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Thread: 70-05-30 BERKELEY COMMUNITY THEATRE, 2nd show. CA

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    70-05-30 BERKELEY COMMUNITY THEATRE, 2nd show. CA

    Saturday 30 May 1970
    Berkeley Community Theatre, 2nd. show, CA. JHE [II]

    Concert at 22:00. Jimi is wearing his “Wild Blue Angel” outfit again, possibly the same one he wore at the 1969 Madison Sq. Garden show?
    Support: Tower Of Power
    Attended by Devon Wilson & Collette Mimram (Devon was Jimi’s “woman” and Collette was his clothing designer and one of his “amours”, she was his companion on his visit to Morrocco)
    Filmed by a bunch of spaced monkeys and the resulting mess chopped up from the two hours at least of raw footage into the ludicrously edited 40 minute film ‘Jimi Plays Berkeley’ most of the remainder was apparently thrown away (a few short snippets have since turned up – notably a short piece of Voodoo Chile (SR). Applause on some released songs is exaggerated by Alan (Rubenstein) “Douglas” [a complete wanker like the rest of the idiots that made an utter arse of filming and recording Jimi live, ie indulging their pathetic “artistic” egos by using ridiculous camera angles, cutting original film stock very badly, with out of synch, poor sound, and then destroying what was left (usually everything apart from ‘Purple Haze’ and ‘Wild Thing’) and the shoddy use of out of date film stock, running out of film, tape, bad lighting etc.]
    The film ‘Woodstock’ had been touring the cinemas since March.
    Three weeks earlier in Norman at the University of Oklahoma concert (1st show, his 1st gig since the shootings) and two days later in Fort Worth (inside out) Jimi had worn a black armband with the large, white letters ‘KS’ on it, obviously a mourning band for the thirteen students shot at Kent State university by National Guard, only four days previous. Four died and one was permanently paralysed. Six days later two students were shot dead and very many wounded in a hail of gunfire by police at the predominantly 'Black'-American Jackson State University under similar circumstances.
    These two Berkekey concerts were a kind of anniversary of the People’s Park action in Berkeley a year previous. The unarmed crowd who, spontaneously, had tried to take back “their Park” by taking down the barriers and re-entering the park, had been stopped violently by Police (sent in by Ronald Reagan to seal off the park) who attacked the protesters and others in the vicinity, shooting many with shotguns, armed with heavier shot than “normal”, wounding over a hundred, causing serious permanent injury to several and killing one young man who was watching from a roof. A few police were treated for very minor injuries, some caused from the unorganised, occasional retaliatory bottles and stones [US = “rocks”] thrown at them.

    1st live recording of Pass It On
    1. Pass It On [“Strate Ahead” (3)], 2. New Rising Sun (Hey Baby) (4), 3. Lover Man (31), 4. Stone Free (21), 5. Hey Joe (53),
    6. I Don’t Live Today (41), 7. Machine Gun (22), 8. Foxy Lady (84), 9. The Star Spangled Banner (36), 10. Purple Haze (93),
    11. Voodoo Child (Slight Return) (73) >, 12. >Midnight Lightning (13)

    [Aud = Audience]

    [Some of this intro is included in the film]
    Jimi: Yeah, everything's right on time, right now. How you doin’? You feelin’ all right?
    Aud: Yeah!!
    Jimi: Yeah, right, here we go, beginning of the Spring. We have Billy Cox on bass, Mitch
    Mitchell on drums and yours truly on the-ah public saxophone, thank you. Give us, I tell you what, give us about a minute to-uh get tuned up and get rid of these joints and everything all right? an’ we’ll see wha’ happens …[tuning up].. We'll just start off with a little jam, you know, just everything is, like, relaxed, everything, forget about yesterday or tomorrow, whatever you say, this is our own little world tonight... And we'll just go on an’ just groove a little bit and-ah we'll just do a little instrumental jam, at the beginning, you know, just to check our tooning, all right? Just lay back an’ groove1. [plays a riff & feedback]… One, two, three, four, five…
    1...on a rainy day?


