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Thread: 1968-01-29 'Musicorama' - L'Olympia, Paris, France

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    1968-01-29 'Musicorama' - L'Olympia, Paris, France

    Monday, January 29th, 1968
    L'Olympia, Paris, France - 2 SHOWS
    with Eric Burdon and the New Animals


    Attachment 6414
    1st Show

    1. Sgt. Pepper's Lonely Hearts Club Band
    2. Fire
    3. The Wind Cries Mary
    4. Spanish Castle Magic
    5. Catfish Blues
    6. Little Wing
    7. Purple Haze


    2nd Show

    1. Killing Floor
    2. Catfish Blues
    3. Foxy Lady
    4. Red House
    5. Drivin' South
    6. The Wind Cries Mary
    7. Fire
    8. Little Wing
    9. Purple Haze
    Last edited by Dolly Dagger; 04-06-11 at 04:52 PM.

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    Re: 1968-01-29 'Musicorama' - L'Olympia, Paris, France

    Hey gang. I was just looking at the cover of the 68' Paris cd. In the photo, the pick ups on his strat do not appear to be of the normal "pole, stratocaster" type. Anyone have any photos of this concert? I've never heard of him using anything but standard pickups, but these look like the pickup type A here http://www.guitarists.net/lessons/view.php?id=78 , and not the usual type B. Thanks for the input!
    Let me live my life, the way I want to.

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    Re: 1968-01-29 'Musicorama' - L'Olympia, Paris, France

    Thank You dolly dagger i always wanted to know what the first set was on this show. Is there a soundboard copy avaliable?

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    Re: 1968-01-29 'Musicorama' - L'Olympia, Paris, France

    Last edited by billo528; 04-01-16 at 05:37 PM.

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    Re: 1968-01-29 'Musicorama' - L'Olympia, Paris, France

    05.
    Monday 29 January 1968
    Paris 9ème. arr., l’Olympia, 22 Rue Caumartin, Région Parisienne, France. JHE
    Neville: “. . .Left for Paris 6:15 [am].”
    The JHE flew to Le Bourget Airport, Paris, France from London Heathrow Airport,
    Neville: “Got to Olympia 7:30 [pm]rushed all gear in.”
    Two shows at 19:30 and 22:30 (~ 50 minutes each)
    Backstage: The cowboy hat w. purple band & chain link ‘belt’; the ‘Afghan’ waistcoat; lightly patterned blouse; one ring each hand; the ‘tartan’ trousers; the choker necklace & the ‘chandalier’ necklace; white/rose strat w. the cloth ‘0’s & X’s’ strap, a sunburst strat & the painted flying V w. ‘floral roundels’ strap.
    Odile Noël [photo student]: “Before going on stage, he [...] politely looked at the pictures I'd taken of him three months earlier, even though I was a nobody with a really cheap camera…
    Before the concert, [I took one of] Jimi tun[ing] his guitars (including the famous painted Gibson Flying-V) in his dressing room.
    [I took] another one of Jimi warming up before the concert, this time with his Fender Stratocaster. I was very lucky - at the time, backstage passes didn't exist (at least not in France), in fact I had no right to be there but security was non-existent apart from a couple of bouncers at the artists' entrance... How things have changed!”
    Show #1: The cowboy hat w. purple band & chain link ‘belt’; the ‘Afghan’ waistcoat; lightly patterned blouse; one ring each; the ‘tartan’ trousers w. the round chain-link belt & purple neckerchief belt; the choker, ‘triangle’ & ‘chandalier’ necklaces; white/rose strat w. the cloth ‘0’s & X’s’ strap [at one point he seems to be wearing a 2nd guitar as he takes off another, it is probably another strat but it is indistinguishable, it has the ‘wavy line & dots cloth on white leather’ strap, see 10-11-67 Ahoy & 3-2-68 winterland] & the painted flying V w. ‘floral roundels’ strap.
    Show #2: The cowboy hat w. purple band & chain link ‘belt’; the ‘Afghan’ waistcoat; the black satin shirt; R. 1 ring, L. 2 rings; the ‘tartan’ trousers w. the round chain-link belt & purple neckerchief belt; the choker, ‘triangle’ & ‘chandalier’ necklaces; white/rose strat w. the cloth ‘0’s & X’s’ strap & a sunburst strat.
    Noel played rhythm with Keith Richards’ borrowed Les Paul guitar on*
    Jimi was interviewed between shows by unknown for the France-Inter Radio program ‘Popclub’ (4? February).
    Support: The Animals
    Photographed by Gerard Bordoni
    Audience ~ 2,500
    Fee: Noel: “£616.9s.2d.”
    Recorded [2nd show only] by Europe 1 for the radio program ‘Musicorama’
    Neville: “Animals went on first. 2 shows. Both very good.”
    Songs, 1st show:

