Results 1 to 1 of 1


  1. #1
    Join Date
    Jan 2008
    Thanked 5,739 Times in 2,503 Posts


    Monday 30 August 1970
    East Afton Farm, Isle of Wight, England, JHE [II]

    Isle of Wight Festival. Produced by Ron & Raymond Foulk’s ‘Fiery Productions’.
    Jimi’s mood, judging by his expressions & body language, swings from casual and having a laugh to minor tantrums, and sloppy despairing, which is reflected in his playing. Although this long show has some excellent moments, it’s only about 70/30 pleasure to pain. His needlessly long breaks, calling for several drum solos, moody behaviour, poor choices and periods of wilfully sloppy playing spoil the show much more than the faulty sound system or any tuning problems he had (IMHO).
    Rikki Farr (promoter). From the stage on Thursday 27th, directed at the “anarchists” from ‘Desolation Row’ on ‘Devastation Hill’: “We put this festival on, you bastards, with a lot of love. We worked for one year for you pigs. And you wanna break our walls down, and you wanna destroy it? Well, you go to hell!”
    Jimi went on stage at ~ 23:30. His set was preceded by Good News; Kris Kristopherson (who, apparently, felt threatened by the audience and walked off stage while his band was still playing); Ralph McTell; Heaven; Free; Donovan; Pentangle; The Moody Blues and Jethro Tull.
    Ron Foulk (promoter. Tuesday 1 September, day after the festival) "This is the last festival; it began as a beautiful dream but it has got out of control and it is a monster."
    Interestingly there’s a guy waving a Lebanese flag, while Tiny Tim sings ‘There’ll Always be an England’ – reminded me ‘Red Leb’ was very popular at the time.

    Only the 5th time he is recorded using his ‘yellow underwear’ (ie she’s so excited she’s pissed her pants [see ‘The Beatles’], well, she is only four) introduction in 1970 - to Foxy Lady, as usual.
    Only recording of God Save The Queen

    01. God Save The Queen, 02. Sgt. Pepper’s Lonely Hearts Club Band (14), 03. Spanish Castle Magic (48), 04. All Along The Watchtower (12),
    05. Machine Gun (27/28), 06. Lover Man (39), 07. Freedom (24), 08. Red House (76), 09. Dolly Dagger (4), 10. Midnight Lightnin’ (18/19),
    11. Foxy Lady, (93/94), 12. Message To Love (41), 13. The New Rising Sun (Hey Baby) (9), 14. Ezy Ryder (27), 15. Hey Joe (58),
    16. Purple Haze (102), 17. Voodoo Child (Slight Return) (83), 18. In From The Storm (6)

    [Aud = Audience]

    [Prior to JH arriving on stage Joe Cocker’s ‘Feelin’ Alright’, The Stones’ ‘You Can’t Always Get What You Want’, and immediately prior (prophetically) ‘The Last Time’, are played over the P.A.
    Backstage with roadies Gerry Stickles (GS), Eric Barret, [Eu]Gene McFadden (G) & MC: Jeff Dexter [a major ‘scenester’, he performed a light show at the original UFO club in London and helped run ‘Release’ the famous drug bust charity set up by Caroline Coon, she, notably, was on the receiving end of one of Jimi’s tantrums, when she attempted (1969) a ‘spoof’ interview for IT magazine (he apparently (mistakenly) took offence at her name. viz: Introduction, “Hi, I’m Caroline Coon”, Jimi hears, “Hi, I’m Caroline, ‘coon’.” ie - he thinks - racist slur She’s briefly featured in the BBC Hendrix film ‘Laughing Dice’.],
    French Radio [RTF] show ‘Pop Club’ interviewer Nicole Bouchet [NB], who talks to Jimi as he walks to the stage), and Richie Havens (RH) etc.]

    [Jimi leaves his trailer with (James) “‘Vishwa’[murti]” (Scott) (a friend of Jimi’s from L.A.)
    behind him and Gerry Stickells in front.]
    ? : Come on Georgie, walk
    GS : Don’t, don’t stop
    ? : Ah, fuck it
    NB : Jimi Hendrix…
    Jimi: Who? [mockingly with hand over mouth]
    NB : …for French kids, how do you get your inspiration?
    Jimi: Pardon? Say it again
    NB : How do you get your inspiration?
    Jimi: From the people
    NB : For French kids?
    Jimi: For French kids? It’s from the French?
    NB : Yes, we are French
    Jimi: Yeah, right, from the people, when they really show that they’re really you know,
    there for a genuine purpose, to enjoy themselves and we try to do the same, you
    know. The, long as they don’t be too critical, the’-then they, then they lose the
    GS : This one…Just follow me up the road and you’re at the door
    Jimi:…and it’s not gonna hurt me anyway…
    GS : Okay
    Jimi: …I got a gig waitin’ for me in the laundrymat [joking. Ed.]
    Jim Morrison1 (who is obviously there to see Hendrix) is being interviewed backstage by a reporter from the UK
    ‘alternative’ (ie psyche influenced) music fanzine, (the fabulous) ‘Zig Zag’. On observing Jimi walking up the steps
    to the stage area, with the camera crew filming:
    ZZ: Oh, look
    JM: An actual movie
    ZZ: Ha-ha-ha
    JM: Oh, that’s beautiful, man, looks like a priest going to the altar
    ZZ: Mister Hendrix, of course heh-heh. . . Do you think, in view of what you have done,
    that you will do a tour now?
    JM: Well, we had planned one here. Ah, we had planned to do one, after this, of eight or
    nine places in Europe, including Berlin-n’, Switzerland and Paris an’. I have to go back to-ah, this trial in Miami. . .
    ZZ: Yes
    JM: . . .’cause I’m in the middle of that, so, blew the whole trip
    ZZ: Sure. So, you know, that-that is, it’s such a drag, really, as far as we’re all concerned
    JM: I thought it, I-I thought it was gonna be this, actually very fascinating thing to go
    ZZ: Yeah
    JM: Kind of zero

