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Thread: 69-12-31 NEW YORK CITY, FILLMORE EAST, 1st show

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    69-12-31 NEW YORK CITY, FILLMORE EAST, 1st show

    19:30 Wednesday 31 December 1969
    1st show, The Fillmore East, New York City, N.Y.
    'Jimi Hendrix: A Band of Gypsys’
    Jimi Hendrix, Buddy Miles, Billy Cox
    Live rehearsal for the next nights recording sessions for Ed Chalpin’s, live, ‘jammed’ (ie improvised) LP,
    which Jimi had hinted at on November 1968 and had been talking about since 15 March 1969. The
    LP title ‘Band of Gypsys’ was not mentioned in the 1st advert, and press publicity and was
    originally advertised for the one night only.
    [This ‘partnership’ was only made to fulfil a criminal out of court “settlement” 24 June 1968 (USA only)
    because (US) Reprise capitulated to supply Ed Chalpin and his partner in crime Capitol with a
    completely undeserved LP and a percentage of all Jimi’s previous and future US recordings up to 1972!
    This was hugely more than Hendix himself would have earned. Whereas in the UK Jimi’s, Mike’s and
    Polydor’s rights were pursued vigourously in court, Chalpin & (UK) Decca (who threatened to abandon
    Chalpin financially unless he settled for what little was initially offered) were lucky to be able, for the
    moment, (only) to continue selling the crap Curtis Knight (studio only) recordings they had already
    released (further concerted action would no doubt have prevented even this. Due to Jimi & Mike’s
    unforseen deaths the UK case was only “settled” in 1973. But this was when Douglas started his
    horrible, greedy campaign, breaking what little, if any, co-operation Polydor & Reprise had on this
    Buddy and Billy were full time employees, with benefits, for the period it took to produce the LP.
    Shortly after the 15 January Jimi paid Billy off with one weeks lieu of notice (although they ‘worked’
    their last week) and $1,000 bonus for his efforts and presumably Buddy too (documentation has not
    turned up yet). They recorded what appears to be a quite stoned, rambling, farewell jam session on
    the 23 January.
    Jimi, Billy and Buddy had agreed at some point, (or volunteered/insisted who can say? to the “BOG”
    being booked by manager Mike Jeffery for a one off Vietnam Moratorium benefit at Madison Sq. Gardens
    (for which Mike had reportedly spent a lot of time & money organising the recording and filming thereof)
    which ended up an embarrassment for Mike etc., as Jimi was in an ugly mood on stage and only played
    two songs (some there say he wasn’t obviously ‘drugged’, but others claim he was ‘out of it’ on some
    substance/s - acid is the most commonly quoted, usually claiming Jeffery was behind it – ie yet more
    posthumous ‘conspiracy’ pish).
    The Fillmore shows though were special events. In the six months since the last JHE gig on 29th June.
    Jimi had only played one major gig in the USA, ‘Woodstock’, He hadn’t played a major gig in NYC since
    18 May – amost seven months. This was an all “black” show at this heavily ‘politicised’ time in ‘alternative’
    culture/society, almost everyone who was in “the scene”/ “hip”/ taking drugs, blah, blah at this time was
    at least beginning to get ‘funky’ - ‘down’ to the ‘soul’/latino roots’ of popular music [This was the impetus
    for the ‘new sound’ that continued at a steadily increasing pace, with ‘white’- non-‘latino’ popular artists/
    culture eventually having to come to terms with their radically diminished position in popular culture. ‘World
    music’, especially reggae (Bob Marley etc.) became very popular and Rap/Hip-Hop/R&B (via Detroit techno
    + “NY ‘gay’ disco appreciation of it + “E” + UK + Berlin) and the electro dance cult that sprang out of that,
    became the major force in world popular music].

    Every seat had a tambourine on it for the occupant, and the start of the show featured a film of the
    youths/children of the Voices Of East Harlem running down the street outside the theatre, entering through
    the doors, at which point the film became reality, as they ran down the main aisle to the stage – cool or
    Interestingly, the ‘Voices’ also featured the song ‘Up Above My Head’ a signature song of “Sister” Rosetta
    Tharpe, the gospel singer and wild electric guitarist (who played a loudly amplified 1st model (white) Gibson
    SG Special - sometimes favoured by Jimi (also in white). A possible influence on Jimi’s gospel sounding
    harmonies on some of his later work.

