the ceiling and the water's so deep that we can't open the door because of the pressure and the caretaker doesn't know where the stopcock is. What was that? 'Oh dear!' is right! Yes I'll hang on.")
    Are you at all concerned that your unusual appearance will make you someone to look at rather than someone to listen to?
    Before I go on stage my road manager says to me: "Jimi, you scruffy looking git, you're not going on looking like that tonight, are you?" and I say: "As soon as I've put out this cigarette – I'm fully dressed." This is how I like it. I feel comfortable like this.
    (Meanwhile back at the stopcock! "Hello – yes. Yes I called the fire brigade but that was two and a half hours ago and nothing happened!")
    Met any nice folk lately?
    Donovan. First, when I saw pictures of this sweet little guy with the lacquered nails and all I thought "damnee," but when I met him he turned out to be really groovy. It shatters me anyone could be that nice. He's really beautiful.
    Have you seen any other groups copying the Experience?
    I haven't, but everywhere I go they tell me about one group who got up like us and the fella tried to play the guitar with his teeth and his teeth fell out all over the stage. That's what you get for not brushing your teeth I tell 'em. You can't be too careful.
    (Mitch, now slightly hysterical: "But don't you think someone should do something – I mean you can't go in the bathroom or you get scalded to death. I wouldn't mind but this is the second time this has happened in a week. Are you still there?")
    Can you tell us something about the new album?
    First off I don't want people to get the idea it's a collection of freak-out material. I've written songs for teeny boppers like 'Can You See Me' and blues things. 'Maniac Depressive' is so ugly you can feel it and 'May This Be Love' is a kind of "get your mind together" track.
    It's a collection of free feeling and imagination. Imagination is very important – there's one lyric line – "let's hold hands and watch the sunrise at the bottom of the sea" – that's just pure imagination!
    Have you encountered any deliberate hostility by the Press to you?
    There are still a few who have been obviously sent to get me. They come back to the dressing room with a kind of "let's strip him naked and hang him from a tall tree" attitude. They don't bother me too much – there'll always be someone who wants to nail you down. Most of 'em go away stoned like the guy in Glasgow.
    (Mitch in desperation on the phone: "I know it sounds funny but it's not. If you don't do something quick I'm going to have no flat – again. The caretaker? He's still looking for the stopcock.")
    Do you think you can repeat your success in America?
    The States is still very conservative – maybe the West Coast would be easier to break than New York – you can play louder on the West Coast. I like things the Mamas and Papas are doing.
    Have you thought of augmenting the group?
    No, but on the album Noel plays a £2 guitar that he bought off Alan Freeman, which is held together with bits of sticky tape and makes a great sound.
    Noel and Mitch will go great in the U.S. – they'll love them so much they won't have to wash their own socks.
    Have you changed since your stay in Britain.
    I've got older and I say more of the things that I want to say.
    (As for Mitch Mitchell – he was last seen disappearing in the general direction of Gerrard Street waving plunger and shouting, "A plumber, a plumber, my kingdom for a plumber!")
    [Page ?] KA: “Plans for the first live EP by the Jimi Hendrix Experience were announced by the group’s manager Chas Chandler this week. The record is tentatively set for release by Track in mid-June, and will feature four stage numbers associated with Hendrix including Bob Dylan’s ‘Like A Rolling Stone’ and Chip Taylor’s ‘Wild Thing.’ Six more tracks were recorded last weekend by the trio, which currently has two entries figuring in the New Musical Express Chart. Its latest waxings include a composition by bass guitarist Noel Redding, ‘She’s So Fine,’ which is being considered as a possible single”
    [Page ?]... “Are You Experienced”.. comprising 11 Hendrix compositions in addition to the title number. On this he plays piano.
    On the album Noel plays a £2 guitar that he bought off Alan Freeman, which is held together with bits of sticky tape and makes a great sound.” [not true]
    Saturday 13 May 1967
    (page ?): ‘HENDRIX TURNS ON THE HEAT’ review [7 May] by Penny Valentine: “If you could see electricity it would look like Jimi Hendrix.
    At London’s Saville Theatre on Sunday, Hendrix proved, if proof were needed, that there is no other explosive force on the British pop scene today to match him.
    He is a resplendent figure. Tall, snake like in a scarlet velvet suit and frilled shirt. His hair like a black halo round his head, his guitar like another limb to be used with his body.
    On Sunday he topped the bill for the first time to an audience wholly receptive, filled with Hendrix devotees, many of them looking more like Jimi than Jimi.
    And they were given what they asked for. The man has changed - he is now confident and entirely at ease. The first time I ever saw him play in London he stood on the stage and played, a quietly dynamic force. He said little to the audience and seemed incredibly humble. On Sunday he showed he is now feeling much more at home with his success. Cracking jokes, talking to the audience, treating the majority like long lost brothers, knowing they knew what It was all about, treating the few who he considered didn’t with perhaps a slightly mistaken rudeness.
    To his friends he smiled gently and said: ‘When I played in my backyard at home kids used to gather round and heard me and said it was cool. I wanna thank you now for making this my home. - he stood on the stage and played, a quiet dynamic force. He said little to the audience and seemed incredibly humble…he is now confident and entirely at ease…feeling much more at home with his success…to his friends he smiled gently and said, ‘When I played in my backyard at home kids used to gather ‘round and heard me and said it was cool. I wanna thank you now for making this my home.”
    Jimi and the Experience went through ‘Hey Joe’, ‘Stone Free’ ‘Purple Haze’, ‘The Wind Cries Mary’, ‘Wild Thing’. ‘Like A Rolling Stone’ with almost indecent ease. referring with wide grins to a piece of paper on which they’d written down the order of the numbers. Hendrix seemed to have trouble with his guitar under the hot lights, while he was trying to tune up he said ‘Man, is Eric Clapton in the house? Ask him to come up here.’”
    Their show was enhanced by some excellent lighting effects that made them look like jagged pieces of coloured glass.
    Saturday 13 May 1967
    (page ?): ‘Caught In The Act’ [7 May, Saville, London] by Nick Jones: “Poppers all over London were gesticulating wildly and coming out with the same old sounds: "Incredible," "Fantastic," "Ridiculous." or just plain "erotic." For the second house the theatre was plunged into a thick, haunting darkness, suddenly pierced by a single spotlight which fell onto the red-trousered Hendrix, cooly dancing in the pool of white light and then erupting into 'Foxy Lady." Lights flashed and smeared underneath Mitch Mitchell's drums while he pummelled, drove, and skipped lightly with the sound. If the group had kept up this propelling irresistible sound the audience would have taken off — but suddenly Jimi's volume and punch was shut off, his guitar wouldn't stay in tune and the rest of the evening went off at half-power, sometimes a little shaky, but with the occasional flashes of brilliance.

    Monday 15 May 1967
    BT (magazine), (page 75) ‘Kom til soul-møde med Jimi Hendrix, en troende oprører fra Mars via Cuba’ – [Come to a soul meeting with Jimi Hendrix, a rebel believer from Mars via Cuba] - article/interview by Keith Keller: “Jimi Hendrix, the concert attraction at next Sunday’s soul meeting at the Falkoner Centret, says:
    Jimi: ‘I look the way I look corresponding to my dream, that I was sent out by Fidel Castro to infiltrate the Southern Confederates lines in 1864. I’m a believer and a revolutionist.’
    The pop scene has experienced an explosion with this soul-star’s revolution. A breakthrough with the usual exponential curve, now in the charts with the Polydor singles ‘Stone Free’ and ‘Purple Haze’.
    The Style: adapted soul, not quite black, often towards the white. As the European audience prefers. Black inspiration, white stars. The accompaniment, supplied by Jimi Hendrix’ group with the name Miske [sic], on the deep zzzuuunnnnggg [an editorial mistake or sixties nonsense] “Experience”,
    The song lyrics, often by Hendrix himself, are psychedelic, man, what else. Even though one of them [Purple Haze] dealing with Jimi walking on [sic, actually under] the water, was changed not to offend [sic, actually because Chas deemed it too long].
    It is also to be noted, that Jimi Hendrix occasionally, during his loud and visually dynamic show plays the guitar with his teeth. Yes, teeth.
    Jimi Hendrix was born on the 27th of November 1942 in Seattle, USA.
    Keith Keller: “Are you] white or black?”
    Jimi: ‘I’m Cuban, man, I’m from Mars.’
    [photo caption] Jimi Hendrix has good reason to look like this.
    Monday 15 May 1967
    , (page 29)‘Eksplosive Jimi Hendrix til København’ – [‘Explosive Jimi Hendrix coming to Copenhagen’] - article by Nils Gudme: “In the last few years England has been very dominant in the pop scene. This image has now begun to change. The USA was soon back in its old position of power, on this territory.
    Last year a musician, unnoticed in America was brought to London where he had a serious breakthrough. This is all about Jimi Hendrix, who climbed high on the charts with his first record ‘Hey Joe’. At the moment the follow up ‘Purple Haze’ is among the five top selling records in England.
    On Sunday 21st of May SBA presents Jimi Hendrix at a concert held at the Falkoner Centret, where Harlem Kiddies, Defenders and Beefeaters will perform.
    Jimi Hendrix is a very unique guitarist, at the level of Eric Clapton from the Cream. Not that he is a revolutionary in the usual way, but he just plays so much and seems so in touch with the blues, that nothing has been heard like this for a long time. Jimi Hendrix sometimes plays so temperamentally, that his guitar and amplifier explodes [sic], as happened at a concert in England, last month. But then, he played his guitar with his teeth. He will probably turn out to be a wild and bloody (powerful) experience.”
    [Photo caption] Biting Jimi Hendrix looks with a mixture of aggression and scepticism from behind his two accompanists.

    Monday 15 May 1967
    EXPRESSEN, (page ?) article by [unknown]: “Jimi Hendrix looks like a cross between a floor mop and an Australian bush Negro.”

    Wednesday 17 May 1967
    BERLINGSKE TIDENDE, (page 6)‘Rebelsk pop-weekend’ – [‘Rebellious pop weekend’] - article by [anon]: “The Move is smashing television sets in the Brøndbyerne and Jimi Hendrix plays with his teeth on Frederiksbjerg. It is going to be a pop-weekend for pop fans. On Saturday the British group Move comes for the first time, and Sunday the big new name in British pop Jimi Hendrix gives a concert at the Falkoner Centret. [the rest of column 1 concerns The Move]
    Jimi Hendrix also represents rebellion, but I suspect also the more musical side of pop. He is originally American, but claims he came to England from Cuba. He is a big name in England now, his guitar playing is better than most pop people, he has more blues feeling, is more direct and artistic, and then, he plays guitar with his teeth, not his hands, teeth. And he does it better than most people with their right hand.
    His first hit record ‘Hey Joe’ is also on the Danish charts, and the new one ‘Purple Haze’ is on its way. Like Cream, the group consists of three members, drums and bass besides Hendrix. At the moment they are on a short Scandinavian tour. Hendrix will get sharp competition from the Danish American group ‘Harlem Kiddies’ with the soul singer King George, our best Danish soul group The Beefeaters, and the immortal and invincible Defenders.”
    [photo caption]: Jimi Hendrix with his two musicians
    Wednesday 17 May 1967
    , (page 5) ‘Velkommen’ – [‘Welcome’] - report by [anon]:On Sunday The World’s most sensational guitarist Jimi Hendrix and his group The Jimi Hendrix Experience will give their first concert in Denmark at the Falkoner Centret in Copenhagen. Jimi Hendrix is known for a stage show which is banned in several parts of England. Not only does he play guitar by conventional methods, but he also uses his teeth and feet.
    Latest hit: ‘The Wind Cries Mary”, is his own composition.”

    [Day?] May 1967
    DISC & MUSIC ECHO(page ?) Noel Redding telephone interview [18 May, Frankfurt] by Hugh Nolan [text?]

    Saturday 20 May 1967
    ARBETET (page ?): ‘The Best Thing That Has Happened In The Pop World Since The Stones Started Rolling’ [19 May, Konserthallen (‘Concert Hall’)] by Karre Erichs: “Just over an hour delayed – missed the plane in Kobenhavn - he landed at Torslanda (Göteborg airport), dressed in a black Manchester suit, bright-blue shirt with a green neckerchief and a golden vest, 650kg of instruments which caused trouble to the Swedish tour leader who had shown up with an American car and the usual orchestral trailer in which there was room for only about one fourth of the equipment. ‘Tages’ (a Swedish pop group) brand new touring car hastily had to turn up and help to get the equipment to Liseberg. ‘Oh, how cold it is‘, was the first thing Jimi Hendrix said, but he brightened up when he heard that Cat Stevens also would perform at the show. ‘What a surprise!’

    [Day?] May 1967
    [UNKNOWN paper(page ?)]: ‘A Nervous Cat Stevens And A Relaxed Jimi’ by Gosta Hanson: “Rumour has it that there was an argument backstage at Liseberg's Concert Hall yesterday. Who would get the honour to end the pop gala: Cat Stevens or Jimi Hendrix? Both considered themselves to be the top attraction of the evening. Well, it solved itself with Cat Stevens starting off (i.e. first of all ‘Mats and Brita’ sang - and the audience didn't like them). [...] Jimi Hendrix kept everybody waiting. (A broken amplifier had to be mended) and the DJ from Pop In, Clem Dalton, fought in front of the curtains to entertain the audience. When Jimi Hendrix finally had fixed his equipment, we all experienced a quite pleasant form of pop music - not so fierce as the rumours had told us. Instead the trio turned out to be a relaxed and amusing combination, which occasionally hovered out in howling sounds from Mr. Hendrix' guitar. Nowadays there must be a show in the pop music, too. Therefore he performed his famous tricks: played the strings with his teeth or his elbow and stroke the guitar all over his body, but an obviously true feeling for soul music forgave quite a lot of his circus tricks.” [rest of text?]

    Saturday 20 May 1967
    BT, (page 52) – Advert: ‘Psychedelic Happening’
    “Falkoner Centret Tomorrow Sunday at 8 p.m. SBA presents Psychedelic Happening.”

    [Day?] May 1967
    [UNKNOWN paper (page ?)]: ‘Jimi Hendrix and his "experience" the most absorbing thing seen on a Swedish pop stage’ [20 May, Mariebergsskogen, Karlstad] by [unknown]: “As the group has received only good reviews, the expectations were high. Many believed there would be a fiasco, like with so many other English groups. But it can be said that the group was among the most interesting and absorbing ever shown on a Swedish stage. [...] They are full of different sounds, and that is absolutely not to cover up any possible flaws. You just couldn't find any. The drummer was superb, as was the bass player. Together with Jimi's guitar playing of the highest quality, they produced a sound, which never before had been heard in Sweden. The Experience showed an unreal quality. And the audience really showed its appreciation. After the final song ‘Wild Thing’, the crowd stood up and applauded. The stage act was centered around Jimi and he really made his best … left handed. The show was really wonderfull and the guys were really funny. They showed a great sense of humour and they didn’t seem the least big-headed, because of their enormous success. Drummer Mitch Mitchell, who, by the way, has played with Georgie Fame, was interested in everything to do with Sweden. He was somewhat disappointed in the Swedish press, which writes about Jimi all the time and forgets that the group is a group and not a solo artist with a support band. [rest of text?]

    [Day?] May 1967
    [UNKNOWN paper (page ?)] (date?): ‘The Jimi Hendrix Experience gave the audience a strange experience’ by 'RoshiBobo': “[...] You sat spellbound from the first driving tones of "Foxy Lady" until Jimi threw his Fender Stratocaster away and jumped away. Jimi's guitar playing overflowed the audience like a mighty river, along with Noel's characteristic, mysterious bass-sounds and Mitch's pace keeping and suggestive drumming. Everything melted to something supernatural, surging, which wrapped the listener in a purple red fog (‘Puple Haze’). Fantastic visionary fields lay open, when you let your imagination run free. A mind expanding experience. Especially the intro to ‘Wild Thing’, the final song, had this pschedelic nature. After having enjoyed 45 minutes with Jimi Hendrix Experience one tumbled out, dazed and with your head full of music – one big ‘experience’ richer.” [rest of text?]

    Saturday 20 May 1967
    DISC & MUSIC ECHO,(page ?)‘I’m not fond of hairy men!’article by Samantha Just:
    “Heavens! Did you see Jimi Hendrix on ‘Top Of The Pops’? Didn’t he look weird? It just isn’t true!
    Now long hair’s O.K.- but his looked quite horrible standing on end like that. It was back-combed to a ridiculous extent.
    And his drummer, Mitch. Those terrible patterned towelling trousers, that striped shirt and the jacket with a map of America on it. Ugh! If that’s supposed to look nice. I give up. I don’t get it. If you’re that talented, surely you don’t need gimmicks?
    Imagine walking down the street and bumping into those three. The other guitarist looked like a girl from St Trinians! We were making so much fun of him earlier on that he took his funny little glasses off for the show.
    But wait! Musically there’s nothing at all wrong with them. Although I haven’t seen them on stage properly. It’s not very hard to learn to play an instrument. But it is hard to be a good entertainer.”
    (pages. 8—9).‘Savage Sophisti-cat!’ by Mike Ledgerwood – “Two days after seeing and meeting him in the States,” claims Chas, “I had made up my mind that Jimi could be the biggest thing in the World.”
    An incredible statement-but seemingly true, none the less. Since Jimi Hendrix, having survived such unkind labels as “savage” and “wild man”, looks set to be accepted by the pop establishment for what he is-a fine musician and an excellent guitarist.
    But when he first appeared on our TV screens. Jimi Hendrix brought cries of horror from fans and family alike. His haywire hairstyle, way-out appearance and far from good looks were not exactly endearing.
    On stage, on tour with such sedate acts as the Walker Brothers and Engelbert Humperdinck, Jimi was greeted with a mixture of awe and enthusiasm. Then his performance was described as “lewd” and “obscene.” People […][rest of text?]

    Saturday 20 May 1967
    NEW MUSICAL EXPRESS, (page 10) ‘Track by Track’ review by Keith Altham: “Hendrix is a new dimension in electrical guitar music, launching what amounts to a one man assault upon the nerve cells. The LP is a brave effort by Hendrix to produce a musical form which is original and exciting.”
    (Page 13) ‘This Way to The Speakeasy’ by Norrie Drummond [article mentions Hendrix among others] [text?]

    Saturday 20 May 1967
    RECORD MIRROR, (page ?) [Track by track review] [title?] by [unknown] [text?]
    Photograph by [unknown]

    Sunday 21 May 1967
    SUNDAY MIRROR (page ?), interview [43 Upper Berkeley St] by [unknown]: ‘The ‘Yes’ that is worth
    £50,000 pounds to Jimi’ [text?]

    Sunday 21 May 1967
    AKTUELT (page 30) ‘Jimi Hendrix med løve-manken’ – report by [anon]: “‘Jimi Hendrix with the lions mane’ is the main attraction at the concert this evening at the Falkoner Centret in Copenhagen. But others will contribute, amongst others: King George and Harlem Kiddies, Defenders and Beefeaters. The last will take part in a psychedelic happening, whatever that may turn out to be.”

