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Thread: 1968-02-27 The Factory, Madison, Wisconsin USA

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    1968-02-27 The Factory, Madison, Wisconsin USA

    Tuesday, February 27th, 1968

    no recording has surfaced

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    Re: 1968-02-27 The Factory, Madison, Wisconsin USA

    There were 2 shows on this night.
    Last edited by Experiencereunited; 04-18-16 at 11:35 PM.

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    Re: 1968-02-27 The Factory, Madison, Wisconsin USA

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    Re: 1968-02-27 The Factory, Madison, Wisconsin USA

    Tuesday 27 February 1968
    Madison, The Factory, 315 Gorham, WI, USA. JHE
    Mitch: “After that we did some weird gigs in the Mid-West, places like Madison and Milwaukee. I don't remember much about them.”
    Backstage: The cowboy hat w’ the purple band, chain link ‘belt’, ‘star’ & feather; [Powder blue?] velvet jacket; [patterned?] satin shirt [colour?]; the ‘Aztec’ medallion; R. 1 ring; black [silk charro?] trousers w’ the ‘Navajo’ belt + vari-hued neckerchief belt;
    Two shows 1st at 18.00 (45 minutes each).
    Show #1: The cowboy hat w’ the purple band, chain link ‘belt’, ‘star’, feather, red & yellow ‘stoned’ badge & mini native war shield; the ‘Afghan waistcoat; the white ruffled satin blouse; the ‘Aztec’ medallion; R. 1 ring; L. 3 rings & the bracelet; black silk charro trousers w’ the ‘Navajo’ belt + vari-colour neckerchief belt; short boots; 2x? white/rose strats w’ the ‘0’s & ‘X’s strap & the ‘wavy line & dots cloth on white leather’ strap.
    Show #2: The cowboy hat w’ the purple band, chain link ‘belt’, ‘star’, feather, red & yellow ‘stoned’ badge & mini native war shield; the ‘Afghan waistcoat; the ‘luck’ shirt; R. 1 ring; L. 3 rings & the bracelet; black silk charro trousers; short boots; white/rose strat w’ [‘0’s & ‘X’s?] strap + the painted flying V.
    Support: Soft Machine with The Mark Boyle Sensual Laboratory light show.
    Poster: Psyche art of Jimi eating guitar by Gary Grimshaw
    Songs (one show):

    “a jam” [Tax Free? (Bo Hansson & Janne Carlson)]
    “a song from Axis” [Spanish Castle Magic?]
    Can You Please Crawl Out Your Window [?] (Bob Dylan)
    Red House
    Burning Of The Midnight Lamp
    Purple Haze
    The Wind Cries Mary
    Foxy Lady
    Wild Thing (James ‘Chip Taylor’ Voight)
    Star Spangled Banner (? John Stafford Smith [music])
    and others unknown?

    Hugh Hopper: “The sound was fantastic. It was a fairly small place and a shitty little club, terrible, no room for gear but in fact it was a great sound.”

    “I remember the one period when Hendrix was pissed off and at the end he did Wild Thing – the last number. At the end he didn’t do the business with the guitar on the amplifier, what he did was get the head of the guitar and ride along the footlights at the bottom of the stage and popped them all. It was really impressive. It looked good but the theatre did not like it at could have been something like Wisconsin, it was a smallish town and I remember the guys, sort of stage hands, all sort of straight stage hands, sort of shaking their heads. The audience loved it, but I mean it wasn’t planned, I think.”

