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Thread: 1967 March Newspaper & Magazine Articles (Text Only)

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    1967 March Newspaper & Magazine Articles (Text Only)

    Wednesday 1 (2) March 1967
    USA (NYC, NY)
    VILLAGE VOICE [NO JIMI CONTENT] (page 3) Runnin Scared
    [...] THE NEW LEFT’S trend towards the psychedelic and the underground continues. Jerry Rubin, 27, will
    run for Mayor of Berkeley. Rubin, the man who showed up at the HUAC hearings last summer in an Uncle
    Sam uniform, says that he wants to build a "coalition between the new politics and the hippies.” He spoke
    at the recent spectacularly successful human be-in at San Francisco's Golden Gate Park, and promises to
    hold a "pot teach-in" during his campaign to dramatize his backing for the legalization of marijuana.
    Rubin's backers say their campaign song will be "Yellow Submarine.” It sounds surrealistic, but objective
    pros think Rubin can get a large chunk of the vote.

    (Page 5) pop eye by Richard Goldstein
    ‘The Flourishing Underground’:
    SAN FRANCISCO—Forget the cable cars; skip Chinatown and the Golden Gate; don’t bother about the
    topless mother of eight. The Bay Shore area is the Liverpool of the West. Newsweek says so, Ramparts
    says so, Crawdaddy says so. And thousands of teenieboppers all over the nation are craning their necks to
    catch a glimpse of the newest pop acropolis.

    The most fragile thing to maintain in our culture is an underground. No sooner does a new tribe of rebels
    skip out, nip out, trip out, and take its stand, than photographers from Life magazine are on the scene
    doing cover layout. No sooner is a low-rent low-harassment quarter discovered than it appears in eight-
    color spreads on America’s breakfast table. The need for the farther-out permeates our artistic involvement.
    American culture is a store window which must be periodically spruced and redressed. The new bohemians
    needn't worry about opposition these days; just exploitation. The handwriting on the wall says: preserve
    your thing.

    The new music from San Francisco, most of it unrecorded at this writing, is the most potentially vital in the
    pop world. It shoots a cleansing wave over the rigid studiousness of folk-rock. It brings driving spontaneity
    to a music that is becoming increasingly classical, conscious of form and influence rather than effect. It is a
    resurgence which could smother the Monkees, drown the casual castrati who make easy listening, and
    devour all those one-shot wonders that float above stagnant water.

    Most important, if the sound succeeds. It will establish a new brand of culture hero with a new message:
    pop mysticism.

    Talent scouts from a dozen major record companies are now perusing the scene, and grooving with the
    gathered tribes at the Fillmore and the Avalon. Hip San Francisco is being carved into bits of business
    territory. The Jefferson Airplane belong to RCA. The Sopwith Camel did so well for Kama Sutra the label has
    invested in a second local group, the Charlatans. The Grateful Dead have signed with Warner Brothers in an
    extraordinary deal which gives them complete control over material and production. Moby Grape is tinkering
    with Columbia and Electra. And a bulging fistful of local talent is being wined and dined like the last
    available shikse in the promised land.

    All because San Francisco is the Liverpool of the West. Not many bread-men understand the electronic
    rumblings from beneath the Golden Gate, but they are aware of two crucial factors:
    the demise of Mersey
    beat created a doldrums which resulted in the rise of rhythm-and blues and milktoast music, but left the
    white teenage audience swooning over an acknowledged fraud: the Monkees. Youth power still makes the
    pop industry move, and record executives know a fad sometimes needs no justification for success except
    its presence in a sympathetic time. There is the feeling now, as pop shepherds watch the stars over their
    grazing flock, that if the San Francisco sound isn't the next Messiah, they will at least give the profits a run
    for their money.

    "The important thing about San Francisco rock 'n’ roll," says Ralph Gleason, 'is that the bands here all sing
    and play live, and not for recordings. You get a different sound at a dance. It's harder and more direct."

    Gleason, influential jazz and pop music critic for the San Francisco Chronicle, writes with all the excitement
    of a participant. But he maintains the detachment of 20 years' experience. It is as though Bosley Crowther
    had set up headquarters at The Factory.

    Gleason's thorough comprehension of the new sound is no small factor in its growth and acceptance by the
    city at large. He is a virtual tastemaker in the Haight, and even when the hippies put him down they talk to
    him, and he listens.

    That Ralph Gleason writes from San Francisco is no coincidence. This city's rapport with the source of its
    ferment is unique. Traveling up the coast from the ruins of the Sunset Strip to the Haight is a Dantesque
    ascent. It is no accident that 400 miles makes the difference between a neon wasteland and the most
    important underground in the nation, San Francisco has the vanguard because it works hard to keep it.
    Native culture is cherished as though the city's consuming passion were to produce a statement that could
    not possibly be duplicated in New York. Chauvinism in Southern California runs to rhetoric about the
    grandeur of nature, but up north it is all have-you-seen-the Mime-Troupe? and Haight-Street - makes - the
    - Village-look-like a-city-dump.

    Ten years ago, San Franciscans frowned on North Beach, but let it happen. Now, the city is prepared to
    support the rock underground by ignoring it. The theory of tacit neglect means a de-facto tolerance of
    psychedelic drugs. San Francisco is far and away the most turned on city in the Western world. "The cops
    are aware of the number of drugs here," says Bill Graham who owns the Fillmore and manages the Jefferson
    Airplane. The law thinks it will fade out, like North Beach. What can they do? To see a cop in the Haight . . .
    It's like the English invading China. Once they own it, how are they going to police it?"

    With safety in numbers, the drug and rock undergrounds swim up the same stream. The psychedelic ethic—
    mill germinating and still unspoken—runs through the musical mainstream like a current. When Bob We
    rhythm guitarist of the Grateful Dead, says "the whole scene is like a contact high," he is not speaking in
    fanciful metaphor. Musical ideas are passed from group to group like a joint. There is an almost risible
    cohesion about San Francisco rock. With A scene that is small enough to navigate and big enough to make
    waves, with an establishment that all but provides the electric current, no wonder San Francisco is Athens.
    This acropolis has been carefully, sturdily built, and it is not going to crumble because nobody wants to see
    ruins messing up the skyline.

    • • •
    I didn't have any musical revelation when I took acid, I'm a musician first. My drug experiences are
    separate." The speaker is a member of the Jefferson Airplane, the oldest and most established group in the
    Bay Area. With a cohesive, vibrant sound, they are the hip community’s first product. Their initial album
    “Jefferson Airplane Takes Off," was weak enough to make you wonder about all the noise, but the new
    release, "Surrealistic Pillow," is a fine collection of original songs with a tight and powerful delivery. The hit
    single, "My Best Friend," is a pleasant enough ballad, but much better is "White Rabbit," which is Alice In
    Wonderland with a twist of psychedelic lemon. Grace Slick’s vocal wobbles deliciously and the lyrics are
    concise and funny. Especially worth repeating is the song's advice: "Remember what the dormouse said:
    feed your head."

    The mouse is sometimes employed to symbolise psychedelic “enlightenment.”
    In Los Angeles, the same realization is expressed by the Flower. A concern with and an expression of turning
    on is an aspect of Bay Area rock, but it is by no means central to the music. The secretive reserve that
    characterizes every other hip community is unnecessary baggage here. There is open talk of drug experience.
    When references appear in the muslc they are direct and specific. While some groups are impaled on a
    psychedelic spear ("How do we talk about drugs without getting banned from the radio?" is a key question of
    every Byrds album). San Francisco music says "pot" and goes on to other things. Bob We
    ir of the Grateful
    Dead insists: "Were not singing psychedelic drugs, we're singing music. We're musicians, not dope fiends.”-

    He sits in the dining room of the three-story house he shares with the group, their women, and their
    community. The house is one of those masterpieces of creaking, curving spaciousness the Haight is filled with.
    Partially because of limited funds, but mostly because of the common consciousness which almost every
    group here adapts as an ethos, the Grateful Dead live and work together. They are acknowledged as the best
    group in the Bay Area. Leader Jerry Garcia is a patron saint of the scene. Ken Kesey calls him "Captain Trips."
    There is also Pigpen, the organist, and Reddy Kilowatt on bass.

    Together, the Grateful Dead sound like live thunder. There are no recordings of their music, which is probably
    just as well because no album could produce the feeling they generate in a dance hall. I have never seen
    them live, but I spent an evening at the Fillmore listening to tapes. The music hits hard and stays hard, like
    early Rolling Stones, but distilled and concentrated. When their new album comes out, I will whip it onto my
    meagre record player and if they have left that boulder sound at some palatial LA studio and come out with
    a polished pebble. I will know they don’t live together in the Haight anymore.

    But right now a group called the Grateful Dead are playing live and living for an audience of anybody's kids in
    San Francisco.. Theirs is the Bay Area sound. Nothing convoluted in the lyrics, just rock 'n' roll lingua franca.
    Not a trace of preciousness in the music; just raunchy, funky chords. The big surprise about the San Francisco
    sound has nothing to do with electronics or some zany new camp. Musicians in this city have knocked all that
    civility away. They are back in dark, grainy sounds that are roots.

    "San Francisco is live,'" says Janis Joplin, singer for Big Brother and the Holding Company. "Recording in a
    studio is a completely different trip. No one makes a record like they sound live. Hard rock is the real nitty-

    Ask an aspiring musician from New York who his idols are and he'll begin a long list with the Beatles or Bob
    Dylan, then branch off into Paul Simon literacy or the Butterfield Blues bag (which means sounding like you've
    got a Ph. D. in spade music) or a dozen variations in harmonics and composition.

    Not so in San Francisco. Bob Dylan is like Christianity here: they worship but they don't touch. The sound of
    the Grateful Dead, or Moby Grape, or Country Joe and the Fish, in jug band music scrapes against jazz. This
    evolution excludes most of the names in modern pop music. A good band is a "heavy" band, a "hard" band.

    Marty Balin, who writes for the Jefferson Airplane, declares: “The Beatles are too complex to influence
    anyone around here. They’re a studio sound. Which is as close as a San Francisco musician comes to hissing.
    Their music, they insist, is a virgin forest, unchanneled and filled with wildlife. There is a fear, a dread, of the
    a and r man's ax. This refusal to add technologcal effect is close to the spirit of folk music before Dylan
    electrified it. "A rock song still has to have drive and soul," Balin maintains. "Jazz started out as dance music,
    and ended up dead as something to listen to. If you can’t get your effects live, the music's not alive.”

    Gary Duncan, lead guitarist for the Quicksilver Messenger Service, adds: "Playing something in a studio
    means playing for two months. Playing live, a song changes in performance. In a studio, you attack things
    intellectually; onstage it's all emotion."

    San Francisco musicians associate Los Angeles with the evils of studio music. This is probably because
    almost every group has made the trek south to record. And the music available on record is anything but hard
    rock (the Sopwith Camel, for instance, earned everyone's disfavor with a lilting good-timey rendition of "Hello,
    Hello." "They give us a bad name," says one musician. "They're a diversion," says another. "They smile nice.")

    But resentment of Los Angeles goes much deeper than the recording studio. The rivalry between Northern
    and Southern California makes a cold war in pop inevitable. While musicians in Los Angeles deride the sound
    from up north as ''pretentious and self-conscious" and shudder at the way "people live like animals up there,"
    the Northern attitude is best summed up by a member of the Quicksilver Messenger Service who quipped:
    "L. A. hurts our eyes."

    Part of the Holding Company puts down the Byrds because: "they had to learn to perform after they recorded.
    Here, the aim is to get the crowd moving."

    A Jefferson Airplane says of the Beach Boys: "What Brian Wilson is doing is fine but in person there's no balls.
    Everything is prefabricated like the rest of that town. Bring them into the Fillmore, and it just wouldn't work."

    "The technology involved in putting on a light show doesn't seem to bother San Franciscans, however, because
    what they're really up-tight about is not artificiality but Southern California. There is a sneaking suspicion in
    this city that the South rules and The Bay is determined to keep at least its cultural supremacy untarnished.
    Even Ralph Gleason has little sympathy for Los Angeles music. “The freaks are fostered and nurtured by L. A.
    music hype,” he says. 'The hippies are different. What's going on here is natural and real."

    The question of who is commercial and who is authentic is rhetorical. What really matters about San Francisco
    is what mattered about Liverpool three years ago. The underground occupies a pivotal place in the city’s life.
    The Fillmore and the Avalon are jammed every weekend with beaded, painted faces and flowered shirts. The
    kids don't come from any mere bohemian quarter. Hip has passed the point where it signifies a commitment to
    rebellion. It has become the style of youth in the Bay Area, just as long hair and beat music were the Liverpool

    San Francisco is a lot like that grimy English seaport these days. In 1964, Liverpool rang with a sound that was
    authentically expressive and the city never tried to bury it. This is what is happening in San Francisco today.
    The establishment has achieved a much greater victory here than on the Strip: integration. The underground
    is open, unencumbered, and radiating. The rest of the country will get the vibrations, and they will probably
    pay for them.

    Which everyone thinks is groovy. The Grateful Dead are willing to sing their 20-minute extravaganza, “Midnight
    Hour," for anyone who will listen, and if people pay, so much the better. But Bob Wier insists: "If the industry is
    gonna want us, they're gonna take us the way we are. If the money comes in, it'll be a stone gas."

    It will be interesting to visit the bay area when the breadmen have glutted every artery. It will be fascinating to
    watch the Fillmore become the Radio City Music Hall of pop music. It will be a stone gas to take a greyhound
    sightseeing tour through the Haight.

