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Thread: 1968-02-11 Robertson Gym, Santa Barbara, California USA

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    1968-02-11 Robertson Gym, Santa Barbara, California USA

    Sunday, February 11th, 1968

    no recording has surfaced

    Last edited by Dolly Dagger; 03-12-11 at 11:43 AM.

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    Re: 1968-02-11 Robertson Gym, Santa Barbara, California USA

    Sunday 11 February 1968
    Santa Barbara, Robertson Gym, University of California, Ocean Road, USA. JHE
    Concert (50 minutes).
    The cowboy hat w’ the purple band w’ chain link ‘belt’; the black leather ‘cowboy’ waistcoat; light shirt with big ‘spot’ pattern; [purple?] velvet flares w’ [tooled?] leather belt; the moccasins; white/rose strat w’ the ‘wavy line & dots cloth on white leather’ strap.
    Support: Soft Machine with The Mark Boyle Sensual Laboratory light show; East Side Kids.
    Promoter: Kappa Sigma and Barry Lawrence
    JHE fee: US $4,000.
    Songs: unknown

    Neville Chesters: “Very good show.”

    Buck Munger: “There were situations where we had so much stuff hooked up that we drained the entire (electrical) system, where the lights would go down, we’d be looking at each other like -!!!-; this was at a gymnasium in Santa Barbara. To say that it was a primitive situation is such an understatement, in terms of the levels of expertise required to be in critical positions.”

    Argo (March) ‘Jimi Hendrix raps’ – interview by Bob White -
    BW: “Do you think your new album is closer to what you really want to do and are trying to do than In your first album?”
    Jimi: ”Not necessarily, at that particular time it might have been, you know. See, we make things at the spur of the moment and that particular album just represents us at that certain phase of time.”
    BW: “In San Francisco, it sounded like you wrote a song on stage.”
    Jimi: “Which song was that? Oh yeah, well we probably did. We do that occasionally, you know. We haven’t played in so long that it takes a while to get into the groove of it sometimes.”
    BW: “Where do you get your ideas for songs? Do they come easily?”
    Hendrix: “Everywhere. Sometimes they do. Yeah, the ideas come very easily; it’s just getting the song together as where it is acceptable, you know.”
    White: “Do you think your music appeals to any one particular group?”
    Hendrix: “We make it, you know, like to appeal to whoever could dig it. We don’t necessarily say, “Oh look at this: it’s only for one group, ‘cause then you limit your self there especially when you have other ideas.”
    White: “What do you think of acid and pot and the dope scene in general?”
    Hendrix: “Oh, it’s just for the cat, you know, like it’s for the people who can dig it. It’s nice, you know - I mean for like the cats who can hold it, you know, for the people who have minds for it. Well, as a matter of fact, it’s helped a lot of people you know, As we all know, smoking marijuana for instance, hash, you know, is way better than drinking, you know, which is… I’ll be glad when they finally solve it because it’s really silly sneaking and doing something. And then they can do something more dangerous to you in public. Matter of fact, they have big picnics where you can carry your cans of beer and all this. Go out there and get stoned sloppy drunk and all that, and your mind is completely numb, and you don’t think of nothing but how stoned you are. There are other things that, you know, you can actually benefit from them if, you know ... People really don’t need it quite naturally, you know. It could be entertainment for some people, and something really groovy for somebody else. But everybody just can’t dig it because some people’s minds just aren’t that way, you know.”
    White: “Where do you think that you in particular and the music scene in general will go from here?”
    Hendrix: “So far as music and all this, it seems to me like it goes in a big cycle and it’s coming back to a more of a true form of music now, I think. Probably hear a lot more
    harder sounding songs […] Everybody thinks it’s getting complicated or junky. It really isn’t: it’s just straightening itself out actually.”
    White: Who are some of the artists who have had an influence on you?”
    Jimi: “I don’t know music in general. I listen to everything that holds my interest and, quite naturally, you pick up on different things, or you get your own interpretation of different things. So in other words, the whole World influences me, and a little more of that.
    White: I read in an English paper that at the Albert Hall you saved the show by just being there and being an entertainer more than a musician.
    Hendrix: Oh well, you are going to get that all over the place. They want to put you in little bags. If they can’t put you in a bag, well then they’re frightened and they don’t want to know. It’s a scene like that. They might want to try to find out.
    White: You defy quite a few people’s bags and classifications.
    Hendrix: Yeah, well you see it’s a scene like it’s a bad scene when they try to, especially with music, you know. And if they can’t hear what you’re doing and can only see, you know, you feel kind of like a cat who can’t watch TV and chew gum at the same time. You know, he’s afflicted.”