    ZZ: I talked to Jac [Holzman] and he said that it, it was going on so long now that, you
    know, perhaps, nothing would be done now [tape ends]
    Stage: Jeff can you get those people to sit down…
    RH : [Gives Jimi a hug, is generally ‘physical familiar’ etc.1] I’m in the caravan right down
    there soon as you…
    Jimi: Okay, I’m goin’ on in a minute.
    RH : All right?
    Jimi: Right
    RH : All right
    Jeff : [Onstage speaking to audience:] Two, could we have everybody at the front and
    around the edges, please, sitting down...
    GS : There’s somebody gone on now [MC].
    Jimi: Are we goin’ on now?
    GS : Yeah
    Jeff : [Onstage ]…be nice if we’d try and sit and then everybody can see
    Jimi: That’s why I said don’t break the song, yeah
    GS : What’s that! [Jimi has just reached out stage-side and picked up a small can of ‘Finger Ease’ string
    lubricant as CTT member ‘carlygtr56’ informs us]
    Jimi: That’s the guitar …
    GS : Oh
    Jimi: …‘cause…
    GS : Ha-ha-ha
    Jimi: …’cause, ‘cause it’s outside..
    GS : ha-ha I thought you said it was the speaker
    Jimi: …when you’re playing outside you’re so fuckin’ sticky man [referring to the neck, viz the string lube?]
    GS : Ah, fu’- okay
    Jeff : [onstage] We need a bit more volume on this mic’ Charlie*
    Jimi: Oh, you have a guitar pick? Do you have a guitar pick?
    GS : Guitar pick Gene?
    G : Right
    GS : Gene?
    G : What?
    GS : Now don’t forget…..this one here
    Jimi: Okay, ‘ey and hold on to this chief [Jimi hands him the can of string lube]
    GS : Hold on, I got it, I got ya, right on top of the corner there, right up there
    Jimi: How does ‘God Save The Queen’ go? I forgot the words
    GS : [Sings tune] Da, da, da, da, da-da……’God Save Our Old Tom Cat’ hee-hee-hee
    Jimi: They won’t be uptight if we do that?
    GS : All right, is it on again?
    Eric: It’s goin’ on and off
    GS : Power’s going, just sick, the power’s going, again
    Jimi: Won’t that happen with us?
    GS : No, no, no, even so they’re just fixing it now
    Jimi: Permanently. ..?
    GS : Permanently. Everything will be cool, don’t worry about that [as it turned out, Jimi
    was right to worry. Ed.]
    Aud: Hendrix!, Hendrix!, Hendrix! [etc.]
    Jimi: That’s out o’ sight, can we stay and watch ‘em?
    [unfortunately we don’t hear who Jimi was wanting to watch]
    GS : If you want to, yeah,
    Jimi: Great, so that means we’re not gonna rush right home?
    GS : No, you can stay and watch ‘em, but after that I’d like to get away, because
    otherwise, we’ll be stuck for hours and all these people, you know.
    Jimi: No, no we don’ have to be stuck, we don’ have to be stuck
    Jeff : [Backstage, to Jimi:] Anything in particular you might like me to say …
    GS : Is it all right now? Have the charge light ..on
    Jeff : …when I introduce you?
    ? : Keith! In the black box!
    Jimi: Just say Billy Cox on bass, Mitch Mitchell on drums and-uh you know, who ever’s
    gonna be playin’ guitar you know. Okay?
    GS : Where’s the electrician? Anybody? I hope the power’s on because I…
    Jeff : Now? are you ready?
    Jimi: You call him ‘The Blue Wild Angel’ he-heh
    Jeff : The what?
    Jimi: ‘The Wild Blue Angel Music’ [Jeff does a weird thing here, he quickly, but gently
    strokes Jimi’s cheek (to Jimi’s apparent, but slight embarrassment)] he-heh, yeah,
    right, ‘hit it’ [i.e.‘get the show rolling’]
    Jeff : Are you ready?
    Jimi: Ah-um ask the road manager. Are we ready, are we ready, huh?
    GS : No, Just a sec’, they’ve lost the power again
    Jimi: One more second
    ? : GET OFF!
    GS : All right? Everything cool Eric? Or not?....Okay?
    Jimi: Where’s my, where’s my towel at? Is that towel out there?
    GS : I’ll check, I’ll check on it yeah, I’ll get rolling and check on it.
    Jimi: All to fuck
    GS : Hee-hee-hee
    Jimi: Hey, Do they have microphones in front of the amplifiers?
    GS : Yeah
    Jimi: Are they recording it?
    GS : Yeah
    Jimi: Okay now, we have to get permission, we have to get, I wanna hear the tapes
    GS : Yeah, okay…taken, we’ll get it taken care of, don’t think about it. It’s the guy who
    recorded the Albert Hall tapes is doin’ it. Remember, the one who made the
    joint ?
    Jimi: Yeah, but when are we gonna get ‘em though?
    GS : I’ll try and get ‘em, in a minute, but if not Pye3‘ll…There’s an injunction, they can’t
    use ‘em, while we got an injunction.
    Jimi: Well, they can’t use them anyway.
    GS : No, no, they-nobody can…
    Jimi: Okay, but it’s all changed
    GS : …we’re…law
    Jimi: [if] that’s what’s happenin’, it’s okay
    Eric: All right, I’m ready
    GS : Okay, ready, tell the, tell the MC to go then.
    ? : Okay it’s…
    GS : [To Jimi] Okay, you go
    Jimi: Okay
    Jeff : [Onstage] Um, two. A bit more volume on this one Charlie*, it’s gonna need it. Let’s
    have a welcome for Billy Cox on bass [applause & cheers], Mitch Mitchell on drums
    [slightly louder applause & cheers], and the man with the guitar Jimi Hendrix. [wild
    applause & cheers as Jimi walks out]
    Jimi: Yea-ah thank you very much for showin’ up man, you all look really beautiful and
    out-o’-sight and thanks for waitin’, it has been a long time hasn’t it? [gives the ‘V’ two fingers, hippie sign for peace] That does mean peace, not this [gives the (British) reversed 'V' two finger ‘fuck you’ sign] a-ha, peace hmm. Okay, give us about a minute to toon up all right, give us, give us about a minute to toon up…[to Mitch & Billy]: Drum roll from the top …nothin’s in toon… It’s so good to be back in England, we’d like to do, uh start off with a thing that everybody knows out there, you could join in and start singin’, matter of fact it’d sound better if you’d stand up for your country and your beliefs4 and start singin’, and if you don’t fuck ya…[to Mitch & Billy] : Nice and loud okay…

    *Charlie Watkins. He was the sound engineer, and set up the WEM (“Watkins Electric Music”) PA for the
    I.O.W.’s (68, 69, 70) and other big festivals & concerts in the 60’s. eg Jimi at the Albert Hall, Stones in Hyde
    Park etc. (he also designed the ‘Copicat’ © tape echo unit.)
    2Thanks to CTT member ‘buffalorattle’ for highlighting Havens’ physical display of affection.
    3Pye records are recording the I.O.W., as well as being the label that later released some of the Albert Hall
    tapes on their subsiduary ‘Ember’ label. They obviously had some kind of contract at that stage with Gold &
    Goldstein? An early recording of ‘Hey Joe’ is credited to Pye Studios as well. Noel Redding’s earlier 1966
    band ‘The Loving Kind’ were signed to Pye
    4Thanks to CTT member ‘soccertackle14’ for correcting my mistake here.

    1. GOD SAVE THE QUEEN (unattributable)


    [Jimi gestures with thumb to Mitch’s amps, mouthing to sound crew: ‘Up, bass drum, bass. Bass drum, right]
    [Jimi’s amplification starts breaking down*]

    [Drum solo! (while crew attempt to fix problem) They’ve only been playing for a minute and a drum solo already!]

