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

  1. #21
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    Re: 1967 March Newspaper & Magazine Articles (Text Only)

    Saturday 18 March 1967
    KINK [magazine] (page?) (P)OPSBRAAK [play on words: ‘Pop/Breakthough’ ] by Evert Wilbrink
    [a gossip column] . . .
    [4. Nog zoon groep met een einde plaat, die nu nog in de nevelen gehuld is, Soft Machine, gekootst door
    Chas Chandler. ‘Hey Jimmy ontdekte met sssssttttt . . .]

    4. Nog zoon [?] group with an einde [?] record, shrouded in mystery, Soft Machine, puffed by Chas
    , who discovered ‘Hey Jimmy’ with sssssttttt . . .
    (Page?) [in bright colour & psyche text]Kink’s shiny Hitparade
    Nederlands’ Top 40
    13 (12) Hey Joe – Jimi Hendrix– Atlantic [sic]

    Saturday 18 March 1967
    England (Southampton)
    TONIGHT 7.30—11.30 p.m.6/-
    Palais DANCING
    Kenny William Orchestra
    Each Wednesday 8—11 p.m. 3/8
    Ballroom DANCING
    8 p.m.— 11 p.m.Admission: 8/-

    Wednesday 22 (23) March 1967
    USA (NYC, NY)
    At the
    League for Spiritual Discovery (((CENTER))) Corner Hudson & Perry ON Fri. Mar. 24, 2 pm &
    8 pm. Remember! Turn On
    Tune In Drop Out Turn On Tune In Drop Out

    Thursday 23 (25) March1967

    Michael Caine, Terry Stamp, Jean Shrimpton, Bobby Moore, Elizabeth D’Ercy and Simon and
    Garfunkel met
    Jimi Hendrix and The Who at the launching party for their new label Track at
    London’s Speakeasy Club.
    [there is a tape of a drunk Jimi rambling along to a Beat Instrumental
    journalist, probably at this. Near the end of it they are joined by Eric Clapton, who gives a brief
    interview, he sounds a bit tipsy too]
    Marianne Faithful has changed her hairstyle.
    Who manager Chris Stamp gets feedback on long distance phone calls.
    (Page 4) What’s On At Easter
    Thursday JIMI HENDRIX– Guildhall, Southampton.
    Saturday JIMI HENDRIX - Gliderdrome, Boston
    Tuesday JIMI HENDRIX– Market Hall, Aylesbury
    Stars In The News-1
    Jimi Hendrix signs £16,000 record deal’
    JIMI HENDRIX has been signed to a record deal with Warner/Reprise in America which should
    guarantee him at least £16,000.

    Mo Austin, president of the record company, said: "The deal is the highest this company has ever
    paid for a new artist. I fully agree with
    Brian Epstein's opinion that this is the greatest talent to come
    along since
    the Rolling Stones."
    ‘Cat, Jimi Visit USA This June’
    . . .
    To America
    Both Cat and Jimi Hendrix plan to visit the States in June. But first they appear on the Walker
    Brothers British tour with Engelbert Humperdinck, starting March 31 at London's Finsbury Park Astoria.

    Cat goes over for record exploitation following the success there of his "Matthew And Son." Jimi
    returns for a tour.

    Cat visits Amsterdam for one night on May 1, then visits Scandinavia with Jimi during May.
    (Page 6)NEWS in a FLASH
    Manfred Mann, Jimi Hendrix, Vince Hill and Helen Shapiro take part in “Saturday Club” (April1)
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

  2. #22
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    Re: 1967 March Newspaper & Magazine Articles (Text Only)

    Thursday 23 March 1967
    England (Stockport)
    (page?) [B&W text ad.]
    FRIDAY ; Admission 5/-.
    SATURDAY ; Admission 5/-.
    Sunday ; Admission 5/-.
    Easter Monday : Admission 2/6.

    Thursday 23 March 1967
    HIT WEEK (cover) [B&W JH close up photo]Jimi Hendrix Too Loud For Fan Club’ by Peter Schröder
    [Dutch TV show. Interview, 13 March, Hotel Schiller Amsterdam]
    In October last year Jimi Hendrix met the lead guitar player of ‘The Loving Kind’ and Mitch
    , a studio drummer who had just played for a year with Georgie Fame’s Blue Flames. After
    four hours of rehearsing this trio boarded a plane to Paris as ‘
    The Jimi Hendrix Experience. A bit
    later they were on the stage of the ‘Olympia’ in a show which starred
    Johnny Hallyday as the main
    act and also
    Brian Auger’s ‘Steam Packet’ [sic] (which then included Vic Briggs, now lead guitarist of
    the Animals
    ) plus singer Julie Driscoll. During their performance Jimi, Noel (who by now played bass
    guitar) and
    Mitch immediately struck those present, and fellow musicians in particular with mind-
    boggling amazement.

    When the trio returned to London the fame achieved in Paris had preceded them and a series of club
    dates followed which many will remember.

