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Thread: 1968-02-03 Winterland, San Francisco, California USA

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    1968-02-03 Winterland, San Francisco, California USA

    Saturday, February 3rd, 1968

    1. Sgt Pepper's Lonely Hearts Club Band
    2. Fire
    3. Hey Joe
    4. Foxy Lady
    5. The Wind Cries Mary
    6. Killing Floor
    7. Little Wing
    8. Purple Haze
    9. Rock Me Baby
    10. Red House
    11. Foxy Lady
    12. Like A Rolling Stone
    13. Purple Haze


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    Re: 1968-02-03 Winterland Ballroom, San Francisco, California USA

    Last edited by billo528; 04-02-16 at 03:41 PM.

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    Re: 1968-02-03 Winterland Ballroom, San Francisco, California USA

    There were 2 shows on this night.

    Setlists with recordings

    Early Show:
    Sgt Pepper's Lonely Hearts Club Band
    Fire
    Hey Joe
    Foxy Lady
    The Wind Cries Mary
    Killing Floor
    Little Wing
    Purple Haze

    Late Show
    Rock Me Baby
    Red House
    Foxy Lady
    Like A Rolling Stone
    Purple Haze

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    Re: 1968-02-03 Winterland Ballroom, San Francisco, California USA


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    Re: 1968-02-03 Winterland Ballroom, San Francisco, California USA


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    Re: 1968-02-03 Winterland Ballroom, San Francisco, California USA

    03.
    Saturday 3 February 1968
    San Francisco, Winterland, 2000 Post Street, CA, USA. JHE
    It was never and no one ever called it ‘Ballroom’ or ‘Arena’ (on contracts it was ‘Auditorium’ - same as The Fillmore), but they are all just descriptions, really, not the actual title.
    The sign on the building, advertising and everything else was just ‘Winterland’.
    Two shows.
    Show #1: The cowboy hat w’ the purple band & chain link ‘belt’; the black leather ‘cowboy’ waistcoat; the light pattern blouse; R. one ring; L. 2 rings; black silk trousers; white/rose strat w’ strap.
    Show #2: The cowboy hat w’ the purple band & chain link ‘belt’; the ‘Afghan’ waistcoat; ‘dragons’ silk shirt; the choker, the ‘triangle’ & ‘chandelier’ necklaces; R. one ring; L. 2 rings; black silk trousers w’ round chain-link belt & green/yellow neckerchief belt; white/rose strat w’ the ‘wavy line & dots cloth on white leather’ strap, the painted flying V w’ ‘floral roundels’ strap
    Support: Albert King; John Mayall’s Bluesbreakers.
    Lights: McKay's Head Lights
    Promoter: Bill Graham
    Audience ~ 3,500 ea show
    Songs 1st show:

    Sgt. Pepper’s Lonely Hearts Club Band (8) (Lennon & McCartney)
    Fire (13)
    Hey Joe (22) (Billy Roberts)
    Foxy Lady (17)
    The Wind Cries Mary (15)
    Killing Floor (10) (Chester ‘Howlin’ Wolf’ Burnett)
    Little Wing (6)
    Purple Haze (27)

    Songs 2nd show:

    Rock Me Baby (6) (BB King)
    Red House (12)
    Foxy Lady (18)
    Like A Rolling Stone (3) (Bob Dylan)
    Purple Haze (28)
    and others unknown