    The Daily Cardinal (05 March) ‘Jimi Hendrix - Bold As Love’ - interview by Maxine Woodford and Jeannette Lee -
    Jimi: ‘The Axis is The World, man - every time it turns around, it changes man completely. It’s like love, every cat that falls in love, he’s got to make changes.’
    - said the soft-spoken Jimi Hendrix during an interview at the Factory last Tuesday night. The remark was made In reference to a line from the title song of his latest album, ‘Bold as Love.’ Hendrix’s gentle manner back stage was in complete contrast to his uninhibited, uncompromising performance which included everything from playing his guitar with his teeth and flicking his tongue at the audience to the final smashing of his guitar and amplifiers. Although there was a delay due to the late arrival of equipment, as soon as Hendrix appeared on the stage, the crowds freaked out. Backstage, Hendrix confided that – Jimi: ‘I haven’t seen my dad in seven years. I don’t want to go back home unless I have something to show for it. They’ve got all my records. My dad asked me questions about my songs that I thought he’d never ask.”
    - Hendrix affectionately spoke of his grandmother, a Cherokee Indian who gave Hendrix his taste for colours by sending him to school In the colourful Indian clothes she made for him. He said –
    Jimi: ‘My grandmother wrote me one time and said, ‘You aren’t shootin’ that marijuana up your arms are you?’
    - Concerning his performance he said –
    Jimi: ‘Quite naturally, you want the audience to dig it. That’s why we don’t have no set program. That’s why we get up to the microphone and mess around - making them feel more at ease, We like to make them feel like they’re with us - making them feel like three people from the audience got up and played for them. It’s so free you can give notes away here and there. It’s another way of contact.
    It’s like a person who works all day and parties all night. Like music is one big party for me. It’s very serious too at the same time—it’s everything. If the audience doesn’t dig it, I just play for myself, You have to play for yourself if you want your own sound. I still don’t know what we’re doing, I just want us to get better and better. When you do these things, they start listening to your music and start asking questions for advice. All I can say is let your mind and fancy flow. Quite naturally, you have to listen to the opinions of the wallpaper people too, the plastics and so forth. Listen to all sides and look.’

    In discussing his views on religion, Hendrix quietly said –
    Jimi: ‘If God is going to lay back and watch The worlds fight against each other and say If you don’t do this, you go to hell - if there’s such a thing as God, he’s the worst person in this whole World. Some people starve to death for no reason at all and they haven’t done nothing wrong, have they? They pray every day, please God, send me a piece of bread and nothing happens. They do this for years and years and finally they try their best to get Jobs and everything under their own power. They go out and steal a piece of bread and get hung for it. What’s all that about. If there’s a God, he’s playing with us. It’s like tin soldiers. I don’t believe in the word, God, not the way they use it. As far as a person named God, I don’t know about all this.’
    - Discussing ‘Castles made of Sand,’ which is included on his latest album, ‘Axis: Bold As Love,’ he stated that –
    Jimi: ‘Dreams that are based on things that are not stable are like sand castles and when they touch the water they’re gone. But if your dreams are made on a solid foundation and if you have deep feelings, a dream can mean a goal in life,’
    - Concerning the meaning of his song ‘Manic Depression’ he stated that it meant –
    Jimi: ‘making love to music, Instead of girls all the time. Sometimes you get so involved with music you wish you could touch it physically. You say ‘music, sweet music, I wish I could caress and kiss, kiss…You know you can feel It physically coming out of the amp – can actually feel the vibrations.’