    MC: Keeva Kristal [thanks to ‘relliot’ for I.D.]

    1st live recordings of:
    Power Of Soul, Them Changes, Machine Gun, Stop, Ezy Ryder, Burning Desire
    1. Power Of Soul (41), 2. Lover Man (24), 3. Getting My Heart Back Together Again (37),
    4. Them Changes (3), 5. Izabella (24), 6. Machine Gun (10), 7. Stop (1), 8. Ezy Ryder (14),
    9. Bleeding Heart (13), 10. Earth Blues (13), 11. Burning Desire (3)

    [Aud = Audience]

    Keeva: [On bass: Mr. Billy Cox (I presume he was introduced but taper didn’t catch it?), On drums: Mister
    Buddy Miles, on lead guitar: Mister Jimi Hendrix (this bit is missing on the album)], ‘The Fillmore’ is proud to
    welcome back some very old friends with a brand new name: ‘Jimi Hendrix and ‘A Band Of Gypsys’…

    Jimi: [Strums] One, two, three, four. . .

    1. POWER OF SOUL* [Backing vocal – Buddy]

    [extended instrumental intro]



    Strike down some of those airplane1 rides
    Especially the ones that ride you too low
    Strike down some of those airplanes1, baby
    Specially the ones that ride you too low

    Come on back up to sunshine
    Come on back up with me
    We all been up through the night-time, baby
    Now let’s reap the rays of reality

    (With the power of so-oul, anything is possible)
    (With the power of so-oul, anything is possible)

    [Instrumental break]

    Yes, it’s nice just floatin’ around sometimes
    Even a jellyfish will agree to that
    Yeah, old floatation is groovy sometimes
    Even a jellyfish will tell you that

    Yeah, but, uh, jellyfish been floatin’ so long and so slack
    He don’t have a bone in his jelly back

    (With the power of so-oul, anything is possible)
    (With the power of so-oul, anything is possible)

    * Music based on Ray Charles’ ‘Mary Anne’ - according to Billy. Jimi’s big song about breaking free from hard
    drugs (mainly heroin) earlier titles were ‘Crash Landing’2 & ‘Paper Airplanes’ He also noted in “songs to try in
    studio” at # 9. Power of God --- Love to Devon [Wilson]. Charles himself was a notorious smack-head for years.
    1‘Paper airplanes’ (alternate title) - reference to paper ‘wraps’ for powders (heroin?) airplane - flying high.
    2See Jimi’s written piece ‘Just A Little Too Stoned’.

    Jimi: Thank you
    Aud: [Applause]

    2. LOVER MAN *

    Here he comes, baby
    Here comes your lover man
    He-ere he co-omes
    Here comes your lover ma-an
    I see him out the window
    I better get out o’ here as fast as I can
    Reach ou-out, baby
    Hand me down my runnin’ shoes*
    Oh, reach ou-out, baby, now
    Hand me down my runnin’ shoes
    See your old man comin’ around
    Ain’t got no damn time to lose

    [Instrumental break]

    Here he comes, baby
    Here he-e comes now, baby
    I wanna love you longer
    Yes, and I wanna love you stronger
    Oh, look over yonder
    Here comes your old man
    Over y-yonder, babe


    [Instrumental break]

    *Hendrix played on the Chitlin’ Circuit’ with BB on the bill and also jammed with him later several times. ‘BB’s
    song ‘Rock Me Baby’ was the musical basis for this later song ‘Lover Man'’*. Lyrics are a mix of Elmore
    James’s ‘Look On Yonder Wall’ (James ‘Beale Street’ Clark) and Howlin’ Wolf’s ‘Meet Me In The Bottom’ aka
    'Down In The Bottom’ (Willie Dixon), both songs have a similar theme and chorus. Jimi later added a verse of
    his own: ‘I wanna love you longer’ etc. Jimi related this song to the Vietnam war veterans returning, as Elmo’s
    version of ‘Look On Yonder Wall’ did to those of World War 2, the missing verse being: “Your husband went to
    the war, I know it was tough, I don’t know how many mens he killed, but I know he done killed enough.”
    Ha-ha-ha. Interesting that ‘'Look On Yonder Wall' was covered by Butterfield Blues Band and 'Meet Me In
    The Bottom’ was covered by John Hammond on their respective 1965 electric blues LPs, ''Paul Butterfield
    Blues Band' and 'So Many Roads'. Coincidentally, in 1964 the Stones also cut a version of ‘Meet Me In The
    Bottom’, but it was only released many years later.