    Saturday 3 (10) February 1968
    USA
    ROLLING STONE (#6) (Front) ‘MONTEREY FILM BUMMER’ [& page 2] ‘STORM OVER FESTIVAL FILM’ BY SUE C. CLARK
    A one hour television film of the Monterey International Pop Festival, currently being pro*duced for the American Broad*casting Company, has resulted in considerable consternation among the musicians who ap*peared at the Festival (and who may or may not appear in the film.) The film focuses so much on the activities and performance of the Mama’s and Papa’s to the point that performances of some of the best groups who appeared are left out, that Al Kooper, for*mer organist and star of the Blues Project, says the television film appears to be about the “John Phillips-Lou Adler Inter*national Pop Festival.”
    (Al Kooper, formerly of the Blues Project and now the leader of his own band, Blood. Sweat & Tears, discusses the film in a special review on Page 17.)
    The opening number of the festival film is Scott McKenzie’s song (and McKenzie is a friend of Phillip and Adler. who pro*duced his record, manage him and wrote the songs, “Wear Flow*ers In Your Hair.” The second song in the film is “Creeque Al*ley” by the Mamas and Papas. They also sing “California Dreamin’ “ and are shown direct*ing, watchings, managing, super*vising and speaking. Another curiosity is that the sound for the Mama’s and Papa’s portions is practically perfect, unlike what happens to the sound on the other sections.
    Artists that were not shown included Paul Butterfield’s the Electric Flag, the Blues Project, Al Kooper who did a solo act, Lou Rawls, The Byrds and Buf*falo Springfield among others.
    At least one major artist, Paul Simon of Simon and Garfunkel, feels that his portion of the television special is so bad that it may be best for him to ask that it be cut. In the present editing of the film he is allotted enough time for a snatch of “Feelin’ Groovy,” and the lighting seri*ously obscures a clear view of him and Art Garfunkel.
    At this time, ABC has not yet scheduled the film for television screening. A network official reports the status of the special as “In Inventory.” They are still planning for a 50-minute feature although D. A. Pennebaker, who directed and shot much of the footage and who is in over all charge of the production, still has it in a 90-minute version.
    There was some dispute as to the film releases groups were asked to sign to appear in the film. Managers and artists were approached just before they went on stage at the June festival and told they had to sign the re*leases if they were to be filmed, otherwise the cameras would be shut off for their performances. Several groups concerned with just such things as sound quality, refused to sign, including the Grateful Dead and the Steve Mil*ler Band. Big Brother and the Holding Company finally did sign and performed twice on Sat*urday so they could be re-filmed. The releases explicitly were intended to cover rights to only a one time television showing. On the other hand, Pennebaker is currently negotiating with ABC (which technically owns the film,) for rights to distribute a feature length film in theatres. And Lou Adler is reportedly negotiating for European showings and distribution.
    Consider the case of Jefferson Airplane which signed a release 15 minutes before they were filmed. The soundtrack on the Airplane’s part of the film is especially poor, so bad in fact, that it will do more harm to the Air*plane to be heard in this film than to release a bad record. On top of the deficiencies in the sound, the camera focuses on Grace Slick throughout the per*formance of “Today,” a song on which she only sings harmony while Marty Balin has the lead part. But the film makes it look as if she is solo singer!
    Two other performers suffer notably: Otis Redding and Ravi Shankar, both of whom were among the real highlights of the festival. Shankar’s portion of the film is nearly seven minutes long, but most of those minutes are devoted to the audience re*action and other minutiae not directly connected with his art. Finally when the camera does come on the face of a performer during the Indian music, it is Alia Rakha. Shankar’s tabla accompaniest. The confusion in shots of Shankar and Rakha is so great that only those closely ac*quainted with Shankar will know which one he is.
    Otis Redding was very poorly filmed: he is given a few min*utes of time, half of which he is off-camera and the other half of which he is hard to distin*guish. His was perhaps the most physically exciting performance of the festival, yet It is carried as if it were little.
    The television show will un*doubtedly be popular and well worth seeing, as it helps recall a fantastic event, one of the great weekends in California. How*ever the artists — with the notable exception of the Mama’s and Papa’s — suffer on the film in degrees ranging from poor to worse.
    Because the air date has not yet been set, it is hoped there will be time to make a few changes and additions in the film, especially with regard to the sound, Pennebaker says he is still “work*ing” on the sound track and per*haps the film will in the end turn out to be aesthetically as satis*factory as it is a good reminder of a fine time.
    (Page 4) ‘FLASHES: ‘Who Album Banned in New York’ by [unknown]:
    Radio WMCA, the number one pop station in New York, has banned the new The Who Sell Out from airplay. Music Director Joe Bogart calls the album “dis*gusting!” and adds “I have grave doubts about anyone who would play it. I won’t even let my chil*dren see the cover.” It was Bogart who last summer saw Jimi Hendrix at a Central Park Love-in and took the performer’s rec*ord off the air for similar rea*sons. Hendrix’s record sales sur*vived the blow, however.
    Bogart’s action follows no spe*cific policy set forth by the New York station concerning censorship. His actions rather con*tradict a statement made by Ruth Meyer, General Manager of WMCA earlier this year. At a radio programming conference held in Vegas Miss Meyer stated to an all male audience at*tending a seminar on radio man*agement: “We don’t screw our audience; we make love to them.” Her statements suggest a more liberal policy for WMCA than Bogart’s action would imply.
    Presently, no statement has been issued by Miss Meyer or station owner R. Peter Strauss, who has been known for his civil libertarian views. New York au*diences will have to do without the Who for a while, at least from WMCA
    (Page 4) ‘FLASHES: ‘Fillmore Faces Flood of Talent’
    An incredible number of art*ists from the rock, Jazz and blues fields will be appearing at the Fillmore Auditorium during the next two months. The weekend of January 18-20 will bring the Paul Butterfield Blues Band and multi-instrumentalist Charles Lloyd, Big Brother and the Holding Company, the Electric Flag and the Youngbloods are slated for the following week.
    English groups dominate the Fillmore’s February schedule: John Mayhall and The Bluesbreakers, Jimi Hendrix, The Who and The Cream. Arlo Guthrie will play on the 10th, while James Cotton, Cannonball Adderley and Big Black will be featured on succeeding week*ends.
    If you are going to San Francisco be sure to bring your ears.
    (Page 4) ‘BO DIDDLEY ON POLITICS: “BLACK POWER IS FANTASY’ BY HENRI NAPIER
    Bo Diddley, one of the all time greats in the R&B field, at 38 still has all the ideals and temperaments of a young man. He is the only R&B artist to record a ‘surfing’ album during the surf*ing craze.[…]
    Bo prefers to play in Eu*rope than in America. European audiences treat him with respect and enjoy his music more than their American counterparts. Currently the group is in Canada and will return to the States far the Christmas holidays. They’ll head for Europe in January.
    Clapton, Hendrix and Bloomfield are among some of the great guitarists enjoyed by Bo. He refuses to be a music critic, but does say that “the kids” are “really getting it together.” It wasn’t always this way. Bo never did understand Elvis’ hold on the public ... “I was breaking rec*ords at the Apollo Theater in New York and couldn’t get rec*ognized. Then along comes Elvis Presley with ‘Hound Dog’ and starts the whole confusion.”
    Bo was a teenager during the end of WW II. He has some strong feelings about wars, especially the Vietnamese war. “I don’t dig it. I don’t dig the war because I have a son 13 years old. In 5 years he’ll be 18 and where does that leave him. World War II was a just war since Adolf Hitler and Japan were try*ing to pull something nasty, but this war doesn’t even have a good reason for being
    “Suppose I told you to paint this woman’s house green. You ask me why, and I don’t have a rational reason. You think I’m crazy. But, if she says she’ll paint my and your houses red you have the choice of defending yourself. It isn’t human.”
    Another thing Bo doesn’t think is human is the problem of civil rights “I know nothing about what happened during slavery. I wasn’t there. I don’t know any*one who was; therefore, I don’t know what really went on I can’t be expected to avenge the wrongs done to my people when I don’t know what those wrongs were.
    “In any balance of power, there must be a bottom and a top. Take a building: first you build the foundation, then you add your walls and if your walls are too heavy the foundation buckles and cracks. That’s what’s happening in the cities. The old folks couldn’t handle it and the kids went to school, learned some*thing, came back and didn’t dig it. Instead of the white man building a new building and abandoning the old he tries to repair the east wall and the west wall starts crumbling.
    “Now I don’t hate the white man. I never did. I wasn’t taught to hate him and it’s loo late for me to start now. My wife’s white, and I surely don’t want to hate her. But if you do me nasty, I’ll hate you whether you’re green or orange with pink polka dots.
    “Black power is a fantasy. Power is defined to me as control of something. Now we certainly don’t control anyone and I don’t know any black man who owns a factory’ large enough to employ 10 or 20,000 black people. Any*thing a black man gets, he got it from another black man, who got it from another white man. Now the thing to do is to go to school, learn from and with the man, shoulder to shoulder, and in about 20 years you’ll have your Black Power.
    “The greatest progress In the world will take place on the day that every man in the world sings the same song with the fellow next to him whether he’s black or white.”
