Jimi Hendrix - The All-Encompassing Live Shows Thread

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

  1. EVOLVIST

    EVOLVIST Kid A Thread Starter

    Damn well said!
     
  2. jhm

    jhm Forum Resident

    Live :righton:.
     
    EVOLVIST and SG47 like this.
  3. Wayne Hubbard

    Wayne Hubbard Forum Resident

    Location:
    Oregon
    How about live in the studio? ;)

    The two Dagger albums, "Morning Symphony Ideas" and "Burning Desire," are my favorite releases put out by EH.

    Although it it is cool hearing Jimi and friends jamming, then taking bits and pieces of the jams and using the studio to create something special with overdubs and effects.

    Listening to the basic tracks picked out of hours of jams molded into something completely else. All the tracks Jimi was working on for the "First Rays" album went through so many changes over months of work. Replacing guitar parts. Ditching those and adding more. Replacing drums. Liking the new drums and rebuilding the whole track off of them.

    The statement "using the studio as an instrumental" is thrown around a lot. Hendrix and compadres were that personified. Getting his own studio was not just a throwaway thought for Jimi. With each advance in technology, from the 4-track at De Le Lane to the then-state-of-the-art Electric Ladyland, Jimi pushed it to the limits.

    Jimi would be like a kid in a candy store with all the digital toys available today.
     
  4. Jimi Bat

    Jimi Bat Forum Resident

    Location:
    tx usa
    Studio where he could reach his full potential as a composer. As I've said before Hendrix in the studio is like a mad scientist in his laboratory.
     
  5. SG47

    SG47 Forum Resident

    Location:
    Los Angeles
    Man that's tough. I love both, studio and live. I'll take all the Hendrix I can get!
     
  6. Gordon Johnson

    Gordon Johnson Forum Resident

    Location:
    You are here
    Do I really have to make a choice?
     
  7. EVOLVIST

    EVOLVIST Kid A Thread Starter

    No, but there are some circles (maybe even in this very thread) who would put Jimi Hendrix on par with a creator like Miles Davis. Maybe even higher than Miles, being that it's a guitar driven world.

    At its core, this thread is about Jimi's ability to improv. Does Jimi improv with the best of them? If one can allow that Hendrix = Davis, then who out there is better?

    Really, the more I put Hendrix's shows under a microscope the more the line gets blurred between jazz and rock. Or, at the very least the concept that there are no wrong notes; it's only the way they are played. We call something "rock" and this other thing "jazz" by feel, texture and meter...yet I wonder. A jazz person is a "serious listener." Do the same rules apply for Jimi Hendrix live?
     
  8. Gordon Johnson

    Gordon Johnson Forum Resident

    Location:
    You are here
    I listen to jazz often, never in a "serious" manner!

    But Jimi, I listen to his music no differently than anyone else be it live or studio. Quite a bit of studio Jimi is as much "off the cuff" as his live shows. AYE and AXIS are full of improvised overdubbed lead lines.
     
  9. Sharp 1080

    Sharp 1080 Well-Known Member

    Location:
    Dallas,TX
    My take was if you needed to have the audio visual stimulation then the only way was to see him live. That said when he wasn't tired or moody his live shows some that are recorded were like no other artist at that time. The issue with him live was many fans expected him to do all of the R&B showmanship and he had moved far beyond that. Case in point, constantly hoping he'd play the "same old songs" or smash a guitar or even burn one. Not true listeners just fans looking for minstrel show! The studio was his laboratory as much as his apartment time composing songs. My favorite "jam "is the BOG Ezy Ryder/MLK/Captain Coconut . That song the complete long version to me was the antithesis of his creative genius.
     
    Chris M and EVOLVIST like this.
  10. All Down The Line

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

    Location:
    Australia
    Don't wish to choose either as I would miss crucial facets of his abilities on show and there are just so very many.
     
    SG47 likes this.
  11. Roberto899

    Roberto899 Forum Resident

    Location:
    California
    Since I don't have to choose between live & studio work ..... I'm not going to...... hahahaha
     
    Sharp 1080, SG47 and EVOLVIST like this.
  12. Mark7

    Mark7 Forum Resident

    Another nomination for one of the best shows: Baltimore 5/16/69, which is overlooked because of the very rough audio...
     
  13. Purple Jim

    Purple Jim Senior Member

    Location:
    Bretagne
    I don't think the Jimi/Miles comparison really works because I see Miles as more of a bandleader, a catalyst to inspire those around him to excel - especially in his "electric period". It's not as if he was taking off and doing blistering explorative solos during that period.
    I see Jimi's playingas being more akin to Coltrane for example.
     
  14. EVOLVIST

    EVOLVIST Kid A Thread Starter

    Nothing gets overlooked in this thread. ;)

    However, it's almost impossible to put a finger on a show with poor SQ without a fairly decent system. I listened to this on my phone last night and it sounded like ass. :nyah:

    It makes me look forward to hearing this on my rig.
     