    But that's another story about another San Francisco. Right now, give or take a little corruption, it is new ideas,
    new faces, and new music.

    Which is what undergrounds are all about.
    (Page 8) [large psyche, op-art ad text in white ‘bubbles’] The only book that examines everyaspect of LSD...
    including an unprecedented variety of case histories and the first comprehensive discussion of the drug’s
    implications in the fields of psychiatry, philosophy, religion and the creative arts.

    “Packed tightly with concepts and detailed case histories...beautifully written.”—new York Times Book Review.
    “The best book ever written in this complicated field.”—Dr. Timothy Leary
    “This book is likely to be compared not only with Freud’s early papers but with William James’ Varieties of
    Religious Experience.”—Books Week.

    “A first-rate contribution both to an understanding of the drug state and to an intelligent assessment of it’s
    possibilities.”—San Francisco Examiner.

    (Page 12) [Cut out map of the East Village]
    (Page 18) Wednesday, March 8 8pm.THE PRACTICE OF ZEN a lecture by Shunryu Suzuki Roshi (Zen Master)
    of Zen Center, San Francisco, and Abbot of Zenshin-Ji. Presented by young adults of the community church.
    Donation £1.50

    (Page 16) The Folklore Center presents TIM BUCKLEY Mon Mar. 6
    Andy Warhol presents NICO & TIM BUCKLEY nitely at The Dom, movies, music, lights, food. 23 St Mark’s

    [psyche art ad] Balloon Farm, St Mark’s Place: This Friday & Saturday The Free Spirits [Larry Coryell. Ed.],
    The Pleasant Street Blues Band. Dancing, Lightworks. 9pm-3am

    Ondine’s Discotheque, 308 E. 59th St. (near 2nd Ave) Hippie Happy Happening, 8 continuous hours of Fun &
    Disco Dancing, Folk Singers, Folk-Rock, Food & ‘Freshment! N.Y. Sane’s First MAD PARTY FOR SANE PEOPLE.
    This Sunday—Mar. 12 Non-stop Frolic—4 pm to Midnight!

    An Evening with THE FUGS Wildly funny . . . new indefinable — The Fugs make all sorts of popular
    entertainment obsolete.” Review of Books.

    NOW! WEEKENDS ONLY Fri. & Sat. 8-10-12
    Players Theatre 115 McDougal St.
    (Page 27) [ads] FILMAKERS CINEMATHEQUE March 1 & 2 Starts at 8. Last two nights for CATERPILLAR
    CHANGES, With Live Music, Live People, Opaque Screens, Gossamer Screens, Films, Light, Shadows and

    Andy Warhol presents NICO & TIM BUCKLEY nitely at The Dom, movies, music, lights, food. 23 St Mark’s

    [psyche art ad] Balloon Farm, St Mark’s Place: This Friday & Saturday The Free Spirits [Larry Coryell. Ed.],
    The Pleasant Street Blues Band. Dancing, Lightworks. 9pm-3am

    CHELSEA GIRLS, York Cinema
    (Page 28) [B&W ad.] ‘Gaslight’: John Hammond and his Screaming Nighthawks + Arlo Guthrie
    CAFE AU GO GO Now Thru March 5 JEFFERSON AIRPLANE latest recording: Surrealistic Pillow
    Exclusively recorded on RCA Victor. The Paupers excl. re. on Verve/Folkways
    March 7- March 12 the YOUNGBLOODS
    March 17-March 26 the BLUES PROJECT
    Andy Warhol presents NICO singing the songs of the Velvet Underground & TIM BUCKLEY plus the film The
    Most Beautiful Girl In The World starring Mario Montez. Appearing nitely at The DOM. 23 St Mark’s Place.

    Last edited by stplsd; 08-03-20 at 04:17 PM.
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 March Newspaper & Magazine Articles (Text Only)

    [Date?] March/April? 1967
    CIAOBIG (page?) [Large B&W Photo Of Jimi]The Shocking Jimi Hendrix
    Jimi Hendrixon 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] The Match
    Round I
    1) “Let’s Spend The Night Together.” The Rolling Stones
    2) “Show Me” Joe Tex
    3) “Peep, Peep, Pop, Pop” Dearly Beloved’s
    Round II
    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
    Round III
    1) “Mellow Yellow” Donovan
    2) “Ride On Baby” Chris Farlowe
    3) “Love Is Here And Now You’re Gone” Supremes
    Round IV
    1) “Hey Joe” Jimi Hendrix
    2) “Jimmy Mack” Martha & The Vandellas
    3) ?

    [Date?] March? 1967
    FABULOUS 208? (page?) [Large B&W photo of JHE on TOTP 18-01-67] ‘WHAT AN EXPERIENCE
    [in large ‘groovy’ text]
    It certainly is! Meeting Jimi Hendrix is something you'll never forget—even if you don't speak to
    him. I think it's his hair! It stands on end just as though he's had an electric shock, but he hasn't.
    Like Topsy in the book "Uncle Tom's Cabin," it "just growed"! At least, that's how it appears.
    had this to say about it.
    "I just thought it was a groovy style. Now everyone is runnin'
    round with these curls. Most of 'em are perms—but there's nothing wrong with perms.
    I used to get my hair straightened.

    "I'm getting so worried lately. My hair is falling out in patches," he went on.
    Personally, I couldn't see any bald patches. He's going to have to lose an awful lot of hair before
    it begins to show!

    [Date?] March 1967
    FANS (page 11)[B&W photos: 2 large close ups JH, RSG & 1 shot of JHE rehearsal, RSG. Photos:
    Polydor & Radial Press.
    Mr. Phenomenon has arrived! His name is Jimi Hendrix’ by Glynn Wiman
    He is an explosive guitarist. He strokes his solid guitar with great respect, rolls his head and
    stares at the ceiling. He smiles and begins to play his electrifying
    , shocking sound. Something
    new, unexpected. It is a swirling kaleidoscope of trembling and discordant vibrations.
    He lends its
    rhythms a special color, different from everything existing so far.

    The "shows" of Hendrix manage to leave with an open mouth even those who argue that "pop"
    music is coming to an end.

    He vaguely reminds us of James Brown and Little Richard at the same time.
    It is impossible to take your eyes off this figure: as soon as he appears in front of the public, he
    hypnotizes. His ability to play the guitar with his teeth and elbows, brushing it against the floor,
    rather than astonishes, .
    The accompanying musicians are of exceptional quality. Mitch Mitchell is a "jazz man"; played
    Georgie Fame’s Blue Flames, he is a storm pounding the drums, something like Keith
    , from The Who, and Elvin Jones together;his knowledge of their art, dynamism and
    is inimitable; he is 19 years old. Noel Redding, 21, is an imposing bassist; he comes
    The Loving Kind. Jimi, besides being an exceptional guitarist, is a blues singer.
    The extraordinary thing about the group is that they never repeat themselves. If they perform for
    seven days in a row, they can be heard day after day, knowing that each performance will be a
    new, personal creation.

    Hendrix was discovered by Chas Chandler, a former Animal. He heard him in Greenwich Village.
    He realized that
    he was something positively new, something sensational.
    Jimi has the air of one who has lived a lot. He comes from Washington. At 16, tired and bored of
    wandering aimlessly, he joined the
    Army. He played in the band. After breaking his leg, hurting his
    back and suffering other mishaps, due to his restless ideas, he decided to be faithful to his first
    love: music.

    He toured with figures such as B. B. King, Sam Cooke, Chuck Jackson, Solomon Burke, etc.
    He learned a lot from them, he says. He worked in clubs
    . He still remembers that there was no one
    who slept in them — if they let him — because the rats walked over him, in addition to other bugs
    that ate him until the last candy. He got tired of New York too. Finally, he decided to form his own

    Jimi Hendrix, guitarist, singer, songwriter, "showman" and indefatigable traveller says of his team:
    This is how we feel the music. We try to create something. We improvise, because it is
    a personal music, born of ourselves. We would never repeat a number.

    And he is right. His sound is personal, unmistakable, great; something that cannot be found
    anywhere else.
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 March Newspaper & Magazine Articles (Text Only)

    [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 body B&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
    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 in a 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 substandard
    performance, being – generally - a misfit and claiming he was homosexual. Ed.]
    . Started hitching
    [touring] around the Southern States, guitar pickin’, eventually made it to New York working with a
    Vaudeville act
    [actually ‘Little Richard’. Ed.], his first professional job [Not! Ed.]. One night one of
    the Isley Brothers
    [‘friend of the band’ Tony Rice, actually. Ed.] heard him playing [in ‘Small’s
    Paradise’ Harlem. Ed.]
    and offered him a place in their band
    “Yeah, I’ll gig, may as well, man, sleeping outside between them tall tenements was hell.
    Rats running all across your chest, cockroaches stealin’ your last candy bar from your
    very pockets.”
    [ie total bullshit for UK press, no doubt dreamt up by Chas & Mike - with a little
    help from Jimi Ed.]

    He soon tired of playing the same old numbers every night, turned in his white silk stage suit and
    matching patent boots
    [that he wore with the Isley Brothers - who actually gave him a solo spot!.
    and headed once more for Nashville. A tour came through town headed by BB King, Sam
    Cooke, Solomon Burke, Chuck Jackson, and Jackie Wilson
    [apparently a mash-up of the acts on at
    least two different ‘Supersonic Attractions’ tours with George. Ed.]
    . Through the M.C. Gorgeous
    , Jimi managed to join the show[s] and toured all over the States, backing these great
    [apparently mostly just George, and filling in for ‘the Tams’ absentee guitarist on one tour -
    by the sound of it.Ed]
    , learning much of his artistry on the way.
    One day he missed the tour bus [like the previous ‘Tams’ guitarist?. Ed.] and found himself
    stranded in Kansas City, penniless. 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 [ie The Turners’ band was on the same bill with Richard, Jimi
    didn’t actually play in the Turners’ band - unless you want to believe an old junkie’s (Ike)
    insurance claim on an ‘imaginary’ ‘stolen’ guitar (50 year after the event - and only after finding out
    about this daft JH fanzine claim!) over Tina, his (sober) wife’s witness that Jimi
    never played in their
    band. Ed ]
    . When the tour arrived in New York Jimi left Little Richard [ie he never left Richard,
    was still in Richard’s band until he reached NY, ie he never joined the Turner’s band/ Ed.]
    became one of
    Joey Dee’s Starliters, at a time when this band was big news internationally [no
    they weren’t, they were just another ‘has-been’, although still popular, cabaret act in the U.S.,
    performing ‘Shout’, ‘Peppermint Twist’ and other hit songs by wrote
    every night. Ed.]
    In August 1966 Jimi (going by the name ‘Jimmy James’ at this time) went solo with a backing
    [there is ample evidence (including Jimi’s), although going by the name ‘Jimmy James’, that
    his act was called just ‘
    The Blue Flame’ - singular, not ‘The Blue Flames’ - plural, or ‘Jimmy James and
    the Blue Flames’. Ed.]
    , playing in Greenwich Village for the princely sum of fifteen dollars a night [he
    was playing for whatever was the average going rate. Ed.]
    . Ex-Animal Chas Chandler and Mike
    , 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
    Jimi has rejected the accepted image of the coloured American artiste, i.e. processed hair [his
    hair wasn’t just ‘processed’ straight, he then put in curlers to imitate Bob Dylan! Ed.]
    , 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 [his lyrics bare no similarity to Dylan’s, they were just poorly
    heard and understood by ‘the pop press’, therefore assumed to be ‘creative’ a la Dylan, but are usually
    fairly straightforward verse fare in ‘R&B’/’Rock’ form (although always creative/humorous and sexy,
    sometimes quirky observations, challenging, entertaining and moving in content, sometimes almost
    conventionally beautiful, but never so dull), almost prose, until late 69/70 when they
    became more ‘obscure’. Ed.]
    , but generating the excitement of, perhaps, Mick Jagger [there was
    almost constant comparison with
    Jagger (from the beginning & until Jimi’s death) - who was commonly
    seen (racially, unfavourably, ‘middle class’ (and the rest - UK) obsession with ‘appearance’) by
    many at this time as looking
    shockingly ‘Negroid’ [ie commonly seen as ‘racially primitive’] due to his
    full lips and eyes, vocal style (ie basically Don Covay’s) and his ‘dancing’ (an entertainingly casual sham
    of James Brown’s*
    more strictly routine moves) often complained about as ‘too sexual’ in comparison
    with the preferred white ‘teen idol’s ie Cliff Richard clones, or some ugly old square
    jazzer who were total
    ‘stiffs’. Given this background and the obvious commercial appeal to UK youth of the Stones the next
    step in cornering the modern youth rebellion/’give the black man a chance’ was a carefully marketed
    ‘Genuine article” ie “Jimi”
    *Who (don’t listen to SJW/ ‘black nationalist’ nonsense, JB was very popular
    with ‘white’ youth also at this time - as were lots of other, so-called, ‘black’ artists and had been since
    forever in ‘pop’ music on
    sheet music, records, and radio! and appeared on US TV pop shows where the
    audience was almost, if not entirely, ‘white’ and sometimes the
    ‘kids’ even got to dance on the floor
    next to their ‘hero’ JB! (a lesson surely). The ‘kids’ were not ‘upset’ when the Stones took Howlin’
    [although his advanced age made him look quite out of place on the show] on to the show, the
    teen, yes ‘white’, backing group of the show played the business behind him! Obviously they were well
    acquainted with the Wolf’s tunes, as well.]

