Posts Tagged ‘Jimi Hendrix’

Jimi Hendrix’s 'Band of Gypsys' set for 50th anniversary vinyl reissue

It may seem like it would take a lot to be banned from an entire TV channel, but Jimi Hendrix made it happened with one singular performance. In 1969, Jimi Hendrix would find himself, in quick succession, both making a legendary prime time appearance on BBC television and, just a few songs later, banned from the channel indefinitely for an impromptu tribute to Cream.

While London was positively swinging with rock ‘n’ roll creativity in the sixties, the BBC was still a very stuffy, starch-collar-shirted, stiff-upper-lipped, establishment capable of making rash decisions over the smallest indiscretions. They were likely unhappy about even inviting the mercurial counter culture poster boy, Jimi Hendrix on to the prime time TV show hosted by Lulu, in the first place. They were certainly unhappy with his performance.

Although Lulu could have a subversive side, she was still the natural choice for the BBC when they were sketching out their intent to capture the viewership of the growing counterculture movement. Lulu represented a perfect crossover of styles — having been friends with The Beatles she had some reputation but her bubbly, charming, and well-mannered tone and straight-laced image made her the perfect candidate for the BBC’s new primetime show Happening For Lulu.

The show would air just before the 6 o’clock news, a prime time slot, and was the home to some of the country’s brightest and best musicians. Welcoming artists from the pop music bubble wielding their guitars with their long hair and floral clothing — they were an affront to everything the BBC stood for at the time. But the Beeb needed viewers, so they had to invite the scene’s most daring acts. During the late sixties, there was only one man who could truly live up to that hype, the only act which could spark a revolution with one single note, Jimi Hendrix and his band The Experience. They were a phenomenon that was about to sweep the entire world.

The group were invited to the show with the expectation that they would comply, not only with the show’s practices but also with the BBC’s rigorous straight-laced demands. The first of which would see the band perform two hits, their brilliant song ‘Voodoo Child’ and their latest hit ‘Hey Joe’, to an adoring audience. They were also expected to have Lulu join Jimi and the rest of the group on the latter song to perform a cringeworthy duet.

The scene that Mitch Mitchell and the rest of Jimi Hendrix Experience found when they walked into the studio was, as Mitchell describes in his memoir, “so straight it was only natural that we would try to combat that atmosphere by having a smoke in our dressing room.”

As Open Culture reports, he continues: “In our haste, the lump of hash got away and slipped down the sink drainpipe. Panic! We just couldn’t do this show straight — Lulu didn’t approve of smoking! She was then married to Maurice Gibb of the Bee Gees, whom I’d visited and shared a smoke with. I could always tell Lulu was due home when Maurice started throwing open all the windows. “Anyway, I found a maintenance man and begged tools from him with the story of a lost ring. He was too helpful, offering to dismantle the drain for us. It took ages to dissuade him, but we succeeded in our task and had a great smoke.”

They walked into the studio and began to tune up their instruments and wow the crowd with a spellbinding rendition of ‘Voodoo Child’, which must’ve truly shaken audiences out of their wingback chairs at home. It really is one of the best Jimi Hendrix performances of the song you are likely to see. As the track played the beginning of Hendrix’s ban would start to present themselves.

“That was really hot,” said Lulu as the notes of ‘Voodoo Child’ subsided and the crowd’s cheering rested, left agog by Hendrix and the rest of the band’s talent. “Yeah. Well, ladies and gentlemen, in case you didn’t know, Jimi and the boys won, in a big American magazine called Billboard, the group of the year.” At this moment a sudden, and apparently accidental, piece of feedback shook Lulu off her notes and left Hendrix smiling.

A showbiz pro, Lulu continued: “And they’re gonna sing for you now the song that absolutely made them in this country, and I’d love to hear them sing it: ‘Hey Joe.’

On that very day, another moment in musical history had already taken place, which would have shaken the British rock elite’s core. The British supergroup Cream had announced their split. Comprised of Eric Clapton, Jack Bruce and Ginger Baker, the group represented the higher echelons of rock and roll and especially British music. Hendrix knew this first hand and knew that their demise was a sign of things to come — the sixties couldn’t last forever.

The guitarist had been at a Cream jam-session when he first introduced himself to the music scene here in the UK and ever since they had remained a firm favourite for the mercurial musician.

So only a few bars into their latest single, on a nationally televised live performance, Hendrix stops the music and says “We’d like to stop playing this rubbish and dedicate a song to the Cream, regardless of what kind of group they may be in. We dedicate this to Eric Clapton, Ginger Baker and Jack Bruce.” The band then give a truly magnificent performance of Cream’s song ‘Sunshine of Your Love’ and brought the house down.

Noel Redding said of the story: “This was fun for us, but producer Stanley Dorfman didn’t take it at all well as the minutes ticked by on his live show. Short of running onto the set to stop us or pulling the plug, there was nothing he could do. We played past the point where Lulu might have joined us, played through the time for talking at the end, played through Stanley tearing his hair, pointing to his watch and silently screaming at us. We played out the show.

“Afterwards, Dorfman refused to speak to us, but the result is one of the most widely used bits of film we ever did. Certainly, it’s the most relaxed.” It would see The Jimi Hendrix Experience banned from the BBC for life but would live on as a moment of rock and roll history unlike any other.

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Jimi Hendrix

Widely recognized as one of the most creative and influential musicians of all time, Jimi Hendrix pioneered the explosive possibilities of the electric guitar. Hendrix’s innovative style of combining fuzz, feedback and controlled distortion created a new musical form and his influence resonates to this day. In 1969, Hendrix custom-ordered a left-handed Gibson Flying V directly from Gibson. Used during the Band of Gypsy’s era, the following year Hendrix’s Gibson Flying V was made forever famous during his performance at the Isle of Wight Festival at Afton Downs on August 31st, 1970.

The Jimi Hendrix 1969 Flying V has been created in both right and left-handed versions and features a Murphy Lab Aged Ebony finish and aged gold hardware. Only 125 right-handed Vs and 25 left-handed Vs will be created as part of this very special run of guitars. The Certificate of Authenticity for the Jimi Hendrix 1969 Flying V in Aged Ebony features an image of Jimi performing at the Isle of Wight with the guitar. On September 9th, 1969, for his second appearance on “The Dick Cavett Show,” Hendrix played a right-handed 1967 Gibson SG (strung lefty) for a medley of “Izabella” and “Machine Gun.” The new limited edition Jimi Hendrix 1967 SG Custom in Aged Polaris White accurately replicates the exact guitar Hendrix performs with on the show.

The SG Custom features a Murphy Lab Aged Polaris White finish and is one of only 150 models created as part of this run, hand-made by the expert luthiers and craftspeople of the Gibson Custom Shop. The Certificate of Authenticity for the Jimi Hendrix 1967 SG Custom in Aged Polaris White features an image of Jimi performing on “The Dick Cavett Show” with the SG guitar. “I don’t know of a more perfect time than the present for the world to be inspired and electrified by the spirit of Jimi, embodied in these guitars! Jimi didn’t play with just his hands, he played with his heart and really his soul, using his guitar to create positive energy. He wanted to awaken the world with it.

Gibson has harnessed some of that energy, and beautifully! It’s amazing to know that fans and those who love Jimi, and his music, will be able to plug into that power and keep his legacy alive. With Gibson, we’ve selected two of his most impressive guitars to recreate. It’s quite an homage to Jimi, and we couldn’t be more excited about what this means historically.” -Janie Hendrix Jimi Hendrix 1969 Flying V (Left-Handed), Aged Ebony https://bit.ly/3nroMrUJimi Hendrix 1969 Flying V, Aged Ebony https://bit.ly/35CriFB

The trippy story of how Jimi Hendrix ended up playing a concert in front of a few hundred spectators at a windy cow farm next to a Hawaiian volcano features a cast of characters that could come from a Thomas Pynchon novel. There’s Chuck Wein, aka The Wizard, a Leary-lite Harvard graduate who dated Edie Sedgwick and made films with Andy Warhol before dropping into the hippie world. There’s Michael Jeffery, Hendrix’s manager, a shady operator with a line in tall stories about his career in the British Army. And there’s Hendrix, who found himself committed to making a soundtrack for Wein and Jeffery’s Hawaii-set psychedelic sci-fi movie, “Rainbow Bridge”, and somehow ended up playing one of the last shows – performing with the Cox-Mitchell axis – on the tiny island of Maui.

Rainbow Bridge started as a celebration of Hawaii’s surfing subculture, but soon mutated into an experimental, unscripted Warhol-esque film inspired by hippie life, Wein’s impenetrable personal philosophy and Jack Nicholson’s stoned campfire monologue from Easy Rider. It’s the success of the latter that seemed to appeal to Jeffery, who thought a Hendrix score would turn a counterculture flick into a serious commercial offering. The promise of that soundtrack persuaded Warners to fund the film, and Hendrix was on board as he needed the money to complete Electric Lady Studio.

Hendrix made a cameo in the film as an assassin but his biggest contribution was to perform an outdoor concert that was filmed. The gig was as unconventional as the film. “It was a colour/vibratory sound experience,” says Rainbow Bridge art director Melinda Merryweather. “The electricity went off, people swear they saw a spaceship go by, somebody fell of a tower.” The audience were asked to sit in astrological order and delivered a mass Buddhist chant as Hendrix took the stage. A gale was blowing and the small audience sat on the floor as if they were at a village fête. It must have been one of the most unusual set-ups Hendrix had ever faced but he seemed to thrive in the atmosphere – Cox described it as one of the best the trio did.