    Jimi: [Turns to sound crew, pointing upward and mouths,] “Louder, up, louder. All the way up, yeah, [starts to turn away, then turns back]: Oh, and the bass drum, bass drum.”
    [shouts across the stage to Eric Barrett, gesturing to him to turn something off. Eric runs over, the word, “off” can be heard and Eric fiddles behind one of Jimi’s monitors, before running back to other side of stage again.]
    *Charlie Watkins: “He was really getting steamed up. He said 'Charlie, I can't hear it', and I already had so many monitors. I started taking the PA down from the left-hand side, and got my boys to put another 500W behind him.”....“The sound in 1970 was awful. The difference [from previous festivals] was that the stage was on top of a hill, and the prevailing wind was against us....

    2. SGT. PEPPER’S LONELY HEARTS CLUB BAND* (John Lennon & Paul McCartney)

    It was twenty years ago today
    Sergeant Pepper told the band to play
    They’ve been goin’ in and out of style, you know
    The reason, make you smile

    So may I introduce to you
    The one and only Billy Shears
    Sergeant Pepper’s Lonely Hearts Club Band

    *Jimi debuted this as part of his act just a couple of days after the release of Sgt. Pepper’s at Brian Epstein’s
    Saville theatre. Several of the Beatles were in the audience and McCartney later said. “I put that down as
    one of the great honours of my career.”


    It’s very far awa-ay
    Takes about a half a day to get there2
    That’s if we travel by our, dragonfly-ha-ha-high
    It’s all in your mind, babe
    Don’t waste your time thinkin’ about bad things
    Just float your mind around an’
    The wind's just right

    Hang on my darling, hang on if you wan’ ‘o go
    It’sawholelotof fun, baby
    I’mtalkin’aboutalittlebit o’ Spanish Castle magic

    The clouds are really low
    And they overflow
    With cotton-candy
    But sometimes-uh, battle grounds
    If you mess around
    But it’s all in your mind, baby
    Don’t waste your time thinkin’ about bad things3
    Look up on top of the hill, honey
    Turn your mind around

    Hang on my darling, hang on if you wan’ ‘o go
    Talkin’ ‘bout
    Don’t tell your mother about her
    Or either turn her on
    Spanish Castle magic

    Hang on my darling, hang on if you wan’ ‘o go
    We’vehada whole lot o’ fun, baby
    I don’t think it gonna harm nobody
    Spanish Castle magic
    Little bit of Spanish Castle magic
    It’s all in your mind, baby, yeah
    A little bit “Hearing Aid” [cannabis?] never killed nobody
    It’s better than “Coca-Cola®[cocaine?]

    [Amps start breaking down again, and are now broadcasting radio]

    *Jimi as usual skips some lyrics and ad-libs. The ‘official’ line: “It puts everything else on the shelf,” is, as
    always, missing (That line was only used once, on the December BBC Top Gear show).
    The title is from the ‘Spanish Castle’ night-club in nearby Tacoma, that Jimi visited occasionally when a
    teenager. Apart from ‘Little Wing’ this is the only other song from ‘Axis’ that Jimi performed regularly.
    2 ‘It takes about a half a day to get there’ appears to be a reference to the beat-up cars Jimi & co. used,
    apparently sometimes ‘borrowed’, but in the rest of the song it’s a euphemism for an LSD trip
    3 It's obviously a tip about tripping (using the euphemism of a fantasised trip (ie visit) to the Spanish Castle
    Nightclub) as per Alduous Huxley's: Heaven and Hell etc. By the nature of acid, a trip can go both ways
    (hence ‘Laughing Sam’s Dice’, ie it’s a gamble). Jimi's advice: Don't spend your time thinking about bad
    things (eg the battle ground's blood & mud, ie Vietnam - bum trip) just float your mind (think about nice
    things (the 'cotton candy') - good trip) It's all in your mind (Heaven or Hell - it's up to you)

    [Jimi stamps on the wah pedal to shut off the now screeching feedback]

    Jimi: As I said before, thanks a lot for coming, we’d like to get into another song that we
    did about a, in the year of 18331 and-uh, I think it’s pretty true still today, if you can dig it. (Mitch: Whoa-oa)
    One, two, (Mitch: Whoa-oa [as he is still getting his sticks together]) three, four, five…

    1Fortyfourth recorded mention of Jimi referring to some of his music as being recorded over a hundred
    years ago, (usually it’s Hey Joe or Red House & only three times for a song that’s not on his US ‘Are You
    Experienced’ LP, and this the 3rd time, it’s for a song from ELL). Possibly a reference [or not] to Elmore
    James’ strange 1954 song ‘1839 Blues’ which starts with him singing in a weird voice:

    Hey Joe… you know I’m a young man this time
    And you know I ain’t seen my baby since 1839
    I got to find her. What you say?”

    [More amplifier trouble]

    4. ALL ALONG THE WATCHTOWER (Robert ‘Bob Dylan’ Zimmerman)

    ”There must be some kind o’ way out o’ here” said the joker to the thief
    “There’s too much confusion I can’t get no relief
    Business man they-uh drink my wine, ploughman dig my earth
    No reason to, [very quietly (off mic’)]: forgot the song, [back on the mic’]: Nobody [again off mic’]: offered his word
    [Or, possibly, “know-what-anyslurred as one word, and “of it is worth”, ‘th’ pronounced as in ‘the’ – but I think that is ‘stretching it’.]

    [Solo, with the feedback notes crackling badly*]

    “No reason to get excited” the thief he kindly spoke
    “There’s many here among us, who feel that life is but a joke
    Lord, but you and I, we’ve been through that
    And this is not our fa-ate
    So let us stop talkin’ falsely now, the hour is gettin’ late.”