    Sunday 21 May 1967
    HELSINGIN SANOMAT [newspaper] (page ?) ‘The New Madman Is Also Coming’ by [unknown]: “Why is this American ‘Powder Man’ [Negro?] coming to Finland is a question only few can answer […] he hasn’t the strength to become a myth like Dylan or Donovan. Even so, Mitchell’s drums give the music enough charm to make it fairly bearable. It seems that Hendrix wants to say something with his songs, though the time of the message is considered to have passed […][rest of text?]

    Monday 22 May 1967
    BERLINGSKE TIDENDE (page 6) ‘Elektronisk Akrobatik’ – ‘Electronic acrobatics’ – 21 MayFalkoner Centret, København review by ‘lv’: “The New Independent pop music at the Falkoner Centret’ : “The Meeting with Jimi Hendriks [sic] last evening at the sold out Falkoner Centret was the promised experience, and at the same time something of a disappointment. His trio performed dressed like a Saxon porcelain figure with a couple of Rousseau figures, and that was fun enough. It was also great to see how many different ways Hendriks [sic] was able to play his apparently despised guitar, and there was some music occasionally - but it was mostly electronic acrobatics at full speed. His rather skilled playing and screaming feedback drowned his singing completely, except in a single slow blues number, in which you could almost put him in the same class, as Lee Hooker. Hendriks [sic] is good - you know that from his records - but last night he ran amuck with his equipment. And he also performed a very old-fashioned sexual show with his guitar. Are these old rock ‘super-foulnesses’ coming back now?
    The experience was more of a meeting with the new kind of people, Hendriks [sic] and his group represent - the underground people, apparently floating [hanging freely?] in the air. But maybe it was their striped clothes that reminded us of the troubadours of the middle Ages. Popular and without compromise, is what they are today, but still not free to make a fuss. [...] Harlem Kiddies [...] Beefeaters [...] Defenders.” [rest of text?]
    Monday 22 May 1967
    (page 5) ‘Falsk etikette’ – ‘False label’ – 21 MayFalkoner Centret, København review by E. Wiedemann: “’Psychedelic happening’ was the advertisements name for the concert, which took place last night at the Falkoner Centret. The name was quite wrong. Psychedelic means something like mind expanding. The expression is used for an LSD experience and also about the music, which brings impressions like those you receive under an LSD trip. Usually this is done when the music is accompanied by colourful kaleidoscopic lightshows - a modern form of son et lumière. We have recently experienced this in the students scenes performance.
    The slides which were projected yesterday on a huge screen at the back of the stage, while the Beefeaters performed was impressive, but had no rhythmic relation to the music, and the special hallucinating effect which can be reached when the colours move all over the place and overflow the room, did not happen with this arrangement. The second part of this show was introduced with the playback of Who Are The Brain Police by the Mothers Of Invention, […] Defenders and Harlem Kiddies, showed no sense of a psychedelic happening. What a happening is should be better known. There was just no happening at the concert yesterday. Oh yes, the American guest, Jimi Hendrix’ attempt to knock over his own amplifier equipment (while a young lady [sic, probably Gerry Stickells!], partly hidden from the audience, held it up, so nothing would happen) was maybe a kind of happening, but in this case rather pathetic. The Who and the Move do this act much better. Hendrix and his two (English?) players played - with a hairy splendour, which beat even Bob Dylan - the evening’s most spellbinding music with sharp drumming and heavy rhythmic guitar play by Hendrix himself. He has so much feeling, exploiting the ultra amplified guitar in long glissandi, that it should not be necessary for him to use such old and ridiculous gimmicks, like playing with the guitar on the neck or back. Apart from a few simple rhythmic moments, before this group also became monotonously deafening, the evening was not some mind-expanding happening - neither in form nor quality.” [rest of text?]
    Monday 22 May 1967
    (magazine)(page 32) ‘Spil med hænder og fødder’ – ‘Play with hands and feet’ – review by [anon]: “Jimi Hendrix Experience is a group full of gimmicks and noise, but it is also three good musicians. It was a very entertaining sight to see Jimi Hendrix play guitar with his hands and feet. Fortunately he plays in an ordinary way most of the time, and here he showed his very original ideas about guitar playing and his great competence. There was a wonderful snap to his playing, and he used the amplifiers’ electronic sound with immense virtuosity. In a number called “Roll Me Baby” [sic, Rock Me Baby] one could hear that he is also an eminent blues guitar player. It was a pleasure to experience half an hour of performance, where everything had this very intense character. The rest of the program was not that bad either, even though Harlem Kiddies disappointed a bit [...] Beefeaters [...] Defenders.” [rest of text?]
    Monday 22 May 1967
    (page 11) ‘Hendrix - Stærk og bedøvende’ – ‘Hendrix - strong and stunning’ – review by Nils Gudme: “It is hard to say what is what with a Jimi Hendrix performance. The sound is mainly realized as sound and not particularly as music. I don’t even know whether it is music or a winning harmony that Hendrix seeks. If it was not that wild it would be camp [?]. This, of course, also includes his stage act. From records one knows how much blues music Jimi Hendrix Experience can play. It is as, on a different level, fascinating to watch the action the group express on a stage.
    Apart from his instrumental skills, Hendrix himself is a wonder of ingenuity. I do not remember having seen an instrument been played so many different ways before, behind the neck, below the knees, with the teeth, scraped against an amplifier. All together with some wild charm, an infectious spirit, and energy that remarkably do not lead to thoughts of a clown.
    The bass player Noel Redding and the drummer Mitch Mitchell too, play and look like they are both wild and mad. The drummer almost looking like Harpo Marx dressed up like a frantic rococo clown. By the way, one of the most wild and hard playing drummers I have ever heard.
    The musical base is the blues; the forms are simple and not particular varied. The whole is strange and over controlled, peculiar, blurred. The groups Beefeaters, Harlem Kiddies, and Defenders introduced the show at the Falkoner Centret with changing luck and ingenuity. Defenders being the best. Jimi Hendrix Experience was of course the main attraction, and the full house awaited with real excitement. The group seemed to be decorative, fresh, strong and stunning.”
    Monday 22 May 1967
    (page 1?) ‘Hendrix er mester’ – ‘Hendrix is a Master’ - review by ‘hej’: “With the most provocative performance ever seen on a Danish stage, Jimi Hendrix drew in a capacity crowd with his electrified sex, last night at the Falkoner. There was such a violent reaction, that his rape attempts on the amplifier and the guitar seemed to have worked organically on each individual present.
    Hendrix plays with his teeth; he simply puts the guitar strings to his mouth and bites them. The elbows are used for rubbing the strings - and in every case it is the master who is playing. Jimi Hendrix must be seen and experienced. It is true that his music is in a special class, but it is just as much his overall performance, behaviour, and appearance, which makes him a phenomenon.”

    Monday 22 May 1967
    NYA WERMLANDS TIDNINGEN (page ?): backstage [20 May, Mariebergsskogen, Karlstad] interview by [unknown] Jimi: “[Are You Experienced] will be different to anything ever heard before in The World. One song is about The Earth being invaded by space creatures, who find human beings so unsuitable for running The Earth that these visitors destroy all human life and let the chickens take over instead.”

    Monday 22 May 1967
    STUMP (magazine) (page ?): [title?] “The press conference [Hotel Vaakuna, Helsinki] was like a pop nursery where mini skirts and suckers [?] once again drank booze offered by the record company.”
    [Kulttuuritalo (‘Culture House’), Helsinki). Review] by unknown: Jimi’s show was so sexy that it was hard to write anything about it […] Jimi was like a new man compared to the TV and press conference […] when he noticed that all the Finns were not that stupid […]’” [rest of text?]

    [Day?] May 1967
    RYTMI [jazz magazine] (page ?): - article by Ilpo Saunio: “Here comes Jimi Hendrix playing pop music with a clear resemblance to the music played at Stockhausen’s concert. Hendrix uses electric guitar just like Stockhausen’s Johannes Fritsch uses viola: knocking it, scratching it, tearing it with his teeth, and finally raping it. The similarity between Stockhausen and Hendrix however only depends on the fact that his guitar playing occasionally happened to resemble the microphone and amplifier techniques used in Stockhausen’s most recent works. As a matter of fact their styles have nothing in common. Hendrix’ music is normally based on strong, solid blues.”

    [Day?] May 1967
    [UNKNOWN paper (page ?)]: ‘Mediocre Hendrix Gala’ - 23 May, review by “Bosson”: “Jimi Hendrix and his Experience were not at all as good as the advance reviews had told us. Jimi Hendrix' visit to Malmo had been preceded by joyful reports from earlier performances in Sweden. But for the large, expectant audience at Klubb Bongo [23 May], the left-handed negro with curly hair was a disappointment. Jimi Hendrix sings poorly - which he frankly admits. Not even the amps help his voice. As an instrumentalist he is better. After having heard Pete Townshend of The Who, we didn't think he was his equal, but is only one step below. Jimi Hendrix, gets an unusual amount out of his guitar, a solid and rich sound comes out of the speakers. And his prime gimmick – putting his teeth to the strings - was also a great triumph. But despite Jimi's superb treatment of his guitar the overall impact of the concert in Friisgatan, is that Jimi Hendrix and his Experience are three overrated gentlemen. Jimi Hendrix, Noel Redding and Mitch Mitchell leave behind a disappointed audience.”

    [Day?] May 1967
    [UNKNOWN paper (page ?)]: ‘Poor Arrangement’ by Karre Erichs: “Jimi Hendrix wasn't as good as at his Swedish premiere in Gothenburg the other day [23 May] when he performed at Bongo-New Orleans. However, he was not the one to blame. The electrical system in the building was too weak for Jimi Hendrix to play at "full speed". Because of that the audience – at least at the first show - didn't get much of the usual show, as the vocal equipment broke down all the time and caused trouble. It was as hot as a sauna in the small hall, where about 500 people were packed like sardines in a can. A bigger hall would have been better. I'm sure Jimi Hendrix would have wanted that, as he hardly had room for all his equipment on the small stage. Linkin Louisiana Peps New Crowd should have been there too, but they never showed up. They were paid better for playing a show in Småland, according to Bosse Johnsson at Bongo-New Orleans.”

    Thursday 25 May 1967
    DAGENS NYHETER (page ?): review [title?] by Lars Veck: “The Jimi Hendrix Experience at Gröna Lund [24 May] was a true knock-out experience With only three men Hendrix produces more sound than most pop groups and leaves The Who far behind when it comes to musical control… The introduction to ‘Wild Thing’ (which completely destroyed the original) was a master piece of electronic music, a furious sound painting of jet-plane-like effect, shots and other harder to describe sounds…” [more text?]

    Thursday 25 May 1967
    SVENSKA DAGBLADET (page ?): ‘Balancing Master Of The Guitar’ review by Ludwig Rasmusson:
    “Jimi Hendrix - at Grona Lund last Wednesday night, is probably the most advanced guitarist in the world today, not just in Pop Music, but over all – jazz, serious folk or what you like. He extends the possibilities of the guitar to the maximum, especially show wise. He plays it behind his back, between his legs, pulls the strings over the microphone stand, and plays it with his teeth.
    And it’s not only to get everyone’s attention – which he naturally gets. The fact is that this unconventional technique also creates new and fantastic sounds – and this is, of course, the most striking.
    Hendrix had his usual trio along with him at Grona Lund. The most interesting besides Hendrix himself was drummer Mitchell who reminded me much of Keith Moon and Ginger Baker, two other English Pop drummers, that we have heard earlier this year in Stockholm, but Mitchell hasn’t reached as far as them yet. He lacks their weight and ability to play the whole drum kit. But I’m sure he will learn. The trio’s exit was as fantastic as their performance. Without having finished ‘Wild Thing’ Hendrix said “Thank you” into the microphone, threw his guitar carelessly on to the floor and walked unaffectedly out.
    The loudspeakers stood alone. The near-record audience applauded enthusiastically.”

    [Day?] May 1967
    [UNKNOWN paper (page ?)] ‘Jimi Hendrix Seen By 13,000’ by [unknown]: “There was a double shock (for the audience) when the famous guitarist Jimi Hendrix entered the main stage at Grona Lund yesterday. The audience panted when they saw the creature Hendrix with the big hair. Jimi himself looked like he wanted to turn around in the doorway, when he saw all the people in front of him: 13,000 people. It was long since a pop band gathered such a large audience in Sweden. The rumour about Jimi Hendrix says he is unbelievable. Both as a musician and an exhibition piece. But the rumour hasn't told us so much about his drummer Mitch Mitchell and bassist Noel Redding. Two thin guys with fresh permed curly hairdos, floating down their faces. They are also unbelievable. Conservative newspapers wrote that Jimi hendrix is far too sexy to be shown to young innocent teenagers. The three guys made some happy jumps into the air. Then Jimi started swinging and the three guys began delivering their loud music to the audience.”

    Friday 26 May 1967
    BT (magazine), (page 30) ‘Foruroligende Jimi Hendrix’ – [‘Alarming Jimi Hendrix’] - review by [anon]: “Jimi Hendrix, who recently played at the Falkoner Centret, has finally released a follow up to ‘Hey Joe’ in this country. It’s called ‘Purple Haze’ and is even more explosive than the first, and far more personal. The guitar cries and screams and carries the listener completely away. The B-side ‘51 Anniversary’ [sic] is almost as exciting as the A-side, and the words are very original, even though the story is the usual romantic crap, (Polydor). Cat Stevens […][rest of text?]

    Friday 26 May 1967
    EKSTRA BLADET (page 23 )’Hylende Hendrix’ [‘Howling Hendrix’] by [anon]: [text?].

    Saturday 27 May 1967
    MELODY MAKER (page ?), Jimi Hendrix: ‘Are You Experienced?’ review by [unknown]: “One of the most pleasing aspects of Jimi Hendrix’s success is his refusal to be blatantly ‘commercial’. Consequently, the more ‘real‘ Hendrix music we hear, the more commercial it becomes. Although it may sound very weird and freaky to some, you can be assured that this album is, repeat, is the real Hendrix Experience. Throughout, Jimi, Mitch on the skins, and Noel on leaping bass, thunder and charge along at some hammering tempos. They change speed mid-number; stop, start, fade, fizzle, simmer and burn in a cauldron of beautiful fire. Hendrix is on searing guitar form and they come up with some extremely atmospheric, organic sounds, which have an uncanny knack of circling through your mind and blowing the top of your head off. ‘Are You Experienced?’ That is the question.”
    Saturday 27 May 1967
    (Page 11) ‘Hendrix-like’ by Alan Smith [text?]
    Saturday 27 May 1967
    (page ?), Jimi Hendrix: ‘Are You Experienced?’ review by Jeremy Walsh:
    “He should have featured a couple of more familiar songs, maybe ‘Wild Thing’ and ‘Like A Rolling Stone, for example.” [rest of text?]

    [Day?] May 1967
    CRAWDADDY, (page) ‘What Goes On’ news column article (with Track records publicity photo) by [unknown]: “Warner Brothers has signed JIMI HENDRIX and his Experience, paying Jimi more than $50,000 for his signature, the highest fee the company has ever paid for a new artist. American Jimi just had a large hit “Hey Joe”; his new single, “Purple Haze” is now on Reprise here. Jimi (see photo on facing page) is 19, and a fantastic singer and guitarist; with his sidemen (drummer Mitch Mitchell, and bass player Noel Redding) he is supposed to be one of the most powerful performers in Britain.

    Last edited by stplsd; 01-30-11 at 01:19 AM.

  18. #17
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    Re: Newspaper & Magazine Articles (Text Only) - 1960's-1970's

    Thursday 1 June 1967
    BØRGE (page 5) (21 May, København gig) ‘Farvel’ – [‘Farewell’] – review by [anon]: “One has heard it all. Jimi Hendrix is not only one of The World’s best guitarists. He is also a showman of class. He can play with his teeth. He can play with his feet - and he can make it sound good. The guitar on the back. The guitar on the head. All with charm and superiority. Even with the Move and Small Faces still sounding in the ears he makes the impression of being unique amongst idols.”

