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Thread: 1968-02-12 Seattle Center Arena, Seattle, Washington USA

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    1968-02-12 Seattle Center Arena, Seattle, Washington USA

    Monday, February 12th, 1968

    NO SETLIST KNOWN
    no recording has surfaced





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    Re: 1968-02-12 Seattle Center Arena, Seattle, Washington USA

    Last edited by billo528; 03-31-16 at 07:08 AM.

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    Re: 1968-02-12 Seattle Center Arena, Seattle, Washington USA

    would love to hear a recording of this homecoming gig

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    Re: 1968-02-12 Seattle Center Arena, Seattle, Washington USA


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    Re: 1968-02-12 Seattle Center Arena, Seattle, Washington USA












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    Re: 1968-02-12 Seattle Center Arena, Seattle, Washington USA

    Monday 12 February 1968

    Seattle Center Coliseum, 1st Avenue N., WA, USA. JHE
    Noel: “...10-30, had a smoke got so [stoned]... plane, took 2 ½ hours.... hotel. Watched T.V. had a smoke...[washed] my hair, went to gig at 7-... Elinore in L.A....”

    “In Seattle, Jimi’s family [‘family’ ie Al his dad [?] And Leon his ½ brother] was waiting for us at the airport. It was a triumphal return. Jimi recieved a key to the city, and Mitch and I were made to feel welcome in a warm, happy family reunion. I got stoned with Jimi’s brother Leon and caught the odd moment with my new super-eight camera. It was a brief hiatus however.
    Concert at 20:00 (45 minutes) Jimi’s homecoming
    Backstage: The cowboy hat w’ the purple band, chain link ‘belt’, & a small badge [with several words on it], the ‘star’ 1st appears backstage at this gig; the ‘B&W fancy’ jacket/shirt; the black ruffled shirt; the ‘turkey’ medallion, the ‘medal’ necklace & the fine pendant; R. one ring; L. 2 rings; black trousers w’ the ‘Navajo’ belt & [purple?] neckerchief belt; the moccasins; the painted flying V.
    Show: Helix magazine: “[...] splendid in robin’s-egg blue vinyl slacks and a Commanche scout hat.” The cowboy hat w’ the purple band, chain link ‘belt’ & ‘star’; the black leather ‘cowboy’ waistcoat; the purple & gold satin shirt; the ‘turkey’ medallion, the medal necklace & the fine pendant; R. one ring; L. 2 rings; the bracelet 1st appears; the powder-blue velvet suit trousers [w’ the ‘Navajo’ belt?]; white/rose strat w’ the ‘wavy line & dots cloth on white leather’ strap & the painted flying V w’ cloth ‘roundels’ strap.
    At Al’s w’ Janie: The cowboy hat w’ the purple band, chain link ‘belt’ & ‘star’; red velvet suit jacket; the black ruffled shirt; the ‘turkey’ medallion & the medal necklace; L. 1 ring visible; red cotton trousers w’ purple neckerchief belt.
    Support: Soft Machine with The Mark Boyle Sensual Laboratory light show.
    Promoter: Pat O’Day & Associates
    Possibly videotaped by unknown

    Songs:

    Fire
    The Wind Cries Mary
    I Don’t Live Today
    Foxy Lady
    Hey Joe (Billy Roberts)
    Purple Haze
    and three others

    Noel: “...45 minutes. Went down a [bomb]... [#?] people came to gig...”

    The Seattle Times (13 February) review by John Hinterberger: “How good he is as a vocalist, last night’s concert didn’t reveal. The amplification level the group selected for their instruments so heavily outweighed the volume potential of the voice mikes that only occasional vocal phrases emerged. So loud, in fact, were the instruments amplified, that the equipment kept blowing out like candles in a windstorm and the program was interrupted several times to throw in new power units.”