    Sgt. Pepper’s Lonely Hearts Club Band (John Lennon & Paul McCartney)
    Fire
    The Wind Cries Mary
    Spanish Castle Magic
    Catfish Blues (McKinley ‘Muddy Waters’ Morganfield, medley)
    [remarkably similar to Butterfield Blues Band's 'Two Trains Running' (C. June 1966)]
    Little Wing
    Purple Haze

    Songs, 2nd show:

    Killing Floor (9) (Chester ‘Howlin’ Wolf’ Burnett)
    Catfish Blues (10) (McKinley ‘Muddy Waters’ Morganfield, medley)
    [remarkably similar to Butterfield Blues Band's 'Two Trains Running' (C. June 1966)]
    Foxy Lady (16)
    Red House (10)*
    Thaw Out (10) (Albert “The Ice Man” Collins)
    The Wind Cries Mary (14)
    Fire (12)
    Little Wing (5)
    Purple Haze (26)

    Noel: “[This] was a welcome break and we recieved warmth and enthusiasm. We bought some of the latter ourselves in the form of metherdrine, which gave an energetic and sociable high that helped pull the group together (temporarily).”

    *Noel: “Obviously, live I used the bass except for rare occasions like a Paris Olympia concert when Keith Richards had been hanging around backstage. I borrowed his guitar, plugged it into my bass amp and turned the control to full bass. Nobody planned on instruments then as part of the act – too flash.”

    Bar: The cowboy hat w. the purple band & chain link ‘belt’; new ‘loud’ jacket (green instead of orange); the black leather ‘cowboy’ waistcoat; lightly patterned blouse; the choker necklace & the ‘chandelier’ necklace; R. one ring; the ‘tartan’ trousers w. the round chain-link belt.
    Odile Noël: “Jimi posed for me in the artists' bar after [the 2nd show]. He was an absolute gentleman, very kind and not at all big-headed.” [She also got a shot of her and Jimi together. Ed.]
    Clubbing: The cowboy hat w. purple band & chain link ‘belt’; the white fur coat with blue silk lining; the new ‘loud’ jacket; the ‘cowboy’ waistcoat; a light shirt; the choker necklace, the ‘chandelier’ necklace & the triangle necklace; plain light coloured [velvet?] trousers, scarf & chain link belts.

