Jimi Hendrix - The All-Encompassing Live Shows Thread

Discussion in 'Music Corner' started by EVOLVIST, Nov 27, 2018.

  1. All Down The Line

    All Down The Line The Under Asst East Coast White Label Promo Man

    Location:
    Australia
    I could say that about Albert Hall also.
    Maybe you can't really pick a best even Hendrix concert?
     
  2. EVOLVIST

    EVOLVIST Kid A Thread Starter

  3. SG47

    SG47 Forum Resident

    Location:
    Los Angeles
    The Fillmore East 1st show ( Machine Gun ) is a pretty even performance to me.
     
  4. jhm

    jhm Forum Resident

    It has its highs and lows like a lot of other shows. Red House is a huge high of course and I know a lot of people like the Spanish Castle Magic from this gig. I think it's telling that neither the Douglas nor the current administration has decided to release this show in full. The fact that EH decided to dump a bunch of San Diego cuts on their re-vamped "In The West" tells me they don't really have plans to either.

    As far as favorite show, I don't think I could pick a favorite gig from each tour year, let alone an overall #1. It's just too daunting. I could come up with a personal top 5 or 10, but even that would probably change from day to day :)!
     
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  5. John Harchar

    John Harchar Forum Resident

    Location:
    New Jersey
    Starts out rough, gets better, lags and then comes back at the end. I think LA Forum '69 is more consistent.
     
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  6. Dr. Luther's Assistant

    Dr. Luther's Assistant dancing about architecture

    Location:
    San Francisco

    I happened to listen to that just yesterday.
    Awfully good.
     
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  7. DTK

    DTK Forum Resident

    Location:
    Europe
    It's really tough, yes, as every recorded performance tends to have peaks and valleys. We have to remember the great man was walking a tightrope act due to him pushing the limits of the equipment like no one else at the time, and he had like one roadie and sometimes not even a replacement axe! Not close to the backline support most bands had only a few years later.

    If things go wrong it's usually the guitar going out of tune or the amps giving up, which occasionally led to a lack of concentration or depression or frustration on Jimi's part. I don't really hear the inspired-less inspired divide to the degree stated in the (most appreciated) reviews in this thread. He always sounds bitchin' to me except for a few occasions where he was too high or the equipment just gave him too much hassle.

    I would say Albert Hall is totally solid except for the wretched encore which it seems he was always forced to do for PR purposes. The great man gives a 90 minute masterclass in guitar, then the fools pressure him smash it.:cry:
     
  8. Jimi Bat

    Jimi Bat Forum Resident

    Location:
    tx usa
    For me best show would be a tie between RAH February 24th 69 and Fillmore East December 31st 69 first show. Just depends on what mood I'm in.
     
  9. EVOLVIST

    EVOLVIST Kid A Thread Starter

    Thanks!

    RE: "Inspired/Less Inspired" - Just a note (and I know you're not complaining), I can't help but to approach any review from a musician's point of view, in particular, as I'm a guitar player, specifically one who holds Hendrix in the highest possible regard. That's one of the reasons I'm doing such a deep dive into Jimi's live performances, knowing, however, that I'm giving a healthy does of subjectivity along the way.

    (another note: I'm not trying to justify anything by writing this)

    From my point of view, inspiration, or the lack thereof, has much to do with a lot of the factors you just mentioned, and then some. For every action there is an equal or opposite reaction. Yes, Jimi always turns it out, but to what degree does he do it is the question. There are things that I look for, e.g. did he hesitate between going from one part to another; did he hit any bum notes; does his playing seem controlled, and if not, are there mitigating circumstances? I look for a certain level of sublimity to where Hendrix is creating something extraordinary on the fly - not just playing the notes, but transcending the guitar, and even himself. The fact that only Hendrix could do this is a testament in itself.

    Also, One should look for what Hendrix is trying to do with whatever song he's playing in the moment. "Spanish Castle Magic" can be played very straight, or it can take the form of a jet engine, like Winterland 10-11-1968. If one can decipher what Jimi is trying to do, the rewards are tenfold, like that Winterland version where it's a pure space jam, so it should be internalized for what it is, not what one expects. If anything with Hendrix, always expect the unexpected (as cliche as that might sound).

