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Thread: 1970-05-02 Dane County Memorial Colliseum, Madison, Wisconsin USA

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    1970-05-02 Dane County Memorial Colliseum, Madison, Wisconsin USA

    Saturday, May 2nd, 1970

    1. Fire
    2. Room Full Of Mirrors
    3. Hear My Train A Comin'
    4. Lover Man
    5. Red House
    6. Message To Love
    7. Ezy Rider
    8. Machine Gun
    9. Star Spangled Banner
    10. Foxy Lady
    11. Voodoo Child (Slight Return)
    12. Purple Haze

    Uncirculated 8mm film exists
    Last edited by Dolly Dagger; 09-09-11 at 02:48 AM.

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    Re: 1970-05-02 Dane County Memorial Colliseum, Madison, Wisconsin USA

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    Re: 1970-05-02 Dane County Memorial Colliseum, Madison, Wisconsin USA

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    Re: 1970-05-02 Dane County Memorial Colliseum, Madison, Wisconsin USA

    Last edited by billo528; 03-29-16 at 08:40 AM.

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    Re: 1970-05-02 Dane County Memorial Colliseum, Madison, Wisconsin USA

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    Re: 1970-05-02 Dane County Memorial Colliseum, Madison, Wisconsin USA

    Saturday 02 May 1970
    Madison, Dane County Memorial Coliseum, Wisconsin, USA. JHE [II]
    Concert at 20:30
    Tape: audience, 85:00 minutes, reasonable
    Support: Oz; Savage Grace
    Promoter: Concerts East and Concept Nine Ltd.
    Audience: ~ 5,000


    Fire (67)
    Room Full Of Mirrors (14)
    Getting My Heart Back Together Again (40)
    Lover Man (28)
    Red House (63)
    Message To Love (28)
    Ezy Ryder (19)
    Machine Gun (16)
    The Star Spangled Banner (32) (John Stafford Smith [music])
    Foxy Lady (79)
    Voodoo Child (Slight Return) (68)
    Purple Haze (88)

    Wisconsin State Journal (04 May) ‘‘Out-of-Sight’ Describes Sound of Jimi Hendrix Performance’ - review by Charlene Harris: “‘Out-of-sight’ is the only way to describe the Jimi Hendrix Experience that took place at the Dane County Memorial Coliseum Saturday night. The man gave a superb performance that made people bounce in their seats and clap their hands to his beat. The drummer of the three piece group was the first to appear on stage and he thrust a black power fist in the air that brought cheers from the crowds. Then Jimi Hendrix came on stage and said “Hello one more time. How you doing, right on time.” The back-up guitarist quietly took his place on the far end of the stage and just chewed his gum throughout the performance. Jimi treated his enthusiastic audience to the blues, rock, and acid rock. He changed guitar six times and even played with his teeth. Taking great care to make sure each instrument was well tuned he explained to his audience “Gotta make sure all the goodies is right for you.” Jimi was very personable throughout the performance. He talked to the audience about the meaning behind his songs, Bobby Seale, and Cambodia. To say that he performed to the utmost still cannot convey the experience that the audience under went. He did everything from playing with the guitar between his legs to playing it behind his head. The audience today is very much a part of the actual performance that is seen on stage. A young man in the crowd hollered out to Jimi “What can we give you?” His reply was “A joint.” […] in trying to describe further the “experience” it’s hard to say whether his guitars were an extension of him or vice versa. His facial expressions further illustrated the sounds his guitar made. Pain and joy could all be clearly seen and felt. Jimi asked the audience to stand while he played his own rendition of the “Star Spangled Banner.” During the songs his instrument sometimes vibrated like a machine gun and then his body would writhe as if receiving the bullets. The audience just never sat back down. He received a standing ovation and the crowd yelled for more. Two groups preceded Hendrix on stage. The Savage Grace left a lot to be desired although their words were intelligible, contrary to some rock groups. Oz played well but I would have preferred hearing several songs rather than just one that lasted about five minutes and another that ran almost half-an hour…”

    Capital Times (04 May) ‘New Music, New Culture, 5,000 Hear Hendrix In Top Rank Rock’ – review by Dave Wagner: “The Jimi Hendrix Experience played to about 5,000 people in
    the Dane County Coliseum Saturday night. It was the rock concert of the year, maybe’
    the best Madison has ever had.
    What emerges from the enormous range of effects and attitudes in Hendrix’s music is the sense of a serious man trying take care of some important business. He seems to be trying to arrange all the forces he find around a single point with enough weight behind it to make a Breakthrough – into a new music and a new culture.
    And he may be the musician who will do it for rock, somewhere around the time when rock, the ‘free music’ of contemporary jazz, and the ‘serious’ composers off the academie avant-garde achieve critical mass together and blast into whatever it is everyone is waiting for.
    One 15-minute segment of the show Saturday night made visible a lot of the levels Hendrix is working with. After winding through a few courses of persuasive Mississippi-style blues, he asked everyone to stand up and raise a fist with one arm and a V, or peace sign with the other.
    It wasn’t exactly clear what both gesture’s meant when they were put together, but it was obvious that many people could respond to both symbols at the same time without worrying about the contradiction.
    As it turned out, the contradiction didn’t matter too much because Hendrix began to play ‘The Star Spangled Banner’ over the armloads of V-signs and fists, and the audience listened with deadly silence. It would have made an old style patriot turn pale, and not because it was a parody or burlesque, but because it made explicit the state of mind of many members of America’s youth culture. It was chilling to hear it so plainly and so seriously, no matter where your loyalties lay.
    ‘I want to dedicate this to all the soldiers in Madison, Milwaukee and Chicago.’ Hendrix said before he played it. ‘Oh yes – and to all the soldiers in Camb-O-dia.’ The arrangement of all the forces and no one missed the point.
    Then came ‘Foxey Lady’, one of the best known Hendrix songs, and it showed where the guitarist is pushing things. While drummer Mitch Mitchell laid down a highway of back
    beats, Hendnix went through a few choruses of the straight stuff, ‘Just like on the album.’
    The bass and drums fed the beat a little more, travelling up an incline of relentless chord
    changes with Hendrix in the lead, building volume, drawing the patterns tighter, until suddenly he reached the top of the scale, found a hole, and dropped through it. There was an unmeasurable stretch of free fall after that. Hendrix pushing eIectronic effects out of his machine, picking them up and stuffing them back in as though he were trying to reach a slate of eternal feedback, when time stops, and all the forces lock in.
    All very romantic business this. But the astonishing thing is that with all the behind-the-back strumming, sting-plucking with the teeth- all that flashy frenzy – Hendrix keeps the solo line moving with complete coherence and sublime originality. Electric guitar after Hendrix is a different instrument, and rock is a different music. “

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    Re: 1970-05-02 Dane County Memorial Colliseum, Madison, Wisconsin USA

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