    [Solo, with some broken down feedback that Jimi manages to make sound great*]

    [Jimi catches Eric’s eye and mouths ‘Wah [...]. The wah [...]’. Eric rushes off]

    While all the women came in with, barefoot servants too
    Outside in the cold distance, a wildcat did growl
    Two riders were approachin’ and the wind began to howl…yeah

    [Outro solo, Jimi just holding it together1 (wonderfully)]

    Aud: Fire! Purple Haze! Message To Love! [the BOG LP had just been released in UK/Europe]
    Jimi: Uh-we’re havin’ a tiny bit a trouble with the equipment, hold on a minute, just one
    more second, buy your hotdogs, whatever…
    Aud: Voodoo Chile!
    Jimi: Yeah, we’ll do that-uh, towards the-uh… the next time…Yeah there’s a whole lot o’
    head games goin’ on sometimes, and sometimes they leak out…as it werethey use their powers and so forth and
    play [bone-]2 head games on other people, which we call war-uh pop-pop-pop-pop-pop! And so I’d like to dedicate
    this one to-uh all those soldiers that are fightin’ in Birmingham* [England], all the skinheads [antithesis of the hippies], all the-uh…
    Aud: Aaaaaaarrrrgh!, fuck them! [ie the skinheads]
    Jimi: Yeah, well, you know what I mean, you know, yeah, right. Amen. All the soldiers
    fightin’ in Bournemouth2, [&] London2, oh yes all the soldiers fightin’ in Vietnam, like I almost forgot, man, so many wars goin’ on…

    1 Charlie Watkins: “...his wah-wah pedal went wrong.”
    2This bit is quite unclear, but I’m going for the ‘Jimipassiton’ site owner’s interpretation as his are excellent, it
    does sound like it, and Jimi used the expression ‘bone-head’ before.
    *Has Jimi become aware of how Nazi/racist most of the ‘skins’ have become? See note after “Machine Gun”

    Ex Hendrix roadie Howard “H” Parker can be seen sitting at Hendrix’ right. He was apparently involved with the proto punk band, the Pink Fairies
    at the festival. He became a roadie for another well known proto punk band Third World War, and died in 1973 in a boating accident in Greece.

    [Roadies Gene McFadden, Eric Barrett and Gerry Stickells are seen running about trying to fix the sound]


    [Amplifiers picking up security radios: “Go ahead…That’s fine, that’s fine, thank you, over …..okay Jimmy…. Now the security personnel,
    security personnel are you receiving me, over….”]

    Machine gu-un teari-ing my buddies all apart
    Hey-yeah-yea-ea-ea-eah machine gu-u-u-u-un
    Teari-i-i-in’ my buddies all apa-a-art

    They shoot me down makin’ peace, baby
    Evil man make me kill you, an’-uh
    Evil man make me kill ya
    For a grave this an’-uh
    Even though we’re only families apa-a-art


    [Jimi has the first of three minor tantrums (clearly visible to the front audience) due to the crap system/his own inability? to get the sound he wants, this creates and maintains a bad atmosphere and is very unprofessional. He then gets Mitch to play another solo while he saunters off to speak to the roadies – even one drum solo is usually one too many for most fans – the show has hardly started and they’ve had to listen to two already! This one in the middle of an improvisation that many appear to have felt was too soon and already over long!]

    [Drum solo]


    Well, I pick up my axe and fight like a farmer
    But your bullets still try to shoot me down

    I pick up my axe1 and fight like a farmer
    But your bullets keep shootin’ my buddies down

    The same way you shoot me down, baby
    You’ll be goin’ just the same
    Three times the pai-ain
    And your own self to blame
    Yea-hea-eah machine gu-un


    [Speakers now start crackling badly]

    Wa-ay over yonder stands a mother
    Way inside of her stands a son to fight the wa-ar
    I wanna tell you, Lord, I’m her lover
    I said I’m her lover
    And I’m sorry, man, we don’t make no children to fight in your old war
    Hey, hey machine gun, let your bullets ru-un down like rain

    ‘Cause I know exactly where you’re at, baby
    And your sweet talk won’t even cause me pain
    Yea-eah machine gun, tearin’ all around

    Yeah, yeah machine gu-un, Lord, you’ll never wi-i-i-in
    Knowin’ all about you.

    [Speakers now broadcasting opera…..More amplifier problems…]

    *According to Jimi this addresses at least two subjects, one is war and the other is personal struggle
    “People fighting wars within’ themselves.” About the following MSG debacle, "And here I'd been fighting the
    biggest war I ever fought. In my life. Inside, you know? And like that wasn't the place to do it."
    Listen to ‘Machine Gun’ by the Riptides 1959. Hear Jimmy & Buddy chortling over Buddy’s quote of Jimi’s “and you’ll never hear surf music again” at the rehearsals for these four shows. Rick Griffin the famous poster artist who made the famous “God’s Eyeball” poster for Jimi’s shows at the Fillmore in ’67 and the “Dancing Scarab Beetles’ one for the ‘68 Winterland shows was a “Surf” artist.
    1“axe” is (also?) ‘hip’ for ‘instrument’. Woody Guthrie’s guitar was emblazoned with the words, "This
    machine kills fascists")

    Aud: Star Spangled Banner!

    [Many there would have just seen the movie ‘Woodstock‘ for the first time – possibly why he played the UK anthem?. Until this "tour" he only ever had played, in Europe, a version at the Albert Hall on 18-02-69 and a very brief snatch that almost no one there would have recognized, on 24-02-69, again at the Albert Hall. Proof, if it were needed, that this was generally appreciated on solely a musical level – Jimi: “I thought it was beautiful.” ie His ‘sonically charged’ interpretation of an old English drinking song melody - ha-ha-ha. I’m 100% almost all UK fans at that time (pre-Jimi Woodstock) would not know the US national anthem, and even if they recognized it they would not know its name (unless they had seen the ‘Woodstock’ movie) – Jimi: Listen it’s gonna take uh-time uh-to, right, get into it because we’re havin’ little difficulties here and there, but, like, if you could hold on a little bit, I think we can all get it together, all right? ‘Cause I’m gonna stay here all night until somebody moves
    Aud: Yeah, yeah all right… “Turn the camera off1!”…
    Jimi: Now I ain’t gonna get to see my old lady* at three o’clock…
    Aud: “Turn the camera off1!”…”Hey, get rid of that camera you idiot1!”…”Hey!”…”Fuckin’
    still make you sick”…

    Jimi: Da-da-da-da-da-da-da [to tune of ‘HOLIDAY FOR STRINGS’2 (David Rose & Sam Gallup).
    - with Mitch playing hi-hat.]
    Aud: [stoned voice: “Football music”] “Come on you other people… “
    [Mitch & Billy play a snatch of ‘HOLIDAY FOR STRINGS]
    Aud: …start to play!”…. “Get off the stage!1” “Off the stage!1” “No particular dog!” “Drag
    him off!”........ [Lot off bad noise]….. “Forget your new things!”…

    *Kirsten Nefer.
    1Probably directed at the camera men
    2Thanks to the foremost specialist on Jimi’s early career, Niko Bauer, in JP 102 for his excellent article on his
    i.d. of this song. Or ‘Holiday On Springs’ as Jimi comically referred to it.
    (See also ‘Burning Desire’ (10)) Apparently Jimi’s ‘in band’ joke term for taking a musical break.