    BM : Yeah.
    Jimi: Yeah that was some of the things that we was messin’ around with, that first
    thing was called ‘Paper Airplanes’ if you wanna call it that. That other thing was called-uh, I don’ know I’ve
    forgotten already, we already did it. Anyway we’d like to do a slow blues here, if it’s all right, we’d like to do
    a thing called-uh ‘Lonesome Train’, we can call it that for right now…


    Hear my train a comin’
    Yes, I hear my train a comi-in’

    I wait around the train station
    Waitin’ for my train
    To take me
    Take me away
    From this lonesome town

    Too bad you don't love me no more, chile
    Too bad your people put me dow-own

    Tears burnin’ my eyes
    Way down in my soul, yeah
    Way dow-own
    Way down in my heart
    Tears burnin’ me, way in my hea-art
    Too bad you don't love me no more, chile
    Too bad you and me got to pa-art
    Got to part
    Now, I hear my train a comin’
    Hear my train a comin’
    Hear my train a comin’
    Hear my train comin’

    [Instrumental break]

    I got to leave this town
    Got to leave this town, yeah
    Be a Voodoo chile
    Go on the road
    You know what I mean
    Be a magic boy, yeah
    Come back and buy this town
    Come back and buy this town
    An’ put it all in my shoe
    An’ if you make love to me one more time, boy-then
    I might even give a piece to you-ou
    Yeah, yeah-eh-yeah-yeah, yeah-yeah-yeah-yeaah

    Hear my train a comin’
    Hear my train a comin’
    Hear my train comin’
    Hear my train a comin’

    [Instrumental break]

    Hear my train
    Hear my train
    Hear my train a comin’


    *Jimi’s title, aka (by Mike Jeffery), posthumously, “Hear My Train A Comin’”; until ‘Rainbow Bridge’ LP it
    was usually known on boots etc. as, ‘I’m Gonna Leave This Town’.

    Jimi: [Like to continue on, a thing called a toon up (This bit of intro missing from the album)] [tuning].
    I’d like to feature Buddy Miles on this one here. Buddy Miles, a thing called ‘Them Changes’…

    4. THEM CHANGES* (music: ‘Sing Lady Sing’ by The New York Rock & Roll Ensemble [uncredited] new
    lyric & title by George ‘Buddy’ Miles) [sung by Buddy]

    Well, my mind is goin’ through them cha-anges
    I feel just like committin’ a cri-i-ime
    Every time you see me goin’ somewhere
    I think I’m goin’ out of my mi-ind, yeah

    Oh, my baby she left me the other day-y
    And we were havin’ so much fu-un, yeah, yeah
    Oh, my baby she stepped out on me
    And that’s the reason why she hadn’t been ‘round [had me cyin’]
    It’s all right, o-oh yeah, yea-ah

    It’s all right, Lord, I say

    It’s all right, ooh yee-eh

    Well, my mind is goin’ through them cha-anges
    I think I’m goin’ out of my mi-ind
    Every time you see me goin’ somewhere
    I think I could commit a crime now

    She had me runnin’, she had me cryin’
    She had me runnin’, had me, had me, had me cryin’
    She had me runnin’, she had me cryin’
    She had me runnin’, O-o-o-o-h!
    It’s all right, just a little love
    It’s all right

    [Instrumental break]

    I said my mind is goin’ through them cha-anges
    I work so hard every da-ay, she don’t understand
    I work, I work so hard and I bring it all on home to her every Friday afternoon
    And the next da-ay, my baby’s gone away
    She goes out and spends it a-all, and don’t wanna give me nothin’ y’all
    She-e hurts me all the time
    She-e goes out and commits some big old crimes to me
    And she knows, and she knows, she knows that I feel it
    And she knows she don’t wanna do that
    She don’t ever wanna do that