    Seattle Post-Intelligencer (13 February) review by Patrick MacDonald: “A Seattle boy who left this city some seven years ago and with the aid of Animal Chas Chandler and Beatle Paul McCartney became one of England’s most praised and influential rock stars returned last night to a truly triumphant home coming. Jimi Hendrix, lauded by the British press including the prestigious New Musical Express and Rave magazine, as the greatest rock guitarist extant, proved it in his Arena concert last night. Not since the Rolling Stones’ last concert here have I heard rock music so well done. Working with a new ‘wa-wa’ guitar [sic] which he helped develop [sic] and special [sic] amplifying equipment, Hendrix produced an unique rock sound that is at once lyrical, strong and amazingly expressive...
    Hendrix blends lyrics and music for a total effect that is devastating. His ‘Hey Joe’ was total rock of a kind rarely heard... The near-capacity Arena.. .gave Hendrix a rousing ovation but remained perfectly quiet while the music was playing, respect seldom given rock performers. The show opened with an English group known as The Soft Machine. Their silly theatrics - the drummer performed in bathing trunks - were degrading... At best a mediocre bunch. But then they couldn’t overshadow The Jimi Hendrix Experience, a rock experience hardly believable.”

    Helix (Vol III #1, 15 February).Tom Robbins; “Hardly had the Fug juice dried on Seattle’s windshields than Jimi Hendrix screeched into town looking like a black dwarf cowboy Oscar Wilde in Egyptian drag. ‘Sexiest male in the world,’ said Mick Jagger of Seattle’s own Jimi and every King County teeny-bopper old enough to wash out her own Lollipop panties knows in her heart that Mick is right. As for our men, having had our prostates massaged all weekend by Saunders and Co. we’re set for some post - Fug psychedelic banshee blues and panther rock. But the atmosphere is different now because Hendrix will not be heard in the easy looseness of the Eagles; no, he’s been sucked into the Pat O’Day syndrome with all of the phoney baloney implicit in that milieu.
    A week before (before O’Day and pals talked Hendrix out of a Boyd Grafmyre Eagles date and signed him for the Arena), Jimi’s new LP was listed as ‘Up and Coming’ at the bottom of the KJR Top 40 album charts. Now, with ominous suddenness, the album shoots into the No. 2 spot in the ratings and KJR begins playing Hendrix records for the first time. ‘He’s big!’ rhapsodizes O’Day. Yes, Hendrix is so big that Tom Hulet who handled this particular promotion for O’Day, had never heard of him. When Hulet an ex-football player who looks like a cop, found out that Hendrix is a Negro he freaked. ‘God,’ he groaned, ‘I hope we don’t attract a lot of coloured people.’ And O’Day, himself, kept referring to Hendrix as ‘boy,’ a term that is not exactly melodious to Central District ears. It’s all a highly non-professional operation. The critic from the P-I [Post Intelligencer] had to knock at the backdoor to get in to review the show, and the Helix, the only publication in the area that consistently reviews rock performances, received no passes at all.
    I used to think that O’Day and associates were a musical Mafia, but I’ve come to the conclusion that they aren’t really dishonest - they’re just dumb. When O’Day collapses into multiple orgasms over the City Zu (one of the lamest groups in the west), he probably really thinks the Zu is good. The man, like most DJ’s, simply has no sense of aesthetics, no feeling for quality; he responds to music not in terms of profound sonar sensations that can tickle the innards and push back the walls of consciousness but only in terms of big-deal promo and dollars and cents.
    Listening to rock in the Arena is like making love in a file cabinet. It’s a study in frustration. For much of the audience, the band is entirely outside the field of vision - you have to turn your neck 180 degrees to see. And there is no way to turn your head far enough to hear. Some used car salesman mentality is repeatedly on the PA system warning that there’s ‘a city ordinance that prohibits no smoking’ (sic) and ‘that goes for them incense sticks, too. I like to smell ‘em as well as anyone else but it’s against the law.’ At the mention of ‘law,’ the abundant fuzz in the place does a little inward goose-step hard-shoe and the young freedom lovers squirm in their beaver-trap seats.
    Hendrix comes on, 30 minutes late but splendid in robin’s-egg blue vinyl slacks and a Commanche scout hat. He plays it straight - no copulating with his guitar (does Stokley know that Jimi’s much-screwed guitar is white?), no shoving the mike up the drummer’s arse. After all it’s along way from Monterey and his [step] mother is in the audience. Jimi’s voice is like raspberry preserves - thick and sweet and the seeds stick in your ears. He has a very limited range and not much gradation in tone. It’s a standard blues voice, but too artificially mannered to handle gut-bucket phrasing. There is warmth in his timbre, however, and some surrealistic poetry in the lines. On the guitar, Hendrix does not hold up under analysis, either. For all of his explosive dynamics, his chording is bulky and coarse. For all of his electric weirdness his changes are amateurish and contrived.
    Yet, despite the shallowness of much of his sound, Hendrix is a hotly exciting performer. What he lacks in content, he makes up in style. He is, in fact, a master stylist; an outrageous exponent of high black showmanship. He is Adam Clayton Powell on DMT and freaking fine, thank you. He possesses an uncanny sense of manipulation - by skilfully manoeuvring the atonal effects of electronic distortion into parallel relationships with traditional blues melody, he moulds the mood of his listeners and tantalizes them into making his trip.
    Hendrix, like the Fugs, is a valid art tremor in the New Music space-quake. To ignore his savage discourse is to leave ourselves at the mercy of some new meaning that may lurk in ambush at the centre of a primitive blaze. The fire THIS time, Uncle Miltie. Within us and without.”

