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Thread: 70-05-30 BERKELEY COMMUNITY THEATRE, 1st show, CA

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    70-05-30 BERKELEY COMMUNITY THEATRE, 1st show, CA

    Saturday 30 May 1970
    Berkeley Community Theatre, 1st show, CA. JHE [II]

    Concert at 19:30 by ‘The Jimi Hendrix Experience’ on Jimi’s final “tour” which he (ironically?) titled ‘the cry of love tour’ in an interview shortly before it started. This tour encompassed some of the craziest US government (& other) violence of the time, the Manson trial had begun, and Tim Leary had been sentenced to a monstrous twenty years only three days previous to the start of the tour.
    The film ‘Woodstock’ had been touring the cinemas since March.
    Support: Tower Of Power & ‘political’ babble by Bill Graham and ?
    Attended by Devon Wilson & Collette Mimram (Devon was Jimi’s “woman” and Collette was one of his clothing designers and one of his “amours”, she was his companion on his visit to Morocco)
    Filmed by a bunch of spaced monkeys and the resulting mess chopped up from the two hours at least of raw footage into the ludicrously edited 40 minute film ‘Jimi Plays Berkeley’ most of the remainder was apparently thrown away (a few short snippets have since turned up – notably a short piece of Voodoo Chile (SR) from this show. Added applause on several of the released songs is an unfortunate intrusion added by Alan (Rubenstein) “Douglas” [a complete wanker like several other idiots who, often, made an utter arse of producing film and recording Jimi live, ie indulging their pathetic “artistic” egos by using ridiculous camera angles, cutting original film stock very badly, with out of synch, poor sound, and then destroying/losing what was left (usually everything apart from ‘Purple Haze’ and ‘Wild Thing’) and the shoddy use of out of date film stock, running out of film/tape and bad lighting etc.]
    Three weeks earlier in Norman at the University of Oklahoma concert (1st show) and two days after that, in Fort Worth (inside out), Jimi had worn a black armband with the large, white letters ‘KS’ on it, obviously a mourning band for the thirteen students shot at Kent State university by National Guard, only four days previous. Four died and one was permanently paralysed. Six days later two students were shot dead and very many wounded in a hail of police gunfire at the predominantly Afro-American Jackson State University under similar circumstances.
    These two Berkekey concerts were a kind of anniversary of the People’s Park action in Berkeley a year previous. The unarmed crowd who had spontaneously tried to take back “their park” by taking down the barriers and re-entering the park, had been stopped violently by the Police (sent in by Ronald Reagan to seal off the park) who attacked the “protesters” and others in the vicinity, shooting many with shotguns, armed with heavier shot than “normal”, wounding over a hundred, causing serious permanent injury to several, blinding one, and killing one young man who was watching from a roof. A few police were treated for very minor injuries, some caused from the unorganised, occasional, retaliatory bottles and small stones [US = “rocks”] thrown at them.

    1. Fire (71), 2. Johnny B. Goode (3), 3. Getting My Heart Back Together Again (44), 4. Foxy Lady (83),
    5. Machine Gun (21), 6. Freedom (17), 7. Red House (67), 8. Message To Love (32), 9. Ezy Ryder (22/23), 10. The Star Spangled Banner (35)>, 11. >Purple Haze (92), 12. Voodoo Child (Slight Return) (72)

    [Aud = Audience]

    [Although interesting, the film “producers” essentially wasted some of their - surprise! – (allegedly?) short supply of footage, interviewing passers by and filming ‘protesters’ outside a cinema urging a boycott of the recently released ‘Woodstock’ film. Between bands there was a bit of agressive psycho/political babble by Bill Graham* in which he quotes Jerry Rubin’s (co-founder of the Yippies) sound-bite - “Kill you parents” followed by some other ‘politico’ (Name? who managed to calm the irate audience down after Bill’s provocation)]

    * Thanks to CTT’s ‘firstrays’ for identifying him to me.

