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Thread: 1967 September Newspaper & Magazine Articles (Text Only)

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    1967 September Newspaper & Magazine Articles (Text Only)

    Friday 1 (9) September 1967
    BILLBOARD(page 14) From The Music Capitals of The World
    Top selling albums here, in order, are "Sergeant Pepper's Lonely Hearts Club Band" by the Beatles,
    Are You Experienced ?" by Jimi Hendrix, "Headquarters" by the Monkees . . .
    (Page 22) Bubbling Under The Hot 100
    110 PURPLE HAZE - Jimi Hendrix Experience, Reprise 0597
    (Page 28) [full colour ad w 5 floating heads, & red roses!] Hendrix Is Taking Hold!
    [in yellow psychedelic text]PURPLE HAZE” 0597 ‘Another Chart Imperative from [Reprise logo
    here, all in purple text with a small colour pic of the AYE sleeve at the end]

    (Page 44) Top LP’s
    100 bullet 126 ARE YOU EXPERIENCED - Jimi Hendrix Experience, Reprise R 6261 (M)
    RS 6261 (S)
    (Page 62)Hits Of The World
    32 -- BURNING OF THE MIDNIGHT LAMP - Jimi Hendrix Experience (Track) - Shroeder-Stamp

    Friday 1 (9) September 1967
    CASH BOX (page 5) Top 100
    74 bullet (83) PURPLE HAZE Jimi Hendrix Experience (Reprise 0597)
    (Page 7) ‘Sales, Chart Action At All-Time Peaks For Warner Bros.-Reprise’
    Jimi Hendrix
    scores with his first success for the label, "Purple Haze."
    The album chart reflects the powerful catalogue value of the Warner-Reprise artist roster. Bill Cosby,
    Frank Sinatra, Petula Clark, Peter, Paul & Mary, Dean Martin, Nancy Sinatra, and the Kinks have hit
    every time out with LP releases. They are all represented along with The Association, recently added
    to the label, and
    Jimi Hendrix, an American working in England.
    (Page 18) Radio Active Chart
    % of stations adding titles to prog. sched. this week
    13% Purple Haze Jimi Hendrix Reprise
    (Page 57) Top 100 Albums
    36 bullet (69) ARE YOU EXPERIENCED? Jimi Hendrix Experience
    (Reprise R/RS 6261)
    (Page 68) Great Britain
    Top Ten LP’s
    4. ARE YOU EXPERIENCED—Jimi Hendrix (Track)

    Friday 1 September 1967
    The American-English beat phenomenon Jimmy Hendriks [sic] is not coming to Ede [a small
    provincial town in The Netherlands. Ed.]
    . It has now become apparent that reports about his visit
    have been premature. According to theatre agency Paul Acket in The Hague,
    Jimmy Hendriks is "on
    holiday", and as a consequence his Dutch tour is not taking place "for the time being", likewise his
    concert in Ede.

    With this postponement, which in all likelihood will last until next year, the appearance of Hendriks
    in Ede is now very much in doubt. By then they're uncertain about the availability of the industrial
    hall with a capacity of 5,000 eager beat people, which initially was the intention. Other venues with
    such a capacity are not located in Ede. They are now considering having the show - if it's still
    happening - take place at the Barneveld* Egg Hall next year, if it's available.

    *A small town in the centre of the Netherlands. It is known for its poultry industry and large
    Protestant community.

    Friday 1 September 1967
    USA (Colorado Springs, CO)
    GAZETTE TELEGRAPH (page 8C) [Warner/Reprise, has ‘Turn On Tune In’ logo, B&W ad for
    ‘Altones Record Round-Up’,]
    New LP Records From Reprise
    The Jimi Hendrix Experience
    [top of the list. Note no LP title, no LP cover pic. The Kinks, Prunes & Kweskin Jug Band covers are
    shown & titles given. Ed.]

    Last edited by stplsd; 08-13-20 at 07:19 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: 1967 September Newspaper & Magazine Articles (Text Only)

    Friday 1 September 1967
    USA (Long Beach, CA)
    INDEPENDENT/PRESS-TELEGRAM (page C13) Teen Action Line

    ‘Sound Off!’
    'My boyfriend and I went to see the Mamas and the Papas at the Hollywood Bowl
    Aug. 18 and were disappointed by the way the show was handled.

    We've found many promoters don't tell the public that the main attraction is floating in a sea of
    [ie Jimi Hendrix Ed.] . The Mamas and Papas didn't appear until two hours after the
    show was supposed to start, and they didn't sing very long. I think advertisers and promoters should
    be more honest with the people who pay to see their programs.

    Friday 1 September 1967
    USA (CA)
    LOS ANGELES FREE PRESS (page 29) Unclassified and . . .
    Super drummer-arranger for hire.
    Recording pref. cut all rock jazz,
    Hendrix, F-form, top money only.
    Rick, 596-5055.

    Friday 1 September 1967
    England (Ealing, London)
    MIDDLESEX COUNTY TIMES (page?) [large B&W photo, ‘Seen here (left to right) are Jimi Hendrix,
    Mitch, Noel Redding, and Gerry (the groups personal road manager’)]
    HANWELL Carnival Queen Carolyn Kinsey had two good reasons to celebrate on Friday night.
    The first was her engagement to pop star John (Mitch) Mitchell and the second was her fiance's 21st
    birthday party.

    Mitch was 21 earlier this month, but he was unable to hold a proper party because he was on tour in
    the United States.

    Carolyn (17), of 75, Greenford Avenue, Hanwell was unwell on Friday
    “I felt ill because I had metal poisoning from my earrings and watch strap, and it made my glands
    swell,” she said. “Before the party I felt very ill, but when I arrived I cheered up and really enjoyed

    Mitch, the drummer of the Jimi Hendrix Experience, had more than 25 guests at the champagne
    party, held at his parents’ home at 19, Bordars Walk, Hanwell. All members of the group and their
    personal road manager were there to wish him well.

    Carolyn did not see much more or her fiance this week, for on Tuesday, Mitch went to Nottingham,
    and yesterday (Thursday) morning the group flew to Berlin and a tour of Sweden

    Friday 1 (2) September 1967
    “Despite a great performance [27 August] by Jimi Hendrix, the new season of Sunday concerts at
    the Saville got off to a sad start due to the sudden death of
    Brian Epstein, who was the lessee of
    the theatre, and the fact that someone decided to cancel the second show, as ‘a mark of respect.’
    The decision was taken during the first show.

    I cannot think Brian would have approved of this. He was always champion of the fans (remember
    how he sided with them after they damaged the theatre when the curtain was lowered in the middle
    Little Richard’s act?).
    When I came out of the first house, I saw hundreds of unhappy faces due to the sudden
    cancellation. Many told me they had travelled far, at considerable cost, to see the show, and others
    complained that they could not get their ticket money refunded until later in the week, and had no
    money to go elsewhere. I could only imagine
    Brian Epstein being very angry.
    Jimi Hendrix, Keith West’s Tomorrow, and The Crazy World Of Arthur Brownall wanted to do
    the second house but the management decided differently, a bad decision in my opinion and one
    which will do the theatre
    Brian Epstein loved so much no good whatsoever.
    Jimi Hendrix coaxed unearthly sounds out of his guitar during his long act, including thumping
    the instrument to get one effect and rubbing it against the tall amplifiers to get another. He ended by
    playing it between his legs while sitting on the stage. He powered his way through ‘
    . ‘I Don‘t Live Today (with a flippant aside which he delivered so well, of This is dedicated
    to the American Indians
    ), Muddy WatersCatfish Blues, ‘Foxy Lady’, ‘Stand Next To Your
    , Red House’, Purple Haze’ and perhaps the most popular, ‘Hey Joe.
    I liked Keith West's futuristic act, in which he combines his torrid singing and the playing of his
    Tomorrow group, with a ballet dance, in which the drummer kills the bass guitar [player] with the
    bass-man's instrument, while the sensuous fifth member of the group, a mini, mini skirted exotic
    dancer, weaves her luscious body around with the grace of a snake. Will groups have a girl dancer in
    [Hawkwind! Ed.] Could be! Arthur Brown certainly is a powerfully vocal showman, with
    good organ and guitar backing.
    Brown's costumes and numbers were très psychedelic.”
    (Page 5?)NME Pop 30
    02-29-18. The Burning Of The Midnight Lamp - Jimi Hendrix Experience
    Britain’s Top 15 LPs
    15-07-08. Are You Experienced - Jimi Hendrix Experience
    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: 1967 September Newspaper & Magazine Articles (Text Only)

    Friday 1 (9) September 1967
    RECORD WORLD (page 19) 100 TOP POPS
    83 bullet 99 PURPLE HAZE 2 Jimi Hendrix Experience-Reprise 0597
    Top Pops Alphabetically - Plus Publisher & Licensee
    PURPLE HAZE (Sea Lark Ent., BMI) 83
    (Page 19)Radio Exposure Chart
    PURPLE HAZE Jimi Hendrix Experience (Reprise)
    WRKO-Boston 14
    WDRC-Hartford 92
    (Page 22) 100 TOP LP’S
    66 bullet 89 ARE YOU EXPERIENCED 2 Jimi Hendrix Experience - Reprise R RS 6261

    Friday 1 September 1967
    SYDNEY MORNING HERALD (page 11) Entetainment And The Arts
    RADIO by Harry Robinson
    DUTIFULLY keeping tab on tomorrow's pop, we heard Ward Austin last night tell 2UW's swingers:
    “Here we go . . . out of control ... we gotta have this one for the people, Smiler."

    Smiler (his panel operator) kit the disc which was a Jimi Hendrix album “Are You Experienced?”
    The track opened with a beat reminiscent of New Orleans, moved through folk then rock ’n roll, and
    on to electronic sound.

    The lyrics were along the lines that "Ah don't Live today. Will Ah live tomorrow? Well, Ah just
    cain’t say.

    "Hey Pally,” we challenged per phone. “That's a tripper’s disc.”
    “Yeah, well, there's so much of that sound around that I wonder if it will take over everything by the
    end of the year. This
    Hendrix is very big with the West Coast Hippies and Flower People. He goes for
    the psychedelic bit in a tremendous way.