    1. PASS IT ON [this music with a completely new lyric became STRATE AHEAD]
    [Not included in the film]

    Yeah

    Just because I’ve made a mistake here and there
    I wasn't always right, babe
    That don't mean, that don't mean, baby
    Got to treat me wrong
    Pass it o-o-o-o-o-o-o-on

    I’ve climbed a lot of mountains, baby
    A whole lot of mountains fell down on me
    That don’t mean, that don’t me-e-ean
    I ain't as weak as I used to be-e-e
    Pass it o-on, pass it on
    Pass it on, pass it on…Yeah

    [Instrumental interlude]

    Just because I-I’ve made a mistake here and there
    That don’t mean I’m wrong all the time
    Pass it on, pass it on, pass it on

    uh
    I ran across some mountains
    And they’re right on top of me sometimes
    That don’t mean I'm as weak as I used to be
    Pass it on, pass it o-on

    Get off your ass, baby
    Head to the street
    Pass it on, pass it on, pass it o-on

    We got to get our free-eedom, yea-ea-ea-eah-yea-ea-eah
    Pass it on, pass it on, hey

    [Instrumental interlude]

    Pass it on, ba-aby, pass it on right now
    We live for lo-ove, baby, love of livin’
    Pass it on, baby


    2. THE NEW RISING SUN (HEY BABY)
    [A heavily edited version is included in the film]

    [Plays long intro]

    Don't mind us, we just feel like playin’ to you,
    little thing from the New Rising Sun

    “Hey baby, where do you come from?”
    She grins and looks in space and says-uh,
    “I’m comin’ from the land of the New Risin’ Su-un, baby.”

    “He-ey baby where are you tryin’ to go to?”
    She says, “I’m gonna spread a lot of love, baby
    And a whole lot of peace of mind to you.”

    And then I said, “May I come alo-ong?
    Hey! may I come alo-o-ong?
    May I come along with you, baby, yeah?
    I won’t do you no wrong”

    “Hey baby, where do you come from, yeah, yeah?”
    She looks in space with a smile on her face and she points and says,
    “From the land of the Ne-ew Risin’ Sun.”

    “He-ey baby where are you tryin’ to go to?”
    She says, “I wanna spread a lot o’ love, lot o’ love around
    And peace of mind too, an’ you.”

    “May I come alo-ong?
    May I come alo-ong yeah, yeah?
    May I come along, baby, please?
    I won’t do nothin’ wrong.”


    3. LOVER MAN*
    [A heavily edited version is included in the film]

    Here he comes, baby
    Here comes your lover man
    Here he-e co-o-omes
    Here comes, your lover ma-a-an
    I got to get out o’ here
    Get out o’ here as fast as I can

    Reach u-up, baby-y
    Hand me down my runnin’ shoes
    oh-Reach up, baby, hand me down my-y runnin’ shoes
    I see your man comin’, out the window
    Lord, I ain’t got no time to lose

    Here he comes, baby
    Here he comes, babe
    I wanna love you longer
    Yes an’ I wanna love you stronger, babe
    I wanna love you longer, baby
    Here comes your old man over yonder
    Here comes your old man over yonder, babe

    *Music: BB King’s ‘Rock Me Baby’. Lyrics are a mix of Elmore James’s ‘Look On Yonder Wall’ (Bill ‘Jazz’ Gillum), which song was the basis of Howlin’ Wolf’s ‘Meet Me In The Bottom’ aka ‘Down In The Bottom’ (Willie Dixon), last verse is Jimi’s. 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 men’s he killed, but I know he done killed enough.” Ha-ha-ha.


    4. STONE FREE
    [Not included in the film]

    Yeah, baby
    Everywhere in the …week, I’m in a different city
    If I stay too long the people try to, well you know, put me down
    They talk about me like a do-og, talk about the clothes I wear ha-huh
    But they don’t realise they’re the one’s who’s square
    They’re not doin’ a thing
    And that’s why…can’t hold me down
    I don’t wanna be tie-ied do-own
    Got to move on, yeah

    …said stone free, to do what I please
    Stone free, to ride the breeze*
    Stone free, I can’t stay, I
    Got to, got to, get away, yeah

    See you, baby

    Women here, woman there, try to keep me in a, plastic cage
    They don’t realise, baby, they’re the-it’s so easy to brea-eak
    Oh, sometimes I can feel my heart kind o’, uh-runnin’ hot
    That’s when I got to move, before I get caught
    Hey, and that’s why
    …can’t hold me dow-own
    I don’t wanna be tied down
    I got to move on, yeah
    I said stone free, to do what I please
    Stone free, to ride the breeze
    Stone free, I can’t stay, I
    Got to, got to, get away

    Turn me loose, babe

    I said stone free…do what I please
    Stone free, to ride the breeze
    Stone free, I can’t stay, I
    Got to keep movin’, got to get away
    Stone free, I’m goin’, baby, right now, watch out pride
    Stone free, I’m movin’ on down the highway, baby

    Hendrix’ first composition with the Jimi Hendrix Experience.