    Aud: [Applause (for?)] Get on with the show, man!
    BG : If we are funny…
    Aud: Do it!
    BG : … we are funny communists
    Aud: [Applause]
    BG : In order for the, no, no, no [at the applause]. I wonder if everyone of the, people who
    are clapping or cheering [jeering more like;-)], if you’d like to come down here and
    discuss what you’re clapping?
    Aud: No! Fuck off! Like in just three minutes? Might as well [applause] Jimi Hendrix! Let’s
    just get on with the show!
    BG : I wonder if anybody here…
    Aud: Bring on Hendrix! Hendrix!
    BG : I wonder if anybody here is gonna kill-is ready to kill his mother or father…
    Aud: No, but I’m ready to kill you! [applause]
    BG : No, man…
    Aud: You’re not funnier! Jimi Hendrix!
    BG : Come on up here…
    Aud: Right. Jimi Hendrix
    BG : …come on up here. Don’t yell from the crowd. Come on up
    Aud: Fuck off. [Man]: You white woman’s arse! [?] [Women]: Fuck him! Shut up!
    BG : The only thing… He may be a very sick man living in ‘The Whitehouse’
    Aud: Yeah. Fuck this shit!
    BG : But everybody else doesn’t have the answer
    Aud: Yee-hoo! [big applause]. . . You are all pigs. Capitalism! Right
    BG : Any-anybody? Come on
    Aud: Capitalism!
    BG : Come on!
    Aud: Go home! We’re not your friends, you fuckin’ capitalist! He wants Vietnam! Marxist.
    Fuck Vietnam! Vietnam?!
    BG : [Leaves the stage]
    [?] : Ah, I think when Jerry Rubin said to “Kill your parents” we needn’t take that
    necessarily literally. All he’s saying is. . .
    Aud: [Applause] Of course not!
    [?] :. . . All he’s saying is, that you should have enough commitment to do something,
    strong, do something strong. As-for “kill your parents” I-mean, that’s not literal. .
    Aud: [shouting]
    [?] : And as far as Yippies being “communists”…
    Aud: …faggots!
    [?] :… - who the hell are the people that are living in the communes all over Marin
    [county], if they’re not “commune-ists”, you know, who is? Besides Yippies too, dig it.
    Aud: [Applause]
    [?] : Maybe Yippies don’t exist. Listen, there’s a lot of factions in this movement, there’s:
    White Panthers, and Yippies, and Weathermen, and Black Panthers, and they’re all
    right on, ‘cause they’re all with us, and we’re all in the movement, an’ we’re fightin’
    the system, dig it.
    Aud: [Applause] I know, man. Right on… [everything quietens for a while]
    Girl : Come on Jimi, for me! [laughter. Tape cut]]
    Aud: [impatient clapping & whistling] Bring him out! [clapping and whistling still] We’ve
    waited long enough! Bring him out! You’re a girl! Ain’t he just dressed lovely! Get
    Girl : Come on Jimi [everything quietens for a while, some quiet music is heard] ‘Cause we
    Aud1: COME ON JIMI!! [laughter] Right on! Right on!
    Aud2: This man has an orgasm! [laughter]
    [Mitch tests drums]
    Aud1: GET IT ON!! GET IT ON!!
    Jimi: [Off mic’] Yes. Do it, do it
    Aud: [Applause]
    Jimi: [Tuning] Forget about tomorrow and yesterday, everybody's gettin' right on together
    tonight. Make our own little world and-uh let’s see if we can get a little booster-shot or something then. Stick together an’, this is dedicated to all the cats that has died for a cause that is gonna happen anyway. We got a thing called ah-um, Mitch, Mitch Mitchell on drums and Bill Cox on bass.
    Aud1: OKAY, BABY!
    Jimi : Thank you for showin’ up. [strums guitar] … One two. One, two, three, four…

    1. FIRE [Backing vocal - Billy Cox]
    [Not included in the film, but audio released complete on CD]

    All right, baby, dig this now, yeah... yeah

    You don’t care for me, I don’t-uh care about that
    You got a new fool, hah, I like to laugh at
    I have only one, itchin’ desire
    Let me stand next to your fire
    (Let me stand next to your fire) Let me stand, baby
    (Let me stand next to your fire) Oh, let me sta-and, babe
    (Let me stand next to your fire) Oh, let me stand, baby
    (Let me stand next to your. . .)

    Oh, listen here mama, just stop actin’ so damn crazy
    Your mom ain’t home, it ain’t my concern
    Play with me child and you won’t get burned1
    I have only one burnin’ desire
    Let me stand next to your…[plays trill]

    (Let me stand next to your fire) Let me sta-and, baby
    (Let me stand next to your fire) Let me stand next to your fire
    (Let me stand next to your fire) Yeah
    (Let me stand next to your. . .)

    Oh, move over Rover*, American power is taking over
    Yeah, you know what I’m talkin’ about, baby

    [Solo & drum solo]


    Try to give me your money
    You better save it, babe
    Save it for your rainy day
    I got only immense desire
    Let me stand next to your… [feedback]
    (Let me stand next to your fire) Oh, let me sta-and, baby
    (Let me stand next to your fire) He-e-ey! let me stand
    (Let me stand next to your fire) I ain’t gonnna do you no harm, not really, baby
    (Let me stand next to your. . .) Yeah


    Yeah, baby
    Don’t slow down

    1“Don’t play with me ’cause you’re playin’ with fire.” 'Play With Fire' (Jagger & Richards 1965)
    *From ‘Two Old Maids’ (Trad. Arr. Jimi Hendrix 1965) [mistakenly aka ‘Stoop Down Baby’ from a Chick Willis title only recorded in 1972!]: “Old Mother Hubbard went to the cupboard… But when she bent over Rover took over. ‘Cause you know he had a bone of his own” ha-ha-ha. Jimi covered this at least five times from 1965 to 1970 and also references Mother Hubbard & bone during his Maui rap. Rover also gets a mention in ‘Highway of Broken Hearts’ ‘Keep On Groovin’ & ‘Hound Dog’. This, coupled with the story of Jimi asking Noel’s mother Margaret if he could warm himself at the fire, in her house at New Year’s eve 1966/67, (when,according to Chas, the band were all tripping) would appear to be the inspiration.