    Sunday 11 February 1968
    SUNDAY MIRROR (Page 27) [small B&W photo: ‘Jimi Hendrix’] ‘Wild Man Now He Can Laugh at Sneerers’ interview by [unknown]:
    “Petula Clark called Jimi Hendrix “a great big hoax” and those American moral watchdogs, the Daughters of the [American] Revolution, branded his act obscene.
    A punster added: “Man, they’re right. Even his drummer uses a phallic cymbal.
    Yet, on Tuesday. Guitarist Jimi receives the World No. 1 Musician award from the showbiz paper Disc.
    This is the second time in a few months he has been voted top in a British national poll. The first was a Melody Maker choice. Mr. Hendrix, however not be present to pick up his latest prize because on that same day he was handed the keys and freedom of his hometown—Seattle. USA.
    This honour from a city of over half a million citizens is no mean achievement for a man who is coloured, a pop singer, and an alleged hoaxer, and obscenity seller . . . unless he really has acquired the art of fooling all of the people all of the time.
    He’s the wild man of music. His hair looks as if it is standing up in fright at the sight of his face and he wears gear that makes him resemble a six-foot parakeet.
    Jimi had just finished entertaining (or fooling) an audience of about 20,000 people in Phoenix, Arizona [5 February], when I phoned him.
    “Man, that Seattle thing is really something,” he said. “The only keys I expected to see in that town were of the jailhouse.
    “Man, when I was a kid there I often nearly got caught by the cops. I was always gone on wearing hip clothes and the only way to get them was through the back window of a clothing store.
    “I wonder if my old schoolteacher digs me getting the freedom of Seattle? She was a good looker, but she got me thrown out. I was talking to some chick during the lessons and this teacher got mad. I said: ‘What’s the matter, are you jealous?’
    “That’s the last time I saw her. Maybe she’s a Daughter of the Revolution now.”
    “I Dig”
    I said that Petula Clark wasn’t one of the “watchdog daughters” with her “hoaxer” opinion, but was undoubtedly a prospective member of the “Hendrix Hate Society.”
    “Well, I figure it’s nice for her to have thought enough about me to say anything,” he said.
    “But I dig her. I think she’s great and progressive—which is more than I can say about a lot of pop stars.
    “Take Presley. He’s still got plenty of fans, but the only progress he’s made is on his bank statement. That’s not my scene. Nobody who is continually experimenting with music makes big money, but they get respect in the right quarters.
    “Britain, for instance. I was completely unknown in America until the word got back that the British dug my kind of music. Now it’s ‘sell-out’ business here.”
    Hendrix was, of course, a high priest of the now fading flower scene. Of it, he says:
    “The flower scene was an experiment, but although it was all tied up with sensation stuff about drugs, the ‘love everybody’ basic idea helped one hell of a lot with the colour problem in the States.
    “Coloured artists daren’t go near some southern audiences in the past. But since the Flower Power craze, much of the violence has gone.”
    I reminded him that many Hendrix haters put his popularity down to the fact that thousands of people also go to the zoo and watch the uninhibited behaviour of monkeys. Jimi laughed. “But they don’t go out and buy recordings of it, do they?”
    He admitted, however, that visually, vocally, and musically his act appealed to the primitive sexual urge.
    For those who aren’t attuned to it, his guitar playing is an electronic nightmare, but the Beatles are only one group among a host of musicians who regard him as the pop pied piper.
    When Jimi toured Stockholm, he played to capacity crowds—but thirty hotels in the city refused him a room.
    In contrast, a multitude of devotees would be overjoyed to offer open house to this bizarre bundle of talent.
    Provided he brought his guitar, you can include me among them.

    Sunday 11 February 1968
    USA (WA)
    SEATTLE TIMES (Page 42) ‘Schedule For Week At Seattle Center’: ‘Tomorrow’ 8-10 p.m. Jimmy [sic] Hendrix Experience [in the] Arena

    Sunday 11 February 1968
    USA (TX)
    SAN ANTONIO LIGHT (page 14F) ‘Experience’ Group To Perform’:
    The Jimi Hendrix Experience, British rock group that exploded onto the American music scene at the Monterey Pop Festival last June, will be at Municipal Auditorium Thursday night at 7:30.
    This is the second trip to the States for the Experience (con*sisting of Jimi on guitar and vocals, Noel Redding, bass, and drummer, Mitch Mitchell). The group created such an impact last summer that their first LP, "Are You Experienced,” skyrocketed to a Top Ten posi*tion on the charts within a few short tests of release. Their second album, "Axis: Bold As Love,” a smashing success in England, has just been released on the Reprise label. Twelve of the 13 selections on the album are from Jimi's prolific pen; “She's So Fine" was written by bass guitarist Noel Redding.
    Appearing with the Jimi Hendrix Experience will be The Soft Machine, one of the finest of the underground British groups.
    Also EXPRESS & NEWS (San Antonio, TX) (page 8H Entertainment) as, ‘British Rock Group Will Play Here’.

