January 14th, 1969, Münster, Germany, Halle Münsterland The JHE come into Münster, Germany on this leg of the tour, and I'll kick it up a notch from the night before in Cologne. "Come On (Pt.1)" - This take is the best live version I've heard and not just because the intro is shorter and makes more sense. No, because it's tight, the leads are fluid, and the vocals rock. It's probably not as tight as the studio take, but this one has racing stripes painted on it. Lead after lead, Jimi just keeps pouring it on. A must listen. 6:03 "Spanish Castle Magic" - I love Hendrix's rhythm tone here. It's square down the middle, right in the sweet spot. Unfortunately, Mr. Bad Luck, it seems that Jimi broke a guitar string. It has some real rough patches because the guitar is out of tune. It doesn't matter because this version is endearing. Jimi sure knew how to play while missing a string. What's great about this take is that Jimi doesn't back down. He keeps going, and the results are surprisingly great, probably because Hendrix is forced to look at guitar in a new way with that missing string. 5:32 "Red House" - I sort of drifted off with Jimi. I just now caught myself in the middle of the music. I don't know where I went, but the notes took me very much away. Sweet vocals. Sweet fills. Jimi effortlessly guides some feedback here and there, extending some vocal lines, showing us why he's one of the best improv artists of our time. Hot damn! I mean, why not? Improv was an art going back to classical music. Who said a modern man couldn't reach those lofty peaks, as well? So many of these licks are far reaching and exploratory. Even some laughing guitar work. Okay, so that was like 7 minutes of near perfection. At the breakdown Jimi hardly vamps on the jazz like he usually does. Instead, he sort of picks his way through some sporadic licks that work in context. He's solo, without the band, only breaking into the wah halfway through. It's magnificent work. Good god! 10:37 to 11:28 show us why Hendrix was the greatest. This is full of moments like this. Oh, and let's not forget the call and response guitars and vocals in the last verse. In fact, all of the guitars in the last verse are incredible. So it ends...and I don't know where it stands among the greats, but it was Tony the Tiger...Grrrrrrrrrreat! The highest recommendation possible. 14:15 "Fire" - Oh yeah, Jimi is feeling it, with damn good vocals, vigorous and playful. Oh, and the music? Scorching. The band doesn't let go. Jimi had a little feedback problem in his solo; it didn't go so well. Nonetheless, it didn't stop the fun factor. In fact, it's probably the best take of this song on this tour so far (until they hit Stuttgart on the 19th). 3:33 "Foxey Lady" - A tad out of tune, and a little sloppy, but nothing too distracting. It's still action packed! Hendrix is in a good mood, and his playing demonstrates that as you can hear him showboating. Do you know what I mean? The lead is gripping, with one of the best moments of Hendrix playing with his teeth. Check out the 2:17 mark for what I'm talking about. It's actually the most interesting part of the solo. Swinging! Kind of like Monterrey on Mescaline. 4:36 "All Along the Watchtower" - The most complete live version. Jimi doesn't drop a vocal line. Is it the best version? That's possible. I'll have to review, but this certainly is a very nice version for having not played live often. I'm a little stunned. It gets a little rough toward the end, but never collapses. Of course give it a listen! 5:19 <Jimi has been taking requests tonight> "Hey Joe" - They drop into this one pretty natural. It's just one take out many, though, while still being better than the one at Cologne. Oh, it's got a great solo. I don't think there's anything that could change Jimi this night. Just listen to those vocals in the last verse as Jimi sings "Hey..." probably the longest he ever had. A great vocal night. The end solo ends up with his teeth and the crowd goes wild. It's the weakest moment of the night, but it still rocks, so that tells you how together this gig is. 5:25 "Voodoo Child (Slight Return)" - This is good stuff! What great vocals, again! Everything is perfect here. You get lost and then come back when the band breaks it down. What a treat Jimi's playing is in the middle-section. The vocals keeping pouring it on. Nobody should be able to play like this at 5:02 to 5:38 in a nebulous section of the song, one that makes it different from where they normally go. It's clever and exciting. Just listen to from 6:46 to 7:00. By this time Jimi brings the first licks of the song from the beginning to end before rounding off for a fire-breathing solo. Highly recommended. (It evens gets better on the 19th). 