    Jimi is a USA born guitar player [& will always be a U.S. citizen. Ed]. He played with many famed blues
    He could be heard in bands/during shows of the Paul Butterfield Blues Band
    one jam? Ed.], Muddy Waters [NOT! Ed.], BB King [NOT! But jammed with him several times.
    , the Ike & Tina Turner Show [NOT! Ed.], Junior Wells [NOT! Ed.] and what not [JH never played in a,
    self consciously, ‘blues band’ Ed.]
    . Usually he didn’t take part in any fixed group, but wandered from one to
    the other
    [NOT! He played as a member in the regular backing groups for about five ‘R&B’ artists (ie ‘black’
    ‘pop stars’ & Joey Dee’s band (mixed)),
    mostly for months in each before moving on to the next.] . . .
    (Page 6) [B&W photo of JHE, ‘above: Mitch, Jimi and Noel. Right: Noel (own polaroid work)’]
    . . . he was noticed by Mick Jagger and The Animals. The bass player, you know, the fa t one, Chas
    , he took an interest in Jimi and persuaded him to come over to England. No sooner said than
    Jimi played clubs in London with the Cream (and according to insiders played Eric Clapton
    completely off the stage
    [one song only. Ed.]), a while [one evening & probably only a couple of songs at
    most. Ed.]
    with the V.I.P.’s and with Deep Feeling [a jam] (a group which has some guys that Stevie
    wants to start something new with [ie 'Traffic']). But the biggest sensation came when the
    ’ was formed. From then on it was really pushing to get in and queues three streets long. And
    only then was the fantastic single ‘
    Hey Joe’ made.
    In the taxi to the Bellevue studio, where the boys will perform on VARA’s ‘Fanclub’, Jimi says that Hey Joe
    is the least wild song they play. ‘It was a commercial record, with that girl choir and such, but
    everybody said it was better than the first one. In clubs we really play loud, well, you will see in a
    minute. The theatre owners think we are terrible, but the audience love it. We play hard rock, not
    that we return to our musical development and play Little Richard songs, but with the same basis.
    Freak out, psychedelic and such, it’s all a bit restricted. We also play freak out, but only as music.
    With this three-man line-up we are very flexible, we
    can do a lotof improvisation, which is missing
    with a lot of groups.’

    At Bellevue the collected television makers are running to and fro. As a bright idea Ralph lets Tony Nolten’s
    boys sing the so-called ‘Nana-song’ with Judith and Atie. It turns out to be the intro of ‘A Land of 1,000 dances’
    Jimi is laughing his head off. Drummer Mitch sarcastically praises Dutch soul. As usual there isn’t much for
    ’s boys to do. Jimi dislikes recording anyway (both for records [NOT!] or television [YES]) and says in any
    case it’s nice that they can play live here and don’t have to mime. So they decide to have a drink, real old Dutch
    Noel knows this drink from Germany, where he played for a year earning a living as a lead guitar player.
    Anyone who played from eight to one each night for a year– and on a Saturday from eight to five – is still fit
    even after a tiring tour of France, Belgium and Germany. With
    Mitch it is different, he lived in clover as a studio
    musician and with the Blue Flames, and is now obviously tired and wants to return to London as fast as possible.
    But as we said,
    Noel has a clear look and tells us about his career. ‘I was at Art School in Folkestone, but played
    music more than making drawings. We went to London with
    ‘The Loving Kind’, played the Tamla Motown style,
    but that makes me sick now. After that it was old rockers like Johnny Kid. At the moment I think Steve Cropper
    (white guitar player/producer of the Stax/Volt - Atlantic - Memphis Soul records) is still a great guitar player.
    We made three records with
    the Loving Kind, but they didn’t do much. I still didn’t want to abandon those guys
    and we played for almost zilch to the bone in various clubs and also in Germany. In Germany we played at a club
    which many soldiers from camps came to.
    Johnny Hallyday was there too and came each night. He offered me
    a job as guitar player in his band, if I had done that I’d be rich already, but out of solidarity with the boys I didn’t
    do it. Later on I also got an offer from Manfred Mann which I rejected. But when I noticed I didn’t get any further
    with the band I stood firm and decided to join
    Jimi. It’s all going just great right now and I don’t think this line-up
    will change for the time being.

    The first record, how did that go? ‘It was done by an independent production company directed by Chas Chandler.
    No, he doesn’t play bass any more, it’s better that way, as a producer he is really great, he also did recordings with
    Soft Machine, very nice. The tapes were sold to Polydor and they released the record immediately. But when it
    was played a lot on the radio, there was such a rush at record stores, that it was sold out immediately. For two
    weeks it was not available anywhere, while everybody was crying for it. By the time it was on sale again, it wasn’t
    played on the radio any more. It would have been a number one hit otherwise. We have almost finished an album, I
    think there are still two tracks to be done and shortly the ‘
    Purple Haze’ single will come out.
    A bit later we heard ‘Purple Haze’ blast through the studio. At loud volume. With such a power that in one minute
    the number of hard working television people in the studio was decimated.

    (Page 7) [B&W photo from show, ‘Jimi and Noel, chosen by Claude van Heye, photo agency Nico van der Stam’]
    After all, you could hear the music in the canteen just as well. This great music which soared through the studio was
    Hey Joe, Purple Haze, Foxy Ladyand Stone Free were played in a way which will never be realised on a
    record. The music of this
    Experience gives you goose bumps. Just as things are going great the director of the
    adjacent Lurelei theatre comes over mad as hell to say that this is going too far. He says he is a fan of this music
    himself, but thís, breaks all bounds.
    Jimi plays Michel Polnareff’s ‘La poupée qui fait non’ and Noel produces
    horrible radio play-animal sounds through the microphone while the Lurelei boss says that the [bits of] the ceiling
    have fallen down twice during Fanclub (one time even Jasperina de Jong came running up the stairs) and there are
    cracks in the ceiling again.

    All kinds of measures are taken. Amplifiers on foam rubber, but even the drums alone turn out to be dangerous. In
    the end they decide to use playback.
    Jimi gets mad and obstinate. Tension is in the air just before ‘Fanclub’ has to go
    ‘live’ for the second time. When they have to broadcast there is an interference in the connection and they have to
    wait. But when it’s time, when
    Michel Polnareff has sung, Jimi and the boys are ready. Jimiin his beautiful military
    Noel in his silk gala shirt and Mitch in a striped suit. Judith Bosch announces the performance in a fitting and
    contemporary manner: ‘He is the discovery of the year, plays guitar with his mouth. Don’t you believe me? Just listen!’
    The record of ‘
    Hey Joe’ is being played and Noel and Mitch pretend to play. Jimiis obviously spoiling the whole thing:
    very dull and motionless he moves his lips a bit and strums his guitar off-beat, nothing more. For sure no guitar
    playing with his teeth and (old rock/blues act) with the guitar upside down behind his neck, like it was heard this
    afternoon – and how–! But anyway, in many homes everybody must have thought that
    Jimi had this cunning silent act,
    so it wasn’t too bad after all.