    Lastly, there is passive listening and active listening. I've done it many, many times with a Hendrix show where I've just set back and let the music play, not even thinking about what he's doing. For a review, however, yes, I'm trying to extract every note that I can from a recording. Often I might start off passive, then end up active, sometimes listening to a show upwards to three times...but really that's the musician in me. It's no different from studying a work of Mozart. Whats going on in there? Are the cellos really playing counterpoint to the double bass, while the violins and violas are doing something all together different? My, how quickly Jimi's brain works!

    Anyway, yeah, I think it goes deeper than inspired vs. less inspired...but only because I want it to.

    Like you said, it's a clinic, and with every clinic it's something new with Hendrix. To me that means there's always a new lesson to be learned. :)
     
  10. EVOLVIST

    EVOLVIST Kid A Thread Starter

    Or, in regular ol' parlance, it doesn't matter how you listen, as long as you do. It doesn't matter what degree you enjoy it, as long as you do. If not, we're listening to the wrong cat on guitar. :)

    Besides, it's not as if I'm trying to write a book, nor am I qualified. There or more knowledgeable people about Jimi Hendrix than me: some of whom frequent this very thread. I'm just a dude with too much time on his hands. :help:
     
  11. Sharp 1080

    Sharp 1080 Well-Known Member

    Location:
    Dallas,TX
    I have the box set CD from the Jeffrey estate and I do like the fact it contains the both shows and the rehearsal ( so nice to hear all of the rehearsal). Unfortunately if you compare it to the official second show release the sound difference is obvious. Too bad they keep holding back the entire show for release.
     
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  12. DTK

    DTK Forum Resident

    Location:
    Europe
    Yes I wasn't criticizing your review approach. It's very interesting and informative. I'm usually more in a passive /lazy mode when listening to Jimi despite being a guitar player too. Unless something really jumps out..."man he totally lost it!"
    Unlike other players I have some difficulty pointing out where he's going through the motions a bit vs being really inspired, so that's an interesting aspect of your reviews.
     
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  13. Mark7

    Mark7 Forum Resident

    Easy: Copenhagen 9/3/70

    Some evidence here:
     
  14. Kassonica

    Kassonica Forum Resident

    His playing at this gig is on another level I agree and a glimpse of where his guitar playing skills were going to go.
     
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  15. GonnaGetcha

    GonnaGetcha Forum Resident

    I would narrow it down to...

    1967-06-18 Monterey Pop
    1969-01-17 Frankfurt
    1970-04-25 L.A.
    1970-09-03 Copenhagen
     
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  16. EVOLVIST

    EVOLVIST Kid A Thread Starter

    You know, after all of that, I had a minor epiphany that can be summed up as follows: I simply listen for songs, or parts of songs, or licks, fills and solos - whatever Jimi could be playing live at the moment - that sounds as if it was a well thought out studio piece. This happens many, many times live. It happens with whole live songs, or even parts of live songs, to where I perceive/envision that it sounds like something that could have been created in the studio. Jimi did this gobs of times, live, completely improvising, which makes so much of his live work amazing.

    It's just that moment - BANG! I hear something and say to myself, "This could have been a studio take!" And that's what makes it so rewarding; I don't get that feel from any other guitar players, live...at least not to the degree that it pours out of Hendrix.
     
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  17. EVOLVIST

    EVOLVIST Kid A Thread Starter

    January 8th, 1969, Gothenburg, Sweden, Lorensbergs Cirkus

    Like I told @GonnaGetcha, I was going to basically reset at the beginning of 1969 and review parallel shows where they exist along the way. Sure, we'll run out a real estate, but it gets us where we need to be, like the already reviewed January 8th, 1968 show in Stockholm show, where but four days earlier Jimi had gotten in trouble in Gothenburg, breaking windows and such (is there a recording of 01-04-68, Gothenburg? This is a possibility).

    Anyway, the January 8th, 1968 show was a gem. The January 8th, 1969 show? Well...

    (The following review is submitted in unedited form. No corrections or beautifications were made.)