    Rock & Folk (March) ‘Burdon vs. Hendrix’ – review/interview by Jacques Barsamian: “It’s already 19:40 p.m., as the curtains are drawn for the Animals. There are five of them: John Weider and Vic Briggs on guitars, Danny McCullough, bass, Barry Jenkins drums, and Eric Burdon, vocals. Eric Burdon, ‘pillar’ and incontestable leader of the group, wears a light blue polo shirt and a very tight pair of pants which sits low on his waist. After a jazzy instrumental during which John and Danny make vocal interventions, Eric slowly sings ‘Tobacco Road,’ marked by the hand claps of the audience, now in total obscurity. A red spotlight is pointed at the leader of The Animals. At the end of the song, Eric literally swallows his microphone. Then it’s ‘San Frandsco Nights,’ one of the latest hits, which begins fast and then softly in the style of The Shadows. Behind The Animals a screen of colourful moving images are projected alternating with the shadow of the bass player. Vic Briggs interrupts, explaining how happy The Animals are to be here in Paris tonight and then announces ‘Monterey.’ Next to me I see Jimi Hendrix, in a private box, armed with a camera, filming his colleagues performance. John Weider takes a fresh guitar and connects it to his amplifier. Suddenly the hall is totally dark. Then black and white flashing lights rouse moving images like an old movie, while the group plays ‘Paint It Black.’ The song is extremely well-played. John plays the violin, Eric sings as good as ever, with ‘soul’ comparable to the best champions of black American rhythm and blues. And the visual effect is perfect. This continues with a double play of circling lights coming from the two balconies connected to the stage. One by one each of us is illuminated. I take advantage of this by checking out my neighbours. There are musicians that I recognize, old rockers, members of the trade, a few hippies dressed in style (not many), and a lot of pretty girls.
    A long blues intro: “Baby You Know It’s So Easy For You To Say,” then, “Hey Gyp” the famous Donovan hit that was also a success for The Animals. “I’ll Buy You A Chevrolet If You Just Give Me Some Of Your Love, Girl.”

    A smoky stage

    We get it all: The Chevrolet, The Ford Mustang, The Cadillac, and The House on the Hill, all for a little love and a beating heart. But the girl refuses. The stage fills with smoke. No, don’t be afraid. One could imagine a fragrant insecticide, but no one chokes. On the screen are slides of various dimensions, a sound of thunder and the film starts again. One can imagine from time to time hearing cries of wild animals. In reality, it’s the guitars of The Animals, mixing with the yells of the audience, lost in a smoky fog. On stage, Eric wiggles his hips, laying his hands on his bare stomach, almost becoming obscene. Then, he rolls on the ground like all good American, English, or French rock pioneers, but the curtains have already begun to close. […] Hendrix is there at the guitar dressed in an extremely tight pair of pants with red, green, and blue checks, a party-coloured blouse with flowers, an embroidered multicoloured leather jacket, and a Zorro hat. On his left, Mitch Mitchell his drummer, who isn’t recognized by anybody because of his short hair, and Noel Redding whose hair is still abundant and whose thinness is legendary. Strange person, this Redding who at first sight seems to hide behind his glasses and to be totally insignificant. However, his presence is indispensable for the balance of the group and his playing completes it all. It’s with an adapted version of ‘Sgt. Pepper’s Lonely Hearts Club Band’ that the show starts. Noel interrupts to thank the audience. They’re going to play ‘Fire,’ a song from their first album. Hendrix straightens his hat and produces some super insane sounds from his guitar. He seems to tame the power of his instrument. He’s its master. The shrill high notes mix with the deep low ones. His voice is worthy of being called one of the best modern rhythm singers. His stage presence is high class. ‘By the way, did you know that I eat anything?’ and he eats his guitar at the end of the song. The desired effect has been accomplished. The audience applauds long. The hall is completely illuminated and Jimi declares, ‘It’s only an experience we’re doing.’

    The wah wah pedal

    But one gets the impression that he just tests his talent, his interplay with Noel and Mitch, his audience. He sings ‘The Wind Cries Mary,’ then says, ‘Remember our LP Bold As Love?’ and asks his bass player for the right note for ‘Spanish Castle Magic.’ It’s time for ‘Catfish Blues’ and Hendrix takes a triangular guitar [Gibson Flying V] that reminds me of those that Bo Diddley sometimes used. ‘Catfish Blues’ is a piece in the tradition of John Lee Hooker and Jimmy Reed, where in the course of the song the drummer gives an extraordinary solo. Jimi is rough on his wah-wah pedal. Still very relaxed he announces “Little Wing.” In “Purple Haze,” he sticks out his tongue, hits the guitar against the microphone, drops it, walks over it and then throws it against the amplifier. Extraterrestrial sounds come out. Here we are in another world. He seems to check his guitar, plays a few more notes, sings a stanza, and greets us quickly. “He doesn’t give a shit about the world,” someone cries next to me. “As talented as always,” one says a little bit further. “It’s a mixture of good and bad,” says somebody with a more specific opinion. Seldom has an artist been more controversial than Jimi that night, but the most talented people bring the most criticism. After a light dinner (during which I prepare my inter views) I return to the hall where I see The Animals again. They seemed better than in the first show to me. After awhile I slipped into the wings. In the bar for the artists I spot Hendrix. A friend of mine says: “He seems totally lost in the clouds, he won’t answer your question.” Let’s try and be diplomatic.