    [Day?] June 1967
    ROCK & FOLK (# 8) (page ?): ‘…UNE EXPERIENCE AVEC HENDRIX’ [includes Jimi’s first French interview? March Jimi’s hotel room, Paris] by Jean Noel Coghe: UNE EXPÉRIENCE AVEC HENDRIK
    Il y a quelque temps, Jean-Noël Coghe a eu l'occasion de suivre en tournée ce phénomène qui figure régulièrement au hit-parade anglais.
    Venant de Bruxelles. Boulogne, Lille, Londres, nous avions tous rendez-vous à Paris, dans un hótel de la rue Caumartin. Tous, c'est-à-dire dix personnes, dont Jimi Hendrix et son Expérience : Mitch Mitchell, Noël Redding. puis Chas Chandler. ex-Animals et manager du groupe, Tony Garland, leur attaché de presse, Gerry Stickles. leur « road-manager », deux charmantes anglaises, enfin Rikki Stein, producteur de cette tournée, et moi-même... Bien entendu, comme toujours, cela commença par un gag. Vendredi soir, rue Caumartin, seuls se retrouvèrent Gerry, Rikki et votre serviteur. Aucune nouvelle des autres. Las d'attendre Hendrix et sa clique. Ronnie Bird, gui était venu nous saluer, nous emmena alors visiter quelques clubs parisiens On se fit interdire l'entrée de « La Cage » : « pas de cravates ! » Heureusement, l'accueil chez Castel fut plus chaleureux... Il était très tard (ou très tôt) quand, de retour à l'hôtel. Ronnie nous quitta. Mais toujours aucune trace de Jimi Hendrix...
    Le samedi matin, cela devint critique. Avec l'aide de Peter Qouch, un Anglais travaillant dans une maison de pro­duction parisienne et è Redio-Luxembourg. la course au téléphone commença: Londres, les aéroports, le service d'immigration, le Consulat et les prin­cipaux autres hôtels de Paris : cela dura plusieurs heures : la note s'éleva à plus de 300 Fr ! Finalement, c'est Caroline (la secrétaire de Rosko) qui nous apprend que Jimi se trouve dans un hôtel de St-Germain-des-Pres. De bonnes âmes inconscientes l'avait amené là. Merci à eux...
    Le même soir, on se retrouve tous vers 22 h. Enfin ! C'est dans un club de ban­lieue que je lui suis présenté. Je pensais rencontrer un être sauvage. j'ai devant moi quelqu'un de calme, affable. Sachant que nous partons ensemble, Il m'assure qu'il fera son possible pour m'aider dans ma tàche II tint perole...
    Le premier gaia a donc lieu dans un club de banlieue. Robert Ismir le pré­sente aux spectateurs, comme il se doit : « Jimi Hendrix, l'un des artistes les plus importants et les plus cotés d'Angle­terre ». Près de nous, deux petits comiques se mettent à glousser. Jimi entre en scène. C'est parti. Les deux gars se marrent déjà moins. Quelqu'un dit : « On ne connaît pas « Hey Joe » de Jimi Hendrix mais, dans quinze jours, ils chanteront tous celui d'Hallyday ». C'est à ce moment que les gars réalisent. C'est fini. Rapidement on embarque le tout pour la Faculté de Droit où Jimi est la vedette d'une grande soirée... Là, nous devons retrouver Chas Chandler, mais aussi un public différent de celui que l'on rencontre habituellement : jeunes gens en smoking, jeunes filles en robe longue. « Les minets du seizième », lance quelqu'un,.. La salle est un immense hall dans lequel s'entassent quelques milliers de personnes. On installe le matériel à grand peine. Dans les loges, l'ambiance est pesante et tout le monde a soif. Il y a quelques filles en jupette, les Pretty Things, le photographe Bob Lampard, le batteur Bobby Clarke, Jacques Barsamian, Peter Qouch, Philippe Rault et Pierre Lattès, du « Pop-Club »... On est bien une trentaine là-dedans si ce n'est plus. Jimi est dans un coin. Étranger à tout cela, il gratte sa guitare. Brusquement arrive un ouragan... C'est l'un des orga­nisateurs du spectacle qui fait une entrée triomphale, l’air sûr de lui et autoritaire. Et pourtant, il est plus de 2 h 30 du matin. Il se dirige de suite vers Chas Chandler qui converse avec son ami Lampard, affalé sur un chase, les pieds sur la table. Le type dit d’un ton presque solennel : « Mr Hendrix, Il est l’heure », ce qui fait sourire tout le monde, à l’exeption de Messieurs Chandler et Hendrix...
    Une fois Jimji sur scène -- on l’a un peu bouscoulé, le public, parait-il, trépignant –- on s’aperçoit avec stupéfaction que le courant ne parvient plus aux amplis. Énervement du côté dos organi­sateurs. Les étudiants en droit accusent au micro. Les étudiants des Beaux-Arts, et en particulier ceux de la Fanfare, d'avoir fauché le transformateur. Le ton monte mais tout s'arrange quand même... Pour la deuxième fois, ce soir-là, Jimi apparaît en public. On s'étonne dans la salle. Face à la scène, une jeune fille blonde, vêtue d'une longue robe de couleur jaune, apeurée, se réfugie dans les bras de son ami... Ce n'est pas tous les jours qu'il lui est donné de voir de si près un Noir un peu voûté, suant, transpirant, gueulant et jouant sauva­gement de la guitare avec ses dents... Ce second show se termine. On se change et c'est le retour à l'hôtel. Il est 6 h 30. Le départ pour la Belgique a lieu à 9 h 30...
    Après un voyage et un passage de douane sans histoire, le premier gala du second jour va se dérouler au « Twenty-Club » de Mouscron, l'un des hauts-lieux de la pop-music en Belgique et que connaît particulièrement bien Chas Chandler : c'est de là qu'était partie, il y a près de deux ans, leur tournée belge. Il me semble que le show qu'a donné là Jimi est le meilleur de tous. Le club, les spectateurs, l'am­biance, tout prédisposait à sa réussite... Vêtu d'une veste militaire ou d'un costume de velours rouge, mais toujours d'une façon très libre, Jimi est impres­sionnant sur scène. Gaucher, armé d'une de ses deux « Fender », les cheveux longs et crépus, grand, légè­rement voûté, il est réellement sauvage. Avec ses deux complices. Mitch Mitchell à la batterie et Noèl Redding a la basse, il peut se permettre des choses que personne d'autre n'oserait. Le son qui jaillit de son ampli, un Marshall, est effarant. Les effets rendus sont encore plus affolants parce qu'il utilise admira­blement bien les possibilités que lui donnent sa boite de « Fuzz-Bugg » ainsi que le vibrato de sa guitare. Le voix est excellente, chaude, magnifiquement nuancée; on le sent aussi à l'aise dans l’interprétation de titres rythmés que dans les blues. Malgré tout, c'est le côté instrumental qui domine...
    [complete text? translation?]

    [Day?] June 1967
    ISKELMA (page ?) - ‘How To Get A Gastric Ulcer’ by Antti Einiö: “The plane from København came surprisingly in time [22 May Helsinki], and out of the plane came three horrible looking hairdo’s plus a bit more modest head, which belonged to moustached road manager Mr. Stickells. I did warn customs of the arriving guests, but still their mouths fell open when Jimi, Mitch and Noel appeared.”

    [Day?] June 1967
    RAVE (page ?) ‘JIMI HENDRIX reviews “ARE YOU EXPERIENCED?” LP’: “This is a very personal album, just like all our singles. Luckily they also seem to be commercial. Nine of the tracks were put together in the studio. I guess you could call it an ad lib LP because we did so much on the spot. ‘Foxy Lady’ we messed about with a couple of times and we were bouncing stuff around in our minds, because if you get a good idea you’ve got to put it down right away. We just went in and said ‘let’s see what happens.’ Maybe some of the stuff is far ahead. I don’t know but I believe the public can still understand it. We don’t compromise. I’m very happy with it, but already I can hardly wait for something else!”
    (Page ?) Interview [title?] by Alan Freeman with photographs […] I got my ankle caught in the skyhook just as I was going to jump. I told them I’d hurt my back too […] I found the guy and told him I just had to borrow the guitar back […][rest of text?]

    [Day?] June 1967
    BEAT INSTRUMENTAL: “PLAYER OF THE MONTH - NOEL REDDING” interview and profile by [unknown] : GUESS how this leading, freaky-styled, curly-haired, bass-slayer started his career? You're right, he, too, was the owner of "an old Spanish guitar". He was 14 when he first became an exponent of string strangling. Donegan was king of the popular music world and it was regarded as scandalous to skit at skiffle . . .
    School days saw our hero with a Burns Tri-sonic from which he drew music, which was, at that stage of his musical development, far removed from the sweet-soul variety.
    The scene changes to art college, and we see a bleary-eyed Noel creeping to classes at various unscheduled times, because he had been playing the nights away, on a Gibson S.G. Special. Just for the record. But the tardy Mr. Redding did not escape notice, and it
    became clear that the young man's artistic career had gone west. Shame....
    But he despaired not:
    NR: "There I was. At the age of 16, professional. I was racing up and down the country with a group called the Fugitives. We were doing quite well. But I gave myself a nervous breakdown. We hadn't been eating properly or sleeping, I stayed at home recovering, and when I was O.K. again I went off to Germany with a group called the Burnettes. That lasted one year. We went down well. It was the usual scene, hard work, good experience.
    When we came back home we broke up for one reason and another. I was out of work. I was scraping about. Then I got in with a group called the Loving Kind, in fact, I formed the group myself. We recorded, but nothing came of it. I was dead broke! Mooching about, going around to friends' houses, collecting beer bottles to get the money on them.
    Then, I saw this advert for a guitarist for the Animals. I went along, played a few things with Barry Jenkins, then ‘Chas.' came in and asked me if J could play bass. I said that I couldn't, so then he asked me if I'd like to give it a try. I said O.K., and Chas. brought his Gibson in for me to play. From that moment on I was a bass player. I used a six-string bass for a while. That made the change-over from lead easier, but I could only seem to get a trebly sound out of it. Later I moved on to the four-string.
    I'm still keeping my hand in on the ead guitar and I've played a few things on the LP tracks.
    BI : “[Question about his singing]?”
    NR: “Singing? Yes, I'm trying to improve. My voice isn't too strong, but I do my best to stay in tune on the harmony behind Jimi. But I don't think I'll be taking any lead vocals."

    Saturday 3 June 1967
    BILLBOARD (Front page & p. 10) ‘Talent’s Hstorical Foundation Fest’ by Eliot Tiegel: LOS ANGELES—The multi million-dollar line-up of talent at the first Monterey Pop Festival (June 16-18) will be donating their services free, and the monies that will be accrued from the festival will be allocated to needy persons associated with pop music and some charities. Also, talks are now being held to get the show on film for a subsequent TV showing.
    Lou Aider, one of the founders of the festival, figures that there will be about S2 million worth of talent on hand and that their action proves that today's young performers are serious peoplc who believe their music qualifies as an art form. The talent roster will include such established artists as the Mamas and the Papas. Lou Rawls, the Beach Boys, the Byrds, Simon and Garfunkel. Dionne Warwick, Johnny Rivers, the Association, Otis Redding, and the Jefferson Airplane. Also appearing will bc a score of relatively unknown hippie groups from San Francisco.
    The Monterey pop bash at the 7,200-seat Fairgrounds marks the first time that artists have elected to run a music festival. Adler said the festival had surrounded itself with a number of businessmen like managers Phil Turetsky and Adler and John Phillips, of the Mamas and the Papas, who is another director of the festival, are holding the talks wilh film companies about shooting the event in color with the finished print to be sold to a TV network as a special. If the film is "artistic enough," Adler said, "¡t could be developed as a full-length picture."
    Although several reeord companies have queried the festival about taping performances, the Organization has shied away from granting recording privileges because of the problems of artist clearance and union fees.
    To Be Polled
    Adler said all participants will be polled after the event to ascertain where the money should be spent. Adler said it was not inconceivable that music grants or scholarships could be established in the name of the pop festival. The San Fran­cisco Diggers, a self-help hippie Organization from San Francisco has been promised some help.
    "We are running this festival as a non-profit foundation set up by artists in the name of pop music," Adler said,
    "People don't think of pop music as an art form. They think of it as single records. It needs an artistic image. It's more than just a business."
    Other acts scheduled to appear are the Who,-Jimmy Hendrix, Mike Bloomfield, Thing, Big Brother and the Holding Company, the Blues Project, Booker T and the MG's, the Buffalo Springfield, Paul Butterfield Blues Band, Canned Heat, Country Joe and the Fish, Grateful Dead, the Impressions, Hugh Masakela, Steve Miller Band, Layro Nyro and Quick Silver and the Messenger Service.
    (Page 66) ‘Hits Of The World’ ‘Britain(from the UK’s ‘Record Retailer’ magazine): 9. ‘The Wind Cries Mary’, 16. ‘Purple Haze’

    Saturday 3 June 1967
    MELODY MAKER, (page 2) ‘Jimi a Hit in Sweden — Refused Hotel Room’ by [unknown] Jimi Hendrix Experience broke all box office records at Stockholm’s TivoliGardens last week. They drew 18,000 people, the largest crowd ever.
    But they were refused a second night's stay at their hotel in the city. The management of the hotel—where they had already spent one night refused to let them stay another claiming their booking was for one night only. They tried thirty hotels in Stockholm but none would take them and they were forced to fly on to Copenhagen earlier than scheduled.
    Said Jimi: "It seems that people in Scandinavia just aren't ready for the way we look. The kids are great and the concerts have been much more successful than we could have expected for a first visit."
    In Helsinki, the group were refused admission to two clubs after their concerts.

    Saturday 3 June 1967
    (Page 5) Britain's Top 15 Lps
    1. The Beatles, Sgt. Pepper's Lonely Hearts Club Band (Parlophone)
    2. Soundtrack, Sound of Music (RCA)
    3. Jimi Hendrix, Are You Experienced (Track)
    4. Monkees, More of the Monkess (RCA)
    5. Dubliners, A Drop of the Hard Stuff (Major Minor)
    6. Lulu, Lulu! (Ace of Clubs)

    Thursday 8 June 1967
    JET [a magazine aimed at “black” readers](page 28) ‘Paris Scratch Pad’ by Charles L. Sanders: All of the "great musicians" who used to laugh at little Jimi Hendrix when he was trying to learn guitar, and all of the Greenwich Villagers who used to poke fun at him because of his "Wild Man of Borneo" get-up (long, long hair and way-out clothes), may not find this a laughing matter. After arriving in London just six months ago with nothing but the clothes on his back, Jimi's at the top of the British record charts (with two hits, ‘Purple Haze’ and ‘Hey Joe’), has just been handed a $150,000 check to sign with Frank Sinatra's Warner-Reprise record label, and is in line for about a million bucks from a five-year con­tract. Now he's laughing at himself—all the way to London's Barclay's Bank . . .

    Friday 9 June 1967
    EKSTRA BLADET (page 26) ‘Som at blive ramt i maven af ekspres’ by [anon] [text?]

    Saturday 10 June 1967
    BILLBOARD (Page 55) ‘From The Music Capitals of The World’. ‘Hamburg’ by Wolgang Spahr: Jimi Hendrix (Polydor) is in Europe for appearances in Berlin, Munich, Frankfurt, Goteborg, Karlstad, Copenhagen, Malmo, Stockholm, Kiel, Hamburg and Herford . . .
    (Page 58) ‘Hits Of The World’ ‘Britain(from the UK’s ‘Record Retailer’ magazine): @ 6 ‘The Wind Cries Mary’, & @ 20 ‘Purple Haze’

    Saturday 10 June 1967
    DISC & MUSIC ECHO (4 June Saville, gig), ‘HENDRIX: impact of a 50-megaton H-BOMB!’ by Hugh Nolan: “A packed Saville Theatre audience erupted on Sunday night as Jimi Hendrix announced that this would be his last gig in Britain ‘for a long, long time’ - and then proceeded to smash a beautifily-painted guitar and hurl the pieces into the clamouring crowd.
    It was the highpoint of Jimi’s meteoric rise to fame in this country - and of a superb night’s exciting sounds at the Saville, with a bill which included current chart-toppers, Procol Harum, and a mind blowing set from ex-Moody Blue Denny Lame and his Electric String Band.
    But it was Jimi’s audience and Jimi‘s night. In all the scenes of wild acclaim with which Jimi Hendrix and his Experience have been greeted since they first exploded onto our rather tired ears none equalled Sunday’s, when after a raving and tumultuous set the whole audience rose to it’s feet.
    He started his set with a driving version of ‘Sgt. Pepper’s Lonely Hearts Club Band’ - a nice tribute from three fine progressive musicians to today’s leaders of progressive sounds.
    Then he blasted out ‘Like A Rolling Stone’, ‘Hey Joe’, ‘Purple Haze’, and ‘The Wind Cries Mary’ - all played with as much force and drive as he’s ever played with before, despite long hold-ups because of trouble with his amplifiers.
    Throughout the whole set Jimi kept up a constant stream of happy talk, achieving a fantastic sense of communication with the star-studded audience, Despite the amplifier hang-up he refused to be flustered, telling the audience [Jimi]: ‘This is our last gig here for a long time so we ‘re gonna make it nice!’
    Then, to a smashing, ear splitting ‘Are You Experienced’ Jimi was handed a guitar from the wings - a guitar he‘d painted in glorious swirling colours and written a poem on the back dedicated to Britain and it’s audiences - and bathed in a flickering strobe light, crashed the guitar about the stage and hurled what was left of it to eager souvenir-hunters in the audience.
    If he ever returns to Britain or not, Jimi Hendrix can be sure that things will never be the same again here since his Experience hit town with all the impact of a 50 - megaton H-Bomb.”

    Saturday 10 June 1967
    MELODY MAKER(page?) [title?], [4 June Saville, gig review] by Chris Welch: “It should have been such an exciting event … but there was little magic about the Procul’s set, while the Jimi Hendrix Experience teetered on the brink of disaster.
    Jimi Hendrix made a tremendous initial impression, Dressed in brilliantly coloured clothes, Jimi roared into ‘Sergeant Pepper’s Lonely Hearts Club Band’, while Mitch Mitchell’s drums lit up with flashing coloured lights, high on a special rostrum.
    Then came the first of long delays while microphones were fixed, The audience were so keyed-up they didn’t mind that road managers nipped on and off stage attempting running repairs.
    The group soldiered on with ‘Foxy Lady’ and ‘Like A Rolling Stone’, then came a mammoth breakdown when the amps blew and for minutes on end there was no music, Mitch, who had been playing wonderfully well, filled in with a drum solo, while bassist Noel Redding chatted chirpily to the audience.
    After the troubles had been sorted out Jimi remarked: ‘I feel like getting nasty’, - and launched into ‘Manic Depression ‘followed by ‘Hey Joe’, ‘Purple Haze’and ‘The Wind Cries Mary’. Running half an hour over time the group concluded with a freak-out of guitar smashing by strobe light. Bit’s of the guitar were then thrown into the audience for collectors, while Mitch’s drum stand was left in a state of collapse. Own up lads, who needs all that?
    (Page ?). ‘Blind Date: Jimi Hendrix Reviews Singles’ Strange Brew, Ooh, that’s nice. … It has a strange sort of West Coast and San Francisco sound. I like this record because I like the way he plays anyway. … It sounds very nice to me, but I don’t know about the little kiddies. The Cream shouldn’t worry because they are playing what they like.” [rest of text?]
    (Page ?) Advertisement for Are You Experienced
    (Page ?) Article about forthcoming festival: ‘IT’S HAPPENING IN MONTEREY’ by[unknown][text?]

    Saturday 10 June 1967
    NEW MUSICAL EXPRESS (Page 5)Britain’s Top 15 LPs
    1. Sgt. Peppers lonely Hearts’ Club Band, The Beatles (Parlophone)
    2. Sound of Music, Soundtrack (RCA)
    3. Are You Experienced, Jimi Hendrix (Track)
    4. More of The Monkees (RCA)
    5. A Drop of the Hard Stuff, Dubliners (Major Minor)
    (Page 8) [4 June Saville, gig]: ‘BAD SHOWS BRING JIM DOWN’ – by Norrie Drummond:
    “James Maurice Hendrix, day-dreamer, drifter and guitarist extraordinaire peered round the door of his London flat and recognising me released the bolt and invited me inside. He pulled on a shirt and a pair of trousers, woke up his manager Chas Chandler and put a copy of "Sgt. Peppers Lonely Hearts' Club Band" on the record player. The flat, which Jimi Hendrix shares with his manager, is tastefully furnished with long couches, leather armchairs, a teak coffee table, original paintings and the latest hi-fi equipment.
    Jimi wasn't really in the best of spirits when I met him. The previous evening his concert at London's Saville Theatre had been plagued with amplifier problems and it was still worrying him.
    Man, it really brings me down when these amps don't work," he said lighting, his first cigarette of the day, "and they were new ones, too." Manager Chandler entered the room bearing cups of coffee. "Despite troubles it was still a great show," enthused Chas, "but you should have seen them in Sweden."
    Broke record
    Jimi and his group had just returned from a tour of Sweden and Germany and Chas informed me that at one date in Sweden the group had almost dobled the previous record, set by the Beach Boys. "We'll definitely be going back there when we come back from America in July," he said.
    I asked Jimi how he felt about returning to his native America after a highly successful year in Britain
    "I don’t really think we’ll achieve as much success there as we have done here,” he said, “We have been told that we'll do well but I'm not sure that we will be accepted as readily there.
    "In America people are much more narrow-minded than they are in Britain. If they do like us—great! If not—too bad! In the States the disc-jockeys stopped playing 'Hey Joe' because people complained about the lyrics."
    Before he arrived in Britain Jimi travelled all over the United States. "I was a drifter. Sometimes I worked, sometimes I didn't."
    He feels that he could—if he was forced to—return to that type of life. "We play the type of music we want to play. At the moment the public likes it—but their tastes change. Then I would like to produce someone else's records. But whatever happens just happens. Who knows?"
    Many people have the impression that Jimi Hendrix is moody and introverted but he is not. Certainly compared to many other pop artistes he is quiet, but once he starts talking about something which interests him—mainly music obviously—he rambles on at great length.
    "I know that people think I'm moody," he admitted, "but that's only because I'm thinking of music most of the time. If I suddenly clam up it's because I've just hit on an idea."
    I asked what his main ambition in life is. "Oh," he sighed thoughtfully, "that changes a hundred times a day. I really just want to continue playing and recording what gives me pleasure. What we play is straight from us. I don't ever want to have to bow to commercialism."
    Three entirely new forms of British pop music were brought together on Sunday evening for one of the most exciting shows to be staged at London’s Savillie Theatre. Three first-rate acts - all of them attempting something new, all of them original and very interesting.
    The Jimi Hendrix Experience - raucous, earthy and brilliant,’ the Procol Harum - Britain’s most talked about group at the moment - and the first major appearance of Denny Lame with his Electric String Band.
    Both performances, not surprisingly, were completely sold out.
    Hendrix - despite amplifier trouble - was as dynamic as ever. If anything his act was better than usual, He worked harder to compensate for the hang-ups, closing with a vicious and extraordinary smash-up.
    His opening number - a potted version of ‘Sgt. Pepper’s Lonely Hearts Club Band’ - amused Paul McCartney, who was sitting in Brian Epstein’s box, he continued with ‘Hey Joe’, Foxy Lady ‘Purple Haze’ and a string of other numbers before an explosive finale”

    Saturday 10 June 1967
    RECORD MIRROR, (4 June Saville, gig): "Paul McCartney and Jane Asher, George and Pattie Harrison,
    Mr. and Mrs. Charlie Watts, Mr. and Mrs. Spencer Davis, The Troggs, Graham and Rose Nash, Terence Stamp, Adrienne Posta and Peter Asher among personalities at Saville Theatre concert last Sunday."