    “The soud is interesting hell, it’s wild, man, wild. But it oughta stop with the sound.
    "This LSD tripping is dangerous and I get worried when I hear about the kids getting on it . . .
    “It's like I say .. the wild sound's fun. Tripping is disaster.”

    Friday 1 September 1967
    VESTMANLANDS LÄNS TIDNING[‘West-man Country’ County News’](page?)[B&W text ad.] All
    Music Agency - Roas Artist Agency Presents “
    JIMI HENDRIX‘The most interesting group in the
    World right now’” DEEJAYS Popular Swedish-English Band with NY singer; Swedish
    Jimi Hendrix...
    OUTSIDERS; AB-MUSIK Helsköna f. d. Boozies, now better than ever; as well as MERSY SECT.

    8 Timmermansgat.
    2 Performances
    Eve. 17.30—20.00
    Eve. 21.00—23.30

    [Day?] September (Octo) 1967
    Jimi Hendrix says that Burning Of The Midnight Lampcontains some very personal
    He wrote it during a plane journey across the States where, he says, you feel a
    long way from home.
    [complete text?]
    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: 1967 September Newspaper & Magazine Articles (Text Only)

    [Day?] September (Octo) 1967

    CRAWDADDY (page 17-18): ‘White Noise?’article by David Flooke: “The problem of foreground and
    background as well as the distinction between different forms of sense data is explored on the new
    and first
    Jimi Hendrix album. “Third Stone From the Sun.” (The group plays a double-time,
    jogging accompaniment to a musique concrete background. I wish I could tell you more but I don’t
    feel like it.)

    Now, however, with renewed zeal, return us to the question at hand. What happens when you turn
    the gain control all the way up. The compression effect. Whereas before the ratio between noise and
    conventional information was great enough to virtually nullify the noise, which is lower in input
    intensity and has not as yet reached overload level, is brought up to a level which compares to that of
    the normal source.

    Now let us labor beyond this to discover what Hendrix does with this compressed form.
    Going back to “Third Stone.” The track begins with what appears to be a now-normal technically
    produced Omaha-type background. The background becomes foreground however when mixed with
    a “live-normal” musical section similar to the transitional part of “A Day In The Life.” As the pace
    progresses and the normal line becomes less normal, that which we called the technical foreground
    slowly fuses with, becomes subordinate to refuses with, dominates etc, the now transfigured

    What does this have to do with saxophones? It is difficult to say, but easy to comprehend.
    Would it offend you if I said
    Jimi Hendrix has a saxophone fixation. ‘Cause, it seems as
    though all of his runs come from, to one degree or another, old hard rock sax solos
    . If this
    is repulsive, try to realize that
    Hendrix has managed to liberate the spirit of the instrument from
    all of it’s bring-down sociological overtones. Saxophones aren’t psychedelic at all. Saxophone music
    is. What more could you ask for?

    For one thing you could ask for white noise, or, more specifically, a bridge between “normal
    music space and time” and “pure sound and silence.”
    Hendrix definitely provides the major part of
    the bridge by allowing his music to develop in time from
    “saxophone in space” to “information
    barrage.” If your amplifier blew up and fatally injured you at the end of the album, you might really
    make it.

    Now into the eye of death, we might look for immortal non-temporal sound. Not, mind you in
    the sense of the classics. Not music which survives for time immemorial, but sound which is timeless,
    formless and will be forgotten less than a second from whatever “now” you choose. Take Ad
    Rheinhardt at the North Pole, for instance. This is pretty confusing. Pure blackness. Pure whiteness.
    No bridge between the two and even less to say. In the time between the point at which you realize
    this perceptually and the point at which you realize this perceptually and the point at which you
    begin to try to explain it by twitching, vomiting or philosophizing, you may have been --------- (for
    want of a better term). Can this happen with sound? Can something which is extended in time be

    The answer to the first question is a most definite yes. Push yourself off a cliff clutching empty
    coke bottles. Blow the price of an album and take a trip to the airport on a busy night. Put
    firecrackers in your ears. The least harmful (but perhaps the least effective) is the airport trip. Jet
    noise is something that the Byrds knew about (not Lear jet but “kriiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiishhhhhhh
    hhhhhhhhhhhhhh”) but seems to have been forgotten. Compare a bunch of jet engines warming
    up to the beginning of almost any
    Hendrix work or to the 30-second buildup before the 50-second
    fade out on “A Day In The Life” (which doesn’t quite make it along these lines). A progression from
    relatively articulated sound to pure, unarticulated threshold volume, rich, everything noise. Now,
    the articulated bridge which
    Hendrixprovides may be better than the earlier stages of the jet noise
    in that it helps you to accomplish the transition between time-knowing and pressure-knowing. The
    jet, on the other hand seems to have the upper hand (so far) on pressure. Perhaps the detonation
    of a nuclear device would help in the third position of a sequence beginning with (1)
    leading to (2) jet noise, and culminating with (4) the finality of some kind of cosmic snap.

    Alas the industry lags behind.
    The second question comes out to….. [blah, blah etc… more or less a review of Zappa’s ‘Lumpy
    Gravy’ LP]

    ‘Saucer Lands In Virginia’ by Sandy Pearlman
    Jimi Hendrix has to be One of the most significant burlesque acts in years, Yet what
    exactly are we supposed to make of his masturbatory behavior at Monterey? Behavior highlighted
    when he (regarded by R. Meltzer as clearly the best-dressed man in the place and
    Noel Redding
    both played guitar with their teeth, thus probably performing rock’s first public double—tonguing.
    And (to continue in this vain) could it have been a less-than-sinister coincidence that the initials of
    the Army nerve gas BZ—whence STP was allegedly (but falsely) derived—are exactly the same as
    the last two initials of WBZ; a Boston rock station? Or what about the fact that the Doors hadn’t
    even read
    The Doors of Perception? And these Are certainly not the first problematical or coincidental
    things to be thought of.

    (Page 32) “What Goes On”
    ::: The DOORS album is now number one on the Cash Box charts. Like “Light My Fire’ and the
    Airplane’s Surrealistic Pillow, it is a certified million-seller.
    Other chart statistics (from Billboard): all of the Top 14 albums are rock (for better or worse), and
    more than 60 of the top 100.
    Are You Experienced?, #12; Byrds Greatest Hits, #13;Vanilla
    (despite the single/ a dismal album), #17; Country Joe, #39; Absolulely Free, #41; Big
    Brother & the Holding Company
    , #90. Things are in good shape. :::
    (Page 34) ‘A Whiter Shade of Black’ [article about Motown. Ed.] by Jon Landau: “Traditionally there
    have been three types of Negro musicians
    in pop music. The first consists of artists who either for
    aesthetic or financial reasons have chosen to sever their ties with specifically Negro music and
    instead work in the general field of pop.
    Ritchie Havens, as an exponent of the contemporary
    urban ballad in the Ochs,
    Dylan, Paxton tradition, and Jimi Hendrix, as an exponent of freaking,
    are good examples. The second class consists of performers who are still working in one of the basic
    Negro musical forms but who seek to alter their approach enough to make it appealing to a large
    part of the white audience. Motown is the ideal example, but someone like Lou Rawls also falls into
    this category. Finally there is the hard core: performers who won’t or can’t assimilate, and therefore
    just continue to do their thing. If the white audience digs what a performer in this group is doing, it’s
    just gravy; the performer never expected it. This category contains all of the independent r&b labels,
    most importantly the Stax-Volt group in Memphis, Tenessee. ….
    [blah, blah etc…]
    (Page 42-45) ‘Pythagoras The Cave Painter’ [and from the accompanying psychedelic poster
    Jimi Hendrix Experience Are You Experienced as reviewed by Richard Meltzer and
    illustrated by Rafael + Black”

    “New questions. New questions? Really? Old philosophers, played out even then, novel even now.
    But just hear, hear, and listen to the beginning
    before you conceptualize the possibilities for the
    question “Now that you know who you are, what do you want to be?” actually to be a question as
    opposed to an even-though-you-know-what-you-know-I’m-ready-to-leave. Gargle with mercury but
    if you don’t know what’s coming off you’ll never realize that “
    Third Stone From The Sun” is the
    D.C. version of the Silver Surfer on an asphalt trip: that is, you sure as hell have to be arrogant
    even if you don’t particularly groove on ego trips.

    Many are the means of allegorically expanding it all and summing it all up. Remember Plato’s
    myth of the cave bit? SEE THE SUN FREE! And Nietzsche: groove on murkiness and Dostoyevski’s
    vaginal pit extensions thereof. And more or at least a few, to name a few. But what happens when
    everybody has seen the sun and wallowed in the shit? That doesn’t mean that
    Time and Newsweek
    have written up the hippies even though John Cannaday still doesn’t understand Rembandt or
    Andrew Wyeth. Or Genet is welcome in
    Family Circle and Family Circle is welcome in your own home
    so what you do now, now that Janis Ian has taken STP and avoids Clearasil. But: Well you just gotta
    be better in your all-encompassing bit and think and know that better is worth something and
    worthless isn’t a drag and that infinite regresses are okay. Enter
    Jimi Hendrix, standing on his
    head and knowing what that means too.

    Afterthought is a different slightly different story. Inches can be miles if you want them to be,
    and the ground between the Beatles and the Stones is far greater than that between Jan Van Eyck
    and Hoagy Carmichael, the development from “Dandy” to “Que Vida” is awesomely greater than
    that bridging the gap between Hans Memling and Marcel Duchamp. Irony is ironically important,
    and ironicaly these proportions hold ground anyway. The Byrds
    sing “Eight Miles High”; the Beatles,
    , Doors and Jimi Hendrix are far more than eight miles high, and with the way up and way
    down being one and the same, they cover a lot of space, traversing it without moving. Still one
    place to go. Lastly through a hogshead of real fire. But come up the years, too, perhaps. Perhaps.