    Sunday 11 February 1968
    USA (TX)
    DALLAS MORNING NEWS (Page 8 D) ‘YouthBeat’. [B&W Karl Ferris group portrait] ‘Sold Out’ The Jiml Hendrix Experience will be at State Fair Music Hall Friday night for a sell-out performance sponsored by KLIF. This is the second trip to the states for the British rock group that exploded onto the American music scene at the Monterey Pop Festival last year. The group includes Hendrix on guitar and vocals; Noel Redding, bass, and Mitch Mitchell, drummer,
    PLATTER PICKS: AXIS: BOLD AS LOVE-The Jimi Hendrix Experience (Reprise).
    To say that Jimi Hendrix is excit*ing it putting it mildly, His sec*ond album is just as bold and interesting as his first, although this one contains more jazz oriented numbers. All but one of the songs were penned by Hendrix. Top cuts in the group's more familiar style are "If 6 Was 9," "One Rainy Wish" and "Little Miss Lover."

    Monday 12 February 1968
    USA (TX)
    SAN ANTONIO EXPRESS (page 11-A) ‘Jimi Hendrix Here Friday’
    Pop-rock singer Jimi Hendrix will perform in Municipal Auditorium at 7:30 p.m. Friday.
    A Seattle native who went to England, Hendrix teams up with bassman Noel Redding and drummer Mitch Mitchell and calls the group the Jimi Hendrix Experience.
    Redding and Mitchell are British natives.
    The Experience has been featured at the Central Park Music Festival and Cafe Au Go Go.
    Some 14,500 people heard the group in two shows at Stockholm’s Tivoli.
    Tickets for the San Antonio performance are on sale at the auditorium box office.

    Monday 12 February 1968
    USA (CA)
    LOS ANGELES TIMES (Page?) ‘Burdon headlines concert in Anaheim’ [9 February]- review by Pete Johnson: “Eric Burdon, Animal turned Primate, should have stayed on all fours, as he demonstrated Friday night in an Anaheim Convention Center concert which also featured the Jimi Hendrix Experience and the Heir Apparent [sic] Burdon was good at growling blues songs such as “House of the Rising Sun,” but his present act is like watching “Swan Lake” performed by a bear in a tutu. He is one of the casualties of rock creativity, perhaps the most embarrassing one because he can sing well and fronts one of the better rock instrumental groups, a quartet which now shares billing with him as Eric Burdon and The Animals. For the second of the two well-attended concerts at the Convention Center, he opened with “If I Were a Carpenter,” mauling Tim Hardin’s delicate lyrics with his crusty voice. Things improved a bit with “Paint It Black,” thanks to some excellent electric violin playing by John Weider. “Rye Whisky” and “Everyday I Have The Blues” followed, the latter reminiscent of 1950s rhythm and blues down to an instrumental section from Joe Houston’s “All Night Long.” This material was more natural for Burdon’s voice but he hammed it up badly. The dramatics had not yet started, as he proved by portraying Flowerman while singing his most recent large hits, “San Franciscan Nights” and “Monterey.” For the finale, Burdon furnished a partially intelligible sermon, based on such lyrical nuggets as “I want to get high on you... I want you to get high on me... I want to be free. A liberally applied smoke generator supplied fitting visual accompaniment for this verbal murk. Plugged in singer-guitarist Jimi Hendrix has calmed down since his first U.S. tour last summer, when his Freudian routine caused several radio stations to ban all his records. He restricted movements to his hands as he wove incredible screams from the guitar. His late performance was brief (four numbers) because, he said, he had blown out his amplifiers during the 8:30 appearance and could not work with what was left. The trio’s best songs were “Catfish Blues,” with a lengthy solo by drummer Mitch Mitchell and ornate guitar work by Hendrix, and “Purple Haze.”
    Last edited by stplsd; 09-27-15 at 12:20 PM.

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