    Little Ralph Inbar was truly hopping mad, not only at Jimi, but also because his program – was cut off without any
    notice ahead. ‘
    Jimi, the director is very mad’, the road manager said. ‘Fuck him’, was Jimis only reply.
    P.S. Of course it wasn’t easy for the VARA people at the Bellevue studio (by the way a much more suitable place for
    than in Bussum) to let Jimi just play. Still we wonder if Ralph Inbar fully realised that now only a very well-
    known record + b-side was played with a boring pantomime, while there were opportunities to show very good, totally
    unknown new songs to his public. When Ralph gets a very good artist on his program, nothing comes out of it (with

    Eric Burdon and The Animals
    it was even worse), and that is such a shame.
    Last edited by stplsd; 08-04-20 at 03:17 PM.
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

  3. #23
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    Re: 1967 March Newspaper & Magazine Articles (Text Only)

    Thursday 23 (25) March 1967
    MELODY MAKER (page 2)Melody Maker Pop 50 [after this date it becomes just a top 30. Ed.]
    35. Just What You Want John's Children
    [Strangely still no entry for this in Record Mirror after three weeks! Ed.]
    01-NE-43. Purple Haze - Jimi Hendrix, Polydor
    (Page 4) New Cat Act
    Cat Stevens is currently rehearsing a new act for his tour with the Walker Brothers and Jimi Hendrix
    which opens at London’s Finsbury Park Astoria on March 31. The tour lasts four weeks.

    ‘Dee Series’
    Simon Dee’s new BBC-TV series “Dee Time” which starts on April 4 Is to be
    scripted by Michael Wale and Joe Steeples, who worked on TTW's Now and David Frost's
    Rediffusion TV show. "It will cover the early evening scene for young people and many of the artists
    will be backed by the Northern Dance Orchestra."

    The show will feature many top pop star names. Booked for the first of the tice-weekly shows
    (Tuesdays and Thursdays at 6.20 pm) are
    Jimi Hendrix, Cat Stevens, Dre, Libby Morris and Lance
    Percival. Other artists who will appear in subsequent editions include Dusty Springfield (April 6)
    Manfred Mann, Paul Jones, Lulu, Vikki Carr, (11), Dakota Staton, New Vaudeville Band, and Paul and

    Barry Ryan (18)
    (Page 13) NEW POP RECORDS
    TIM ROSE: "Morning Dew - (CBS):
    Rose is supposed to have had a group in the States with Mama Cass, and a guy called Jim Hendricks,
    but despite the handout which suggests it's the "Hey Joe" Hendrix we know-we think there's a
    mix - up somewhere [just more typical Rose fraud!]. No matter-It's got little to do with what Rose's
    record is like. It's a beautiful sound, very American, with a lot of feeling and a big, big sound. Rose
    composed the song
    [NOT! He stole 1/2 the composer credit from Bonnie Dobson through blatantly
    conning her useless manger! Much like he attempted to do, but ultimately failed, with Billy Roberts’
    Hey Joe!!]
    and it's a gas, and certainty one for the hippies [!?]. His voice soars with expression [its
    coarse as fuck!]
    , and the backing churns [churns like a broken cement cement mixer!] under him like
    a wave of sympathy - yes. very nice indeed
    (Page 16) [B&W text ad.]:
    Friday, March 24th ZOOT MONEY
    Saturday, March 25th PINK FLOYD
    Saturday, April 1st CHRIS FARLOWE
    1a High Street, Hounslow (opp. Bus Station)
    Friday, March 24th PINK FLOYD
    Saturday, March 25th BAND plus DISCS
    Wednesday March 22nd
    Sunday, March 26th DISCOTICK
    Tuesday, March 28thJIMI HENDRIX
    Friday, March 31st JOHN MAYALL
    Thursday, March 30thJIMI HENDRIX
    (Page 20)MM MAILBAG
    British fans don’t accept Irish showhands because they are so out of dale it's not true.
    If that is "class music', then they can keep it. Give me the Move, Jimi Hendrix
    and the Soft Machine any day.
    - ALAN D. SARGENT, Woolwich, London.
    “Group Scene ‘67” (MM March 11) mentioned several groups who will probably b the salvation of
    music on the group scene.

    Musicians Mick Eves, Mitch Mitchell and John Mayall were mentioned but surely a small space
    could have been allocated for Dick Heckstall-Smith, Jon Hiseman and Graham Bond? They are also
    muscians of considerable stature. - L. Jayem, Blackpool, Lancs.

    I see that somebody in Britain is at last raving about French singer Jacques Dutronc (MM Pop Panel,
    March 18), les about time. This Gallic madman is developing a whole new stream of pop thought
    that provides an exciting and pleasant alternative to America's West Coast groups and our own Pink

    Floyd, Experience and Move.
    By thunder, Dutronc is rhythmical, and there's obviously more where that comes from.
    -CHORTLING T. HUMPERDINCK, Tooting, London.
    So Chris Welch thinks Mitch Mitchell’s style is “an amalgam of Ginger Baker, Keith Moon and
    Elvin Jones.” The “new wave” of beat drummers are commendably original and creative, but let
    them play in the same company Elvin keeps and play with his range and musical ability before such
    comparisons are made.

    Mr. Welch’s habit of over-praising drummers tends to negate any rational criticism he may make.
    - A. J. Baker, Rushholme, Manchester.