8:49 <Jimi thanks Jerry Stickles for putting on another guitar string.> "Purple Haze" - Complete with a bombastic introduction, Jimi tuning on the fly, and then into the song, proper, without missing a beat. What happens next is pure fun, as Jimi plays with the lyrics and our minds. The following solowork breaks the mold...and I can't say much else. I'll be at a loss until the next part grabs my attention. If you don't believe me, listen to 4:31 to 4:48 as Jimi comes close to punching a hole in the stratosphere with those high notes. And wouldn't you know a suitable ending with plenty of guitar ****ing? Brilliant all the way around. A superb take for a superb evening. 6:18 I'm continually amazed at how well Hendrix's concerts have been preserved, as there really is a lot to draw from. Every single show is precious, whether we like the show or not. One might even go as far to say that knowing Hendrix as an artist is knowing him as a live artist. I'm overwhelmed by his live brilliance. So, after a slow start in in Stockholm for this tour, we've had most top notch shows in Hamburg & Munster, followed by some pretty killer work in Copenhagen, Cologne, and as we'll see soon, Nuremberg, Frankfurt and Stuttgart, the latter possibly being the best show of the tour. By the way, I'm visiting Jimi Hendrix's grave for the first time in the beginning of August. I know that Jimi's not there, but his DNA is, and it's a pilgrimage, nonetheless. What songs should I play when I visit? Other Hendrix Show Reviews: Official Hendrix Live Releases by @alchemy 2019-07-04 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 Stockholm 01-09-1969 Stockholm 05-24-1967 Stockholm 09-04-1967 Stockholm 09-05-1967 Stockholm 08-31-1970 Copenhagen 01-10-1969 Copenhagen 01-07-1968 Hamburg 01-11-1969 Cologne 01-13-1969
Suddenly November Morning Hoochie Coochie Man Voodoo Child Slight Return Something by Fats Waller? I think that's who Al took his mother to see on their first date but I'm not sure about that. I'm actually slightly jealous as I've always wanted to go. Jimi's mom is nearby I think.If you feel like it maybe take her a flower.
I didnt play any, just hung out, passed around a doobie, and chatted with the other people who were there. Folks from Denmark, Texas, and Seattle that day (20 years ago).
Truth. They also feel different from the US shows that would come later that year....though if I'm not mistaken the US shows start a little rough, the same as the Euro shows, before building up a head of steam. I mean, it doesn't take long for them to reach a pretty good peak at the LA Colosseum '69. That said, I'm longing for some more 1968 shows, and it's almost perfect timing, since we are missing the January, 21st, 1969, Strasbourg, France show. I'll simply insert the January 29th, 1968 Paris, France show into the slot before closing out with Vienna '69. I've already reviewed the Berlin '69 concert, where they ended the tour on a little bit of a funk. Not too bad, but not too good, either. "Suddenly November Morning!" That's very good! I'll do it. The only song that came to mind was "May This Be Love?," which I think I'll bring. I'm looking for a couple of more suggestions. Maybe "Drifting?" Yeah, it would be sweet to bring his mom a rose. I'll post photos. The gravesite was at a different cemetery 20 years ago, wasn't it? I wish I could pass a doobie, but my kids will be there. Maybe the wife and I can hit that before we go while the kids are getting ready or whatever.
You never know who'll show up. My old buddy Kees was there, and who should show up but June, Al Hendrix's wife. It was very sweet, it's on a video documentary somewhere.
Why did Hendrix seem to play better in a live setting in front of people opposed to him jamming in the studio with friends? I mean, there are some super stellar studio jams. And we know that some of his great tracks were recorded live in the studio, like both "Voodoo Child"s. So many boots are full of great studio jams (plus the great releases by EH, Burning Desire, etc.), but live...? There seems to be more live gems, at least from my perspective. It not like Jimi could get in a jam mode and turn himself off. He was always Jimi, but perhaps it's that fuel of really turning people on in a live setting that makes his live work so different? Also, of course the studio jams with friends might not have a structure, so they were feeling their way around, while the live songs have a basic structure to fiddle around with. Listening to "Drone Blues" right now.