    [Jimi switches to his Flying V for next four numbers. Possibly in, a vain, hope that this will cure his sound problems]

    6. LOVER MAN*

    [Eric Barrett changes the Univibe pedal]

    Here he comes
    Here comes your lover man
    Here he co-omes
    Here comes your lover ma-an
    I hope you recognise him, baby
    Talkin’ about comin’ home as fast as he can
    Reach u-up, baby
    Hand me down my rockin’ shoes
    Oh-Rea-each up, baby
    Hand me down my rockin’ shoes
    I’ve got to run out o’ here
    Better off, when got a chance to lose

    [Solo. During it Jimi talks to Gerry briefly]

    I wanna love you longer
    Yes I wanna love you stronger, baby
    I wanna love you lo-onger, all, you all
    Here comes your old man over yonder

    [Near the end Jimi has the 2nd of at least three minor tantrums (clearly visible to the front audience) due to the crap system/his own inability? to get the sound he wants, this creates and maintains a bad atmosphere and is very unprofessional.]

    *Music: BB King’s ‘Rock Me Baby’. Lyrics are a mix of Elmore James’s ‘Look On Yonder Wall’ (Bill ‘Jazz’ Gillum) & Howlin’ Wolf’s ‘Meet Me In The Bottom' aka 'Down In The Bottom' (Willie Dixon), both songs have a similar theme and chorus. Last verse is Jimi’s later addition. Jimi related this song to the Vietnam war veterans returning, as Elmo’s version of ‘Look On Yonder Wall’ did to those of World War 2, the missing verse being: “Your husband went to the war, I know it was tough, I don’t know how many mens he killed, but I know he done killed enough.” Ha-ha-ha

    Aud: ‘Purple Haze’…
    Jimi: [tuning] Okay we’re gonna start all over again. Hello, how you doin’ England? Glad to
    see you, we’ll do a thing called ‘Freedom’…

    7. FREEDOM

    You’ve got my pride hangin’ out o’ my bed
    You got my head, dig-uh, I had to buy my lead
    You got my children, screamin’ and cryin’
    You got my pride
    You’d better get out of here if you wanna stay alive

    Freedom, that’s what I want now
    Freedo-o-om, give me a break now
    Freedom to live
    You got my head-uh, speak electric water1
    You got my hu-urt soul, screamin’ and hollerin’
    You got my girlfriend, you hooked her
    You know the drugstore man
    But I don’t need it no-o-ow
    I’m just tryin’ to slap it out of her hand

    Freedom, that’s what we want now
    Free-eedo-om, coo-ool trip now
    Freedo-o-om, got to live
    Free-eedo-om, to you I wanna give

    You don’t have to say that you love me
    If you do-on’t mean it you’d better believe-uh
    If you need me or you just wanna bleed me
    You’re better stickin’ your dagger in someone else
    And set me free
    [Plays riff]…so I can give to you
    Freedo-o-om, so you can help me too
    Freedo-o-om for MY* little children
    Freedo-o-om, you’d better-uh

    1Obscure argot, the meaning of which has yet to be explained?
    *Jimi admitting he has children! [he had recently been served with two paternity claims, on behalf of Tamika
    James (Hendrix) and James Sundqvist (Hendrix)]

    8. RED HOUSE

    Lord, there’s a red house over yonder
    Lo-ord, Lord, that’s where my baby lives
    And, Lord, I ain’t been home to see my pretty baby
    Lord, in about a ninety nine and one half day*…yeah

    Wait a minute somethin’s wro-o-o-ong
    Lord, have mercy, the key won’t unlock this doo-oor-uh
    Wait a minute somethin’s wro-ong, baby
    We all know something’s wrong
    Lord, Lord, Lord, baby done gone changed the lock
    And the point don’t fit no more
    Yeah, well, hell

    [Solo. During the solo Jimi has the last of at least three minor tantrums (clearly visible to the front audience) due to the crap system/his own inability? to get the sound he wants, this creates and maintains a bad atmosphere and is very unprofessional.]

    Yeah, well, I think uhm
    I think I got to get out ‘o he-ere
    Because my Linda1 don’t live here no mo-ore
    That’s all right, I still got my guitar

    Well, I might as well go back over yonder
    Way back over yonder, across the hill
    Yes, I might as well go back over yonder, baby
    Lord, way over yonder, across the hi-ill

    If my baby don’t love me no more
    Like she say they don’t
    Lord, I know good and well that her sister wi-i-i-ill

    *Three month jail term
    1 Linda Keith who “discovered” Jimi and introduced him to Chas Chandler?/or, possibly, singer Linda Lewis
    who also claims to have had some kind of a “relationship” with JH? In favour of Keith is her being catalyst in
    Jimi’s ‘discovery’, her ‘lending’ of Keith Richards’ guitar to Jimi and that she was a major fan of ‘blues’
    Music (Thanks to ‘ezyrider’ @ CTT for jogging my mind on the ‘blues’ detail).

    Jimi: [To Mich & Billy:] ’ Let’s try that Dolly Dagger, Okay?’... We’re gonna try another song
    now, it’s called-uhm ‘Dolly Dagger’ and it’s-uh one of things that we’ll try to put on our new LP.
    Aud: [French “anarchist” infiltrator from ‘the hill’, arrogantly demanding to Jimi] : Tell these guys to sit down
    Jimi: What was that?
    Aud: Sit down ‘cause I got to get…
    Jimi: What?
    Aud: […] audience sit down
    Jimi: Oh, yeah, somebody wants the-uh people in the front row to sit down, I think it’s
    compliments from the hills. Don’t forget you can’t fly up on top of those hills$, don’t
    forget that. Here we go. One, two, three…

    $Mick Farren [ex-UFO door man, rock journalist and member of the proto-punk, “anarchist” band ‘The Deviants’:
    “Being the trouble-maker that I was, I decided, ‘Let’s tell the world about about the hill’ (where the "anarchists”
    [arseholes more like. Ed.] set up a camp named “Desolation Row” from where they could watch the show for
    free) at which point all hell broke loose and, um, it all got a little bit out-of-hand from there on in.” - The antics
    on the hill had very little/nothing to do with Mick actually. Ed.


    Dolly Da-agger
    Her love’s so heavy gonna make you stagger
    Dolly Da-agger, she drinks the blood from a jagged egg1 (queer)
    She blew around-uh, ridin’ broom sticks when she was fifteen
    Shootin’ down every other witch on the scene
    She got a bullwhip just as long as your life
    Her tongue can even scratch the soul out the devil’s wife

    Well, I’ve seen her in action at the player’s choice
    She turned all the lover men into doughnut2 boys
    Hey, red hot mama, you’d better step asi-ide
    This chick is gonna turn you to a block of ice
    Here comes Dolly Da-gger
    Her love’s so heavy gonna make you stagger
    Dolly Da-agger she ain’t satisfied ‘til she gets what she’s after

    Look at old burned out Superman, tryin’ to shoot his dust off the sun
    Kaptain Karma Kids3 they’re dead on the run
    Our words of love, do they ever touch you Dolly Brown?
    Everybody better get some high and get out of town