    “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.Ed.]
    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 reformed the others into “The Loving Kind
    in October 1965. Unhappy at the groups lack of record success, and being not a little ambitious,
    went this own way and attended an audition
    Jimi was holding in October 1966. He was persuaded to
    change from guitar to bass just enjoying the rhythm behind
    Jimis extraordinary lead guitar.
    Mitch Mitchell
    Nineteen year old Mitch is a product of Acts Educational and the Corona Stage School. 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
    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
    The [Jimi Hendix] 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’ – mostly Jimi’s - mutiple image, promo picture of the group here]
    Mitch Mitchell Jimi Hendrix Noel Redding [photo captions underneath their respective heads]

    Last edited by stplsd; 08-04-20 at 04:05 AM.
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 March Newspaper & Magazine Articles (Text Only)

    [Day?] March (April) 1967
    MUZIEK EXPRES #136 (page?) [Much of this article was republished almost verbatim in 67-11-25
    Jackie (UK)]

    [large B&W photo with op art in one eye showing another photo]Jimi Hendrix
    ‘2 coins in his shoes, 1 peacock feather in his guitar case’by George Tremlet
    Jimi Hendrix has only been in England for a short time. He set foot on British soil with nothing
    else but 2 coins in his shoes and 1 peacock feather in his guitar case.

    Jimi’s manager: ex-AnimalChas Chandler. Jimi’s new home: Ringo Starr’s ex flat. On stage Jimi
    is raw, wild, fierce. Off stage he is almost the opposite: peaceful, calm, dreamy.
    “I am often just
    Jimisays. He does that in total peace in Ringo’s ex-flat, which he now shares with
    his manager. The tall, aggressive
    Jimion stage is now at ease with his guitar idle on his knees, his
    hands playing with the strings, as if to underline his words with helpless and shrill plonks. He is, as
    often, in a sentimental mood. An example of his sentimental character: during his wanderings through
    the USA
    he faithfully carried along all his private correspondence of many years (200 letters)
    in a shopping bag.
    Not that he really needed those letters, but the idea! He just couldn’t part from
    . And then that peacock feather: “I was with a girl in a zoo. Bronx Zoo. She bent over a
    small fence and pulled a feather off a peacock’s tail. I always kept that feather.”

    Jimihas strange daydreams: “I fantasise I get murdered. And of course that I have to jump as a
    paratrooper and that I land in a meadow with flowers and women dressed in colourful dresses.”

    U.S. Army torture
    Why these daydreams? Death wish? Fear of life?
    “That para training with the U.S. army is still bugging me. During one jump I landed badly and
    was discharged. Broken ankle and damaged back. That para training is very tough. The worst
    thing I ever experienced. They just try out how much they can overload you. Putting you
    through the mill until you drop. They had a device which we called the “hanging torture”. You
    had to step into some sort of harness and in that you were lifted by a rope a few centimetres
    above the ground. Sometimes an hour a day. You only got a few seconds to strap the harness. If
    it was not correct strapped, you died of pain. Or you had to jump from a 10 meter high scaffold,
    with that harness on a rope. After the jump you just didn’t land on the ground, because the rope
    was too short for that. You just got a heavy pull off that harness. If you didn’t have that harness
    on the correct way – and you had a good chance for that because you had to strap it on so
    ridiculously fast – you could suffer severe injuries. You also had to exercise for hours in wet saw
    dust while it was freezing six degrees. Also just to see how much you could endure. I endured it
    all – until that accident.”

    This sort of practice is happens in many army exercises in a great number of countries:
    humiliations and sadism under the motto: “education” and: “we will make a man out of you.”
    Often they make an invalid out of you.

    Chas Chandler
    In Greenwich Village Chas persuadedJimito come to England. At first it didn’t look good, when they landed
    at London Airport. Troubles with the work permit. The authorities wanted to send him back to New York, until
    everything was fixed. But after three hours of waiting, phoning, making inquiries, the work permit arrived.

    divides his time between work and recreation. He reads a lot, dreams a lot, paints now and
    . “When I don’t have to play, I always sit here in my flat,” he says. “I also play records a lot.”
    likes Cream, Spencer Davis, John Mayall, Dusty Springfield and TomJones. “I worked with John
    when I just got here. Eric Clapton from The CreamI think is the best guitar player in
    .” In the mean timeJimihas written three songs: Purple Haze”, “Love Or Confusion” and
    Foxy Lady
    (Page?)[full page colour photo Jimi sitting on tiled floor in flat]

    [Day?] March (April) 1967
    POP FOTO (page?) [full page B&W, JH leaning on mantel in flat, ‘Jimi Hendrix]

    [Day?] March (April) 1967
    SALUT LES COPAINS [‘Hi Buddies’] (page?) [1/2 page B&W photo standing in ‘hussars’ jacket with cig.
    Jimi Hendrix’]
    'London Ticket'
    . . . Jimi Hendrix, the revelation of the year 1967 ("Hey Joe") will probably soon make a Musicorama. His
    second album is highly anticipated by all fans of rhythm and blues
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 March Newspaper & Magazine Articles (Text Only)

    [Day?] March (April) 1967
    TEEN BEAT (page?) [full page colour photo of Jimi in flat] ‘Phenomenal Guitar Eater – Jimi Hendrix
    Page?) [printed over a large 2-tone B&W print of Jimi on stage] When Chas Chandler stayed in New
    York last year with
    the Animals meanwhile dissolved, he bumped into Jimi Hendrix. He saw him perform
    and was immediately highly impressed, so much so, that he took
    Jimi to England and became his manager
    and producer.

    Jimi has not been in London very long, but already he has the whole of the ‘swinging’ city at his feet. All
    they can talk about is
    Jimi Hendrix. His appearance is striking, but his shows are without a doubt
    Jimi Hendrix made his entry in England with a kind of test show at the Bag O’Nails.
    He wanted to present himself to producers, agents, colleagues and of course the public. The not so
    Jimi was immediately ensured of the friendship of many and that single performance got him
    s for theatre, radio and TV shows. The music press was doubly pleased with Hendrix, because here
    finally was an artist, about which they could write about.
    Hendrix was immediately included in various
    cliques, visited
    Mick Jagger, had dinner with Paul McCartney and went to see a John Mayall show with
    Pete Townshend
    and Eric Clapton. Jimi Hendrix has ensured everybody’s support through his friendly
    character and phenomenal skills.

    Guitar Eater
    With Jimi Hendrix we cannot judge him only on his recorded accomplishments alone. He thinks of himself
    as a live performer. “Hey Joe” is of course an amazingly good song, but Jimi says that he does
    much better in his show. And Chas Chandler nods in agreement. In their shared flat at London’s
    Montagu Square Teenbeat’s Albert Bokslag and Cees Mentink have a long conversation with the ‘
    ’. Chandler especially can’t find enough words to praise Hendrix; Jimi, who doesn’t like to talk, is
    not pleased.

    A show by Jimi Hendrix is indeed a true revelation. Jimi does the craziest things with his guitar. He kisses
    it, sits and stands on it
    . At one point he plays the strings with his teeth and makes a perfectly acceptable
    All of this is unprepared. “He is different each time,”Chas says, “I am with him all the time, but each
    show is different.
    Jimi also changes the words.”
    So no arrangements? “Not even rehearsals,” Jimi adds, “you can’t read our music from paper. How
    can you expect any inspiration from a musician who has to play his notes from sheet music?
    That’s impossible, you can’t expect deep feelings from them. Our group doesn’t have
    arrangements and we don’t prepare anything, we just see what happens next.”
    But there has to
    be some sort of approach.
    “Of course we base ourselves on r&b, because then you really feel all the

    Chandler’s gamble
    Jimi Hendrix thinks making records a so-so job. I miss the audience. With every show I have to get
    support from the people. In the studio I miss the atmosphere, in spite of
    Chas and practically
    everybody else force me to perform.”

    Jimi Hendrix in private is a modest guy, who prefers to stay in the background and let others talk. Once on
    stage he is totally different. In London he is called ‘the wildest raver’ and actually it characterises
    Jimi totally.
    “I know I’m not a singer”,
    Jimi says, “I am more a guitar player. I have worked for twenty-one
    years on improvements and ideas. People now say I’m good, but I need to find out first.”

    Hendrix is surprised about his sudden success in the Mecca of beat. “You wouldn’t expect they were
    waiting for someone like me over here.”
    He is even more surprised about the fact that he can play his
    own music... and get paid for it.
    Chas was so excited all those months, but why would I have success
    in London when I couldn’t manage it in New York for years,”
    Jimi Hendrix wondered at that moment
    in amazement. Now he is
    glad to have taken the chance with Chandler.“For Chas it was worth a try, he
    had never produced and acted as a manager even less,”
    according to Hendrix. To which Chandler
    “I relied on my ears, and when I like something I know it must have possibilities.”
    Great London atmosphere
    Jimi Hendrix is having a great time in London. He lives in a giant flat, has a stunning (Swedish) girlfriend, is
    fully booked with work, has an album coming up and is on the hit parade in many European countries. He’s
    pleased. These pleasures were denied him in
    the ‘promised land’ of America. “I attach a relative value to
    material things,”
    Hendrix says, “of course it’s nice, but I’m serious when I say London is a great city
    to work in.

    Especially for me, because my music is appreciated in the right way. I worked for years for that and
    now I have to come here to find recognition. I also find the people here more honest and open. You
    can talk about anything in an honest way and have a differerent opinion without getting into a fight.”

    Hendrix always performs in a uniform from some sort of British war. Is he fashion conscious? I don’t follow
    fashion much, I don’t attach value to that very much. I wear that uniform out of respect for the
    former owner. This was worn by a man who was a soldier and brave enough to fight, that uniform
    has a history.”

    Is Jimi Hendrix so pro-military? “I don’t like war, I hate it. But it is obvious that war is still necessary
    to prevent domination. I think that’s terrible.”
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 March Newspaper & Magazine Articles (Text Only)

    [Day?] March (April) 1967
    USA (Los Angeles, CA)
    (ROYAL’S) WORLD COUNTDOWN [Monterey press release. NO JIMI CONTENT] (Vol.2, No. 6
    Hollywood) (cover)
    [B&W on the usual 3 colour background, psyche art mushroom whose ‘root’
    encircles a composite photo of a multitude, at the front of which are members of the Beatles &
    Stones, with ornamental upper case text heading:]
    ‘Multitudes May Radiate Peace And Love Through

    (Page?) ‘INTERNATIONAL FESTIVAL OF POP For Immediate Release From Derek Taylor’ [whole
    article in upper-case &
    flanked by 2/6 page, B&W photo of Dylan, & 1/6 ones of Warhol, and Carl
    Wilson (none of whom had anything to do with the festival. B. Wilson was, nominally only, on the
    ‘board of directors’ and The B.Boys were pencilled in to perform, but they cried off some time before
    the festival line-up was finally formalised. Ed.)]

    "So with the whole world gone pop, it seemed only sensible to explode into an International Festival of
    Pop. Which is what will happen. In Monterey, where the Pacific is very blue under a sun of California
    [Note: famous strain/‘brand’ of marijuana; Taylor liked to work in sly references to dope in his
    press releases. Ed.]
    . The festival will be held this June upcoming on the 16th, 17th and 18th when
    school is out and the young are full of promise. The title: ‘Monterey International Festival Of Pop – 67’.
    The aim: To bring the best elements of pop people together for interaction in the open.

    The festival plans to attract tens of thousands of pop followers — the young and those who remember,
    the free and those who would like to be, to watch and hear and absorb and enjoy some of the world’s
    best young entertainers in the happiest surroundings, piling music upon music, hour upon hour into the
    sapphire evening.

    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.
    Those in America to whom the Beatles had so beautifully reached out, were now able to reply in terms
    simple or psychedelic. And The Beatles heard and were glad that an axis had been formed. Beatle spoke
    to Byrd and Stone to Sopwith Camel, The Mamas and Papas gained a whole world of sons and daughters
    and the Beach Boys were born anew. So in California the great and those who are only good will meet in
    Monterey in June and you will be hearing more and more and more from me as the acts are booked and
    the flags raised and the incense burned. In the meantime, some names: Festival Director Ben Shapiro,
    father of three, soldier of fortune, impresario, freedom fighter for Israel, moustached man of color, charm,
    cheek and vision....Festival Producer Alan Pariser, batchelor, once bearded now straight, adman, movieman
    blessed with impulsive energy and compulsive charm..... and for publicity, me, Derek Taylor, rock’n roll
    hack of exceptional honesty. Plus a cast of thousands.”

    [Date?] March? 1967
    [UNKNOWN paper] (page?) [unknown musician/group]: “[...] The best musical times we had were in
    Greenwich Village where it was more like the English Musical Appreciation Society. I sat in with a couple of
    the Mothers Of Invention and Mitch Ryder at the Cafe Au Go Go where
    Jimi Hendrix used to play. . .”

    [Date?] March 1967
    West Germany (BRD)
    [UNKNOWN paper] (page?) [B&W text ad]
    Attention! 17 - March who offer you the Biggest show of the year:
    The JIMI HENDRIX Experience USA/Engl. [rest of text?]

    Thursday 2 (4) March 1967
    DISC & MUSIC ECHO (page 2) SCENE
    . . .Chas Chandler introduced his group, the Soft Machine, at a party at London’s Speakeasy club - which
    was also Duane Eddy’s first port of call on arrival in Britain. . .

    (Page 3)Top 50
    09-23-35. Hey Joe - Jimi Hendrix, Polydor.last entry
    (Page 4) STARS IN THE NEWS - 1
    ‘Scott - to Russia with musical love’
    . . .Walker Brothers tour with Cat Stevens and the Jimi Hendrix Experience starts from London’s Finsbury
    Park Astoria on March 31.