    Monday 15 June 1967
    BØRGE (page 30) ‘Wishful Hendrix’ – report by [anon]: “’Wishful Thinking’ drummer Brian Allen had to concentrate so much on singing on the groups hit ‘Count To Ten’, that he could not drum at the same time. Mitch Mitchell from Jimi Hendrix Experience took over his seat for the recording.”
    (Page 39) ‘Er Danmark også poptræt’ – ‘Is Denmark also tired of pop music?’ – opinion: “...I do not think the new groups like Cream and Jimi Hendrix will make it. Their music and performance is too noisy (says Karl Emil Knudsen)...
    ...Groups like Jimi Hendrix and Cream have renewed beat music and boosted confidence amongst Danish groups like the Defenders-. (Says Johnny Reimar)
    (Pages 36-37) [picture captions] “Finally came the beat music, we have been waited for. Name: Jimi Hendrix ***His concert in Denmark showed it***

    Saturday 17 June 1967
    BILLBOARD (Page 49) ‘Hits Of The World’ ‘Britain’: 8. ‘The Wind Cries Mary’, 30. ‘Purple Haze’

    Saturday 17 June 1967
    DISC & MUSIC ECHO, (Page?): [advert?] by [unknown] [Recording on 28 September at ‘The Upper Cut’, London for the ‘Radio London Discovery Night’] “Jimi, Lulu, and Cat Stevens will be among the judges.” [original text? rest of text?][Whether Jimi actually went is unknown].
    (page 14) ‘Clapton: Everybody’s obsessed with Hendrix’ interview by Mike Ledgerwood
    “Says Eric Clapton, generally regarded as the best guitarist in the country: “It’s a big bring-down for me to be in this country at the moment. Everybody’s obsessed by Jimi Hendrix – and if anybody else dares to play a blues guitar phrase they’re accused of copying him!
    ”But I don’t think it’s his guitar-playing that’s really impressing people. It’s his mere presence there before them. Fans can be so very narrow minded in this country. They seem incapable of liking more than one person at a time.”
    (Back page - 16) [photo backstage at the Saville 10 June, with love-heart painted around navel, smoking a cigarette] interview by [unknown]:
    HENDRIX, wild man of pop, reveals what makes him tick—like a time bomb!
    ‘I always think how lucky I am that people like what I'm doing enough to buy my records’
    With that, the wild-looking and very hairy Jimi Hendrix laughed, tugged at those very wiry locks, and showed just what happened.
    And preparing for any show means that Hendrix has to have that thick shock of hair looking violently
    Jimi just combs it upwards very firmly, never back-brushing. English water, he says, also makes his skin very dry, especially his hands—though he added that this had also happened in America.
    Hendrix is like that; although violently aggressive on stage, he is exceptionally quiet, polite, gently-spoken and sincere when off it.
    Saying he loved London—a traditional tourist phrase—he was quick to add: "I'm not just saying that . . . it's the little streets and all those little shops, the little things that I love."
    He was wearing a lavishly embroidered, and vividly coloured jacket. "I don't like taking it off." he smiled shyly, showing all the other exotic looking suits that are his group's stage wear—and cost £15-a-time to clean!
    "I like clothes that are unusual," he said. "Not necessarily ugly and different — I don't like ugly clothes.
    "If there’s something I want, something I would really like to have, I buy it. The price doesn't matter . . . it could be 30s. . . . or a lot of money."
    'Lighting his last cigarette, a Benson and Hedges, he admitted that he was worried about two things that afternoon.
    First, he was having to sing live against a backing track on the TV show.
    "That's artificial. I can't feel the music when it's like that—that's why we play so loud . . . so we can feel it."
    Secondly, he had a recording session after the show. And that is always worrying because Hendrix never works a song out until he is actually there in the studio.
    The idea for "The Wind Cries Mary" came when they were on stage, tuning up. Mary herself is a friend of Jimi's.
    “She’s a girl who is slightly taken to talking about me to her friends, you know . . . one moment she will talk about me like I was a dog, and the next moment she says the complete opposite . . . but she is a nice girl underneath."
    He grinned: "We did that number in about two takes. . . we never do more than four or five takes in a recording studio . . . it's too expensive!"
    It they are supposed to be writing a song and recording it on the spot, and run out of ideas. Jimi and the two other members of his group the Experience — Mitch Mitchell (drums) and Noel Redding (bass)—Just take a five-minute break.
    "We will go and sit somewhere outside and fast talk about anything except music. . . tell a few jokes and chat.
    "Then we usually manage to think of something when we start again."
    Jimi loves his music, especially playing live, when he can feel the way an audience is reacting to his playing.
    "You can usually tell how a show will go about half-way through the first number," he says. "it sounds selfish, but you are playing for yourself . . . I always think like that . . . it wouldn't be the same if I went out there playing just for other people.
    "I always think how lucky I am that people like what I'm doing enough to buy my records because I haven’t set out to produce a commercial sound.
    "I don't even know what a hit record sounds like. Those two records just came to us . . . I'm convinced it was luck. . . .”
    About his stage act itself, which is—to say the least—extrovert, and has brought complaints from the police and from theatre mangements, he is not one bit repentant.
    "I don't pay any attention to people like that,” he says. "I mean, they hired us for our act—and people are paying to come and see us. O.K., so the act may have sex in it—but my feeling is that I play the music and act whichever way it goes,
    "If someone criticises my music—well, it depends who it it is . . . if they don't understand it, this may be because I am two years ahead of them, or it may be that I am two years behind!
    "The police? Well, I don't like it when they're bad with the fans.
    "Sometimes, the police have helped us. When we were in Blackpool, they slipped Mitch and Noel in through side doors—and took me round the block five times before helping me in.
    “I lost some of my hair— but I might have lost the lot if they hadn’t been guarding me!"

    Saturday 19 June 1967
    NEW MUSICAL EXPRESS (Page 5)Britain’s Top 15 LPs
    1. Sgt. Pepper’s Lonely Hearts Club Band. The Beatles (Parlophone)
    2. Sound of Music. Soundtrack (RCA)
    3. Are You Experienced. Jimi Hendrix (Track)
    4. More of the Monkees. The Monkees (RCA)
    5. Fiddler on the Roof. Topol and London Cast (CBS)

    EASTVILLAGE OTHER(page ?) [18 June Monterey] review
    [title?] by Sam Silver: “Jimi did a beautiful Spade routine [...] socked it to them […][text?]

    LOS ANGELES TIMES(page ?) [18 June Monterey] review [title?] by Pete Johnson: “Hendrix, Mitch Mitchell and Noel Redding were the rage of England in that summer of love and psychedelia, but had yet to play the United States and thus were no than a rumor to most of the Monterey crowd. Their appearance at the festival was magical: the way they looked, way they performed and the way they sounded were light years away from anything anyone had seen before. The Jimi Hendrix Experience owned the future and the audience knew it in an instant. When Jimi left the stage, he graduated from rumor to legend."

    Wednesday 21 June 1967
    SAN FRANCISCO CHRONICLE (page ?) 18 June, Monterey review [title?] by [unknown]: “Jimi Hendrix, the young guitarist from Seattle who came from London with his new group, is a remarkable guitarist and a good singer but his act, like The Who is show biz. He sang some unoriginal material, did ‘Like A Rolling Stone’ rather badly and ended his part of the show by pouring lighter fluid on a cheap guitar [actually a Stratocaster Jimi had painted specially for the occasion] and kneeling on the stage while it burned. I yawned.”

    Friday 23 June 1967
    BERKELEY BARB (page ?) 18 June, Monterey review [title?] by [unknown]: “Hendrix is a fine musician, working with a beautiful blues voice and exotically complex electronics. [actually only a fuzz pedal!] He plays absolutely every part of the guitar with every part of his body, and to the extent that he resorts to gimmickry (playing with his teeth and behind his back) it only seems to demonstrate his complete control over the instrument.” [complete text?]

    Saturday 24 June 1967
    BILLBOARD (Page 54). . . . Barclay has signed a five-year contract with Mike Jeffries’ Yameta Productions for the distribution in France, Belgium and Switzerland of Yameta artists who înclude Eric Burdon, Jimi Hendrix and the Soft Machine----
    (Page 55) ‘Hits Of The World’ ‘Britain’: 15. ‘The Wind Cries Mary’; 42. ‘Purple Haze’

    Saturday 24 June 1967
    RECORD MIRROR (page ?) [title?] Ginger Baker interview by Norman Joplin: [How would you compare Clapton & Hendrix]? I don’t just think Eric’s better than Jimi – I think he’s in a different class altogether. Jimi is first of all a showman [rather] than a musician. But Eric is a musician first.
    Letter by David Bowie: I was treated to a proverbial feat of journalistic insanity in last week’s review of the Saville show. [by Derek Boltwood]… Like a can of knowledgable Windowlene, he wiped off the cloud of mystery surrounding Jimi ‘out of sighjt’ Hendrix and 123. How, I ask myself, could the 123, with their chromiatic [sic], quarter-tone and chordal harmonies, hope to compare with the ethnic, emotion-filled E chord of Mr H? Why should they think that open harmony and subtle colouring could hold a light to the volcanic battery of one’s senses and involved tongue-wiggling from the tentacle –headed flower show from Greenwich Village?

    Saturday 24 June 1967
    FABULOUS 208, article by [unknown]: “The day began for Jimi Hendrix in a rough-and-tumble exit from a modest hotel to the theatre in Birmingham where the coach was about to leave for Lincoln [20 April,ABC cinema]. Another day, another show.
    Jimi sank into a place half way down the coach. He tried to appear ordinary, as disbelieving faces surveyed him from a nearby building site. Since he was dressed in a fur trimmed jacket from The Crimean War and resembled a lion and his tamer all rolled into one, this was a somewhat difficult exercise.
    Behind him Mitch and Noel newly emerged from a visit to the joke shop, occasionally let off smoke bombs and disappeared behind a purple haze. A normal day for The Jimi Hendrix Experience. On the journey, Jimi thoughtfully chewed matchsticks and fiddled with a red rubber nose from which a Can-Can dancer’s shapely leg spasmodically kicked. But mostly, he looked through the window and let ideas run wild in his mind. These are the precious moments when an artiste has time to think.
    There was the inevitable stop at the motorway caf’, the weary search for a hotel when the coach arrived, the inspection of the new dressing room. Then the long, long hours at the theatre until it was time to creep on stage […] primitive, earthy, strange […][text?]
    “A score of girls rushed the stage. The Experience fled to their smokey dressing-room and collapsed. And soon it was over. Another day, another show, another coach to catch.”

    Saturday 24 June 1967
    NEW MUSICAL EXPRESS, (page 5) Britain’s Top 15 LPs
    1. Sgt. Pepper’s Lonely Hearts Club Band, Beatles (Parlophone)
    2. Sound of Music, Soundtrack (RCA)
    3. Are You Experienced, Jimi Hendrix (Track)
    4. More of the Monkees, Monkees (RCA)
    5. Fiddler on the Roof, Topol and London Cast (CBS)
    (Page 6) Hendrix Radio [The Bee Gees, Lulu, the Attack, and Jose Feliciano][text?]
    We drove to London Airport in Animal manager Mike Jeffries' Rolls Royce while he dictated a few last minute instructions to assistant Tony Garland- "Ring Brian Jones and ask him if I can have my record player and LPs back." We picked up Jimi Hendrix and manager Chas Chandler at their flat and continued to the Airport where Jimi ransacked the book stalls for a science fiction novel.
    The strange thing about Jimi is that everyone looks at his incredible appearance with a mixture of surprise and amusement but those who take the trouble to say "Hello" - like the elderly gentleman at the Passport Control- find him charming and conversational.
    Jimi makes friends quicker than most people make enemies. The air hostess on the TWA jet we took was apparently delighted with her unusual charge and spent some time sitting next to him and talking about beat groups.
    On the plane over, the main source of amusement were the various taped music channels played through earphones and every so often Jimi would throw up an assortment of fingers indicating a new delight on a particular channel. He seemed to get a perverse enjoyment from Bing Crosby – Al Jolson and Durante. But more genuine was his interest in the Bach tapes.
    Arriving at KennedyAirport we were met by a long sleek black Cadillac and station WMCA on the car radio featured Spencer Davis extolling the virtues of milk shakes. Without pausing to check in at the Buckingham Hotel, Jimi shot down to the Colony record centre, just off Broadway, and bought half a dozen LPs, by people like the Doors and The Mothers Of Invention. He must have music in his room the whole time.
    In the evening we visited Jimi's old stamping ground, the Village, which looks rather like Soho with all the roofs off and the people spilling out into the open. Jimi pointed out the Club Wha where he used to gig with
    people like Dylan. We ate at a restaurant called The Tin Angel, met a couple of the Mothers, and moved on to the A Go Go Club where we stumbled on what, as far as I'm concerned, was a phenomenon.
    The man concerned is a folk singer called Ritchie Haven. He sings with every nerve, emotion and feeling in his body until the sweat runs down his dark face and forms drops which glisten on the edge of his beard. He sings of love and war and hate. Occasionally he breaks into light conversation with the audience, of things that matter. "I see they've stopped that war in the Middle East- I'd like to know what we have to do to stop the one in Vietnam." Someone in the audience suggested: "Send over 12 Israeli
    Some people believe that Ritchie may one day rival Dylan. "He's worth listening to hard," said Jimi, and I heartily endorse that. Walking round on the outskirts of the village with Jimi dressed in multi-coloured floral jacket, white trousers, emerald green scarf and gold medallion embossed with the words "Champion Bird Watcher" we discovered he had obtained the honourary title of "the man most unlikely to get a taxi in
    New York." I'd like to say a word about New York taxi drivers, but I can't think of one rude enough.
    Today brought Eric Burdon and a trip up the river Hudson in the evening with millionaire Derring Howe- a friend of Chas- in his yacht- The Egg And Us. Also aboard was the Young Rascals drummer- Dino Danelli.
    Somewhere along the festivities we lost Eric who reappeared around 6 am informing us he had been to "Hell's Kitchen"- one of the more notorious New York areas. In spite of the lack of success of "When I Was Young" in England (it reached number 15 in the US charts) Eric firmly believes it was his best record. "I've put the old blues scene right behind me," he told me.
    We left for San Francisco and our departure was marked by one of those spectacular last minute appearances by manager Mike Jefferies who appears dramatically everywhere at the last minute and disappears just as dramatically. Jimi had a little sulk when he discovered I had left his "Mad" magazine in my room at the hotel, but he got over it. We stayed overnight in San Francisco and early next morning set out to find an "indestructable" guitar for Jimi. "I need a Fender" explained Jimi. "It gets used pretty hard in the act and they are the only make which will stand up to it." We failed to get the model Jimi wanted but somehow he later acquired a guitar in Monterey. It was the wrong colour but he remedied that by spraying it white and drawing swirling designs all over it with a felt pen.
    We arrived on Friday morning at the motel- flying out from San Francisco. Also staying here is Dylan's manager, Al Crossman, who assures us that Bob is fully recovered from his accident and we can expect a new single soon. The motel has become a kind of Festival Circus in the last few days with Animals on motorbikes - Vic Briggs has acquired a monstrous great car which he just leaves parked outside his room and never drives. Barry Jenkins keeps pointing his camera at anything that moves and Noel Redding and Mitch Mitchell from the Experience plunge in and out of the pool with hot and cold running girls in tow.
    After only one day of the first Monterey Pop Music Festival organised by musical giants - Andrew Oldham, Lou Adler, John Philips and assisted by that genteel PR Derek Taylor, it is quite obvious that they
    have an enormous success.
    Those not appearing on the show last night but present in various guises were Micky Dolenz dressed as a Red Indian Chief, Byrd Dave Crosby as a cowboy, Brian Jones in a mind-shattering gold lame coat festooned with beads, crystal swastika and lace (he looks like a kind of unofficial King of the Festival) and Peter Tork who came most emphatically as Peter Tork. Jones - gliding ethereally about among the fir trees on the picturesque fairgrounds decorated with huge coloured balloons, lights, fruit stalls and booths selling all kinds of "beautiful" things, told me :-
    "I don't think the Beatles will be coming now- I rang Brian Epstein last night and he says they are recording over the weekend. "Just before we came over, I played tenor sax on one of the new tracks they have cut and Paul sat in on one of our sessions.
    "This is really a great scene here - all the kids are so nice. The people are so polite and just come up and talk to me and say they like the way I'm dressed."
    In spite of Brian's prophecy everyone is hoping the Beatles will arrive, most especially Micky Dolenz, who told me how much he loved the "Sgt. Pepper" album.
    By 9.00 on the opening night there were about 8,000 official spectators and 2,000 unofficial in the auditorium. Milling around the grounds and booths outside were approximately another 10,000 and those who could not even get into the grounds must have numbered 20,000.
    The whole atmosphere is one of gay Carnival, where everyone wears a bright coloured scarf - gay hats or brilliant swirling patterns on their dresses. John Philips officially announced the Festival open at 9.15 and the Association took the stage.
    The PA equipment here sounds like an 8 track system and is about the best I've ever heard. The Association provided some slick patter and good harmonies with numbers like "Cherish", "Windy" and "Along came Mary". The Paupers who followed them, have a fantastic bass player and some interesting sounds - they shot to fame here while playing gigs with the Jefferson Airplane.
    The first of the English representatives was Beverly - a good friend of Donovan and Simon and Garfunkel. She sang prettily and was well received. Peter Tork made a surprise appearance to introduce Lou Rawls, a big blues artist here whom he knew from his old days playing in the Village. He was well appreciated by the rhythm and blues enthusiasts and had one couple grooving in the stage pit to something I'm told is a new dance - the Funky Broadway!
    Frankly, I did not expect to enjoy the new Eric Burdon with the new Animals - I was too fond of the old one - but it was a revelation! With a group called the Headlights doing unbelieveable psychedelic lighting effects behind them, which pulsated to their music, they were rapturously received. Out here on the west coast, Burdon is regarded as the last of the British "big ones" from the big boom period - apart from the Beatles, that is. His great strength is that he believes devotedly in his new progressive music with just the sincerity which he once felt for the blues scene. His is a musically honest group and as one member of the audience said to me, "He's getting to the truth, and that's what I'm here for."
    Simon and Garfunkel poured beautiful sounds into the night like "For Emily, Whenever I Find Her" and "Homeward Bound" - they deserve far greater recognition in Britain.
    Also on the show was Jimmy Rivers with a beard!
    The second act of "Music, Love and Flowers" was performed today and warm rain is falling intermittently upon these fair grounds where blues and jazz bands are blowing electric feelings out upon the Californian air to the enthusiastic thousands.
    Most impressive of the bands playing this afternoon were Paul Butterfield - The Electric Flag, led by breakaway "Butterfield" guitarist, Mike Bloomfield on lead guitar and Big Brother and the Holding Company. The latter boasts a vocalist who sounds like a female Eric Burdon. This is no mean feat when you realise the girl moves and sounds like the old Eric Burdon but manages to retain her femininity. Quite a girl is Janis Joplin. By evening, the festival officials were looking a trifle worn and Derek Taylor (who but an English man could have handled the American press with such a mixture of literate charm and abuse) had resorted to a sign in his office window reading "I cannot relate to your problem" and left for other parts.
    The performance began well with Booker T and the MGs presenting some inspired organ material. Then we got the Byrds. Pleasant were the sounds of "My Back Pages" and "Eight Miles High".
    The Jefferson Airplane explained convincingly with music why they are one of the most important West Coast groups to recently emerge. Soft and lovely sounds from vocalist Grace Slick.
    Otis Redding topped the bill, and deservedly so - he tore the stadium apart with a power-packed delivery of numbers like "I've Been Loving You Too Long", "Satisfaction" and "Try a Little Tenderness".
    The highlight of the Sunday afternoon performance was a "musicarathon" by sitarist Ravi Shankar. A three hour session of patterns in sound in which at no time did the Masters fingers leave his mind! No
    wonder astute guitarists like George Harrison are trying to fathom the musical depths of this incredible musician.
    Tom Smothers of the Smothers Brothers compered the evening show in brilliant dead-pan humour. The opening act were the Blues Project who have plenty of good jazz blues sounds and an excellent flute.
    Peter Tork made another of his appearances as guest compere to introduce the Buffalo Springfield. This group has recently mislaid a member and had Dave Crosby of the Byrds deputising on guitar. The Springfields are happy sounding, original and deserve greater recognition - I hope they get it.
    Eric Burdon made the announcement for the Who who appeared resplendent upon the stage with Roger Daltry wearing a pink silk poncho, Keith Moon in red mandarin jacket, Pete Townsend in lace ruffs and John
    Entwistle in yellow and red shirt. Burdon had promised the audience that this group would destroy them in more ways than one and they proved it. Once into their interpretation of Eddie Cochran's "Summertime" Pete
    Townsend took on the appearance of a beserk British aristocrat and began the guitar gymnastics. "Pictures of Lily" woke up the whole audience to the fact that this was a new British group with something of their own to offer. Into "Happy Jack" their first big U.S. smash but surprisingly an even bigger reception for "My Generation" sung with vocal dexterity by Mr D-d-d-daltry.
    Pete Townsend's mini pop opera was also featured and the finale was a "beautiful" explosion of amps, guitars and microphones. Keith Moon managed to kick another drum set to pieces - Pete destroyed his guitar by smashing it on the stage and John knocked a mike or two over as a concession. Smoke
    poured from the amplifiers and the whole auditorium rose to it's feet in amazement - then the applause broke out. It won't take long for the word to go round about this episode and then everyone will know Who's Who in the U.S..
    Brian Jones came on stage to introduce the Jimi Hendrix Experience. Hendrix then proceded to completely shatter everyone within "digging" distance. The areas around the back-stage areas filled up faster with musicians than for any other act. For a man yet to have a big record in the U.S., Jimi created a fantastic impression. His biggest successes were "Foxy Lady", "Rolling Stone", "Purple Haze" and "Hey Joe" but the showstopper was "Wild Thing".
    What an extraordinary job he makes of this number. There was a generated excitement right through every bar of this last number and having extracted the last ounce of life from his instrument Jimi did the human thing and had it exterminated. This he managed a la Who by smashing the guitar and flinging it to the audience.
    It is fitting tribute to the Mamas and Papas that not only could they follow "that" but they could top it. In five years of watching top pop groups, I have never been so impressed by four people. Papa John, in his
    long velvet cloak, bejewelled with stars, looks like a genial wizard – Mama Cass is the kindly fat fairy - Papa Denny, a court jester and Mama Michelle, the princess. It is impossible to do full justice to the sight of and sounds of this group in print - seeing and hearing is believing and even then it is difficult to believe the beautiful harmonies on numbers like "The Joke's on You" and "Spanish Harlem". To really understand what
    they were singing about on "California Dreaming" you have to be here or have been here. "It is to this number," Mama Cass assured us, "that we attribute our enormous wealth."
    Cass referred to her "ex-amor" John Lennon, who liked the number she was about to sing - "I call your name". Although one almost expected a leap on stage in a puff of smoke from the Devil-Beatle, we were disappointed. No Beatles at Monterey but many beautiful songs from the Mamas and Papas from
    "Monday, Monday" to the last rousing choruses of "Dancing in the Street". The festival is now over - a good time was had by all.
    (Pages 9 &12) ‘New York Rave With Jimi, Eric’ by Keith Altham [text?]
    (Page 12) ‘Tailpieces’ by Alley Cat [text?]