    Okay let’s work on a logic of ascent/descent that’s more fun and less fun than Fitch proofs
    Nelson Goodman or even the famous Aristotle. Man like we can be so high that the high is irrelevant
    and so systematic that system crumbles so we might as well be structurally ready and readily
    structural so we can guarantee a good time for all total awareness freaks. Of course A and not-A. Of
    course, of course. Although she feels as though she’s in a play, she is anyway. I can pick your face
    out from the front or behind. It really doesn’t matter, if I’m wrong I’m right. And some people like
    to talk anyway, like Paul McCartney in
    The True Story of the Beatles: “John propositioned me. He
    told me that he thought the group could do nicely and anyway it was a lot of fun. He didn’t talk
    about the possibility of turning professional. It was me, I think, who realized that skiffle could easily
    lead to some useful pocket money so that we would be able to date the girls and maybe get a few
    clothes for ourselves. Remember, though, we were very young…”
    (a peculiar quotation for a
    paragraph on logic). Enter:
    Jimi Hendrix, pre-literate, post articulate, proto-logical, bi-lingual (at
    least English and American), plurisignative. His major logical connective:

    A [‘to’ drawn as as barely recognizable connecting squiggle. Ed.] B
    All you’ve got to work with at any time is your bank of memories and the state of the world as
    it is under all sorts of internal and external interactions and things like that. “
    I Don’t Live Today.
    Okay. Right. Present progressive time sense goes out, future-oriented past and past progressive
    come in. Jump from speaker to speaker, alternate sounds and silences, you’re finally conscious of
    all the implications of musical spatio-temporality. Fine Spade rock was three years ago or now or the
    year of the iron sheep? So? It’s also in “
    Law of identity fanaticism? Marvel comics too hung up on the avoidability of the identity of
    indescernibles; D.C. knows that if you live on the planet Xzgronl#m you can tell your kid at the ninth
    meal of the 67.3-hour Xzgronl#mian day that here on our planet Xzgronl#m we eat purple potatoes
    and groove on bizarre tautologies.
    Jimi Hendrix grooves on the earth’s “strange beautiful crescent
    [sic, actually ‘grass of’. Ed.] green” with it’s “majestic silver seas” and “mysterious mountains” which
    he wishes to “see close”
    [sic, ‘closer’. Ed.]. And somewhere guitars hum like bumble bees.
    All this and deja-vu transcendence too.
    Double-standard science fiction rock too. Byrds have to be uninsulatedly “open” but not if they
    really new that openess means inevitable openness to insulation.
    Paul McCartney suggests merely
    fixing a hole in David Crosby’s jewel forest closer, and
    Jimi Hendrix wonders if maybe this chick’s
    made of gold or something and asks her quite politely, man, there are still some standard precious
    metaphors, man.

    Cage and Stockhausen might not really wanna play tennis with Rauschenberg but Jimi Hendrix
    wouldn’t mind eating Marianne Faithful.

    Are unknown tongues (units of change, awe, mere awe, taxonomic urgency) still possible? Sure,
    but they might just be about as significant as bottle caps. Bottle caps might be significant however
    [possible ref. to James ‘Groovy’ Hutchinson? Ed.]. The world is music but what is music but what
    is the world too. And monism pluralism monism plurism too too. One of the all time great traditional
    unknown tongues occurs early in “
    Third Stone from the Sun” at the first eruption of the theme
    played at a random speed which just might be 45 or 33 rpm I guess. But that’s not the point about
    Hendrix tongue relevance board of directors (get your mind together, there are a whole bunch
    of you) that should be made to relate to relate to post-Beach Boys ethnomusicology in general. For,
    along with Schopenhauer, we know that music is the metaphysical equivalent of all the nitty gritty
    power of nature, but along with Johnny and Brian and Jimi we know that music is also like the
    Book Encyclopedia
    article on Brazil. Obviously Heraclitus contains Anxagoras, but crystallization out
    of flux in music or in subway-car stability assertions might also be a different scene too. “Waterfall,
    don’t ever change your ways” in “
    May This Be Love” is not only perfect Anaxagoreanism in a
    nutshell but even the perpendicularization of Heraclitus’ river. The anti-tongue fadeout of “
    ” is the death of a guitar string. Best quotation tongue on the album: the Who-like beginning of
    Love or Confusion.” But how ‘bout the beginning of “Hey Joe,” a quasi-transitional passage which
    would be an awesome internal musical thingamajig in any
    [Jefferson] Airplane context? That’s nice
    too. And the first “
    Are You Experienced?” is without doubt the definitive jack-in-the-box tongue.
    Morrison says, “Everybody loves my baby,” right there in the middle of “Break on Through,” right there
    conspicuously out of place. Lennon tells you in his book at the movies that he’d love to turn you on,
    right there where grass smells like World War II English newscasts. But
    Jimi Hendrix puts the
    question in the question slot, oh but where did the question slot come from.
    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: 1967 September Newspaper & Magazine Articles (Text Only)

    [Day?]September (Nov) 1967
    FLIP (page?) A Personal Tribute To A Groovy Weekend Which Made Pop History!
    ‘The Memory Of Monterey’ by Carol Deck
    The Monterey International Pop Festival is just a memory now-a memory of Monkees and music,
    flowers and friends, carrots and chaos.

    Now that everyone has gotten over the colds and minor varieties of the flu they caught during
    2-1/2 days in misty Monterey, we can all look back on what hopefully is the beginning of a great
    new tradition in the world of pop music.

    We can look back with pride and point out to the older generation how many of our top groups
    performed for free along side some of our newer, up and coming artists.

    We can tell them that Paul Simon of Simon and Garfunkel said "Seeing and hearing the Mike
    Bloomfield Thing
    made the whole festival worthwhile." And the Bloomfield Thing is a fairly
    unknown New York blues group.

    We can tell them how two of the Monkees, the hottest thing happening in America now, took time
    out from their busy schedule to attend. None of these people had to attend. They went because it
    was important to them.

    They sat in the audience and watched each other on stage. They accepted without question or even
    curiosity the flowers and carrots that were passed out in the arena. They watched with interest as

    both The Who and
    Jimi Hendrix destroyed guitars on stage.
    They-the Mamas and Papas, Jefferson Airplane, Rolling Stones, Byrds, Buffalo Springfield,
    Animals, Monkees and so many, many others-shared their time and music with over
    20,000 groovy people.

    Those thousands of people also showed that great masses of young people can get together without
    causing anyone any trouble.

    We all have great reasons for being very proud and very happy about a groovy, groovy weekend.
    Now let's start packing for next year's Festival-they're hoping to hold it in either London. England or
    Stockholm, Sweden.

    (Page?) ‘My Daily Diary Of The Monkees Tour! by Ric Klein
    Peter pointing something out to Ric wh’s taking the pic. That’s
    Jimi Hendrix next to Peter on
    board the 58-foot yacht they spent some time on in Miami.

    [Day?] September (Oct) 1967
    FLOWER SCENE & THE LOVE GENERATION (cover) [Full page B&W photo at Aldershot: ‘Jimi
    ’] ‘beauty and love expressed in flower fashion’ by Sandra Lloyd
    [...] I was down at Take Six with Dandy the other day—he was trying on the most fantastic flower -
    patterned suit (off the peg as well!) when who should walk in but
    Jimi Hendrix. Jimi says that he
    buys a lot of his clothes there
    . In fact, a lot of the groups buy their gear at this shop and it still
    offers the most competitive prices in boutique-land. The suit
    Dandy tried on worked out at just under
    £12 and it's a completely original design too.

    Dandy and I will be going round various boutiques from now on, trying their clothes for you. And
    next month I'll let you know, in rather more detail (and with some exclusive pix as well) what out
    personal gear choice is... and WHY. So cheerio until then. And don't forget: Wear super-bright
    colours and make yourselves look as beautiful as you can.
    Dandy reckons it feels great to be a
    beautiful person... and I don't think he's far wrong.

    [Day?] September (Octo) 1967
    Not so very long ago—June 16-18, to be exact. What happened? The first Monterey International
    Pop Festival, that's what. Who was there? The audience of some 50,000 (the Monterey arena seats
    but 7,000!) included everyone from Monkee Micky Dolenz to Rolling Stone Brian Jones. No, I meant
    who was there on stage? Oh, nobody much, Only the biggest roster of pop talent ever assembled in
    one place. Only the Paul Butterfield Blues Band, the Who, the Grateful Dead, Big Brother and the
    Holding Company, the Electric Flag, Ravi Shankar,
    Jimi Hendrix, Lou Rawls, Simon and Garfunkel,
    the Jefferson Airplane, the Mamas and the Papas, Hugh Masakela, Johnny Rivers, Otis Redding,
    Booker T and the MGs, the Buffalo Springfield, the Byrds, the Quicksilver Messenger Service, and
    about a dozen other top names. That's all. Wow! Was there any trouble with the law? None. The
    Monterey chief of police even said, "I'm beginning to like these hippies. When I go up to that Haight-
    Ashbury, I'm going to see a lot of friends." Tell me more about the Festival? Well, Peter Townshend
    and Keith Moon completely destroyed their instruments and
    Jimi Hendrix literally burned up his
    guitar on stage after plucking the strings with his teeth! The Springfield and the Airplane were great,
    and the biggest surprise of the weekend was the new Mike Bloomfield-Barry Goldberg band, the
    Electric Flag, soon to be called Thee, Sound. Also, Shankar was beautiful on Sunday afternoon. And
    Janis Joplin! Too much! What does HULLABALOO think? We think that Mama Cass put it best when
    she said, "This whole weekend is like a dream come true." Or Brian Jones: "I saw a community form
    and live together for three days. It's so sad it has to break up." We think that the Monterey Pop
    Festival set a precedent for future years: first, we had the jazz festival, then the folk festival, but
    now it's all pop—and it will be for years to come. Our hats are off to Monterey and to all of the
    wonderful people responsible for the Festival. To all the performers who played without fee— our
    thanks. Will there be another one next year? It looks like it. Papa John Phillips said, "We sure will
    have one next year. Maybe in London, maybe in Stockholm." We can hardly wait.

