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Thread: 1968-02-10 Shrine Auditorium, Los Angeles, California USA

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    1968-02-10 Shrine Auditorium, Los Angeles, California USA

    Saturday, February 10th, 1968

    no recording has surfaced


    1. Are You Experienced?
    2. The Wind Cries Mary
    3. Up From The Skies
    4. Red House
    5. Wild Thing
    6. Purple Haze

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    Re: 1968-02-10 Shrine Auditorium, Los Angeles, California USA

    Last edited by billo528; 03-31-16 at 07:07 AM.

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    Re: 1968-02-10 Shrine Auditorium, Los Angeles, California USA

    Saturday 10 February 1968
    Los Angeles, The Shrine Auditorium, Jefferson & Hoover, CA. JHE
    Neville: “Got up 11:00. Men from Sunn came to hotel. They had some gear sent in for us overnight for us. Went to airport with them, collected gear, took it all back to the Shrine. Set up gear.”
    Hugh Hopper: “Everyone was using the Fender [gear], right. And then Jimi got Sunn gear... and Soft machine had the Fender gear and so that should make things a lot better...”
    Mitch: “...but they [Soft Machine] were certainly on the bill for the February 10 show at the Shrine in LA. In the afternoon we'd gone to open a record store, next to where the Pandora's Box club had been, right by where Laurel Canyon starts. They'd made giant JIMI HENDRIX EXPERIENCE posters that covered the entire frontage of the store — it really looked quite impressive.”
    Neville: “ came about 6:00 to try it out. We had to use own amps.”
    Rehearsal: Jimi jams with Harvey Brooks (bass), David Crosby (guitar), and Buddy Miles(drums).
    The cowboy hat w’ the purple band, chain link ‘belt’ & feather; the new ‘loud’ jacket; the black leather ‘cowboy’ waistcoat; the ‘lozenge’ pattern shirt; the ‘turkey’ medallion; R. one ring; L. 2 rings; black silk trousers w’ the ‘Navajo’ belt & tooled leather belt; white/rose strat w’ the ‘wavy line & dots cloth on white leather’ strap.
    Songs: unknown

    Hugh Hopper: “Before the gig we had the sound check and various people kept turning up, Dave Crosby and Micky Dolenz and all these people. There was a jam with Buddy Miles on drums [of The] Electric Flag. ‘Cause I remember [when] they were onstage they actually had a little American flag in a spotlight... L.A. was like that, we would put an amplifier down and someone would plug in immediately.”
    (Interviewed by Caesar Glebbeek for Jimi Hendrix: Electric Gypsy, Canterbury, Kent, England, 20 March 1989).

    Neville: “We had a three ton van full of equipment. In 1968 that was a lot of equipment 'cause we had a ramp up the back. The Sunn equipment was quite heavy and it was the first time that the bass rigs had 15 inch speakers in, nobody else had tried that. And it had fins on the front.

    Saturday 10 February 1968 Los Angeles, The Shrine Auditorium, Jefferson & Hoover, CA. JHE

    Concert by JHE at 20:30 (45 minutes)
    The cowboy hat w’ the purple band, chain link ‘belt’ & feather; dark jacket; the black leather ‘cowboy’ waistcoat; the ‘lozenge’ pattern shirt; the ‘turkey’ medallion; R. one ring; L. 2 rings; black silk trousers w’ the ‘Navajo’ belt; white/rose strat w’ the ‘wavy line & dots cloth on white leather’ strap.
    Support: Soft Machine with The Mark Boyle Sensual Laboratory (light show); Blue Cheer; The Electric Flag
    MC: Seb Donahower
    Promoter: Pinnacle
    Posters: Psyche-ish, purple & yellow text art with Jimi portrait by John Van Hamersveld
    & B&W psyche/op-art full page magazine ad also by John Van Hamersveld
    JHE fee: US $10,000.
    Audience: 7,000+, sold out
    Jimi and Noel started to use Sunn amplifiers/speakers for the first time at this show

    Are You Experienced
    The Wind Cries Mary
    Up from the Skies
    Red House
    Wild Thing (James ‘Chip Taylor’ Voight)
    Purple Haze
    and others unknown

    Neville Chesters: “Very good show.”