    Thursday 23 (25) March 1967 [one day earlier that week only]
    . . .
    The NME was aware of the Walkers’ booking last week, but was asked to refrain from printing it. Reason
    was that the Walkers-Humperdinck-Cat Stevens/
    Jimi Hendrix package is due to play Worcester
    Gaumont on April 2, it was felt that an announcement that two of the stars appearing on the Palladium
    TV show might have a detrimental effect on bookings - because the potential audience might assume the
    two acts would not appear at Worcester. In fact the tv show was being pre-recorded this Sunday (26
    while the
    Aberfan Charity Show is being transmitted. The package will be full strength at Worcester.
    (Page 2) WHO’S WHERE (Week commencing March 24)
    (Page 6)Top Singles Reviewed by Derek Johnson
    JIMI HENDRIX EXPERIENCE “Purple Haze”/“51st Anniversary (Track).
    MEAN, insidious, cloying r-and-b—the sort of stuff we rarely hear produced in this country. Jimi's gutteral
    voice gives out in impassioned style, carried along by a nagging thump beat— and behind him, there's just
    about the most startling guitar work you've ever heard, opening in bluesy style and building up almost to
    the psychedelic.

    Not a great deal of melody, but—boy, what an impact! Not everyone's cup of tea, of course, but it's bound
    to make the charts.

    FLIP: Another Hendrix composition, and not quite as raucous as the top side. There's an intriguing, tempo
    change, and a fascinating spoken passage—plus a thundering
    (Page 14) . . .now check your pop I.Q.
    March 29
    . . .
    26. What is the name of the record label formed by the Who’s managers?
    27. What was the first release on that label?
    . . .
    26. Track
    27. Jimi HendrixPurple Haze”.
    (Page 16) Tailpieces by the Alley Cat
    [B&W photo] ‘At the Speakeasy for the Track label launching party are the stars on it—JIMI HENDRIX
    (centre) and
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

  4. #24
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    Re: 1967 March Newspaper & Magazine Articles (Text Only)

    Thursday 23 (25) March 1967
    RECORD MIRROR (page 4)
    (Page 9) new singles reviewed by Peter Jones
    Catchy debut solo from Beck, and a typical but powerful Four Tops. Better showcase for Jimi Hendrix
    on his newie, and best yet from Cat Stevens, plus a simple new Peter and Gordon.
    JIMI HENDRIX EXPERIENCE; Purple Haze; 51st. Anniversary (Track (504001). This one takes a
    bit of explaining. Not, to me, as instantly commercial as "
    Hey Joe", but it is rather a stronger
    showcase for this wild-haired talent. That groaning guitar and that fury-tipped voice — nobody goes to
    sleep while
    Jimi's in full flight. Very exciting in the build-up. Flip: In some ways more restrained, which
    is a novelty.

    (Page 11) Britain’s Top 50[not credited to Record Retailer yet]
    39 Purple Haze – (1) Jimi Hendrix (Track)

    Thursday 23 (25) March 1967
    RECORD RETAILER [Insert: a full page (image only on half page vertical colour purple, rest plain
    white with text on yellow strip) photo ad. on glossy thin card]

    Purple Haze Jimi Hendrix Experience ‘Track’ [logo] 604 001
    Distributed in the UK by Polydor Records Ltd
    (Page 1)HITBOUND!
    * * Track 604 001
    Purple Haze
    51st Anniversary
    ([Pub.] Yameta:Hendrix; [Prod.] Yameta: Hendrix) A Yameta Prod.
    Another good showcase for an astonishing guitar-talent. Slower, but full of tonal qualities, with the
    two backing boys driving tremendously. Strong, rather strident, vocal fine, and a sense of utmost
    power from the first chord. Not perhaps as immediately commercial as “
    Hey Joe" but a big hit.
    * * RCA Victor 1580
    (Page 11) Britain’s Top 50
    39 (-) (1) Purple Haze - Jimi Hendrix Experience Track 604-001 [Pub.] Yameta, [Prod.] (Yameta)
    Radios: London (-), Caroline (-), 270 (*), Scotland (*), BBC Top Tunes (-)
    *Info unavailable that week

    Friday 24 March (1 Apr) 1967
    BILLBOARD (cover) [“Psychedelic” bright green & yellow banner advert across the bottom of the page]
    THE JIMI HENDRIX EXPERIENCE [in ‘vibrating’ brown text] on Reprise [logo]
    (Page 16)TALENT
    Fan Mags Challenge P.R. Man’
    NEW YORK — New disk acts aren't having as difficult a time of breaking into the teen fan magazines
    [I’ve found several US featuring Jimi, but almost all in connection with the Monterey Pop festival and
    subsequent to this, but I’m sure there are at least few more from earlier (as there was in UK)? Mike
    and Co. were definitely trying this angle, the Monkees connection (both during Monterey, (Mickey (in
    full native regalia - see JH’s claims to native heritage too) & Pete (introducing acts) were both
    conspicuously in attendance - & post, ‘on tour’ with Monkees) was featured in several teen girls mags -
    mutually beneficial?. Ed.]
    as indicated in last week's Billboard, say several publicity and public relations
    Martin Hoffman, of Mercury Records' publicity department in New York, writes: I’ll agree that breaking new
    acts via
    teen magazines is increasingly rougher because of the increased competition the individual
    publications face among themselves . . . but similar t
    o the problem of airplay on tight format stations,
    you don't put your public relations
    head in the sand.
    "The situation places a greater responsibility on the individual and label publicists to unearth , new outlets
    and to find new and diversified angles with which to approach
    the existing, mass circulation publications.
    For example, pictures sell stor
    ies. Candid coverage of artists activities, both personal and professional, are
    fodder for fans. At Mercury we h
    ave cameras and have learned to use them to the extent of 'semi-pro
    so that we can back up a story graphically. It requires spending time with the artists,
    possibly travelling to work locations and other areas consistent with
    the angles of the story. It requires
    planning because of the 60-90-and sometimes more days of lead time that most [U.S.-
    not U.K.
    ] fan publications require. Spade work via early mailings and bulletins to familiarize
    editors with happenings and happening people are vital
    so that when an act does break, the
    publication knows where to go for additional information and photos.

    "More and more daily and weekly consumer publications have added teen columnists and reporters and
    coverage therein is often an important stepping stone to coverage in the national mass circulation
    publications. We
    find, too, a growing receptivity on the part of metropolitan dailies to assign writers to
    interview teen acts,
    cover their appearances or report their remarks. It's part, perhaps, of the growing adult
    awareness that
    the Pepsi generation is growing in numbers and controling or influencing a larger slice of the
    economy than ever before.