    (Page 14) [B&W photo JH shopping at Monterey] . . . had the pleasure of meeting JIMI HENDRIX
    SCENE the other night. The DOORS were appearing there and I guess he didn't
    dig them too much. After four quadruple Scotch and cokes (four shots of Scotch in a glass of coke)
    and at the end of the DOORS first number,
    JIMI split, walking a straight line, too!
    (Page 33) [B&W photo portrait of the group]EXPERIENCING JIMI HENDRIX
    Habitues of some of the Greenwich Village clubs from a couple of years ago may recall this scruffy-
    looking cat by the name of
    Jimi Hendrix.
    Jimi was one of the many singers trying to make it on the coffee house circuit. He couldn't. Not in
    this country anyway. After a disheartening tenure in New York, he packed up and ventured to
    England. After knocking around a bit there, he finally hit it. He recorded his rendition of "
    Hey Joe,"
    made famous bv
    the Byrds, Love, and Tim Rose of the U.S. of A. Result? Instant success.
    After lots of successful gigs in the land of blimey, Jimi crossed the Atlantic once again, the other
    way this time, and invaded the
    Monterey Pop Festival last June. Result? More instant success.
    The Experience of Jimi Hendrix consists of Mitch Mitchellon drums and Noel Redding on
    bass. Their latest single for Reprise is called "
    The Wind Cries Mary," and it looks like only the
    beginning for this cat who is so deserving of all the prosperity coming to him. If you haven't already

    Jimi Hendrix and his Experience, you should. You won't be sorry.
    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: 1967 September Newspaper & Magazine Articles (Text Only)

    [Day?] September (Octo) 1967
    MARQUEE CLUB (October progamme sheet): “Jimmy Hendrix Experience

    [Day?] September (Octo) 1967

    MUZIEK EXPRES(page?)[full page colour poster of Jimi in red suit]JIMI HENDRIX

    [Day?] September (Oct) 1967
    West Germany (BRD)
    POP(page?) [B&W photo of group playing on show and interview - 2 September, ZDF TV studio,
    West Berlin]

    Our Austrian correpondent Ludwig Heinrich did an interview with
    Jimi Hendrix during the
    Funkausstellung Berlin.
    JIMI HENDRIX—My Life Is Music!’
    English critics are normally as stingy with accolades as inhabitants of the Scottish isles are with the
    Jimi Hendrix seems to be the exception to the rule. But though the music press falls over
    themselves with compliments, this doesn't seem to touch the "Master". He seemingly stays cool, or
    better: he hasn't recognized yet that he is now the epicentre. Born in Seattle (Washington) in 1945
    [sic] he immediately learned about the shady sides of his home,
    especially: the poverty. Jimi knows
    the plagueing hunger, the narrow, sticky apartments in the slums, the rats, and not lastly the racial
    hatred. After an injury released him from military service he travelled with a guitar as the single
    belonging through the South. Until one day
    the "Animals" managers Mike Jeffrey and Chas
    found him and brought him to England. A world-career started.
    POP: Jimi, you're not only recognized by your audience because of your wayward music, but also
    because of your superb head of hair, which - in our region - is closely connected with the "shock-
    headed Peter" figure. They say that you need to go to a lady hairstylist with your head of hair to
    look perfectly trimmed...

    JIMI: The hair - as I wear it - is my own idea. It's my gimmick, if you want. It is by the
    way very easy to bring into shape, I don't need a lady hairstylist for it.

    POP: Jimi, to many people you visually give the impression to be a real bum. As if you don't wash

    JIMI: Believe me, I am as clean as everybody else. Moreover let the people gossip about
    these formalities as they want. My life is the music.

    POP: All of a sudden you earn a lot of money. Isn't that a big change for you?
    JIMI: My "Experience" and I don't really know exactly what we are earning. We get
    weekly as much as we need from our manager
    Jerry Stickells.
    POP: You always carry a purse. Does that have a special reason?
    JIMI: Well, I can't put my money nowhere since my clothes don't have pockets.
    POP: Do you have a special wish that you want to fulfil with your money?
    JIMI: I want a house in America. In California. I love California.
    POP: You made your career in Europe. You have experienced racial hatred. Still you want to settle
    in America?

    JIMI: The racial problem is something crazy. The Negro riots in American cities, of which
    we read a lot in today's newspapers, are crazy as well. What they are doing can't be
    justified. I think, that we all can live quietly side by side! Such a problem has never been
    solved with violence.

    POP: Is there a major difference between America and Europe?
    JIMI: Yes. In Europe the racial problem exists as well. But they don't talk that much
    about it.

    POP:Who are your musical models? Or: whom do you admire most?
    JIMI: Elmo James[sic], Muddy Waters, Albert King. One could also say, that I was
    inspired by
    Bob Dylan and Brian Jones.
    POP: How about the Beatles?
    JIMI: I saw them with their old numbers. Great, great! But - with the new numbers I
    seen them on stage!
    POP: Would you like to make movies?
    JIMI: Yes, but there are no real offers.
    POP: What do you think about thev LSD statements of some pop stars?
    JIMI: Many say they could understand themselves better, when they take LSD. Bullshit!
    These are idiots that talk like that.

    POP: Do you take LSD yourself?
    JIMI: If I - and I stress: if I would take LSD I would only do it for my personal
    entertainment, out of fun or just because I like it. But not due to psychological reasons.

    POP: Do you have special musical wishes?
    JIMI: For the time being only one! To get respected for my kind of playing and singing!
    There are other dreams, but I don't want to talk about these now.

    POP: Are there any compliments from famous people in this respect of which you are specially
    proud of?

    JIMI: I am not in need of compliments, since most of them are untrue. I can judge myself
    what is good and what is bad. That's why I can also judge compliments correctly.

    POP: You do have a noticeable huge case during travels. What is in it?
    JIMI: LPs, minimum 150 LPs! I need music in my hotel room at any time.
    POP: Which contact do you have with your family?
    JIMI: I am proud to be able to send them newspaper clippings about me. And I send

    That's the only way my father takes it - personally he would never accept to take money.
    would be too proud.
    POP: When did you see your family for the last time?
    JIMI: That is more than 6 years ago. I don't even know my 6 year old sister for example.
    POP: Why is that?
    JIMI: I'm scared to go home. My father is a very strict man. He would immediately take
    me, tear my clothes off my body and cut my hair thoroughly!

    [Date?] September 1967 (Nov)
    SPEC 16 (page 48) ‘Fun Time With The Monkees’ by Lynne Randell
    We traveled on a private
    DC-6 with a huge Monkee emblem painted on the outside of it. We had our own captain and crew,
    all of whom were thoroughly capable and completely charming. I'd like to take this opportunity to
    thank them — on behalf of the Monkees, myself and the Sundowners,
    Jimi Hendrix and all the rest
    of the gang — for being so wonderful to us.

    When we were in Miami Davy, Peter, Mike and Micky gave us all a tremendous surprise. They rented
    a gorgeous 71-foot cruiser, loaded it with 30 of us "Monkee show people", and we all put out to sea
    for a whole day of fun and laughter together! It was the Monkees’ way of thanking us. Don't you
    think that was very nice of them?
    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: 1967 September Newspaper & Magazine Articles (Text Only)

    [Day?] September (Oct) 1967
    TEENSET (cover) [psychedelic pattern with oval colour photo in middle of Mama Cass in the audience
    beaming toward stage. Diagonal strip across bottom left corner,]

    ‘Fantastic! TeenSet at the Monterey Pop Festival
    (Page 6) [Large photos throughout, inc. a 2 pager of Jimi hand in air pose at rehearsals]
    ETC. ETC.’ [Judith Sims’ editorial. Ed.]
    It probably isn’t necessary to say this here—we’ve tried to say it and show it throughout this issue
    the Monterey International Pop Festival was the single most spectacular event in pop
    music in the past however-many-years-you-care-to-count. It had no precedent, but it established
    a good one.

    Monterey was a musical extravaganza, but it’s significance goes far beyond the pop music field. For
    three days in mid-June people of all ages, pursuits, interests and incomes mingled and grooved;
    these several thousand people transformed a crowded, confused situation into a genuine,
    spontaneous statement of love and happiness. It wasn’t the first love-in, but it was the most eclectic
    and osmotic.

    For those of you too far away to feel the good vibrations from Monterey, despair do not; ABC
    television will air a Monterey special
    sometime this fall. It won’t be like being there, but it’ll be
    close enough.

    It will happen again next year. It can, it should and it must.
    20 ‘Hollywood Underground’ [photos?/layout? by ‘Karalynne’ text by ‘Laurayne’]
    22 ‘The Road To Monterey’/Gunther Yorty Rides Again! [comedy piece about how the, penniless,
    only male member of staff (forced to work in the boiler room) was cruelly denied travel tickets and
    so, jumped a boxcar that ended up stranding him in
    Seattle [of all places! Ed.] for a week, so he
    missed the show]

    32 ‘The Monterey International Pop Festival’/Fantastic, fabulous weekend! Complete only in
    52 ‘The Beatles And Monterey’/ Giving credit where it’s due
    (Page 21) ‘Dear Hollywood Underground.’
    I’m really exhausted as I write this, ‘cause we just got back from Monterey and I hardly got any
    sleep, what with the all-night dance things at the college and everything. Anyway, you can read all
    about the Festival on pages 32-47. As for what happened here while the festival was still just a
    hopeful happening, allow me . . .

    Peter Tork had a small gathering of friends over to his house before planing out to Paris on the first
    appendage of the Monkees summer tour. I wouldn’t go so far as to say I’m a friend, but did drop by
    to bid Peter a fond (you’d better believe it!) farewell. Of those present, I only recognized Joey
    Richards (who co-wrote “For Pete’s Sake”) and David Crosby of the Byrds. It was a touching scene,
    what with Peter calling information to find out how the weather was in Paris and trying to decide
    which pair of boots to take along. And I thought girls were finicky ...

    In the Take-Good-Care-of-My-Baby-Dept. Please, folks, no more oranges in Peter’s eye. Throw
    kisses, if anything.

    David, of the on again, off again Byrds, made a few comments during the Byrds set at Monterey
    that set things buzzing again. He brought up Paul McCartney’s birthday comment and agreed with it,
    which was benevolent, I thought. . .