  15. smoke

    smoke Forum Resident

    Location:
    Chicago
    I'm not comparing with Miles or anyone else, but Hendrix did a lot of real improvising. Sometimes when listening to live Hendrix I'll hear him play a melody I've heard him play elsewhere, but it's remarkably rare. Other times I'll hear the beginning of a riff so good most players would have used it nightly for 40 years afterwards, but Jimi feels obliged to change it up by the end - even of fairly short phrases.
     
    Sharp 1080, SG47, Roberto899 and 2 others like this.
  16. EVOLVIST

    EVOLVIST Kid A Thread Starter

    January 9th, 1969, Stockholm, Sweden, Konserthuset

    After a fairly dreadful set in dreaded Gothenburg, The Experience makes the 291 mile trip to the opposite coast of Sweden to play another couple of sets. Remember to bundle up, because January in Sweden is quite frosty. The band heats it up, though, after their dress rehearsal in Gothenburg, making a better show of it in Stockholm. Sure, it has been reported that the JHE (especially Jimi) was a little upset that they had no drugs for the first set, but I don't think the first set is as bad as some make it out to be. The first set has an interesting "Killing Floor," a mind-bending "Spanish Castle Magic," and a "Red House" that is worth a good listen.

    I liked listening to it without the visuals (as the first set was filmed), so that I'm not drawn into Hendrix's obvious frustrations. Oh, and also during "Voodoo Child (Slight Return)," Mitch plays what's arguably his best live drum solo.

    First Set:

    "Killing Floor" - "You wouldn't know the difference, anyway" - You know that the spirited intro isn't lost. It's great! Now, the band is fraction lost by the time they all come in, with some of slop, yet when Hendrix goes into his first solo it's a good one. By the time the vocals come in, the song is rather syrupy, much like the take the night before. This one is better, though, after getting through some initial slop. Jimi's solo bubbles up from beneath a strong rhythm section. It's good. In fact, I love the part from 3:40 to 3:59. Great guitar work! I mean, not the best version, but it works. Sure, I would recommended it! It jams in a loose and fun way. 5:07

    "Spanish Castle Magic" - The very intro is a little wonky, but when the vocals come in Jimi is fine voice. He doesn't sing the next pre-chorus or the choruses and kind of muffs a note. Indeed he muffs some vocals in the next verse, but I dig this loose feel. What's really cool is how the solo sounds here; very together yet with cosmic slop that bends it toward the psychedelic end of the spectrum. I don't know why it sounds so good but it does. Ha! Jimi's feedback manipulation rings true! It's avant garde a clue? How could anybody in the audience believe what they are hearing? The band then breaks downs where it's Jimi by himself, playing what would otherwise be the begging of "Voodoo Child (Slight Return). Afterwards, from 6:33 until the end it is an interesting section. Mitch comes in and jams with Noel, but a tiny wah solo here is killer before the song closes! Play this one LOUD! 7:47

    "Fire" - A cool accidental intro that works, until...too bad, Jimi actually bombs it, getting way too sloppy to be good.The take is completely unremarkable other the small intro. It's whatever. Kind of mailed in and nothing to write home to Seattle about. 3:08

    "Hey Joe" - We've got a little more out of tune guitar than usual, but Jimi tuned up in the meantime...or did he ("You wouldn't know the difference, anyway")? Like "Fire," just a version, and a little heavy handed at that. This one plods along like a broken squeezebox. Not recommended, because hey, Hendrix is just performing the tune, not trying to make it stand out...and it doesn't. Too many vocal lines missing. 3:58

    "Voodoo Child (Slight Return)" - Plenty of gusto coming in, with great lead work! A little slow? Yeah, I think so. I've noted, though, that many slower than usual versions end up fairly articulate because of it; they don't have to play too fast, and this is a good example. There's a flip-side to a slower tempo, as we'll see later. Dig the solo from 3:14 to 4:07 (I don't know why I wrote that). Afterwards it gets choppy and the leads are less fluid around the 4 minute mark. The slowness catches up, beginning to sound less appealing. That's the other thing that can happen with a slower take. It gets better at 7:03 with some silky chords from Hendrix, a lick from "Catfish Blues," and spacious playing with Jimi vamping over a predominant drum and bass section. Noel gets a while in sun and Mitch does a swell job backing him. Indeed, all of Mitch's drumming is good here, including well played drum solo. One of his best...if not the best! Jimi comes back like a sprout growing into a full bloomed tree in a matter of seconds. Noisy, but assured playing until the end. Yeah, so, a mixed bag. You'll want to point to this take to show off Mitch Mitchel. But really the band isn't feeling it. Jimi flips from off to on again, many times. 13:59