    "Fan mag coverage on acts such as Keith, Blues Magoos, Left Banke has gone consistently up in keeping
    with their
    sales and consumer mail poll . . . which would indicate a form of parity. The point is that our p.r.
    department has worked toward creating this acceptance, unearthed
    angles, obtained pictures and kept
    editors consistently informed and aware of them, their
    product, their progress and their popularity.
    "As radio exposure does not begin and end with the tight format outlets, neither does press exposure need
    on the three or four top mass circulation publications [what are these titles? Ed.]. However, as with
    when they're ready for us, we're ready for them . . . and they're receptive to our efforts because we
    have made an
    Avis-like pitch."
    John Kurland, who runs a public relations office, rebuts with: "The mags have deadlines of six weeks to three
    months, which means that a new
    hot singles act could get a spread in a teen mag and if they proved, as
    many do to be one-shots,
    the magazines would be out of luck two or three months later when their stories
    appeared and
    the groups were already on that well-traveled road to oblivion. Also, the major magazines
    depend a great
    deal on their unsolicited mail. One of the most important factors in determining the amount
    space their readers would prefer them to devote to a new group. All of them, however, keep sections open
    for newcomers so that they can have some representation of the new faces. Also, if there is some greater
    reluctance on
    the part of the major magazines, it may be that they have become more sophisticated with
    their growth. developing a kind of immunity to
    the types which they've had over the years.
    "Representing Paul Revere & the Raiders, the Mamas and Papas, the Hollies, and Herman’s Hermits among
    others, we
    find that the teen mag situation is healthier than ever before. primarily because the field has
    solidified and many of
    the less scrupulous one-shot magazines have gone under. What remains primarily are
    magazines with a greater circulation, greater integrity and greater respect for their association with th
    record industry and
    the recording artists which they feature."
    And Stephen Kahn, publisher of Flip Magazine, writes: "Despite the demands our readers make for infinite
    on such performers as The Monkees and Paul Revere and the Raiders, Flip takes express care to
    introduce new talent. For instance, in the current issue, we have a feature entitled "Groovy Groups To
    Watch," which includes the Sopwith Camel, Terry Knight and the Pack, the Sidekicks, Dr. West's Medicine
    and Junk Band, International Submarine Band[ie Gram Parsons. Ed.], the Doors, Every Mother's
    Son, and the
    Jefferson Airplane.
    ‘Blues Project Go All The Way At Café Au Go Go’
    NEW YORK by Charles Barrett
    Armed with effective equipment and talent, the Blues Project dished out some fresh and revelatory
    numbers at
    the Cafe Au Go Go here last week.
    The group has been playing to capacity audiences since it opened at the club March 17. One number,
    "Flute Thing,"
    characterized with echoing, amplified flute work and solos by each of the boys, was
    effective. Each member of
    the group showed he could carry a set along and yet maintain that thread of
    unity that is necessary.

    A new LP by the group on Verve-Folkways is scheduled for release in June with "Flute Work" included.
    Peter Walker, new Vanguard recording artist, did "Rainy
    Day Raga" from his new LP of the same name.
    Walker commands listening,
    too; he could ride high in the new - raga" wave. Also on the bill, was the
    Gary Burton Quartet, a contemporary jazz group which records for RCA Victor.

    ‘Certify Stones Disk’ New York [… Let’s Spend The Night Together million seller gold disk, Between The
    Buttons LP 6th consecutive Stones gold album]

    (Page 40)New Action LP’s
    The Electric Prunes (Reprise)
    Four-star albums
    Otis Spann ‘The Blues Is Where It’s At’
    Break out Singles
    ‘Regional Breakouts’
    Cat Stevens ‘Mathew and Son’
    Tim Rose ‘Morning Dew’
    James Brown (& Vickie Anderson) ‘Think’ [fantastic tune! Ed.]
    (Page 54)Music From The Capitals of the World
    Stigwood-Yaskiel International has started a big publicity campaign aroundThe Cream, The Who, Jimi
    and the Easybeats (all Polydor here). . .etc.
    ‘LONDON’ […News of Stax package tour and 1st releases on their label in Europe inc. Otis Redding’s ‘Day
    Tripper’, then stuff about Jonathan King’s visit to NY & LA to promote his anti-drug single ‘Round Round’:
    (Today You’re Just High… Tomorrow You’re Dead)’, and a bit about
    Brian Jones’ soundtrack for ’Mond
    und Toschlag
    ’ Germany’s entry at Cannes film fest etc…]
    Kit Lambert and Chris Stamp’s new label track [sic] distributed by Polydor, entered the charts in it’s first
    week with
    the Jimi Hendrix “Purple Haze”single. The disk will be issued in the U.S. by Warner Bros-
    Reprise under a contract signed by
    Hendrixs manager Mike Jeffreys [sic] in Los Angeles. The deal is
    claimed to be in excess of $50,000.

    (Page 58)Hits of the World
    ‘BRITAIN’ (from the UK’s ‘Record Retailer’ magazine [Thursday])
    NE 39. Purple Haze - Jimi Hendrix Experience (Track) Yameta, Yameta.
    (Page 67) [picture of a bare-headed GI sitting in the jungle] ‘RED CROSS’… at his side in Viet-Nam… help us
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

  5. #25
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    Re: 1967 March Newspaper & Magazine Articles (Text Only)

    Friday 24 March 1967
    England (Buckinghamshire)
    BUCKS HERALD (page?) [B&W text ad]
    Assembly Hall, Aylesbury
    28th MARCH
    Admission 8/-.
    Admission 7/6.