    "Voodoo Child (Slight Return)" - Oh man, does this coming tearing in. It's difficult to brace yourself. The first verse is perfect with Jimi's voice twining with the guitar fills. Unfortunately, during the first solo Jimi loses his sound in a wall of feedback. The rest of the solo just falls flat, finally ending in more feedback, as Noel begins to take over. I'm detecting possible equipment problems for such an early bass & drum section. Yeah, the feedback all makes sense now. Mitch sounds like he's blasted out of his mind...but that might only be because I'm blasted out of my mind. Anyway, when Hendrix comes back in, it's like he almost starts the song over. No, he just solos - nothing too tasty; it's as if he's feeling his way around the sound, trying to find a place to park. At 6:06 Jimi makes a left and into old school blues licks. What follows is a stream of ideas before the final verse comes in unexpectedly. Very good singing in that last verse - . The last solo comes in and is better...much better - pure psychedelia. Oh, it might get too noisy for some, at parts, yet it's the sound of Hendrix getting off on himself, even to the point of bringing the main riff back in, then finishing with the beginning wah lick that starts the song. Nothing special, but not moldy enough to not give it a listen. It's far out if you like to eat your french fries one at a time. 12:26

    "Foxey Lady" - Jimi's in a good mood. Ouch, but out of tune! **** it, nobody seems to care! This isn't very good, but it doesn't stop me from listening. The solo is good, though - damn good! It freaks me out. I don't even know why anybody would listen to this take if they weren't doing it for the solo. Jimi's last solo fairly smokes, too. Or, is that "smokes fairly?" 6:07

    "Red House" - Sometimes I wonder why it sounds like Jimi is soloing off, and like almost gets into a pickle, yet he brings himself out of it at just the right second. If you wanted to listen to something like that, this is how that take goes. It's a little on the aggressive side. I'm grooving along, but it's not like Jimi cares to fiddle with his volume like he usually does, to bend dynamics. That doesn't make this take bad; it's just not anywhere it's supposed to be. The main solo 4:28 to 5:40 is nice, nice, though it would have sounded a little better with a cleaner, smoother marshmallow tone. When the second solo comes in I lost interest...well, until it started getting so bad that I couldn't help but pay attention. It evens out a little toward the end, but it's too late. During the walking bass line Jimi starts with nice jazzy theme, but too soon loses control. Outer space neck tapping (or a mix of pickup tapping), and then something else before the tape cuts off. 11:21

    "Sunshine of Your Love" It starts off really well, but by the time Jimi gets to the main riff it is drenched in feedback. In fact, I think this poor tone has been messing with Jimi all night. But some of that is just neglect, as I mentioned before, you can hear when he messes with his volume knob, and most of the time he's content with leaving it "one note" throughout. Oh, it gets cool leading into Noel's solo. Judging by the tape it doesn't sound like Noel had gear problems at all. His bass must have sounded like a monster in the venue. His playing is actually great here by Noel's standard. Jimi has been vamping funky this whole time. Then Jimi tries to invent a new riff. It half works. But from 4:50 to 5:35 you have to hear this part. Jimi climbs from low notes to high ones, in something I've never heard him do. You think he couldn't get higher, but he does. A similar thing happens at 6:05 to 6:24, where it just makes you shake your head. How did he do that? Anyway, after that it's just noodling. Ummm... 9:37

    "I Don't Live Today" - Mitch rolls in with an extended drum intro, with Jimi popping those strings in the background. When the guitars and vocals come in it has a little slop, but mostly good with tremendous feedback control. Next, Jimi loses control during the beginning of the solo, but makes up for it on the back end, with super buttery licks, going into "Third Stone From the Sun." I don't mind the psychedelic freakout afterwards. It sounds pretty good. Jimi doesn't mind, either, as we have a breakdown of extended low whammy work and peeking feedback. The solo from 5:01 to 7:01 is a well played chain of events, as Jimi puts on an acid rock clinic. Very worth the listen. In fact, the whole take is, even with a wacky ending. It's almost the full runtime, too! 9:14

    "Hear My Train A Comin'" - Jimi dedicates this one to Chas Chandler, describing him as "our manager." A snide jest. Okay, anyway, this take comes in strong and confident. Jimi rips those strings. I like this. A good tone, too...until he starts to solo a little. Back into the verses this tone works, though it didn't take Jimi long to get sloppy. The more saturated solos work from 3:36 to until it starts to fall apart. At 5:08 Jimi tries to pull the band back in, but it doesn't work very well. Jimi is fragmented - his playing too compartmentalized. Often you open a box and it's just smelly guitar work. At 7:01 Hendrix was wise to break the song down and try to regroup, because from 7:25 to 9:31 those notes are fluffy - cloud like... Imagine a bouncing cloud. The last verse is very cool: a different flavor on the theme. Too bad the rest of it is a distorted mess. Not the tape, just the band's sound. Hendrix is out of tune...reaching for a place but not quite settling anywhere. 14:42

    (and people want to claim that Isle of Wight was bad? Damn!)

