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Thread: 1970-05-30 Berkeley Community Theatre, Berkeley, USA

  1. #1
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    1970-05-30 Berkeley Community Theatre, Berkeley, USA

    Saturday, May 30th, 1970


    1. Message To Love
    2. Blue Suede Shoes
    3. Blue Suede Shoes (short instrumental jam)
    4. Hey Baby (new rising sun)(instrumental)
    5. Earth Blues
    6. Room Full Of Mirrors
    7. Villanova Junction Blues
    8. Keep On Groovin' (a.k.a Midnight Lightnin')
    9. Freedom
    10. Power Of Soul (intro)
    11. Machine Gun

    1st Show

    1. Fire
    2. Johnny B Goode
    3. Hear My Train A Comin'
    4. Foxy Lady
    5. Machine Gun
    6. Freedom
    7. Red House
    8. Message To Love
    9. Ezy Rider
    10. Star Spangled Banner
    11. Purple Haze
    12. Voodoo Child (slight return)

    2nd Show

    1. Straight Ahead
    2. Hey Baby (New Rising Sun)
    3. Lover Man
    4. Stone Free
    5. Hey Joe
    6. I Don't Live Today
    7. Machine Gun
    8. Foxy Lady
    9. Star Spangled Banner
    10. Purple Haze
    11. Voodoo Child (Slight Return)

    Audience Recordings


    Soundcheck Upgrade

    1st Show Soundboard Recording

    Last edited by Gypsy Eyes; 09-28-11 at 10:10 AM.

  2. #2
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    Cherry Valley, Illinois
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    Re: 1970-05-30 Berkeley Community Theatre, Berkeley, USA

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    Re: 1970-05-30 Berkeley Community Theatre, Berkeley, USA

    Last edited by billo528; 04-02-16 at 02:47 PM.

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    Re: 1970-05-30 Berkeley Community Theatre, Berkeley, USA

    Hallendorf Aud source for late show

  5. #5
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    Re: 1970-05-30 Berkeley Community Theatre, Berkeley, USA

    Saturday 30 May 1970
    Berkeley Community Theatre, 1930 Allston Way, California, USA. JHE [II]
    Rehearsal afternoon
    Tape: stereo soundboard, 45:00 minutes, very good to excellent


    Message To Love (31)
    Blue Suede Shoes (4) (Carl Perkins)
    Blue Suede Shoes (5) (Carl Perkins)
    New Rising Sun (Hey Baby) (3)
    Ezy Ryder (21) >
    <Star Spangled Banner (53) (John Stafford Smith [music])
    Earth Blues (17)
    Room Full Of Mirrors (17)
    Villanova Junction (12) >
    <Midnight Lightnin’ (12)
    Freedom (16)
    Power Of Soul (45)
    Machine Gun (20)

    Two shows at 19:30 and 22:00
    Tape: stereo soundboard 1st show 90:00 minutes, 2nd show 67:00 minutes excellent
    Promoter: Bill Graham
    Audience: 3,500, sold out each show

    Songs 1st show:

    Fire (71)
    Johnny B. Goode (3) (Chuck Berry)
    Getting My Heart Back Together Again (44)
    Foxy Lady (83)
    Machine Gun (21)
    Freedom (17)
    Red House (67)
    Message To Love (32)
    Ezy Ryder (22/23)
    The Star Spangled Banner (35)> (John Stafford Smith [music])
    <Purple Haze (92)
    Voodoo Child (Slight Return) (72)

    Songs 2nd show:

    Pass It On [“Straight Ahead” (3)]
    Hey Baby (New Rising Sun) (4)
    Lover Man (31)
    Stone Free (21)
    Hey Joe (53) (Billy Roberts)
    I Don’t Live Today (41)
    Machine Gun (22)
    Foxy Lady (84),
    The Star Spangled Banner (36) (John Stafford Smith [music])
    Purple Haze (93)
    Voodoo Child (Slight Return) (73) >
    <Midnight Lightning (13)

    San Francisco Chronicle (01 June) ‘Jimi Hendrix at Berkeley’ – review by John L. Wasserman: “In the bad old days, the attendance of a musical concert was decided by simple considerations: (A) Do I want to go? (B) Can I afford it? Today, at least for certain concerts in the rock jazz blues fields, a new concern must be dealt with - the Hassle Factor. That is: I want to go, I can afford it, but how much can I take? There is a large group of young people who will take anything to be a part of the Experience. Others, through no fault of their own, have become accustomed to certain civilities. It is nice that Jimi Hendrix is such an incredible guitarist, for the Hassle Factor at his Berkeley Community Theater 10 p.m. concert on Saturday was high. The show was sold out (as was the 7:30 concert) and certain latecomers did not gracefully accept that fact, venting their frustrations on various entrance doors. When I arrived, a squadron of police had just disembarked in front of the building but were apparently not needed save for visual intimidation value. Up Grove Street, a small group was oinking at two cops who had just cornered a fleeing suspect, and Bill Graham was arguing, as usual, with some idiots in front of the auditorium doors. Hendrix really is an exceptional musician. His playing appears effortless, even to the point of locking his right hand into a fixed position on the guitar’s neck (he is, of course, left-handed), and then playing for what seems to be 30 seconds or a minute varying only his finger-work, not his hand position. By using the electronic variations available he is able to vary his sound from oily to icicle, his technique from blues to steel to flamenco, and the shimmering shattering high notes slice through the brain like those of no other musical instrument. He played for an hour, did ‘Purple Haze’ and ‘Foxy Lady’ and ‘The Star Spangled Banner.’ He sang adequately and generally unintelligibly, slammed the neck up and down the microphone stand, went on his knees, to his back, picked with his teeth, and indicated on a couple of occasions that the guitar was not so much a guitar as an appendage of his lower body. In other words, he did Jimi Hendrix to perfection and played so well that it never interfered with the emotional communication. Drummer Mitch Mitchell arid bassist Billy Cox did their jobs. So, you may say, he played beautifully. So, what’s all the garbage about cops and crowd crushes and Hassle Factors and similar items which do not belong in a music review? Well, put it this way. If you can imagine attending a Crosby, Stills, Nash, and Young concert with 11 people lying on you, you can see that it might have some effect on your reaction to the music. At Berkeley, it wasn’t anywhere near that bad. But it was enough to take something out of it.”

    Carlos Santana: “The last time I talked to Jimi Hendrix was in the bathroom at the Berkeley Community Center. He was talking about a new direction. Our band was getting more and more popular. And I think he saw that, whatever we were looking for, he could fit in it. We were listening to Eddie Harris, Horace Silver, Albert Collins, Mongo Santamaria... so it wasn‘t just the chitlin’ circuit. Dig it. I think he was able to see that in our band because of the rhythm. Jimi used congas at Woodstock too. He was getting into Gil Evans and Sun Ra. He was hungry for the same thing we’re all hungry for: multiplicity, but still retaining your individuality.”
    [Musician, 1990]

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