    (Page 12) [B&W photo of Ringo & George by Linda Eastman] ‘The Rolling Stone Interview’ RINGO by [unknown] Ringo Starr, who has been the least quoted of the Beatles, was interviewed In a Soho seafood restaurant by Jack Hutton, editor of Melody Maker, the English music newspaper between bites of shrimp scampi and swallows of wine. Ringo spoke his mind on drugs, drummers, the Maharishi Mahesh Yogi and the music business.
    […] Have you any musical favorites at the moment?
    No, I don’t really have favorites. I buy Jimi Hendrix’s LP and then I buy someone else’s LP. One sort of takes over from the other.[…]
    (Page 17) [B&W photo of light show]Hendrix Bobbed And Weaved; Paul And Art Fugued; And Otis Makes The Rescue’ [Monterey film review] by Al Kooper:
    Those who were at the Monterey International Pop Festival hold a de*cided advantage over the uninitiated in viewing of this film. It is impos*sible (not so impossible, but not feasible) to show 22 hours of the music that went down there and to edit, say, 19 of those hours is risky business.
    You have to divorce yourself from having been at the actual event and work in terms of “the film.” Any other approach would not permit you to cut it down to an hour or an hour and a half TV special. Maybe it shouldn’t be a cut-up TV special. Per*haps it should be a beautiful 3- or 4-hour rock travelogue that could pack art houses across the country. This is essentially the problem with Pennebaker’s diary of Monterey.
    I have seen the film several times, having watched it last in its “final stage.” Rather than just shove music after music down the viewer’s thoat. Pennebaker has seen fit to let some of the vibrations seep in (i.e. shots of the audience reaction to most acts, talks with various flower children, glimpses of the original flower fuzz, the crew who set it up, and various hangers-on who helped out for the privilege of hanging out backstage). There are cinematically beautiful, classic moments of rapture on vari*ous faces, professional and non-professional, as well as moments of grandeur for various performers. To waste the throbbing color photography on a puny black and white TV set is another good reason for re-consideration of repackaging.
    The problems of “getting it all down” are obvious and I get the feel*ing when you can’t hear a singer in the film, you couldn’t hear him at the Festival. Some of the balances are uncanny, as in Hugh Masakela’s set where it’s hard to tell if he’s lip-synching or what The Mamas and the Papas appear throughout the film, talking, performing, watching and supervising. Their appearances are cut in as if they paid for the film, or if it actually was the Lou Adler-John Phillips International Pop Festival. It is also curious that their sound tracks are impeccable and their musicians are too incred*ibly tight. But, that’s another story...
    The substance of the film and the festival was the music and few per*formers survived the massive editing.
    Canned Heat leads off with the country blues “Rollin’ and Tumblin’” (a little Mississipi noise, they call it). The camera views them with a characteristic subtle humor based upon each individual’s relationship to the blues. The shot begins with a chick in the audience doing an ob*scene (a la Tom Jones) job on an orange, and moves on to the singer Bob Hite, cupping one ear and lost in Muddy Waters’ world of yesterday. At the same time guitarist Al Wilson. Looking like a premature refugee from Harvard is player of the bushy sideburn school is a study of grim determination intent on ripping the strings right off his axe.
    Hugh Masakela, who played the longest and certainly the most tedi*ous set of the Festival is up next and he is truly martyred by Pennebaker’s editing. Out of 55 minutes of stand*ard jazz fare, Pennebaker has cut three minutes of very good, groovy Jazz, that could have easily been lost in context of his set. The ironic fact is that three minutes convey what Masakela would have you sit through 55 for.
    Country Joe and the Fish are rep*resented by an uncut “Section 43” that is unique in that their bass amp suffered a broken speaker early In the tune and they struggled on with its shaking and quivering only to be visually pleased by the psychedelic effect of their musical accident. Joe MacDonald’s facial expressions con*vey he was sufficiently in another world during his set.
    Big Brother and the Holding Com*pany are one of the high points of the film. I saw this particular seg*ment on six or seven different oc*casions and I was in tears at the con*clusion of each showing. Janis Joplin is fully captured in her very beau*tiful glory’, grinding every drop of emotion out of “Ball and Chain.”
    We see Big Brother in flashes throughout the intro to the tune, but for the most part, the camera is ball*ing Janis it literally kisses her feet when it displays her unique foot*work and moons around that face while she energetically turns on 10,000 people on a Saturday afternoon. The tension is unbearable. This is one instance where the film not only captures the moment, but capitalizes on its mobility to heighten that moment
    Simon and Garfunkel do a “Feeling Groovy” bathed in a blood red. The audience is captive to Simon’s lone guitar and interesting camera play is made of the two’s unmistakeable shadows as they fugue with each other.