    Jimi: [Tuning] Ah, excuse us for toonin’ up every once in a while, but, like-uh, I guess, you
    know, cowboys’ the only ones that stay in toon anyway so, give us about three minutes [tuning etc.] Is it too loud out there, is it too loud? [under breath:] ‘Fuck you’
    Aud: NO!! NO!! [etc.]
    Jimi: YOU ASKED FOR IT, BROTHER! Dig-uh, we got this other thing called-uhm, I don’ know,
    we'd like to do a little loose jam type of thing, it’s…’Johnny B. Goode,’ what the

    2. JOHNNY B. GOODE (Charles ‘Chuck’ Berry)
    [The intro is slightly clipped in the film, but the rest of it is unedited. Complete audio released on CD]

    Well, down in Louisiana close to New Orleans
    Way back up in the woods among the evergreens
    Oh, livin’ in a cottage made of earth and wood
    Lived a country boy, named Johnny B. Goode
    He never, ever learned to read an’ write so well
    But he could play that guitar just like ringin’ a ding

    Go, go, go Johnny go
    Go, go Johnny go
    Go, go Johnny go
    Go, go Johnny go
    Go, Johnny B. Goode

    He used to carry his guitar in a turnip sack
    Go sit beneath the trees on the railroad track
    Oh, strummin’ his guitar sittin’ in the shade
    Strummin’ with that music that the drivers made
    People messin’ round they’d stop and say,
    “My, but that little country boy can play.”

    Go, go, go Johnny go
    Go, go Johnny go
    Go, go Johnny go
    Go, go Johnny go
    Go, Johnny B. Goode to…


    His mama told him, “Someday you will be a man
    And you will be the leader of a big rock band
    All kind o’ people come from miles around
    Hear you play your guitar when The Sun go down
    Maybe some day your name will be in lights
    Sayin’: ‘Johnny B. Goode – Tonight!’”
    Go, go, go Johnny go
    Go, go Johnny go
    Go, go Johnny go-o
    Go, go Johnny go
    Go, Johnny B. Goode to…


    Jimi: Yeah, okay then, here's a story that a lot of us been through at one time or another,
    one kind o’ way or another, about a cat runnin’ around town and his old lady think, she don't want him around and a whole lot o’ people from across the tracks are puttin’ him down, [plays blues riff] and nobody don’ want to face up to that the cat has somethin', but fully everybody’s against him because the cat might be a little bit different. So he goes on the road an’ be a Voodoo chile.. [plays blues riff ] come back and be a magic boy [plays blues riff]. Right now we toon in on him an’ [he’s] waitin’ down the train station, waitin’ for his train to come in, so he can do his thing…

    3. GETTING MY HEART BACK TOGETHER AGAIN [posthumously aka “Hear My Train A Comin’”]
    [This is heavily edited in the original film, but has been considerably extended in the updated re-release. Complete audio released on CD]

    Well, I hear my train a comin’
    Hear my train a [plays riff]
    Hear my train a comi-in’

    I’m waitin’ around a train station
    Waitin’ for that train
    To take me awa-ay
    Lord, take me the hell out away from here
    Take me from this lonesome town

    It’s to bad you don’t love me no more, baby
    To bad your people put me dow-ow-own
    Put me down
    Tears burnin’ me
    Tears burnin’ me in my soul.
    Whole lot o’ brothers gettin’ it
    Tears burnin’ me in my heart
    Tears burnin’ me down in my so-oul

    Too bad you don't love me no more, baby
    Too bad your people, Lord, they made me go
    Yea-eah, he-ey
    Hear my train a comin’
    Hear my train a comin’
    I hear freedom comin’
    I hear my train comin’


    I got to leave this town
    Lord, I got to lea-ea-eave this tow-own
    Got to go out on the road right now, baby
    Lord, I got to be a Voodoo chile, baby
    Go out in your world and become a magic boy, yeah
    Come back and buy this town
    Come back and buy this town
    An’ give it all, give it all, give it all to you

    Yeah, baby

    You make love to me one more time
    And, Lord, I got to gi-ive, give it all to you
    All my lovin’ for you, babe
    Gonna prove to you