    Oh, my baby she’s always goin’ somewhere
    Oh, my baby she don’t even care
    ‘Cause she don’t have very much to say no, no
    She don’t have very much to sa-ay
    I said I-I-I-I-I-I lo-o-o-ve her, no-o
    It’s all right, she’s my love
    She’s mighty fine, she’s my woman, she’s uptight
    O-o-o-oh, Lord, Lord, Lord, she’s my love
    Come home now, girl
    She’s everything. She’s everything. She’s everything,
    She’s everything. She’s everything, She’s everything,
    She’s everything. She’s everything, Daddy. She’s everything,
    She’s everything. She’s e-verything now child. She’s everything,
    She’s everything. She’s everything,



    Buddy: Thank you

    Jimi: [Strums] Like to do a song dedicated to the same old draggy thing that’s goin’ on,
    the soldiers in Vietnam and so forth, littlle thing called ‘Izabella’, ‘The World For

    *Billy Cox: “Buddy was staying at the Roosevelt Hotel in New York when he called me to stop by. He had
    "a little something" he was working on and he wanted me to hear it. We would of course would perform
    it at the Fillmore.”


    Izabella, girl, I’m dreamin’ about you every nigh-ight
    Yeah, but darlin’ you know we got this war to fight
    So, I’m callin’ to you under fire
    And I hope you’re receiving me right
    Izabella, girl, I’m fightin’ this war for the children and you
    Yeah-hey-ey-yeah, darlin’, I’m fightin’ this war for the children and you
    So, if you keep your love for me, babe
    Then I’ll know we’ve been fightinin’ it true

    [Instrumental break]

    Izabella, here come ‘the rays of the risin’ su-un’*
    Yeah, yeah, we got to win, baby
    We’re gonna have the devil on the run
    So keep those dreams comin’ in strong
    Soon I’ll be holdin’ you instead of this machine gun
    Instead of this machine gun
    Instead of this machine gun

    *Jimi’s first mention of the “New Rising Sun”?


    Machine gu-un tearin’ my body all apa-a-art
    Well, machine gu-un tearin’ my body all apa-a-a-art

    Evil men make evil kill you
    And then make evil kill me
    Even though we’re
    Even though we’re families apa-art

    Blowin’ away all my family
    My only mother’s child
    Blowin’ away all my family
    My mother’s only child
    Didn’t make it

    Don’t you understand machine gun
    That’s the same way you’ll be goin’, after a while
    Three times the pain, right across your brain

    Over yonder stands a mother
    Sewin’ clothes so their son can fight the wa-ar1
    I said, “I’m her lover,” baby,
    “, and we don’t make no child to fight their wa-ar.”
    So shoot your bullets, after a while they don’t cause me pai-ain
    I’m not afraid, you can shoot me, shoot me
    shoot and shoot and shoot some more


    [Instrumental break]

    (Oo-ooh, ooh. Oo-ooh, ooh. Oo-ooh, ooh.
    Aa-aah, aah. Oo-ooh, ooh. Oo-ooh, ooh.
    Oo-ooh, ooh. Oo-ooh, ooh. Oo-ooh.)
    Aud: [Applause, Thank you!]
    (Woo-hoo, dee-doo, doo-doo-doo.. etc.)
    [Audience guys: Sounds like ‘Zeppelin’… Shades of ‘Led Zeppelin’]
    (Dee-doo, doo-doo-doo-doo. Doo, doo-de-doo-oo. Well I)
    Well, I pick up my axe2 and sometimes fight like a farmer
    And you shoot me down right back in the ground
    (Shoot him down, Shoot him down, Shoot him dow-own),
    Well, I pick up my axe and fight like a farmer
    Blow me right back down in the earth I was workin’ on
    (Don’t you shoot him down, Don’t you shoot him dow-ow-own, oh Lord, no-o),
    The same way you shoot me down, baby
    You’ll be goin’ just the-e same
    Three times the pain
    Ba-ad, machine gun

    (Oo-oo-ooh, yeah)

    [?] : Yeah
    Jimi: Thank you very much, thank you, man [strums].
    Aud: We love you James!
    Jimi: Like to do a thing featuring Buddy on the lead vocals right here. A thing called, um,
    Stop’…[On the audience tape there is quite a long gap here where Jimi strums once
    and chats indistinctly to the group - amplifier trouble, it seems]...