    (Jimi's crowd banter is light and funny.)

    "Spanish Castle Magic" - A nice way to start the song. Jimi took a hit and then forgot to sing everything else except for the verses. That's okay, the band is tight and Jimi's playing is top notch. Dig that solo from 1:37 to 2:06. Fantastic! Oh, but there is more leads after that, only Jimi loses himself again, never quite landing. Yeah, okay, he's out of mind! The leads would be good if Hendrix was actually following the band, but no, he's....okay, getting painful. Oh my god. Dreadful. Thanks for the feedback...."Man, turn that down! Turn that down!" What follows next is drum solo, because I guess those gremlins in the amps keep causing mayhem. Mitch's playing is aimless. There's no hiding this. It make me wonder if the JHE thought that they would use this show as a rehearsal for the rest of the tour. The country theme at 8:55 is a nice way to bring the band back in, but from 9:43 to 9:47 came somebody explain this part to me? Seriously. Weird. Jimi wasn't lying when he said it was just a jam session. The tape cuts off. 11:44

    "Purple Haze" - Only the solo redeems it. Sort of. Haha! Hendrix is off the rails big time! 4:17

    (My wife asked me how long am I going to listen to the same songs. I replied, "As long as it takes.")

    "The Star Spangled Banner" - Hendrix is playing this take like a kid plays chopsticks. Oh, wait! He's playing the whole thing with his teeth! The noise only comes at the end. More traditional. This is one way of many to end a show. 2:05

    So, a long set, full of vigor, yet ultimately like a warm up, given that the band hadn't played live in a month. The only really worth song is this version of "I Don't Live Today. Plus, there always seems to be problems at Gothenburg, with or without the music as this double-feature will demonstrate.
     
  18. EVOLVIST

    EVOLVIST Kid A Thread Starter

    September 1st, 1970, Gothenburg, Sweden, Stora Scenen, Liseberg Nöjespark

    August 30th, August 31st, September 1st, September 2nd, September 3rd, September 4th, September 6th, and that was it.

    It’s no wonder that Jimi’s return to Gothenburg sounds a lot like the Isle of Wight festival, only worse. More than a year had passed since Hendrix played in this city. He had problems there is 1969, 1968, and also in 1967, as The Jimi Hendrix Experience took the stage on September 3rd, 1967, nearly 3 years to the day of this 1970 show.

    Göteborg’s Tidningen (‘Gothenburg’s Tidings’ 4 September) – review by Gösta Hansson: “There were many technical problems…Both the songs and the amplifiers collapsed and Jimi ended the first show by kicking the faulty amps down on to the floor. Before that Jimi had explained that he thought it was embarrassing to perform with such messed up equipment.” (Thanks to CTT.)

    There’s film from the 1967 show, but alas, no sound.

    Anyway, back to 1970; the show seemed to have been doomed before it started.


    "Spanish Castle Magic" - Jimi cuts loose with a solo before he signals the band in. The band comes in, doing their thing, but some feedback plagues the verses. Not very tight, but the solo is scrumptious. Jimi ends up losing it near the end of the solo, back into some more sloppy riffing. The vocals aren't too hot either. I mean, it's not terrible, but you wouldn't want to pull it off of the shelf. This is the wrong foot. 5:23

    "Killing Floor" - I like the way this begins. "...never hear surf music again." This one has a little bit of a slower tempo, which gives it a good charm. Jimi's vocals are good on this one, too. Funny, that he played this song twice during the 1970 European Tour; the last one at Fehmarn. For the first 30 seconds that solo is buttery smooth, then poof! - it loses some fuel. However, 2:57 to 3:39, now that's a complete solo! It was fair. Very interesting, but fair. A lazy killing, but it still kills it. 4:30

    "Hear My Train 'A' Comin’" - Oh man, listen from :43 to :57...wow! It's almost as if he's adding some "Red House" into this take. This one lopes in that cool electric blues kind of way. Jimi's voice is really off, though. It's as if he feels dejected, missing chord changes and playing very loose, even to the point of taking it to a solo early. The solo is hit and miss, where it sounds like a struggle. Oddly enough, however, this take has been kind of endearing. Oh, I know! It's a hybrid "Hear My Train..." and "Machine Gun." Much of the solo holds that frantic "Machine Gun" feel, only as if he were playing "Machine Gun" atop of a "Hear My Train..." rhythm. From 7:13 to 8:31 it gets really, really cool. Jimi's not even playing the song anymore. By the time it gets back to the last verse, Jimi's vocals sound better. I don't even know how I feel about this take. It has that vibe like it could have been played at Isle of Wight. Still, I have to say, despite its listenability, it’s a long way off from Berkeley. 12:48