    Jess Hansen: “After it was announced in the Seattle newspapers that Jimi and The
    Experience would be playing here, I just had to go to this show. After some pleading, my parents acquiesced, and they allowed me to purchase my $5 ticket.
    Finally the big day, February 12th, had arrived. Even though my mother made me get ‘dressed up’ in slacks and a nice pullover sweater, this then 13 year-old child was about to attend his first ever ‘rock ‘n’ roll’ concert, and to become forever ‘experienced’
    Walking into the Arena’s seating area I first caught sight of the large, approximately 10 -12 foot tall wooden stage, surrounded on three sides by a brilliant turquoise (teal?) velvet- like curtain. A long banner was affixed to the front of the stage. It featured yellow, green, and purple flowers, a drawing of Jimi’s face, and the printed message ‘WELCOME HOME JIMI - your sisters.’ Jimi can be seen in front of said banner in a photograph taken earlier in the day.
    The crowd was generally well-behaved. I recall feeling the anticipation as the curtain parted and local DJ Pat O’Day welcomed the audience, and introduced the opening act Soft Machine. All I remember about them is being slightly impressed with their drummer Robert Wyatt. After their set, the velvet curtain again closed around the stage, and the house lights came up. The audience milled and moved about. After a while I saw a group of people (who I subsequently learned were members of Jimi’s family) being escorted to some previously empty seats in the front row - left of the center aisle. I also remember that a person who came with this group - who I later learned was Jimi’s brother Leon - walked up and down the main center aisle several times (he was dressed in exactly the same clothes and hat he can be seen wearing in the photograph on page 24 of the 1972 book Hendrix: A Biography by Chris Welch as well as on 49 of the 1994 book The Illustrated Jimi Hendrix.)
    While the audience was still mingling in intermission, the sudden and surprising cascade of a beautiful fluid blues riff caught everyone’s immediate attention. The house lights dimmed, the curtains parted, and we heard the following words: ‘Ladies and gentleman, your Guru for the evening: Jimi Hendrix and The Jimi Hendrix Experience!’
    WOW! There he was! The crack of Mitch’s snare drum, and ‘Fire’ was rocking out! Jimi was wearing blue turquoise/teal coloured trousers (which almost identically matched the stage curtain), a vest, and a dark coloured, shiny shirt. But what first caught my eye was his ‘new’ Navajo reservation hat (which became quite a trademark of his during 1968). After the second or third song I noticed some kind of commotion down front left where Jimi’s family was seated. Later I learned that the music was just a bit too loud for Jimi’s Grandmother Nora, so she was escorted backstage where it wasn’t so loud for her.
    I honestly don’t remember all of the songs they played that evening; however, I do recall the aforementioned ‘Fire,’ ‘Purple Haze,’ ‘Foxy Lady’ (complete with the ‘yellow under wear’ intro), and at least one blues number. I also recall that Jimi switched to his painted Gibson Flying V, and then back again to his white, rosewood-neck Stratocaster. One aspect I remember vividly was that while Jimi & Co. were playing ‘The Wind Cries Mary’ - when Jimi sang the verse about ‘The traffic lights they tum-a blue tomorrow’- the spotlights projecting from the rear and sides of the Arena switched to blue just when Jimi sang that specific line. Very cool!
    At one juncture while he was addressing the audience, Jimi reached over with his foot and hit one of his effect pedals, and a loud radio transmission sounded from the amps (Jimi immediately ‘cancelled’ the noise). At the conclusion of the performance, Jimi leaned his guitar against the amps - leaving it to wail and howl - as he exited the stage. A roadie eventually came onstage and turned off the amps as the curtain was drawn.
    I am certain that there was no encore. I then went outside to the prearranged spot so that my parents could collect me for the trip back home. I was later blessed with the opportunity to be able to attend Jimi’s other three Seattle concerts, and while they were all extremely memorable, it’s true what they say: ‘There’s no time like the first time.’ And yes, I am still experienced!”