    Saturday 24 June 1967
    MELODY MAKER (front page) [Large head shot of Jimi] ‘HENDRIX A HIT!”JIMI HENDRIX broke it up at the Monterey Pop Festival with his violent assault on a burning guitar. The Who and Eric Burdon and the Animals were Britains other representatives [sic, ‘Beverley’ (Kutner, later of duo ‘John & Beverley Martyn’) also performed] at America’s top pop gala which is reviewed in a special Melody Maker report on the centre pages.
    (Centre page) ‘Hendrix a Hit!’ (Monterey review) by Jann Wenner [editor to be of Rolling Stone]: Jimi Hendrix made a memorable return to America. Although he handled his guitar with rhythmic agility and minor drama, he is not the great artist we were told. His real art is in his presence. He put on a great show and near the end, kissed his guitar, put it down on stage, poured petrol on it, lit a match, set it in fire, then smashed it – better than Pete Townshend – in six pieces, which he hurled to the audience. The crowd loved it.
    The San Francisco groups were distinguished by their artistic maturity, a thoroughly professional aproach, mostly original material, and musical quality. They stand out for their sheer sound in a musical, rather than an existantial [sic] way

    26 June 1967
    West Germany
    BRAVO # 27 (page ?): [Jimi, Noel,& Mitch interview] by [unknown]
    Fortsetzung von Seite 39
    Continued from page 39
    Jimi Hendrix (21) zupft mit Zunge und Zähnen seine Gitarre. Die Pop-Musik-Welt feiert ihn als Jüngstes Genie. Jimi pfeift darauf. BRAVO erzählte er, warum
    Jimi Hendrix (21) plucks guitar with his tongue and teeth. The pop music world celebrates him as the latest genius. Jimi couldn’t care less. He told BRAVO why.
    BRAVO: Jimi, wir haben uns hier im Münchner „Big Apple“ getroffen, um ein wenig von dir zu reden. Erste Frage: Magst du Interviews?
    JIMI: Ich mag sie. Aber ich bin nicht allein gekommen. Meine Gruppe ist bei mir: „The Jimi Hendrix Experience". Ich habe einen guten Schlagzeuger (er zeigt auf Mitch Mitchel, 19) und einen eben­so guten Baß-Gitarristen (Noel Redding, 21). Wir werden gemeinsam auf deine Fragen antworten.
    BRAVO: Gemacht. Also: Warum seid ihr zu dritt?
    JIMI: Wir brauchen nur drei zu sein. Je­denfalls für die Musik, die wir zur Zeit machen. Mehr würden unseren Sound ruinieren.
    BRAVO: Ihr seid ziemlich schnell hoch­gekommen. Die englischen Pop-Musik-Kritiker überschütten euch mit Lob. Unter euren Gönnern sind Top-Leute wie Paul McCartney, Brian Epstein und Stevie Winwood. Ihr habt in sechs Mona­ten vier weltweite Hits geschafft („Hey Joe“. „Stone free“. „Purple Haze“, „The wind cries Mary“). Was hat euch so schnell populär gemacht?
    JIMI: We raving on stage — wir machen eine Show. Wir tun genau das. was wir fühlen. Ich glaube, das ist entscheidend. .
    BRAVO: Gut, das bringt die Fans in der Halle zum Kochen. Aber nicht alle eure Fans haben euch schon gesehen. Und die Kritiker...
    JIMI: Ich pfeife darauf, was die Kritiker erzählen!
    BRAVO: ... die Kritiker sagen, du seist ein Genie. Jimi. Warum willst du davon nichts hören?
    JIMI: Es sind die gleichen Leute, die zu­erst gelacht haben. Sie saßen hinter ihren Schreibmaschinen und rieben sich die Bäuche. Jetzt „machen sie in Verständnis“. Ich glaube nicht, daß sie meine Lieder begreifen. Sie leben in einer anderen Welt. Meine Welt — das ist Hunger, das ist sind die Slums, das ist der lodernde Rassenhaß, und es ist das Glück von der Art, daß du es in einer Hand halten kannst, nicht mehr! Mag sein, daß die Kritiker einen neuen Sound ahnen. Meine Lieder verstehen sie trotzdem nicht.
    BRAVO: Und die Fans? Sie sind jung, Jimi. Fünfzehn oder sechzehn Jahre alt. Glaubst du, daß sie alles, was du ihnen sagst, verstehen?
    JIMI: Alles? Das ist zuviel verlangt. Aber sie verstehen, was ich meine. Sieh dich doch um, wenn wir spielen! Sie sitzen da — die Hände im Schoß — und hören still zu. Sie wollen mich verstehen. Und das ist wesentlich!
    BRAVO: Eure Show ist wild. Wollt ihr damit die Fans von den Stühlen reißen?
    NOEL: Oh. Das wäre gut!
    BRAVO: Jimi, we have met here in Munich's "Big Apple" to talk a little about you. First question: Do you like interviews?
    Jimi: I like them. But I haven’t come alone. My group is with me, "The Jimi Hendrix Experience." I have a good drummer (he points to Mitch Mitchel, 19) and an equally good a bass guitarist (Noel Redding, 21). We will answer your questions together.
    BRAVO: All right. So, why are you a threesome?
    Jimi: We only need three. At least for the music that we’re making at this time. More would ruin our sound.
    BRAVO: You've come up pretty fast. The British pop music critics smother you with praise. Among your patrons are top people like Paul McCartney, Brian Epstein, and Stevie Winwood. You've made four world-wide hits in six months, ( "Hey Joe." "Stone Free". "Purple Haze," "The Wind Cries Mary"). What has made you popular so quickly?
    Jimi: We’re raving on stage - we put on a show. We are doing exactly what we feel. I believe this is crucial. .
    BRAVO: Well, that is what brings the fans in the hall to a boil. But not all of your fans have already seen you. And the critics ...
    Jimi: I couldn't care less what the critics are saying!
    BRAVO: ... The critics say you're a genius, Jimi. Why don’t you want to hear about it?
    JIMI: These are the same people who laughed at first. They sat behind their typewriters and rubbed their bellies. Now they pretend to “understand." I don’t think they understand my songs. They live in another world. My world – that’s hunger, that’s the slums, that's burning racial hatred, and the kind of luck that you can hold in one hand, nothing more! It may be that the critics recognize a new sound, but they still don’t understand my songs,.
    BRAVO: And the fans? They are young, Jimi. Fifteen or sixteen years old. Do you think that they understand everything you tell them?
    JIMI: Everything? That is asking too much. But they understand what I mean. Just look around you when we play! They are there - hands in their laps - and listening in silence. They want to understand me. And that is important!
    BRAVO: Your show is wild. Do you want to tear the fans off their seats?
    NOEL: Oh. That would be great!
    JIMI: Ich will gar nichts. Wenn sich die Fans von unserer Musik von den Stüh­len reißen lassen — um so besser!
    BRAVO: Jimi, warum spielst du deine Gitarre mit den Zähnen?
    JIMI: Manchmal meine ich, ich müßte jetzt mit den Zähnen spielen. Dann tue
    ich es.
    BRAVO: Was sagt dein Zahnarzt dazu?
    JIMI: Zahnarzt? Was ist das? War noch nie da.
    BRAVO: Viele Leute sagen, ihr seht auf der Bühne aus, als ob ihr euch selbst verkaufen wollt. Ein paar Veranstalter meinen, solche Shows sollten nicht jugendfrei sein.
    MITCH: Ich weiß — sie würden gern zensieren. Das wäre das Ende. Bei einer Show muß jeder seinen Teil denken dür­fen. Es kommt darauf an, wie schmut­zig die Fantasie des einzelnen ist. Wir glauben, daß wir nichts Anstößiges tun.
    BRAVO: Wem habt ihr eure Show abge­guckt''
    JIMI: Unsere Show ist nicht geklaut. Sie ist nie gleich. Bei jedem Auftritt anders. Ich habe nichts einstudiert. Alles kommt, wie ich es fühle. Warum redest du denn so und nicht anders?
    BRAVO: Weil es meine Sprache ist.
    JIMI: Siehste!
    BRAVO: Noel und Mitch. was bewog euch, zu Jimi Hendrix zu gehen?
    MITCH: Jimi garantiert mir Freiheiten. Bei ihm wird meine Meinung über Mu­sik berücksichtigt. Er schreibt mir nichts vor, wie andere Bandleader.
    NOEL: Ich hasse es, in großen Gruppen zu spielen. Deswegen bin ich bei Jimi.
    BRAVO: Wer ist der beste Gitarrist der Welt — ChuckBerry?
    JIMI: Nein.
    BRAVO: Wer dann?
    JIMI: Einen „besten Gitarristen" gibt es nicht. Es gibt zu viele Stilrichtungen in der Musik. Das ist eine Geschmacksfrage. Jeder sollte sein eigenes Vorbild haben. Ich liebe die Richtung von Muddy Wa­ters, weil er auf „blues" macht.
    BRAVO: Jimi, es gab eine Zeit, da flogst du aus jedem Hotel der Welt raus. Die Leute störten sich an deiner Haut­farbe. Der einzige Besitz war deine Gi­tarre. Du hattest nur wenig Freunde. Solche Leute wie Solomon Burke, Little Richard, oder Jackie Wilson. Heute re­det man von dir wie von einem Genie. Du könntest mit den Leuten, die dir ein­mal fleißig aus dem Weg gingen, sofort eine Firma aufmachen. Du hast es ihnen gezeigt, Jimi. Wie erklärst du dir den Um­schwung in der Meinung der Leute?
    JIMI: Haha, jetzt bin ich eben nicht mehr der dumme Jimi — sondern Mr. Hendrix.
    Jimi: I want nothing. When fans of our music are torn out of their seats - all the better!
    BRAVO: Jimi, why do you play your guitar with your teeth?
    JIMI: Sometimes I think, “I’ll play with my teeth now”. Then I do it.
    BRAVO: What does your dentist say?
    JIMI: Dentist? What’s that? I was never there.
    BRAVO: Many people say that on the stage you look as if you want to sell yourself. A few organizers believe that such shows are not suitable for young people.
    MITCH: I know - they would like to censor us. That would be the end. In a show everyone should be able to think for himself. It depends on how dirty the imagination of the individual. We believe that we do nothing offensive.
    BRAVO: Who have you copied your show from?
    JIMI: Our show isn’t stolen. It’s never the same, every performance is different. I copied nothing. Everything depends on how I feel. Why are you talking about this and not something else?
    BRAVO: Because it's my language.
    JIMI: You see!
    BRAVO: Noel and Mitch. What prompted you to join Jimi Hendrix?
    MITCH: Jimi guarantees me freedom. With him my opinion about music is taken into account. He never tells me what to play, like other bandleaders.
    NOEL: I hate to play in large groups. That is why I am with Jimi.
    BRAVO: Who is the best guitarist in the world - Chuck Berry?
    Jimi: No.
    BRAVO: Who then?
    JIMI: A "best guitarist" doesn’t exist. There are too many styles of music. It’s a matter of taste. Everyone should have his own style. I love Muddy Waters style, because he plays "blues".
    BRAVO: Jimi, there was a time when you were ejected from every hotel in the world. People were bothered by the colour of your skin. Your only possession was your guitar. You had few friends - people such as Solomon Burke, Little Richard, and Jackie Wilson. Today we speak of you as a genius. You could start a company with the people that once went out of their way to avoid you. You have shown them, Jimi. How do you explain this turnaround in people’s opinions?
    JIMI: Ha-ha, I'm not just that dumb Jimi now - but Mr. Hendrix.

    Saturday 29 June 1967
    VILLAGE VOICE (page ?) [title?] by [unknown]: “At Monterey [18 June], Hendrix […] slung a violet maribou [feather boa] over his shoulder and swung into ‘Hey Joe’, Purple Haze’, and finally ‘Wild Thing’ – all spasm rock; mudddy if stark sound. Like an evil bird of paradise, he fell to his knees and pretended to masturbate, hips bobbing, lips shrieking silently. Now I don’t mind someone jerking off on stage, as long as he gets paid. But does the climax have to be symbolised by a can of lighter fluid squirting from the crotch? Must the ‘singer’ then proceed to light a blaze and bow before his creation? Only Jimi Hendrix knows for sure. At Monterey he ended his set by flinging his smashed guitar out over the audience. The real musicians gazed, horrified at that plastic mound which once made music. It was a strange moment for the love generation, aroused by all that violent sexuality into a mesmerised ovation. But no one saw the paradox in the Jimi Hendrix experience. Maybe that’s what makes it art.” [complete text?]