    Friday 24 March 1967
    LINCOLNSHIRE CHRONICLE (page?) [B&W text ad]
    Starlight Room, Gliderdome, Boston
    Easter Saturday, 25 March
    Sons & Lovers; Charades; Steel Band; Ray Bones
    Dancing 7.15 to 11.40. Admission 10/-
    Easter Monday Holiday Dance
    Alec Wilson Sect; Eyes of Blonde; The Tykes; Ray Bones
    7.30 to 12. 'Note popular admission price, 5/-
    Saturday, 1 April — BEN E. KING
    Tombola as usual Good Friday: commence 7.30
    Tombola Club Sessions Tuesday & Friday
    Commence 7.30 Sunday 7.

    Saturday 25 March 1967
    KINK [magazine] (page?) [14 March, Vara TV Studio, Amsterdam Kink telephoned Jimi’s office
    [16 March, Anim, London] about the ‘Fanclub’ TV show. B&W photos
    of Inbar & JH]
    Fanclub director Ralph Inbar: Hendrixwanted revenge or was out of dope’
    (&) ‘Jimi Hendrix: ‘The small one was bugging me’’:
    One day after the recent ‘Fanclub’ broadcast Ralph Inbar is sitting defeated behind his chaotic desk, on
    the second floor of the VARA-villa in Hilversum. Disappointment and resentment are showing thumb-
    thick on his face. And this whole gloomy attitude has been caused by ‘black
    Dylan’, Jimi Hendrix: ‘He
    has betrayed himself and us’, mourns Vara’s freelance director/producer Inbar, ‘he just refused to
    cooperate during the rehearsals. He didn’t want to sing to spare his voice and he simply refused to tone
    down his amplifier. Then we had to
    decide to let Hendrix use playback. He didn’t want to do that either,
    and that’s why he spoiled
    the whole thing. Nobody profits from this, Jimi Hendrix included.’
    At Americain [hotel] the dishes rattled
    Grinding his teeth Ralph Inbar walks around at the Bellevue Studio during the rehearsals of ‘Fanclub’;
    the move to Tuesday and the short preparation time are not pleasing him.
    Jimi Hendrix arrives one hour
    late and pulls all the stops on the wall of amplifiers. He produces such an amount of noise, that sound
    engineers quickly put on headphones, because their ear drums are in danger of bursting. And
    mimes a bit.
    ‘I want to save my voice’, he gives as a reason. People of the Lurelei Cabaret below the
    studio think they are dealing with a surprise
    enemy attack. They run to Inbar with the message that ‘the
    ceiling is showing cracks’. In small groups the neighbours are complaining, because ‘the crockery fell off
    the wall’ and ‘walls are shaking’. Waiters at the Americain can’t serve a cup of coffee as a foot-bath. Inbar
    and technicians repeatedly ask him to turn down the equipment (‘he makes more noise than three groups
    all together’, an engineer
    remarks) and to please start singing, because otherwise the balance can’t be
    Hendrix doesn’t want to meet either request. The decision by Inbar hits hard: ‘Enough! You can
    mime to the record.’
    Jimi is beside himself and says in his defence that he needs that level of sound
    to get a kick
    . At the end he agrees to the decision and like a grumpy kid he retreats to a corner.
    At 7 o’clock that evening, when Vara’s glamourboy no. 1 Joop Smits switches to Bellevue with a smile
    (which made him famous), we see stars and stripes, but no clear
    Fanclub intro. Ralph has faced a lot of
    problems that day, but this producer can’t even solve atmospheric disturbances. He lays his tired head in
    his hands and thinks: ‘I could have foreseen all this. It had to go wrong.’ A more fitting music would have
    been better than the Fats Waller recordings, played to overcome this dramatic and compulsory intermission.

    Guitar-eater does not open his mouth
    The most serious bit of this evening has yet to happen. A chubby, intensely happy Judith Bosch announces
    Jimi Hendrix, as the ‘guitar eater’. The camera crew have the explicit instruction to capture Hendrix
    interesting face, especially during the moments when he draws sounds from his guitar with his teeth.
    However, he hardly opens his mouth and plays his guitar half-heartedly. Like a mad gnome Inbar jumps

    up and orders his camera crew to ‘take only wide shots, because those close-ups are only make things
    worse. After the second song
    Hendrix leaves the stage without waiting for any reaction, flawlessly
    registered in ‘wide shot’. The audience reacts indifferently, not understanding and two minutes later

    is on his way to [hotel] Schiller to prepare himself for the wild Amsterdam nightlife.
    Guitar player Noel Redding and drummer Mitch Mitchell first report to Ralph Inbar to excuse and to
    distance themselves from
    Jimi’s attitude. It doesn’t bring Ralph into a better mood and even the next day
    he calls
    Hendrix’ spectacle: ‘revenge or lack of dope’.
    Jimi Hendrix is unattainable for comment in Amsterdam. Late at night he has still not returned from
    wandering the clubs and the next morning he flew back to London
    very early. Kink calls Jimi Hendrix on
    ‘The little one was bugging me. I didn’t get a chance to play like I am used to: live and
    loud. You cannot expect me to play with my teeth when they play a record in the background,
    that’s silly. During the rehearsals everybody liked what I was doing, except for the little one. By
    the way, the whole thing was badly organised. I had to wait for hours before it was my turn. At
    the end I surrendered, I knew that he (Inbar) was not going to bend. I hope to come to Holland
    one day, firstly not for television, but to do some live concerts, because then people can see
    what I’m worth live.’

    Ralph Inbar, asked for his reaction, replies: ‘Jimi Hendrix is a liar.’
    At the press conference, hastily organised by Polydor, commissioned and directed by Philips Phonographic
    industries (PPI), the parent company, because Polydor’s Freddy Haayen was still
    ‘on holiday’, Jimi
    is a happy guy who’s easy to get talking and who doesn’t make trouble easily. He must have
    feared some of the difficulties ahead when he noted:
    ‘It’s a pity I can’t do club gigs, that is so much
    more satisfying because then you have contact with your audience. In a show I can give it all,
    you have to build up your act and that’s easier done and more focussed during a half hour
    show than in a television show. Groups like The Troggs have to be there too, people just love
    simple tunes, but I prefer the more complicated. That is so much more satisfying. I was in the
    American army for nine months, I had to leave because I broke my ankle. What Johnson does
    is done well. Next weekend I’m playing in Hamburg, but I will go back home first, because The
    Byrds are in London and I love to talk to them.’