    That I hear my train a comin’
    Hear my train a comin’
    Hear my train a comin’
    Hear my train a comin’
    Hear my train a comin’
    Lord, I hear my train comin’


    One of these days I got to be free
    Hear my train a comin’
    Lord, I can hear my train comi-in’

    Yeah, yeah

    Hear my train a comi-i-in’


    Jimi: Pardon, sorry for the delay. Like to go, continue on and dedicate this one to-uh,
    Colette and-uh, Devon, the two little Gypsy girls over there with the red underwear, and then definitely Lynn*, Lynn and her other half which she might have around August. Then we’ll know where the nose goes when the door’s closed! In the mean time, which is a groovy time, let’s see if we can get into some ‘poontang’1 time…

    *Lynne? [Bailey?] Pregnant?
    1Sex, literally – ‘vagina’

    4. FOXY LADY* [Backing vocal - Billy Cox]
    [Not included in the film. Audio unreleased]

    Dedicated to you two sisters1, right

    One, two, three. . .

    Now you know you’re a cute little heart breaker, baby
    Lord, you know you’re a sweet little love maker, sometimes
    Hey, baby
    I wanna take you home
    oh-I won’t do you no harm
    You got to be all mi-i-ine, all mine
    Ooh, foxy lady
    I see you I’m down on the scene, baby
    You make me wanna get up and scream
    I’m gonna take you home, babe
    I won’t do you no harm
    You’ve got to be all mi-ine, all mine
    Ooh, foxy lady

    I’ve made up my mi-ind
    I’m tired of wastin’ all my precious time,
    You’ve got to be all mi-ine, all mine
    Ooh, foxy lady

    Come over here right on time
    Won’t you let me give you a little bit

    *Interestingly Jimi played guitar on a 1966 recording ‘(My Girl) She’s A Fox’ by The Icemen
    1There were a couple of ‘black’ girls front centre.

    Jimi: Thank you very much. [tuning] Yeah, okay then, [tuning] a minor adjustment here and
    there [tuning], diswing-distinguish us from the cowboy. [tuning] Like to do this one for-uh, hate to say it, there's a lot o’ truth we have to face up to, the ideas, the solutions and so forth and so on. But still we got dedications to all the soldiers that are fightin’ in Chicago1 an’ that are in jail2, all the soldiers in-uh New York1, Florida3, [plays trill] right here in Berkeley1, specially the soldiers in Berkeley. Oh yes, the soldiers in Vietnam too, this is dedicated to. A thing called [plays riff] Machine Gun…

    1Black Panthers /Stop the war movement
    2ie Black Panther founder Bobby Seale who alone of the original ‘Chicago eight’ was in jail and was to spend
    21 months in total inside, unlike the other defendants (‘White’) who never actually spent any time in jail.
    3Miami had several “race” riots and was one of the main focuses of 60’s civil rights confrontations, although it
    doesn’t appear to have been a player in the Panthers or stop the war movement.

    [This is heavily edited in the film, Audio unreleased]

    Machine gu-un
    Machine gun, teari-in’ my buddy’s body all apa-art
    Yeah, yeah, yeah, yeah
    Machine gu-un, tearin’ my body all apart
    Evil men make me kill you, baby
    Evil men make you kill me
    Evil man make you kill me, me kill you
    Even though we’re only families apa-art

    Well, I pick up my axe1 and fight like a farmer
    But your bullets shoot me down the same way, into the earth
    I pick up my axe and fight like a farmer
    And your bullets keep shootin’ us down to the ground

    Same way you shoot me down, baby, you’ll be goin’ just the same
    Three times the pai-ain, and your own self to blame
    You better watch it, baby, and get it together now
    Yeah, yeah, Machine gu-un, yea-eah
    Tearin’ your buddies all apart


    Over yonder stands a woman, sewin’ clothes so as the son can fight the war
    Over yonder stands a woma-an, sewin’ clothes so as her son can fight their wa-ar
    But I’m her lover, I’m her lover and we don’t make no child to fight in any y’all’s war
    So let your bullets spread like rai-ai-ain
    Lo-ord! rai-ain! rai-ain! let your bullets spread like rai-ain

    Machine gu-un

    So many good people goin’ down
    Down, down, down
    All over The World around
    Machine gun echoin’ sou-ound

    Yea-eah, yea-eah
    I was born to die-ie
    So let your bullets fly
    Got to be free, you got to be free
    So shoot down an’ hold me
    Never will get ‘em all