    *Jimi talking about his time in the 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 this, 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”


    5. HEY JOE* (William ‘Billy’ Roberts)
    [Not included in the film]

    [Amplifiers broadcasting security radios]
    Hey-ey Joe, where you goin’ with that gun in your hand?
    [Amplifiers broadcasting security radios]
    Hey-ey Joe, I said-uh where you goin’ with that gun in your hand?
    I’m goin’ down to shoot my old lady
    I caught her messin’ ‘round with another man
    I’m going down to shoot my old lady now
    You know I caught her messin’ ‘round with another man
    And that ain’t too cool
    Hey-ey Joe, hey Joe, I heard you shot your woman down, yeah
    Hey-ey Joe, hey Joe, I heard you shot your woman down, baby
    I said, yeah I did her, yes I did, I shot her
    You know I caught her messin’ ‘round with another man
    Yes I did, I shot my woman
    You know I caught her messin’ ‘round another man
    Yeah an’ I gave her the gun

    Hey-ey Joe, hey Joe
    Where you gonna run to now, where you gonna run to-o?
    Hey-ey Joe, hey Joe
    Lord, where you gonna run to now, where you gonna run to yeah?

    Well, dig
    I’m goin’ way down south, way down south
    Way down to Mexico way, yeah
    I’m goin’ way down south, way down south, baby
    Way down where I can be free
    Ain’t no one gonna mess with me there, baby

    Ain’t no hangman gonna
    He ain’t gonna put a rope, a rope around me, yeah
    You better believe it, baby

    Hey, hey-ey Joe, you better run on down
    You better, goodbye everybody, yeah

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

    Jimi: Thank you very much, we're just tryin’ to warm up a little bit, see what happens. We'd
    like to do a thing that is a, what's happening today with a lot of people. And I'd like to dedicate it to all, all the cats that are tryin’ to struggle, that are gonna make it anyway. There’s nothin’ gonna stop us, that's one thing for sure, it's just a hard battle that's all. It’s a thing called ‘I Don't Live Today, Maybe Tomorrow I Can't Say, But I Don't Live Today’, yeah…


    6. I DON’T LIVE TODAY*
    [A very short cut is included in the film]

    Will I live tomorrow?
    Well, I just can’t say y’all right now
    Well, will I live tomorrow-ow?
    Well I just can’t say right now
    Well, I know for God damn sure, I don’t live toda-ay, baby

    No sun comin’ through my windows
    Feel like I’m livin’ at the bottom of a grave
    No-o sun comin’ through my windows
    Feel like I’m livin’ at the bottom of a grave
    I wish you’d hurry up and execute me now
    So I can be on my miserable way

    I do-on’t, live today
    Maybe tomorrow, I just can’t say anymore
    I do-on’t, live toda-ay
    It’s such a shame to waste your time away like this
    Existing, nothing but existing

    Well, I do-on’t, live today
    Maybe tomorrow I, just can’t tell you but-uh
    I do-on’t, live toda-ay
    It’s a God damn shame to waste your time away like this
    Nothing but existing
    Well, all you doin’, nothin’ but exist there

    *Dedicated to the (Native) American “Indians” (ie indigenous). Possibly a reflection on
    Sitting Bull’s murder by his (native) guards? A subliminal message to his audience?
    ‘Better to die on your feet than live on your knees’ (Zapata), as Geronimo latterly

    seemed to have felt?