    JB: ‘Jimi, it’s my pleasure to tell you that, together with Mitch Mitchell and Noel Redding, you reached number three in the yearly poll of magazine Rock Folk, behind the Beatles and the Rolling Stones.’
    Jimi: ‘“Great, that s something I like I will try to maintain the same good position next year, but I won’t commercialize my music for it. You see, onstage I play what I like. I forget everything, even the pain. Look at my thumb - how it’s become ugly, but when I’m playing I don’t even think about it. I adore the audience at Olympia, it’s incredible. I hope we’ll play better later on during the second show, because we had a lot of problems, making it impossible to rehearse.
    JB: ” What did you think of Eric Burdon who you filmed?
    Jimi: ‘He’s a great singer with a great feel. I enjoy filming an excellent group and that’s the case with The Animals.’
    JB: ‘Tell us a bit about how it all began.’
    Jimi: ‘I love folk-blues…’
    JB: […] ‘Who are your favourite singers at the moment?’
    Jimi: ‘In rhythm and blues, Stevie Wonder. In the old blues, Muddy Waters and Howlin’ Wolf, As for the groups, Cream and The Blossom Toes. I love folk-blues. On stage you heard me doing ‘Catfish Blues.‘
    JB: ‘[What’s that?]’
    Jimi: ‘A catfish? It’s a sort of fish that you can see in the Mississippi. I prefer recording my own compositions, but we might do a blues number on our third LP with our own groove.’
    JB: ‘People often compare you with Chuck Berry, what do you think of that?’
    Jimi: ‘It’s a great compliment, but I’d like to be appreciated for myself; Hendrix, the singer, the composer, the musician. Just like him.’
    JB: ‘ What are your favourite songs?’
    Jimi: ‘I like a lot of them, ‘The Wind Cries Mary’, ‘Little Wing’, ‘Bold as Love’. And I love ‘If Six was Nine.’ We recorded that song last year, and since then we’ve been very busy.’
    - And he’s still very busy because someone says that it’s time for him to appear before the audience for the second time that day.
    Eric Burdon is already in his lounge. After some difficulties with his manager, I join him there. […]
    Eric Burdon: ‘I recorded ‘Winds of Change’ dedicated to all those who have inspired me in some way: Charlie Parker, Jimi Hendrix, Bo Diddley. Do you get it?’
    JB: ‘Indeed, do you like Jimi very much?’
    EB: ‘Hendrix is fantastic. He’s the best guitar player since B.B. King. An extraordinary technician, but over sexed.’
    JB: ‘Nowadays your career seems very American.’
    EB: ‘Indeed it pays more, and there’s air-conditioning, the Thunderbirds, San Francisco, drugs... It’s a wonderful country.” […]
    JB: ‘Let’s return to you, your stage act transformed?’
    EB: ‘I make a sort of male striptease... No, I’m kidding, that will never exist.’
    JB: ‘So, but why?’
    EB: ‘Because women have a different spirit and are different from men.’
    JB: ‘Contrary to the hippies you don’t believe in the freedom and equality of the two sexes?’
    EB: ‘No, the Japanese women for example are very happy, they are loyal to their husbands, they serve them as their masters in perfect happiness. They don’t need all sorts of experiences, but in America, women often divorce,’
    JB: ‘Your theory nowadays seems very tricky.’
    - We interrupt our serious discussion which could have gone on for hours. Eric has to dine with Nicoletta and take a plane very early in the morning. It’s around 12:30, at night.”