    All right General and Secretaries of War

    Hey now, the last revolution is goin’ on stro-ong

    *According to Jimi this addresses at least two subjects, one is war and the other is personal struggle
    “People fighting wars within’ themselves.” About the MSG debacle he said, "And here I'd been fighting the
    biggest war I ever fought. In my life. Inside, you know? And like that wasn't the place to do it."
    Interestingly there were a lot of quite “spacy” “Surf” instrumentals in the late 50’s/early 60’s Dick Dale was
    pretty “out there” and then there was “LSD-25” by ‘The Gamblers’ (w / Elliot Ingber gtr) released in 1960 as the “B” side of their ‘Moon Dawg’ single on a wacky west coast “jazz” label, ‘World Pacific Records’. Supposedly the title was picked at random from a newspaper article (Yeah, right;-). Not to mention the tune ‘Machine Gun’ by the Riptides in 1959. Hear Jimmy & Buddy chortling over Buddy’s quote of Jimi’s “and you’ll never hear surf music again” at the rehearsals for these four shows. Rick Griffin the famous poster artist who made the famous “God’s Eyeball” poster for Jimi’s shows at the Fillmore in ’67 and the “Dancing Scarab Beetle’ one for the ‘68 Winterland shows was a “Surf” artist.
    1“axe” is (also?) ‘hip’ for ‘instrument’. Woody Guthrie’s guitar was emblazoned with the words, "This
    machine kills fascists")

    Jimi: Thank you… Hold on one more second, maybe give yourself about two or three
    minutes to buy your popcorn, ice cream an’ sandwiches, or whatever you wanna do, we got another tune-up job to get together, gi’ me a ‘A’. [tuning] Like to do a little thing that we call-um, right now it's a working title it's [tuning] it's more into the jam stages of it, or the boogie stage, whatever you want to call it. [tuning] It's a little thing talkin’ about Freedom. [tuning] We've been hearing that about two hundred years too much, ourselves, so, like, I think, ah, somethin’s gonna happen soon. And we dedicate it to that movement [tuning]. Sorry, you saw it [tap, tap, tap.on guitar neck etc] One hot voyeur
    Aud: [Laughter]…

    6. FREEDOM
    [Not included in the film, but audio released on CD]

    You took my lead
    Get you out of your head-uh
    You’ve got my la-ady hangin’ out your jail bed
    You’ve got my girlfriend I said-ah screamin’ and hollerin-uh
    Well, you’d better let loose, baby
    Gonna call that junk off o’ your head now
    Give me-uh free-ee-ee-eedom
    Give me freedom, that’s what I want now
    Freedo-om that’s what I need
    Yea-ea-eah, yea-ea-eah

    [Instrumental break]

    You’ve got my mouth, speak electric water*
    You’ve got my hea-ead, I said screamin’ and a hollerin’
    You’ve got some of my brothers
    And all of our sisters
    You even got your own kind
    In your jail, cryin’ all the time
    Say it, brother

    All we want…free-eedom
    That’s what I want now
    Sweet free-eedom
    For you and me
    So we can breathe
    Freedo-om, hey!

    You don’t have to say that you love me
    If you do-on’t mean it you’d better believe
    If you need me or you just wanna bleed me
    Stick in your dagger and cut me deep
    Set me free

    [Instrumental break featuring Pete Moore’s UK ‘Pearl & Dean’ cinema advertising theme
    ASTEROID (Pete Moore)]

    Freedo-om so I can li-ive finally
    Freedo-o-o-om so I can live, baby
    Freedo-o-om, freedo-o-o-m
    So I can give her love, love, love


    *Obscure argot, the meaning of which has yet to be expained?

    Jimi: Like to do a slow blues here that we've been doing for ninety nine thousand years. A
    thing called Red House. Dedicate this one also to Colette an’ St’-uh, an’-uh Devon [he nearly says Stella? Benabou (Douglas)]…

    7. RED HOUSE [Played on a Gibson “Flying V”]
    [Not included in the film, but audio released on CD]

    There’s a red house over yonder, babe
    Lord, that’s where my baby stay-yeah
    Lord, there’s a red house over yonder, baby, now
    Lord, that’s where my baby stayed
    Ain’t been home to see my baby
    In about a ninety nine and one half da-ys*

    Wait a minute somethin’s wrong
    Lord, the key won’t unlock this do-oor
    Wait a minute somethin’s wro-o-ong
    Wait a minute somebody’s-uh jus’ don’t want this key, babe
    Got me all nervous so the key won't open the door
    I got a bad feelin’
    Lord, my baby don’t live here no mo-ore
    Just got out of jail that’s all right, I still got my guitar



    Yeah, I think I’ll go back over yonder
    Way over yonder across the hill
    Lord, I might as well go back over yonder
    Way! way over yonder across the hill
    Yeah, that’s where I came from, girl
    If my baby don’t love me no more
    Lord, I know good and well that her
    Her sister wi-ill

    * Three month jail term

    Aud: Bold As Love! / Star Spangled Banner!
    Jimi: Gi’ me a ‘A’ again [tuning] Like to do a thing called-uh
    Aud: Slight Return!
    Jimi: Like to do a thing called-uh, Message To Love, something that everybody needin’, a
    whole lot o’ about this time [plays riff] One, two. One, two…