    Pterodactyl (05 April) ‘Skinner speaks: Hendrix is God’ - review by Dave Skinner: “A belated review of the Hendrix concert in Madison, although not really a review, just my reaction to it: Noel Redding may be the greatest bass player in The World, and Mitch Mitchell may be the greatest drummer. But Hendrix is God, no more and no less. I really can’t give anybody any idea of his style or musical ability; he has to be seen to be believed. The setting was pretty good - The Factory, an off-campus hole, extremely overcrowded, the first show over more than an hour late, people crowded in the frigid air outside listening, waiting, dying to get experienced. Probably a more knowledgeable, turned-on crowd than you could find else where in the great Midwest; most from Madison, but others like us who drove hundreds of miles on a pilgrimage to see our Lord.
    Redding, with his massive head of hair, came out first to introduce the Soft Machine. […] And then, God and his angels, a kind of unequal Holy Trinity. They played several things from the first album, only one song from ‘Axis,’ and a whole lot of other stuff. This included one improvised jam, an unrecognizable Dylan song, and a few great numbers not released in the States, like ‘Red House’ and ‘Burning of the Midnight Lamp.’ Jimi was in his usual flamboyance, wearing an old patchwork-quilt jacket, a couple of medallions, and a huge hat with silver medals on it. He played a lot with his teeth, and he’s really good at it; better than anybody else can do, with hands alone. Sly smile and eyes, throwing kisses at the cops, and looking at Redding as he altered the words to ‘Purple Haze’ to ‘Scuse me while I kiss this guy’. Fire’, he said was an old rock and roll song he wrote back in l937; ’The Wind Cries Mary’ was something off the Country and Western Top 40. Climax after climax - ‘Foxy Lady’ made little girls grab themselves in ecstasy and grown men cry. Eleven songs in all. The final number was his great Monterey showstopper, ‘Wild Thing’. After a few minutes of rapping and asking everyone to sing along, he dedicated the song to ‘our fighting men - our soldiers in Detroit, Watts, Chicago…‘ got a tremendous ovation and began. Complete orgasm - he didn’t use his hands on the guitar, but played it with his teeth, microphone, back, crotch, finally climaxing in sitting on the thing and humping it. Somehow beautiful music kept coming out of it, right through the foreplay into the ultimate submission. In reviewing the New York concert at Hunter College, Pat Dingle in Rat concluded that ‘no one girl left the Auditorium a virgin.’ I would guess that the same thing was true in Madison. […] After Hendrix, other concerts are rather uninteresting.”

    Harvey Scales -Interview by Rob Lewis, [Harvey Scales was a member of the Seven Sounds. His biggest hit was “Shake it on up and shake it down” for which he received a Grammy in 1976. He is a local musician in Milwaukee and Atlanta where he lives.]

    RL: You saw Jim! in ‘68?
    HS: Madison and Milwaukee, Wisconsin. We kind of followed him around then because he played both places. The Factory and The Scene. The guy who brought in all these groups at this time was Ken Adamany, our manager. He was kind of the Bill Graham of the Midwest. If any big acts came through we had an open invitation. The people who were booking Jimi were connected with Ken Adamany, who was booking us. As a matter of fact, we also opened up for a lot of these big acts. We opened up for Otis Redding at The Factory but he never showed because of the plane crash. December 67, I think, before Jimi was there. I knew Otis very well and he was a really nice guy. Jimi and Otis were very, very close too. We didn’t open up for Jimi there because he was a different kind of act, you know. I believe Cheap Trick opened up for Jimi at The Factory. They were managed by Ken and had a different name then. I saw Jimi at The Factory and the place was on fire. From the time they hit the stage until the time they left the crowd was just ecstatic. It was a really good show. One of the most memorable things I saw him play was the “Star Spangled Banner.” Jimi loved Madison. In Madison you had State Street, in Milwaukee you had Brady Street and in San Francisco you had Haight-Ashbury. The Factory was in a real liberal part of the state. People in Madison would walk by Jimi and just say hello and keep on walking... that type of thing. That is why Jimi really liked Madison. Madison, in the sixties, was probably as great as San Francisco... Liberty, you know. At that time Madison was probably one of the greatest college towns in the United States.”