    Friday 30 June 1967
    TIME (page?) ‘Soulin’ at Monterey’ [Monterey festival review] by [unknown]: "I'm just blowing my mind!" cried a net-stockinged coed last week on the Monterey County Fairgrounds in California. She wasn't the only one. Around her, bedecked with beads, boots, faded Levi's, granny dresses, stovepipe hats, bells and tambourines, 50,000 members of the turned-on generation celebrated the rites of life, liberty and the pursuit of hippiness. That pursuit is by now a familiar national folkway, which, as often as not, is set to the beat of pop music. Indoors, it comes complete with pulsing lights, blinding flashes of projected photographs and whorls of smoke. Outdoors, it all seems more healthy, and in this instance, the seekers at Monterey had assembled not for a freak-out but for a tune-in—the first International Pop Festival.
    The festival part was plenty festive. The throngs watched psychedelic movies, strolled through a mod midway of booths offering everything from underground buttons to paper dresses, dug the din of makeshift steel bands, and scattered over the grounds with guitars and blankets to strum, sing, socialize, or simply sleep. Onstage in the 7,000-seat arena, an English group called The Who set off smoke bombs, smashed a guitar and kicked over their drums. American Singer Jimi Hendrix topped that by plucking his guitar strings with his teeth, and for an encore set the entire instrument on fire.
    Hypnotic Droning. But not all was frippery and flummery. In 25 hours of sounds during the 2½-day event, there was also a surprising proportion of inventive musicality and polished showmanship. Festival Organizers John Phillips, a member of The Mamas and The Papas, and Lou Adler, a Los Angeles record producer, persuaded more than 30 acts to perform without fee, including such high-riding successes as Lou Rawls, Simon and Garfunkel, the Jefferson Airplane, and The Mamas and The Papas. The festival's $430,000 profit from ticket sales and television rights will be distributed "for the cause of music" at the discretion of a board of governors that includes Beatle Paul McCartney, Paul Simon of Simon and Garfunkel, and Singer and Motown Records Executive Smokey Robinson.
    The variety of performers plugging into the bank of amplifiers on the arena stage during five concerts showed how many tributaries the mixed stream of pop music draws on today—from blues (Paul Butterfield) and jazz (Trumpeter Hugh Masakela) to folk (English singer ‘Beverly’ [née Kutner, later married John Martyn & recorded as ‘John & Beverly Martyn’]) and country and western (Johnny Rivers). Ravi Shankar, whose classical sitar playing has been so enthusiastically applauded and imitated in the U.S. jazz and pop world that he has opened a school for Indian music in Los Angeles, had an entire concert to himself. A capacity audience sat breathlessly silent during his hypnotic droning and twanging of ancient ragas, then leaped to its feet at the end to give him one of the biggest ovations of the festival.
    Taking Off. But what emerged beyond question as the mainstream of pop music today was the "soul" sound. Earthy, vibrant and swinging, it derives from blues, gospel singing and jazz. Once it was concentrated in a separate pocket of the business called rhythm and blues—Negro music for the Negro market. Now its leading Negro purveyors, such as Ray Charles, James Brown, Aretha Franklin and Dionne Warwick, are high on the bestseller charts, and white performers are eagerly falling in with the spirit of it. When soul took over last week, the festival took off. Among the high points: Janis Joplin, backed by a San Francisco group called Big Brother and the Holding Company, belting out a biting alto and stamping her feet like a flamenco dancer; Down-home Shouter Buddy Miles sparking Guitarist Mike Bloomfield and his group, the Electric Flag, to a blues-rock frenzy; Singer Otis Redding soaring lustily over the hard-driving beat of Booker T and the MG's.
    In all, with the high incidence of musical quality and the low incidence of violence and lawbreaking, it was a festival to make everybody happy. Well, almost everybody. There were complaints about the volume from as far away as Pacific Grove, six miles from the fairgrounds.

    [Date?] June? 1967
    VARIETY, (page ?) [title?] by [unknown]: “Jimi Hendrix has been churning out repeated clicks [hits].” [complete text?]
    Last edited by stplsd; 01-29-11 at 11:16 PM.

  19. #18
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    Re: Newspaper & Magazine Articles (Text Only) - 1960's-1970's

    [Day?] July 1967
    FABULOUS 208, (page ?)[title?] by[unknown] [title?]

    [Day?] 1 July 1967
    RAVE, (cover picture) (article? page ?) [title?] [text?]

    Saturday 1 July 1967
    BILLBOARD (page 55) ‘Hits Of The World’ ‘Britain’: @ 23 ‘The Wind Cries Mary’, & @ 50 ‘Purple Haze’; ‘Switzerland’: @ 8 ‘Purple Haze’

    Saturday 1 July 1967
    MUZIEK EXPRESS (cover & pp. 68—69). ‘Praatje Met Jimi Hendrix’ [‘Gossip With Jimi’] by Vicki Hibbert. [text?]

    Saturday 1 July 1967
    (Page ?) Psychedelic portrait of Jimi
    (Page 7) Top Thirty
    1. A Whiter Shade of Pale, Procol Harum (Deram)
    2. There Goes My Everything,” Engelbert Humperdinck (Decca)
    3. Carrie Anne, Hollies (Parlophone)
    4. Paper Sun, Traffic (Island)
    5. Okay!, Dave, Dee, Dozy, Beaky, Mitch and Tich (Fontana)
    Britan’s Top 15 LP’s
    1. The Beatles, Sgt. Pepper’s Lonely Hearts Club Band (Parlophone)
    2. Soundtrack, Sound of Music (RCA)
    3. Jimi Hendrix, Are You Experienced (Track)
    4. The Monkees, More of the Monkees (RCA)
    5. Topol and London Cast, Fiddler on the Roof (CBS)
    (Page 13) ‘Who, Jimi, Win High Praise’ by Tracey Thomas: “[text?]
    (Page ?) ‘Jimi Added to Monkees Tour’ [text?]

    Tuesday 4 July 1967
    THE LONDON EVENING STANDARD (page ?): ‘Jimi Hendrix sued for agreement breach’ by [unknown]: “PPX Enterprises Incorporated, of Broadway, New York, issued a High Court writ in London against Jimi (who is noted for his wild hair style), Polydor Records, and Track Records. to stop them recording Jimi until the PPX contract expires in October 1968. Writs would also be issued against Warner Brothers.”

    Saturday 8 July 1967
    BILLBOARD (page 24) ‘Popsters Pull 500G, 175,000 in Monterey by Mike Gross:
    […] Charges that the festival was a “whitey” affair can be discounted by the list of Negro attractions which included Otis Redding, Lou Rawls, Jimi Hendrix, Hugh Masakela, Booker T. and the MGs, the Markays, among others. Dionne Warwick was a last-minute cancellation, as were the Impressions, who failed to show. Smokey Robinson’s position as one of the board of directors obviously failed to facilitate the directors’ efforts to more directly involve Detroit and its Tamla-Motown artists. […]
    ‘Fest A California ‘Dream-In’ by Philip Elwood:
    The Jimi Hendrix Experience from Britain, making it’s American debut (altho Hendrix is from Seattle) proved to be more experience than music, pop or otherwise [18 June, Monterey]. Accompanied by overmodulated electronic feedback squeals and bombastic drumming, the Hendrix performance is quite a crowd rouser but it’s sensationalism is not music, and unlike Chuck Berry (who was doing some of this stuff 15 years ago), when Hendrix sings he has trouble with phrasing, and his modal-turned chicken choke handling of the guitar doesn’t indicate a strong talent, either.
    The only other sensational performance at Monterey came from the Who, an excellent quartet with an out-of-sight drummer in Keith Moon.
    Their lyrics are fascinating, and clear; they ran through a noisy set (including a roaring “Summertime Blues”) and ended with a guitar smashing sequence of their own, quite similar to the Yardbirds bit in “Blow Up” […]
    (Page 53) ‘Hits Of The World’ ‘Britain’ @ 38 ‘The Wind Cries Mary’

    Saturday 8 July 1967
    MELODY MAKER. (page ?) ‘Jimi Joins Monkees for Giant US Tour’ [text?]

    Saturday 8 July 1967
    NEW MUSICAL EXPRESS, (page 7)Top Thirty
    1. “A Whiter Shade of Pale,” Procol Harum (Deram)
    2. “There Goes My Everything,” Engelbert Humperdink (Decca)
    3. “Alternate Title,” Monkees (RCA)
    4. “She’d Rather Be with Me,” Turtles (London)
    5. “Carrie Anne,” Hollies (Parlophone)
    Britain’s Top 15 LP’s
    1. Sgt. Pepper’s Lonely Hearts Club Band, the Beatles (Parlophone)
    2. Sound of Music, Soundtrack (RCA)
    3. The Monkees! Headquarters, the Monkees (RCA)
    4. Are You Experienced, the Jimi Hendrix Experience (Track)
    5. More of the Monkee’s, the Monkees (RCA)

    09+ July? 1967
    [UNKNOWN paper (page ?)] ‘Monkee shines’ by [unknown]: “Heavy rains can't keep the Monkee fans away. It was wet outside, but warm inside the packed Jacksonville Coliseum Saturday night (8 July) when the Monkees quartet gave a swinging concert as the boys switched instruments, switched costumes and "switched on" the audience. Flashing strobe lights and multicoloured spots added to the dimension of audience involvement and high spots of the evening were the Monkees' solo performances.

    Wednesday 12 July 1967
    THE CHARLOTTE NEWS (page ?): [title?] by [unknown] "Before the Monkees came on for this concert (11 July), three other acts performed to warm up the audience (these kids needed warming up?), dressed in costumes from blue brocade pants and shirts with rhinestone buttons in orange ruffled shirts. They [JHE] were groovy and plenty loud but when the Monkees came on stage it all broke loose and didn't stop till an hour later when the show was over."

    Wednesday 12 July 1967
    VARIETY(page ?) 3 July, NY, The Scene gig review [title?] by [unknown]: “His sexual gestures are vulgar, and will embarrass youngsters besides being unnecessary for older hipsters. In addition, his display of physical destruction to his guitar and speaker comes off as low class, and supports a sick fad current among a few bands. The Jimi Hendrix Experience has the act to sell records. Highlights are Hendrix’s Presley gyrations and Chuck Berry guitar handling. The detracting element is a flaw in taste, and only its improvement will determine the lasting success that the combo’s flash rates.”

    Saturday 15 July 1967
    BILLBOARD (Front page & p. 10) ‘Flock of Rockcoats to Hit U.S. in New Summer Wave’ by Mike Gross: NEW YORK—The British, determined to hold their franchise on the U.S. pop marketare sending a flock of their rock 'n' roll troops here for a personal appearance thrust this summer.
    MGM Records' Herman's Hermits start a giant 50-city tour on Thursday (13); Atco Records' [...] and the Mamas and the Papas are negotìating with the Procol Harum, who are running hot on the Deram label with "A Whiter Shade of Pale." to include the British group in their own Holly­wood Bowl concert scheduled for Aug. 18. [Jimi ended up replacing them]
    The Who. the Decca Records group, will be accompanying Herman's Hermits on tour. This will mark the Who's first big tour in this coun­try, following their click performance at the Monterey Pop Festival a few weeks ago. Jimi Hendrix, an American who scored in England and then returned for a triumph at Monterey. will make his New York debut in mid-July at The Scene.
    Whereas neither the Beatles nor the Rolling Stones are slated for U. S. appearances in the near future, the British contingent will beefurther strengthened by such groups as the Cream, Eric Burdon and the Animals, and the Dave Clark Five. Other English disk stars, who have made or are making their mark in the U. S. market and are due on the local scene within the next few months are the Tremeloes. Pctula Clark, Engelbert Humperdinck, the Move, Peter
    and Gordon, Spencer Davis, Lulu and Crispian St. Peters.
    While British record stars are eager to translate success at home into immediate American acceptance, possibly because of the status involved, but more likely because of the money lure here as compared wilh their British income. it is curious that many top U.S. attractions. such as the Mamas and the Papas. have yet to be introduced in England.
    It's not all smooth sailing for the British groups, though. Many U. S. showmen are worried about the repercussions of the international headlines on the jail sentencing of two members of the Rolling Stones. Mick Jagger and Keith Richards, on narcotics charges, and one of the Beatles, Paul McCartney's confession he's laken several LSD trips. They're wondering if these instances will place a taboo on the entire British rock scene. U. S. recording men are also worried that a similar crackdown here will involve hippie groups.
    While the Beatles sing “I’d Love to Turn You On” in their new song. “A Day in the Life.” from the "Sgt. Pepper's Lonely Hearts Club Band" album, many recording company executives are wondering about how far drug-oriented pop sounds can travel. as well as how long many of the turned-on pop hitmakers can keep their cool.
    (Page 14) ‘BREAKOUT singles’. ‘Regional Breakouts’ PURPLE HAZE Jimi Hendrix Experience, Reprise 0597 (Sea-Lark Ent., BMI) (San Fancisco) [PURPLE HAZE MUST HAVE BEEN RELEASED EARLIER THAN THIS DATE]
    (Page 48) ‘Hits Of The World’ ‘Britain’ @ 50 (38) ‘The Wind Cries Mary’ (Track), & ‘Holland’ @ 10 (-) ‘The Wind Cries Mary’ (Polydor)

    Saturday 15 July 1967
    NEW MUSICAL EXPRESS, (page 5)Top Thirty
    1. “All You Need Is Love,” Beatles (Parlophone)
    2. “Alternate Title,” The Monkees (RCA)
    3. “A Whiter Shade of Pale,” Procol Harum (Deram)
    4. “She’d Rather Be With Me,” Turtles (London)
    5. “There Goes My Everything,” Engelbert Humperdinck (Decca)
    Britain’s Top 15 LP’s
    1. Sgt. Pepper’s Lonely Hearts Club Band, Beatles (Parlophone)
    2. The Monkees! Headquarters (RCA)
    3. Sound of Music, Soundtrack (RCA)
    4. Are You Experienced, Jimi Hendrix (Track)
    5. Fiddler on the Roof, Topol and London Cast (CBS))

    Friday 21 July 1967
    GO (#69) (page ?) [title?] by [unknown]: The Saturday night show [15 July, NY] was again threatened by rain but everything went all right […] Jimi Hendrix really wowed the crowd with his guitar work [16 July, NY] and he looks like he’ll be picking up a lot of fans as the tour progresses.” [complete text?]

    Saturday 22 July 1967
    BILLBOARD (Front page) [Colour banner ad along bottom of sheet] -> coming! Turn on Tune In [Warner /Reprise logos here. This is to announce the new ‘alternative’ Reprise catalog next week, inc. Jimi Hendrix]
    (Page 24) ‘Hot 100’. ‘Bubbling Under’ @ 132 ‘Purple Haze’
    (Page 54) ‘Hits Of The World’: Britain @ 39 ‘The Wind Cries Mary’; Holland @ 2 ‘The Wind Cries Mary’; Sweden @ 3 ‘The Wind Cries Mary’.

    Saturday 22 July 1967
    NEW MUSICAL EXPRESS(page 5) Top Thirty
    1. “All You Need Is Love,” The Beatles (Parlophone)
    2. “Alternate Title,” The Monkees (RCA)
    3. “It Must Be Him,” Vikki Carr (Liberty)
    4. “She’d Rather Be with Me,” The Turtles (London)
    5. “A Whiter Shade of Pale,” Procol Harum (Deram)
    Best Selling LP’s in Britain
    1. Sgt. Pepper’s Lonely Hearts Club Band, The Beatles (Parlophone)
    2. The Monkees! Headquarters, The Monkees (RCA)
    3. Sound Of Music, Soundtrack (RCA)
    4. Are You Experienced, Jimi Hendrix (Track)
    5. Fiddler on the Roof, Topol and London Cast (CBS)

    Saturday 22 July 1967
    MELODY MAKER(page ?) ‘An American Experience’ by Michael Wale: Off duty, Mitch spent his time trying to hear Gene Krupa play in a bar uptown, and Miles Davis and Dizzy Gillespie in the Village. Jimi and Noel went down to the Village to see the Mothers of Invention at the Garrick.
    Back at the Scene [4 July] Hendrix broke several of his guitar strings on the second night while he was playing the instrument with his teeth, which caused road manager Gerry to run on stage like a football trainer with a new string every time there was a breakage. At a reckoning they got through seven that night. They were billed smaller than the Seeds, an American group. But they soon showed that British groups are still best and America is very ready to hear them. Also on the bill at the Scene was a guy called Tiny Tim. He has hair down to his shoulders like a curly Barry Fantoni and sings old music hall songs to a uke. Every time the audience bursts into applause Tiny Tim puts his fingers to his lips and says: "Why, thank you, thank you." Mitch and Noel were so impressed that they want to bring him to England.”
    It was the Experience who won the night (5 July, Central Park festival, NY) while the Young Rascals were actually booed during one number.”
    The Jimi Hendrix Experience came to New York with poor billing and nobody knowing who they were. They left to recognition. Two nights at Steve Paul’s Scene Club and another in Central Park playing to an audience of 18,000 were all they needed.”
    (Page?) Mitch: “It’s ridiculous people standing laughing at us at New York airport [3 July] when they were dressed in ill - fitting Bermuda shorts. If they knew how stupid they look they wouldn’t stare at us so much.”

    Saturday 22 July 1967
    RECORD MIRROR, (page ?) letter from Göteborg, Sweden ‘Jimi Let Down’: “With the first Jimi Hendrix album, the semi-promise of ‘Hey Joe’ and ‘Purple Haze’ was not borne out or fulfilled. On the contrary, Hendrix and his pack have stunned me by making the most obsolete fiasco of our time. It is the least progressive, most over-rated and nightmarish LP in years. The whole approach is uninspired, their Dylan-imitating lyrics nothing but amateurish and Jimi’s singing sounds like a distorted transistor radio. Those who think there is magic in Jimi’s teeth…come on, let’s deprive him of his undeserved throne.”

    Sunday 23 July 1967
    POLITIKEN (page 16) ‘Er du erfaren?’ [‘Are You Experienced?’] by Ole John [text?]

    Thursday 27 July 1967
    THE VILLAGE VOICE[title?] by [unknown]: “Forest Hills Stadium (16 July) glowed with pubescent purple passion. There were the usual screams, and a constant strobe of flashlights as the Monkees emerged from the grassy wings. But nobody charged the stage. And posters strange to a teen event - signs reading ‘Peace’ and ‘Love power’ - dotted the grandstand. True, a hefty maiden disrupted some whining Jimmy [sic] Hendrix electronics with a hefty plea: ‘Enough with the psychedelic, already,’ but most screamed for the new music, even if what they got was only old noise.”

    Saturday 29 July 1967
    BILLBOARD (page 22) ‘HOT 100’ ‘Bubbling under Purple Haze @ 130
    (Page 46) ‘British Decca Topples EMI Chart Leaders in England’ LONDON— British Decca [Dick Rowe] overhauled EMI in the second quarter this year […] One of the biggest jumps came from the Polydor group which came third with it’s singles ahead of the PYE and Philips groups traditionally regarded as the other members of Britains Big Four record companies. Polydor owed much of it’s success to U.S. product on Stax and Atlantic and to the new logos it has launched for independent producers – notably the Track label which saw major chart action with the Who and Jimi Hendrix. […]

    Saturday 29 July 1967
    DISC AND MUSIC ECHO, (page ?)[title?] by [unknown]: “[Burning of the Midnight Lamp take(s) recorded in June 1967 were scrapped because Jimi had] ‘given up in despair at the poor results’.” [original text?]