    [Not icluded in the film, but audio released on CD]

    I said we’re travellin’ at a speed of a reborn man-uh
    We got a lot o’ love to give-uh, from the mirrors of my hand
    I said a message of love, before your day, baby
    Look at the mirrors of your heart, babe, face the truth today

    Well, I am what I am thank God
    Some people just don’t understand
    Help ‘em

    Find yourself first and-uh then your tool
    Find yourself first don’t you be no fool

    I see a woman comin’ wrapped up in chains
    Messin’ with ‘the pig’, baby, keep your life in chain
    If you wanna be free-ee come along with me
    Leave your other man there, he’ll never understand
    I said find your self first and then your talent, baby
    Work hard in your mind for it to come ali-ive
    And then show ‘the ma-an’ that you understand
    ‘Cause in the eyes of God we’re all children to him
    Everybody come alive
    Everybody love their life
    Everybody get together!
    Everybody hear my message

    Jimi: Thank you very much for stayin’ this long. We got another thing called-uh, thank you,
    thank you, [aside, joking:] ‘Get in touch with you later on’. We got this other thing, we watched this thing ah, Easy Rider? or some mess like that, yeah, right, where the cat gets all blown up at the end [imitates an explosion] and all this kind of mess. So like-uh, ‘cause I did do a little song, the way we seen it, or whatever. It's the same title, ‘Greasy Slider’, I’m gonna toon [tuning]

    9. EZY RYDER*
    [Not included in the film, but audio released complete on LP, drum solo slightly edited on CD]

    There goes Easy, Easy Rider
    Ridin’ down the highways of-uh desire
    He says the free wind takes him higher
    Tryin’ to find his heaven above
    But he’s dyin’ to be loved

    He says, “Livin’s so magic-uh
    Today is forever,” so he claims
    He says, “Dyin’, it’s so tragic,”
    But don’t worry about it today
    We got freedom comin’ our way

    See all the lovers say, “Do what you please”
    Got to get the brothers together
    And the right to be free
    In a cloud of angel dust I think I see a freak,
    “Hey motorcycle mama, will you marry me?”

    Then I’ll be sto-one crazy, sto-one crazy…


    There goes Easy, Easy Rider
    Ridin’ down the highway, he’s known to be insane
    He says the free wind takes him higher!
    Tryin’ to find his heavenly Queen
    Blowin’ out all his dreams
    Blowin’ Easy Rider
    Blowin’ all his dreams
    Easy Rider

    *Jimi himself said this song was about cocaine – as was the film, partly
    PCP (Phencyclidine) an anaesthetic with hallucinogenic properties

    Jimi: Thank you very much, it’s just we have another show to do, and, like, it’s takin’ a
    while to get warmed up. Bring up the vo’-[tuning]. So, we’d like for everybody on this number here [tuning]. Got no money, damn it [tuning]. It's so embarrassing to be out of toon, man, golly [tuning]. I said thank you very much for coming. We'd like for everybody to stand up. Everybody stand up out o’ your seats and do one of these things right here, ‘cause we're gonna play the American anthem the way it really is…

    10. THE STAR SPANGLED BANNER* (music: ‘The Anacreontic Song’ by John Stafford Smith)
    [Almost cut by half in the film edit, audio unreleased, apart from DVD soundtrack]