    Several months ago, on one of my too few trips to the city (Frisco, to us hicks), I fell in love with a
    group from Canada, the Paupers. Since I don’t know any of their names. I have labelled them
    “Beautiful,” “Outasite,” “Groovy,” and “MINE.” If you’re a regular reader of mine, and have followed
    my long line of tall, dark lead guitarists, (beginning with George and going through Neil, Jorma and
    Elvin Bishop), you will know which one is “MINE!”

    At the Avalon, another SF club, Columbia threw a fab party for their new r ‘n’ r offering, the Moby
    Grape (an
    -other TS first—last month!). Moby Grape wine flowed freely and purple orchids sailed
    through the air all evening. It was a great introduction for the group, as it made friends as well as
    fans for them . . .

    Karalynne and I stuck around San Francisco after the Moby Grape party, since our editor suggested
    we take our time about returning. (I got the impression she meant like forever!) After hanging
    around Marty Balin’s house for a coupla hours without success, we decided to see the
    Dylan movie,
    Don’t Look Back,” which was debuting there. We saw it twice, missing our plane both times, but
    it was worth it!

    Monkee Micky’s animal family is growing! Besides his famous dog, “You,” Micky now has two darling
    kittens, given to him by an adoring fan,
    Genie the tailor. Just in case you haven’t already read
    elsewhere, Micky climaxed his James Brown imitation at their Hollywood Bowl con
    cert by jumping
    into the pool that separates the box seats from the stage. I didn’t stick around to see if anyone set
    up a booth selling water from the pool, but. . .

    Keith came to town again, looking better than ever, with his new hair cut (acquired in England) and
    yellow glasses, which he claims are a part of him. We saw him at Mike Williams’ house, where we all
    gathered to watch television. Instead, Mike worked on Keith’s new album cover and the rest of us
    sat around listening to the Buffalo Springfield album . . .

    This seems to be quite the year for lead guitarists to take their leave! With Harpo and Neil gone,
    news from New York that Zally has left the Spoonful only adds to my love for George. George . . .?

    The Is-My-World-Not-Falling-Down Dept. has been closed this month, for remodelling, as it wasn’t
    large enough to accommodate the heartbreak handed me . . .

    The Young Rascals came out to the coast again to follow up their second gold record. “Groovin.” The
    Cheetah hosted them one night. Disneyland a few nights later, and the group treated press to a
    luncheon before they left. Watch for another story and color pinup of these groovy guys soon!

    Who is Sagittarius? Will he/she/they make personal appearances?
    Jackson Browne sat in with his old group-mates, the Nitty Gritty Dirt Band, during their stint at the
    Troubador, while Bruce took off for sickness. On the same bill was Tim Buckley. Need I say more?
    (Well, I guess I should, in case there are still people who don’t know about Tim. He’s beautiful. That
    should give you some idea . . .)

    Stevie, Dewey and Bruce of the Buffalo are sharing Stevie’s new house at the beach ...
    Lee Keifer and Bob Morris are each finding new careers without the Hard Times. Lee in acting and
    Bob in his home town, San Diego . . .

    Art Garfunkel and Beverly were seen together several times in Monterey. This could mean the
    end of a beautiful relationship . . . and I haven’t even met Art yet . . .

    Peter Tork sat by Mamas Michelle and Cass during the Saturday afternoon concert in Monterey. (He
    is wild about Cass, you know!) He also sat by
    Brian Jones and Country Joe and Stevie Miller and
    me . . . he must spend all his time denying rumors . . .

    Jimi Hendrix seemed to be digging the hamburgers sold on the grounds. I saw him buying three,
    all covered with mustard, catsup, relish, the whole bit. . . He also seemed to be digging the scene
    in general.
    “This is so great; you’ve got a beautiful city here,” he told me . . .
    Leah Elliot was there, but not with Peter. (Hmmm ... he must not be wild about her. . .)
    David Crosby claims to have been expounding on the assets of Janice Joplin (Big Brother and the
    Holding Company) for months . . .

    Brian Jones was having a great time at the festival. He talked to a lot people and seemed to be
    enjoying being a Star. . .

    Richie Furay went into the hospital to have his tonsils removed and took out about a million dollars
    worth of insurance on his throat. Or maybe I did . . .

    Well, I will leave you now, quoting from one of your faves and I’m sure one of mine—Peter Tork:
    “I’m wild about everyone!”

    (Pages 32-48) ‘Monterey: Music, Love And Flowers’ by Ginni Ginahl: An ocean-tempered sun
    shone a smile on the 50,000 people present for the First Annual Monterey International Pop
    Festival. Rain threatened on the second day but had given up by Sunday. Music, love and flowers
    were offered from daybreak to daybreak; the early morning hours felt the only hush, as those who
    had danced all night re-grouped for the new day.

    As Friday’s warmth chilled under nightfall. 10,000 ticket holders, guests, reporters and
    photographers moved into the huge arena, holding down 7,500 seats. The stage had been set for
    an evening of varied music. Performers and stage hands clustered behind the curtains, waiting,
    along with the thousands out front, for the first sounds of the festival.

    Almost timidly, seemingly embarrassed by the thrill of being a participant in the great happening,
    the Association stepped into the spotlight and tore into a tune that held great significance for those
    present, “Enter the Young.’” When the six had finished their set, a great sigh was felt all over the
    fairgrounds. It had begun and it was going to happen.

    From the Association on Friday night to the Mama’s and Papa’s on Sunday night, the key word
    (besides love) was talent. Highlights of the five-concert deluge were:

    Simon and Garfunkel receiving an encore vote from the delighted Friday crowd, who had seen (for
    the first time together, on beautiful, wide screen open air stage)
    the Animals (Eric Burdon looking
    great and
    Johnny Weider looking like Noel Redding and Noel Redding looking like Elvin Bishop
    and Elvin Bishop looking like . . .). the Paupers, who are fantastic to see live (due largely to a great
    abundance of good looks, talent, stage presence and good material), Lou Rawls, who had the crowd
    of 10,000 clapping along to just about anything he did. Johnny Rivers and
    Andrew Oldham’s [sic,
    Paul Simon’s]
    Janis Joplin of Big Brother and the Holding Company captured the fancy of the soulful Saturday
    throng and the group was asked to reappear Sunday night, as was the Paul Butterfieid Blues Band.

    Mike Bloomfield
    ’s Electric Flag held the top honors for the Saturday afternoon concert, receiving
    a standing ovation. Country Joe and the Fish, Canned Heat, Steve Miller Blues Band and Quicksilver
    Messenger Service were all well received, although the afternoon was a bit heavy with blues.

    Having been formally introduced to the world at large in a groovy press party at San Francisco’s
    Avalon two weeks prior. Moby Grape opened the Saturday night concert, singing bluesy type rock
    and looking great. (How many teen idols can one group have?) Jefferson Airplane (piedpipering
    everyone into “White Rabbit”), Hugh Masekela, the Byrds, and Lauro Nyro paved the way nicely for
    Booker T and the MGs, who, in turn, led Otis Redding onto the stage, where he received the wildest
    reception yet.

    Sunday afternoon, with the sky clear after Saturday night’s shower, the tribes gathered once again,
    this time to hear Ravi Shankar. Thousands of tiny orchids were thrown over the audience (a new
    trick, introduced as far as we can deduce, by the Moby Grape at their party), while thousands of
    people, inside and outside the stadium, sat silently engrossed in the intricate and thought-
    stimulating sounds of Shankar’s sitar. A standing ovation that lasted for five minutes and would have
    lasted longer, earned Shankar and his accompanists three curtain calls.

    Sunday night brought the most excited crowd seen all weekend, as this was the final concert, the
    one that would be the most memorable if for no other reason than melancholy. The rarely-seen on-
    the west-coast and we’d-like-to-know-why Blues Project opened the rip-roaring show with soft and
    'swinging blues. Big Brother and the Holding Company returned to do a short set for the ABC
    'cameras. (They caught most of the excitement on tape and will reproduce the events for television
    viewers this fall.) The Group Without a Name answered our questions about Gary Alexander, formerly
    with the Association. He has teamed with several of LA’s most respected musicians, who,
    'unfortunately, it seemed, had never performed together before.

    Buffalo Springfield, minus one Neil Young, plus one Doug Hastings, plus one David Crosby did not
    live up to the expectant crowd’s hopes, as they were unused to the new line-up and new

    material. However, the new material is great! Some is by Neil, some by Stevie, some with David and
    'several by Richie. Bruce is back, looking none the worse for hair. (Hope he grows it back, though!)

    Following the Buffalo were some of the most fantastic performers we had ever seen . . . the Who!
    'Roger Daltrey
    wore a fringed cape of satin and such, with the others attired in equally eye catching
    accoutrements. When
    Peter Townshend announced that “this is the beginning of the end,” we
    figured they were going to do the thing they are noted for; destroying their instruments. They did,
    much to the shock of the stage hands, who forgot that the group had brought their own amps and
    instruments to wreck. My weather worries vanished as the smoke cleared, as I figured if
    the Who
    didn’t bring the rain, nothing would!

    Brian Jones brought a hush as he approached the microphone and whispered an introduction for
    Jimi Hendrix
    . (You read it first in TeenSet!) Hendrix is an American and his two sidekicks are
    Hendrix is funny and says, “Yeh, well, dig this!” a lot. Hendrix. . . uh, how do you
    Americans say it. . . moves. He ended his amazing tooth act by setting fire to his pink guitar and
    throwing pieces of it to front rowers.

    The Grateful Dead, one of many San Francisco groups present, completed the bill up to the finale.
    With a mighty swoosh, the Mamas and Papas took their places on stage, full length robes and gowns
    flowing behind Michelle looked her usual beautiful self, as did husband John. Denny’s new coif is less
    than attractive, if you’re an old Denny fan from way back, as we are. Cass was in rare form, telling
    little anecdotes and confiding great secrets to her 10,000 close friends. That extra touch of insipidity
    (er. tear jerking) was added by Scott McKenzie. who sang “San Francisco,” to a crowd that really
    needn’t have been reminded that this summer will be SF’s making or breaking.