    Here comes Dolly Da-gger
    Her love’s so heavy gonna make you stagger
    Dolly Da-agger just ain’t satisfied
    ‘Til she gets what she’s after
    She drinks the blood from the jagged Jones4
    Come here baby, here, come stab your master

    *Dolly Brown appears to be Jimi’s pet-name for Devon Wilson (indisputably the main woman in his life) – the “dagger” seems to be Jimi’s ‘wise up’ name about her shooting up [?] & from an incident with M.Jagger ie a euphemism for a syringe (to rhyme with ‘Jagger’), as in “Better stickin’ your dagger in someone else so I can leave, set me free” etc. - Jimi had a fairly stormy, on-off relationship with her from at least since he went back to the USA in summer of ’67 - if not before - she was regularly in his company right through till the night he died. She also died in shadowy circumstances only five months after Jimi, overdosing on heroin at the notorious Chelsea Hotel, (or, more unreliably, but more 'sensationally' “falling” to her death from a window, or even the roof! there.) - Her ‘shooting up’ seems to have become a burden to Jimi, as per the songs ‘Crash Landing’ and ‘Freedom’. He also uses the image “fast glass guns” (ie hypodermic syringes) in the unrecorded song lyric ‘Trashman’, who is portrayed as the superhero who brings the ‘peace weed’ (marijuana) and banishes said ‘fast glass guns’, ‘speed’ and other ‘hard’ drugs. ‘Power of Soul’ is another song about (getting off) ‘hard’ drugs inspired by Devon’s habit, see Jimi’s note alongside this song with a slightly different title: “Power of God“—Love to Devon. In another song about their troubled relationship - ‘Stepping Stone’ - he hints that she’s the one who put the drugs in his bag that got him busted in Toronto airport: “Flyin’ can’t be trusted, got busted, babe, Rollin’ Stone” [The bust was front page on Rolling Stone magazine] & then “Good lovin’ sometimes but can’t be trusted” At one Berkeley show she accompanied him to, he added the line “Pokin’ around with all that shit, baby, you want to watch your step” at the end of Purple Haze.
    1Jimi having a fun with the Mick Jagger bit
    2After the isolated vocal track was made available in 2012 and after the complete handwritten lyrics for this
    were published in Janie’s 2012 ‘Jimi Hendrix’ ‘Ultimate Lyrics’ book it is clear that it is indeed ‘Doughnut’.
    Also all published works, based only on the aural ‘evidence’, had doughnut (“doughnut boy” means a
    ‘receiving’ homosexual) “Donor” as “heard” /rationalized? by some doesn’t fit with the “opposites” image of
    this verse ie ‘red hot’ women to “ice,” “lover men” (of women) to “doughnut boys”. This line is about Dolly
    publicly licking the blood from Mick Jagger’s cut finger at Jimi’s 27th birthday party, after he cut it on a
    broken glass, (as has been told by two witnesses, separately), an earlier vocal overdub even has “She
    drinks the blood from a vain Mick Jagger”. She left with Jagger that night and spent a couple of days with
    him, giving an interview to ‘Rags’magazine at this time, where she bragged about her short stay with
    3Although Jimi spells Captain correctly with a C, it’s pronounced the same as K; Jimi may have felt that –
    the Kaptain Karma Kids (ie KKK, Ku Klux Klan) are dead, on the run. See his 1969 ‘Black Power’ interview,
    “I mean, like, they have the Ku Klux Klan that's running all over,” and the 1967 cartoon self portrait which
    has miniature robed Klansmen running away in fear from him.
    4Jimi remembering his friend Brian? A curious turn-around from the general sense of the song

    [As well as stopping playing again for some “repairs”, someone has now climbed onto the roof of the stage]

    Victor: What are you doing up there!? What are you doing up there on top of the roof!?
    ? : He’s generally up there sulking
    Victor: What are you doing up there on that roof!? No! Get back! Near the edge Scott
    Come on stand up, nose up. This is Victor, come down…[presumably he has climbed down]. Thank you, wey, hey!
    Mitch: Ho-ho-ho [as in ‘not funny’]…
    ? : Nice van i’n’ it…
    Jimi : [Tuning] Very sorry for toonin’ up, but-uh you know we do tha-uh to protect your
    ears, that’s why we don’t play so loud you know, and-uh cowboys are the only ones who stay in toon anyway.
    I’m glad y’all have patience though, ‘cause I don’t. Like to do this slow blues…

    [Jimi switches from his Flying V back to his Strat for the remainder of the show.]

    10. MIDNIGHT LIGHTNIN’ [aka "Keep On Groovin'" - Not in the film.]

    We got to keep movin’
    Got to keep on groovin’
    Understand both sides of the sky
    We got to keep on lovin’
    Good sweet lovin’
    Make love on my dyin’ bed

    I get stoned, but I can’t crawl home
    But I’m callin’ long distance on a public saxophone
    My head is dizzy and shakin’
    Lord, my whole soul is so tired and achin’
    Feel like I got ran over by-uh
    Public opinion and/in? the past
    Look out Rover*
    We got to keep on rockin’
    Don’t look back
    Midnight lightnin’ strikin’ right now

    Got to keep on lovin’
    I mean good sweet lovin’
    Make love on my dyin’ bed

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

    [Radio interference again]

    Jimi: This is dedicated to Linda*, to the cat right there with the silver faceº, dedicated to Kirsten¹, Karen² and to that little four year old girl³ over there with the yellow panties on and we’d like to say thank you for the last three years, one of these days we’ll get it together again, thanks for showin’ up you’re out o’ sight. If you want the same old songs we can do that right now, [mouths ‘fuck’ as he turns away]

    *Second mention for Linda Keith or, possibly Linda Lewis who also claims to have had some kind of a
    “relationship” with JH?
    º Nik Turner: Founder of ‘Hawkwind’ (sax & vocals etc.) has painted his face silver for the occasion, and is
    seen in the film dancing to the music. Interestingly their only hit single was ‘Silver Machine’; weirdly, super
    straight, BBC Radio One DJ Tony Blackburn’s chosen Record of the Week, and played frequently on his
    Psyche, proto “punk” bands Hawkwind & the Pink Fairies played concerts inside a giant, inflatable dome
    called “Canvas City” at the festival campsite over a couple of nights with some other bands, a disco & a
    light show (tickets were sold – they didn’t agree with the high price) and then they gave a free jam concert
    ¹ Kirsten Nefer: A Danish model /actress. She had a brief “romance” with Jimi from when he arrived in
    London until shortly after this short tour
    ² Karen Davis: Kirsten’s journalist pal, a recent neighbour and acquaintance of Jimi’s in NYC. She had a brief
    “romance” with Mitch on this short tour – much to Jimi’s disapproval , we are told (Mitch’s woman/wife? had
    just given birth to their daughter)
    ³Jimi’s (probable) daughter Tamika, the subject of one of two paternity cases pending, was four-years-old at
    this point [thanks to CTT member ‘Gypsyeyes’ - Johan for enlightening me on her age], his lawyer Steingarten had flown to London to discuss this matter and to get him to submit to the mandatory blood test. Sadly for Tamika Jimi died before the test, was not recognized officially by Jimi and therefore under US law has no claim.