    (Page 13)DISCWORD
    13. Follows Jimi everywhere (7)
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 March Newspaper & Magazine Articles (Text Only)

    Thursday 2 (4) March 1967
    MELODY MAKER(page 2) Melody Maker Pop 50
    09-21-29. Hey Joe - Jimi Hendrix, Polydor
    The RAVER’S Weekly Tonic
    . . . Jimi Hendrix Experience play the gnome game: “Oh Gnome Not My Baby”, “Green, Green Grass Of
    Gnome”, “You’ll Never Walk Agnome”, “Nobody’s Gnome The Troubles I’ve Seen”, “You Don’t Gnome Like I

    (Page 5) [small B&W photo. ‘ Jimi Hendrix]JIMI HENDRIX RETURNS FOR SINGLE RELEASE” The
    Jimi Hendrix Experience
    return from trips to Paris, Germany, Belgium and Holland on March 19 to concide
    with the release of their new single “
    Purple Haze” written by Jimi Hendrix and released March 17. The
    single was scheduled for release on Good Friday (March 24) but was brought forward one week because of
    the Easter holiday period. The first
    Jimi Hendrix Experience LP, “Are You Experienced” was finished
    yesterday (Wednesday) and will either be released March 17 with the single “
    Purple Haze”, or a few weeks
    later. All the tracks have been written by
    (Page 16) [B&W text ad] RICKY TICK
    1a High Street, Hounslow (Opp. Bus Station)
    Friday, March 3rd THE VAGABONDS
    Friday, 3rd
    Sunday, 5th
    Wednesday, 8th DISCS
    Friday, 10th CLIFF BENNET
    Thursday March, 23rd JIMI HENDRIX
    JIMI HENDRIX Tuesday, March 28th
    R. T. Printers Hudson 0847

    Thursday 2 (4) March 1967
    RECORD MIRROR (page 2) Your Page
    RE those comments about Jimi Hendrix — we'd like to say that if your reader ever saw Jimi's stage act he
    would have to admit that it is far in advance of that of the Beach Boys' rather tame and dated performance.
    We agree that the Beach Boys, etc., can sing better than
    Jimi but for that matter so can Harry Secombe.
    How anyone can say that the Seasons and Jan and Dean are streets ahead of the British scene is beyond us,
    because they are still pumping out the same old material as they did three years ago. — Yours Disgustedly,
    The End, Brentwood, Essex.

    (Page 11) Britain’s Top 50 [not credited to Record Retailer yet]
    27 Hey Joe 23 (10) Jimi Hendrix(Polydor)

    Thursday 2 (4) March 1967
    RECORD RETAILER (page 19?) Britain’s Top 50
    27 (23) (9) Hey Joe - Jimi Hendrix Polydor 56-139 [Pub.] Yameta, [Prod.] (Yameta)
    Radios: London (*), Caroline (22), City (-), Scotland (*), BBC Top Tunes (-)
    *Details not available that week

    Thursday 2 March 1967
    SOUTHEND STANDARD (page?) ‘Every Ounce Of Energy’ by Richard Baker
    Mantovani is obviously more popular in Southend
    [26 Feb.] 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.
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 March Newspaper & Magazine Articles (Text Only)

    Friday 3 (11) March 1967
    BILLBOARD (page 66) Hits Of The World
    ‘Britain’ (from UK’s ‘Record Retailer’ [Thursday])
    12 ( 6) Let’s Spend The Night Together—Rolling Stones (Decca)— Mirage
    27 (23) Hey Joe—Jimi Hendrix (Polydor)—Yamata, Yameta [sic].
    49 (36) I Feel Free—Cream (Reaction)—Dratleas [sic Dratleaf]
    Off chart Happy Jack—Who (Reaction)—Fabulous

    Friday 3 (11) March 1967
    CASH BOX (page 68) Great Britain’s Best Sellers
    04 02 06 Let’s Spend The Night Together—Rolling Stones (Decca)— Mirage
    16 08 06 Hey Joe—Jimi Hendrix (Polydor)—Yameta.
    Off chart I Feel Free—Cream (Reaction)—Dratleas [sic Dratleaf]
    Off chart Happy Jack—Who (Reaction)—Fabulous

    [...] First single from American guitarist Jimi Hendrix and his Experience
    Hey Joe,” recorded in England for Polydor Records—jumped to sixteenth
    position this week.

    Friday 3 (4) March 1967
    NEW MUSICAL EXPRESS (page 5) NME Top 30 [Hendrix off chart]
    (Page 6) *Pop Liners*
    Jimi Hendrix and Cat Stevens in BBC-1s “Top of the Pops” on Thursday, March 30;

    Friday 3 March 1967
    RAVE (page 20) [Large B&W close up of Jimi on RSG, ‘Jimi Hendrix: the one man revolution’]
    This is Where it’s at
    RAVE man Mike Grant is here again with more gossip on your favourite stars!

    Mick Jagger has called him "the most sexual thing I've ever seen". Eric Clapton has said, "He's the most beautiful
    guitarist I've ever heard" and
    Spencer Davis has declared, "His version of 'Like A Rolling Stone' is the greatest
    He, of course is—Jimi Hendrix—the one man revolution who looks like doing for the electric guitar what Little
    did for the piano. With his wild bouffant of black hair, military jacket and distinctive features, Jimi is almost as
    shattering to behold as
    the Experience is to hear. His appearance and total disregard for conformity have led to the
    usual spate of ill-mannered and ignorant remarks from those who judge any person not conforming to the collar and tie
    brigade as louts.

    "I wear my hair long because I like it long,"Jimi told me quietly. "In New York it was shorter but here young
    people are more liberal in their attitudes.

    "I hate going into a pub because the old people will be sitting there over their pints and you can here 'em—
    Hey Joe, look it's another of those rock and roll blokes—have a look at this one, you'll never believe it. And I
    sit there over my drink and try and make out I can't hear.

    "Some people have said they think wearing a uniform is an insult to the army—but I wear these jackets out
    of respect. I hate war but I respect a fighting man. Would they rather his uniform faded and withered away
    like the memory of the man that wore it?"

    Personally I couldn't care less if Hendrix dyes his head orange, and tears about town in a fig leaf, as long as he keeps
    singing and playing as he does.

    Friday 3 (11) March 1967

    Saturday 4 March 1967
    The magnificent 'Hey Joe' seems to have a smell about it. 'Traditional, adapted by Jimi Hendrix' it says on the label, but
    when we unsuspecting threw the record 'Hey Woman' by Kenny Bernard on the pick-up, we heard exactly the same
    rendition of this old song. The same background vocals, the same distinct reverb. Kenny's is more spectacular than that of
    Jimi, execution is less special, less maybe, but he was the first. Negram already had this record in possession
    (PYE 7N 17233) when
    Jimi still had to be discovered by Chandler [ie misinformed bullshit. Ed.].

    Sunday 5 March 1967
    [UNKNOWN paper] (page?) [B&W text ad.]
    today, in the Twenty’s room
    8 Fosse. from 16:00
    organised by Club Leo Lagrange
    with the group
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 March Newspaper & Magazine Articles (Text Only)

    Tuesday 7 March 1967
    HULL DAILY MAIL (page?) [B&W text ad.] Thursday, March 9th 8 p.m to 1 a.m.
    Continuous Dancing to the JIMI HENDRIX EXPERIENCE
    Supporting Groups
    The Family, The Small Four, The Strollers, The Mandrakes.
    Admission 12/6 Late transport
    SKYLINE BALLROOM, Jameson Street, Hull.

    Wednesday 8 (9) March 1967
    USA (NYC, NY)
    VILLAGE VOICE [NO JIMI CONTENT] (page 14) scenes
    Weave Fabric to make a mind-blower of a costume. Plant flowers. Concoct your own incense. A big fat be-in is
    coming. This could very well be the acid test for the New York spiritual community.

    If the be-in at Grand Central Station turned out 500 last week, and a fly-in at Kennedy Airport gathered 2000,
    think of the people-potential in a Central Park Be-in on Easter Sunday (estimates run up to 100,000).

    For several weeks I kept hearing about one plan or another for a really big one, and now it is finally in the
    works. In an artists loft near City Hall 15 people got together and put things into motion. In a few days posters
    in the Nouveau-Frisco style will be up all over the city announcing the event. Word of mouth has already begun.
    Maybe Easter Sunday will become New York's Mardi Gras.

    The be-in will start with a sunrise service. The only other thing scheduled will be an all day egg hunt—thousands
    of colored eggs win be stashed all over the park. The event might be called a be-egg-in, or as someone
    suggested a noth-in to go along with the idea of spiritual spontaneity rather than planned activities.

    You are the entertainment. Wear uncalled-for costumes. Paint your face. Bring food and things to share with
    strangers, but most of all bring yourself— you are the entertainment. Sing, if you want, dance, read poetry or just
    lie on the grass. If it rains on March 24 bring a painted umbrella.

    (Page 15) scenes
    . . .
    About 150 people came together out of a common paranoia. The scene was a large room at the Central Plaza
    on Second Avenue, RmiUmn oeed aj a rehearsal ball for Broadway musicals'. The purpose of the meeting was to
    enlist members for a new group called the Jade Companions of the Flower Dance, a kind of protective tong of the
    underground. This was their first public meeting.

    Besides the light of an exit sign, the room was lit by five large colored candles and the burning red tips on
    hundreds of sticks of incense held in the hands of the audience.

    Through the pungent mist, Dick Alpert [later aka ‘Baba Ram Dass’. Ed.], one of Leary's long time acid associates,
    and "enfant terrible" of the lecture circuit, addressed the meeting after a long period of group hum. He did an
    interesting monologue on his recent tragi-comic ramblings. He said that the Food and Drug Administration
    sometimes paid his way to be on a panel discussion when they wanted a "bad" guy with good credentials.

    Inspired by the Diggers of Haight-Ashbury, the Jade Companions are deeply concerned about police harassment
    and arrests, especially those relating to drugs. To become a Jade costs $3, and it entitles you to access to a bail
    fund if you get arrested. It was explained that the group was in touch with the National Lawyer's Guild. They would
    like to get 400 members.

    The group also has plans to open a "bad trip" center and maybe get involved in free-food distribution in the Style of
    the Diggers.

    Next Sunday at 8 p.m. there'll be another meeting at Central Plaza, 111 Second Ave. In the meantime the Peace
    Eye Book-store, 383 East 10th Street, is headquarters. Call OR 3-1246.

    (Page 18) [B&W text ads] Balloon Farm
    St Mark’s Place: Tonight & Saturday The Bitter Seeds. Direct from the West Coast:
    Pleasant Street Blues Band and The Free Spirits [John McLaughlin. Ed.]. Dancing, Lightworks.

    Ondine’s Discotheque
    308 E. 59th St. (near 2nd Ave) Hippie Happy Happening, 8 continuous hours of Fun & Disco Dancing, Folk Singers,
    Folk-Rock, Food & ‘Freshment! N.Y. Sane’s First MAD PARTY FOR SANE PEOPLE. This Sunday—Mar. 12 Non-stop
    Frolic—4 pm to Midnight!

    See The DOORSat Ondine March 13 — April 2
    Hear the Doors on Elektra Records
    Andy Warhol presents NICO, Jackson Brown & “Vinyl” nitely at The Dom, movies, music, lights, food. 23 St Mark’s

    An Evening with THE FUGS Wildly funny . . . new indefinable — "The Fugs make all sorts of popular entertainment
    obsolete.” Review of Books.

    NOW! WEEKENDS ONLY Fri. & Sat. 8-10-12
    Players Theatre 115 McDougal St.
    (Page 19) pop eye
    ‘Notes From Underfoot’ by Richard Goldstein
    Where do they all come from department:

    Backing up the Jefferson Airplane at the Cafe Au Go Go last week, an incredible group from Toronto called the
    Paupers descended on the New York scene like electronic thunder.

    The Paupers are a conventional number of musicians (four) playing a conventional range of instruments (guitar,
    bass; drums etc. . . ). But their music makes the average combo sound like a string quartet doing Wagner.

    The Paupers play electronic rock with a power and discipline I have never seen in live performance. Their music
    sounds like Byrds and Beatles compositions. But the miracle is the Paupers’ ability to reproduce live all the
    structured atonality it takes these groups months in the shelter of a recording studio to create. Though the lyric
    content is weak, the Paupers’ music puts electronic rock a step closer to becoming a viable folk music. They
    make impossible sounds with their instruments, and it is all there, right before you, real. A soft ballad becomes
    stunning when the Paupers make an electric mandolin sound like a battery of woodwind. "Dr. Feelgood" has a
    warped but pounding Chuck Berry beat, delivered with flying hair and flaying tambourines. "It’s Your Mind"
    explodes with stretched and straining notes. And the rest of the act bristles with feedback, dissonance, and a
    pervasive beat pounded furiously on three sets of drums.

    The Paupers are what makes rock such an exciting form to write about. They swooped down out of nowhere,
    from a scene nobody knew about, and suddenly they were playing real electronic music with a teenage audience
    screaming allegiance in the background. If their debut at the Au Go Go is any clue to the Paupers' versatility, their
    recordings on Verve Folkways should shatter one of the last cliches about rock 'n' roll: that it must be melodic to

    I recommend you catch this group next time it appears anywhere.
    (Page 20) The Scene
    Dancing Concert Listen - DANCE TO – Love

    THE MANDALA Mar. & Thru April
    To be seen at The Scene
    The Young Rascals
    Eric Anderson
    Incredible Tiny Tim
    (Page 21)[huge ad] March 23 to April 1 THE MOTHERS OF INVENTION in concert appearing at the
    GARRICK THEATRE 152 Bleecker St.