On stage he was concerned with putting on a show, performing. In the studio he was trying out new ideas, and often doing spur-of-the-moments things where the band just had to follow as good as they could. Drone Blues is one example, Blues Jam at Olympic another one, where there was absolutely no rehearsals and he just created a tune on the spot. Incredible.
Yes kind of, but I don't necessarily agree that he played worse in a studio environment, and if/when he did there was a reason for it. It's interesting that he spent so much non-productive time in the studio from late 1968 onwards, using expensive time in uninspiring studio environments for rehearsing and jamming, only once hiring a much less expensive rehearsal space (for Band of Gypsys). Perhaps it was just important for him to get down his ideas on multitrack tape. Or there was no plan at all.
Then there is that whole thing of interaction with the audience that many musicians are concerned with, from bands like the Grateful Dead who feed off of a lively interactive crowd, or Robert Fripp and Roger Waters who prefer audiences who pay 100% attention with no distractions. Hendrix seemed like he could deal with both. He'd ask folks how they were doing during a show, tell them to watch out for their ears, please sit down for the folks behind them, etc...you've heard the banter. I loved how he'd point to individuals in the audience with a smile or a laugh or sticking out his tongue; he's genuinely having fun. I have a burning question: I've been searching in vain for info on what exactly the Berkeley movie is made of. I know there is rehearsal footage at the beginning. The Blu Ray has the entire second set with the light show you can stare at. Does that mean that the movie is made up of some of the mainly the first set? I've searched this site, maybe not as deep as I could have. Nowhere else really has an answer but there seems to be no clear cut answer in the threads I've checked. thanks in advance...
The first set has Jimi wearing the black shirt and vest while the second has Jimi in the blue outfit. They only show the rehearsals for the little bit of Blue Suede Shoes. The newer version adds in additional bits of Hear My Train and Machine Gun. Overall, it doesn’t really contain a lot of either set.
Back in the early 80's, I got to meet Baird Bryant, who was the editor of the film. I think, I may be wrong, that Joan Churchill (one of the cameraman) was married to him. The film was rush released to be put together after Jim died. He said he could feel Jimi''s soul as he looked through each frame as he edited it. He had his 16mm work print that he would show us.
The liner notes to the latest Blu Ray of Berkeley goes into great detail regarding the circumstances of the filming, what was shot, etc. Short story, it was out together very much at the last minute and there weren't enough cameras/film to capture the entire shows. Additional footage appears to have been in Mike Jeffery's estates hands as of 1980 but it seems to have gone missing since.
Jesus, I've been listening to Paris '68 right now. I haven't heard that in years, and years (and years). It's blowing the top off sh!t like it was 50 years in the future and Jimi was still playing to an audience now. He's immortal. Only gods get to do that. Sometimes I think that Jimi didn't even know how good he was. He couldn't have comprehended the butterfly effect that he created, eminating from his strings to millions of people in futures to come. He broke the speed of light early. So he had leave us for a little while.
Man, I'm not sure hanging out with Nancy Reagan, you know what I saying? Paling around with Jimi Hendrix you'd better be prepared for alternate arrangements. That show is really, really good!
You know, I haven't heard Paris '67 in a long while, either. But as of this moment I'm thinking Paris ' 68 has the best takes of "Killing Floor," "Catfish Blues" and "Driving South." I'll have to go back and check, though. Also, for such a short take of "Red House" (with Noel on guitar) it's all killer.