    (Page?) [in bright colour & psyche text] Kink’s shiny Hitparade
    Nederlands Top 40
    13 (13) Hey Joe - Jimi Hendrix - Atlantic [sic]
    England [top 50. Ed.]
    Hey Joe off chart, no Purple Haze
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

  6. #26
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    Re: 1967 March Newspaper & Magazine Articles (Text Only)

    Saturday 25 March 1967
    LEUWARDER COURANT (page 35) [large B&W photo from ‘Fanclub’] jimi hendrix[no text]

    Saturday 25 March 1967
    RADIO CAROLINE {broadcast} ‘Countdown of Sound’
    02 03 Strawberry Fields Forever -------- Beatles
    17 25 Mellow Yellow --------------------- Donovan
    44 36 My Friend Jack [eats ‘sugarlumps’ Ed.] Smoke
    NE 37 Hi-Ho Silver Lining --------------- Jeff Beck
    29 40 Let’s Spend The Night Together – Rolling Stones
    NE 42 Arnold Layne --------------------- Pink Floyd
    NE 47 Purple Haze ----------------------- Jimi Hendrix

    Monday 27 March 1967
    West Germany (BRD)
    OK (page?) [full page colour poster, ‘Jimi Hendrix’]

    Wednesday 29 (30) March 1967
    USA (NYC, NY)
    VILLAGE VOICE [NO JIMI CONTENT] (page 13) [B&W ad.]
    Renewal Magazine Presents In Celebration Of The Pentecost
    An Evening With GOD [‘GOD’ in giant text as if neon, sitting on a line drawn cloud] In Person Dick Gregory,
    Dr. Timothy Leary, Rev. Martin Boyd, Dr. Harvey Cox, Len Chandler* And Paul Krassner. May 13th Saturday
    8 pm and 12:00 Midnight At The Village Theatre 105 Second Avenue All Seats Reserved $3.00 Mail Orders
    Promptly Filled.

    *Shared the Central Park bill with JHE & Young Rascals

    Thursday 30 March
    (1 April) 1967
    DISC & MUSIC ECHO (cover) “’Walkers, Englebert, Hendrix and Cat’ Tour Preview Pages 10 & 11”.
    (Page 3) Disc & Music Echo Top 30[previously a Top 50]
    01-NE-28. Purple Haze - Jimi Hendrix, Track
    (Page 2)SCENE
    Jimi Hendrix nearly lost his prized guitar playing at Star Club Hamburg. “A girl was hanging
    on to it saying “you don’t want it,”
    says Hendrix. “I said to her, “You must be out of your mind!”
    (Page 5) Stars In The News-2
    ‘Hump, Cat, Jimi, Alan, Dave Dee, Dusty, Sandie, Cliff on TV tonight’
    PETER MURRAY kicks off the first of the
    three-deejay-only shows on tonight's (Thursday) "Top Of The Pops"
    now that Simon Dee has left to concentrate on his own "Dee Time" series.

    All-star line-up comprises Alan Price Set, Dave Dee, Dozy, Beaky, Mick and Tich, Cat Stevens, Jimi
    Hendrix Experience
    , Byrds, Dusty Springfield, Sandie Shaw, Cliff Richard and chart-topper Engelbert

    A special film to accompany Nancy and Frank Sinatra’s "Something Stupid" will also be shown.
    Peter Murray in future shares the "TOTP" deejay rota with Alan Freeman — and Jimmy Savile.
    (Pages 10/11) Tour Special! Blast-off for THE big four is this Friday ‘Walkers — Humperdinck
    Stevens Hendrix On a 25—day rave!
    ‘Scott says’
    . . . Of his fellow artists on the bill the usually hard-hitting [Scott] Engel had nothing but praise.
    Certainly this tour is going to prove to be the strongest crowd-puller on the road.

    "Cat Stevens is a great record talent. Certainly he should stop listening to Elmer Bernstein's arrangements,
    but he's going to prove a real asset and I'm looking forward to watching him work.

    Same goes for Jimi Hendrix. I’ve never seen him to tell you the truth, but I understand that none of the
    ravings about him have been overstated.”

    [B&W photo of Jimi biting the strings] Hendrix Says’
    “I CAN just hardly wait" says the cool Mr. Hendrixabout a tour on which he and his wild Experience will
    fit in about as well as a trio of San Francisco hippies at a vicarage

    tea-party. "But I'm a bit worried about the type of people who're gonna see the tour. "If they come
    to see the Walker Brothers then they're not going to want us. I just hope they listen—but if they
    do scream for the Walkers during our act I'll just ignore them and play

    for myself."
    Although this is his first tour of Britain, Jimi has done a lot of touring in the States, backing big-name artists.
    "You get the same sort of mixed bill over there—like the Beach Boys and James Brown on the same

    First time on a major tour is a milestone in any group's history, but it's even more a challenge to Jimi because
    it will be his first appearance before an "open" audience who didn't come to hear just him.

    “I dig the kind of people who come to hear us very much— but some of the places on the tour we
    only played once so maybe we won't get as much support as we'd like. And man, we need help
    from the people who know us!"

    'Engelbert says'
    . . .
    The bill does look a bit mixed. Still, it should give everybody a piece of everything.
    I’ve only seen the Walkers once, in cabaret, but the impression they left was outstanding. Maybe their records
    have been just too classy, lately. Still, they don't really need a big hit with their name.