    Jefferson Airplane is allotted two songs. The camera refuses Casady, Dryden and Jorma for the most part to concentrate on Paul, Marty and especially Grace. They do “High Flyin’ Bird.” but the voices just aren’t what they are in the studio, with Balin suffering the worst of it. Next is “Today,” shot entirely in blues and whites never leaving a close shot of the face of Grace. She and Balin duet, but her mike is closed for the first half of the tune and we are treated to Marty’s voice com*ing out of her mouth in perfect synch. Very strange. Maybe that’s how they survived the editing.
    Eric Burdon opens the second half of the show in total blackness pro*claiming this may take a little time, but good things are worth waiting for or something like that. This was shot before Burdon embarrassed his West Coast friends with “San Fran*ciscan Nites” (an American dream come trueee .. . and Indians too) and more recently and ironically “Monte*rey” (“Prince Jones”. . . Indeed!). This was also his first trip with the new. humbler Animals. A violin solo ensues, and not a bad one, but then Eric stumbles into Jagger’s “Paint It Black.” It’s been done before and his lead guitarist gives him an osten*tatious Ed Sullivanish finger at the conclusion of the tune.
    Then it’s Otis to the rescue. He comes on the screen as he is clos*ing out a raucous happy version of “Shake.” The camera jumps way back and up to the rooftops to reveal a tiny Redding with a lone spotlight on his green-suited majesty and he asks: “This is the love crowd right, ain’t it? We all love each other don’t we?” And then it’s I’ve Been Lov*ing You Too Long and I Can’t Stop Now” But he does: right in the mid*dle of the tune as he asks the band to play back one riff three or four times much to the delight of the love crowd. And when he gets back into it he is right on top after his ad lib departure, screaming and warning “I love you. good God-a-mighty I love you .. . don’t make me stop . . Nobody would let him, nobody will let him. A great shot from Redding’s back. With a spot in his face, he weaves in and out, leaving an oc*casional white screen. The segment is one of the tastiest
    The humorous side of the festival is displayed in two English exports. The first is The Who, a well known smashing success. Monterey no ex*ception. Pete Townshend hit you with the smoke, the feedback, the splinters, narrowly missing a stagehand or two, while Roger Raltrey [sic] just spun around in pop art bliss, and Keith Moon beat the shit out of his drums until they too toppled over.
    Lou Adler can be seen carrying debris off the stage, but rather pre*maturely as Hendrix is next and he does it all over again but from the black standpoint.
    The shot begins with Hendrix pointing his guitar downwards as it feeds back. He points his hands to his ears as if saying “I don’t hear anything, do you?” and puts his axe through its Pavlov feedback paces. Just prior to ending this freestyle intro, he sneaks a quiet strum in to see it he is still in tune after all his assaulting and is bitterly disap*pointed. I sat next to Eric Clapton at one screening and he watched Hendrix with a sympathetic smile and noting his predicament said: “Well, what are you gonna do now, huh?” And as if Jimi had heard Eric he raised his arm and went into “Wild Thing” any*way.
    It soon became apparent, with all due respect to Jimi’s playing, that being in tune was not important, but being in shape was more the order of the evening. He bobbed and weaved, bumped and grinded, dry-humped his amp and came lighter fluid all over his guitar prior to its going up in flames. He then performed the second smashing of the evening, taking five or six microphone stands with him. He was well received, lead*ing me to believe that vaudeville is indeed not dead (which is also evi*denced by the fact that the Maharishi has a hit record.)
    The last 15 minutes of the film is a raga performed by Ravi Shankar. Seven and a half of those 15 minutes are devoted to a study of what that music is capable of doing to people. You are not offended that you can’t see Shankar playing. It’s all straight ahead because you see that what he does to people’s minds is just as relevant as what he does with his instrument. To try and describe it is impossible. You were either there at that concert or you’ll be at a future concert or you’ll see it in this film.
    The interplay between Shankar and his sidemen can only be described as uninhibited enthusiasm, strange for classical music of any country. There are smiles of inter-appreciation throughout that part of the raga that is the Indian equivalent of Jazz’s trad*ing fours. We see Shankar’s lightning fingers, his and Alia Rakha’s classic faces beaming and their feet keep*ing the intricate Indian meters. We watch as he throws flower petals to a crowd that gave him a 15 minute standing, jumping ovation. Just watch their faces . . .
    The “final version” of this film has omitted the fine performance sequences of acts such as the Electric Flag. Paul Butterfield and the Blue Project. They were included in longer versions and Mike Bloomfield’s speech to 8,000 people, ad*dressing them as “man,” is gone from the film, noted sadly it would be worth it to cut one Airplane tune, one Mamas and Papas song and some local color so the audience could pick up on these other fine acts. If, in fact, the film is opened up for theatre distribution it would be pos*sible to see them and others like Lou Rawls, Steve Miller, Buffalo Springfield, and you know the rest.