    Saturday 29 July 1967
    MELODY MAKER,(cover) [small B&W photo of Jimi grinning] ‘Hendrix In US Tour Ban’ ‘Too Erotic’ For Fans by [unknown]: Jimi Hendrix and the Experience have been asked to leave an American tour with the Monkees after protests by the Daughters Of The American Revolution, that Hendix is “too erotic”.
    A London spokesman for Hendrix said on Monday, [rest of text?]

    Saturday 29 July 1967
    (Page 3) [full length photo of Jimi on stage. Caption: ‘Jimi Hendrix wears the expression he might put on if you mention Monkee audiences in America to him!’] ‘Jimi Hendrix Quits Monkee Tour’ ‘Think Mickey Mouse has replaced me’ by [unknown]
    “With the Monkees extensive USA tour only seven concerts old, the Jimi Hendrix Experience is out of the package! Conflicting reports from America have suggested either that Jimi stormed out of the show because he resented having to open the bill – or alternatively, that he was sacked due to protests from the powerful Daughters of the American Revolution women’s league about his act being ‘too erotic.’ In an exclusive phone call from Nassau in the Bahamas, co-manager Chas Chandler revealed that Jimi left ‘by mutual agreement with the Monkees,’ after being asked to tone down his act and refusing to do so. Hendrix is remaining in the States until August 20 playing club dates – he is currently at the Whisky-A-Go Go in New York’s Greenwich Village.”
    Chas: “Jimi talked it over with the Monkees and decided to quit.’
    “Jimi Hendrix phoned the NME on Saturday with the sensational news that he had quit the Monkees’ American tour after only seven shows. The Hendrix Experience will remain in the US for at least two more weeks to complete their new single and undertake some further bookings on the West Coast.”
    Jimi: “Firstly they gave us the ‘death’ spot on the show - right before the Monkees were due on. The audience just screamed and yelled for the Monkees! Finally, they agreed to let us go on first and things were much better. We got screams and good reactions, and some kids even rushed the stage. But we were not getting any billing - all the posters on the show just screamed out - MONKEES! Then some parents who brought - their young kids complained that our act was vulgar. We decided it was just the wrong audience. I think they’re replacing me with Mickey Mouse!’.
    “There was no tension between us and the Monkees whatever. And all the rumours about being segregated on the plane were just nonsense. I got on well with both Mickey and Peter and we fooled around a lot together.
    “There was a fantastic girl singer on the tour – an Australian girl called Lynn Randell. She’s got a record out in Britain, so you may be hearing more of her.
    “In New York we all went out to see the Electric Circus club in the Village, which just completely blew my mind. There was a group called the Seeds playing there but they had all these funny little acts going on between things. One guy walked up on to the stage and stood there and growled for about five minutes, then he said ‘Thank you,’ and walked off! There was this guy who came on in a suit jacket and just rolled around on the floor for half-an-hour. Then these funny little guys came swinging by on ropes from the ceiling. I couldn’t believe it!
    “I’ve been reading those reports about my new single being the ‘Burning Of The Midnight Lamp’. Well it’s true that I have recorded a track with those words in the song, but I’m not sure that is going to be either the title or the single.
    “We had a great time in L.A. where Dave Crosby and a group called the Electric Flag came round to see us at the Whisky A Go Go. I love the West Coast, all those beautiful people.
    “Chas (Chandler) and Mike (Jeffries) are making arrangements for an autumn tour of Britain when we get back—it would be great if we get some of those really groovy American groups from the West Coast on the show with us,” Jimi concluded.
    (Page 5) Top Thirty
    1. “All You Need Is Love,” Beatles (Parlophone)
    2. “San Francisco,” Scott McKenzie (CBS)
    3. “It Must Be Him,” Vikki Carr (Liberty)
    4. “Alternate Title,” Monkees (RCA)
    5. “She’d Rather Be with Me,” Turtles (London)5
    Britain’s Top 15 LPs
    1. Sgt. Pepper’s Lonely Hearts Club Band, Beatles (Parlophone)
    2. The Monkees! Headquarters, (RCA)
    3. Sound of Music, Soundtrack (RCA)
    4. Are You Experienced, Jimi Hendrix (Track)
    5. Fiddler on the Roof, Topol and London Cast (CBS)
    (Page?) interview by telephone (22 July) [title?]: Jimi: “We had a great time in LA, where Dave Crosby and a group called the Electric Flag came round to see us at the Whisky A Go Go [2 July, LA.] I love the West Coast, all those beautiful people.” [more text?]
    (Page 6/7) article?

    Saturday 29 July 1967
    RECORD MIRROR, (page ?) “HENDRIX ‘too sexy’ for MONKEE fans”, by [unknown] - Jimi Labelled ‘Too Erotic’ by U.S. Mothers”
    “Jimi has been pulled out of the Monkees American tour after two weeks – by the Daughters of the American Revolution! The organisation, a form of Women’s Guild aimed at protecting the morals of the young, decided that Hendrix’s act was “too erotic” for the young Monkees fans, and campaigned for the groups withdrawal,
    U.S. Senators and Marshals were petitioned, and eventually Jimi left the tour at Forrest Hills last weekend. Group has returned to New York where it has been inundated with offers. Jimi has this week been playing at Greenwich Village’s […] [complete text?]
    (Page 2) ‘Jimi - Tooth Picker?.’ [text?]

    [Date?] July/August 1967
    CRAWDADDY! (#10) “What Goes On” [news column]:
    ::: The MONTEREY POP FESTIVAL, contrary to some expectations, has produced nothing but qood vibes: no one knows exactly how they plan to give away their 500G, but now that it’s all over and it was beautiful and there was absolutely no trouble everyone seems a little less uptight about the whole thing. Certainly, the festivals will continue. ABC-TV has filmed a color speclal about Monterey; the groups that played seem pretty pleased about what was going down; the music was everything from bad to excellent, including in the latter category the Who, Big Brother, Ravi Shankar, the Electric Flag, Steve Miller, Jimi Hendrix and Otis Redding. See you next year. :::

    Monday 31 July 1967
    VI UNGE [‘We Young’] (page 30) ‘For Jimi Hendrix var uniformen alvor’ – ‘To Jimi Hendrix the uniform was not for fun’ – interview/article by [anon]: “Jimi Hendrix the mad[ly] looking, the madly performing, the madly talented Seattle-American, who with his group Experience (which means erfaring) sent the Falkoner Centret in Copenhagen into such crazy and oblique [?] behaviour earlier this year, likes to perform in a special veterans-uniform. Many young people today like this. –
    Jimi: ‘We are all anti-war, it’s only the colours we like. We are walking pop art.’
    - But Jimi Hendrix who sometimes tells very crazy stories about himself, has a true story to tell about himself and his uniform -
    Jimi: ‘I used to wear a uniform in seriousness, I did my military service in the famous American Screaming Eagles Airborne Division, and that was no joke, but I got through it early and voluntary. Then happened what happened to me, I was record-discovered through England and Decca and all that stuff, and listen carefully what happened to me, one night I was walking through the streets of London in my old silly uniform.
    One of the police cars pointed at me with their flashlight, and the police officer started questioning me, ‘What is this uniform?’ didn’t I know that this uniform used to be serious for a man who exposed himself to death in that uniform etc. And what else did I do for a living, and who I worked for? The Experience? Who did I think I was, talking about ‘experience’?’
    After a long time, I showed them my passport and told them that the uniform was from 1898, and that it used to belong to an officer in the - Veterinary Corps. And that I used to wear a uniform that was bloody serious to me in the USA. And that by experience I meant that I had experienced quite a lot. ‘A lot of what?’ one of the officers asked quietly. ‘Harassment,’ [I said, and the two split.]’ says the singer-guitarist.”
    Last edited by stplsd; 01-29-11 at 11:19 PM.

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    Re: Newspaper & Magazine Articles (Text Only) - 1960's-1970's

    [Day?] August 1967
    HIT PARADER(page?) The English Scene’ [section with news/interviews on Jimi Hendrix, The Troggs, Jeff Beck, The Quik and Graham Nash of The Hollies],
    interview by [unknown]: Jimi: “I have this old Fender, with only three strings, that once I’ve got tuned in and going, I can control with a foot-pedal to get a continuous feedback whilst I play my other guitar. On the first night, as I was starting the old Fender off, something shorted and the plastic scratch-plate caught fire! I only kept the bandage on for the next day – I can play, but it hurts a bit. I’ll survive, but the old guitar has had it!”
    Chas: “It’s hardly surprising really – that guitar had a lot of bad usage. Jimi got carried away on a gig [Star Club] in Hamburg recently and chucked it right across the stage! It was the guitar he got when he first came to England – and he is a somewhat aggressive player!”

    [Day?] August 1967
    CRAWDADDY(page 32), ‘What Goes On’ news column by [unknown]: “The MONTEREY POP FESTIVAL contrary to some expectations, has produced nothing but good vibes: no one knows exactly how theyplan to give away their 500G, but now that it’s all over and it was beautiful and there was absolutely no trouble everyone seems a little less uptight about the whole thing. Certainly, the festivals will continue. ABC-TV has filmed a color special about Monterey; the groups that played seemed pretty pleased about what was going down; the music was everything from bad to excellent, including in the latter category the Who, Big Brother, Ravi Shanker, the Electric Flag, Steve Millar, Jimi Hendrix and Otis Redding. See you next year.

    [Day?] August 1967
    BEAT INSTRUMENTAL (page ?): “PLAYER OF THE MONTH - MITCH MITCHELL” interview and profile by Pete Goodman - MITCH MITCHELL, of the Jimi Hendrix Experience, has emerged as one of the best young drummers in the business. It's all happened rather quickly. But his roots are well implanted in show business… he's a product of the CoronaDramaSchool, London, studying acting, dancing, singing. How come, then, the drumming? Shortening his life story, it adds up to a certain amount of luck. Let's deal with it in note form. At three years of age gets a tin drum kit as a present… made records as a squeaky-voiced kid... at 13 got a snare drum ... at 15 bought a whole kit for £50, coming in on the Shadows' kick. Met musicians and worked as a semi-pro for about nine months.
    Parents didn't want him to be a musician ... but met Chris Sandford, who used to be on "Coronation Street", and also went to Corona …joined his backing group ... found more fulfilment in music than in drama. Went with Sandford's Coronets to Germany, doing
    the five-hour-a-night routine. Worked on the first Ivy League session … then met Larry Page… going into the Riot Squad… very unsettled… met Les Reed ... got into sessions
    because Bobby Graham had given up the business. Couldn't read, but found musicians like Kenny Clare very helpful.
    Then met Denny Cordell... had been offered job with Georgie Fame's Blue Flames but couldn't accept—and finally joined the group. More gigs and sessions . . . really "dug" the Fame scene… then met Chas Chandler and was invited to work with Jimi Hendrix.
    Mitch, born July 7,1946, says:
    MM: "I can read now but I'm always learning. Tutors are okay but they can't really teach you to read. They show you things but in the end it's all up to you. Fifty per cent adds up to confidence and the other 50 per cent is probably bluff. It's an old gag about the front line and there's also a drummer... 99 per cent of drummers don't bother to learn.
    Our trouble is that not enough drummers care deeply enough about the bass player. Listen to Tamla-Motown, or Stateside, or Atlantic and the bassist and the bass drum are working similar patterns. It's the closeness that clicks.
    PG: Mitch claims that luck has helped him a lot ... meeting Larry Page, Chris Sandford, Les Reed, Denny Cordell, Georgie Fame, Chas Chandler, Jimi Hendrix—all at the right time. But talent has a lot to do with his current enviable position in the drumming scene.

    [Day?] August 1967
    JAZZ & POP (page ?) [title?] by [unknown]"Jimi Hendrix, after a vulgar masturbatory sequence with his guitar [18 June, Monterey], ends by sitting astride the instrument (his guitar) on stage, squirting lighter fluid on it and setting it ablaze. Pretty subtle. It's also very old-hat (Chuck Berry, among others, was doing most of this stuff, better, 15 years ago) but it grabs the crowd, and it's made the Seattle Negro Hendrix a big thing in Britain."

    [Day?] August 1967
    RAVE, (pages 8 - 9) ‘Wild Man!’ [interview] by Dawn James:Jimi Hendrix, way-out pop star. Is there anything he knows is wrong and never does?
    "I play it by ear, man. There's one thing I never do, clean my teeth with hair spray!"
    Laughter filled the flat in Upper Berkeley Street as Mr. Hendrix's road manager, his drummer and a friend appreciated his wit. Here was something of the Proby pageantry, the followers who stand a little behind and laugh and admire. But Jimi Hendrix claims he doesn't need people.
    "I guess I could do without them. In fact, sometimes I’d rather be alone. I like to think. Yes, gee man, I’m a thinker. I can really get lost thinking about my music. But then I think so much I have to get out among people again. I hear music in my head all the time. Sometimes it makes my brain and the room starts to turn. I feel I'm going mad. So I go to the clubs and get plastered. Man, I get real paralytic. But it saves me." His is rather a twilight world. Music is life to him, but because of music he adopts strange values and unorthodox escapes. He gets up when the sun is setting, and breathes in the smoke-caked air of basement beat bistros. His friends are muisicians. His hopes are married to music.
    “It’s all I really care for. My ambitions are tied up with it. Even my girlfriends are part of it because I meet them where there is music, and they are part of the scene I associate with music." He doesn't have a steady girl.
    “I don't meet any girls I could be serious about," he said, and rolled his eyes, and shrugged.
    "Sure I'd like to meet a real nice girl, one I could talk to like she was a fellow. But I’ve had so many girls and they're all the same. The ones I meet look good and make you feel like a man, but you can't talk to them. I get cross with them because they just talk gossip. I get sad about all the girls I see walking on the street when I’m in a taxi-cab, because I’ll never meet them, and perhaps one of them is the right girl for me."
    He has had three hit records. What does he think he has to offer pop and what has pop to offer him back?
    "I’ve got a lot to offer pop," he said. "I care so much about my work. I record stuff I believe is great. Pop has less to offer me back because it is run by people who only talk about what is commercial."
    Jimi talks freely but he isn't easy to reach. A shutter cornes down and a facade puts you off just as you close in. He has lived a hard, full life. His parents were separated and his mother died when he was a small child. He went to live with an uncle and aunt.
    "So? Lots of kids have it tough," he said, casually, but added, "I ran away from home a couple of times because I was so miserable. When my dad found out I’d gone he went pretty mad with worry. But then I don't really care about other people's feelings."
    When did Jimi return home?
    "When I realized my dad was upset. Not that I cared, but well, he is my dad."
    Jimi has super manners. When he asks you out he says, "Would you do me the honour of dating me tonight?" When he leaves a room you are in, he says, "Excuse me for a moment please." When he meets you he shakes hands and says, "Nice seeing you."
    Somewhere deep down beneath the raving recording star there is a lot of old-world charm.
    He says he doesn't know himself well. "I can't say what makes me happy or sad. It has to happen before I know. It doesn't happen the same each time either. I must say that people being rude about me doesn't ever bother me now. The only time I get uneasy is when I know that pop critics and writers are waiting for me to fail so they can jump all over me. This is how pop is. You have a hit record and, gee, they love you! But you have one failure and they kill you. It's like a tight rope.
    "I get kinda tense before a show. I like to be left alone to think. My road manager tries to keep the dressing room free from people then. If people corne in I find a corner somewhere else. I have to think myself into my act. I can't just turn on."
    How is he affected by other people's music?
    "Again I can't define it. A blues or a sad melody can make me real happy. I am affected by sounds though. They can change my mood." He has no religion.
    "Religion is all the same—Catholic, Protestant, Jewish, it's just a lot of reasonable commercial quotes that sell because they're somewhere between very good and very bad, and people can easily hang on to that. It gives them something to believe in."
    I asked him if he likes his looks.
    "I've learned to live with them. The hair is rather wild, but it grows that way, and I look awful with it short and neat. The clothes aren't deliberate. I pick up what I feel like wearing when I dress. They represent my mood."
    I looked at the scarlet and purple and orange. Was he in a gay mood? He shook his head. "Gee no, I'm quite melancholy today," he said. It would be hard on the eye balls if one caught him when he was wild with joy!

    [Day?] August 1967
    TEEN SET, (pp. 60—61) ‘It’s Time You Experienced Jimi Hendrix” by Carol Gold [text?]