    And so the weekend came and went. Peter Tork and Micky Dolenz were there, as people instead of
    Monkees. One, two or three
    Beatles might have been there, but it will never be proven by us. Bob
    was not there, although Joan Baez was. Fifty thousand people were there and fifty thousand
    thank yous were earned by the Board of Directors and all the people who helped make the Monterey
    International Pop Festival an experience that can never be relived but will never be forgotten.

    [B&W photos spread throughout text with theses captions]: Sounds and scenes, the Association
    rehearsing (top left). Mama Cass hugging (right). Quicksilver Messenger Service (top right), then
    Country Joe in his crash helmet. Steve Miller (his Blues Band doesn’t show),
    Brian Jones scratching
    an itch and loving it. and Mamas Michelle and Cass conferring in the audience (far lower right).

    More love and melody . . . David Crosby (top right) hugs his girlfriend, and Chad Stuart (top left)
    looks for his seat. Hugh Masekela (left) entertained, as did Grace Slick (above) with her co-pilots of
    the Airplane. The young man at right is the rhythm guitarist with Country Joe and the Fish; he’s also
    credited with starting the whole Banana thing.

    Janis Joplin (top left) of Big Brother and the Holding Company really tore it up Saturday afternoon;
    ditto for the Electric Flag, otherwise known as
    Mike Bloomfield’s Thing (top right). Michelle (left)
    just kept grooving and listening.

    Ravi Shankar (top) captivated Sunday crowd, later mingled with same (far right). Joan Baez hugged
    a friend (top center),
    Eric Burdon and Simon and Garfunkel (above right and bottom center) were
    warmly received, and Lauro Nyro (right) staged one of the more unusual acts

    David Crosby and Jim (now called Roger) McGuinn (far left); David managed to create a bit of a stir
    with his between song comments. Al Kooper (left), formerly of the Blues Project, sang his new songs;
    Peter Tork (above) introduced several acts; the Mamas and Papas (top center) closed the whole show
    “because we’re tallest,” as Cass put it; Moby Grape (top right) looked great; and Mama Cass hugged
    Lee Kiefer (right)

    Affection, handclaps, grooving . . . Peter Tork met Brian Jones (below), later introduced Lou Rawls
    (right) as the “man with a voice we’d all like to have.” Paul Butterfield laid down some low-down blues
    (center), Otis Redding showed us how to get a crowd really excited (far right), Micky Dolenz met Ted
    Bluechel of the Association (bottom far right), Papa John smiled a backstage welcome, (bottom
    center), Johnny Rivers (just left of Otis) sang his hits, and Jefferson Airplane (top center) flashed
    with the great light show.

    And even more music and friendship ... the Byrds (top left); Simon, Garfunkel, and Bloomfield talk
    down a rehearsal (under the Byrds); Paul Simon, Jim (Roger) McGuinn, Micky Dolenz and David (the
    ubiquitous) Crosby (above) backstage; the same David with Mama Michelle out front before the
    crowds filled up past capacity.

    Al Kooper watching Jimi Hendrix rehearse (left); the East Coast Blues Project (below); Brian Jones
    having a very good time (below left), and Mama Cass hugging Lee Mallory (bottom right) . . . all of
    them, and all these pages, proving that a good time was indeed had by all.

    ‘Monterey Pop What A Weekend!’ [3 page spread of colour photos in the middle by Jim Marshall &
    Bruce McBroom – no captions]

    (Page 52) Most of this issue of TeenSet concerns the First Annual Monterey Pop Festival, and this
    article is no exception.

    There was a strong rumor that the Beatles, in full or in part, would attend the big Monterey
    happening. Had the rumor become reality, this writer’s analysis of their connection with the Festival
    could easily be reduced to a blithery “Oh, my God, they’re really there.”

    Far more than that needs saying, and should any of it irritate anyone reading this, don’t get mad at
    the staff of TeenSet. They just work here, I don’t, so please hurl all overly ripe melons in my

    In all the advance publicity regarding the festival, the Beatles were mentioned in one respect only,
    Paul McCartney
    , it was announced, was one of the sponsors of the intended gathering of the pop

    This understatement is equal to saying that some guy named Shakespeare wrote a few plays. The
    Bard of Avon didn’t invent playwriting any more than
    the Beatles invented pop music, but both
    polished their respective crafts to a fine art. And, in so doing, made them legitimate forms of
    expression and far more enjoyable, as well.

    It is not just my opinion that none of this, the pop music or the Festival, would have happened had
    it not been for
    the Beatles. This is a fact. They didn’t just lend their talents to music in general.
    They supplied motivation and incentive to others whose creativity was being strangled by the
    'stagnant “teen scene” of the pre-
    Beatle period.
    If you don’t agree, try an experiment. Picture if you will a pop festival in the year 1962. There
    would be none of 1967’s difficulties, such as where to find facilities large enough to house the event,
    or how to quarter the thousands of artists and pop devotees who would want to be there.

    The 1962 Pop Festival, had it existed, could easily have been held in the town of Elk’s Tooth,
    Nebraska, population 9 ½. And what a ball it would have been for all those who attended. Both of

    There were idols before the Beatles, and there were recordings made before they burst into
    'international prominence. But the idols were few and the records too seldom worth the hearing,
    much less the buying. Too many seemed to be penned by ex-Tin Pan Alley buffs who. having '
    developed a fondness for an occasional meal, were trying desperately to peddle their traditional
    June moon-spoon-tune ad nauseum formula to a generation they didn’t know or understand.

    Just previous to the advent of the Beatles, young music (then known as rock n roll) was at an all-
    'time low. It was simply too pooped to pop, and teen interest had turned from singers to television
    stars, most of whom were about as heavy as an egg custard.

    Suddenly, there were Beatles. Admittedly, their first efforts were not altogether earth-shattering. I
    recall no one, fan or critic, marveling at the depth and inventiveness of "I Want To Hold Your Hand.''
    ''but I do recall a lot of people, myself included, being quite amazed

    Both elements were somewhere this side of great, but there was something unusual, something
    original and something refreshing about them. Something which had been missing from music for
    far too long. Fun.

    Little did we know, the fun was only beginning.
    There's no need to go into what happened next. Every-one knows what happened next. The magic
    mushroom planted by
    the Beatles grew to gigantic proportions. New groups sprouted, as did the
    Beatles talent. Today they are so firmly rooted in the musical culture of our civilization, anyone who
    does not recognize their power and their influence is, at best, ignorant, a fool, or both.

    Who, indeed, would have been at the Monterey Pop Festival had it not been for The Beatles
    splintered [sic] the door to propriety with a solid working-class first and changed music from a
    spectator sport to a game everybody could play. At least ninety percent of the artists who performed
    in Monterey have come into their own since
    the Beatles. Some of them openly and gratefully admit
    they came into their own because of the Beatles.

    Also because of the Beatles, the Festival played host to one of the world's best known classical
    sitarists, Ravi Shankar. This unexpected and horizon-broadening pleasure is a result of George
    Harrison's fascination for this complexly beautiful instrument, which brought about his pilgrimage to
    India and his period of study with Shankar.

    I have often wondered what would have happened had the Beatles begun their career with one of
    their recent compositions. A "Yesterday" perhaps.

    I think I've finally figured out the answer to that question.
    Their impact would have been greatly lessened had they happened any other way. It wasn't just
    their lack of pretension, the buoyancy of their music and their obvious love of a good time that
    made them the Pied Pipers.
    The Beatles' progress from "Hold Your Hand" to "Day In The Life" was
    just as important. Maybe more so, because, as Will Shakespeare (you remember him, he once
    wrote a few plays) put it, their growth served as a spur to prick the sides of their intent . . . their
    own intent, and that of everyone whose sights were set in a similar direction.

    Whether the Beatles actually attended the Pop Festival doesn't really matter, except to those of us
    who would give several right arms just to see them again for a moment.

    They've already contributed more to the event than anyone else in the world. Because of the
    , pop is finally something worth having a festival about.
    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: 1967 September Newspaper & Magazine Articles (Text Only)

    [Day?] September1967
    ‘U.S.A. TRIP’
    JIMI HENDRIX was on TOP OF THE POPS the other week. He was looking very well after his long
    Stateside visit. . .

    "It was great going back to America. It was sad leaving!” were his rather ominous words. But
    it is alright,
    he went on to tell me . . .
    There are things I hate about America though, as well as the things that I love. At the
    same time there are lots of beautiful things happening here — and this is the country that
    gave me my break. So in fact it's groovy being here again! I guess I kinda regard
    England at being home now. I’ll stay as long as it’s cool and I'm wanted."
    He finished. Then
    he saw my Indian bracelet.

    "Hey, that's groovy!” and he tried it on. Before I was fully conscious I had agreed to let him
    borrow it for the show.

    "I'm doing a tape afterwards, can I have it for that too?" What could I do? I had to split for
    an appointment though . . .

    "Well why don't you join us at the Speaks' later on and I’ll give it back to you then?" he

    It was 1.30 a.m. and I was going into the club. ZOOT MONEY was appearing that night with his new
    set up DANTALION'S CHARIOT. If it hadn’t been for
    JIMI, I would have missed it
    ZOOT is on to an entirely new scene now — I hope it happens for him — he deserves it.
    As dawn was breaking JIMI confessed he had forgotten the bracelet. When he did return it though,
    he gave me a copy of the MOTHERS' new album "Absolutely Free" as a thank you present. It's a gas
    — thank YOU
    (Page 7) [large B&W photo of MW & JH backstage at TOTPs for BOTML]
    I showed JIMI at a recent Top Of The Pops the latest edition of TOP POPS and he seemed suitably
    impressed. In the next edition I shall be writing about Jimi and there will also be a colour pin-up
    picture of him and
    the EXPERIENCE. Better make sure of your copy now!
    (Page 18)[B&W photo of JHE, JH in background] YES, it's JIMI HENDRIX! That fabulous
    experience" from Seattle, Washington, who, only a few months ago, was sleeping rough in New
    York with rats running across his chest and cockroaches stealing his food.

    Of course, he's now made it to the big-time, and in TOP POPS No. 7 will be an interview with
    Hendrix and a pic of him in full colour!