    11. FOXY LADY*[with really bad feedback and loud radio]

    Now, you know you’re a sweet little heart breaker
    And you know you’re a cute little heart breaker
    (Foxy) Foxy
    I wanna take you home
    I won’t do you no harm
    You’ve got to be all mine, all mine
    Ooh shucks, foxy lady

    [Jimi’s guitar makes some horrible feedback noises here]

    Now, I see you, I’m down on the scene, baby
    (Foxy) Oh, foxy
    You make me, wanna get up and scream
    (Foxy) Oh, foxy
    I wanna take you home
    I won’t do you no harm
    You’ve got to be all mine, all mine
    Ooh, foxy lady

    Oh, baby, listen now
    I’ve made up my mi-ind-uh, yeah
    I’m tired of wastin’ all my, precious ti-ime,
    You’ve got to be all mine, all mine, foxy lady

    [Jimi has split his trousers and leaves the stage to fix them - still playing, once backstage he hands
    his guitar to Eric Barrett to keep some sound going while his trousers are quickly repaired]

    [Speakers now broadcasting very loud multiple radio stations]

    I ain’t gonna do you harm
    I won’t do you no harm
    You’ve got to be all mine
    Ooh, Foxy the next time

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

    Jimi: Y’all wanna hear all those old songs, man, damn, man, I been tryin’ to get some other
    things together. I just woke up about two minutes ago, we was recordin’ some new things, but I don’t think-uh, I don’t know, I think we’ll play somethin’ a little more familiar ‘cause I ain’t came yet myself, I don’t know about you, but I ain’t came yet [strums guitar] there I came, thank you very much, goodnight….


    I said we’re travellin’ at speed of a reborn man
    Got a lot o’ love to give, from the mirrors of my hand
    I send a message of love, don’t you run away
    Look at your heart, baby, got to face the truth today
    Well, I am what I am thank God
    Some people just don’t understand
    I said find yourself first and then your tool
    Find yourself first don’t you be no fool


    Here comes a woman wrapped up in chains
    Messin’ with ‘the fuzz’1, baby, keeps your life in pain
    If you wanna be free-ee, come along with Owsley*
    Forget about that pig, he’ll never understand
    I said find your self first and then your talent
    Work hard in your mind for it to come ali-ive
    We’ve got to prove to the man, that we’re as strong as him
    Because in the eyes of God, we’re all children to him

    Everybody come alive
    Everybody love alive
    Everybody live their lives
    Everybody hear my message
    Good, good lovin’ over he-ere
    Hey, an’ I love it over here

    *Owsley Stanely: Famous underground LSD manufacturer & Grateful Dead sound engineer (aka ‘Bear’)

    13. THE NEW RISING SUN (HEY BABY) [Not in the film]

    Hey, baby, where do you come from?
    She points in space and smiles
    At the smile on your face
    She says I’m comin’ from
    The land of the new rising sun

    Hey, baby-y where you tryin’ to get to?
    She says I’m gonna spread
    A lot o’ love around, yeah
    To you and peace of mind
    To all, y’all you and you

    Hey, may I come alo-ong
    May I come alo-o-ong
    May I come along, baby, yeah
    Please take me along

    Comin’ back to England
    Thank you, baby,* for makin’ it so easy
    Goin’ through changes1 [in] New York [&] Chicago
    Thank you, baby,* for stayin’ with me

    *His English fans
    1‘Changes’ ie hip-speak for bad times/things

    14. EZY RYDER*

    There goes Easy, Easy Rider
    Ridin’ down the highway of desire
    He says the free wind takes him higher
    Searchin’ for his heaven above
    But he’s dyin’ to be lo-oved

    He’s says, “Livin’, it’s so nice.
    Today is forever,” so he claims
    He’s says, “Dyin’, it’s so tragic.”
    Don’t you worry about it today
    We got freedom comin’ our way

    See all the lovers say, “Do what you please.”
    Got to get the brothers together
    And the right to be free
    In a cloud of LSD I think I see a freak
    Hey motorcycle mama, you gonna marry me?
    Then I’ll be sto-one crazy


    I said Easy, Easy Rider
    Known to be guilty, insane
    He says the free [co] ‘caine
    Takes him higher
    Blowin’ out all his brain
    His happiness too
    Blowin’ away his dreams

    Here comes Easy Rider
    Here comes Easy Rider

    *Jimi himself said this song was about cocaine – as was the film itself, partly
    PCP (Phencyclidine) an anaesthetic with hallucinogenic properties

    15. HEY JOE* (William ‘Billy’ Roberts) [Only single camera footage available, so far]
    [An almost desperately sloppy performance.]

    Hey-hey Joe, said where’re you goin’ with that gun in your hand?
    Hey-hey Joe, where’re you goin’ with that gun in your hand?
    I’m goin’ down to shoot my old lady
    You know I caught her messin’ ‘round with another man
    I’m going down to shoot my old lady
    You know I caught her messin’ ‘round with another ma-a-an

    Hey-hey Joe, I heard you shot your woman down south
    Hey-ey Joe, heard you shot your woman down to the ground
    Yes I did, I shot her
    You know I caught her messin’ ‘round, messin’ ‘round town
    Yes I did, I shot a hole in her
    ‘Cause I caught her messin’ ‘round, messin’ ‘round town

    [Quotes the Rolling Stones’ (I CAN’T GET NO) SATISFACTION (Mick Jagger & Keith Richards)]

    Hey-hey-ey Joe, where you gonna run to now
    Hey Joe… It’s time for you
    Where you gonna run to now?
    I don’t kno-ow, who knows?

    I’m going way down south, baby
    Way down to Mexico way
    I’m going way down south
    Way down where I can be free
    Ain’t nobody knows me
    Ain’t nobody gonna fuck with me either
    Ain’t no red-neck hangman
    Way! Ain’t gonna fool around with me

    [Quotes the Beatles’ SHE’S SO FINE (John Lennon & Paul McCartney)
    & ENGLISH COUNTRY GARDEN (a folk song)]

    Hey-hey-ey Joe
    So goodbye, baby, goodbye

    *Hendrix acknowledged that he used Tim Rose’s (one of "The Village people") uniquely slower arrangement, including his lyric changes,
    Previous releases by ‘The Leaves’, ‘Love’ and ‘The Byrds’ were much faster and had slightly different lyrics.