    Noel: “Good and loud”

    “We had massive and beautiful new Sunn amps. On stage we looked like three midgets
    against the wall of speakers, dwarfed but reassured at the same time by the black and silver tube-lit jungle which pounded the body. The otherworldliness was exaggerated by the polce calls and radio signals which the circuitry picked up.”

    Mitch: “We'd heard a rumour about this other band who were on the bill that night, called Blue Cheer. They were going to ‘blow us off the stage'. Oh, really? Lots of amps and all that, but what a piece of shit. Outside of The Seeds, who we worked with in the Scene in New York, we thought they were one of the worst fucking bands we'd ever heard.”

    Pamela Des Barres: “This was my favourite Hendrix concert. I felt like part of a levitating congregation in an electric church, awash in coloured holy lights, drowning in screaming guitar chords.”
    [Rock Bottom: Dark Moments In Music Babylon]

    Los Angeles Free Press (16 February) ‘Jimi’s electric experience’ – review by Gene Youngblood: “It was Saturday night and we all went down to the Shrine for an electric bath. The Soft Machine played high-volt mandala, Blue Cheer played atomic canoe, The Electric Flag played dirty blues, Jimi Hendrix played avalanche guitar with his hands, feet, teeth and groin. We came away cleansed. A lovin’ spoonful of those commodities virtually exploded upon Los Angeles last Saturday night when Pinnacle presented the Jimi Hendrix Experience at Shrine Auditorium. The boys dragged all their extension cords next door from their permanent home, Shrine Exposition Hall, for a formal sit-down affair that wound up with everyone standing and screaming and freaking anyway. There is only one word for Hendrix: inspiring. He’s an electric religion. We all stood when he came on, and after he hurled his guitar at the screen in a cataclysmic-volcanic-orgasmic finale we fell back limp in our seats, stunned and numbed. To say Hendrix has stage presence is like calling the Enterprise a dingy. Only he could follow the Soft Machine, Blue Cheer and the Electric Flag and make you forget them with three notes. Bloomfield preceded Hendrix. Then there was a long intermission during which the silence was deafening. We discovered a vacuum can roar with the absence of sound. Pinnacle chief Sep Donahower, in a white silk tunic and green velvet trousers, read off a list of upcoming concerts, but no one listened much: the expectancy, the tension mounted. From the orchestra pit you could see the huge velvet curtains billow out with the breeze that constantly moves through that cavernous auditorium. Each time Hendrix hit a chord tuning up it seemed as though the force of the sound pushed the curtains forward. An overwhelming, almost metaphysical sense of power seeped from behind that towering wall of cloth. It was frightening. The curtains parted. A wedge of Thomas Edison’s paisley light fell out upon the audience and broadened like a scene from Orson Welles. Sep whispered ‘The Jimi Hendrix Experience’ into the mike and then ran. Hendrix on the left and Noel Redding on the right, 25 feet apart but connected by electrical umbilicals to a dazzling phalanx of 10 Sunn amps flanking drummer Mitch Mitchell. A flack burst bar rage of flashbulbs danced across the air. There was a dull rumble as the front rows stood. Peter Tork sat in lotus position atop the right flank of amplifiers. David Crosby knelt behind the drums. The wings and the aisles were packed. There was a breathless silence. My metal folding chair virtually chattered on the wood floor of the orchestra pit when that battery of gleaming machinery belched out the first thunderous chords of ‘Are You Experienced?’ like a squadron of Lear Jets in a power dive. The Shrine’s two-ton ever changing chandelier could have fallen and no one would have taken their eyes from the stage. Hendrix is hypnotic. He was beautiful in a Spanish Gypsy tasselled vest, paisley-nouveau silk blouse and tight black bolero trousers with flared, studded bellbottoms. Hendrix’ playing style defies description: he tickles, strums, gooses, copulates, masturbates, eats, kicks, and rubs his guitar while from behind him wells an avalanche of the most incredible sounds imaginable. from one instrument and 10 amplifiers. Hendrix coaxes more sound, more varied sound, and better sound than the Cheer with their armada of 12 Marshalls. But it is his casualness, his light-hearted satirical humour that is most impressive, because it clashes with the volcanic seriousness of the music he makes. And make no mistake: this IS music. Hendrix’s playing style is just that: a ‘playing’ style, not just show. I’m convinced he’s the greatest guitarist in electronic rock. The excitement over Eric Clapton is a puzzlement. With his hands flying over strings, levers, dials, buttons and switches, and his feet dancing over a floor console of cut-off buttons and wah wah pedals, Hendrix whipped up an aural hurricane through ‘Are You Experienced?’ ‘The Wind Cries Mary,’ ‘Up From The Skies,’ ‘Red House,’ ‘Wild Thing’ and ‘Purple Haze.’ He proved himself a consummate blues guitarist with intricate riffs in ‘Red House,’ and then went on to rattle the rafters with ‘Wild Thing’ and ‘Purple Haze’ - the finest performance of multi-decibel power music I’ve ever heard. He left us hanging in mid-air by concluding ‘Wild Thing’ with a spiralling crescendo of sound that drove higher and higher only to stop with a piercing ‘zap’ when he stomped the cut-off button and the whole circuit went dead. There was a collective coitus-interruptus ‘ooooh!’ But it was with ‘Purple Haze’ that the evening reached-figuratively and literally-its climax. It was like floating on a rowboat in the middle of the Pacific Missile Range on family day at Vandenberg. Incredible canyons of sound vapourized the air as Hendrix masturbated his guitar, performed cunnilingus on it with his teeth and wiggled his tongue lewdly at a chick in a velvet gown who clambered on stage and began flinging herself round like a clip winged bat.
    Hendrix went into a power dive and while Noel Redding was eating his own guitar, Jimi flung his on the floor and humped it. Everyone stood in their seats to see. The sound pitch was unbearable. I realized I’d been sitting beneath the sound level, shielded by the orchestra pit. My ears throbbing I jumped down feeling sorry for those in the front rows.
    Hendrix crashed his ravished instrument against the battery of amp’s and flung it in the air with a Niagara of fuzz bass reverb. The crowd was ecstatic. Seb ran out to block a kid who had climbed on stage and was rushing Hendrix. The curtains swept shut. There was a minute of confused, stunned silence and nervous commotion until Pinnacle man Mark Chase walked out and asked for ‘A big hand for Jimi Hendrix’. The house came down.”

    Valley State Daily Sundial (16 February) – review by unknown: “The current version of Suzy Creamcheese [Pamela? Ed.] jumped on stage and began dancing, obviously very naked under a thin silk dress. Hendrix began a sham orgasm that caused the closest thing to a riot that a pop concert has ever experienced .Finally, while on his knees, he grabbed a knife out of his hat, slit the guitar strings, made like a calf roper and launched the mutilated Stratocaster against the projection screen, adding a wild touch to a fantastic light show. Los Angeles, and especially the staid old Shrine, will never be the same.”

    Eric Metzgar: “I got to the front of the stage and clicked off some shots at a very slow shutter speed, hoping for at least one that wouldn’t come out blurred. I didn’t want to leave but out of the corner of my eye I saw a guard motioning to me. Before going, I looked back at the audience through the haze of deafening sound and coloured lights, to take it all in. I’ll never forget the expressions on the faces of the ticket holders in the first few rows. Half of them seemed to have cameras in their hands but they weren’t taking pictures they were TRANSFIXED, as if captivated by a magic spell.”
    Last edited by stplsd; 10-09-16 at 11:22 AM.