The set included new songs like “Dolly Dagger”, “Hey Baby (New Rising Sun)”, “Ezy Rider” and “Freedom” alongside established classics. Seventeen minutes of scratchy footage – with drums overdubbed by Mitchell – appeared on the posthumous Rainbow Bridge film, eventually released along with a Hendrix LP of the same name that had nothing recorded in Maui. Much more restored footage features in this fun documentary, while the forthcoming “Live In Maui” triple contains all that was salvageable from the two 50-minute sets.

Directed by John McDermott, Music, Money, Madness – Jimi Hendrix Experience Live In Maui attempts to unpick this wild tale with the help of a tremendous batch of interviewees. Billy Cox and Eddie Kramer are on hand from camp Hendrix, there’s cast and crew from Rainbow Bridge, a few still bewildered Warner Bros execs plus archive interviews with Mitch Mitchell and Chuck Wein.

Experience Hendrix and Legacy Recordings have a brand-new collection that celebrates The Jimi Hendrix Experience’s near-mythic performances on Maui, Hawaii in 1970. “Live In Maui” brings together audio and video with a new feature-length documentary called Music, Money, Madness: Jimi Hendrix In Maui. The collection will be available in 2-CD/Blu-ray and 3-LP/Blu-ray configurations, all due on November 20th.   Director John McDermott’s new documentary film chronicles the Jimi Hendrix Experience’s visit to Maui and the story of the Rainbow Bridge film by incorporating period footage with new interviews with Chuck Wein, Billy Cox, Eddie Kramer, and others key figures.  It’s presented in both editions of Experience Hendrix/Legacy’s release on Blu-ray, and the discs will also feature all of the existing 16mm colour footage from the two afternoon sets captured on July 30th, 1970 mixed in stereo and 5.1 surround.  The accompanying 2-CD set features Hendrix, Billy Cox, and Mitch Mitchell’s restored Maui sets, newly mixed by Eddie Kramer and mastered by Bernie Grundman.

Experience Hendrix and Legacy Recordings have announced a brand-new collection that celebrates The Jimi Hendrix Experience’s near-mythic performances on Maui, Hawaii in 1970. Live In Maui brings together audio and video with a new feature-length documentary called Music, Money, Madness: Jimi Hendrix In Maui. The collection will be available in 2-CD/Blu-ray and 3-LP/Blu-ray configurations, all due on November 20th.

Hendrix’s performances on Maui in 1970 caught him at another pivotal point in his too-short career. Following the success of Electric Ladyland, he alternated between playing arenas and festivals with his revamped Experience alongside bandmates Billy Cox (bass) and Mitch Mitchell (drums), and overseeing the creation of his state-of-the-art Greenwich Village studio, Electric Lady Studios. In need of additional financing to complete building the studio, manager Michael Jeffery convinced Warner Bros. to advance Hendrix $500,000.00. The studio would also finance a film to be shot in Maui: Rainbow Bridge. Warner would then receive the soundtrack rights to the exclusive Hendrix music in the movie.

The impressionistic film, directed by Chuck Wein, would explore themes of enlightenment, with the titular rainbow bridge connecting the enlightened and unenlightened worlds. It wasn’t much of a concert movie, though, as only 17 minutes of footage were included from the free show Hendrix held on a Maui cattle ranch on July 30th, 1970 (one day before a Honolulu arena performance). Even those weren’t “pure” as Mitch Mitchell had to re-record his parts at the recently-opened Electric Lady to make the footage useable. Sadly, Jimi Hendrix was gone before the film was ever completed. He died in London on September 18th, 1970. Upon the film’s release in 1971, fans were confused by it as well as the meticulously overdubbed soundtrack album which premiered Hendrix studio material but didn’t actually include any music from the film or the two Maui sets.

Director John McDermott’s new documentary film chronicles the Jimi Hendrix Experience’s visit to Maui and the story of the film by incorporating period footage with new interviews with Chuck Wein, Billy Cox, Eddie Kramer, and others key figures. It’s presented in both editions of Experience Hendrix/Legacy’s release on Blu-ray, and the discs will also feature all of the existing 16mm colour footage from the two afternoon sets captured on July 30th, 1970 mixed in stereo and 5.1 surround.

The accompanying 2-CD set features Hendrix, Billy Cox, and Mitch Mitchell’s restored Maui sets, newly mixed by Eddie Kramer and mastered by Bernie Grundman. “Voodoo Child (Slight Return)” has been released as a preview single for the box. “Jimi loved adventure and there was certainly no shortage of it during his time in Hawaii, a place he also loved,” comments Janie Hendrix in the press release. “The back story of Rainbow Bridge and these recordings paint a picture of Jimi’s uncanny ability to turn the bizarre into something amazing! We’re excited about this release because it gives the world a closer look at Jimi’s genius.”

“Live in Maui” due on November 20th.

The Experience’s first three releases were 45s on Track Records, the independent label owned by The Who managers Kit Lambert and Chris Stamp. All three reached the top ten of the UK pop charts in early 1967: “Hey Joe / Stone Free” made #6 in January, “Purple Haze” #3 in March and “The Wind Cries Mary” #6 in May. Naturally, their TV appearances at this time were largely vehicles for promoting these records but the most unusual broadcast we feature here is a studio session recorded for the experimental Dutch TV show Hoepla, where the band was encouraged to perform extended versions of their songs. Sound quality ranges from excellent (Dutch, French TV) to acceptable (UK TV). This album shows us just how good they sounded as they transition from psychedelic pop group to stadium rock band.

Side One
1 Foxy Lady
2 Purple Haze
3 Purple Haze
4 Wild Thing
5 The Wind Cries Mary
6 Hey Joe

Side Two
1 Hey Joe
2 Stone Free
3 Wild Thing
4 Stone Free
5 Like a Rolling Stone
6 Purple Haze

During his all-too-brief career, Jimi Hendrix navigated an uncharted course, following his muse and his talents wherever they would take him.  So much has been said about his guitar technique, his song writing, and his lyrics.  But as I lay listening to the 50th anniversary edition of Band of Gypsys, I realized that Hendrix was also a pioneer of that sometimes-maligned product, the concert recording.  At the time of its release in March of 1970, live albums had something of a bad rap.  Many were contractually obligated stop-gaps – excavated and thrown out into the marketplace by the label when an artist didn’t have new material.  Some of the worst offenders weren’t even live albums at all, but studio recordings overdubbed with canned applause and whoops from some disembodied audience.  With Band of Gypsys, Hendrix turned the live album on its head with an album of completely new tunes performed by a new ensemble with verve unmatched by most live albums to follow. And the recent audiophile vinyl reissue from Capitol/UMe proves that this collection still holds up, as exciting and boundary pushing as ever.

Now, it’s worth noting that Band of Gypsys came about due to a contractual obligation itself, but that doesn’t make it firmly part of that “let’s just throw this out to the unsuspecting public” category.  Hendrix was getting pressure from Reprise to follow up Electric Ladyland.  At the same time, a prior contract had allowed rival label Capitol to cash in on Hendrix’s early session work with a number of dubious releases.  By 1969, Hendrix and his former manager Ed Chalpin arrived at a deal that gave him exclusive distribution to a new album.  Hendrix had gathered together a new trio by October featuring bassist Billy Cox (who had served in Hendrix’s backup group at Woodstock) and drummer Buddy Miles, ex-Electric Flag.  They agreed to record the album of new material live onstage at New York City’s Fillmore East on New Year’s Eve, during what would be their first joint concert performance.

After weeks of rehearsals full of inspiring jams, the band was a well-oiled machine by New Year’s Eve with a clutch of songs that signalled a new direction for Hendrix.  But that’s not to say they were playing by the book.  For this new ensemble, improvisation reigned.  And the results are stunning – the sort of thing a listener can get lost in but also want to play again and again.  Album opener “Who Knows” lays into a grimy, bluesy groove with a positively funky bass line, giving the space for call-and-response verses and for Hendrix to traverse an array of effects and approaches to soloing: staccato lines with a harmonizer emphasizing the higher frequencies; fuzzy wah; slinky phase-shifting goodness… it’s all here.  What it may lack in structural complexity, it makes up for in instrumental artistry.  Next, “Machine Gun,” an anti-war blues dedicated to those fighting in Vietnam.  Here, Jimi’s guitar sounds like ten instruments at once.  Whether mimicking gunfire, eliciting squealing feedback, or attacking the whammy bar, Hendrix explores the limits of the instrument and his array of effects with a near-violent ferocity.

“Changes” (also known as “Them Changes”) gives Buddy Miles a chance to shine.  The more pop-oriented number alternates between gospel-tinged, almost Sam and Dave-like soul and a catchy, repeated riff from Hendrix.  While it may not be as engaging as the more expansive improvisations on the album, it’s still an enjoyable performance of a song that would become a minor soul hit when it was re-recorded by Miles a few months after Hendrix’s death.  The fiery “Power To Love” (a.k.a. “Power of Soul”) begins with a bluesy lead into an almost rockabilly groove.   But just as you think you know what follows, the band launches into a funky groove putting Hendrix’s guitar squarely at the forefront.  With shifting meters, rapid-fire double-stops, and the humanist refrain “With the power of soul, anything is possible,” it shows Hendrix embracing influences from funk as well as rock, and branching out into more universal lyrical themes.  “Message of Love” (a.k.a. “Message to Love”) is even jauntier and funkier.  While “Power to Love” was at times meandering, “Message of Love” is taut and seems primed to be a single, down to the “Yeah! Woo!” interjections from Miles and Cox.  And while it’s based on a straightforward groove, Hendrix stretches the tune out with mind-blowing solos and plenty of rhythmic switches, even venturing into gospel territory at times.  The album concludes with Miles’ “We Gotta Live Together,” a jam with a James Brown-like funk feel.  It blasts off into the heavens halfway through as Hendrix conjures guitar squeals as he solos, frenzied, with an array of effects atop a gospel groove.   As the group continues to pick up the pace, Hendrix suddenly hammers out ten huge-sounding power chords, seemingly signaling an end to the thrilling program.