    16. PURPLE HAZE1

    Purple haze all in my brain
    Lately things they don’t seem the same
    Actin’ strange but I don’t know why
    ‘Scuse me while I kiss the sky*

    Purple haze all around
    Don’t know if I’m comin’ up or down
    Am I happy or in misery?
    What ever it is, that girl put a spell on me

    Help me, baby, forget about it baby
    Purple haze, yeah, goin’ all around
    Don’t know if it’s-uh day or night
    You’ve got me blowin’, blowin’ my mind
    Is there a tomorrow or just the end of time?

    Help me, baby
    Is there even-any way out of here?
    Yea-eah! purple haze
    Yea-eah! purple haze
    Oh you got me blowin’ my mind, baby
    Yeah, it’s all right, just-uh
    Yea-eah! purple haze

    [Ex Hendrix roadie Howard “H” Parker can be seen to Hendrix’ right, mouthing the wah-wah intro to this. He was apparently involved with the proto punk band,the Pink Fairies at the festival. He became a roadie for another well known proto punk band Third World War, and died in 1973 in a boating accident in Greece]

    1Very reminiscent of “the Purple Haze” from Philip Farmer’s sci-fi, book ‘Night Of Light’ which also features a
    certain “Mary” and is obviously a source for some early lyric imagery, you’d need to read it
    *His original ‘kiss the sky’, was often heard as the mondegreen - ‘kiss this guy’, which Jimi, sometimes,
    jokingly, did actually articulate, gesturing toward Mitch or Noel as heard on tape and seen in film a few
    Jimi talking about his time in the army Airborne: “...‘cause once you get out there everything is so
    quiet, all you hear is the breezes-s-s-s..”. He used this parachuting image in three lyrics: in the first song he
    wrote for his ‘Jimi Hendrix Experience’, Stone Free “...ride the breeze”, next was Purple Haze, “. . .kiss the
    sky,” and then in Little Wing “..riding with the wind” He also sometimes quoted the tune ‘The Breeze And I’,
    another related reference.

    17. VOODOO CHILE (slight return)

    [Jimi is having great difficulty with his guitar at first]

    Well, I stand up next to a mountain…
    [False start due to equipment noise & tuning]

    Well, I stand up next to a mountain
    I chop it down with the edge of my hand
    Well, I stand right next to a mountain
    Chop it down with the edge of my hand
    Well, I pick up all the pieces and make an island
    Might even ‘raise a little sa-and’*
    ‘Cause I’m a Voodoo child
    Lord knows, I’m a Voodoo chile


    I didn’t mean to take up all your sweet time
    I’ll give it right back, one of these days
    I didn’t mean to take up all your sweet ti-ime
    …give it right back one of these days
    If I don’t see you no more in this world
    If I don’t see you no more in this world
    If I don’t see you no more in this world
    Fly o-on into1 the next one and don’t be late
    I’m a voodoo chile
    Lord knows, I’m a Voodoo child, Voodoo boy that is2

    *‘Raise sand’ - expression meaning to cause a disturbance, get angry etc.
    1Thanks to CTT member ‘Rupe’ for correcting this line in Voodoo Chile
    2Thanks to CTT member ‘guest’ for correcting this line in Voodoo Chile

    [Drum solo]

    Mitch: One, two, three, four…


    I just came back today
    I just came back from the storm
    And found you
    I just came back, baby
    Just came back from the storm
    It was so cold and lonely way down there
    Good thing I found my love to keep me warm

    It was so cold and lonely
    Cryin’ blue rain was tearin’ me up
    It was so cold and lonely
    Cryin’ blue rain was tearin’ me up
    Thank you pretty baby
    For diggin’ in the grave and pickin’ me up


    It was cryin’ blue rain was tearin’ me up
    Wind and lightnin’ took me by surprise
    Thank you pretty baby for diggin’ me up
    Please stay, I’ll never stray from you again

    Jimi: Thanks for bein’ so patient, maybe one of these days we’ll uh-do it again, I really
    hope so, right? Thank you very much and peace and happiness and all the other
    good shit [He then moodily turns on his heel, tosses his guitar on to the stage and,
    goes directly off stage]

    Kirsten Nefer: “After the concert, Jimi walked off the opposite side of the stage to where I was standing.

    Mitch: [Dons his ‘Mad Hatter’s’ top hat, salutes the audience with his can of Coke as he
    strolls off.]
    Aud: [Big applause] We want more!! More!! [etc., which quickly fades]…
    Jeff: Thank you, thank you ‘The Jimi Hendrix Experience’, thank you…thank you…

    [Gene stands Billy’s bass up against the speakers as if there might be an encore, Barrett waves it off abruptly and Gene turns the amps off and takes the bass away. ‘H’ is again seen, on stage with the roadies]

    [Jimi left the stage at ~ 01:45 – according to Bob Colover’s tape, earlier according to journalists. PA apparently again playing The Stones’ ‘You Can’t Always Get What You Want’, as the crew are breaking down Mitch’s drums [as seen in the film], someone set off magnesium flares on the roof of the stage, which caught fire briefly, but was put out*. This brief interlude was followed by Joan Baez, “I got on stage about 02.30 in the morning, [probably nearer 02:00] when the stage was on fire, or at least the top part was burning a bit. Otherwise, it was fine."

    *31-08-70 Paul Backshall (Reuters) “[...] The fire was soon extinguished by festival officials. Just minutes before the blaze, U.S. guitarist Jimi Hendrix, a star of the festival, had performed on the stage. [...]

    Kirsten Nefer: “It took me thirty minutes to find his caravan. When I got in there, there was twenty people in there you know, it was packed with people. When we got out, Jimi said to me, ‘Don’t you ever leave the stage while I’m playing’. Then we went back to this hotel, the Seagrove.”

    Baez was followed by ‘Leonard Cohen and The Army’, who played some encores, and the festival was closed by Jimi’s old friend from New York, Richie Havens, who ended his set with the ‘Hare Krishna Mantra’.
    It seems Jimi went to the Seagrove Hotel directly after his set and spent the rest of the “night” (ie early morning) with his “old lady”, Kirsten Nefer.

    Kirsten Nefer: “We stayed there for a few hours,” then Jimi had to take the helicopter and I had to go back to London. Jimi said that he would be playing in Denmark and as I’m Danish, it was the big idea that, you know, I go to Denmark and he gave me and Karen money so we could go there and everything was arranged. I said, don’t worry, we’ll meet you there.”

    He then flew from Bembridge Airport, Isle of Wight, to Stockholm later that day. She went back to London, but met up with him again in Aarhus, Denmark. His friend (James) “‘Vishwa’[murti]” (Scott) who thought he would get a ride along with Jimi was left on the runway at Bembridge with the words “Are you my old lady or what?”]
    Last edited by stplsd; 04-21-18 at 07:03 PM.
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

  2. The Following 3 Users Say Thank You to stplsd For This Useful Post:


Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts
Powered by vBitty (VBTT) 4 for XBT v1.1 CUSTOM by Toolmanwill