    Saturday 2 (9) September 1967
    USA (Los Angeles, CA)
    BEAT (KRLA) (page 7) ‘Mamas And Papas Speak Out’
    “All right what was the “Mugwumps” like, imagine Zal, late of the Lovin’ Spoonful, John Sebastian,
    Cass, myself,
    Jim Hendricks (not Jimmy Hendricks [sic]) and Art Blakey’s nephew on drums

    (Page 16) ‘U.K. POP NEWS ROUND-UP’ by Tony Barrow

    Airplane Movie

    At Brian Epstein’s Saville Theatre JIMI HENDRIX EXPERIENCE presenting precisely the same
    act which was considered ‘too wild’ for MONKEES U.S. tour. . . during October visit to Britain
    JEFFERSON AIRPLANE may appear in [...]

    (Page 16) [Messages]The wind cries JIMI

    Saturday 2September 1967
    USA (Washington DC)
    EVENING STAR (page 10) [B&W photo of The Who on stage]
    Top Tunes by Mike Oberman (Star Special Writer)
    Who are the Who? Or should it be, Who IS the Who? Anyway, that question was answered recently
    when the British foursome toured this country with Herman's Hermits and the Blues Magoos.
    is one of England's most popular groups, but only recently did they gain fame in this country
    with two successive hit records, "Happy Jack," and "Pictures of Lily."

    The reason for the group not being well known in this country is, as Pete Townshend, lead guitarist,
    put it, "A lot of our records were banned in America. When we made a record, we weren't
    concentrating on the States. When 'Happy Jack' went over big, everyone was pleased."

    During a show at Constitution Hall, the Who's instrument-smashing act stole the show from Herman's
    Pete explained why he and the drummer, Keith Moon, break their instruments: "It's
    mainly for audience reaction."

    "If our instruments get broken, we try to repair them," Pete said. "I have two Fender guitars—one to
    play, and one to play and break. I try to break the body one job and the neck the next job.

    "If I have a lot of quality parts left, I buy cheap guitars and put the parts on them," he continued.
    "For a while, I was buying Fender Stratocasters at one hundred dollars a shot in New York."

    Besides Keith and Pete, the other members of the group are Roger Daltrey, singer, and John
    Entwhistle, bass guitarist. John is also accomplished on the French horn, cornet, and tuba.

    When Pete was asked about the flower power and psychedelic scene, his first reply was: "No
    comment at all." But, after a little coaxing, he
    went into a lengthy discussion.
    "In England it's just another fashion," he said. "People are still basically the same. They're not
    interested in philosophy—just the clothes. Everything to do with that scene is temporary. But what
    they're saying very valid.

    "You know, it's a new Christianity," he said. "It's a new faith. Teenagers have to have faith. No
    human mind is capable of believing there is no outside influence. There must be something bigger
    than us. Even if a mind is transferred (reincarnation), it wouldn't remember. Humans go completely
    In a recent letter to Melody Maker, a British music trade paper, Pete discussed some of the hot acts
    in this country. "
    Jimi Hendrix (a British act) is fairly hot property here now—his new record is an
    amazing production feat—all kinds of speeded-up passages and some new, very un-guitar sounding
    " he said.
    "There's a lot of talent here at the moment, and they're coming into line, too," he said. "Some
    beautiful groups are cutting tracks—the Moby Grape, Paupers, and the Doors, etc."

    "Mother country, watch out."
    Area Disc Jockeys Pick Top Ten Records
    ‘Predicted Hits’. Good Guys WPGC—1580: Purple Haze Jim Hendrix & Experience

    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: 1967 September Newspaper & Magazine Articles (Text Only)

    Saturday 2 September 1967
    EXPRESSEN (page?) [B&W 4 panel ad, 1st & largest – 2 tone Jimi portrait]: ‘GREEN GROVE’
    THE JIMI HENDRIX EXPERIENCE on 4 Sept. At the Main Stage and Dance In. Pre-sale to Dance
    In until today!

    [rest is acts mentioned in ad below.]

    Saturday 2 September 1967
    UK (Nottingham)
    GUARDIAN JOURNAL (page?) ‘Here’s An Experience that hits you for six!’ by Richard Williams If
    you'll pardon the pun, watching and hearing
    Jimi Hendrix at the Sherwood Rooms last Tuesday
    [29-8-67, Nottingham. Ed.]
    was a supremely emotional experience. Yet the question is: How many
    of the 1,300 people there shared it? Naturally, there were scores of
    Hendrix fanatics in vociferous
    attendance. Like most hard-core enthusiasts, they are incapable of objective judgment and for them
    Jimi can do no wrong. But there were also those, and I saw many of them, who were apparently
    non-plussed by the startling, electrifying show put on by the American and his accomplices,
    Mitch Mitchell and bass player Noel Redding. This puzzled me somewhat until the idea
    struck home that perhaps there are people who really dug the records of "
    Hey Joe" and "Wind
    Cries Mary
    " but are not yet ready to see Hendrix live. To be sure, you have to put up with a lot to
    be able to appreciate him. There were long pauses for guitar tuning between numbers, a rambling
    spoken introduction to "
    Purple Haze," and several wide open spaces where nothing at all seemed
    to be happening.

    But what came out of the 50-minute show was a demonstration of 1967 pop music almost shattering
    in it’s occasional intensity, delivered with the offhand ease of Garfield Sobers
    [A famous West Indian
    cricketer. Ed.]
    straight-driving to the boundary. And that's where, I think, Jimi wants to take us: to
    the boundaries of ourselves, the very limits of our souls. In his mindless thunder he tries to help us
    find out something about the world around—the violence and the beauty, the love and the pain. But
    at the Sherwood Rooms this objective could not be reached. The place was too big, the crowd too
    puzzled, and the acoustics cruelly sabotaged the rolling tom-toms of
    Mitchell. After opening with a
    roaring short version of "
    Sgt. Pepper', the group charged into Howlin' Wolf's "Killing Floor", which
    amply demonstrated
    Jimi's roots in the Urban Blues he heard in his youth.
    Jig of joy
    He spun, twisted, and bent his rangy body in sympathy with every nuance of his screaming guitar,
    Redding did a little jig of joy and Mitchell threw himself all over his immense drum kit in a
    frenzy of jagged rhythm. "
    Fire," his rocking teenybopper song, preceded a rather perfunctory version
    of "
    Hey Joe," which helped to prove my pet theory that when people play their old hits faster than
    the recorded version they're just not interested in them any more. His

    solo, played with his teeth, also demonstrated that the original was played in the conventional manner,
    as he never approached the fluent swing of the record. "
    I Don't Live Today," although short,
    showed that he was getting down to the nitty-gritty, and then came the real stunner when he complied
    with requests to play his famous version of Dylan's "
    Like A Rolling Stone." As Mitch and Noel riffed
    quietly in the background,
    Jimi's guitar sputtered and smouldered until the phrases caught fire as he
    crashed out the song's chords. He sang the words quietly, and with respect to their composer, and on
    the last chorus he built up such a climax that the music seemed almost to continue under its own
    internal momentum. It lasted well over 15 minutes, and was quite simply a masterpiece, But the
    final freedom was realised in "
    Purple Haze," at the end of which he created a beautiful sound-
    picture by thumping his guitar against the huge wall of speakers behind him, before carelessly
    casting the instrument to the ground, giving the crowd a wave and a shrug, and shambling off,
    followed by his henchmen. In a way, the three of them are all musical assassins. They twist, tear, a
    nd murder noise and, in doing so, present a virtual insult to the senses which can't help but provoke
    a reaction.
    Mitch may well become the most important of them all, because he seems to be on the
    way to developing a new style of rock drumming, based less on the insistent splash of a cymbal than
    on a ceaseless torrent of sound from all the devices at his disposal. He is on his way to almost totally
    arithmetic playing, with no steady beat or pulse, but whether THAT innovation is ever accepted only
    time will tell—after all, you won't be able to dance to it!"

    [Day?] September 1967
    [UNKNOWN paper] (page?) [B&W text ad] ‘GREEN GROVE’
    THE JIMI HENDRIX EXPERIENCE on the Main stage eve. 20 and Dance In eve. 22 * Variety on
    the Old stage
    at 22.30 with Dors Sisters, Eva Vida. Rik Aruso * Dans Out: Lennart Wärmell * Jump
    IN: Don Martin Sect! Night Caps! Lennox! * Strip-show
    at Pigalle *The funicular, the tower, the
    Ghost lift, the Jet TV, the radio cars, the Astor's water show

    . . . * Tyrol subscribed!
    Great fun at ‘Green Grove’Open 19—24. Tel 67 01 85

    [Day?] September 1967
    [UNKNOWN paper] (page?) [B&W text ad for 3-9-67 Concert Hall, Amusement
    park, Liseberg, Göteborg]
    “POP GALA,
    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: 1967 September Newspaper & Magazine Articles (Text Only)

    Sunday 3 September 1967
    USA (MA)
    BOSTON SUNDAY ADVERTISER (page 10) ‘This Week’s Top Twenty Albums’
    01—"Pearls Before the Swine" 12—"Best" —Bob Dylan
    —One Nation Underground 13—"Best" —Sonny and Cher
    02—"The Doors" —The Doors 14—"Greatest Hits" —The Temptations
    03—"Flowers" —Rolling Stones 15—"Here Where There Is Love"
    04—''Surrealistic Pillow" —Jefferson Airplane —Dionne Warwick
    05—"Joan" —Joan Baez 16—"Home Again at the Palace" —Judy Garland
    06—"First” —The Bee Gees 17—"These Are My Songs" —Petula Clark
    07—"Aretha Franklin Arrives"—Aretha Franklin 18—"Rhapsodies for Young Lovers"
    08—"Album 1700" —Peter, Paul and Mary—Midnight Strings
    09—"Super Hits" —Various Artists 19—“Live Kinks" —The Kinks
    10—"Experience" —Jimmy Hendricks 20—"That's Lou" —Lou Rawls
    11—"LushLife” —Nancy Wilson
    (The above list of to-20 albums was compiled by Krey’s Music Store based on sales for the week.)