    Current MGM recording FREAK OUT
    Latest MGM recording ABSOLUTELY FREE
    Gaslight. John Hammond and his Screaming Nighthawks + Billy Faier
    Cafe Au Go Go
    Now Thru March 13th. Youngbloods plus Richie Havens, Tim Buckley. March 17 thru March 26:
    The Blues Project with the Gary Burton Jazz Quartet.

    March 28 thru April 9 Butterfield Blues Band
    Andy Warhol presents NICO singing the songs of the Velvet Underground, Jackson Brown &
    “Vinyl” a film starring Gerald Malanga appearing nitely at The DOM, movies, music, lights,
    food. 23 St Mark’s Place.

    (Page 26) CHAFED ELBOWS, SCORPIO RISING. Bleecker St. Cinema
    (Page 28) BLOW UP, New Embassy
    CHELSEA GIRLS, York Cinema
    (Page 29)movie journal by jonas mekas: More than 20 different film-makers and two music groups, Gato
    Barbieri and the Free Spirits, contributed their imaginations to
    Barbara Rubin's Caterpillar Changes program
    during a two week run at the Cinematheque. But it was
    Rubin who was the caterpillar, really, and the
    show was the product of her imagination
    . In my judgment, this show, to those few who saw it, and REALLY
    saw it, provided an insight into the farthest out frontiersland of cinema and of vision. Really, the whole cinema
    as it is (or was) fell to pieces, and was hanging around the auditorium in shreds, like a leaf eaten, out by worms.
    I said, it was the product of
    Rubin's imagination, but that - shouldn't be misunderstood: her imagination is only
    part of OUR imagination.
    Rubin acted as an architect who was pulling out from our dreams the primordial shapes,
    shred by shred, recreating our own dreams in front of and around us. It was a visionary show and one that marks
    a very important direction in cinema, and I will attempt to indicate this direction with a few quotes. The quotes
    will be from Max Heindel, the mystic who died in 1919;
    Paul McCartney, the Beatle; and the Gospel of Thomas
    (uncovered in 1948 in a ruined tomb in Upper Egypt).

    Max Heindel (in "The Web of Destiny"): "Aquarius is an airy sign having special rule over the ether. The Flood partly
    dried the air by depositing most of the moisture it held in the sea. But when the sun enters Aquarius by procession,
    the rest of the moisture will be eliminated and visual vibrations, which are most easily transmitted by a dry etheric
    atmosphere, will become more intense; thus conditions will be particularly conducive to production of the slight
    extension of our present sight necessary to open our eyes to the etheric region.

    "By aspiration and meditation those who are longingly looking for that day are taking time by the forelock and may
    quite easily outstrip their fellows who are unaware of what is in store. The latter, on the other hand, may delay the
    development of extended vision by the belief that they are suffering from hallucinations when they begin to get
    their first glimpses of the etheric entities, and the fear that if they tell others what they see, they will be adjudged

    "Recent investigations have developed the further information that much of the eye trouble now prevalent among
    people is due to the fact that our eyes are changing; they are, in fact, becoming responsive to a higher octave of
    vision than before, because the ether surrounding the earth is becoming more dense and the air growing more rare.
    This is particularly true in certain parts of the world, southern California among others.

    "... the Christ currents are becoming more and more forceful and their static electricity is being liberated. The etheric
    impulse which they give will inaugurate a new era, and the sense organs now possessed by mankind must
    accommodate themselves to this change. Instead of the etheric rays which emanate from an object bringing a
    reflected image to the retina of our eye, the so-called 'blind spot' will be sensitized and we shall look out through the
    eye and see directly the thing itself instead of the image upon our retina. Then we shall not only see the surface of
    the thing we observe, but we shall be able to see through and through it as those who have cultivated the etheric
    vision do now."

    Paul McCartney(in the International Times, No. 6—you can buy it at the 8th Street Bookshop): "With any kind of
    thing, my aim seems to be to distort it, distort it from what we know it as, even with music and visual things and
    to change it from what it is to see what it could be. To see the potential in it all. To take a note and wreck it and see
    in that note what else there is in it, that a simple act like distorting it has caused. To take a film and to superimpose
    on top of it so you can't quite tell what it is any more, it's all trying to create magic, it's all trying to make things
    happen so that you don't know why they've happened. I'd like a lot more things to happen like they did when you
    were kids, when you didn't know how the conjurer did it, and were happy to just sit there and say 'Well it's magic.'
    The only trouble is, that you don't have the bit that you did when you were a kid of innocently accepting things. For

    instance, if a film comes on that's superimposed and doesn't seem to mean anything, immediately it's weird or it's
    strange or it's a bit funny, to most people, and they tend to laugh at it. The immediate reaction would be a laugh. And
    that's wrong. That's the first mistake, and that's the big mistake that everyone makes, to immediately discount
    anything that they don't understand, they're not sure of, and to say, 'well of course, we'll never know about that.’
    There's all these fantastic theories people put forward about . . . 'It doesn't matter anyway,' and it does, it does matter,
    in fact that matters more than anything . . . that side of it"

    The Gospel According to Thomas (Harper and Row edition, p-17): "They said to Him: Shall we then, being children,
    enter the Kingdom? Jesus said to them: When you make the two one, and when you make the inner as the outer and
    the outer as the inner and the above as the below, and when you make the male and the female into a single one, so
    that the male will not be male and the female (not) be female, when you make eyes in the place of an eye, and a hand
    in the place of a hand, and a foot in the place of a foot, (and) an image in the place of an image" then shall you enter
    (the Kingdom)."
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 March Newspaper & Magazine Articles (Text Only)

    Thursday 9 (11) March 1967
    DISC & MUSIC ECHO (page 2) SCENE
    Absorbing the funeral music at London’s Speakeasy Club this week [8 Mar.] Jimi Hendrix, John Entwhistle and
    Roger Daltrey
    .”[Soft Machine’s ‘funeral’ (launch) party. Mitch and many other ‘names’ also attended. Ed].
    (Page 5) STARS IN THE NEWS - 2
    Jimi Hendrix performs his new single “Purple Haze” - out next Friday - on the first of the Simon Dee TV shows
    “Deetime” on April 4. And also on “
    Easybeat” (March 26) [apparently cancelled. Ed.]. “Top Of The Pops” (30),
    “Saturday Club” (April 1) and “Monday, Monday” (April 10).

    He does TV in Holland (March 14) and plays Hamburg’s Star Club (17-19). In May Jimi appears in Sweden,
    Frankfurt and at the Olympia, Paris. And
    an American visit is planned for June.
    He starts his tour with the Walker Brothers and Cat Stevens at London’s Finsbury Park Astoria on March 31.
    (Page 13) DISCWORD
    Solutions to last week’s Discword
    13. Hendrix
    (Page 15) [B&W photo of Jimi on RSG. ‘Hendrix...angry biting guitar’] Britain’s Top Singles Reviewer Penny
    Valentine spins this week’s new discs.

    Hendrix incredibly ugly but so much excitement’: PURPLE Haze (Track)—For the first release on the new Track
    label they could have done a lot worse than this,
    Jimi Hendrix’s second record.
    The sound Jimi and Chas Chandler get on his angry, biting guitar is astounding, incredibly ugly but fascinating—
    rather like
    Hendrix himself. But this ugly positiveness is Jimi’s mark, and this sounds as though it was recorded
    live somehow—it has that much excitement about it—as though he is playing with his body.

    Whether this is a commercial record is debatable, certainly it will sell on the strength of “Hey Joe” which was a
    more commercial song, and on the fan following he has built since then. But how high? We shall wait and see.


    Thursday 9 March 1967
    England (Newcastle)
    EVENING CHRONICLE (page?) [B&W text ad.] CLUB a’ GO GO [this is his manager Mike Jeffery’s club] Tonite
    8—2 a.m. THE MANCHESTER PLAYBOYS 2/- & 4/-

    Friday 8—2 a.m. JIMI HENDRIX & THE EXPERIENCE 6/- & 10/-, Doors Open 6.30 p.m.

    Thursday 9 March 1967
    MALVERN GAZETTE(page?)[B&W text ad.]
    Gaumont Worcester.
    On the stage. Sunday April 2nd
    3.30 – Two Performances – 8.0
    [Same size text]
    Walker Brothers
    Englebert Humperdinck
    Jimmy Hendrix
    [Smaller, all same size text]
    Cat Stevens
    The Quotations
    The Californians
    Nick Jones
    Stalls 15/-, Circle 13/-, 12/-6, 10/-, 8/6
    [1st advert aware of Humperdinck having joined the tour]

    Thursday 9 (11) March 1967
    MELODY MAKER (page 2) Melody Maker Pop 50
    10-29-44. Hey Joe - Jimi Hendrix, Polydor. [last entry]
    (Page 3) [small B&W photo, ‘Mitch: expanded’] ‘Group Scene ‘67’ by Chris Welch
    . . .
    Wide Gap
    There is no shortage of drummers either although there is a wide gap between the “average” drummers and
    the trend-setting individualists.

    Mitch Mitchell suddenly exploded into prominence with Jimi Hendrix and the Experience after years with
    groups like
    the Riot Squad and the Blue Flames.
    When he joined Jimi his technique expanded and his style flourished so rapidly and surprisingly that even
    ’s best friends were surprised.
    Mitch sounds like Mitch, but the best way to explain his style to anybody who has the misfortune to miss him,
    is to imagine an amalgam of
    Ginger Baker, Keith Moon and Elvin Jones
    (Page 5) Hendrix scores a hit in Paris’
    The Jimi Hendrix Experiencewere greeted with wild scenes and standing ovations in Paris over the weekend—
    described as “ridiculous” by manager
    Chas Chandlerwho phoned the MM from Belgium on Monday.
    Said Chas, “Jimi and the group played their very first gig at the Paris Olympia just three days after the group
    formed. Obviously nobody forgot that first outing because there was a crowd of 6,500 at the Law Society
    Graduation Ball last Saturday evening.”

    (Page 11) ‘Ten Men With Hits In Mind’
    . . . Chas Chandler
    Records: Jimi Hendrix, Soft Machine. Ex-Animal Chandler went into management when the group split up.
    In New York, he found
    Jimi Hendrix and brought him to Britain.
    Learned his recording technique in three years of recording with the Animals and is now half - manager and
    half A&R man. He’d like to record more artists but “they’d have to be of the calibre of
    Jimi or the Machine”, he

    (Page 12) advice ● dealers ● bargains
    PLEASE give details of the equipment used by Jimi Hendrix and explain what he uses to obtain the sustain and
    tone (W. Cumper, Guildford). Which strings does he use and are they in the conventional positions? (R. D.
    Johnson, Perth).

    I play a Fender Stratocaster, with Fender light-gauge strings, using a regular E string for a B and
    sometimes a tenor A string for a little E. To get my kind of sound on the Stratocaster, put the strings
    on slightly higher, so they can ring, longer. I use two 100-watt Marshall speaker cabinets with one
    100-watt Marshall amplifier, although we have to change the valves every week due to loss of power.
    The sustain tone comes from two raggedy fuzz-boxes made by one of The Fuggs, a "freak" group in
    Greenwich Village —
    (Page 12) RICKY TICK
    Assembly Hall, Aylesbury
    Tuesday, March 28th JIMI HENDRIX EXPERIENCE
    Guild Hall, Southampton
    Thursday, March 23th JIMI HENDRIX EXPERIENCE
    (Page 20)MM MAIL BAG
    When will the pushers of psychedelia wise up to the fact that a contrived bombardment of the senses only makes
    an English audience self-conscious and inhibited.

    At the Roundhouse, Chalk Farm recently Jimi Hendrix could have been a busker playing to a cinema queue for
    all the response he got from the crowd and the “home of audio visual happenings” caused the fiasco. - R. Fox,
    London SW3.
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 March Newspaper & Magazine Articles (Text Only)

    Thursday 9 (11) March 1967
    RECORD MIRROR (page 4) Bill Harry Pop Talk
    ‘Johnny Hallyday here in Britain’
    Dropped into a London pub last Thursday and espied a familiar face [...]. It was JOHNNY HALLYDAY . . . he was
    in London for a recording session that evening—his second British session that week. On the Sunday he’d been in
    London to record
    Hey Joe for the French market.
    . . .Will The PINK FLOYD and THE SOFT MACHINE change theirimage now that the psychedelic mini-boom has
    fizzled out? . . .