January 16th, 1969, Nürnberg, Germany, Meistersingerhalle Home of the greatest trial in history - that is until OJ ran away - Nuremberg, Germany 1945-46 (oh, and before that the Bruno Hauptmann's trial & the Lindbergh baby)...geez, that's a lot of Germans surnames! Safe to say, it was a different world with the JHE showed up in January of 1969, fresh from a killer (pardon the pun) show in Munster. There may be a pattern here, to wit, the smaller the city, the better the show. Or Not. At any rate, the band is maintaining a high level of play, still. This one will be divided up into two sections. Second Show ~ For the faint of heart... "Fire" - I love it when they open with this one. Jet engines don't have this much power to crack the sky. The solo here is unbelievable. 1:13 to 1:46, Jimi full-on shredding without missing a beat. It's seamless and may even be the best live solo for this song. Mitch is friggin' jamming his ass off. Something happens to Jimi's around the 2:45 where he totally drops out. Did he accidentally unplug? That's the only thing that keeps this from being a tip-top take. Technical problems in an otherwise masterful take. 4:19 "Hey Joe" - Jimi takes a while tuning, yet still is a little out of tune by the time the song starts. He adjusts on the fly going into what is assuredly the best they've played this song on this tour. It still has some of that aggression typical of this tour, but Jimi is ultra inventive (very) with the fills during the vocals, and finally milking every note for a top-tier solo. (top? as in it could be argued that this is one the greatest.) It's beautiful like the solo from "Fire." And he just keeps pouring it on during the last verse, making those vocals stick, as well. By the time the last solo comes around Jimi ups the ante with another magnificent solo, before finishing off with a brief flurry of bad assery to end the song. A must listen! 4:28 "Spanish Castle Magic" - It rocks...and it's also mired by a very out of tune guitar. Jimi can't seem to quite get it into tune, so the vocals breakdown. The song is saved by some very abstract soloing from Hendrix. I mean, this is way out there stuff from 1:36 to 3:40. It's a master-class in psychedelic guitar playing. No, Hendrix doesn't drop a note. He's very assured in making this solo as strange as he possibly can. Very deliberate playing, as one angular motif flows straight into the other. Man, again, we have a flawed version, but this time by tuning problems in the beginning. A cool version, though it's the second night in a row where this song goes pear shaped on them. 5:36 "Red House" - The use of feedback in some of the opening notes are dynamic. Very nice. Once again Hendrix starts the vocals at 1:05, quite the contrast to the earlier performance that day. What a great tone all the way around. Jimi does much with it, his vocals near equally his playing in a very attractive set of verses. Oh my...and when the solo comes in (not I'm not forgetting the great fills in the verses), it takes flight, only to be cut at 4:07 "Foxey Lady" - Here the band makes those opening riffs carry on for extra bars before Jimi sings. Hendrix almost raps these lyrics. You know, its a little slow! It throws things off for the band, but in context of the show it doesn't sound bad at all. I think Hendrix is thrown off, too, as he quits singing altogether. That doesn't stop the force of this solo, which is another in a long line of amazing soloing this night. Moments like 2:49, and second like 2:55 & 2:57 that I've never heard a guitar player play anything like it. It's like two guitar players at once. The whole solo is dreamy. Coming out of it, though, Jimi doesn't sing another line and that's it. They just play it, sans vocals. It ends with a bang! 6:02 "Sunshine of Your Love" - Nice. Hendrix is in complete command of the guitar right now. I could point out seconds and minutes of amazing work - perfect work, even - but they wouldn't do this take justice, as only hearing it is the deciding factor. The breakdown doesn't take long to get to either, as the band only goes through one cycle, but when it hits, Noel delivers the goods. Jimi just goes steady muted pickin', letting Noel hang out - the audience is clapping. It's not like Noel is perfect, but here comes Jimi. He's been perfect. In fact, the transition to the next part is a unique moment in the history of this song (how did he think of those chords on the fly?) Hendrix lays out these big chords, all multi-colored, with Noel romping, before finally taking over...sliding...sliding...sliding down the neck to the high notes, and then somehow signally the band to come a complete stop, only to capitulate the main theme out of nothing. This might not be one of my favorite live songs, but this take is probably one the better ones. It's certainly the best of this tour so far...and some moments reaches the top of what Jimi was able to do live. 8:17 "Little Wing" - It's probably a smidgen too fast. It may even be a tiny bit aggressive, but hey, it's "Little Wing," and I've never heard a bad rendition of this amazing song. The solo from 2:25 to 2:47 may be about as good as you could wish for. Even the tiny flourishes at the end the song could bring a tear to the eye. Sweet. 