Jimi Hendrix Thread

[zimbra]

Hahaha @ "What causes earthquakes is bad vibrations"

[cactusfan]

i don't know what your problem with me is. you put up a link to a show on a site i don't have a membership to, and i said it would be nice if someone posted it here. where's the problem?

Sorry Cactus, I misread your post. I thought you were pointing out I was posting a double notice. And then was confused cause I thought you were aware some links would follow. This second show had just gone up on the site and no one had completed their downloads yet. But here it is in all it's glory. Sorry about my confusion, my bad. Enjoy:

http://www.megaupload.com/?d=S6WJPB3Z

glad to hear it's merely a misunderstanding. thank you much for the music. curious to hear how much better this source is than the version of this show i already have...

[twatts]

curious to hear how much better this source is than the version of this show i already have...

Same here...  I think I actually have several versions of this show...

Terry

[Superfreakie]

curious to hear how much better this source is than the version of this show i already have...

Same here...  I think I actually have several versions of this show...

Terry

Check your sources tracks. I think the big difference is that this one is the most complete source. The one's you have might have similar sound, but may not be complete. This has the Foxy Lady....and it sounds very different to the release.

[cactusfan]

curious to hear how much better this source is than the version of this show i already have...

Same here...  I think I actually have several versions of this show...

Terry

Check your sources tracks. I think the big difference is that this one is the most complete source. The one's you have might have similar sound, but may not be complete. This has the Foxy Lady....and it sounds very different to the release.

the version i have is a bootleg CD from '93, pressed in italy by Red Line. it contains the whole show, but...

this version you put up sounds a lot better. nice!
also different, my version places I Don't Live Today as track 3.

[twatts]

curious to hear how much better this source is than the version of this show i already have...

Same here...  I think I actually have several versions of this show...

Terry

Check your sources tracks. I think the big difference is that this one is the most complete source. The one's you have might have similar sound, but may not be complete. This has the Foxy Lady....and it sounds very different to the release.

I know, I have LIfelines and I remember piecing together the show with the missing foxy years ago...  The missing foxy is on Concerts methinks...  But year, one is Alan Douglas and the other is Eddie Kramer, so very diff sound...  There are also the various boots...

I have this one:

The Jimi Hendrix Experience
Saturday, April 26th, 1969
The Forum, Los Angeles, CA

Disc One:
1. Intro
2. Tax Free >
3. Drumz >
4. Tax Free
5. Foxy Lady
6. Red House
7. Spanish Castle Magic >
8. The Star Spangled Banner >
9. Purple Haze
10. I Don't Live Today

Disc Two:
1. Voodoo Chile >
2. Drumz >
3. Sunshine of Your Love Jam >
4. Voodoo Chile

Filler: Tuesday, September 5th, 1967
"Tonarskval" (Swedish radio program)
Studio 4, Radiohuset, Stockholm, Sweden
5. Sgt. Pepper's Lonely Hearts Club Band
6. Hey Joe
7. I Don't Live Today
8. The Wind Cries Mary
9. Foxy Lady
10. Fire
11. Burning of the Midnight Lamp
12. Purple Haze

Source: Master Reel > Cass X 2 > DAT > CD-R

4-26-69 was released as part of the out-of-print "Lifelines" CD box set.  This version is from a
different source, restores "Foxy Lady", and has an unedited "Tax Free".  9-05-67 was released in
the out-of-print "Stages" box set.  This version is a different mix.

Plus I think I have a few more on the Spindle...

Terry

[twatts]

I assume everyone here knows about this place:  http://crosstowntorrents.org/index.php

Terry

[Superfreakie]

After a thorough listen, the major difference between the Lifelines box set 4th disc release and this particular boot, is the boot's distortion in the high end, especially the cymbals, however the recording is a little thin. In this department, the boot definitely has a lot more kick in the lower end. A lot more. In fact its bass and toms sound very "audy". The vocals are a lot more upfront on the boot. I'd be interested to hear what this would sound like as a matrix. Probably slop, but regardless, the release is definitely not a candidate for engineer of the year award. Sorry Kramer.

[susep]

I assume everyone here knows about this place:  http://crosstowntorrents.org/index.php

Terry

great site, I'm a proud member.  lots of great bootlegs both Aud and studio stuff.  Huge archives, basically the 'paug of Hendrix and more.

the release is definitely not a candidate for engineer of the year award. Sorry Kramer.

I'm preety sure Eddie Kramer didn't mix the LA Forum Lifelines version(although I could be wrong), does it say in the linear?  It was selected tracks ala the Star Spangled Banner > Purple Haze and I Don't Live Today that EK mixed originally in June 1969.  I'm almost certain EK did not work for Alan Douglas who helped produce Lifelines later on in the late 80's. 

[Superfreakie]

I'm preety sure Eddie Kramer didn't mix the LA Forum Lifelines version(although I could be wrong), does it say in the linear?  It was selected tracks ala the Star Spangled Banner > Purple Haze and I Don't Live Today that EK mixed originally in June 1969.  I'm almost certain EK did not work for Alan Douglas who helped produce Lifelines later on in the late 80's.

I can't seem to find anyone explicitly named as the sound engineer.

[susep]

By Pete Townshend Posted Aug 27, 2003

I feel sad for people who have to judge Jimi Hendrix on the basis of recordings and film alone, because in the flesh he was so extraordinary. He had a kind of alchemist's ability; when he was on the stage, he changed. He physically changed. He became incredibly graceful and beautiful. It wasn't just people taking LSD, though that was going on, there's no question. But he had a power that almost sobered you up if you were on an acid trip. He was bigger than LSD.