Whether locked into a Buddy Miles composition or branching out into his arsenal of pedals and boxes to break the boundaries of his instrument, Jimi Hendrix reached new heights on Band of Gypsys.  Fifty years on, the material not only still feels fresh, but it sounds better than ever on the recent 50th anniversary vinyl edition (digital versions of this master are also available).  Fully authorized by Experience Hendrix, the new edition features all-analog mastering from the original master tapes.  The music was pressed on 180-gram vinyl, plated at QRP.  The result is a flawless, tick- and pop-free experience that allows the music to shine without all the pesky deficits that can plague the medium.  As for packaging, this edition features a beautiful gatefold sleeve, a huge 24″x36″  replica of a 1970 Band of Gypsys promo poster, and a booklet with an in-depth essay by Hendrix historian and producer John McDermott who details the creation and impact of this legendary recording.

In all, the fiftieth anniversary edition of Band of Gypsys reminds the listener of just how vital a live album can be.  Even one born from a contractual dispute can be a canvas for some of the most electrifying, visceral musical artistry.  Here, Hendrix raised the bar once more, proving not only his technical prowess, but his unmitigated vision of what music can be.  If you don’t have this album – or, more likely, even if you own it a few times over – you owe it to yourself to pick up a copy and remind yourself just how great music can be.

Band of Gypsys: 50th Anniversary Edition is available now

Jimi Hendrix “Live at the Fillmore” It was 50 years ago this year that the iconic “Band of Gypsys” performances were immortalized on acetate.

On January 28th, 1970, at Madison Square Garden, Jimi Hendrix spoke his last words as a member of Band Of Gypsys: “That’s what happens when Earth fucks with space.”

He then left the stage, stumbling under the effects of either exhaustion or a psychedelic mickey, possibly slipped to him by his manager, Mike Jeffrey. A mere two songs into their set at the Winter Peace Concert, the show was over – as was the band. But just a month earlier, when the group had played four sets at the Fillmore East, things had seemed much more promising.

Consisting of Hendrix and the rhythm section of Billy Cox (bass) and Buddy Miles (drums), Band Of Gypsies evolved out of Gypsy Sun & Rainbows, the larger group Hendrix had assembled to play Woodstock. Cox was an old army buddy from Hendrix’s time in the 101st Airborne and Miles, late of the Electric Flag, had crossed paths with Hendrix at Monterey Pop a few years earlier. Hendrix had often bemoaned his lack of engagement with black audience so perhaps an all-black group would be the ticket, as well as allowing him to realize a funkier musical vision. As he told Al Aronowitz in an interview in the New York Post that ran January 2nd, 1970: “Now I want to bring it down to earth. I want to get back to the blues, because that’s what I am.”

Hendrix’s nagging insecurities about his voice also came into play. “I’d rather just play,” he told Aronowitz,”I never sang before. In England they made me sing, but Buddy has the right voice, he’s going to do the singing from now on.” According to his engineer Eddie Kramer in the April 2020 issue of Mojo Magazine, Hendrix came to regret that decision when it came to selecting the tracks and mixing the Band of Gypsys album. “We get to one of Buddy’s long rants where he goes on and on and on, and I could just see Jimi’s head with his hat on get lower and lower, and finally he folds his arms and rests his head down on the console. And he says, ‘Ahhh Buddy, I wish you would shut the fuck up.’”

With much of the impetus for the Fillmore East concerts coming from the need to deliver an album to Capitol Records, an obligation dating back to 1965, Hendrix might have rushed the gig a bit. He admitted as much in an April 1970 interview with Melody Maker’s Keith Altham, saying “I wasn’t too satisfied with the Band of Gypsys album. If it had been up to me I would have never put it out. From a musician’s point of view it was not a good recording and I was out of tune on a few things. Not enough preparation went into it and it came out a bit ‘grizzly’ – we all felt shaky. The thing was we owed the record company an album and they were pushing us – so here it is.”

And now here it is 50 years later and the Experience Hendrix promotional machine is wasting no time celebrating an album that was definitely the weakest of the four released during his lifetime. There’s also Songs For Groovy Children, a box set they released last year, which included all four concerts the Band of Gypsys played on December 31st 1969 and January 1st 1970. That set proved the risks of being a completist, with four ragged versions of “Stop,” a rote soul number by Jerry Ragavoy/Mort Shuman that sounded way better when Howard Tate sang it. But there were also a number of mind-blowing performances that had been left in the vaults. Using the benefit of hindsight – and as someone who agrees with Hendrix’s later opinion of Miles – here is my definitive single-disc distillation of those four nights at the Fillmore, a collection I’m calling:

SIDE ONE

“Power of Soul” (December 31st, 1969 – First Set) Why not start with the first song of the first set? While Hendrix’s voice sounds a little thin on this recording, his guitar snarls with a thrilling complexity, dealing out riffs and solos like winning hands in a high-stakes poker game. Buddy’s vocal contribution works, giving you an idea of why Hendrix thought their collaboration would work. The guitar does most of the talking anyway, with a dazzling introduction that goes on for over half the length of the song.

“Message to Love” (December 31st, 1969 – Second Set) While the vocal interaction is a little rough, this exuberant slice of funky soul keeps the energy going, with some thrilling unison work from Hendrix.

“Machine Gun” (January 1st, 1970 – Second Set) There is no bad live recording of this extraordinary anti-war tone poem. In fact, I was tempted to make Band of Gypsys into The Machine Gun Variations and leave it at that. Instead, I chose to have it end side one. What this take has over the one used on the original album (1/1/70 – 1st set) is the sense of pain on the part of the victims of war, with their screams getting equal time alongside the sounds of the weapons of war. Hendrix’s first solo is almost pure anguish, with the eerie backing vocals the only sign of humanity. The quieter sections seem to invent a new kind of dub blues, with Miles’ drums taking on a horrific inevitability, like putting one foot in front of the other even though each step takes you closer to certain doom. Among the many tragedies of Hendrix’s early death is the fact that he was never able to complete a fully realized studio version of “Machine Gun.”

SIDE TWO

“Izabella” (December 31st, 1969 – First Set) This loose bit of roadhouse, gutbucket riffage seems the perfect way to kick off side two after the dread of “Machine Gun.” Even though he played it first, it fits here well, as Hendrix introduced it by saying, “I’d like to do this song dedicated to maybe a soldier in the army, singing about his old lady that he dreams about and humping a machine gun instead.” Why they left this off the original to make room for two Buddy Miles originals (the clichéd “Changes” and the hippy jive of “We Gotta Live Together”) I’ll never know.

“Bleeding Heart” (December 31st, 1969 – First Set) This slow, elegant extrapolation of the Elmore James classic must be what Hendrix was talking about when he said he wanted to get back to the blues. While he also played “Hear My Train A-Comin’” (once) and “Earth Blues” (three times), this is the best pure blues of the the two-night stand.

“Who Knows” (December 31st, 1969 – Second Set) “Happy New Year, goodbye ’69,” Hendrix improvises at the start of this first-ever performance of “Who Knows.” While the song never rises above a jam, Hendrix seems to really enjoy trading lines with Miles, getting into the inconsequential fun of lyrics like, “They don’t know (they don’t know)/About my baby (about my baby),” before letting his Strat rip the Fillmore’s roof off.

“Ezy Ryder” (December 31st, 1969 – First Set) Another debut performance, this time for a song Hendrix would focus on for his next album and perform at many concerts to the end of his life. Perhaps he left it off Band of Gypsys because he was already holding the image of what it would become in his mind. But this version, which Hendrix introduces by saying, “I seen this picture called Easy Rider, and I was mad as hell…We’re going to call this thing “Ezy Ryder,” we’ll just make up the words as we go along because we’ve got about 20 verses of it,” is savagely entertaining. Miles and Cox can barely keep up as Hendrix alternates between stop-start riffs and furious soloing. The ascending chords at the end take it over the top – and then drag you down to earth, a perfect ending for my perfected Band of Gypsys.

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There’s no discography in rock like Jimi Hendrix’s, not because he died at the age of just 27 but because–unlike Janis Joplin, Jim Morrison and Kurt Cobain, all also gone at the age of 27 years of age, Hendrix was a true improviser. So in his case, The concert tapes merit prolonged attention. Jimi Hendrix’s studio career began in October 1966 and ended when he asphyxiated on his own vomit in September 1970. While alive he generated three albums with the Jimi Hendrix Experience (Brits Noel Redding on bass and Mitch Mitchell on drums) plus the live Band of Gypsys LP (Africa-Americans Billy Cox on bass and Buddy Miles on drums). That he left behind a much vaster body of important music reflects his enduring status as the greatest electric guitarist ever. How many versions of “Foxy Lady” do you need to hear ? So start deciding here.

Jimi Hendrix was despite being so enigmatic and galvanizing in front of a live audience, he actually hated being out on the road. In his defense, “the road” in the 1960s was an unforgiving and punishing place to be, especially when plotted out in advance by Hendrix’s manager, Michael Jeffery. One night he and his band, The Experience, would be playing a gym in Santa Barbara, California, and the next night they’d find themselves in an arena in Seattle, Washington. Patently brutal. Then there was the added anxiety of being far away from the recording studio — the place where he felt most at home. To Hendrix, touring was more stress than it was worth. It was just something he had to do to keep the black lights at Electric Lady Studios on.

Jimi Hendrix was only on the scene for about four years of his life, but he absolutely made the most of that time. Amid a vast number of classic, immortal live recordings, he toured incessantly and performed an incredible number of live shows that still have the ability to shock and surprise nearly 50 years on. From the Fillmore East to the Fillmore West, from Woodstock and Monterey to Paris, and London, and everywhere else that he and whatever group was backing him went, the possibility that real magic might present itself .