    Jimi: There’s a whole lot of other people that haven’t been living for a while. Like to dedicate this to all the soldiers fightin’ in Berkeley, you know what soldiers I'm talkin’ about1. An’-ah, oh yeah, the soldiers fightin’ in Vietnam2 too. We’d like to dedicate it to ‘em. And dedicate it to other people that might be fighting wars too, but within themselves, not facing up to the realities…

    1Black Panthers/Anti-war movement. The People’s Park action in Berkeley, and the Black Panthers in
    nearby Oakland (where Bobby Seale originally formed the party)
    2Yet another use of civil strife in American cities as analogous with the Vietnam war


    7. MACHINE GUN*
    [An edited version is included in the film, including some of his intro speech]

    Machine gu-u-u-un, teari-in’ my buddies all apa-a-art
    Yeah-yeah, machine gu-u-u-un, tearin’ my-y buddies all apa-art

    Evil men make me kill you, baby
    Evil men make you kill me
    Evil men make me kill you
    Even though we’re only families apa-a-art
    Isn’t it a shame

    Well, I pick up my axe1 and fight like a farmer
    I said, I pick up my axe and fight like a farmer
    But your bullets still knock me down to the grou-ound

    I fight in the ground, fight like a farmer, baby
    On my own farm
    But you still shoot me down, baby
    Back in the ground, back in the grou-ound

    The same way you shoot me down, baby,
    You’ll be goin’ just the same (evil)
    Three times the pai-ain
    And your own self to blame
    Yeah, yeah machine gu-u-u-u-un, machine gun (pathetic)

    Over yonder stands a mother, sewin’ clothes so the son can fight your war
    Lord! over yonder stands a mother, sewin’ clothes so the son can fight the new war
    But, Lord, I’m a lover, I’m her lover and we don’t make no child to fight no war

    So let your bullets pour down like rain
    They can’t cause me no pai-ain
    Let your bullets fly like rain, let it fly, let it fly like rain
    ‘Cause you’re knowin’ all the time your wrong, baby
    And you’ll be goin’ just the same
    Three times the pai-ain
    And your own self to bla-a-a-ame
    Lo-o-o-ord, machine gu-un

    *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." The
    Interestingly there were a lot of quite “spacy” “Surf” instrumentals in the late 50’s/early 60’s Dick Dale was
    pretty “out there” and then there was “LSD-25” by ‘The Gamblers’ (w / Elliot Ingber gtr) released in 1960 as the “B” side of their ‘Moon Dawg’ single on a wacky west coast “jazz” label, ‘World Pacific Records’. Supposedly the title was picked at random from a newspaper article (Yeah, right;-). Not to mention the tune ‘Machine Gun’ by the Riptides in 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 Beetle’ 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")

    Jimi: Those are sounds we really don't want to hear no more, except in cartoons and in circuses, and-uh whatever, places where public saxophones are blowing. Dig this, we’d like to dedicate this, Devon, dedicate this one to Devon [Devon Wilson - Jimi’s long time ‘girlfriend’], Morocco [Jimi recently had a holiday there with Colette Mimram and Stella ‘Douglas’ Benabou] and Colette. And-uh, that other girl back there with the red underwear on, see the one right over there with the metallic knee caps, yeah, right, right. [plays scale] Thank you for the last three years, thank you….


    8. FOXY LADY* [Backing vocal - Billy Cox]
    [Not icluded in the film]

    uh-You know you’re a cute little heart breaker, baby
    (Foxy)
    And you know you’re a sweet little love maker, yeah
    (Foxy)

    Hey, hey, 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

    Now you know you’re-uh…bein’ cool on the scene
    I forgot the words
    (Foxy)
    You make me, wanna get up and-uh screa-eam, “Foxy”
    (Foxy)

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

    Yeah, I’m gonna take you home, baby
    I’m tired of wastin’ all my precious time
    You got to be all mine, all mine
    Ooh shucks, foxy lady
    Here I come, baby, he-heh
    I’m comin’ to do it to you

    Oh, yeah, baby

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

    Jimi: Thank you very much, man, thank you. [tuning] Yeah I’d like to say thank you very much for showin up, man. The cat’s gettin ready to turn the power off, but, you know, what does he know. We'd like to do, everybody wanna stand up this time, everybody must stand up because we is, we is all Americans, so forth and so on, we are Americans. You can do this and you can do that. This is for everybody together, that actually is. I’d like to do our-ah, the American anthem the way it really is in the air, which you breathe everyday, the way it really sounds…