    The festival is competently filmed. The editing within each sequence is for the most part tasteful and advantageous. Occasionally, in the mid*dle of a performance, the camera dwells a little too long on fairground vibes for my taste, but the faces in the Shankar sequence almost justify this breach. The editing between acts could be faster paced. The humorous hangovers from Pennebarker’s work on Don’t Look Back are evident here and there, as in a cut from Janis Joplin’s exhausting appearance right to Paul Simon simply singing “Slow down, you’re way too fast.” The color is beautiful; the people are beauti*ful. It will be a frustrating TV show and hopefully one fourth of a memorable film in the spirit of Festival and Jazz On A Summer’s Day.
    (Page 19) ‘Unnerving Jazz With Rock’ by Nick Jones: LONDON As anybody who made Ron*nie's last week (or caught them at Hammersmith on Saturday) will know, the Gary Burton Quar*tet are unnervingly saying some new things.
    Their musical freedom, though, is sometimes over shad*owed by the cynical attitude of the staid jazz fan, hung-up by Gary's flowing hair or guitarist Larry Coryell's sheer youth (both he and Gary are 24), and his young way of applying cer*tain sound techniques that are more often found in pop than jazz.
    Whether you can dig it or not, there is little doubt that this is going to be the young jazz of the future — and it is refreshing and hopeful for the world of music to discover just how few barriers there can be between two musical forms that are usu*ally fiercely repelling each other.
    At Scott's last week Larry spoke, obviously from great knowledge, of musicians and ar*tists ranging through the Eng*lish bluesmen, Eric Clapton, Pe*ter Green, Peter Townshend of the Who to ex-Butterfield man Mike Bloomfield, or the astoundingly successful Jimi Hendrix.
    "I get a lot of ideas about mu*sic by keeping up with the pop scene. At the moment guitar music is unified by just one thing —electricity. In jazz this aspect of the guitar hasn't really been exploited and obviously playing with Gary you have to keep the volume down to fit in with the music.
    "But it's through electricity the guitar music can be expand*ed, can free itself and unshackle itself from the old ways we're used to hearing.
    "Personally, Gary himself has been quite indispensable for me. I mean, playing with his group really is an experience. His ad*vice, too, has been a great help and he is such a great musician that he's constantly trying you and presenting you with new challenges and new corners to get around.
    "The Miles group for me, is still head and shoulders above any other jazz group, it's still so fresh and with just so much feel*ing. In Gary's group we try to adopt the same kind of musical standards, try to keep it as pure and as fresh as we can, getting as much as possible into every note."
    When Coryell isn't underscor*ing Burton's beautiful vibes, playing such sympathetic guitar and weaving complex textures around and through or over or under the group's music, he can occasionally be heard "freaking it" with a wild but sensitive solo, incorporating shuddering stabs or even feedback on some notes.
    "Of course, sometimes the feedback controls me instead of me controlling it, I never really know from one playing situation to another.
    "You see I never know which note is going to feed back. Some*times it's an E, or at the Fillmore one night I had C sustaining like a bitch. It really depends how-loud you play. I guess Gabor Szabo taught me as much as there is to know about feedback. He's really fantastic—one of the best around.
    "I used to get very hung-up with guitarists' licks, you know, which were easy and comfortable to play but again, with Gary's help, he taught me how to play the guitar with myself. I'm still unlearning a lot of bad habits. I used to really know the scales scene. I had it right off and I thought I had it made until I dis*covered you couldn't fit any of that, stuff into the music. And I just had to reasses my role. “Remember the guitar is another instrument in a group and I had to start forgetting those guitar licks, and remember that this instrument was part of the whole, it's a kind of tool that's got to be making things with the whole group, with the kind of finished product that is incorpo*rating all the instruments in the group — not just mine.
    "But my aims in mind are very different from my music at the moment. I guess it's electronic, but something like that is still full of life, like of slow motion swimming — to be able to sing through my guitar, but sweetly.
    "I guess volume is necessary, because we played at the Fillmore Auditorium in San Fran*cisco opposite the Cream and the Electric Flag, and you know we just weren't loud enough. The kids couldn't hear us and our message was getting lost in the air, and Gary's vibes were just swimming about.
    "This is why I think the pop musicians are really so far ahead of what I'm aiming for. They are already well into volume and the control of feedback. Can you im*agine what they're going to be like at 30-35 years of age when they become really mature and experienced?
    "I know maybe we're all look*ing toward B. B. King, but seri*ously it's people like Clapton and Townshend who as they grow older are going to carry the gui*tar into new realms of expressiveness.”