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    Re: 1968-02-10 Shrine Auditorium, Los Angeles, California USA

    The Electric Flag played a Pinnacle Concert at the Shrine Auditorium in Los Angeles one Saturday night in February 1968. The Jimi Hendrix Experience was headlining, and the lineup also included the Soft Machine and Blue Cheer.

    I attended that show and recall it vividly.

    I wasn't there just because our band members knew Jan Van Håmersveld, the Pinnacle show's poster artist who lived in our Palos Verdes neighborhood (some of us had worked in his mom's ice plant). I was there because of Michael Bloomfield.

    Hendrix was a draw for us, too, because we had the UK edition of "Are You Experienced?" and loved "Red House." We were young guys who thought we already knew – boy, were we surprised.

    Bloomfield, though, had a longer, much more familiar history with us, and he kept doing unexpected things. Seeing the Flag was a MUST.

    The show was conducted in a very formal manner. Audience members were seated by ushers, and then the house lights went down. Each act was presented in traditional theater fashion with the lights dimming between sets. There may have been jamming before the audience arrived – or after we filed formally out – but there was no mixing of musicians from the bands at any time within our purview. It was straight handbill sequence.

    The Flag stole the show – even in the opinion of the Hendrix aficionados we knew. Their stage presence - set sequencing, lighting and transitions; with the spotlighted, windblown flag and Buddy in his American flag shirt performing various feats – seemed almost choreographed by someone like Gower Champion. When Michael played a solo, the spot was on him alone. It was very theatrical. His hair was puffed up into a natural almost like Stemzie Hunter's, and his facial expressions while playing were of the sort that became legendary with L.A. musicians. Some even copied them.

    It was so good, we were all exhausted by the time Jimi got out there.

    The Experience's Vox Super-Beatle amp grills were torn, and their outfits were mismatched. Noel Redding was duded up in psychedelic splendor, like the covers of "Are You Experienced?" or "Disraeli Gears." Jimi and Mitch Mitchell looked pretty casual. The lighting remained the same throughout the Experience's set, and despite the amazing pyrotechnics of Jimi's music, the band looked ragged in comparison to the Electric Flag. The Flag-word that obtained for years among musicians I knew was "professionalism.”

    Because the Electric Flag was so tightly organized, they made everyone else seem relatively sloppy – including Jimi Hendrix. It was Mitch Mitchell alone who held the Experience together. Guitarist Andy Summers was there with Soft Machine, but he was not yet playing the incredible stuff that would come in mid-'80s. He was gaping at Bloomfield like everyone else.

    No one had heard playing like that, with the amp so loud that the tone got fat. Backstage at The Forum in 1969 Eric Clapton said to me (with his usual modesty) that Bloomfield beat him to "the woman tone.”

    The Flag had everything miked and direct-lined into the house system. Their sound was the most balanced of the four acts. It was this slick professionalism that blew us away at first. They had the Memphis thing but with much flashier playing. We thought the stagy elements made it. We were wrong – it was the music.

    The music industry has become predominantly stagy these days, and we all rue the day we thought staginess was the essence of the Electric Flag. Nowadays, if you play anything musically rich from that period for a young person (the Flag, Joni Mitchell, Bobby Hutcherson, the Sons of Champlin), they will often say, "Hey, that's musical music.”

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    Re: 1968-02-10 Shrine Auditorium, Los Angeles, California USA

    Mike Bloomfield:

    Once we played a gig at The Shrine inLos Angeles, and we were backstage fooling around with our guitars. Hendrix was playing with his toggle switch. He was taking the toggle switch of the guitar, tapping the back of the neck, and using vibrato,and it came out sounding like a sirocco, a wind coming up from the desert. I have never heard a sound on a Hendrix record that I have not seen him create in front of my eyes.

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