    Vic Briggs: “On Jan 29th 1968 we were again at L’Olympia in Paris with Jimi. One thing that sticks in my mind that there were two gigs at that time, the other being at the Anaheim Convention Center on Feb 9th where we followed Jimi on stage. I have to confess to being a little apprehensive because by then he was so huge. However at both gigs we did fine. I would say that honors were equally shared and there was no sense of anti-climax in the audience reaction to The Animals.”

    Neville: “Spent a lot of time sorting gear to send by plane. Went to airport 3:00. . .Nobody in PanAm office till 8:00. Left gear there and Gerry stayed with it.”

    Tuesday 30 January 1968 Le Bourget Airport Paris, France
    Neville: “Left Paris about 5:00 in the morning. Boarded plane 10:00 flew by myself.

    Tuesday 30 January 1968 Heathrow Airport, UK
    JHE fly to New York, JFK
    Noel: “Spiking our morning orange juice with liquid meth, we set of to reconquer America.”
    Neville: “Had trouble with customs man, he was a right goat! Got away, drove up to London to Noel’s house. Loaded all unused gear into garage. . . I went by taxi to Heathrow Airport... Plane took off at 3:10.”

    Tuesday 30 January, New York City, JFK Airport, US
    Neville: “It was a pretty riotous flight, we went up to 39,000 feet, we flew around [over New York] for twenty minutes. The whole plane was just a complete litter of gear and everybody was mucking about, bits of hand baggage everywhere, it was a complete riot. It got out of hand because everybody was a bit cheesed off. We had at least a third of the plane, and suddenly it came over on the the loudspeakers that we had got a slot to land - "fasten seatbelts, we go straight in." We plummeted out of the sky. In a matter of seconds we reached something like 10,000 feet and everything on the plane went up the aisles and over the seats to the back. I thought it was incredible and I looked around when we sort of levelled out, and some of the people were just green...

    I was the only one that was smart, I got a white suit on, everybody else was complete hippies, and we all went through customs and they said, "Excuse me," strip searched, the lot....”

    New York City, “Copter Club,” PanAm Building, Manhattan
    JHE attend the press reception ‘The British Are Coming’ organized by Michael Goldstein. JHE interviews conducted by ABC; by Al Aronowitz for the New York Post (published 2 February 1968) and Life (published 1 April 1968); by Michael Rosenbaum for Crawdaddy (published May 1968); by Don Paulsen for Hit Parader (published July 1968); by Jay Ruby for Jazz & Pop (published July 1968); and others including several radio and TV crews. It is possible that one of these taped JHE interviews was transmitted on 4 February 1968 on NYC radio station ‘Realrock’ on 105.9 FM.

    New York City, ‘Pink Teacup,’ Bleecker Street, Greenwich Village
    Jimi, Michael Jeffery, Nancy Reiner (girlfriend of Michael Jeffery), and reporter Al Aronowitz went out to diner for “soul food.”

    Al Aronowitz (journalist): “We went out for soul food on Seventh Avenue, the first thing Jimi wanted to eat in America because he could never get any in England.”

    Noel: “After the press conference was over, we hit the town, Salvation and Scene.”

    Wednesday 31 January 1968
    Neville flew to Frisco from JFK
    Neville: “Arrived Frisco 4:30 New York time. . .Arranged gear from Fender. . .caught 12:15 plane to Orange County, arrived 1:30, got taxi to Santa Anna to Fender factory, sorted out gear...then collected a U-haul trailer, then back to Fender, to pick up gear.”

    Wellington Hotel

    Carol Siegel [a fan]: “I was speaking with Jimi in the lobby [of the Wellington Hotel] when he mentioned he very much liked the the pin I was wearing. I asked him if he would like to have it and offered to trade it to him for one of his shirts. He agreed and I then gave him the pin which he put on... He and I then took the elevator up to his floor and he entered his room while I waited just outside. He then returned to the hallway with an orange, red, & white [sic, ‘green’] flowered shirt which he gave to me.”

    John Morgan: “[I got this autograph at the Wellington Hotel]”
    [Undated, it is a hurried scribble in pencil, but definitely Jimi’s. Ed.]
    Last edited by stplsd; 12-15-16 at 12:32 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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