    9. THE STAR SPANGLED BANNER* (music: ‘The Anacreontic Song’ by John Stafford Smith)
    [Not included in the film]


    “Our flag was still there,” big deal


    *Many people appear to think Jimi’s sound effects were some kind of anti-war statement,maybe they were: The closest support we have for this is when Jimi is quoted in the Danish weekly Hor-Zu, (but only published a week after his death. But it doesn’t sound sound like Jimi, more like the author’s PC expanded interpretation of Jimi’s actual words, then again it’s a translation of a translation: "I want to, and have to, paint a picture of the world I live in. What I [he?] play[s?] is an exact political and sociological reflection of relations in the USA. Bold, loud, unnerving, deadly. When I [he]? had dissected each separate sound of the American national anthem at Woodstock, I [he?] tore apart the false society, to whom this anthem is sacred.” – Jimi’s words? Not likely. If so, he still doesn’t mention Vietnam or even war.
    The anthem had been used previously in the protest against the ban on music being played in Washington Sq. Park in the Village in 1965 and was also used at various anti-war demos in New York City in 1967:
    Thursday 26 October (2 Nov) 1967, VILLAGE VOICE (Page 18) Guerrilla Theatre: ‘Killing the Cong in The New York Streets’ by Carter Braxton Horsley:
    An environmental drop-in was staged throughout the city last Saturday by five theatrical groups to protest American involvement in Vietnam. Suburbanites at Grand Central Station, Penn Station, and the Port Authority Bus Terminal, derelicts and mothers in Washington Square, panderers and recruiters in Times Square, police in Dag Hammarskjold Plaza, tourists and New Yorkers in 16 other locations were attacked by "Guerrilla Warfare.” [...] Three of the groups did versions of "Kill Viet Cong." by Robert Head, which appeared last year in the Tulane Drama Review (which Schechner recently transplanted to New York, changing its name to The Drama Review). The work is direct and well-suited to street theatre.
    In the version Schechner directed the actors mingle 'with people on the street and, on cue, begin to hum the national anthem, slowly converging in a circle. The humming swells into a stentorian patriotic chant: " . . . the bombs bursting in air, the bombs bursting in air, the bombs . . .” A speaker emerges and, standing in front of a white banner, recites the latest statistics on the war and "recognizes" an opportunity for the people congregated to demonstrate their support for "our boys.” An actor representing a Viet Cong guerilla is unceremoniously paraded before the spectators. The other actors whoop it up on the fringe of the circle. The speaker then confers the distinct honor of shooting the Viet Cong upon an unwitting pedestrian. He is given a gun and the chorus begins a count-down. At the crucial moment the actors ones more raise their voices stiffly and give a straight-arm salute. [...]
    Another possibility is an extension of Ken Kesey (aka ‘Captain Flag/America’) and the Merry Pranksters (and others at the time) extensive use of the US flag and red white & blue striped clothes on the original ‘Further’ journeys and in their white coverals with red stripes and white stars on blue patches worn at the acid tests (Wavy Gravy can be seen in the film wearing one at Woodstock): “There was an American sense, that’s why we always wore-ah, red, white and blue and flew the flag. It was to try to cool the people out and say, “Hey, look, this may look strange to you, but get used to it, we’re American, without it we’re a dead nation.” ie claiming themselves as the true patriots, the upholders of the American pioneering spirit, see also Travis (‘Captain America’? ) & Billy (‘Bucky’?) in the hit film Easy Rider. Co-opting the old patriotism of playing the National Anthem at the beginning/end of a show.
    What seems to have also been overlooked by many is that the sounds are more obviously Jimi – an ex-paratrooper, one who’s father served in WW2; and as a boy, liked to draw battle scenes - merely imitating the sounds of war as per the lyrics, from the poem ‘Fort M’Henry’ by Francis Scott Key.

    […]
    Whose broad stripes and bright stars through the perilous fight,
    O'er the ramparts we watched were so gallantly streaming?
    And the rocket's red glare, the bombs bursting in air,
    Gave proof through the night that our flag was still there.
    […]
    And where is that band who so vauntingly swore
    That the havoc of war and the battle's confusion,
    A home and a country should leave us no more!
    Their blood has washed out their foul footsteps' pollution.
    No refuge could save the hireling and slave
    From the terror of flight, or the gloom of the grave
    […]
    Oh! thus be it ever, when freemen shall stand
    Between their loved home and the war's desolation!

    Paul Caruso: “I would ask him questions, like, you know, about the Vietnam war and he’d say things like, you know, ‘Well, there will always be war.’ And, so, you know, the hippies latched on to Jimi Hendrix and thought he was anti-war; ‘Star Spangled Banner’ is, is our national anthem, it was a patriotic act for him to play that. And-ah, he was, he was, he was in the, in the, ah, he was a paratrooper, you know. He-he would have been a soldier, but he, if he didn’t find that his destiny had pulled him in a different direction. Ah, he wasn’t cut out for the army because he loved freedom too much.”