    "Red House" - An awkward yet interesting intro brings the band into a very smooth version, with Hendrix kicking in the wah early for a very extended intro. This is pure clean blues, often dipping into the amazing. Not always the perfect note choices, but that's a nitpick. It carries its own feel. The vocals don't come into until 4:32 or there abouts, but when they come in they are crisp. Beautiful. I don't think Hendrix has dropped a note. The verse 5:46 to 6:56 is about as good as you could hope a verse to go. Then the solo comes. It has the force and weight that like. Though the next distorted solo doesn't come in with as much umph as usual, its nonetheless effective, bathing the audience in azure waves. Check out that wah at 9:34 to 10:23 is breathtaking. Now this is the version where the last verse either sounds screwed up to you or accidentally inventive. All-in-all a middle of the road take, but certainly one you would't want to miss. 11:42

    "Sunshine of Your Love" - It's a jam! It doesn't hold my interest as much as some takes do. It's a little more bass-centric than usual, with Noel keeping it together adequately, but nothing to write home to Folkstone about. Don't get me wrong. It truly is a jam; it's just one of those that can groove on more as background music as it's more of a one-note performance. It sounds great in context...but I bet the audience didn't figure this was the last song. I bet some were pissed. Anyway, it's not the sound of a band mailing it in, but just the sound of a tired band trying to reach the end. Wait...didn't I just say the same thing in two different ways? Maybe if the band scored some drugs they'd have an overall better time. 7:12

    Second Set:

    "I Don't Live Today" - Jimi's solo intro is magnificent! <with a joke: "Thank you very much") Okay, so it hasn't really started yet. Still, the guitar bit there was great! Anyway, when the song kicks in it's highly listenable. The bands loses each other somewhere in the middle and they never fully regain. Even the solo, a few miles back, started nice and strong, but lost color as it pushed along. Now, I will admit that the band boogies when they come out of Hendrix's chaos (the sustained noise of said "Hendrix' chaos" is quite good). The solo from 7:02 to 9:38 cooks! - which is a long time for a sustained solo without much fault. Ripping! So, this one is a mixed bag, too, with Jimi really finding his way later on. 10:55

    "Spanish Castle Magic" - I love the vocals here. Simply wonderful, with Hendrix singing the whole thing (unlike the first set). Oh, I spoke to soon...Jimi drops lines in the second verse, but you know, musically, it shreds. The solo is about as cool as you could want it, as now Jimi is more concerned with smooth vs. the previous set's psychedelics. Oh, there are far out motifs here, too, only the difference in mindset pays off, depending on how you like your takes...or if you like them both. It's not perfect, especially when the vocals come in again, and it melts into slop near the end; nonetheless, it's a jam. Oddly, I think I'll take the first night's show, though. 6:22

    "Hey Joe" - This one has the extended intro, with a steady delivery by all, where Hendrix mostly glides smoothly around, eventually playing a bit of "Taps," before launching into the song, proper. When it gets there it's a reward, with perfect tempo, perfect vocals and everyone in the pocket. Really nice, worked to perfection. Hendrix's little grace licks between the vocals are inventive. Jimi burns down the house with that solo, but dropping his level of play after a while, only to return to form when the vocals return. The outro solo blazes, until the end, making this an exciting version not to be missed (Even though it might not be in the upper top). Yeah, don't miss this one, even with slightly off playing in the middle. Recommended! 6:47

    "Voodoo Child (Slight Return)" - Now, this one again starts up pretty well on-point all around. In fact, all of Jimi's licks are great, but perhaps Hendrix muddles around muddy chordal work for a little long. Hey, it's all good. That's a nitpick that's too picky. It's tight and grungy. Moreover, it's easy to get lost in it with as many curveballs that the band throws in (at 6:30 to 6:36 how does a mortal man play that?) - not just Hendrix, but Mitch does a little extra and Noel as well. By the time we get to the long breakdown it's a nice duel between the bass and guitar. So good. Check out Jimi from 8:24 to 9:50. No other guitar player would have thought of that, even mixing some straight delta blues in between psychedelic slices. Power chords! It almost flows directly into the next song. Yeah, I will reach for this again. A fierce and rewarding take! 10:27

    "Sunshine of Your Love" - The band wastes not time tearing it up, coming in dirty and hard. Almost smutty porn with musical instruments. Even when Hendrix hits the solo theme for the first time, he's digging into the flanks of this horse, riding hard. It doesn't take long for Noel to break it down for us...and what a good job he does, with Jimi sort of popping that guitar in the background. You know, really, most psychedelic bands could only dream of sounding this good. Jimi and Noel even event some new song in the middle of this soup. Check those odd but amazing harmonies 4:17 to 4:21, making one of my favorite live Hendrix moments. Afterwards the song sort of spins there for a while, making quite a bit of noise out of it, until Mitch's drum solo - sort of the opposite of the night before, where he had one of his best. But he plays adequately. Hey, he's no Ginger Baker, anyway. Oh, anyway, the band comes back in nicely and in control. Clapton couldn't touch any of these little solos that Hendrix throws into the main theme. A great part of the show, but not the best take. 10:54

