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Thread: 1969-01-15 Kongressaal, Deutsches Museum, Munich, Bayern (Bavaria), Germany

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    1969-01-15 Kongressaal, Deutsches Museum, Munich, Bayern (Bavaria), Germany

    Wednesday, January 15th, 1969

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    Re: 1969-01-15 Kongressaal, Deutsches Museum, Munich, Bayern (Bavaria), Germany

    There were 2 shows on this night.

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    Re: 1969-01-15 Kongressaal, Deutsches Museum, Munich, Bayern (Bavaria), Germany

    Wednesday 15 January 1969
    München, Deutsches Museum/Kongreßsaal [Convention Hall], 1 Museumsinsel,
    West Germany. JHE

    Two shows at 18:15 and 21:00.
    Support: Eire Apparent.
    Promoter: Lippmann & Rau
    Interviews in dressing room: details unknown.
    The JHE flew from Köln Airport to München.

    Songs: unknown

    Noel: “I’m not so lost that Jeffery can’t phone up and hassle me as he does on the 15th. I happen to be dead drunk when he calls and form the opinion that he is a c***.”

    Süddeutsche Zeitung (‘South German News (paper)’ 17 January) ‘Little music to enjoy’ - review by ‘J. von M’: “Jimi Hendrix is without a doubt one of the most fascinating people in pop music— fascinating because he is exotic and unusual. No other pop star sports such a wonderful mop of curly hair. Also, the exceptionally beautiful rings on his hands are unmatched, they even beat Ringo’s famous red ruby. Of course the most exciting thing about him is his music; however, upon listening for a longer period of time, it makes you wonder more and more, especially because of the abandon of melodic domination.
    Jimi Hendrix has risen to international fame during the heyday of sensitive, heart-melting soul- beat, even though he never was a very good singer and the raw, denatured sound of his guitar had been irritating from the beginning. ‘Third Stone From The Sun,’ a number from his first album Are You Experienced shows how far away from the current soul harmonies his sounds were right from the start. On his newest record Electric Ladyland the human voice and melody in the traditional sense play only a minor role.
    The guitar rules: a guitar, of course, which seems to be inexhaustible in its abundance of sound, its modulation, and its expressiveness.
    Due to the murderous acoustics of the Kongreßsaal, where Jimi Hendrix and his group performed, this masterful guitar could often only be guessed at most of the time.. The generally young audience was paralysed; short applause at the end was the entire response to Hendrix’s passionate musical appeal. One cannot warn foreign music groups emphatically enough against this music-hostile concert hall, in which even the ‘Matthäus passion’ sounds strange. It is not only the unfortunate acoustics of the Kongreßsaal, which killed the music of the Jimi Hendrix Experience. Of course it was also largely the horrible architecture. Jimi Hendrix’s music can not be consumed as easily as the average symphonic concert or top-ten hit. It not only affects the hearing, but your whole body. It develops a magic power through its emphasis on the tonic, the keynote, which is being circled, varied in a repetitive though diverse way. This power can only be assimilated by an open listener who is free to move his body and whose eyes are not constantly put off by a bombastic cultural décor. Such may enhance the indulgence in melodies but not the adoption of almost anticultural sounds like Hendrix’s which stimulate a totally emotional state. His invitation at the start of the concert, to forget the room, the building, (‘You are in church here’), didn’t help. The gold on the ceiling, the heroic mosaic works on the walls, the neatly arranged seats in the hall demolished all the magic of his music. When you want to hear how his music really sounds, stick to his latest double album Electric Ladyland.”

    Münchner Merkur (‘München Mercury’ 17 January) ‘Jimi Hendrix is the loudest’, ‘The “Superstar” from Seattle stars in Munich’s Kongreßsaal - review by Ingelore Kuhner:.”For those who attended the Jimi Hendrix concert, ‘loud’ has become a new category. In comparison, the Rolling Stones are whispering pebbles. A highly explosive mixture of blues, beat, sex and shock, roaring and shrilling non-stop out of 48 speaker cabinets and 12 amplifiers, left the audience at the Kongreßsaal (surrealist painter Mae Zimmermann was among them) with numbed ears. Jimi Hendrix, the beat scene’s beautiful, wild one, the eccentric Sambo from Seattle, a Cherokee Indian’s grandson [sic] who believes he’s making the ‘only music that counts.’ With his electric guitar and every possible modern technical device he brings space echo and galactic reverberations to the underground. Is this the new music of the spheres? What were Burman, Lovell, and Anders [USA astronauts] listening to when they were raving up there about ‘a precious stone on black velvet?’ Are we dealing with a cosmic or an acoustic misunderstanding here? After 30 minutes of warming up by ‘Eire Apparent,’ a young Irish group that mocked roaringly all conventional ideas of folk music, ‘superstar Mr. Hendrix’ (New York Times) sprang onto stage to mediate his ‘Experience’ or, in the words of The Observer, to celebrate ‘the Hendrix religion.’ ‘You are in church here,’ Hendrix suggested to the public in the dark. ‘Forget everything that happens outside this room.’ After that the black Elvis Presley knew no mercy for his guitar for the next 50 minutes. He shakes and caresses it, plucks its neck, rubs it erotically along his body, pulls it to the ground, rides on it and draws from it, with a furious lovebite, previously unheard polyphonic screams. Says a female Hendrix fan after the experience: “I wouldn’t like to be his guitar!”
    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: 1969-01-15 Kongressaal, Deutsches Museum, Munich, Bayern (Bavaria), Germany


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    Re: 1969-01-15 Kongressaal, Deutsches Museum, Munich, Bayern (Bavaria), Germany

    Munich

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