    [Day?] August 1967
    MOJO NAVIGATOR – (Vol 2, No 2 - The final issue). Cover has large B&W photo: “Jimi Hendrix in the Panhandle [part of Golden GatePark, in SF's Haight district], playing [with his teeth] hard on his guitar” (by David Greenfield)
    ‘Record Reviews’ The Jimi Hendrix Experience/ Are You Experienced (Track 612. 001) by DAVID HARRIS
    Yes we were. Jimi Hendrix, Noel Redding and Mitch Mitchell are without doubt the most important musical, and in some ways, dramatic, happening in the world today, as this English L. P. and their appearances locally have proved, Hendrix has shaped his music, his stance, his stageshow, and his cool out of a myriad of definable and an infinity of indefinable influences; and yet from this synthesis emerges a completely unique and original genre. One can see elements of Bob Dylan, Bo Diddley, Elvis Presley, Eric Clapton, etc, in the music; the stage show is a ballet, a bullfight (with Hendrix as the matador), a religious ritual, a sexual act, and an unbelievable display of musical understanding, originality and technique, all at once.
    This album contains eleven tracks which were recorded several months ago in England. They accurately represent one day of Hendrix; since this album was made he has improved a good deal, and in any event, 'much of his music is improvised. (When asked to perform certain, songs on this album at the Fillmore, Hendrix admitted 'that be had forgotten 'them, and stated that he had made them up at the session and had never played them since!) The quality of the music on this album is superb. All the tunes contained herein are original; included are these tracks, all destined for the stature of classics: ("Foxy Lady", "Manic Depression”, “Red House", "Can You See Me", "Love or Confusion", "I Don’t Live Today", "May This Be Love". "Fire", "Third Stone From The Sun", "Remember", and "Are You Experienced") These numbers are at least as strong lyrically as they are musically; and Hendrix, unlike almost every contemporary poet or lyricist, seems only too willing to explain any symbolism or, for that matter, anything else about his music and words which the listener may not understand. Several times during his numerous radio interviews in San Francisco he specifically explained the "message" or plot structure behind one of his songs, and the relationship of that given song to his life and experience. This album must be heard to be believed; same goes for the Jimi Hendrix Experience in person. As of now, to hear the album one must order it from England; however, Reprise Records will soon release the American version of this L. P., which may include somewhat different songs. Just to set the record straight, I will list the other tracks which Hendrix has issued in various single releases on both sides of the Atlantic: "Hey Joe", "Stone Free", "Purple Haze", "51st Anniversary", "The Wing Cries Mary" and "Highway Child". In person he does so many other unique and all around hairy musical trips based around other people's songs, like "Wild Thing", "Two Trains Running" [sic. Still A Fool], 'Like A Rolling Stone", "Have Mercy" [sic. Mercy, Mercy], and of course his unforgettable version of Howlin' Wolf's "Killing Floor Blues" (it opens up with an explosive guitar solo, proceeds into the construction of a musical experience which can only be described as "tough") that one would hope for the inclusion of all these tracks on some later album.
    Jimi Hendrix has made a major breakthrough in the struggle toward the integration of all forms of music into one form. He has demonstrated that given sufficient technique, an artist can assimilate and use any and all types of sound in the formation of an emotionally compelling and deeply personal style. Noel Redding and Mitch Mitchell embody the musicians of the future, in that they interact so well as a rhythm section in Hendrix's improvised lines. In addition, Noel Redding has one of the freakiest backup voices I've ever heard. One really hopes that the mesage of The Experience will soon start getting to the people for whom it will be most unsettling, the class of folks labelled by Tom Wolfe as "the great grey burghers". It will be fun fo 'watch them squirm when Hendrix achieves the giant success in Ihis country which he so rightly deserves.
    These records and all the latest releases are available at discount in San Francisco at M5, Market & 5th,
    (Pages 29-30 & 38)Monterey: A Splendid Time For All’ by Mike Daly:
    It's too bad this article couldn't have come out, for that matter, been written, about three weeks ago - because if you don't put if down right away and read about it right away, you lose a lot of the feeling and spontaneity of the thing. Anyway, by now I'm sure you've all heard about it and how great it was, which is really true. It was like for two days you Were in this surrounding of music and color and being happy and people in your own scene (although I did see Doug McClure in his neatly pressed White Levis and tennies, and the windbreaker with the collar pulled up, you know). And like nothing else in the world existed for a while. It was really nice to forget everything and just hear all this music, look at all these things, and just dig it – a new world to live in for a couple of days . You could walk around the fairgrounds and see people like Paul Simon, looking so conservative and little, like a graduate student at some eastern college - and I can just imagine all these beautiful thoughts curlycuing out of his head - he looked happy. And Brian Jones, who looked just exquisite with a long, flowing, flowered cloak topped with a huge ermine collar - like Mae West in drag, he too looked happy. Oh, and Skip Spence of the Moby Grape looked happiest of all, in fact he was so happy that he was able to talk to me with his eyes closed and somehow still know who he was talking to.
    Okay, and now to the music: I missed Friday night's show in favor of seeing The Who at Fillmore, so I can't say much about the Opening program except that from what I heard, it wasn't really that tough. When I got there Saturday afternoon, Frank Cook of Canned Heat was down on his knees on stage, rolling over, sloshing about, and yelling out, in his best pseudo-spade preaching technique, Bobby Marchan's "There Is Something On Your Mind"; it seemed pretty shitty but the longer they were on the more I began to think that maybe they were into it to a degree that was much deeper than the average White Blues Group - I don't know - but when their other singer did Johnny "Guitar" Watson's "Those Lonely, Lonely Nights", it really came off. Big Brother came on and Janis Joplin came off - very well in fact.. The group Itself really isn't that good, as many people think - they still don't know much at all about arranging a number -- as. their records show, nor do they seem to know much about changes other than variations on basic blues riffs - repitition seems to be one of their mainstays. And Jim Gurley seems to be almost wasting his great lead ability in favor of functioning as a competent rhythm guitarist.
    Of the other San Francisco groups who played that afternoon, I think Steve Miller fared the best, although I still don't think that much of them - there is more to music than being able to play the blues at three times their normal speed. Country Joe and the Fish were kind of a disappointment, although I like their LP quite a bit, they just didn't seem to come off here - I don't know, maybe it was a bad day for them or something. And the Quicksilver I really, and I'm sure everybody else does too, wish they would come up with some new material - I mean, they try but there just doesn't seem to be much there, and the same songs over and over and over. At Monterey they really seemed kind of second-rate, just a cut below everybody else.
    Both Butterfield and Bloomfield have now added two horns to their groups trumpet and sax, and the added fullness worked pretty well for both, although I don't think their parts (the horns) were worked in smoothly enough or to their full advantage in the context of the groups' sound - in other words they seemed tacked on just for a bigger sound. Butterfield did a beautiful slow blues, that he prefaced by saying "This is one of the most beautifull songs I've ever heard", a Lowell Fulsom number called "Tollin' Bells" that was really a gas: a death march-like thing that Elvin Bishop, who is now playing lead, would accentuate by striking a note to indicate the "tollin" bells", very moving. And it was really a gas when Butterfield introduced his new bass player: "Buggsey.. .(Something) from Omaha, Nebraska" (and that really sounded funny), and this little guy comes out, and in a high, falsetto blues voice starts wailing Chuck Berry's "Wee, Wee Hours", it broke everybody up -- really great. Bloomfield's new group, the Electric Flag (at least at the time of the festival that was their name), as everybody knows by now, was one of the great successes of the festival. Fronting some of the best musicians in the business - Harvey Brooks on bass (he played in Dylan's read band, I think); Barry Goldberg on organ ; Nick Gravenitis on congas and vocals; the incredible Buddy Miles on drums and lead vocals; somebody (I think) whose name escapes me, on rhythm; and Bloomfield himself on lead they just swing like hell - incredibly hard, heavy and full. And it was beautiful to see Mike Bloomfield's face after they finished their set (their debut) -so happy and excited at the tremendous reception they received, a standing ovation and an encore.
    Moby Grape opened up Saturday night's show, and although looking like they come on very tight and professional, I think their music, basically and actually, is very thin - there's just not that much there at all; and Skip Spence's bit of jumping around a lot and looking really excited and turned on and trying to get this over to the audience, wears thin about the second or third time you've seen it. The worst and only real drag of the festival (although Laura Nyro was too but hers was a shorter set) was Hugh Masekela, and man, he was really bad. But even worse than his music, which was a kind of second-rate pseudo-jazz (Ramsey Lewis with more instruments) was the fact that he was allowed to play for an incredible fifty-five minutes - horrible! I've no desire to draw a line be twwen rock and jazz, but what was he doing up there anyway ? Was it because he's a friend of the Byrds or something? Whatever it was, it was terrible; and his singing - "Society’s Child" and "Here, There and Everywhere" - was atrocious.
    The Byrds I have heard much better before, and Dave Crosby's comments and little sermons about acid, and the fact that Paul McCartney now takes it, and the Kennedy assasination, came off sounding very sophomoric; and the STP sticker on his guitar didn't make it either. Laura Nyro came on with all the drama and flair that I suppose is well known to audiences at the las Vegas supper club French extravaganza productions, the only trouble being that Monterey is not the Sands Hotel, and a pop festival isn't the "Lido de Paris", fortunately. With two spade chicks flanking her and singing some kind of fake
    spiritual: "Eli's Comin', woe, woe. .." she looked, as Richard Goldstein in the Village Voice put it, ". the third act of Medea", a real bomb. "Yes Laura, you're definitely going to make it, now lemme see... yeah, next week, we've got you the headliner spot at Bimbo's..."
    Because I've been kind of down on their music for such a long time, I've just never really liked it that much, I don't feel I could give much of a review to the Airplane, although I did like Jack Cassady's bass work and Grace's singing; overall I guess they came off pretty well. Booker T. and the M.G.'s were really a gas. just playing their funky R&B instrumentals - drums, organ, lead and bass - very tight and down-home swinging. Otis Redding closed Saturday night's show (Booker T. and the boys stayed to back him, plus the Mar-keys - two horn men), and Otis, bouncing out on stage, in about five seconds had the whole audience completely with him - he's got some kind of incredible, dynamic magnetism that just reaches out and grabs you: dipping down, screaming, bouncing and trotting all over the stage, he socks it right to ya! So happy and turned on to what he's doing - it's really a gas to watch him.
    The whole of Sunday afternoon was devoted to Ravi Shankar: incense, very soft, very gentle, explaining, what he was doing, how his instrument worked, clapping and turning his hands in time to Alia Rakha on tabla, smiling serenely, nodding his head, concentrating, the soloing, the brilliant interwoven exchanges in a duet between the two, the mild and then very heavy and complex ragas, his exchanges of love and friendship with the audience - a brilliant, demanding, fascinating exhibition of virtuosity, marred only by the noise of jets overhead and the insistant clicking of the photographers' cameras. Although I wonder if he would have been invited if George Harrison was not his pupil.
    Sunday night's show opened with the Blues Project, who, didn't impress me much with their jazz-rock orientation or their new organist, who seemed very affected, like he was trying to tell the audience that at last the group had a real soul brother. The Buffalo Springfield came off very well - this was the first time I had seen them and they did some very nice, melodic ballads and also swung pretty well on their up-tempo numbers. The Dead were really a gas - doing about four or five long numbers, the major part of each being a fantastically tight instrumental excursion with each guy just using his axe to cut in and out of and around and through what the other guys were doing – Iike watching the insides of a watch working.
    With Pete Townshend looking like a twisted Merlin the Magician armed with a rubber guitar, the Who proceeded to attack a repertoire which included their current hit, "Happy Jack"; their album's mini-opera, "A Quick One While He's Away"; their new record, "Pictures of Lily"; and that old favorite, Eddie Cochran's "Summertime Blues"; which they completely demolished - like wringing out a wet towel, they extracted everything possible from the song and it lay there, wasted, when they had done with it. They closed, literally, as well as figuratively, with "My Generation"- Roger Daltrey stammering out the words, Keith Moon kicking away his double drum set, Pete setting off smoke bombs and smashing his guitar, while off to the side, John Entwhistle managed to keep some semblance of a beat going with his bass. Although they didn't seem quite as turned on as they were at Fillmore and the audience didn't seem to appreciate them as much, they were brilliant, which seems to be the rule for them. Somebody should have told the stage crew what to expect, though, because one of the technicians almost lost his head while trying to rescue a microphone in the vicinity of Pete Townshend, who was busy raising his guitar and hammering it into the stage.
    Heard to remark backstage during the Who's devastating finale; "What can I do for an encore to that?" Jimi Hendrix showed everybody that he could come up with something. In between playing some great guitar and some really heavy numbers, he also screwed his guitar, coming on it with lighter fluid, and set it afire, offering it; as he put it, as "a sacrifice of love... " for the audience of his first appearance back home in America. Oh, come on Jimi, that's a big shuck, and you know it as well as I do - if there was any sacrifice it was offered for the sake of showmanship. It was kind of ironic and puzzling to see how excited the audience got over the violence and destruction of Hendrix and the Who - with the Who I can see it, because their music develops into this somewhat naturally, but with Hendrix the whole thing comes off as just a jive he’s putting on the audience and a lot of people seemed to get really turned on by the routine.
    In spite of all their slick professionalism, the Mamas and Papas still managed to come off pretty well, closing the festival Sunday night. They gave you that feeling: gee, wasn’t it a groovy thing. . .They are one of the few groups that could get away with that bullshit showbiz routine-you know: the little intros to each number, the rapping about each other between songs, and the obvious jokes about Cass’ weight and her baby (is that what ‘professionalism’ is?). But like I’ve said before, with them it wasn’t that offensive.

    [Day?] August 1967
    HULLABALOO (page?) [title?] by [unknown]:
    “Following their appearance at Monterey, the group mode their second appearance in this country in New York. The city‘s first exposure to that ‘live act’ was at the Central Park Music Festival. The Rascals were set to headline the bill, but word got out that Hendrix would do a set on the first show. As darkness set in on the park, an audience filled with groups such as the Doors and most of New York’s hip musical crowd had assembled. Jimi stepped out on stage and smiled at the audience. He began to tune with the comment “We tune because we care,” uttered in his soft hushed voice. Then he broke into Purple Haze and followed with all of his great numbers, including ‘Hey Joe’, ‘Like A Rolling Stone’ and “The British and American National Anthems” (‘Wild Thing’). The crowd was stunned but appreciative. During the following weeks I saw Jimi appear again at the Scene where the musicians dug him and at the opening night at Salvation where the pretty people ignored his act and talked of never having heard of him. Then I went out to Long island to see him on the Monkees Travelling show.”

    Friday 04 August 1967
    LOS ANGELES FREE PRESS (#159) (page ?) Advert with a cartoon of The Mamas and The Papas, announcing The Jimi Hendrix Experience as support for The Mamas and The Papas at the Hollywood Bowl on 18 August

    Saturday 05 August 1967
    BILLBOARD (Page ?) ‘Hot 100’ ‘Bubbling Under’ ? ‘Purple Haze’
    (Page ?) ‘Regional Breakouts’ ? ‘Purple Haze’ Jimi Hendrix Experience – Reprise 0597 (Sea-Lark, BMI) (?)

    Thursday 10 August 1967
    DOWN BEAT (# 16) (page ?) [title?] by Barry Hansen: “This was the American debut of his English group and quite possibly the major event of the festival. Hendrix’s roots are deep in blues and soul; yet he has learnt the best licks and tricks from the white blues and psychedelic guitarists: Bloomfield, Clapton, and all the rest – an unprecedented and very likely unbeatable combination. His tone and phrasing on the guitar, which he plays left handed are amazing. … The audience, a bit taken aback at first, cheered more loudly with each number (18 June, Monterey) […] The climax came with a lightly regarded rock tune of a year ago, Wild Thing. This had the audience screaming at every line before Hendrix even started his final coup de grace, a stage act that included an unprecedented variety of exotic dances [duh?], and finished with Hendrix setting his guitar on fire, then smashing it and throwing parts of it to the audience. If the Who had not done some of this before, there might have been a riot. Hendrix’ act somehow had a much more personal, less mechanical feel to it, a spontaneous one-man revolution as opposed [to] the Who’s organized assault on the senses.” [rest of text?]

    11> August 1967
    [UNKNOWN paper] (page ?) ‘Jazz, Hippies Happen Together’ by Jacques R. Leslie: ”Jazz music and the psychedelic movement entered into a surprisingly successful combination yesterday [Washington 10 August] when several jazz performers put on a free performance at the Ambassador Theater, 18th Street and Columbia Road nw. The audience consisted primarily of children, some only 5, from the Adams-Morgan area, but was dotted with hippies who came to see the Ambassador's light show. The afternoon concert was planned by local nightclub owners, the Adams Morgan Community Council, and the D.C. Federation. At least 500 children, most of whom had never seen a light show before, jammed the first floor of the theater and appeared delighted with what they saw. Most of them sat on the floor of the seatless auditorium and watched the performers, but at least 100 of them danced and skipped under a blinking strobe light at the rear of the arena as the music played. The Family Album, Les McCann Ltd., Donald Lease, the Paul Hawkins Latin Jazz Quintet and the Jimi Hendrix Experience performed. At the same time globular, pulsating patterns, enlarging and contrasting faces and abstract silhouettes shone from the walls of the auditorium. "I think it's dynamite," said Spencer Davis, 16. "They ought to give the hippies more of a chance to do this sort of thing. They're all right." The performers also appeared pleased with the lighting effects. Jazz pianist Les McCann said he saw no clash between the music he plays and the psychedelic music which usually accompanies the lights. "It's all music," he said.”

    Saturday 12 August 1967
    BILLBOARD (Cover) [colour banner ad across bottom of page for Reprise in ‘psychedelic’ style]NOW! TURN ON TUNE IN[in wobbly text](Page 66) ‘Hot 100’ ‘Bubbling Under’ @ 111 ‘Purple Haze’
    (Page 50) ‘Regional Breakouts’ ‘Purple Haze’ Jimi Hendrix Experience – Reprise 0597 (Sea-Lark, BMI) (Boston)

    16 > August 1967
    DETROIT FREE PRESS (page ?): ‘The Jimi Hendrix Experience: 'Frantic—Yet Somehow Casual' by Loraine Alterman: “No exaggeration: The Jimi Hendrix Experience is the most exciting act I have yet seen in pop music. A small, musically hip group of kids turned out to see Jimi at the Fifth Dimension in Ann Arbor recently (15 August). Onstage, Jimi, with hair a la Dylan, puts on a show with his brilliant guitar playing and electric stage presence. While performing, Jimi swings the guitar in back of him and plays it resting on his back. He also zings it with his teeth or falls to the floor to play it. In Ann Arbor, when his amplifier blew, he flung the amp to the floor at the end of his last set and jumped up and down on top of it. Paradoxically, he never blows his cool. While he's frantic, he's casual. As he's hurling the instrument around, a gleam of humor comes through. He's hip without being a hippie — that is, he's without the pretentiousness and pomposity which afflicts too many hippies. While all this visually is happening, the music Jimi, Mitch and Noel make is beautiful in its invention and execution. Amazingly they did "Sergeant Pepper's Lonely Hearts Club Band" with just three pieces in a way that would have made the Beatles glad. Hendrix's voice has the tough, soulful quality that reflects his roots in the blues. Each member of the group is expert. The group is tight and musically disciplined, but the music is freed from traditional constraints. Jimi shies from the label psychedelic, since he believes, "the ones who call themselves that are so bad. I'd hate to go on a trip and hear all that noise."

    Saturday 19 August 1967
    JACKIE (page ?), interview [title?] by [unknown] -
    Jimi: “Anyone who doesn’t appreciate Dylan should read the words of his songs. They’re poetry - full of the joys and tragedies of life.” [more text?]

    Saturday 19 August 1967
    ARNHEMSE COURANT (page?) [photo: Jimi in cape sitting on pavement] ’14 september in Ede Jimi Hendrix Rob Hoeke Outsiders’ by [unknown]: Zaterdag 14 september treedt Jimi Hendrix op in de industrie-hallen te Ede, met hem de Outsiders en Rob Hoeke. Een knal programma rus. Initiatiegnemer is de beer Van de Horst, caféhouder in Ede.
    Tijdens het organiseren van de – zeer – geslaagde baetfestijnen in Ede, met o.a. de Motions en Golden Earrings, heeft deze 33-jarige bar-baas de smaak te pakken gekregen. In samenwerking met Paul Acket wordt Jimi Hendrix naar Nederland gehaald.
    De keus is niet toevallig. Van de Horst: ..Die jongen heeft het helemaal. Als hij bezig is is de zaal met stomheld geslagen, en dat moet ik heben. Deze mensen hebben zo’n enorme vat op de zaa dat je er niet meer naar om hoeft te kijken. Rob Hoeke laat ik voor mezelf spelen, die vind ik mees terlijk”.
    De industriehallen tellen 5000 plaatsen, je hoeft niet bang te zijn dat je bulten moet bitjven . .
    '14 September in Ede Jimi Hendrix, Rob Hoeke, Outsiders’, by [unknown]: Saturday, 14 September Jimi Hendrix plays in the Industrie Hallen in Ede, also the Outsiders and Rob Hoeke. A crack rush program. Initiator is the creditor Van de Horst, cafe owner in Ede.
    This 33-year-old bar owner got a taste when organizing the - very - successful beatfestival in Ede, featuring the Motions and Golden Earrings. A collaboration with Paul Acket brings Jimi Hendrix to The Netherlands.
    The choice is not accidental. Horst: “That boy has it all. If he is busy, the room with dumb hero beaten, and I am heben. These people have such huge sums on zah that you no longer need to look at. Rob Hoeke let me play for myself, which I co-literally.”
    The Industrie Hallen counting 5000 points, you need not worry that you need humps bitjven

    Saturday 19 August 1967
    BILLBOARD (page 8) ‘Salvation, Village Discot