    (Page 5)New discs from Jimi, 4Seasons & Mamas and Papas.’
    TlIERE are new discs from the Mamas and the Papas, the Mindbenders, Jimi Hendrix, the Four Seasons and the
    Easybeats among
    the releases for the week ending March 10. All the releases are as
    Follows- . . .
    TRACK: Jimi Hendrix - Purple Haze
    (page 10) ‘KEITH’
    . . .Keith's own tastes run to the "hard"sound - I thought he said "horrid" - ofSpencer Davis and The Who. He's
    also keen
    to catch up with the Move and Jimi Hendrix. . .
    (Page 11) Britain’s Top 50 [not credited to Record Retailer yet]
    43 Hey Joe 27 (11) Jimi Hendrix (Polydor). [last entry]

    Thursday 9 (11) March 1967
    RECORD RETAILER (page 19?) Britain’s Top 50
    43 (27) (10) Hey Joe - Jimi Hendrix Polydor 56-139 [Pub.]Yameta, [Prod.] (Yameta).[last entry]
    Radios: London (-), Caroline (33), 270 (-), Scotland (*), BBC Top Tunes (-)
    * Details unavailable that week

    Friday 10 (18) March 1967
    BILLBOARD (page 66) Hits Of The World
    ‘Britain’ (courtesy Record Retailer) [from UK, Thursday]
    18 (12) Let’s Spend The Night Together—Rolling Stones (Decca)— Mirage
    43 (27) Hey Joe—Jimi Hendrix (Polydor)—Yameta, Yamata [sic, Yameta].
    48 My Friend Jack [“eats sugar lumps” (with LSD on them presumably) - “Happy Jack”?] — Smoke [wink, wink,
    know wot I mean
    Smoke’hash I would wager?]
    Off chart: I Feel Free—Cream (Reaction)—Dratleas [sic Dratleaf]

    Friday 10 (18) March 1967
    CASH BOX (page 62) Great Britain
    . . .Just back from a continental tripJimi Hendrixall set to promote his latest Polydor single “Purple Haze. . .

    Friday 10 March 1967
    England (Newcastle)
    EVENING CHRONICLE (page?) [B&W text ad.] CLUB a’ GO GO, TONIGHT 8—2 a.m. : 5/- & 8/6, ALEX HARVEY
    [Scotland’s original ‘Rock Star’. Ed.]
    ; March 10 (Doors Open 6.30 p.m.) JIMI HENDRIX & THE EXPERIENCE

    Friday 10 March 1967
    England (Newcastle)
    EVENING CHRONICLE (page?) [B&W text ad.] CLUB a’ GO GO, Tonite 8—2 a.m. : 6/- & 10/-, Doors Open 6.30
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 March Newspaper & Magazine Articles (Text Only)

    Friday 10 (11) March 1967
    NEW MUSICAL EXPRESS (cover) [centre top banner]: ‘Jimi Hendrix Amazing Life Lines’. [bottom third, ad.]:
    CAPABLE MANAGEMENT LTD. in association with HAROLD DAVISON and TITO BURNS present
    The fabulous WALKER BROS

    CAT STEVENS JIMI HENDRIX [Jimi’s 1st “tour” of the UK. Ed.]
    Special Guest Star
    Finsbury Park, Astoria Fri., Mar. 31st
    Ipswich, Gaumont Sat,. Apr. 1st
    Worcester, Gaumont Sun., Apr. 2nd
    Leeds, Odeon, Wed., Apr. 5th
    Glasgow, Odeon, Thur., Apr. 6th
    Carlisle, ABC, Fri., Apr. 7th
    Chesterfield, ABC, Sat., Apr. 8th
    Liverpool, Empire, Sun., Apr. 9th
    Bedford, Granada, Tues., Apr. 11th
    (Page 7) NME Top 30[Hendrix off chart]
    ENGELBERT HUMPERDINCK—who retains his No. 1 spot in the NME Chart—is set for two Light Programme
    broadcasts next week. He guests in "Parade Of The Pops” next Wednesday (15th), and "Saturday Club on
    March 18.

    Other new "Club" bookings are Zoot Money's Big Roll Band and the Jeff Beck Trio (18th), and Manfred
    Mann and
    the Jimi Hendrix Experience (April 1).
    Eric Burdon and the Animals have been released from their Decca contract by mutual agreement. Their
    Mike Jeffries is at present in New York negotiating with MGM Records for US release of Burdon’s

    In this country, an agreement with Polydor for the issue of all the group's subsequent recordings is expected
    to be finalised next week. A spokesman for
    Jeffries told the NME that in future Barclay will distribute
    s discs in France.
    (Page 12) [3 B&W photos, ‘Jimi Hendrix, ‘Mitch Mitchell’, ‘Noel Redding’]



    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: Allen Phyllis and Jack Margaret
    Brothers and sisters names: Leon None Anthony and Vicky
    Present home: London Lancaster Gate Bayswater, London
    Instruments played: Guitar, piano, organ drums, bass Drums / Afro percussion, congas Bass guitar, ordinary guitar
    Where educated: Seattle, Vancouver BC,
    3 weeks in San Francisco
    Ealing College, Arts Educational, Corona Academy, (the last two were drama schools) Hythe primary school, Folkestone Grammar 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: 17 3 years old, (10 years professionally) 16
    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
    [He had already appeared on US TV shows Night Train in '66 & likely with Little
    Richard earlier as a 'British Guardsman']
    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 ---------------
    Compositions: 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) None Art Student, delivery driver, factory worker, waiter
    Hobbies: 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 Casual
    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
    Car: ------------- 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 Living 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
    Pets: 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
    First public appearance: Olympia, Paris, October 1966
    London theatre or cabaret dates:
    Saville Theatre
    Latest release: Purple Haze
    Present label: Track
    Other labels in past: Polydor
    Recording Manager: Chas Chandler
    Personal Manager: Chas Chandler and Mike Jeffery
    Road Manager: Jerry Stickells
    Musical Director: Jimi Hendrix
    Important engagements abroad: Paris Olympia,
    Hamburg Star Club, Munich, Frankfurt, Cologne [NOT! Ed.]
    Jimi Hendrixis to seek an injunction to prevent Decca from releasing (on its London-American; label) a single
    titled "
    Hush Now," credited to: JimiHendrix 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
    The disc has been on sale since last Friday.
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 March Newspaper & Magazine Articles (Text Only)

    Friday 10 (18) March 1967

    Saturday 11 March 1967
    HET VRIJE VOLK [‘The Free People’] (page?) Hendrix
    One of the most striking personalities in the international hit-biz is the American Jimi Hendrix. He was discovered
    in a New York club by
    ex-Animal guitarist Chas Chandler and brought to London by him. The dynamic Hendrix
    as shown around a few English musicians and his first performance for an extremely critical audience, including
    The Beatles and the Stones, was a great success. The first record of Jimi Hendrix in England reached directly to
    the top position on the hit parade. On Tuesday evening this song, "
    Hey Joe" can be seen again in Fanclub. Jimi
    comes to our country on that day to perform in the directly invited teen program produced by Ralf Inbar

    Sunday12 March 1967
    YORKSHIRE EVENING POST(page 1) [B&W photos, ‘LEFT police disperse acrowd from a corridor at the Troutbeck
    Hotel, Ilkley . . . The departing crowd leaves a trail of debris and broken glass.

    ABOVE: After it was all over ... A door lies on its side ... smashed coffee tables, damaged paintings and a battered
    lampshade help to tell the story of the disturbance.]

    ‘Chaos after police break up crowded pop show’ 800 TOLD TO LEAVE AT ILKLEY Evening Post Reporter:

    A door was ripped from its hinges, pictures were slashed and torn from their frames, electrical fittings and furniture
    were broken and the carpets littered with broken glass at the Gyro Club, Troutbeck Hotel, llkley.

    The Jimi Hendrix Experience, who had a recent hit with “Hey Joe," were told to stop playing in
    What We Think Page 4
    the middle of their second number. Police told the audience of 800 that they would have to leave because the club
    was overcrowded.

    "I wish they had let me play before emptying the club,”said Hendrix, whose gimmick is to play the guitar
    with his teeth.

    "The police did not help to get people out of the club said Hendrix's manager, Mr. David Findlay
    "Some people got their money back several times over.”
    The club's manager, Mr Nigel Edwards, said. "We tried to refund as much money as possible, but the crowd was very

    Getting the audience out was made more difficult by the fact that there were still a lot of people outside queueing to
    get in. There should only have been 250 people in the club," said a West Riding Police spokesman. "The situation
    could so easily have got out of hand"

    Stuart Frais, a disc-jockey at the club, said that members of the audience had come from as far away as Manchester
    and Newcastle

    to see the performance by Hendrix, who has never before played in Yorkshire.
    "With people crammed like sardines in the corridors it's remarkable that there wasn't more trouble," he said.
    "In future we shall not allow more than 250 in."
    It took two hours to get the club clear, he said. Groups were still arguing and waiting for their money back at 11.15

    "When a police sergeant mounted the stage and began 'Listen boys and girls' there was bound to be trouble. After
    all everyone in the audience was over 18 There would have been no trouble if
    Hendrix had been allowed to finish
    his act," Frais claimed.

    An attempt is to be made to bring Hendrix back to the club for two performances in May. After all, he barely had
    a chance to get his teeth into his act!

    A spokesman for the hotel management said it had no objection to the club continuing to run Sunday night pop-
    concerts so long as the 250 limit was not exceeded.

    Sunday12? March 1967
    England (Yorkshire)
    ILKLEY GAZETTE (page?) ‘Pop Fans Amok in Hotel’ [Ilkley, Gyro Club] (‘quoted’ from a national newspaper [?])
    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
    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.

    Monday13 March 1967
    YORKSHIRE POST (page?) “700 in uproar at beat club after police stop show” by Reginald Brace
    Uproar broke out in an Ilkley pop club last night when police stopped thought the audience was too big for the
    A door was ripped off, pictures torn from the walls and drinking glasses smashed at the Gyro Club in the
    Troutbeck Hotel. The performance, by
    the Jimi Hendris Experience, was not resumed.
    Hendrix, an American singer-guitarist, had begun his second number when the police moved in. Mr. Nigel
    Edwards, manager of the club, told me: "They thought there were too many people in the place.

    “I would say there were between 700 and 800 people present. The police said the limit should have been 250,
    which seems very small in view of the size of the ballroom.

    "We tried to refund as much money as possible but the crowd were very disgruntled. There was general chaos."
    Hendrix, from Seattle, had a recent hit record with "Hey, Joe." His road manager, Mr. Gerry Stickells, said:
    "Jimi and the boys were very disappointed that the show had to end so suddenly."
    A police spokesman said the reason the show was stopped was gross overcrowding to such an extent that the
    situation could have become dangerous, coupled with the fact that the road outside the hotel was blocked with
    parked cars.
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 March Newspaper & Magazine Articles (Text Only)

    Monday 13 March 1967
    INTERNATIONAL TIMES (page 7) ‘oxford happening’ by Jay Landesman
    The protest signs were late; they couldn't find the horse. Pretty girls passed out daffodils; the boys passed out bananas.
    Joss sticks lit up Wellington Square. A sincere person hawked IT. Suzy Creamcheese wasn't there. Her stand in standing
    around, waiting for the horse.

    "Everybody in the centre." The fence was hurdled. Quickly a set of drums set up. Mr. Sax blew his horn, as large as he.
    The chosen stood on empty tea boxes reading Alice B. Toklas. Censored, censored, censored, censored. Where are the
    signs'.' The boy with the painted face climbed the tree and shouted recognitions. (He was the first to be arrested later).

    Young girls arrived with babies; so did the Fuzz. "Who's behind this'.'" They wanted to learn. Nobody talked. The big
    push began: "Everybody out of the pool". A couple of bangers exploded. Ten minutes had gone by.

    The signs finally arrived. “Death To Pot Users", "Free Suzy Creamcheese”. The fuzz stepped up the pushing. "Where's
    the Melinex?" 'They couldn't go anywhere without the melinex! Nobody arrested yet, although Mr. Sax was warned. (Too
    many bad notes?) The Melinex arrived, the march began. The ones in the front wrapped in loving Melinex chanting. "Tune
    In, Turn On, Drop Out".

    They charged the Randolph Hotel—got stuck in the revolving door, still in Melinex. The police moved in; some fell, others
    pushed. Eggs thrown; six arrests. Back to Wellington Square. The horse was found. Suzy's stand in astride with banner
    aloft: "Free. etc.". 15 Specials from Scotland Yard didn't think it was funny. The pony was for Suzy to ride through town
    with you know who?
    Jimmy Hendrix on black horse!
    It didn't happen.
    (Page 8)MARION BROWN’
    Marion Brown is one of the most active representatives of the new music. He has recorded with most of the leading
    musicians in the field, from
    Sun Ra to John Coltrane. More recently he has recorded under his own name. The words
    below are taken from an interview Brown gave to Detroit UPS paper, Guerilla
    . [ie published earlier than above date,
    They explain, in some detail, much of what the new music is about. [...]
    I want to talk about things that inspire me, like colour, visible things, light. Colour is for me identical to sound
    and I feel that the two things are interchangable
    . What I try to do is like making mixtures of colours. For example, the
    is associated with the colour blue because blue is theologically related to the number seven and this number in the
    chord structure of the
    blues, determines the sound colour. On my Fontana album, I composed thinking of colours and visual
    "The Visitor" is
    VIOLET, PURPLE. I got interested in VIOLET a year ago, after an EXPERIENCE with censored. Censored,
    censored, censored, censored, censored. I perceived colours and sounds that I had never been aware of, and I heard visceral
    noise. My own noise, coming from places I wasn't at. This happened also on the record; you can hear some kinds of
    these are not accidents, I know exactly what they correspond to. I looked at the inside of the sound waves like blind people or
    radars do to situate objects. When you walk down the street, in
    New York, there are so many people doing things that, if you
    pay attention, there are a lot of things going on in yourself, billions of colour sounds . . . or again, it's enough to look at a wet
    pavement, that always makes me think of a comb for colours, or to look at windows in the sun. I try to translate that, I can't
    play a music that people would see but I think I can play music which will bring all these
    things to mind "The Visitor" is a
    PURPLE piece, it’s a nocturnal experience: at first its very black, then you cross flashes of colours during the free ensembles,
    with the piano solo the colours thin out and turn toward
    yellow-orange, then they return to violence and darkness. In 'Juba
    Lee" everything is
    blue. On "512 East" there are all colours, it’s in a sense pointillistic, like Seurat's work, volleys of colours.
    Alan Shorter’s tune, “iditus,” is
    green, sensitively green, a green like Miles', a deep green bordered by a little red, not too
    red . . . it's a romantic green, a colour that has a natural sonority.