    Monday 12 February 1968
    USA (WA)
    THE SEATTLE TIMES (Page 36) Arts & Entertainment ‘Jimi Hendrix To Play Tonight’
    The Jimi Hendrix Experience, popular rock group, will play a concert at 8 o'clock this evening at the Seattle Center Arena.
    Hendrix is a Seattle native and attended Garfield High School.
    On the program with Hendrix will be The Soft Machine.
    [...]
    [B&W ad has Jimi’s face from the front ‘Indian’ cover of Axis] Seattle Mercer presents Center Arena In Person! Tonight Only at 8p.m. Homecoming! . . . JIMI HENDRIX Experience. Seats available.
    Tickets: $3.00-$4.00-$5.00
    Bon Marche Today Until 5 p.m.
    & At Arena Tonight From 7 p.m.
    (Page?) Stage & Screen ‘Music’ [...] Jimi Hendrix and the Experience, Center Arena, 8 p.m. [...]
    (Page 52) [B&W ‘Pay’n Save’ LP sleeves pics ad, feats. 4 Warner/Reprise Lp’s inc.] Jimi Hendrix “Axis-Bold As Love” featuring “She’s So Fine,” “Up from the Skies,” “Bold as Love,” and other great hits.
    Last edited by stplsd; 04-20-16 at 04:18 PM.

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    Re: 1968-02-12 Seattle Center Arena, Seattle, Washington USA

    ULTIMATE CLASSIC ROCK By Bryan Wawzenek

    One morning in 1968, Jimi Hendrix found himself in a familiar place: onstage, with a microphone, in front of a horde of teenagers. But he wasn’t able to play and he couldn’t put more than a couple of coherent words together.

    The kids, unimpressed with the supposed rock star in front of them, began to heckle Hendrix. He hurried away, likely embarrassed by the event. It didn’t help that the whole thing had been his idea.

    In early 1968, the Jimi Hendrix Experience had planned a big tour of the United States, capitalizing on the success of their two 1967 LPs and the frontman’s burgeoning status as a guitar god. The Experience had played all over the U.S. the previous year, but had yet to perform in Hendrix’s hometown of Seattle. Despite being announced and promoted rather hastily, the Feb. 12 gig at the city’s Center Arena sold out.

    The last time Hendrix had been in Seattle, it was 1961. The high-school dropout had visited while on leave from the U.S. Army, wearing his uniform around town as he saw old friends and spent time with his father, Al, and his kid brother, Leon – 13 at the time. In the time since, Jimi had left the service, traveled the Chitlin’ Circuit as a sideman, gone to New York and then become a rock sensation in London. With support from British bandmates Noel Redding and Mitch Mitchell, 1967 had witnessed Hendrix’s ascendance as a king of psychedelic rock – a near-instant superstar made famous by Monterey Pop, “Purple Haze” and his frenetic performances.

    Seven years is a long time, but there would be a whole universe of difference between the young man who had spent time in Seattle in 1961 and the flamboyant musician who was headed back in 1968. But it wasn’t like Hendrix had disowned Seattle or his family. He wrote lyrics about his dad and referenced his high school days in “Spanish Castle Magic,” named for a club south of the city.

    Reportedly, Hendrix had mixed emotions about coming to Seattle. He felt a bit of trepidation about how he would be received by his father (he mentioned to one interviewer that he was scared his dad might try to cut his hair) but also displayed an eagerness to bask in the glow of hometown adoration.