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THE OLYMPIA THEATRE  Paris– OCTOBER 18th, 1966

Some concerts are bound to get a little more shine due to their historic nature, like this gig at the Olympia Theatre in Paris from 1966. This was the first time that The Jimi Hendrix Experience, with Mitch Mitchell on drums and Noel Redding on bass, played together as a group in front of a paying audience — opening for the “French Elvis Presley”, Johnny Hallyday, no less. This was the first recorded live set as opposed to Hendrix’s last known gig at the Isle of Fehmarn on September 6th, 1970, other highlights are maybe his performance at the Isle of Wight a few weeks earlier, but both of those are kind of shambolic and more than a little morbid. Even though this show was only 15 minutes long, you get a real sense of the kind of fire Hendrix was playing with around the time he first hit the scene. The band’s first single, “Hey Joe”, sounds great, but it’s the Howlin’ Wolf cover “Killing Floor” that will leave your jaw on the floor.

Rumour has it that there were 14,500 people attending, however the theatre can’t hold more than 2,500. During the first part of the show the JHE played for just 15 minutes and did three songs. Jimi also played guitar during the finale before the intermission. Chas Chandler and Jimi watched the performance of Johnny Hallyday and Chas made a study of Hallyday’s stage-act. After the show everyone (including Chas Chandler) went to a Paris nightclub. The 1966 tour of France marked the first shows performed by The Jimi Hendrix Experience, on October 13th. This was only one week after the formation of the band, after drummer Mitch Mitchell joined on October 6.

THE MONTEREY POP FESTIVAL – JUNE 18th, 1967

When Jimi Hendrix left New York City for the UK in 1966, hardly anyone in his home country even noticed. When he came back on June 18th, 1967, for the Monterey Pop Festival in northern California, they could hardly tear their eyes away. As opposed to Woodstock where one song transcended the rest of the Hendrix’s set, at Monterey, the guitarist’s violent, sexually charged rendition of The Troggs’ “Wild Thing” was a culmination. Seemingly intent on topping The Who’s explosive performance of “My Generation” that preceded him, when it came to ending his own showing, Hendrix pulled out all the stops. Even watching now, the display of him grinding his custom-painted Stratocaster against the stack of Marshall amps before throwing it down to the ground and riding it like a familiar love is shocking to behold. Then comes the lighter fluid; and then the match and then the flames. At Monterey, Hendrix threw down the gauntlet to his generation of fellow artists: Either become daring, or remain irrelevant.

This remastered version of 1986’s Jimi Plays Monterey features one of Hendrix’s most significant performances: What was his breakthrough show at the Monterey Pop Festival on June 18th, 1967. You can’t see him set his guitar on fire here, but you can hear the electricity surging through the festival grounds. Most of the songs come from Hendrix’s just-released debut album, “Are You Experienced” along with a few blues covers, like the scorching set-opener, Howlin’ Wolf’s “Killing Floor.”

Hendrix was such a creative mercurial genius that no two shows were ever alike. His legendary performance at the Monterey Pop Festival captures The Experience in full flow, culminating with an incendiary version of Wild Thing . Although not available in full until 2007, half of his extraordinary set was released in 1970 with highlights from Otis Redding’s equally memorable appearance as Historic Performances Recorded at the Monterey International Pop Festival. Now that’s a concert bill to go down in history.

THE CAFÉ AU GO-GO – New York City MARCH 17th, 1968

One of the great things about going to any live show is the feeling that anything can happen. The patrons of the small Café Au Go-Go Club in New York City couldn’t have known when they ordered their drinks that they were about to witness one of the great, public rock and roll jam sessions of all time that spring night. To be sure, Hendrix was known to play around town while in New York City, but this gig with Elvin Bishop on rhythm guitar, Paul Butterfield on harmonica and vocals, and Buddy Miles on the drums is some next-level stuff. It’s clear from the recording that the guys were just interested in messing around, but there are some real spine-tingling moments to be gleaned here like the pickup group’s all-instrumental rendition of “Little Wing” or the cover of T-Bone Walker’s “Stormy Monday.” Jimi jammed (on ‘a rainy night’) with Paul Caruso (vocal & harmonica), Buddy Miles (vocal & drums) Elvin Bishop (guitar), James Tatum (saxophone), Herbie Rich (organ), Harvey Brooks (bass), Phillip Wilson (drums).  Jimi recorded the jam on his Sony reel-to-reel deck from the mixing board. Featured are “Everything’s Gonna Be Alright,” “Stormy Monday,” “Three Little Bears,” and “Little Wing.”

The Jimi Hendrix Experience: Live In Ottawa

OTTAWA CANADA CAPITAL THEATRE  March 19TH, 1968

This unique, authorized ‘bootleg’ release features a raw, two-track mixing console recording of Jimi’s March 19th, 1968 concert in Ottawa, Canada.

Jimi’s appearance in Ottawa was part of an extensive US tour organized in support of his recently issued second album, “Axis: Bold As Love”. The guitarist arrived in New York on January 30th, 1968 and immediately took part in a press reception organized by publicist Michael Goldstein. Goldstein dubbed the event “The British Are Coming” and made the Experience, as well as the other groups in the Michael Jeffery/Chas Chandler stable available to journalists and photographers at the Copter Lounge atop the Pan Am building in Manhattan.

Following the media hoopla in New York, the Experience flew to San Francisco where their tour began in earnest at the Fillmore Auditorium on February 1st. Eight shows over the course of four memorable nights at the Fillmore and Winterland Ballroom launched the tour in grand fashion.  From San Francisco, the Experience ventured across the US, performing at a mix of clubs, colleges, and medium sized auditoriums. Despite the growing popularity of Are You Experienced, issued the previous August by Reprise, Jimi’s US distributor, the Experience had only begun to develop a national following.  As a result, limited finances eschewed the comforts of a tour bus and made leasing a tour airplane unfathomable.  Instead, the group, guided by their faithful road manager Gerry Stickells, made much of their journey across the country in a rented station wagon.  In what can only be described as a remarkable test of their endurance and enthusiasm, the Experience performed sixty concerts in sixty days during the first leg of this tour.

Five weeks into their dizzying tour itinerary, the Experience arrived in Ottawa to perform two shows at the city’s venerable Capitol Theater. As he often did when performing two concerts in one evening, Jimi varied his set lists.  He maintained some staples such as “Fire” and “Foxy Lady” in each concert, but in the evening’s early performance, of which no recording is known, newspaper reviews reveal that he featured “Sgt. Pepper’s Lonely Hearts Club Band” and “I Don’t Live Today”.  These songs were not revived for the second show, but in their place came “Spanish Castle Magic”, an energetic reading of Howlin’ Wolf’s “Killing Floor” and the lengthy instrumental workout “Tax Free”.

Experience concerts bore little resemblance to seamlessly produced present day rock events.  In 1968, a Jimi Hendrix concert was truly a counter cultural gathering, fueled in large part by the support of underground radio and college newspapers.  The concerts themselves were miles away from today’s rigidly structured events which more often resemble a Broadway production than a traditional rock and roll show.  Technically, Jimi lacked virtually everything from amplifiers capable of withstanding his sonic demands to adequate stage monitoring [during this era, Mitch was often without any monitoring whatsoever].  There were no light cues or pyrotechnics timed to announce Hendrix’s arrival onstage. Jimi simply walked out, greeted the crowd, and would quickly tune his guitar.  During the performance, technical demands and other challenges were either solved on the fly or not at all.  This hasty work invariably took place in plain view of the audience.  Jimi’s Ottawa performance was no different.  As he and his crew struggled to overcome a variety of technical difficulties, Jimi peppered the crowd with his sly wit.

If a desultory [and now rather humorous] review of Jimi’s performance, printed the following morning in the Ottawa Citizen, can be believed, the Experience sold out the second concert of the evening. It is this inspired performance which is featured on this disc.

The concert at the Capital Theater took place four days after the March 15th, Clark University performance issued as the second Dagger Records release in this series.  Like that show, the Experience were in top form throughout.  The grinding toll of their first major US tour was masked by the group’s upbeat demeanor and spirited performance.  Most important, coupled together with Live At Clark University, Live In Ottawa provides a compelling and detailed look at the Experience cresting at the peak of their friendship and unity.

There is much to be relished in this unpolished recording.  Jimi’s train whistle feedback announces his powerhouse rendition of Howlin’ Wolf’s “Killing Floor”.  A stinging “Red House”, Jimi’s own blues masterwork, is even stronger.  Live In Ottawa also presents the earliest live version of “Tax Free” issued to date.  Here Mitchell and Redding push Hendrix insistently throughout the song’s complex arrangement.  The expanded introduction to “Hey Joe”, a precursor to the more elaborate efforts which would follow in the weeks and months to come, is wickedly clever and no doubt a salve to Hendrix’s restless creative spirit.  The guitarist loathed having to replicate his hits in the same manner night after night.  It is alterations and embellishments such as these which made every Jimi Hendrix performance so unique.

More than three decades later, it is performances such as these which reveal just how exciting it was to have a witnessed a Jimi Hendrix Experience concert.

How and why the concert was recorded is somewhat of a mystery.  The performance was not professionally recorded, as were later Hendrix performances at Woodstock and the Fillmore East.  Nonetheless, Jimi was obviously well aware of a tape recorder capturing the proceedings.  During his set, he made mention of it onstage, exhorting the crowd at one point to cheer so that the group’s girlfriends wouldn’t think they had bombed in Ottawa!