    Tuesday 14 March 1967
    Less than 3 months after Hey Joe entered the UK charts, and prior to Purple Haze’s release.
    Already Wind Cries Mary and most of the Are You Experienced LP is finished. The ‘B’ side, Highway Chile is completed on
    5 April and the LP is completed on 25 April.

    The single and LP will be released later in May. Reprise’s first release will be the Hey Joe/51st Anniversary single in May,
    it flops, but it seems to have been more of a promotional introduction to the US media, as the white label promos in a
    picture sleeve are far more common than the stock copies in plain sleeve.

    The Reprise Purple Haze/ Wind Cries Mary release coincides with the Monkees tour - intentional? It is talked about as if
    it is the first US release.

    Although a regional radio hit in several areas, notably San Francisco & Boston, it doesn’t sell very well nationally, only reaching
    65 Billboard, briefly.

    7 August 1967 Chalpin serves Hendrix, Reprise etc. with notice that he is taking court action against them for breach of contract.
    Are You Experienced is released in the US & Canada a few days after they head back to England. It quickly begins to pick up
    momentum, entering Billboard at 190 on 26 August and reaching a high of 10 on 14 October. After which it hovers around this
    mark, climbing back to 10 on 2 December. Much of AYE’s ‘chart success’ may be put down to Reprise who were (as well as the
    top four or so record companies), running discount schemes through large chain stores, eg Penneys, & mail order outlets heavily
    advertised in local press throughout the US. The Reprise ads
    always featured AYE, most often with accompanying sleeve picture,
    increasingly the only ‘rock’ group featured in Reprise’s offers. When Reprise went ‘all stereo’ the AYE mono copies were sold
    en masse in these schemes for not much over $1.00!

    Capitol release Get That Feeling on the 2 December. AYE is still climbing and reaches 7 Billboard, but then the sales fell to
    17 as Capitol’s advertising of their “new” LP bites, entering Billboard at 194. But despite their dishonest advertising in the press,
    one of which showed a line drawing of Jimi Hendrix in
    white!!, with his name in large text above the almost unreadably tiny ‘Curtis
    Knight’, GTF only manages to climb to 60 before dropping to around the low 70’s. AYE sales started picking up again after
    dropping to 21 in January ‘68. Axis is released on 28 February 1968. On 14 April Reprise wins a small victory in it’s action to have
    Get That Feeling withdrawn, a temporary injunction to stop sales of
    G(et)T(o)F(uck), due to it’s misleading cover art, is granted.
    Capitol has the injunction lifted on 14 March. But it was too late, after it’s 12 week (3 month) run GTF drops out the chart never
    to reappear. Only this one Curtis Knight/Hendrix recording ever reached the US charts.
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 March Newspaper & Magazine Articles (Text Only)

    Tuesday 14 March 1967
    Scotland (Glasgow)
    EVENING CITIZEN (page 9) [large B&W text ad.]
    ‘ODEON’ Renfield Street. Phone DOU 3861
    On The Stage Thursday
    6.40 — 6th April — 9.0
    Capable Management Ltd. Presents
    Cat Stevens and Jimmy Hendrix[sic]
    Prices: 15/-, 12/6, 10/6. Advance
    Booking Office opens Tomorrow
    (Wed) at Theatre, 10.30 a.m.-8 p.m.
    [Note, no mention of Humperdinck. Ed.]

    Tuesday 14 March 1967
    Scotland (Glasgow)
    EVENING TIMES (page 21) [large B&W text ad.]
    ‘ODEON’ On The Stage
    Renfield Street. Phone DOU 3861
    On The Stage Thursday
    6.40 6th April 9.0
    Capable Management Ltd. Presents
    Cat Stevens Jimi Hendrix
    Prices: 15/-, 12/6, 10/6. Advance
    Booking Office opens tomorrow
    (Wed) at Theatre, 10.30 a.m.-8 p.m.
    [Note, no mention of Humperdinck. Ed.]

    Wednesday 15 (16) March 1967
    USA (NYC, NY)
    VILLAGE VOICE [NO JIMI CONTENT] (page 14) [B&W text ad.]
    L.S.D. CENTER Hudson Street, Tel: 989-9289 offers daily discussion groups and meditations led by
    League Guides. In addition, the following lectures are scheduled:

    Tibetan Buddism Speaker: Tanning, an American who studied with Gosha Wangyal and the Dalai
    Lama. Tuesdays, 8 pm

    Psychedelic Drugs, Their Uses and Implications. Speaker: Peter Stafford, co-author of LSD: The
    Problem Solving Psychedelic

    Wednesdays 8 pm
    Spiritual Masters East and West. Speaker: Dr. Ralph Metzner, editor, Psychedelic Review.
    Thursdays 8 pm
    (Page 21)[B&W text ad.]
    Gaslight. John Hammond and his Screaming Nighthawks + Billy Faier
    (Page 28)[B&W cinema ad.] Blow Up

    Thursday 16 (18) March 1967
    Who’s and Jimi Hendrix’s new label Track is starting an always-on-call retailers’ service to answer
    supply problems.

    German TV team in London [at the Marquee] filming The Who, Jimi Hendrix, Geno Washington,
    Cliff Bennett and the Smoke

    (Page 5)Stars In The News—2
    ‘Walker Tour Fans Protest’:
    HUNDREDS of Walker Brothers fans this week against the cancellation of one of the shows in the
    group’s forthcoming tour. The tour, also starring Cat Stevens,
    Jimi Hendrix and Engelbert
    Humperdinck, was to have played the Kingsway Theatre Hadleigh, Essex, on April 12. But it was
    cancelled, said a Walker’s spokesman, when the promoters failed to put up the required deposit. The
    venue was changed to the Gaumont, Southampton.

    Theatre manager Ted Parsons said: “The audience for the Roy Orbison show was so disappointing—
    there were only 350 in the first house—that the promoters felt they couldn’t stand any more losses.
    But the demand for tickets had been heavy and we have received protests from fans.”

    Walker Brother Scott Engel commented: "We’re furious about this sort of thing, it's not fair on the fans
    or artistes, but it's usually us who get the blame. We are asking our management to provide coaches
    from Hadleigh to the nearest other venue.”

    [Half page vertical B&W (negative) photo ad, ‘Purple Haze Jimi Hendrix Experience ‘Track’ [logo]
    604 001 Distributed in the UK by Polydor Records Ltd.
    [‘P.’ (for ‘Paragon’ promotions)]
    (Page 6) Stars In The News—3
    Track signs stars’
    TRACK, the new record label making its debut tomorrow (Friday), starts with two established artistes—
    Jimi Hendrix
    and the Who.
    First release is Jimi’s “Purple Haze,” followed next month by the Who’s new single. And Jimis first LP,
    provisionally titled “
    Are You Experienced?” is out in May.
    Track is run and owned by Who managers Kit Lambert and Chris Stamp and distributed by in Britain
    by Polydor.
    Pete Townshend is in charge of the label’s jazz section; Kit Lambert supervises the
    classical section
    [dream on guys Ed.].
    (Page 11)POP POST
    [B&W photo, ‘HENDRIX: ‘diabolical’]HENDRIX—JUST AN AWFUL DIN’:
    HOW DARE P. J. Proby label the British public ignorant for liking merely the Monkees . . . he could have
    gone a good way further. What sort of taste do British teenagers have in keeping such slop as "Release
    Me" above the brilliant inventiveness of the Beatles?

    What sort of taste do they have in attending concerts to hear Jimi Hendrix and his diabolical disciples
    like the Pink Floyd and Soft Machine when their only claim to musical ability is to make a goddamn awful

    Far from being rude, Proby was positively lenient about you all.—Benny Williams, 323 Derby Road.
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 March Newspaper & Magazine Articles (Text Only)

    Thursday 16 March 1967
    Scotland (Glasgow)
    EVENING CITIZEN(page 5) The SCENE Page[B&W vet’s jacket promo shot, ‘Jimi Hendrix’]
    Stand by for the wildest stage Experience of them all’ by Iain MacKenzie

    THE first time you see Jimi Hendrix you think you've found the inspiration behind the Troggs' first hit,
    Wild Thing." Then you see him on the stage, or hear his records, and you realise that this man and
    his music are completely remote from anything British popdom ever

    And an experience it is . . . the Jimi Hendrix Experience.
    Possibly the wildest, most uninhibited —and cleverest— brand of music to come our way for a long time.
    Sounds all psychedelic, doesn't it? But nothing could be further from psychedelia.
    Jimiis 21, American, and soft-spoken. He mumbles almost with embarrassment at being asked
    questions. He side-steps, sidetracks, goes off at tangents and comes back to the original subject before
    you've had the chance to leave it.

    And he's just the teeniest-weeniest bit worried about his forthcoming tour with the Walker Brothers.
    “We'll have a hard time of it," he said, surprisingly. Well, at least, he's not big-headed.
    "The thing is, it's going to be young audiences. And at first, we find they don't understand,
    they don't know how to take it.

    "We improvise on stage. We never play a thing the same way twice. We move around a lot,
    and it's just a rave. The music makes us high . . . I mean, we don’t drink or anything before
    we go on, but we get high with the music. We're very loud, very raving, and everything goes."

    The group —Jimion lead,Noel Redding on bass, Mitch Mitchell on drums — has been in existence
    only two months. How did they manage to become so successful; so "in," in such a short time?

    “I was playing in a club in Greenwich Village when Chas(ex-AnimalChas Chandler)saw me
    and asked me to come to Britain. It's paid off. We’ve already had a hit with
    'Hey Joe’ and
    we've got another record due out called '
    Purple Haze.'

    "This time it's more our type of thing—closer to our own style. The complete opposite of
    Hey Joe.’ Very noisy, very ugly.

    Then he asks about Scotland, says he's looking forward to coming here in May [sic, April].

    “I had an aunt in Scotland about 10 years ago, but she's gone back to America now."
    He's in Holland today, for TV work. Then touring around again in London's in-clubs. Then comes the big

    In spite of his doubts, I think the Experience is going to knock it off on this tour. Jimi's reputation
    among the hippies is such that he’ll be going on stage with an advantage to start with. And once
    gets on stage, there's nothing to stop him.

    As he says:"I came to Britain, picked out the two best musicians, the best equipment, and
    all we are trying to do now is create, create, create music, our own personal sound, our own
    personal being . . . "

    Now here's an Experience for you.

    Thursday 16 (18) March 1967
    Shock news for Walker Brothers fans this week - their next British tour will be their last. The tour with
    Cat Stevens,
    Jimi Hendrix and Engelbert Humperdinck opens at Finsbury Park Astoria, London, on
    March 31 and finishes at Tooting Granada on April 30. . . .

    (Page 2)Melody Maker Pop 50[No Hendrix, but interesting]
    02-48-41. Just What You Want - Just What You’ll Get - John's Children (Columbia) [soon to be Track

    01-NE-43. Love Makes Sweet Music - Soft Machine (Polydor)[Kevin Ayers. Pub. A. Schroeder.
    Prod. C. Chandler. Management: Chas & Mike]

    (Page 5)[B&W photo cig in gob]‘MONTH’S DELAY ON FIRST HENDRIX LP New single out Friday’
    The first
    Jimi Hendrix LP, ’Are You Experienced?’ has been held up in the middle of production.
    Chas Chandlertold MM on Monday. “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 that the release of the album is going to be delayed for over one month.”
    [Hype! Ed.]

    Jimi Hendrix’s new single, “Purple Haze”, isto be issued on the recently launched Track label

    (Page 7)Pop Think InAlan Price
    . . .

    Jimi Hendrix

    Chas Chandler. At the moment Jimi’s on the crest of a fave rave wave. I’m pretty certain he’ll do well if
    he takes notice of what
    Chas says. He has the ability and I think he could be much bigger. One hit record
    doesn’t mean a thing. He’s got to consolidate his whole position. His group is excellent and 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 9) [1/2 page vertical B&W (negative) photo ad, Purple Haze Jimi Hendrix Experience‘Track’
    604 001 Distributed in the UK by Polydor Records Ltd.

    (Page 13)New Pop Records
    Jimi Hendrix: Purple Haze (Track)
    Very powerful new single from the ‘Hey Joe man – but very difficult to assess it’s commerciality. Climbing
    to freakish heights, it contains all the stunning
    Hendrix characteristics, with flashing, weaving, bending
    guitar and a fat, churning sound with heavy propulsion from drummer
    Mitch Mitchell and bassist Noel,
    the Experience. It’s a great record, full of atmosphere and excitement, with the dynamic Hendrix
    personality shining from every groove.
    If there’s any justice in The World, it will be a Top Ten hit.