What he played was fucking loud but also incredibly lyrical and expert. He managed to build this bridge between true blues guitar -- the kind that Eric Clapton had been battling with for years and years -- and modern sounds, the kind of Syd Barrett-meets-Townshend sound, the wall of screaming guitar sound that U2 popularized. He brought the two together brilliantly. And it was supported by a visual magic that obviously you won't get if you just listen to the music. He did this thing where he would play a chord, and then he would sweep his left hand through the air in a curve, and it would almost take you away from the idea that there was a guitar player here and that the music was actually coming out of the end of his fingers. And then people say, "Well, you were obviously on drugs." But I wasn't, and I wasn't drunk, either. I can just remember being taken over by this, and the images he was producing or evoking were naturally psychedelic in tone because we were surrounded by psychedelic graphics. All of the images that were around us at the time had this kind of echoey, acidy quality to them. The lighting in all the clubs was psychedelic and drippy.

He was dusty -- he had cobwebs and dust all over him. He was a very unremarkable-looking guy with an old military jacket on that was pretty dirty. It looked like he'd maybe slept in it a few nights running. When he would walk toward the stage, nobody would really take much notice of him. But when he walked off, I saw him walk up to some of the most covetable women in the world. Hendrix would snap his fingers, and they followed him. Onstage, he was very erotic as well. To a man watching, he was erotic like Mick Jagger is erotic. It wasn't "You know, I'd like to take that guy in the bathroom and fuck him." It was a high form of eroticism, almost spiritual in quality. There was a sense of wanting to possess him and wanting to be a part of him, to know how he did what he did because he was so powerfully affecting. Johnny Rotten did it, Kurt Cobain did it. As a man, you wanted to be a part of Johnny Rotten's gang, you wanted to be a part of Kurt Cobain's gang.

He was shy and kind and sweet, and he was fucked up and insecure. If you were as lucky as I was, you'd spend a few hours with him after a gig and watch him descend out of this incredibly colorful, energized face. There was also something quite sad about watching him. There was a hedonism about him. Toward the end of his life, he seemed to be having fun, but maybe a little bit too much. It was happening to a lot of people, but it was sad to see it happen to him.

With Jimi, I didn't have any envy. I never had any sense that I could ever come close. I remember feeling quite sorry for Eric, who thought that he might actually be able to emulate Jimi. I also felt sorry that he should think that he needed to. Because I thought Eric was wonderful anyway. Perhaps I make assumptions here that I shouldn't, but it's true. Once -- I think it was at a gig Jimi played at the Scotch of St. James [in London] -- Eric and I found ourselves holding each other's hands. You know, what we were watching was so profoundly powerful.

The third or fourth time that I saw him, he was supporting the Who at the Saville Theatre. That was the first time I saw him set his guitar on fire. It didn't do very much. He poured lighter fluid over the guitar and set fire to it, and then the next day he would be playing with a guitar that was a little bit charred. In fact, I remember teasing him, saying, "That's not good enough -- you need a proper flame-thrower, it needs to be completely destroyed." We started getting into an argument about destroying your guitar -- if you're going to do it, you have to do it properly. You have to break every little piece of the guitar, and then you have to give it away so it can't be rebuilt. Only that is proper breaking your guitar. He was looking at me like I was fucking mad.

Trying to work out how he affected me at my ground zero, the fact is that I felt like I was robbed. I felt the Who were in some ways quite a silly little group, that they were indeed my art-school installation. They were constructed ideas and images and some cool little pop songs. Some of the music was good, but a lot of what the Who did was very tongue-in-cheek, or we reserved the right to pretend it was tongue-in-cheek if the audience laughed at it. The Who would always look like we didn't really mean it, like it didn't really matter. You know, you smash a guitar, you walk off and go, "Fuck it all. It's all a load of tripe anyway." That really was the beginning of that punk consciousness. And Jimi arrived with proper music.

He made the electric guitar beautiful. It had always been dangerous, it had always been able to evoke anger. If you go right back to the beginning of it, John Lee Hooker shoving a microphone into his guitar back in the 1940s, it made his guitar sound angry, impetuous, and dangerous. The guitar players who worked through the Fifties and with the early rock artists - James Burton, who worked with Ricky Nelson and the Everly Brothers, Steve Cropper with Booker T. -- these Nashville-influenced players had a steely, flick-knife sound, really kind of spiky compared to the beautiful sound of the six-string acoustic being played in the background. In those great early Elvis songs, you hear Elvis himself playing guitar on songs like "Hound Dog," and then you hear an electric guitar come in, and it's not a pleasant sound. Early blues players, too -- Muddy Waters, Buddy Guy, Albert King -- they did it to hurt your ears. Jimi made it beautiful and made it OK to make it beautiful.

[From Issue 931 — September 18, 2003] RS

[rowjimmy]

Note the marquee

[twatts]

I'm preety sure Eddie Kramer didn't mix the LA Forum Lifelines version(although I could be wrong), does it say in the linear?  It was selected tracks ala the Star Spangled Banner > Purple Haze and I Don't Live Today that EK mixed originally in June 1969.  I'm almost certain EK did not work for Alan Douglas who helped produce Lifelines later on in the late 80's.

I can't seem to find anyone explicitly named as the sound engineer.

Supervised (butchered???) by Alan Douglas:

http://hendrix.guide.pagesperso-orange.fr/live90s+.htm

[sls.stormyrider]

great quote, susep - thanks for sharing.

Note the marquee

yea - the lineups he put together in any given night were amazing.
All for about $2.50

[Superfreakie]

great quote, susep - thanks for sharing.

+k