It is possible that Jimi himself recorded this performance on his own Sony reel to reel tape machine.  He frequently made recordings of various jam sessions and club performances for his own enjoyment.  It is more likely, however, that member of the Capital Theater stage crew documented the performance for posterity.  All of Jimi’s performance is presented in its original running order.  “Wild Thing”, the final song of the evening, cuts out just as Jimi tore through the song’s unforgettable opening chord sequence.  Apparently, the tape operator loaded his reel to reel tape machine with a 2400 hundred foot spool of blank tape.  Such a spool would provide slightly more than sixty minutes of recording time at seven and a half inches per second.  The recording begins with the introduction of the group by CKOY radio personality Nelson Davis and continues until the spool runs out. Lost is the balance of “Wild Thing”, but most of us know what happens at the end there …

MIAMI POP FESTIVAL, MAY 18th 1968

Never previously available in any form, Miami Pop Festival, introduces the first recorded stage performances of “Hear My Train A Comin'” and “Tax Free” while showcasing definitive live takes on such classics as “Fire,” “Hey Joe,” “I Don’t Live Today” and “Purple Haze.” The package includes never before published photos taken at the festival and an essay by award-winning music journalist and Grammy Museum Executive Director Bob Santelli. This album includes the show as originally recorded on site by Hendrix’s long term sound engineer, Eddie Kramer.

Footage of Hendrix performing at the 1968 Miami Pop Festival was revealed in the two-hour documentary American Masters: Jimi Hendrix – Hear My Train a Comin’, the film debuts, you can get an look at this amazing clip of Hendrix performing “Foxy Lady” onstage in Miami on May 18th, 1968 during his headlining set. The video depicts the famed left-handed guitarist powering through one of his most enduring numbers. Sporting a fedora, blond streaks in his hair, a puffy white shirt and red velvet pants, Hendrix clearly stuns his daytime audience with his explosive, soulful playing.

This live album by the Jimi Hendrix Experience, documenting their May 18th, 1968 performance at the Miami Pop Festival. It album features eight songs recorded during their evening performance, along with two afternoon-show performances.

The Jimi Hendrix Experience: Live At Woburn

WOBURN MUSIC FESTIVAL on JULY 6th, 1968

The Jimi Hendrix Experience: Live At Woburn is the eleventh release in the Dagger Records authorized ‘bootleg’ recording series. Live At Woburn presents a 100% previously unreleased concert recording capturing The Jimi Hendrix Experience in concert at the Woburn Music Festival on July 6th, 1968.

The Woburn Music Festival was one of Britain’s first large scale, open-air rock music events. Staged by brothers Richard “Rik” and John Gunnell, who were well respected individuals in the burgeoning London music scene where they were heavily involved in many aspects including band managed, show promoters and club owners. Rik in particular, who owned three fashionable 1960’s London nightspots—the Ram Jam Club, Flamingo, and Bag O’ Nails—presented authentic, first generation American icons like John Lee Hooker and Otis Redding and some of the brightest examples of a swelling wave of emerging British talent such as The Rolling Stones, Jack Bruce and Georgie Fame.

Jimi’s co-managers Chas Chandler and Michael Jeffery—a fellow nightclub entrepreneur—enjoyed a friendship with Gunnell. Gunnell had been an early supporter of The Animals, and extended the same courtesy to Hendrix and The Experience, presenting some of the group’s earliest London engagements.

Jimi’s popularity had grown exponentially since those early days in 1966 and he arrived at the Woburn Festival as its eagerly anticipated headline act. This anticipation was fueled in part by Jimi’s absence from Britain. The Experience had spent much of 1968 touring and recording in America and had not performed live in Britain since December 1967.

Woburn Music Festival featured separate afternoon and evening sets for both Saturday and Sunday. While rhythm & blues was the primary focus with Gunnell drawing heavily from his own talent pool, casting John Mayall’s Bluesbreakers, Alexis Korner, and Geno Washington together with the more folk influenced Pentangle, Roy Harper, and Tim Rose. The Jimi Hendrix Experience were scheduled to close the Saturday evening show where an enthusiastic crowd some 14,000 strong turned out for the performance.

Axis: Bold As Love was still a top selling album in July 1968 but Jimi had long since moved on to new challenges. To Hendrix, performances such as Woburn were unique, shared experiences and not simply personal appearances intended to help shift units of albums or singles. At Woburn, Jimi skipped songs from Axis: Bold As Love altogether, electing instead to ‘jam’ as he called it kicking off his set with a spirited “Sgt. Pepper’s Lonely Hearts Club Band” regrettably missed in part by the late start of the recording machine]. The trio followed “Sgt. Pepper” with “Fire,” and despite beset with buzzing, crackles and otherwise unwanted noises throughout their set, uThe Experience continued to persevere doing their best to surmount the technical problems that hampered an otherwise animated set.

Jimi may have bypassed Axis: Bold As Love, but he did foreshadow his next album at Woburn, stretching out a marvelous “Tax Free,” a contender for Electric Ladyland and a favourite Experience vehicle for improvisation. Hendrix followed up with an extended improvisational rendition of “Red House” before diving into “Foxey Lady.” He also offered his Woburn audience what he called, ‘…a song that we recorded for our new LP. It’s nothing but a hard rock—it’s called “Voodoo Child (Slight Return)”.

Equipment problems were always an irritant for Jimi and Woburn was no exception. He prefaced “Purple Haze,” the group’s final song, with an apology. “We’re very sorry that we have to play through broken amplifiers,” he explained. “Like I said before, it’s really a hang up. It’s very hard to get our own sound across so we would like to end it and say thank you very much for showing up. We would like to do this last song “Purple Haze.” Jimi kicked off a boisterous feedback opening, buttressed by Mitchell and Redding and complete with tremolo bar swoops, wah-wah pedal shadings and soaring dive bomb styled bursts that transitioned seamlessly into the song’s unmistakable opening notes. At its conclusion, the audience roared with approval. While no microphones were positioned to fully capture the intensity of their reaction, their enthusiasm and calls for more can be easily heard through Jimi and Noel’s stage microphones.

The Experience’s performance at Woburn Music Festival would mark the trio’s last performance in England until the two celebrated concerts in February 1969 at the Royal Albert Hall.

Technical Note:

Like many of the live releases issued as part of the Dagger Records series, The Jimi Hendrix Experience: Live At Woburn was not professionally recorded using multi-track technology. It was instead drawn from a recording made from the stage soundboard.

As a result, the recording is not without its share of flaws and technical limitations. The recording is raw and occasionally overdriven but it effectively presents all of the voices and instruments onstage. In addition to the aforementioned late start on “Sgt. Pepper’s Lonely Hearts Club Band,” the ending of “Tax Free” was lost when the tape ran out. Fortunately, the tape spool was rethreaded and recording resumed for the start of “Red House”. It is entirely possible that another song was performed and not recorded but there is no firm evidence to definitively confirm this either way.

As noted, the buzzing, crackling and static not otherwise emanating from Jimi and Noel’s battered amplifiers are part of this historical document. Its flaws notwithstanding, this recording represents the only known documentation of this significant performance. The Jimi Hendrix Experience: Live At Woburn, despite its technical imperfections, supplies yet
another fascinating piece to the Hendrix puzzle.

THE WINTERLAND BALLROOM – OCTOBER 11th, 1968

The Jimi Hendrix Experience performed six shows over three days at San Francisco’s Winterland Ballroom in October 1968. This four-disc set gathers 35 of the songs, plus a rambling interview Hendrix gave backstage from another venue a month later. it’s the cover tunes that make it worth hearing. The Highlight: a bluesy, crawling take on Dylan’s “Like a Rolling Stone.” Burning guitars and rockets red-glaring aside, this show, the second in a run of three dates in San Francisco, was the absolute peak of Jimi Hendrix’s live performance career. Throughout its history, the Winterland Ballroom was a venue that brought the best out of those who performed there, whether it was Led Zeppelin in 1969, The Band in 1976, or Bruce Springsteen and the Sex Pistols in 1978. Hendrix, already one of the best live acts on the scene at the time, with a tremendously loyal and dedicated following in the Bay Area, brought his pure A-game to the Bill Graham-promoted concert hall.

It’s actually a pretty tall order to pick from which of the three nights from the 10th through the 12th was the best of the bunch. On the first evening, you have a tremendous, electrified version of “Hear My Train a Comin’” to go along with a twisted, psychedelic rendition of “Tax Free”. On the last night, there’s that great cover of Cream’s “Sunshine of Your Love” and an explosive “Spanish Castle Magic”. But then you have the second night, and Hendrix gives you perhaps the best version of “Purple Haze” that he ever performed live to go along with a mind-blowing cover of Bob Dylan’s “Like a Rolling Stone”. You can’t go wrong with any of these gigs to be perfectly honest, and taken together, they really are the iconic guitarist at the very top of his game.

“Jimi Hendrix Experience- Winterland”  (versions available: 4 Disc Deluxe Box Set or 8 12″ 180 gram Vinyl Audiophile LP Deluxe Box Set .

Winterland is drawn from six stellar shows recorded over three days (October 10th, 11th and 12th, 1968) at San Francisco’s historic Winterland Ballroom.  These special performances celebrated the two year anniversary of the Jimi Hendrix Experience and came just as the groundbreaking album “Electric Ladyland” was released.

Winterland presents some of Hendrix’s most spectacular guitar work and the four CD set (also available as eight 12″ vinyl LPs) is filled with rare live versions of classic songs such as “Manic Depression,” “Are You Experienced?,” “Tax Free,” and “Little Wing” that are not part of any other Sony Legacy release.  Fans will also enjoy Hendrix’s dramatic interpretations of Cream’s “Sunshine Of Your Love” and Howlin’ Wolf’s “Killing Floor” [with the Experience joined by Jefferson Airplane bassist Jack Casady] as well his rendition of Bob Dylan’s “Like A Rolling Stone,” which has been selected as the lead track for this special release.