    *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 following MSG debacle, "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 (have a listen); Jimi’s early big influence Bo Diddley recorded a few ‘surf’ songs too,
    although the subsequent Chess LP, ‘Surfin’ with Bo Diddley’ was mostly tracks by other people. 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.
    1Sister Susie's Sewing Shirts for Soldiers” (Herman Darewski- music, lyrics -R.P. Weston)
    2“axe” is (also?) ‘hip’ for ‘instrument’, from [s]axephone. Hence getting your ‘chops’ down. Woody Guthrie’s
    guitar was emblazoned with the words, "This machine kills fascists". Donovan copied this onto his guitar, but left
    out ‘fascists’)

    7.STOP* (Jerry Ragavoy & Mort Schuman) [sung by Buddy Miles, backing vocal - Jimi]

    You’d better stop it, baby (Better stop it, baby)
    You’d better stop it, baby (Stop it, baby)
    Stop it, ba-aby, (Stop it, baby)
    Stop your jivin’ rou-oo-ound, (Jivin’ around)
    A-all right, it’s all right, oh yeah

    We-ell, sto-op (Sto-op)
    Baby can’t you see that I can’t take it no more
    No, no-o, baby
    Sto-op. Baby, I’m about to go right o-on through the floo-oor
    Oh, yeah, baby.
    Never knew what good a love could be-e
    Love has gone and made a fool of me, yeah
    Everything is ha-azy (Everything is hazy, baby)
    One more kiss and you’ll dri-i-i-i-i-aahve
    (One more kiss and you’ll drive me crazy)

    Sto-op. Hold it just a minute while I go catch-uh my breath
    You know how I feel, baby
    Sto-op. Don’t you know that you scare my poor heart half to death
    Oh, yea-ah, baby.
    Thought I wa-as the captain of my ship-ah
    Yo-o-our! love done gone and made me lo-ose my grip
    Everything is ha-azy (Everythin’ is hazy, baby)
    One more kiss and you’ll dri-i-i-i-i-aahve
    (One more kiss and you’ll drive me crazy)

    Sto-op, sto-op, sto-op, sto-o(aah!)-op!

    [Instrumental break]

    We-ell, sto-op, can’t you just see that I can’t take it no mo-ore
    No, no-o, baby (Ha-ha-ha)
    Sto-op, baby, can’t you see that I’m ‘bout to go right through the flo-oor
    But you know what I feel, baby
    Thought she wa-as the captain of my ship
    Lo-or’-your lo-ove!, done gone and made me lo-ose my grip
    Everything is hazy (Everything is hazy, baby)
    One more kiss and you’ll dri-i-i-i-i-aahve
    (One more kiss and you’ll drive him crazy)
    (Sto-op) I think I’ll go, yeah
    (Sto-op) get me out o’ here
    (Sto-op) oh I want her day and night
    (Sto-op) I got aaah, I got aaah, I got aaah
    (Sto-op) aaah
    (Sto-op) I got he-er lo-o-ove
    (Sto-op) I got her lo-o-o-ve
    (Sto-op) o-oh! I wan’ her love, I know, I know!
    Sto-op, sto-op, sto-op, sto-op

    *A major R&B & Pop hit for Howard Tate in 1968

    Jimi: Buddy Miles. ‘The Big Bee’-heh-heh.
    Aud: [shouts request]
    Jimi: Oh, no. I tell you what, let’s do the other one. Listen; we seen this picuture called ‘Easy Rider’. Wait,
    turn up that monitor a little bit, okay. Turn that monitor up a little bit. Yeah, what’s happening.? We seen
    this picture called ‘Easy Rider’ an’ I was mad as hell after I finished seein’ that. I don’t know for what, but
    there was somethin’ goin’ on. So we got this thing called-uh, we’re gonna do-we’re gonna call this thing
    ‘Easy Rider’ we’ll just make up the words as we go along, because we got about twenty verses of it. An’,
    like, it goes something like this here…I guess...