3:31 "Voodoo Child (Slight Return)" - Keeping dragging that intro out! Jimi's into it! It shakes and grooves. In fact, I knew that the first solo would slay me. This is a night for hearing every bit of flash that Jimi has. Fine something wrong with the playing anywhere in this jam. I dare you. The breakdown hits just as hard. Jimi even extends this part before coming in with the...holy ****!...yeah, before coming in with the vocals. Indeed, they take it all the way down to nothing when Jimi sings, "I didn't mean to take up all of your sweet time...." Then the band busts right after than line. Fantastic. And for only the second time this night Jimi loses it just a little, though not for long. The only problem, is that while it's near note-perfect, perhaps there's just a bit too much sameness in the parts after. When Jimi decides to solo again, it's electric! - only he does it between holding onto those chords for what's perhaps a little too long. 8:57 to 9:07 with those bends! A well-worthy take for any special occasion. 10:15 "All Along the Watchtower" - Jimi is giving to the crowd. For the second time this tour they play this song and Jimi doesn't drop a vocal line (until the very end).The band is tight and every notes Hendrix touches is magical. I knew it was too good to be true. Jimi drops the last verse, even though every solo and lick has been supreme. Listen from 1:08 to 1:13 for a carousel of notes. Breathtaking. The only thing is, Jimi takes mulligan and re-sings the last verse. So, how does that fit into the narrative? It got a tad sloppy, so I guess it's not in the running, even though every solo shouldn't be missed by anyone looking for fine examples of Jimi's creativity. I mean, check out 4:57 to 5:05 for something to blow your mind. It doesn't eventually win the prize (or maybe it does), but like "Little Wing" this night, it's a must hear. Very much so. 5:45 "Purple Haze" - It has a good feel. The band is still very much into performing, having not slacked off the whole evening. Here Jimi showboats a bit for the solo, which puts a damper on some of the better licks, but no matter, he's performing! This is the energy of a band at peak ability. Dig on 1:37 to 1:54 for something, again, that you haven't heard Hendrix do much of. Talk about shredding? We'll there it is. I don't think this take will win all of the prizes, yet it's an integral part of the show. Very infectious. But whatever, there is some superb whammy work at the end of this one and Jimi bids us good bye. 4:28 First Show ~ For those with nerves of steel... (No, seriously, for this show the guitar stands out the most, so it's a lopsided recording...but if you just want to hear Hendrix play his guitar, with not a lot of "disturbances," this is a good one to analyse. His tone is very clear and so is his playing). "Come On (Pt 1)" - Probably not as slick as Munster, but really there's nothing wrong with this take. In fact, I think Jimi reached new heights with this song during this stretch of shows. 5:41 "I Don't Live Today" - Now, this is the feedback that I'm talking about during the verses. Perfect. Hendrix was a master at manipulating feedback, it seems almost at will, snatching the notes from the sky and siphoning them through his guitar, instead of the other way around. When the solo comes it, it's like butter, baby. Which is very interesting about this show; the guitar is so loud that the group sounds like toy musicians behind him. That may sound horrible to you, but if you want to really study what Jimi is doing with the guitar, this is an up-close opportunity. At 4:46 something amazing happens. Not only does Jimi stretch that feedback way out there, but he also creates a plaintive song for the dead Red Man. That doesn't take long, but it's incredible, followed by another taste of how Hendrix is really manipulating that guitar. So, there's no way of saying where this take sits in a slew of great versions, but its interested is dissecting Jimi's guitar bits and holding them up a microscope. 