This special deluxe box set features never before released music from each of the six unforgettable Winterland performances.  The new standard and deluxe editions of Winterland are markedly different from a single disc compilation, long out of print, that was briefly issued by Rykodisc in 1987 and 1988.

The deluxe edition also presents a rare interview with Hendrix recorded backstage at the Boston Garden a few weeks after the Winterland performances.  This previously unreleased bonus provides fans with a unique window into Hendrix’s views about his background, his approach to the guitar and songwriting and future direction of his music. The deluxe edition also features a 36 page booked filled with previously unpublished images by acclaimed photographers Robert Knight, Allen Tannenbaum and Jim Marshall as well as an essay by noted Rolling Stone journalist David Fricke.

The featured track, “Like A Rolling Stone,” will precede the album’s release as a CD and 7″ vinyl single . The single will also feature a previously unreleased live version of “Purple Haze” from the Winterland concerts that will not be featured on the box set.

The Jimi Hendrix Experience: Live In Cologne

LIVE IN SPORTHALLE COLOGNE , JANUARY 13th 1979 

Live in Cologne is a posthumous live album by the Jimi Hendrix Experience. Released in November 2012, The Jimi Hendrix Experience: Live In Cologne, the twelfth release in the Dagger Records official bootleg series, documents this spirited, January 13th, 1969 performance at the Sporthalle in Cologne,
Germany.

Hendrix kicked off the proceedings with a scalding “Come On (Let the Good Times Roll)” from Electric Ladyland. This Earl King chestnut had long been a favorite of Jimi’s and here he began with a driving solo introduction before signaling Redding and Mitchell to join. Next followed a blistering version of “Foxey Lady,” a perennial stage favorite. An abrupt tape cut precedes a memorable rendition of “Red House.” Thankfully the performance is essentially complete lacking only Jimi’s prefacing stage banter, offered as he likely changed guitars before starting. “Voodoo Child (Slight Return)” followed next, not yet established as Jimi’s closing number as it would become later in 1969 and remain so throughout his career, but no less muscular.

Jimi then shifted directly into “Fire” and then a thunderous “Spanish Castle Magic.” The Experience were clearly locked in sync, pushing each other throughout all to the delight of their audience. The Experience never backed off, launching next into their first single “Hey Joe.” Jimi had to do some quick tuning on the fly, but he pressed on undaunted, boldly dashing off a lick from the Beatles’ “I Feel Fine” as he barreled through this uptempo rendition. This driving intensity built up after the solo, underscored by Jimi’s rhythm guitar work and Mitchell’s superb drumming before culminating in a rousing finale.

“Sunshine Of Your Love” was offered in tribute to Cream, all to the delight of the audience whose howls of approval can be heard even during Redding’s bass solo. “Star Spangled Banner” and “Purple Haze” capped off a truly memorable night and then the Experience were gone, whisked off to the next city and another unsuspecting audience.

The Jimi Hendrix Experience: Live In Cologne is like other releases in the Dagger Records series. This album was not drawn from professionally recorded masters but instead an amateur, monophonic audience recording. As a result, the recording is not without various technical flaws and sonic limitations. Nonetheless, this special ‘official bootleg’ stands as a captivating document of this important chapter of Jimi’s legacy.

THE ROYAL ALBERT HALL – FEBRUARY 24th, 1969

It was over 50 years ago when the Jimi Hendrix Experience played an important concert at the Royal Albert Hall on February 24th, 1969. Although captured on film by a team of cameramen, the event seemed consigned to history and became just a distant memory of those lucky enough to be there. So, at the Royal Albert Hall the first concert was held on February 18th, 1969 . A week later on February 24th. the first show hadn’t been filmed because the lighting in the hall wasn’t sufficiently bright. On that occasion, the Experience was supported by a post-Traffic group billed as Mason, Capaldi, Wood & Frog plus Soft Machine. The first show was okay, if not wonderful.

Of course it was the music we came to experience and the sheer riveting power exercised by Jimi with that fingertip control of his trusty Fender guitar, was mesmerising. There were moments when he drifted away on secretive spiritual journeys, then came the blasting back down to earth, crash landing into total funk grind, all the while unleashing familiar riffs and teasing melodies.

Stone Free set us free from the outset. It wandered through different grooves but was always brought under control by the drummer and bass player, loyally responding to Jimi’s changing musical moods. A nod here, a glare there – there was no mistaking his unspoken directions. And when Jimi turned them loose, it was Mitch Mitchell who shone with a tumultuous drum solo that drew cheers from an audience not even at a ‘live’ concert but straining their necks to gaze up at the pulsating screen.

Mitch was always a highly regarded drummer even from his R&B days with Georgie Fame & the Blue Flames. His freewheeling style blossomed with the Experience, but could be erratic at times. Not so on the night in question. As the tiny figure launched into an astonishing assault on his double bass drum Ludwig kit, he disappeared in a mass of flying hair and shining cymbals. All we could see were the sticks flailing. On that night he out-drummed ‘em all, Baker and Bonham included. Noel Redding too stayed on the ball throughout. While never the focus of extensive camera attention, (given that all eyes were on Jimi), his bass playing gave sturdy support for Hendrix and Noel formed a perfect team mate for Mitch in the rhythm section.

As the show progressed Jimi embarked on a series of hypnotic performances playing such songs as Lover Man, I Don’t Live Today and the ultimate blues anthem Red House. The crowd leapt from the seats for Foxy Lady, Fire, Little Wing and Voodoo Chile (Slight Return), and sprawled exhausted for Purple Haze, the wonderful Wild Thing and Jimi’s tilt at the Star Spangled Banner, an anthem the former paratrooper must have heard played many a time during his 101st Airborne days.

‘Thank you very much!’ Was all Jimi could say to his audience after such a physically exhausting and emotionally draining performance that saw him kicking over Marshall amps and smashing a guitar to smithereens and finally hurling the broken neck out into the once restrained and now hysterical audience.

It was one of Hendrix manager Michael Jeffrey’s more canny moves that this gig was even booked in the first place. Originally, he and The Experience were only supposed to perform at the Royal Albert Hall for one night on February 18th, which was due to be recorded for a potential live album, but Jeffrey was worried that the band wouldn’t make the grade. His concern proved correct as both Redding and Mitchell sounded utterly lethargic at that show.

The band only had one more shot to make up for their lackluster performance, thus this gig a week later where they absolutely killed. Hendrix clearly knew that he and the band were on fire and actually went back on at the end of the night for a positively rare encore of the exceedingly rarely played “Room Full of Mirrors”. This ended up being the last show that The Experience would ever play together in Europe.

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WOODSTOCK – AUGUST 18th, 1969

One transcendent moment does not a complete concert make. Hendrix’s performance of “The Star-Spangled Banner” at Woodstock will forever stand as one of the defining moments of the ‘60s, but the rest of the show around that singular and notably solo – rendition of the American national anthem is somewhat shambolic. For this gig, Hendrix brought together his regular drummer, Mitch Mitchell, and his Army buddy and Band of Gypsys bassist, Buddy Cox, but also an overstuffed array of world musicians who clearly weren’t ready to tackle this material. That this was also the longest performance of Hendrix’s career actually doesn’t help its case as one might assume either. It’s not a complete disaster, however, as both “Woodstock Improvisation” and “Hey Joe” are undeniably fantastic.

Hendrix’s festival-closing set is the stuff of legend — mostly because his instrumental take on “Star Spangled Banner” sounds like a thousand bombs dropping on unsuspecting hippies at an ungodly hour. This 1999 album gathers almost his entire show (two songs sung by a rhythm guitarist are MIA), which was made up of familiar songs like “Foxey Lady” and “Purple Haze,” as well as a few blues covers. And “Star Spangled Banner,” of course.

As celebrated as Hendrix’s appearance at the Woodstock Festival was, the double disc release containing Jimi’s entire 16-track performance is nothing short of an exhausting listen. The band weren’t as tight as they should have been and Jimi extended every track to within an inch of its life, not always to its advantage. While it’s undeniably great to have access to a good quality recording of the fabled show, chances are you’ll find yourself returning to a select few incendiary performances – more than likely ‘Foxey Lady’, ‘Red House’ and the ‘Star Spangled Banner’ – but most of it is far too reliant upon seemingly endless jam sessions, and there’s only so much of that you handle at one sitting without the heady visuals to match.

Woodstock Music & Art Festival, Bethel, New York

Set List: Message To Love Hear My Train A Comin’ Spanish Castle Magic, Red House Mastermind [Larry Lee] Lover Man Foxey Lady Jam Back At The House Izabella Gypsy Woman [Larry Lee] Fire Voodoo Child (Slight Return) Star Spangled Banner Purple Haze Woodstock Improvisation Villanova Junction Blues Hey Joe

Beginning in July 1969, Jimi relocated to Shokan, a quiet upstate New York village near Woodstock for the balance of the summer. Here Hendrix was accorded sufficient time to relax and refine his new musical direction. In time, the rustic summer retreat served to rejuvenate his creative spirit. “Jimi was taking a kind of vacation out in the country, trying to get his act together,” explains Eddie Kramer. “It was all part of his developmental process, wood shedding if you want to call it that. With Billy Cox in tow, Jimi revisited his Tennessee roots once more, reaching back to guitarist Larry Lee, another old friend and veteran of the chitlin’ circuit. Where Cox had been actively involved in various music projects prior to heeding Jimi’s call, Lee had just returned from a stint in Vietnam. Also invited to Hendrix’s vacation retreat were percussionists Jerry Velez and Juma Sultan. Hendrix met Velez at Steve Paul’s Scene Club prior to the break up of the Experience. “I had just finished jamming with The McCoys,” explains Velez. “When I walked over to my table, Jimi and his entourage were sitting behind me. A little later, I joined the band on stage again for a few more tunes. When I came back to sit down, he leaned over and said, ‘Listen, I’m recording this jam over at the studio tonight. We’ll be starting around four, after this thing ends tonight. Do you want to come down and jam?’ I said sure. I went over that night and jammed with Jimi and Buddy Miles, and we seemed to hit it off.” Juma Sultan was actively involved with the Aboriginal Music Society in Woodstock, New York, and was a highly respected percussionist who would performed regularly at the Tinker Street Cinema. Both were received well during their jam’s back at the house and were invited to join Hendrix’s expanded ensemble, Gypsy Sun and Rainbows. In the weeks prior to the Woodstock festival, Jimi jammed at his rented home, as well as the Tinker Street Cinema in downtown Woodstock. Making its first and only official public appearance, Hendrix’s expanded ensemble Gypsy Sun and Rainbows performs at the Woodstock Music & Art Festival in Bethel, New York. Hendrix takes to the Woodstock stage on Monday morning with the support of Mitch Mitchell (drums), Billy Cox (bass & backing vocals), Larry Lee (rhythm guitar), Juma Sultan (percussion), and Jerry Velez (percussion). His extended set includes his magnificent rendition of the “Star Spangled Banner”.