    (Noel introduces this as "Wed House" with that accent)

    "Red House" - The guitar tone isn't quiet as good as the one he had during the first set. What's more, Jimi gets to the verses pretty quick. It's nice to hear the venue in this recording. But you know, this one is very by-the-numbers so far. It's good, yet few of the licks between the vocals strikes me as too inventive. In other words, a standard version. No bum notes, but kind of lame. There's no way this take should have gone on for 12:05

    "Fire" - Okay, cool! Not good and not bad. 3:45

    "Purple Haze" - One of the strangest and coolest intros of this song ever. That extra solo in the beginning is magnificent! Equally strange is that Hendrix switches to a more clean tone for the verses. The solo is pure acid. Nice! Hendrix is out of his mind here...in a very good way. He drops the vocals at the end, and even brings his tone back to a cleaner tone. It gets sloppy but that doesn't stop it from being fun. A must hear if you haven't heard this take...three times in a row. 3:58

    "The Star Spangled Banner" - There's nothing wrong with it. There is some great noise here. Moreover, I like how Mitch keeps drumming off, and off, and off. I've always liked when a show end with Jimi's take on this American classic. 2:49

    So, by and large we do have a much sturdier second set, with standouts like, well...the only less than stellar jams here are "Red House" and "Fire." Keep the rest for a fine, fine listen. It might not be the band at the height of their power; nevertheless, Hendrix remains a clinician. Surgical, even. It never ceases to amaze me the endless supply of rabbits Hendrix had to pull out of his hat.

    Up next, 1967...

    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
    Gothenburg 09-01-1970
     
  17. Dr. Luther's Assistant

    Dr. Luther's Assistant dancing about architecture

    Location:
    San Francisco
    What variety of audio source is Set 2 from Stockholm?

    (I think I've heard it, way back -- but I'm not certain on specifics.)
     
  18. EVOLVIST

    EVOLVIST Kid A Thread Starter

    Both sets are SBD. Great audio quality and even mixed pretty well.

    It's amazing that EH haven't released these shows. A first-day buy for me. Then again they still haven't released the other Berkeley '70 show, which is way better than either of the Stockholm '69 gigs.
     
  19. Dr. Luther's Assistant

    Dr. Luther's Assistant dancing about architecture

    Location:
    San Francisco
    Yeah. I just now realized that the On the Killing Floor boot had both Stockholm '69 sets -- so I've had them at my disposal for at least 25 years, I guess. Gotta break it out.

    (This thread is a great motivator...) :nyah:
     
    Fox67, All Down The Line and EVOLVIST like this.
  20. Vintage1976

    Vintage1976 Way Out West

    Location:
    California
    My understanding of the Stockholm shows is the first set was lifted from video tape and the second show professionally recorded. Neither are soundboard.

    That's from Glebeek's book, if I recall...
     
  21. jhm

    jhm Forum Resident

    As @EVOLVIST mentioned, I think Mitch should get his due for his solo at the first Stockholm '69 gig.

     
    SG47 and EVOLVIST like this.
  22. EVOLVIST

    EVOLVIST Kid A Thread Starter

    If the first show was lifted direct from video then that's the best video feed I've heard in my life. In fact, during Mitch's excellent drum solo during VCSR in that first set, you can hear his sticks hit the drum heads, with a very loose kick drum that sounds barely tightened. Every whack is thunderous.

    For the second set, Jimi mentions Wally a couple of times, who I take to be Wally Heider, as he recorded multiple Hendrix shows with his mobile studio. I mean, whatever the case, whether it was a feed through the soundboard that controlled the mix, or a separate console to multitrack, it was still a professional recording.
     
  23. Gordon Johnson

    Gordon Johnson Forum Resident

    Location:
    You are here
    Both shows, one source. Soundboard and the recorder is unknown.

    Experience Hendrix have used clips of the available video, two tracks. From memory, the quality was not as good as we have access to.
     
    EVOLVIST and jhm like this.
  24. jhm

    jhm Forum Resident

    Actually, the video makes it pretty clear that this wasn't going to be the last song. Jimi appears to turn back towards the stage, but when the MC takes the stage and speaks to the crowd. you can see Jimi sort of go "F*** it" and leaves instead.
     
    Fox67, EVOLVIST and Mark7 like this.
  25. AlexDelarge

    AlexDelarge Forum Resident

    Location:
    Tennessee
     

Share This Page

molar-endocrine