    "Message to Love" - For ****'s sake, the intro riff is played poorly. The verses are fairly solid, though. Good vocals? Check! The changes in this difficult song are right on the nose, but for some reason Jimi stops playing. Bad equipment again? Oh yes! Some space sound emit from the amp...and only the good kind if you can’t hear them. So, this gear problems force a drum solo. It's not too bad either, those drums. I mean, of course the drum solo outlives its welcome, but what are you going to do? But okay, when Jimi comes back in - straight to a verse (and the beginning of the song, no less) - the vocals are what suffers, not the playing. Oh, whoops we have a tape cut! Really not very good, though. 8:10

    "Hey Baby" - Heavy-handed coming in. Not delicate in the least. Also not good. From 1:27 it starts to sound more like the song, only Jimi's playing some stuff he has never played before. In fact, all of this is quite good, as if the 1:27 mark is where the song should have started. Wow...all of this is as sweet as can be. At 4:42, goddamn, Jimi you are amazing! From 5:13 to 7:00 another big goddamn! Thrilling! Finally, at 7:00 the vocals come in...and they are fine, not sweet nor sour. Highly recommended…but not as a top version, just an entirely different flavor. (Oh yeah, and it doesn’t sound good on a poor system. I tried several rigs, and only my main one let me hear into the song.) 8:30

    "In From the Storm" - despite a botched intro the rest of the song remains botched. Yeah, I'm not kidding. From 1:29 to 1:37 Jimi sounds like Gene Simmons singing some background vocals from Hotter than Hell. The worst take I've heard of this song. Just awful. 3:51

    "Hey Joe" - Despite the intro being too bright and jangly, the verse settles right in. This is also probably the clearest that you've heard Billy Cox's background vocals. In fact, they became my focus, losing track of Hendrix. You know, this take isn't as bad as the last song, but it doesn't put a smile on my face. Ouch. It gets worse towards the end. Skip it. 4:59

    "Foxey Lady" - Hey, at least Jimi is in a good mood as he jokes with the audience. After an extended feedback intro, the band crashes in, nice and spirited. The guitar gets a little out of tune, otherwise not bad, but one you don't have to listen to. It gets worse after a while, but still much better than the last song. Maybe. 5:20

    "Red House" - Jimi latches on to a better tone here, so his playing seems more at ease and in the groove. The whole opening goes from good to great, never failing. Indeed, when Jimi's vocals come in he sounds damn good. The guitar sings right along. Amazing, amazing stuff. The solo starts of a smidge rough, but then shows a nice and compact set of a licks that are shorter than they were a year before... So, this is Jimi packing more playing into a shorter time span. The only failing here is that the second solo is way too scrambled. There are some good leads, but nothing that matches up to what came before. The wah solo that follows at 6:27 is a clinic of inventive licks, even to the point of astonishment at some parts. At 7:26 Jimi keeps the wah on, when he hits a distorted solo, with equally favorable mastery. A few bum notes, but where he's taking us requires an open mind. By the time the last verses come in Jimi is still in fine voice. The playing, too. 8:54 to 9:04 is small example of how great Jimi used his imagination on the fly. Oh, it has some warts, but very, very much worth the listen, because next we have... 9:38


    "Room Full of Mirrors" - Two cats fighting in a sack. The intro sucks, but by the time the main riff hits, it really levels out for Jimi to sing over. Hey, I'm going to say this is actually jamming! Oddly, as disjointed as it seems at time, it holds together, fighting back against the brink. Jimi sometimes pushes a song like that, almost to chaos, but just inside of it. That main solo sounds like slow molasses in the air. It only lasts until 3:01. You know, I'll have to return to this one to see how it matches against the rest. There’s much to like here. 3:36

    "Straight Ahead" - Not bad. Not good. It's an artifact of Hendrix trying new songs live. It's a different iteration, but not surpassing the one done at Berkeley earlier in the year. I wouldn't think that many would pull this version for a listen, although it's not terrible. 4:14