THE FILLMORE EAST – JANUARY 1st, 1970

The one and only performance of the short-lived Band of Gypsys came at Bill Graham’s Fillmore East. The only reason this project came to fruition in the first place was due to a legal settlement between Hendrix and Ed Chalpin of PPX Recordings, whereby the latter would receive total rights to one release by the former. It was a messy situation all around and one that Hendrix wasn’t about to resolve by giving Chalpin the tapes that would make up Electric Ladyland, so instead he enlisted his old Army buddy Billy Cox to play bass and Buddy Miles of Electric Flag to play drums for a special live album project. It’s hard to say that Band of Gypsys was superior to the Experience, but this show isn’t without its merits. “Them Changes” with Miles on lead vocals is funky and fun in a way that Hendrix rarely was while performing live, but it’s the song “Machine Gun” that takes the cake. At a runtime of 12:40, it’s by no means succinct, but with that signature, simulated-gunfire riff and wandering, adventurous solos, it’s one of the most thrilling tracks in Hendrix’s canon.

Live at the Fillmore East is basically an expanded version of the 1970 live album Band of Gypsies, which was recorded on New Year’s Eve 1969 at the legendary New York club. Hendrix’s new trio were bluesier and jazzier than The Experience, so the 16 songs here — including reworked versions of “Stone Free” and “Voodoo Child (Slight Return)” — swing harder. Highlight: was the anti-war jam “Machine Gun.”

With a myriad of debatable quality bootleg live recordings available, it’s fantastic to find a great live recording of Jimi at his fiery best. Live At Fillmore East is one such beast. The double CD is taken from recordings of four nights Jimi and The Band Of Gypsys (completed by bassist Billy Cox and Buddy Miles on drums) played over New Year’s Eve 1970. If anything, this is a better place to hear Jimi with this band than the official Gypsys release that came out during the guitarist’s lifetime. Hendrix’s self-written material comes across the best – lead-off track ‘Stone Free’ is particularly powerful as it clocks in at nearly 13 minutes, but it’s good to hear the guitarist stretching out on the Buddy Miles composition ‘We Gotta Live Together’, while closer ‘Wild Thing’ serves as a reminder that while Jimi liked to improvise and jam in a live environment he was more that capable of wringing the best out of a three minute pop song.

THE L.A. FORUM – APRIL 25th, 1970

There’s something about the sunny confines of the Forum in Inglewood, California, that brought out the best in a myriad of ‘60s and ‘70s rock bands, and Jimi Hendrix was no exception. This was the first live show that Hendrix played after his foray with the Band of Gypsys and the first in seven months with Mitch Mitchell back on the skins. Hendrix sounds completely re-energized and hits the SoCal crowd with a number of heavy-hitting tracks, including one of the first performances of “Ezy Rider” and “Freedom”, which both sound incredible. The cherry of this gig, however, is the sultry and bombastic “Foxy Lady”, which, per usual, was dedicated to one of the finer specimens of the opposite sex that the guitarist spotted in the crowd.

BERKELEY COMMUNITY THEATRE – MAY 30th, 1970

Loose is the operative word when it comes to describing this concert, which took place just outside the confines of the University of California. In the context in which it was performed, it’s actually an interesting contrast to the mania of the anti-Vietnam War demonstrations that were taking place right outside the venue. In his own way, Hendrix addresses the tension permeating the atmosphere in his intro to “The Star-Spangled Banner” when he asks the crowd to get on their feet and stand for the national anthem, reminding them that “we’re all Americans.” For their troubles, he then proceeds to knock them down back on their asses with seismic versions of “Purple Haze” and “Voodoo Chile (Slight Return)”. For real music nerds, it should be noted that this show was one of the very few instances in his career when Hendrix didn’t tune his guitar down a half step and instead played this entire gig in standard tuning.

This is a tasty recording as it features Jimi Hendrix neither with the Experience nor with his Band Of Gypsys, rather the line-up here was a cross between the two. Gypsy bassist, Billy Cox and Experience drummer Mitch Mitchell backing up Jimi as he tears through blinding versions of ‘Purple Haze’ and ‘Hey Joe’. Encapsulating the best of both worlds, Hendrix was able to illustrate the experimental side of the Experience with the more funky, R&B-led style of the Gypsys. The concert captured here is the second show Hendrix and co. performed at the Berkeley Community Center in 1970. As ever, the live rendition of ‘Red House’ is stunning while ‘Voodoo Child’ is a textbook performance – the perfect blend of experimentation kept on a short leash, even though it’s a suitably extended version with a superb vocal track. It’s not all established material that Hendrix offers here – we also get to witness early versions of songs (notably ‘Hey Baby (New Rising Sun)’ and ‘Straight Ahead’ – here in the guise of ‘Pass It On’) that would go on to be featured on other posthumous releases.

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THE ATLANTA INTERNATIONAL POP FESTIVAL – JULY 4th, 1970

Many of Hendrix’s greatest live shows came in outdoor spaces, like this one at the Atlanta Pop Festival on Independence Day in 1970. In many ways, this Georgia gathering was the spiritual sequel to Woodstock that the fiasco in Altamont failed to be. Like Woodstock, it was billed as “three days of peace, love and music,” and you needed a ticket to enter. And just like in upstate New York, the deluge of 300,000-500,000 people crying out slogans like “music belongs to the people” forced the organizers to open the gates and let everyone in completely free of charge.

For his part, Hendrix actually delivered a set that was far more cohesive and tight than he had given the summer before, albeit without any of the iconic highlights. A rare performance of “Room Full of Mirrors” is a real gem from this show as is the extended “Red House” jam.

 

THE ISLE OF WIGHT FESTIVAL, AUGUST 31st, 1970

“Blue Wild Angel: Live at the Isle of Wight” is a posthumous live album by Jimi Hendrix released on November 12th, 2002. The album documents Hendrix’s last U.K. live performance at the Isle of Wight Festival on August 31st, 1970, just three weeks before his death. The set list for the concert contained songs from the original Experience albums, as well as new songs. Some were previously available on Isle of Wight (1971) and Live Isle of Wight ’70 (1991).

Included in the set was an adaptation of “God Save the Queen” and a cover of The Beatles’ “Sgt. Pepper’s Lonely Hearts Club Band”, played just before launching into “Spanish Castle Magic”. The 22-minute version of “Machine Gun” includes walkie-talkie interference from security personnel feeding through the sound equipment. Apparently there were all sorts of issues with the organisation of the festival, and there were equipment problems, In some ways it’s a bit of a disappointing finale to his career, he’s seems a little tired or to be just going through the motions on much of this, maybe he was just getting tired of the band screaming out for Fire and Wild Thing, but at times the playing is as sublime as ever, and it’s interesting to see how the band with Billy Cox and Mitch Mitchell continues to expand their style. Billy Cox makes the ensemble work much better than Noel Redding ever did, a fine example being where Hendrix sits out for some time on what is easily the longest of my 20 versions of Foxy Lady. The full set is available on this album “Blue Wild Angel: Live at The Isle of Wight” and I’m not sure why they didn’t release a double album first time around. The single release album is necessarily not even the best selection of songs from the gig so I’d recommend getting Blue Wild Angel instead. This isn’t his finest performance, but they’re all unique, so if you haven’t heard it, and you’re a Hendrixphile, you need to.

The CD set is more complete than the DVD release as it contains “Midnight Lightning”, “Hey Baby (New Rising Sun)”, and “Hey Joe”, three songs that were omitted from the DVD. There was also a “highlights” album released as a single disc, which contained eleven songs – nine from disc one and two from disc two. It was re-released in 2003 as a three-disc “Deluxe Sound & Vision Edition” in a special box and slip cover format as part of Experience Hendrix’s plan to re-release most of Jimi Hendrix’s recorded material.

The Jimi Hendrix Experience: Live At The Isle Of Fehmarn

LIVE AT THE ISE OF FEHMARN September 6th 1970

The Jimi Hendrix Experience: Live At The Isle Of Fehmarn marks the eighth release in Dagger Records’ popular bootleg-style recording series. This historically significant album features The Jimi Hendrix Experience’s final live performance on September 6th, 1970 during the Love & Peace Festival held on the Isle Of Fehmarn in Germany.

Originally slated to perform on September 5th, The Experience’s appearance at the festival was delayed by frequent rain storms that plagued the previous days shows. Having just completed a series of six concerts in six days including headlining shows at both the Isle Of Wight (August 30th) and Berlin (September 4th), the extra day of rest would serve the group well.