    8.EZY RYDER* [Backing vocal – Buddy]

    There’s Easy, Easy Rider
    Ridin’ down the highways of de-sire
    Tryin’ to fly higher
    Tryin’ to reach the heavens above
    But he’s dyin’ to be loved

    [Instrumental break]

    Says livin’, it is magic
    Today is forever he claims
    Think’s dyin’s so tragic
    But don’t you worry about it today
    We’ve got freedom comin’ our way

    Yeah it’s comin’

    Tryin’ to get all the brothers to right to be free
    Look at all the lovers say, “Do what you please”
    In a cloud of angel dust† I think I see a freak
    Hey, motorcycle mama will you marry me?

    Then I’ll be-uh sto-oned, crazy
    Sto-oned, crazy
    (Sto-oo-oned, crazy)
    (Sto-oned, crazy)
    (Sto-oned, crazy)

    [Instrumental break]

    Now, Easy, Easy Rider
    He’s known to be-uh guilty, insane
    Because he’s tryin’ to fly higher
    He’s gonna blow out his brain
    Now the conduct is [conductor’s?] insane
    Ride on. . . ride on
    Ride on, baby

    [Instrumental break]

    Ride on the Easy Rider

    Drive, right o-on

    Blown away

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

    Jimi: Yeah, we was workin’ for about a, a week or two to get all these things together. So,
    like, tch, the words might not be, here or there might not be right. But what the Hell, you know, we’re
    still here together, anyway. And it’s all for the idea of havin’ fun, or I’m having fun. Like to do a slow blues
    it’s in the key of-uh, oh, let’s see. Yeah, right. [strums] It’s a little blues, I don’t know what it’s gonna be
    yet. We’re just goinna jam now, see what happens [strums]. One, two. . .

    9.BLEEDING HEART (Elmore James)


    People, people, people
    Do you know what it means to be left alone
    Yea-eah, people, people, people
    Do you know what it means to be left alone
    No letter toda-ay
    Lord, not even a call on my telepho-one, so sad
    Understandin’ and a little lovin’
    A little lovin’s all in The World I nee-eed
    Understandin’ and a little lovin’, baby
    Lord, that’s all in The World I nee-eed
    Misunderstandin’ and a no good woman
    Yes, they both have caused my heart to bleed


    [Instrumental break]

    Oh, yeah

    Every mornin’
    Lord, the willows weep and moan for me-e
    Lord, every morni-in’ ‘bout this ti-ime
    I said, the willows weep and moan for me. Hell, they know
    My baby left me
    Now my heart’s i-in misery

    Aud: Oh, you’re bad!
    Jimi: Yeah, we’ll see if we can do this other song too, it’s a thing called-uh,
    BM : Testing
    Jimi: ‘Blues Today’, we just call this ‘Earth Blues Today’ right now. Try to bring everybody
    back down a little bit. War’s that way. And-uh, see what happens with that. . .

    10.EARTH BLUES TODAY1 [Backing vocal – Buddy]

    I see hands and uh, tear stained faces*
    Reachin’ up but not quite touchin’ the promised land
    I see arms and legs and a whole lot of tears wasted
    Sayin’, “Please give us a helpin’ hand, Lord”
    (Love, love, love)
    What’s happenin’ I hear some changes
    (Love, love, love)
    No, it’s about that time to find it.
    (Love, love, love)
    O-oh, freedom’s ever watchin’ me
    (Love, love, love)
    And make everybody all right

    Hear the sound of freedom’s marchin’ dru-um
    You and I’ll be there, the young-g and old
    You’d better love me now like it’s gonna be the last time, my darlin’
    And tell the child to sell Daddy’s broken clo-othes
    (Love, love, love)
    Over the mountain stands a woman, baby
    (Love, love, love)
    And I feel her burnin’ light on me
    (Love, love, love)
    Could this be God’s answer, babe
    (Love, love, love)
    Yeah, it’s sure helpin’ me
    (Everybody) Everybody
    (Everybody) Fee-eel the li-ight
    (Everybody) Everything’s all ri-ight
    (Everybody) Everybody
    (Everybody) Help us, help the blind
    (Everybody) Oh, I see the sky red
    (Everybody) and like the wine