    *Many people appear to think Jimi’s sound effects were some kind of anti-war statement,maybe they were: The closest support we have for this is when Jimi is quoted in the Danish weekly Hor-Zu, (but only published a week after his death. But it doesn’t sound sound like Jimi, more like the author’s PC expanded interpretation of Jimi’s actual words, then again it’s a translation of a translation: "I want to, and have to, paint a picture of the world I live in.What I [he?] play[s?] is an exact political and sociological re*flection of relations in the USA. Bold, loud, unnerving, deadly. When I [he]? had dissected each separate sound of the American national anthem at Woodstock, I [he?] tore apart the false society, to whom this anthem is sacred.” – Jimi’s words? Not likely. If so, he doesn’t still doesn’t mention Vietnam or even war.
    The anthem had been used previously in the protest against the ban on music being played in Washington Sq. Park in the Village in 1965 and was also used at various anti-war demos in New York City in 1967:
    Thursday 26 October (2 Nov) 1967, VILLAGE VOICE (Page 18) Guerrilla Theatre: ‘Killing the Cong in The New York Streets’ by Carter Braxton Horsley:
    An environmental drop-in was staged throughout the city last Saturday by five theatrical groups to protest American involvement in Vietnam. Suburbanites at Grand Central Station, Penn Station, and the Port Authority Bus Terminal, derelicts and mothers in Washington Square, panderers and recruiters in Times Square, police in Dag Hammarskjold Plaza, tourists and New Yorkers in 16 other locations were attacked by "Guerrilla Warfare.” [...] Three of the groups did versions of "Kill Viet Cong." by Robert Head, which appeared last year in the Tulane Drama Review (which Schechner recently transplanted to New York, changing its name to The Drama Review). The work is direct and well-suited to street theatre.
    In the version Schechner directed the actors mingle 'with people on the street and, on cue, begin to hum the national anthem, slowly converging in a circle. The humming swells into a stentorian patriotic chant: " . . . the bombs bursting in air, the bombs bursting in air, the bombs . . .” A speaker emerges and, standing in front of a white banner, recites the latest statistics on the war and "recognizes" an opportunity for the people congregated to demonstrate their support for "our boys.” An actor representing a Viet Cong guerilla is unceremoniously paraded before the spectators. The other actors whoop it up on the fringe of the circle. The speaker then confers the distinct honor of shooting the Viet Cong upon an unwitting pedestrian. He is given a gun and the chorus begins a count-down. At the crucial moment the actors ones more raise their voices stiffly and give a straight-arm salute. [...]
    Another possibility is an extension of Ken Kesey (aka ‘Captain Flag/America’) and the Merry Pranksters (and others at the time) extensive use of the US flag and red white & blue striped clothes on the original ‘Further’ journeys and in their white coverals with red stripes and white stars on blue patches worn at the acid tests (Wavy Gravy can be seen in the film wearing one at Woodstock): “There was an American sense, that’s why we always wore-ah, red, white and blue and flew the flag. It was to try to cool the people out and say, “Hey, look, this may look strange to you, but get used to it, we’re American, without it we’re a dead nation.” ie claiming themselves as the true patriots, the upholders of the American pioneering spirit, see also Travis (‘Captain America’? ) & Billy (‘Bucky’?) in the hit film Easy Rider. Co-opting the old patriotism of playing the National Anthem at the beginning/end of a show.
    What seems to have also been overlooked by many is that the sounds are more obviously Jimi – an ex-paratrooper, one who’s father served in WW2; and as a boy, liked to draw battle scenes - merely imitating the sounds of war as per the lyrics, from the poem ‘Fort M’Henry’ by Francis Scott Key.

    Whose broad stripes and bright stars through the perilous fight,
    O'er the ramparts we watched were so gallantly streaming?
    And the rocket's red glare, the bombs bursting in air,
    Gave proof through the night that our flag was still there.
    And where is that band who so vauntingly swore
    That the havoc of war and the battle's confusion,
    A home and a country should leave us no more!
    Their blood has washed out their foul footsteps' pollution.
    No refuge could save the hireling and slave
    From the terror of flight, or the gloom of the grave
    Oh! thus be it ever, when freemen shall stand
    Between their loved home and the war's desolation!

    Paul Caruso: “I would ask him questions, like, you know, about the Vietnam war and he’d say things like, you know, ‘Well, there will always be war.’ And, so, you know, the hippies latched on to Jimi Hendrix and thought he was anti-war; ‘Star Spangled Banner’ is, is our national anthem, it was a patriotic act for him to play that. And-ah, he was, he was, he was in the, in the, ah, he was a paratrooper, you know. He-he would have been a soldier, but he, if he didn’t find that his destiny had pulled him in a different direction. Ah, he wasn’t cut out for the army because he loved freedom too much.”

    [Guitar ‘says’: ‘Jerk off!’]

    Big deal


    11. PURPLE HAZE1
    [Included complete in the film, including his comments after, audio unreleased, apart from DVD soundtrack]

    Purple haze all in my brain-heh
    Lately things they don’t seem the same
    I’m actin’ funny but I don’t know why
    ‘Scuse me while I kiss the sky*

    Purple haze all around, heh
    Don’t know if I’m comin’ up or down
    You’ve got me blowin’, blowin’ my mind
    Is it tomorrow or just the end of time?

    Help me, baby
    Help me, baby


    Purple haze all in my eyes
    Don’t know if it’s-uh day or night
    You’ve got me blowin’, blowin’ my mind
    Is it tomorrow or just the end of time?