By the time The Experience took to the stage on September 6th, audience tensions were guarded following a series of fights between German bikers, that had escalated in ferocity, and included the festival Box Office being robbed at gun point and Jimi Hendrix’s own road manager, Gerry Stickells being attacked. Depsite these problems, The Experience delivered an enthusiastic hour-plus performance which saw Jimi lead the trio through a series of songs encompassing all of the different periods of the group’s existence.

Jimi’s Isle Of Fehmarn performance has been widely bootlegged over the last 35 years yet it was never professionally recorded. Amateur recordings made from the audience by fans have served as the only known documentation of this historic concert until now. As the eighth entry in this popular ‘bootleg’ series, Dagger presents a newly discovered recording made by the festival’s promoters. Unbeknownst to Hendrix, the promoters captured the group’s entire performance by feeding two overhead stage microphones into a consumer grade Revox reel-to-reel tape machine located off to the side of the stage. The resulting document, rough hewn and unmixed, is clear and not unlike the amateur
audience recording featured on the initial Dagger offering Live At The Oakland Coliseum.

In addition to “Killing Floor,” Live At The Isle Of Fehmarn also features “Spanish Castle Magic,” “All Along The Watchtower,” “Hey Joe,” “Message To Love,” “Hey Baby (New Rising Sun),” “Foxey Lady,” “Red House,” “Ezy Ryder,” “Freedom,” “Room Full Of Mirrors,” “Purple Haze,” and a particularly memorable rendition of “Voodoo Child (Slight Return).”

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First, there was Band of Gypsies. Just a few years ago, there was Machine Gun. And, in between times, sundry compilations, bootlegs and all manner of other sources drip fed other moments from four momentous shows onto the collectors’ market.  Now, all four have been gathered together, and the result is one of the most spectacular Jimi Hendrix collections yet.

Band of Gypsies was Hendrix’s union with Buddy Miles and Billy Cox, a shortlived union that effectively debuted and departed in the space of 48 hours, New Year’s Eve 1969 and New Year’s Day, 1970. Two shows per day at the Fillmore East marked the band’s brief life, and for a long time, the soundtrack – the original Band of Gypsies album alone – was regarded by some as one of those take-it-or-leave-it Hendrix albums, released out of sequence out of contractual obligation, and effectively filled with overlong jamming through songs we’d never heard.

The passage of time, of course, dismissed that opinion, and Machine Gun, which served up the first of the four shows, placed at least some of the music into the context of a show… a great show, which danced back and forth between Jimi’s past and future, and ranks today among the most exhilarating single disc Hendrix live albums of them all.  And now that it has been expanded to five discs, it’s even better.

You can play favorites with the different shows according to their repertoire. On the first night, new material predominated, with only “Lover Man” and “Hear My Train A-Coming” coming through to satisfy the oldies fans. But a few more crept in on the second set; there was the glorious blast of “Stepping Stone” and “Foxey Lady” amidships in the third; and the final show was greatest hits a-go-go, as the evening ended with a colossal “Voodoo Chile,” a brutal “Wild Thing,” a leviathan “Purple Haze” and even “Hey Joe,” the song that started it all for Hendrix, but which he’d never seemed to have that much time for.

The sound is excellent throughout; the booklet well-presented and written. The box won’t take up much room on the shelf, and the whole thing, frankly, is a joy from beginning to end. The Band of Gypsies travel on.

Experience Hendrix L.L.C. and Legacy Recordings, a division of Sony Music Entertainment, are proud to release Songs For Groovy Children: The Fillmore East Concerts by Jimi Hendrix, on CD and digital November 22nd, with a vinyl release to follow on December 13th. This collection assembles all four historic debut concerts by the legendary guitarist in their original performance sequence. The 5 CD or 8 vinyl set boasts over two dozen tracks that have either never before been released commercially or have been newly pressed and newly remixed. Those who pre-order the digital version will instantly receive the previously unreleased track “Message To Love,” from the second New Year’s Eve performance on the collection.

Over the course of four extraordinary years, Jimi Hendrix placed his indelible stamp upon popular music with breathtaking velocity.  Measured alongside his triumphs at Monterey Pop and Woodstock, Hendrix’s legendary Fillmore East concerts illustrated a critical turning point in a radiant career filled with indefinite possibilities.

The revolutionary impact Jimi Hendrix, Billy Cox and Buddy Miles had upon the boundaries and definitions of rock, R&B, and funk can be traced to four concerts over the course of two captivating evenings.  These performances were first celebrated by Band of Gypsys, which featured six songs from the two January 1st, 1970 concerts, including “Machine Gun,” the album’s dramatic centerpiece. Issued in April 1970, Band of Gypsys challenged and surprised the wide following of Jimi Hendrix  with its extended arrangements and vibrant mix of rock and soul. 

In June of 1969, at the height of their fame, The Jimi Hendrix Experience, closed a musical chapter.  Before the shockwaves could settle, Hendrix assembled a new, expanded ensemble to perform at Woodstock in August. A new chapter was opened as Hendrix introduced Gypsy Sun and Rainbows.  The large ensemble included Jimi’s longtime friend Billy Cox, on bass, whom he had befriended when both were serving with the 101st Airborne Division in Ft. Campbell, Kentucky in 1962.  This Woodstock lineup was short-lived; from its ashes a new trio emerged in October that Hendrix dubbed Band of Gypsys, consisting of Hendrix, Cox and Electric Flag drummer Buddy Miles, who would also contribute occasional lead vocals. Hendrix was inspired by his collaboration with Cox and Miles and this creative renewal drove the development of promising new material such as “Power Of Soul,” “Burning Desire” and the extraordinary “Machine Gun.”  

Their debut live performances were a series of four concerts at the Fillmore East in Manhattan – two on New Year’s Eve 1969 and two on New Year’s Day 1970, each of which were professionally recorded. Hendrix had sold out Madison Square Garden just nine months prior, but the Fillmore East was chosen as the setting for a live recording.  Long before his fame, Hendrix had signed what he thought was a release for appearing as a studio musician in October 1965.  Unfortunately, the one page artist agreement drafted by PPX Industries bound his services for a period of three years.  Unwilling to live hands tied, Hendrix agreed to a 1968 legal settlement whereby Capitol Records would be granted the distribution rights for his next album.  By the autumn of 1969, Capitol and PPX were pushing hard for the album delivery and Hendrix decided to give them a live album.

However stressful this legal obligation had been for the guitarist, the end result proved to be an artistic triumph. True to his unpredictability, Hendrix opened his four-show stint with a masterful, eleven song set that did not feature a single song he had commercially released.  Exciting new songs such as “Izabella,” “Ezy Ryder” and “Burning Desire” thrilled the sold-out house.  Hendrix would pepper the remaining three shows with supercharged reworkings of favorites such as “Stone Free,” “Purple Haze,” and “Fire” but these were presented alongside such devastating, newly developed fare as “Machine Gun.”  In his review of the second New Year’s Eve concert, Down Beat critic Chris Albertson wrote, “That ability of his to utilize fully the technical possibilities of his instrument, combined with his fertile musical imagination, makes him an outstanding performer.”

By the end of January 1970, the band was history, but the blend of funk, rock and soul pioneered by the trio became history, making a profound impact on popular music in its wake. Notable devotees include funk pioneers ParliamentFunkadelic, Curtis Mayfield, the Isley Brothers (with whom Hendrix himself had at one time played) and Bootsy Collins, extending all the way forward to hip-hop.  Countless artists cite the record as a cornerstone in their appreciation of Jimi Hendrix ’s remarkable abilities.  

The original 1970 Band of Gypsys album was edited and sequenced from songs performed during the two Fillmore sets on January 1st, 1970.   Subsequent collections mined more material from each of the performances with significant chunks of these phenomenal recordings from those nights sitting unreleased for almost half a century. Newly mixed and restored in sequence without edits, fans can finally hear Hendrix, Cox and Miles blast through their genre-defying sets that included freshly written songs like “Earth Blues” and “Stepping Stone,” as well as Experience favorites inclusive of “Foxey Lady,” “Voodoo Child (Slight Return),” “Wild Thing,” “Hey Joe” and “Purple Haze.” Additionally, exciting new versions of Howard Tate’s “Stop,” “Steal Away,” by Jimmy Hughes and a searing “Bleeding Heart” by Elmore James highlighted the command that the trio had over blues & R&B music.

The lavish package is filled with unseen photos from talent such as Fillmore East house photographer Amalie Rothschild, Jan Blom (whose iconic, color saturated images provided the original artwork for 1970’s Band of Gypsys) as well as Marshall Amplifier representative Marc Franklin, who had full access to the group in their dressing room backstage.  The booklet features remembrances from bassist Billy Cox and liner notes by author/journalist/filmmaker Nelson George.  Songs For Groovy Children was produced by Janie Hendrix, Eddie Kramer and John McDermott – the trio that has overseen every project for Experience Hendrix since 1995. The box set was mastered by Grammy-winning engineer Bernie Grundman.

Kicking off today at the Paramount Theatre in Jimi’s hometown of Seattle, WA is the fall leg of the Experience Hendrix Tour, the acclaimed multi-artist celebration of Jimi Hendrix’s musical genius. The trek winds its way down the west coast into Oregon, California, Nevada, and then heading eastward into Arizona, Colorado, Oklahoma and Texas, culminating in San Antonio Oct. 22.  Participants include blues legend Buddy Guy, best-selling instrumental rock guitarist Joe Satriani,Taj Mahal, Dweezil Zappa, Jonny Lang, Eric Johnson and Billy Cox. His has, arguably, the longest lasting musical relationship with Jimi Hendrix, spanning their time in the U.S. Army, performance in Nashville-based soul combos and with Band of Gypsys, and continuing with the Tribute Concert Tours in honor of the legacy of Jimi Hendrix to the present day.