    10. PURPLE HAZE1
    [Not included in the film]

    Purple haze all in my brain-uh
    Oh, lately things just don’t seem the same
    I’m actin’ funny but I don’t know why
    ‘Scuse me while I kiss the sky2

    Purple haze all around
    Don’t know if I’m comin’ up or down
    You’re never happy or in misery
    What ever it is, that girl put a spell on me

    Help me, baby
    Help me, baby

    Purple haze all in my ey-eye
    Don’t know if it’s-uh day or night
    You’ve got me blowin’, blowin’ my mind
    …Tomorrow or just the end of time?

    Help me, baby
    Help me, baby

    Yea-eah
    Yea-eah

    Oh, no, you got me blowin’ my mind

    Pokin’ around with all that shit, baby, you want to watch your step*

    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.
    2His 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
    times.
    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 occasionally quoted ‘The Breeze And I’ , another
    related reference.
    *The ‘pokin’ around’ would be with a needle. Probably directed at Devon Wilson & her shooting up habit

    Jimi: Thank you very much, good night man, we hope to get a chance to see you again
    soon. Now we're gonna play our American anthem. [tuning] And thank you very much for showin up, it was out o’ sight, we hope to see you soon, very soon, before the summer comes. [tuning] This is specially dedicated to [tuning] yeah The People’s Park, especially The Black Panthers*. [tuning, plays scale] We hope you all got some kind o’ feelin’ about this thing ri’-the next thing we’re gonna play and the last thing. It goes like this, a thing to keep us alive, this is nothin’ but determination and so forth and so on, you know, knowin’ that you’re gonna get it together. Thank you, good night…

    *13th recorded direct reference to the Black Panthers, in concert.


    11. VOODOO CHILE (Slight Return) >
    [Most of this medley is included in the film. Jimi ends up putting on what, initially, looks like a ‘private’ show for a teen doll who was getting into the music big style, much to her obvious discombobulation! But then there were about five babes surrounding her who were all in his eye-shot, two of whom were, ‘sisters’.

    Well, I stand up next to a mountain1
    And I chop it down with the edge of my hand
    Well, I stand up next to a mountain
    I-uh 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 sand’1-uh, hey
    ‘Cause I’m a Voodoo chile
    Lord knows, I’m a Voodoo child, baby

    1Jimi as a God destroying the face of the world and recreating it, in an oceanic setting. Hopi creation myth:
    “Sokutnang then he began to create the Second World. He changed it’s form completely, putting land
    where the water was and water where the land had been, so the people upon their emergence would have
    nothing to remind them of the previous wicked world.” See: ‘If 6 was 9’, ‘Bold As Love’, ‘Valleys Of
    Neptune’, 1983…. Etc.
    2‘Raise sand’ - expression meaning to cause a disturbance, etc.


    12. < MIDNIGHT LIGHTNIN’ [aka “Keep On Groovin’”] >

    We got to keep on groo-oovin’
    Keep on groovin, keep on groovin’
    To understand both sides of the sky

    We got to keep on greasin, I said keep on greasin’
    You’ve got your God and so do I

    We got to keep on lovin’ keep on, keep on lovin’ yeah
    Make love on my dyin’ bed

    Got to stop smokin’, I mean uh-[coughs], I mean cigarette smokin’
    Or else I'll cough my lu-ungs to death
    And to make love to you, baby-uh, I wouldn't even have the brea-eath


    13. < VOODOO CHILE (Slight Return) (reprise)

    I didn't mean to take up all your sweet time
    I’ll give it right back-uh one of these days

    I didn’t mean to take up all your sweet ti-i-ime
    I’ll 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 wo-o-o-orld
    Lord, If I don’t see you no more in this world
    I’ll meet you on the next one3 and don’t be la-ate
    Don’t be late

    ‘Cause I’m a Voodoo chile
    Lord knows, I’m a Voodoo chile

    3ie The Hopi view of the World being changed periodically.

    Thank you very much, good night, man, good night. ..

    Aud: More! more! more!...[etc.]
    Last edited by stplsd; 04-17-18 at 05:47 PM.

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