    (Page 16)RICKY TICK

    Tuesday, March 28thJIMI HENDRIX
    Friday, March 31stJOHN MAYALL
    Thursday March, 23rd JIMI HENDRIX
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 March Newspaper & Magazine Articles (Text Only)

    Thursday 16 (18) March 1967
    RECORD MIRROR (page 2) [Half page vertical colour (purple) photo ad, ‘Purple Haze Jimi Hendrix
    ‘Track’ [logo] 604 001 Distributed in the UK by Polydor Records Ltd.
    (Page 5) ‘Walker fans protest—& Scott blames promoters’
    HUNDREDS of girl pop fans have protested on learning that THE WALKER BROTHERS' Tour will not be
    visiting Hadleigh, Essex, as advertised. The Nationwide Tour which includes CAT STEVENS, ENGELBERT
    THE JIMI HENDRIX EXPERIENCE begin on March 31 and was due to give two
    evening performances at Kingsway Theatre, Hadleigh

    However, as the promoter has not put up the required deposit to the tour organisers, they have now
    switched the date to the Gaumont, Southampton. SCOTT ENGEL comments "We are furious about this
    sort of thing, it's not fair on the public and it's not fair on the artists. It's usually us who gets the blame
    from fans who don't realise that it's promoters and such people who cause the trouble."

    . . .Appearing on Saturday Club on April 1 — MANFRED MANN, THE JIMI HENDRIX EXPERIENCE and

    ‘The Beat Fleet’
    Colourful military uniforms of every description light up the West End of London— but heads turned when
    disc jockey ROBERT DALE strolled around Trafalgar Square resplendent in an Admiral's uniform Robbie has
    formed a "Beat Fleet" which is made up of some 50,000 radio listeners. Because of the interest in the
    organisation he has decided to award “commissions” to pop artistes. The 1st Lady Lieut. is LULU, SANDIE
    SHAW and MILLIE are Lady Lieuts. and among the Hon. Ranks of Vice Admiral, Rear Admiral, Commodore
    . . . due to mammoth crowd attending THE JIMI HENDERIX EXPERIENCE’s performance at the Gyro
    Club, Ilkley, earlier this week, police stopped the show because they said the “exessive crowd infringed the
    fire regulations” . . .

    (Page 10)My Scene Tony Hall
    ‘What’s Your Policy For A Top Forty Radio Station?’
    IF YOU had the chance, wouldn't you like to have a basically Top 40-type station? I know I would. But what
    sort of playlist policy would you set? Given, of course, a reasonable ration of "needle-time". And
    remembering that the main objective was to make it pay. Would you stick to a rigid chart based oh those in
    the music weeklies or would you try to please minorities as well? Would you have a tight list of 'climbers'?
    Or would you play as many new releases as possible? Would you have 'specialist' shows—say, for R and B
    and country fans? Or would you mix them all up together? Or would you adopt a completely different policy
    altogether? Frankly, I'd be fascinated to know.

    From my investigations, I've found out that there's recently been a trend towards an accurate Top 50 of
    genuine sellers. Not on
    [radio] London, where new records are really exposed. But certainly on [radio]
    Caroline. And their list is supplemented by paid-for spots on records not yet in the charts. By big names
    and unknowns alike. Even the Beatles' single wasn't played on Caroline till it had actually entered the charts.
    Whereas London played it about two and a half weeks before release. In fact, the best 'in' gag I've heard this
    year is that The Beatles were going to award London a Silver Disc for 250,000 plays on their current record!

    Seriously, though, the main point I'd like to query concerns a genuine Top 40/50 chart. Do you really still
    want to hear records that were top ten six or eight weeks ago, but which are still in the 40/50? Or are you
    sick to death of them? And want something new all the time? Personally, I can't think of anything that dates
    more quickly than a passe pop. And if you're sick of them, who benefits? Because big sales die almost as
    soon as a record drops from the top ten. So the record companies certainly don't.

    Anyway, put your thinking caps on. And write and let us know. Because an RM reader could easily come up
    with a brilliant idea which could revolutionise Top 40-type radio! If or when space permits, I'll give you my
    own ideas sometime.

    • Still on the subject of, radio, I must lavish praise on the BBC weekend record show, "Where It's At". I was
    driving near Broadcasting House the other Saturday afternoon (on Shell, of course!) and decided to pop in
    and see the show. It was the most relaxed and enjoyable programme atmosphere I can remember since the
    late-lamented "Top Gear". And, for my money, that's praise indeed. And a special tribute to "Where It's At"
    producer, Johnny Beerling. He's fast becoming to the BBC Gramophone Department what Bernie Andrews was
    to the [...]

    (Page 11)Britain’s Top 50[not credited to Record Retailer yet]
    [Hey Joe off chart]
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 March Newspaper & Magazine Articles (Text Only)

    Thursday 16 (18) March 1967
    RECORD RETAILER (page 8) Sound Scene
    ‘Hitbounds only for Track
    THE NEW Track label makes its debut this week with the release of ‘Purple Haze’ by The Jimi Hendrix
    . Principals in the venture are Kit Lambert, Chris Stamp and Pete Kameron and the label
    has its outlet through Polydor.

    Track will be the third record label to represent The Who.
    A spokesman for the company told me: ‘This will be the first disc label to make its debut with two Top 10
    artists. Our policy will be to release only records which we think will be ‘unstoppable’ — discs which are
    almost certain to enter the Top 20."

    Track intend to set up a 24 hour, seven day a week information bureau for retailers in London,
    Birmingham and Manchester. I was told, "Dealers will be able to ring up with any normal retail enquiry.
    The bureau should be in action within three weeks,"

    A series of instrumental EPs by the Who are currently being recorded, the first of which is due to be
    released by
    Track soon.
    (Page 11) Britain’s Top 50
    [Hey Joe off chart.]
    Strangely still no chart entry for ‘Just What You Want’ by John's Children?

    Friday 17 March 1967
    ‘Purple Haze’ is the debut release of the new Track Records label

    Friday 17 March 1967
    AMIGOE DI CURAÇAO (page 2) Hendrix
    America has fired another rocket and this time it was a direct hit. England and London in particular are
    so startled by the thunderous squall that the people there don
    t yet know what is actually going on.
    Our correspondent knows that the rocket, which was given the name JIMI HENDRIX after being
    launched in the United States with alternating success, has now finally been able to take possession of

    JIMIs sound: DyJag (Dylan Jagger) on an R&B basis.
    Also for Curaçao: Success guaranteed.

    Friday 17 (25) 1967
    BILLBOARD(page 8)U.K. Steps Up Raids on U. S. by Graeme Andrews

    LONDON - In the increasingly competitive British music and record market, rivalry between
    manufacturers to capture artists and licensing agreements from U. S. labels is becoming more intense
    . . .

    . . .Current hot competition centers on the U.K. recording contract of Eric Burdon and the Animals,
    following the decision of the group and British Decca to part company. Maincontenders are Polydor
    and MGM, with the latter a strong favorite following its success with Animals material in North America.

    Mike Jeffreys
    , manager of Burdon and the group,is currently in the U. S. and is expected to complete a
    new pact for the outfit's future label in Britain before he returns to London.

    (Page 53) International News Reports

    ‘Brussels’ by Mike Hennessey

    . . .Jimi Hendrix visited here to promote his record, "Hey Joe," released here by Barclay.

    Friday 17 (25) 1967

    Friday 17 March 1967
    DERBYSHIRE TIMES (page?) [B&W text ad.]
    ABC Chesterfield 3333
    First time at Normal Prices
    Charlton Heston Yul Brynner
    The Ten Commandments
    (U). Tech. At 2.10 & 6.30.
    Good Friday: 2.05 & 6.00.
    Plus PATHE NEWS.
    Sunday, March 19th, for one day:
    Christopher Lee, Andrew Koly in
    Book now for Saturday April 8th
    ON THE STAGE.6.10 & 8.25
    with Full Supporting Artistes.
    Prices: First House—12/6, 10/- & 7/6;
    Second House—10/- & 7/6.
    Box Office open daily 11 a.m. -8 p.m.
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

  23. #19
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    Re: 1967 March Newspaper & Magazine Articles (Text Only)

    Friday 17 March 1967
    LINCOLNSHIRE CHRONICLE (page?) [B&W text ad.]
    ABC LINCOLN Phone 23062
    On The Stage
    Thursday 20th April—For 1 Day—2 performances
    [Different style text, descending in size. Ed.]:
    Engelbert Humperdinck
    Jimi Hendrix Cat Stevens
    The Quotations The Californians
    Nick Jones
    Circle and Stalls 15/-, 12/6, 10/-, 7/6
    Advance Booking Daily From Monday, 20th March

    Friday 17 (18) March 1967
    NEW MUSICAL EXPRESS (page 4) from you to us Edited by Tony Bromley
    SANDRA FOSTER (Hall): What A cheek! Lately there has been a lot of criticism of Herman and his
    image, but R. Fatsman (FYTU, March 11) has topped the lot. What's wrong with the name Herman?
    You don't have to look far to see equally ridiculous names like Cat Stevens, Chip Hawkes,
    not to mention Engelbert Humperdinck!
    All of these are very good artists and their names are as ridiculous as Herman's, but where is the
    criticism of them?

    Then there's the, "Little-boy-lost" image — I don't know where the critics got that from, because it's
    the last thing he is. To me, he's a good-looking, underrated singer who turns out one good record
    after another.

    (Page 7) NME Top 30
    01-NE-26. Just What You Want - Just What You’ll Get - John's Children
    (Page 8) ‘Huge Pop Line-Up For Simon Dee TV’
    MOST of Britain's top pop stars are being booked for guest appearances in Simon Dee's new twice-
    weekly BBC-1 series beginning next month. Fans can look forward to the biggest feast of TV pop
    since "Thank Your Lucky Stars" and "Ready, Steady, Go!" were axed. Dates for Dusty Springfield,
    Paul Jones, Cat Stevens, Manfred Mann and
    Jimi Hendrix have already been set. Other stars
    appearing during April include Engelbert Humperdinck, the New Vaudeville Band, Dave Berry and
    Paul and Barry Ryan.

    The show will be screened on Tuesdays and Thursdays (6.25-7.5 pm), starting April 4. Titled "Dee
    Time, it features Simon as resident chairman with a guest co-host in each edition.

    Booked for the first programme are Jimi Hendrix, Cat Stevens, Kiki Dee, Libby Morris, Mike
    Newman and co-compere Lance Percival. Guesting in the April 6 show are Dusty Springfield, Anita
    Harris, the Peddlers, Derek Dene and co-host Humphrey Lyttelton. Set for April 11 are Manfred
    Mann, Paul Jones, Lulu, Vicki Carr, Ray Fell and co-compere Ted Ray.

    The line-up for the remaining five April shows {although exact transmission dates have not yet
    been finalised) includes Humperdinck, the Vaudeville Band, the Ryans, Dave Berry, Julie Felix,
    Lonnie Donegan and Roy Hudd—plus American visitors Dakota Staton, Nina Simone, Frankie Laine,
    Mel Torme and Dick Gregory. As reported last week, Tony Bennett guests during May.

    A CHANGE in the itinerary of the Walker Brothers tour takes them to SOUTHAMPTON GAUMONT on
    Wednesday, April 12—instead of Hadleigh Kingsway as originally planned. The promoters say the
    package (which also features Engelbert Humperdinck, Cat Stevens and
    Jimi Hendrix) has been
    pulled out of the Hadleigh date because the necessary advance deposit, was not provided by the
    management — and because advertised admission prices were "too high."

    A relay of hired coaches to take teenage fans from the Hadleigh district to neighbouring venues
    which the package will play—Ipswich Gaumont (1st) and Bedford Granada (11th)—is being
    organised by the promoters.

    • Nearly 1,000 fans were disappointed last Sunday when police stopped a one-nighter by the Jimi
    Hendrix Experience
    at Ilkley Troutbeck Hotel, claiming that the audience was too large for the
    premises. The action provoked a minor riot.

    Next Week Only
    NME On Sale One Day Earlier — Thursday March 23
    (Page 8/9) ‘FAME, CAT, JIMI, DINCK, ROY RADIO’
    GEORGIE FAME and Cat Stevens are each booked for three Light Programme broadcasts during the
    coming four weeks—and
    the Jimi Hendrix Experience for a further two. Additional radio spots for
    Engelbert Humperdinck and Roy Orbison [etc...]

    The Hendrix group guests in ‘Easy Beat[cancelled? or? Ed.] (March 26) and ‘Monday Monday’
    (April 10) besides its previously reported ‘Saturday Club’ booking on April 1.

    Humperdinck [etc...]
    A massive campaign hailing Jimi Hendrixas[Brian Epstein:] “the greatest talent since the Rolling
    ” 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
    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
    and Chris Stamp, in association with Polydor Records.
    The Who's first single on Track is being planned for release in the third week of April, at the same
    time as the first
    Jimi Hendrix LP "Are You Experienced?" A series of instrumental EPs [Hype! never
    happened. Ed.]
    by the Who is also being prepared by Track. The first will be released in early May,
    although no titles have yet been set.

    (Page 14) [Half page vertical B&W photo ad, ‘Purple Haze Jimi Hendrix Experience Track’ [logo]
    604 001 Distributed in the UK by Polydor Records Ltd.

    Georgie’s sugarlumps are for sinus!’
    GEORGIE FAME held up the sugar lump and allowed a few drops of the liquid to trickle down onto it.
    He looked as if he hadn't shaved for three days. He wore the tattiest of corduroy jeans, and the oldest
    of sweat shirts. "Interestingly sordid" is the way I would have described it. I desperately tried to
    remember a Sunday paper phone number.

    Suddenly he burst out laughing. "It's a sinus cure, man," said Georgie amiably. “You have to take it like
    this—it says so on the bottle." And so it did.

    Georgie certainly doesn't need drugs to keep him swinging along, because in spite of his "Mr. Cool"
    image he still remains one of the pleasantest and most uncomplicated guys in the business.
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 1967 March Newspaper & Magazine Articles (Text Only)