    As such, he told promoter Pat O’Day that he wanted to do something special while he was in town, even though it would be a whirlwind visit (the Experience had a show booked in Los Angeles the next night). He wanted to play a free concert at the school that had seen him drop out in the fall of 1960.

    “He said, ‘Pat, can you get me an assembly at Garfield High?’” O’Day recalled in 2011. “‘You know they kicked me out of there and I’d like to go there and be in an assembly and play music.'”

    The promoter made the arrangements with the administration at Garfield High School, which canceled a pep rally to host a morning performance by the Jimi Hendrix Experience – a free performance by one of music’s hottest bands for about 1,200 students. The event would take place the morning after the power trio’s show at Center Arena.

    That was the plan when Hendrix and his modest entourage got off the plane in Seattle on Feb. 12, greeted not only by throngs of fans and press, but also the guitarist’s family. He was surprised by the warm reception he got from his father, who had mellowed with age and appeared genuinely proud of his famous son. During an afternoon get-together at his dad' s house, Hendrix bonded with his brother Leon, gave him a guitar and invited him to hang out backstage before the night’s show.

    With family and friends in the first row, Leon on the side of the stage and thousands of local fans filling the arena, the Experience’s concert was a big hit. A celebratory after party took place in Hendrix’s hotel suite, which eventually resulted in the guitarist staying up all night to play drunken games of Monopoly at the family home. And that’s where the star’s handlers found him on the morning of the 13th, ready to drive him to his assembly at Garfield High School.

    Hendrix, ever prone to exaggeration, might have increased the grandeur of the school appearance in the lead-up to his trip to Seattle. Although news reports from the time suggest that the rock star was to be given an honorary diploma and a key to the city at the assembly, those involved remember it differently. These details might have been inventions of Hendrix’s own myth-making, as he made the event into something larger.

    Instead the assembly turned out to be even smaller than planned. O’Day wasn’t able to rouse Mitchell or Redding that morning; he wasn't able to locate the equipment truck with the band’s gear, either. It was just as well – a hungover Hendrix wasn’t in performance-ready shape anyway.

    “He was not capable, or able, to play, or really to speak,” Garfield Principal Frank Fidler recalled in Charles R. Cross’s Roomful of Mirrors.

    In an attempt to salvage the assembly, O’Day came up with the idea of hosting a Q&A session between Hendrix and the students. While this might have proved thrilling to the guitarist’s fans, it turned out that there weren’t many of those in attendance at Garfield. The majority of the students were African-American. Although Hendrix was too, his music was largely being promoted on (white) rock radio and avoided by the black-leaning R&B stations. Most of the kids only had a vague idea of who this hippie guy was.

    It didn’t help that the star, who could be so charming, was sleep-deprived, hungover and wide-eyed in the face of this neutral audience. Retreating into his shyness, Hendrix mumbled terse comments (it had been “2,000 years” since he had last been in high school, he wrote “Purple Haze” about the school’s colors) before offering a final thought to a cheerleader’s question about how he writes a song.

    “Right now, I’m going to say goodbye to you, and go out the door, and get into my limousine, and go to the airport,” he said. “And when I get out the door, the assembly will be over, and the bell will ring. And when I hear that bell ring, I’ll write a song. Thank you very much.”

    In less than five minutes, the assembly – this grand gesture that he had intended – was over, leaving Hendrix feeling sick, shy and sad. He hoped to return to Garfield High as a hero and instead all of his old anxieties came flooding back. “I just can’t face an audience without my guitar,” he told journalist Patrick MacDonald.

    Before long, Hendrix and his bandmates were back on a plane, ready to play another gig that night. The next time he appeared before a crowd, he was holding a guitar.

    Link - http://ultimateclassicrock.com/jimi-...le-homecoming/

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    Re: 1968-02-12 Seattle Center Arena, Seattle, Washington USA

    PHOTO SET - Seattle Center Arena, Seattle, WA, 12/2/68

    https://www.facebook.com/lucio.deipa...6412747&type=3

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    Re: 1968-02-12 Seattle Center Arena, Seattle, Washington USA

    Quote Originally Posted by RobbieRadio View Post
    PHOTO SET - Seattle Center Arena, Seattle, WA, 12/2/68

    https://www.facebook.com/lucio.deipa...6412747&type=3
    I'm not a facebook member Anything interesting?

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