    "I don't know much about Cat Stevens and Jimi Hendrix. I'm looking forward to seeing them. I always like
    watching the rest of a show from the wings."
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

  7. #27
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    Re: 1967 March Newspaper & Magazine Articles (Text Only)

    Thursday 30 March (1 April) 1967
    MELODY MAKER (page 2) Melody Maker Pop 30
    [reduced now from their previous top 50. SO NO PURPLE HAZE, previous (NE) was at 43]
    (Page 5) ‘Engelbert in line for U.S. colour T.V.’
    . . . Meanwhile Engelbert is busy rehearsing for his nationwide tour with the Walker Brothers which opens
    at Finsbury Park Astoria on March 31.

    (Page 12)News In Brief
    Names In The News
    Manfred Mann, Jimi Hendrix and Vince Hill are among the stars on this week’s Saturday Club. . .

    Thursday 30 March (1 April) 1967
    RECORD MIRROR (page 4) Pop Shorts
    . . . BRIAN EPSTEIN believes JIMI HENDRIX EXPERIENCE ‘greatest talent to come along since
    ' . . .
    (Page 10)MY Scene Tony Hall
    Record Of The Week
    . . .
    Of other recent releases try these -
    . . .
    Jimi Hendrix Experience’s “Purple Haze” on only one hearing, not as instantly commercial or impactly
    as “
    Hey Joe”. But it’ll probably grow on me. And you. This is on Kit Lambert’s new label Track Records
    (great name). This column salutes
    Kit and wishes him every success.
    (Page 11) Britain’s Top 50[not credited to Record Retailer yet]
    32 Purple Haze 39 (2) Jimi Hendrix(Track)
    (Page 12) The Face
    . . .Alan Price may record Jimi Hendrix’ “The Wind Cries Mary[weird, this is the first mention of this
    title anywhere and weeks before it is mentioned as Jimi’s next single!? Ed.]
    . . .

    Thursday 30 March (1 April) 1967
    RECORD RETAILER (page 15) Britain’s Top 50
    32 (39) (2) Purple Haze - Jimi Hendrix Experience Track 604-001 [Pub.] Yameta, [Prod.] (Yameta)
    Radios: London (-), Caroline (47), 270 (-), Scotland (*), BBC Top Tunes (-)
    *Info unavailable that week

    [Day?] March 1967
    SUOSIKKI [‘Favourite’ (a youth magazine)] (page?) [title?]
    Jimi Hendrix […] is the most fat lipped blues singer in The World, and this year he is attempting to become
    at least as famous as James Brown was yesterday
    […] Jimi looks like an African Negro who has come to wash
    dishes in Soho, but he is still better than the usual
    […][poor translation? rest of text?]

    Friday 31 (8 Apr) March 1967

    BILLBOARD (page 60) Hits Of The World
    ‘Britain’ (from UK’s ‘Record Retailer’ [Thursday])
    32 (39) Purple Haze - Jimi Hendrix Experience (Track), Yamata, Yamata [sic, Yameta].

    Friday 31 (8 Apr) March 1967

    CASH BOX (page 60) Great Britain
    The new
    Track label formed recently by Kit Lambert and Chris Stamp (managers of the Who) has now been
    activated and gets its first release via
    Jimi Hendrix and “Purple Haze”. Track is to be distributed through
    Polydor Records.
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

  8. #28
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    Re: 1967 March Newspaper & Magazine Articles (Text Only)

    Friday 31 March 1967
    England (Worcester)
    EVENING NEWS (page?) Gaumont Worcester Tel 25310
    5.30—two performances—8.0
    [equal text. Ed.]:
    Walker Brothers
    Englebert Humperdinck
    Jimi Hendrix
    [smaller text. Ed.]:
    Cat Stevens
    The Quotations
    The Californians
    Nick Jones

    Now Booking Daily 10.30 a.m. to
    8 p.m. for 8.30 performance only at 15/-

    Friday 31 March 1967
    England (Newcastle)
    EVENING CHRONICLE (page?) [B&W advert for forthcoming Walker Bros tour]

    Friday 31 March (1 April) 1967
    NEW MUSICAL EXPRESS (page 5)NME Top 30
    01-NE-25 Purple Haze - Jimi Hendrix(Track)
    (Page 8) HOLLYWOOD Tracy Thomas
    ‘Pop festival planned’
    Plans are being formed now for what may prove to be America’s answer to the NME Poll Concert.
    Hollywood personalities and businessmen Ben Shapiro, Alan Pariser and Derek Taylor are organising a
    Monterey Pop Festival along the lines of the already successful Jazz and Folk Festivals in that town.
    Everyone from the Beatles to the Grateful Dead are being invited to perform (or appear) the weekend of
    June 16-18. So far, no important acceptances.

    (Page 9) ‘Come with NME to the Bag O’ Nails discotheque where things rave on all night!’
    ‘About the Club’ by Norrie Drummond
    . . . “Top names – Since the club opened at Christmas most of
    the top pop names have played there.
    The Who, the Move, Small Faces, Jimi Hendrix, Dave Dee and
    Co., Geno Washington, and many more have all appeared.” [...etc. etc.]

    [B&W picture ad] The Latest From “I Was Lord Kitchener’s Valet”:
    Drill in Green, Red, Mustard & Khaki. 37-40 52/6
    Red Infantry Tunics 35-36. Pre World War One 52/6
    Only 52/6
    Red Serge, lined, sizes 36-38 52/6
    Naval Bellbottoms
    Sizes 28-32, Yellow, White and Pink 45/-
    Police Capes in heavy black serge 60/-
    Continental Police Capes, extra long, with red
    Piping on collar. 50/-
    As above, shorter and with coloured collar 70/-
    Best Quality Capes, with silk lining and
    coloured velvet collar [Jimi’s model Ed.] 92/-
    Union Jack, “Lord Kitchener’s” and a variety of
    Others available. Small-medium-large
    POST FREE—Send P.O. to:
    “I Was Lord Kitchener’s Valet”
    293 Portobello Road, W10. Lad. 3826
    Open 10- p.m. Monday- Saturday. Caller Welcome

    Friday 31 March 1967
    STAFFORD NEWSLETTER(page?) Gaumont Hanley Tel Stoke 21005
    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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