    [Instrumental break]

    (Everybody) Help me, baby
    (Everybody) Help me, Father
    (Everybody) Help me, Mother
    (Everybody) Help me, sister
    (Everybody) Help me, brother
    (Everybody) Got to show the light
    (Everybody) Make everything all right


    1Jimi owned a Lightnin’ Hopkins LP with ‘Earth Blues’ emblazoned in big capital letters across the front
    cover. Posthumous releases dropped the ‘Today’ from the title. A ‘companion’ piece from this time was
    ‘Sky Blues Today’ (later, ‘Stepping Stone’) about his bust – ‘Flying can’t be trusted, got busted’.
    *This verse was lifted from his earlier song ‘Somewhere’.

    Jimi: Yeah, well, the cat said we only have one more song left. So, we’ll go on and
    do this thing. We’ll go and do this thing called-uh ‘Burning Desire’ right, we’ll do this thing called that.
    Thank you very much for showin’ up, man, that was really out-of-sight, we’ll get it all together and come
    back and really do it. All right? One of these days [strums]. When the grass is greener and cleaner [strums].
    Aud: Happy New Year!
    Jimi: [Strums] We’ll do it... Yeah, right. Right! Happy New Year, happy New Year to everybody out there in
    ‘Happy New Year Land’.
    BM : New Year!
    Jimi: [Guitar ‘laughs’] Yeah, we say all hang ups, you know, ‘Kiss my behind nineteen-sixty-nine’ and all this
    kind of shit, but to say that’s nice. You wanna try that, you wanna try that other thing, that Burnin’ Desire’?
    Aud: [Guy shouts something]
    Jimi: Thank you very much. [Plays few opening notes] . . . Where’s Buddy?[bit not on album] . . .

    11.BURNING DESIRE [Backing vocals – Buddy, Buddy/Jimi]

    Burni-i-ing desire sets my magic fi-re
    Burning desire fits my magic fi-re, babe
    I feel my body. . .
    But in the meantime there’s nothin’ but dreams
    In my window above

    But between Hell and Heaven
    You just may see me throw my heart into Hell
    They’re screamin’, “Burni-ing desire, hotter than electric chair”

    [Instrumental break]

    Burning desire, hotter than electric chair

    [Solo….drum solo]

    (Do-ooh, oo-ooh)
    (Do-ooh, oo-ooh)
    (Do-ooh, oo-ooh)
    You came down hard on me, baby
    (Doo-ooh, oo-ooh)
    That’s the way I like for my love to be-e
    (Do-ooh, oo-ooh)
    Lay back and have a cigarette, or make love again to me
    (Oo-ooh, oo-ooh)
    I don’t know how long I’m gonna have to be free
    (Oo-ooh, oo-ooh)
    Come on down on me one more time again, ba-aby, love
    (Oo-ooh, oo-ooh)
    All the way down, all down, down an’, down, down on
    (Oo-ooh, oo-ooh)
    I’m just a night boat sailin’ through the ni-ight*
    (Oo-ooh, oo-ooh)
    I kissed her face in a honey cloud

    (Oh, oh, o-oh. Oh, oh, o-oh. Oh, oh, o-oh)
    (Ooh, ooh, oo-ooh. Do, ooh, oo-ooh, oo-ooh)
    (Do-ooh, oo-ooh. Do-ooh, oo-ooh)

    Burni-ing desire, hotter than electric chair

    *This line was later used in his song ‘Night Bird’

    Jimi: Thank you, good night

    Aud: More, more etc. . .

    Taper: He’s gone

    HAPPY DAYS ARE HERE AGAIN’ by [?] Orchestra plays through the house P.A.
    Last edited by stplsd; 01-03-20 at 10:02 AM.
    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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    Re: 69-12-31 NEW YORK CITY, FILLMORE EAST, 1st show

    Stumbled across back up for my interpretation - "sewing"
    1“Sister Susie's Sewing Shirts for Soldiers” (Herman Darewski- music, lyrics -R.P. Weston)
    Sung by AL Jolson and others
    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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