    Saturday 3 (10) February 1968
    USA (Los Angeles, CA)
    THE BEAT (KRLA) (Page 3) ‘IN PEOPLE ARE TALKING ABOUT’ [...] . . .what really has happened to the plans behind the second International Pop Festival. . . [...] . . .why it took Eric Burdon so long to come up with “Monterey”. . .
    (Page 18) [advert, B&W photo of fold out cover of Axis:Bold As Love LP] SOUNDS FOR NOW JIMI HENDRIX [also Lovin Spoonful & Cryan Shames LP’s] Now Available at Montgomery Ward department stores.

    Saturday 3 (10) February 1968
    USA
    BILLBOARD (Page 26) ‘Top Selling R&B Lp’s’ 11 (17) Are You Experienced – Jimi Hendrix Experience
    (Page 45) ‘New Releases’ ‘Reprise’ Jimi Hendrix Experience – Axis: Bold As Love R 6281 RS 6281
    (Page 56) ‘Top Lp’s’ 17 (19) Jimi Hendrix Experience – Are You Experienced? R 6261 (M) RS 6261 (S); 140 (--) Jimi Hendrix Experience – Axis: Bold As Love Reprise (no mono) RS 6281 (S)
    (Page 58) ‘Top Lp’s’ 87 (88) Jimi Hendrix/Curtis Knight - Get That Feeling – Capitol T 2856 (M) ST 2856 (S)
    Last edited by stplsd; 10-09-16 at 05:52 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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