    "Purple Haze" - A strange, yet ultimately not a convincing encore. The Guitar King isn't above just going through the motions. 3:04

    "Voodoo Child (Slight Return)” - The guitar tone isn't working for the way this song needs to go. It would sound like Jimi was just trying to get done with the show if it wasn't for how long he continues playing. Mediocre soling. Gee, what else can I say? Noodle central? A small bit of "Sunshine of Your Love" doesn't save it much. You know, I'm beginning to think that the tone Jimi is getting really has an affect on him. Either he tries to work through it, or he jacks around when it's too far gone. Now, the last verse is a treat! After that, though, this goes from mediocre to quite stinky. No control. It makes no sense, Mr. Stockhausen! This is not one I'll revisit again (and hey, I'm the one who embraces noise when it's clever enough). 11:31


    To sum up these two Gothenburg shows, it’s a bit like watching the Bearded Lady and the Dog Faced Boy trying to make a hairless baby. It’s kind of gross to watch, yet it’s too fascinating to look away. After all, it’s Jimi Freakin’ Hendrix! You know he’s the jam, only these shows came out as expected: hairy, man…and scary!

    Other Hendrix Show Reviews:
    Isle of Wight Pt. I 08-30-1970 Isle of Wight Pt. II 08-30-1970
    Monterey Pop Festival 06-18-1967
    Winterland 10-10-1968
    Winterland 10-11-1968
    Winterland 10-12-1968
    Winterland 10-12-1968 (Jimi Bat)
    Hollywood Bowl 09-14-1968
    Vancouver 09-07-1968
    Berlin 09-04-1970 (DTK)
    Royal Albert Hall 02-18-1969
    Royal Albert Hall 02-24-1969
    Flamingo Club 02-04-1967
    Berlin 09-04-1970
    Berlin 01-23-1969
    Miami Pop 05-18-1968 (Former Lee Warmer)
    Fillmore East 05-10-1968
    Madison Square Garden 01-28-1970
    Denver Pop Festival 06-29-1969
    Newport Pop Festival 06-20 & 22-1969
    Stockholm 01-08-1968
    Rome 05-25-1968
    Bologna 05-26-1968
    Zurich 05-30-1968
    Zurich 05-31-1968
    ”Miami Pop 05-18-1968
    Gothenburg 01-08-1969
     
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  19. Anthrax

    Anthrax Forum Resident

    Location:
    Europe
    :laugh: Excellent.
     
  20. Jimi Bat

    Jimi Bat Forum Resident

    Location:
    tx usa
    What was your source for the September 1st 1970 show? I ask because a couple years ago Purple Jim recommended a disc that he said gave him a new perspective on the show but I've forgotten its name.
     
  21. EVOLVIST

    EVOLVIST Kid A Thread Starter

    I used FD's cleanup. On my main rig it just sounded fuller - actually soundboard-like, in that unmastered kind of way.

    That said, I haven't heard the original sources that made up the merge.
     
  22. EVOLVIST

    EVOLVIST Kid A Thread Starter

    Something that just struck me, though: the majority of these shows we listen to were not intended/played to be consumed over and over again. Most of them were the band simply walking in, doing their set, and then flying away.

    Knowing Jimi's perfectionism, I think he might be appalled at how he played many of the songs live, and not just because some of them are less than stellar, but because of that very self-conscious way about him.

    After all, how many shows did Jimi nix from being released when there was nothing wrong with them? Quite a few. The only live album he sanctioned was done so halfheartedly.

    I think he underestimated his live brilliance - out of genuine self-modesty - but I think he would also despise the two shows that I just reviewed, and not because of the SQ.

    Do we know of any live shows that Jimi felt happy about?
     
  23. All Down The Line

    All Down The Line The Under Asst East Coast White Label Promo Man

    Location:
    Australia
    Guessing Monterey, at least just post show and/as wasn't he high or tripping.
     
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  24. EVOLVIST

    EVOLVIST Kid A Thread Starter

    Would you rather hear Hendrix live or in the studio?
     
  25. GonnaGetcha

    GonnaGetcha Forum Resident

    I enjoy listening to him in the live setting walk the tightrope and make it happen by pulling stuff out of nowhere. And it's also a valuable listen also when he doesn't. Hearing him succeed as well as fail give me a more 3 dimensional perspective of him as a guitarist and a performer.
     
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