8:23 "Hey Joe" - We're a tad out of tune here, but the band launches into a nice take, tempo wise. It's a little more delicate because of the tempo, but it's still pretty heavy. This seems be a theme for this era, i.e. barreling through "Hey Joe" rather than emoting it. He takes that second solo with his teeth. I would say they are tired of playing this song, which is probably true; nonetheless, there are much better takes after the European '69 tour, so they still had it in them to make this tune work. You may care for a heavy-handed versions of this song. I don't 4:47 "Fire" - This take comes off better, though, probably because they don't have to check their aggression for the more jamming tunes. In fact, this take pretty much slays. The solo gets away from Jimi a bit, bu it's not bad; it will have you locked in. Not only that but it's a good vocal version. It's good! 5:15 <for anyone keeping track, that's 3 good ones and 1 dud> "Red House" - This one has a little bit of a scooped tone...and it sounds good, especially since we also get a sense of the venue with this take. You know, once again, I got lost in all of the intro leads, which I guess is a good sign if it can take you away. It's an extra long intro at 3:44 before the vocals come in. Again, Jimi is putting on a vocal clinic. The fills are a little pedestrian until "Wait a minute something's wrong..." where the fills then become super slinky, hitting every sweet spot in the pentatonic scale. And of course I always mention when the solo comes in, and this one is a great lead-in! Some spectacular shredding moments. I don't hear a note out of place. They come out of the solo at 7:40, with another hallmark of this tour; they don't really drop into the smooth breakdown from 1968. No, Jimi doesn't mince around. He usually stays aggressive, and in this case it's another solo before taking another stab at the "jazz section." 10:32 marks the spot of another can't-do-wrong-section, while the band drops out and Jimi shows off alone. You hear moments like this and wonder how someone could be so creative on the fly. What comes after, on the other hand, is Hendrix trying to get the band back in, but the band catches on slowly. What happens is Hendrix is forced into an awkward position, to solo himself out of the hole the band put him. However, if the band hadn't put him in such a strange place, we wouldn't have the last verse from 13:07, when the band totally drops out for one the most unique lasts verses for this song. It's just Hendrix and his guitar, singing and playing the last verse without the band. So nice! Yeah, this take a mixed bag, but it's also one I will never forget. 14:54 (the tunes takes up almost this whole run-time, too) "Foxey Lady" - This version is interesting. The guitar isn't near as gritty as normal. He's playing it all with a clean tone, until the 2nd verse where it begins to sound more like itself. The playing has been tight, though, which makes it all the more interesting with Jimi switching up the tones like that. Anyway, I think the main solo is pretty special and the leads Jimi adds to the coda beautiful. Good stuff. 4:08 "Purple Haze" - Unfortunately, they are putting about as much care into this take as they put into "Hey Joe." Jimi aims for a target in the main solo, but he misses by a few miles, slipping into slop. That's all I can say about this one. Jimi makes better work of the last solo. Oh, that I was something else I wrote, after I intimated that I wasn't going to write anymore. Skip it like a flat stone. 4:29 "Voodoo Child (Slight Return)" - I was expecting better with this song, and we got it. It's much more tight and focused that "Purple Haze," indeed, Jimi & crew don't miss a cue, changing from one part to another on a dime. The breakdown hits hard as hell, too. What a treat to hear Jimi's guitar like this, so naked in the mix. Really, everything is moves along nicely, even in some slightly shaky parts, but one you'd be crazy to turn off. A great way to end the show! It's damn good. I thought it always showed how professional Hendrix was, that no matter how the band was doing, he's try to end the show with bang. 6:56 So, essentially, we have a first set that's about as good as any, bordering on amazing, with a deep dive into Jimi's tone. Then we have a second set, that no matter how the song goes, one way or another, it's a guitar solo clinic, without the need for tight band playing behind him. It makes me grin because Euro '69 show has such a unique vibe and flavor...a little on the edgy side. I've heard so much that I truly feel fortunate. Now, if you'll excuse me, I must be on my way... (I'll be in Seattle soon, hanging with Jimi's ghost.) Other Hendrix Show Reviews: Official Hendrix Live Releases by @alchemy 2019-07-04 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 Stockholm 01-09-1969 Stockholm 05-24-1967 Stockholm 09-04-1967 Stockholm 09-05-1967 Stockholm 08-31-1970 Copenhagen 01-10-1969 Copenhagen 01-07-1968 Hamburg 01-11-1969 Cologne 01-13-1969 Munster 01-14-1969
This may sound kind of weird but I've always wished I could kind of fly off into the ether bring back Hitler's ghost to show him the JHE show at Nuremberg or Berlin in 69 just a mere 24 years after he was gone. Always wanted to see how he would react. Kind of like A Christmas Carol.