    Scott Varney [stagehand at The Factory in 1968] Interview by Rob Lewis -
    SV: I remember it was a big hype. Everyone was talking about the shows that were going to go on there. It was very lulled during the day at The Factory. The stage was not set until their equipment guy came. We loaded the stage with stuff. I personally carried in about 12 to 15 guitar cases. I noticed why he did that later on... why he had extra guitars. Most of them were Fender. One Gibson Flying V case and the rest of them were all Strats. It was real low-key in the back. About an hour before the show Soft Machine played one set and the place just exploded. It was about 45 minutes to an hour and then Hendrix came out. The crowd went wild. I think the second show was better because it was a little longer but it was beautiful to see the first show too. I felt sorry for the people who couldn’t see both shows. I don’t remember a set list but it seemed like they played a lot off of the first album with longer and more embellished songs than the original album tracks.
    RL: Is it true that Jimi burned his guitar at the end of the second show?
    SV: Yes he did. He broke one up and he burned it. He put it down, kneeled over it and lit it with lighter fluid. I had never seen that before except the Who. Jimi did smash up a perfectly good Stratocaster [this is substantiated in some way by another eyewitness, by the name of Thom Switzky, who claims that Jimi burned a white Fender Mustang at The Factory show]. He was playing it, broke it up, and lit it on fire. It was like, wow... I’ll take that guitar! (laughs)
    RL: What do you remember about taking the backstage photos?
    SV: It was kind of quick. I wasn’t expecting him to come so early. He got there about two hours before the show started. It was still light outside. I wasn’t expecting it so it was kind of a shock when I saw him. He was the nicest guy. I said, ‘Mr. Hendrix do you mind if I take your picture?’ Jimi just said, ‘No, no problem.’ That is when he struck that pose in front of the garage door. I only took one shot of him. I wish I had taken more of him. Then about 10 or 15 minutes later Mitch Mitchell and Noel Redding came in and it was the same thing. It was no problem for them to pose for a picture. They weren’t stuffy or hung up on any thing. They seemed like real nice guys just out making music and having a good time. When they were playing I remember I couldn’t get around people. I was over by Noel Redding on the side of the stage taking photos and I could not even get to the other side of the stage. I played bass myself and I was really interested in seeing how a three-piece band could make so much music. What they had was a lead drums, lead bass and lead guitar. When Jimi was playing his solos the way he filled the bass lines really filled the rest of the music along with the drums. They worked so well together, a very full sound for three pieces. There was no other three-piece band before them that made this kind of music. They were really ON that night... the second show especially. They did two encores for the second show. They left the stage, the crowd went wild and just didn’t want them to leave and they came back for the encores. The sound was excellent. They had their own PA. and that worked very well. The size of the hall and the size of ceiling lent itself well to good reverberation and added to the sound that was projected out from the amplifiers. It was like controlled reverb that was added in a studio or something like that. I remember Jimi used his Gibson Flying V on only one song... a slow blues song. I think it was a brown and gold sunburst Flying V and he had it up on stage the whole time along with about five or six other guitars. He changed guitars periodically for different songs... until he broke up that beautiful guitar that he had just finished playing a whole song on and then he smashed the hell out of it and burned it!! (laughs) I enjoyed the show very much. I wasn’t concerned with meeting Jimi again because I had met him prior to the show. I carried his stuff out after the show and helped load the truck late that night. They had a small truck for everything and it was a rental truck U-haul or Ryder maybe, not like you see today with 10 semi’s. These guys were carrying their stuff around in a little small truck and going to the next town. They also did not have an entourage with them or bring along any hangers-on with them. I don’t know what they did in the dressing room but they didn’t have a lot of people following them around. It was just three guys on a road trip. For years, that was the high point of my musical career... listening to him play that night. Meeting him was a dream come true. I never expected to turn around and find Jimi Hendrix standing right in front of me, much less did I expect him to pose for a picture that close and think nothing of it.”

    Vic Buff: “Ken Adamany was running that place. He owned it... proprietor and all of that. He had a lot of acts in there. It’s a small little sweaty place... that’s what Jimi kept referring to it as. A small little sweaty place. He liked those places. Where you get close to the people, you know. The auditoriums are kind of a sterile thing. In concert on a biq stage he felt like he was under glass. He liked the club feeling.”
    Last edited by stplsd; 10-10-16 at 01:42 AM.
    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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    Re: 1968-02-27 The Factory, Madison, Wisconsin USA

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