    Help me, baby
    Help me, baby, wah-ey!
    Yea-eah, purple haze
    Yeah, yeah, yeah
    Purple haze

    Oh, baby, you’re blowin’ my mind
    Not necessarily stoned, but-uh2
    Lord, have mercy, I’m blind, brother
    Too much is happenin’

    1Very reminiscent of “the Purple Haze” from Philip Farmer’s sci-fi, book ‘Night Of Light’ which also features a
    certain “Mary” and is obviously a source for some early lyric imagery, you’ll need to read it;-)
    *His original ‘kiss the sky’, was often heard as the mondegreen - ‘kiss this guy’, which Jimi, sometimes,
    jokingly, did actually articulate, gesturing toward Mitch or Noel as heard on tape and seen in film a few
    times, but later, from mid ’69, began to emphatically raised his lips to the sky.
    Jimi talking about his time in the army Airborne: “...‘cause once you get out there everything is so
    quiet, all you hear is the breezes-s-s-s..”. He used this parachuting image in three lyrics: in the first song he
    wrote for his ‘Jimi Hendrix Experience’, Stone Free “...ride the breeze”, next was Purple Haze, “. . .kiss the
    sky,” and then in Little Wing “..riding with the wind.” His occasional quotes from ‘The Breeze And I’ also allude to this.

    2This two line (a novel variation this time) is from the end of ‘Are You Experienced’ which is curious as
    there are two lines about the sea and sunrise in Are You Experienced that he said were originally from Purple Haze, he also said that the original lyrics to Purple Haze were much longer, but Chas cut them down. Perhaps ‘Are You Experienced’ contains some (or all?) of those edited lyrics? Possibly other songs too. So far it looks like “We’ll hold hands and watch the sunrise from the bottom of the sea” and this, “Not neccessarily stoned but beautiful,” were part of the unedited ‘Purple Haze’.

    Jimi: Thank you, man, thank you very much, thank you very much, man [tuning]… Listen
    man we all have to be in-we're all in this mess together, we're all livin’, tryin’ to grow, little children takin’ steps here an’ there from home [tuning]. And some have big dreams and some of those get killed by all these bullshit, old, traditional schemes. So that's why we always have to keep our asses together, in one kind of way or another, right on together. We got a thing called ‘Voodoo Child’, and it won't take too long, after awhile. Thank you very much for showin’ up together. Thank you, we'll see you next time, okay. Thank you.
    Aud: [Applause]
    Jimi: [Tuning] [off-mic:] Wow, all those people out there, damn! Wait a minute, I'm scared
    now, man. All those people [tuning] This is a new, this is a new American anthem…

    12. VOODOO CHILE (Slight Return)
    [A few short clips of film have been released on the updated DVD. The excellent stereo audio is unreleased apart from this film clip]

    Well, I stand up next to a mountain1
    I chop it down with the edge of my hand
    Well, I stand up next to a mountain, baby
    Chop it down with the edge of my hand
    Pick up all the pieces and make an island
    Might even ‘raise a little sand’2

    ‘Cause I’m a Voodoo chile
    Lord knows, I’m a Voodoo chile, baby


    [Spoken while playing]:

    “I'd like to say one more time, thanks a lot, for showin’ up.
    Let's try to see if we can have some kind of peace around.”

    I didn’t mean to take up all your sweet time
    I’ll give it right back-uh one of these days
    I didn’t mean to take up all your sweet talk
    …give it right back one of these days

    If I don’t see you no more in this world
    I’ll meet you on the next one3, don’t be la-ate, don’t be late
    ‘Cause I’m a Voodoo child, babe
    Lord knows, I’m a Voodoo child, babe

    1Jimi as a God destroying the face of the world and recreating it, in an oceanic setting. Hopi creation myth:
    “Sokutnang then he began to create the Second World. He changed it’s form completely, putting land
    where the water was and water where the land had been, so the people upon their emergence would have
    nothing to remind them of the previous wicked world.” See: ‘If 6 was 9’, ‘Bold As Love’, ‘Valleys Of
    Neptune’, 1983…. Etc.
    2‘Raise sand’ - expression meaning to cause a disturbance, etc.
    3ie The Hopi view of the World being changed periodically.

    Jimi: Thank you very much ….

    Announcer: Thank you for coming. If, when you’re exiting… [tape cuts out]

    [The film also included outside footage of people trying to get into the concert for free, a short interview with a young man trying to get in, a shot of broken wire glass in one of the doors, an interview with a security guard and, who appear to be, some of those during and after the 1st show talking about Jimi. Other short interviews of people in the vicinity have been added to the updated version]:

    A couple of ‘soul brothers’, after 1st show it seems?:

    #1: He was cookin’. James, he was cookin’. I can dig it.
    #2: He was together tonight.
    #1: Right on, right on, brother.
    #2: He got soulful tonight.
    #1: Hey, that’s enough. So break it.
    #2: Yeah
    [they walk away]
    Another, different mic. (‘black’?): What do you. . .? What do you think of. . .?
    #1: Hey, man, the cat was heavy. The cat’s getting better and better. . .
    #2: Hey, and he [...] gettin better on his axe.
    #1: Yeah, he got a mean thing, you know. He’s really, really soul, but-eh, he’s puttin’-eh - he’s got the sound.
    #2: Hey, man, the brother is a natural as a musician, ‘cause, ah, he taught himself
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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