    Monday 4 September 1967
    AFTONBLADET [Arbetet?] (page?) [B&W photo of Jimi at Göteborg, ‘Jimi Hendrix on Swedish
    terrain. at Liseberg in Göteborg with 26,000 people in the audience. Tonight at Grönan (~ ‘Greeny’
    ie nickname for ‘Green Grove’) in Stockholm.]

    ‘Sexy Hendix Attracted Large Audience In Göteborg’ by Margareta Klingberg
    Even slightly sexier than his reputation, Jimi Hendrix was back on a stage again yesterday at
    Liseberg. 26,000 saw him at the Concert Hall, which had been sold out for a week. With fierce joy he,

    Noel Redding
    and Mitch Mitchell performed the show that American teen mums could not stand.
    They protested when it dawned on them how erotic his stage act was. He was supposed to tour with
    the Monkees in July and August. But after the women's organization Daughters Of The American
    Revolution submitted their vetoes, he left the tour. He played clubs around the country instead. About
    Jimi says:"Corny, the kids liked us - it was only the mums who complained. At the
    clubs in Greenwich Village we were embraced like gods!"
    This time the Swedish tour stretches
    as far as Sundsvall and Sandviken. That is, even outside the big cities where the 'hip fans' are found.
    "Even more personal success if we succeed there," Jimi said calmly. The Göteborg audience
    was, in any case, susceptible to his charisma yesterday. Yesterday he wore a flowery jacket
    embroidered with small mirror shards and sparkling amulets.
    "Gifts from fans in the USA."
    Most of the Jimi Hendrix' repertoire has become hip since he was last here. The audience applauds
    when he announces what he is going to play. But he is no less inspired despite having played the
    songs hundreds of times. He's left his first hit "
    Hey Joe" behind. But he played a superb introduction
    to "
    Purple Haze". Avoiding playing the strings, he produced haunting sounds by tapping the guitar
    neck and making fluttery hand motions along the edge of the guitar. For sure, he is the most magical
    stage figure in pop right now! Stockholm will hear him at ‘Green Grove’ tonight.

    (Page?) [B&W 2 tone portrait, ad.] ‘GREEN GROVE’
    Main stage Eve. 20
    Dance In Eve. 22

    Monday 4 September 1967
    DAGENS NYHETER (page?) ‘HAPPY SHOCK AT GRÖNAN*’ by Björn Lundholm
    Well, he sure is fantastic to watch, the new favourite in Swedish pop, Jimi Hendrix.
    In front of a record audience he played half a dozen songs from the large and cold outdoor stage at
    ‘Green Grove’ on Monday evening.
    Jimi Hendrix' great asset is the incredibly nonchalant ease with
    which he performs his music. At the moment British Pop - and pop music as a whole - began to
    Jimi arrived like a happy shock. Amidst all the psychedelic, experimental and chamber
    pop music, he brings guitar pop back to its roots: happy, sexy music for young people. According
    to "ear witnesses" his Monday show at Grönan* was not as enthusiastic as
    Jimi's spring visit here.
    But he is still a vital vitamin injection. He sings, plays with the guitar on his back, rubs his
    instrument against the speakers to get reverb into the sound image. He is his own sound laboratory,
    and picked strange and exotic sounds out of the guitar. A vital, curious and exciting man in today's
    pop music.

    *ie ‘Green Grove’s’ nickname ~ ‘Greeny’
    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: 1967 September Newspaper & Magazine Articles (Text Only)

    Monday 4 September 1967
    Jimi Hendrix is a specialist in making strange sounds. During his first Sunday performance at
    Liseberg he probably broke the world record in strangeness. The sound system was uncooperative
    from the start and he finished by agitatedly throwing his guitar to the floor and kicking over two
    amplifiers. You can imagine the feelings of those who had paid 17 Swedish crowns for a ticket - to
    them it didn't matter whose fault it was.

    Anyway, the Jimi Hendrix Experience were their usual selves aside from the noisy intrusions. The
    star himself, perfectly backed by
    Mitch Mitchell and Noel Redding, is a unique and wonderful
    guitar player. His music is inspiringly fresh, mischievous and suggestive blues in a very personal and
    modern style. He can actually make his instrument say "thank you". His repertoire was familiar to the
    large audience of fans: single and LP material. "
    Foxy Lady" (with undisguised sexual insinuations)
    opened the show, "
    Purple Haze" finished it with Jimi playing on his knees with the guitar between
    his legs.
    Jimi Hendrix does not always use subtle means to excite his audience.
    There was nothing wrong with the rest of the line-up. Objections [sic, ‘Outsiders’? Ed.] were fresh
    and good. Lucas, recently awarded radio winners, continues to convince with their very jazz-inspired
    repertoire. "12th Street Rag" and "Take Five" in the same pop show - who would have imagined
    hearing that a few years ago? A final word of praise to the masterful lighting technician - and the
    idea of short movies during the breaks is fine, provided something of greater interest than the Grand
    National is shown.

    Monday 4 September 1967
    GÖTEBORG’S-TIDNINGEN (page?) [B&W photos (left):"Incident" with the Monkees tour:Jimi
    in a moment of concentration, although he is not the quietest of artists. Mighty women's
    groups in the United States thought he should not perform in front of a teen audience. Reason: he is
    too sexy.’

    (right): ‘Hendrix' stage clothing was wonderful, in real flower-power style. Eastern patterns, several
    bracelets and an interesting special detail - a Mickey Mouse badge.’]

    ‘Guitar Circus With Technical Difficulties’ by Gösta Hansson
    The technical difficulties were severe yesterday when Jimi Hendrix and his Experience held court
    for the Göteborg fans at Liseberg's Concert Hall. Both the vocal and guitar amplifiers broke down,
    Jimi ended the first show by sending the errant amplifiers to the floor with a well-aimed kick.
    Prior to that
    Jimi explained that he thought it embarrassing to perform with such troublesome
    equipment. Two sold out shows and enthusiastic applause showed that
    Jimi Hendrix is a popular
    guitar player. In spite of the technical failures,
    Jimi got the opportunity to demonstrate his
    outstanding talent with the guitar. He nearly surpassed himself in producing strange sounds from it.
    Sometimes he seemed surprised by the results himself.

    It was more of a guitar circus than pure musical experience this time also. He played the strings with
    elbows and teeth more in passing this time - his main act is now lying on the floor during "
    ". The rest of the repertoire consisted of, amongst other numbers, "The Wind Cries Mary",
    Foxy Lady", "Rock Me Baby" and "Let Me Stand Next To Your Fire". Drummer Mitch Mitchell
    got the opportunity to demonstrate his great talents in pummelling the drums when
    Jimi's vocal
    amplifier broke down. Under such circumstances it's understandable that
    Jimi was not particularly
    inspired yesterday. But neither of the other two acts seemed to be on form either. Outsiders never
    got connected with the audience - which might have been just as well.

    Lucas, on the other hand, got audience response, and had the guts to play, like in the radio
    competition for pop bands, both "Twelfth Street Rag" and a jazz tune. Their own "Anti Social Life" is
    a very nice song, which the competent gang should release instead of the boring "Go Now".

    Just like at previous pop shows, Liseberg showed movies during the breaks. But the mov-ies shown
    yesterday were not very good selections - I was not alone in sighing and thinking that old horse-
    derby films are dead boring.

    Monday 4 September 1967


    NEW YORK TIMES (page 24L) ‘Hippy Festival Upstate Is Cool Amid the Bonfires’
    [3 day ‘pop’ music festival in a leased field in Woodstock - acts inc. Richie Havens - ring any bells?]
    Special to The New York Times
    WOODSTOCK, N.Y., Sept 3 —More than a thousand hippies congregated in a small meadow about
    three miles east of this Ulster County art colony this weekend for a “Sound-Out,” a
    festival of folk,
    rock, jazz and blues music.

    Carrying sleeping bags and blankets, pitching tents, chopping wood, making bonfires, swirling their
    beads and jingling their bells, they quickly converted the
    field leased for the occasion into a form
    of gypsy camp.

    Many or the hippies, most of whom came from New York City, earned the $2.50 price of admission
    each day by performing such tasks as
    building a stage, fixing the lighting and sound
    equipment, clearing the field and organizing traffic.

    “We're basically country people, tired of the city, calmer and more level-headed than those in the
    East Village,” said 21-year-old Stephen Bishop, one of the organizers of the “Sound-Out”

    Non-Hippy Credit
    “Jocko” Moffitt, 27, the owner of a “macrobiotic” (health food) restaurant in Woodstock, originated
    the idea for the
    three-day festival about a month and a half ago. Arranging the program almost
    entirely on credit, the tall, blond organizer discussed his plans with some of his friends, and the word
    spread quickly through
    the hippie community. There was practically no advertising.
    Many of the residents in Woodstock did not even know there was a festival this week-end. Bernard
    Witchmann, owner of Carey's Delicatessen on
    Tinker Street, said that there had been more
    this summer than ever before, but that there had been no trouble.
    Mary-Jo Mack arrived from Richmond Hill, Queens, with her brother and some friends Friday night
    and were quickly put to work constructing a stage. After the concert was over last night, she was
    asked to stay up all night and guard the stage in return for which she would get a
    free breakfast.
    She did, but then slept through breakfast.

    Beats Central Park
    “It’s been great, the sounds are fabulous.” she said. “You can't sleep out on the ground for the whole
    weekend in Central Park.”

    Jacob Solman, a 28-year-old manager for some entertainers, said the festival was “beautiful and
    moving?” He said he was impressed by the communality and eagerness of both the performers and

    “There was no hysteria, just very orderly people and the police were beautiful, too,” he said. He
    predicted that
    the “Sound-Out” would become the leading pop music festival in the East
    Among the best received at the opening last night were Ronnie McLean, a blues singer; Jim Welch,
    a drummer from
    Woodstock, and the Group Image, a rock band that imports its own audience of
    friends. Phil Ochs, Eric Anderson and
    Richard Havens were among those scheduled to perform

    [B&W photo, ‘A meadow was the grandstand for spectators at the "Sound-Out” in Woodstock,
    N. Y. where more than a thousand
    hippies gathered for a festival of folk, rock and blues music.’
    Cuter B. Horsley for The New York Tlmes]
    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: 1967 September Newspaper & Magazine Articles (Text Only)

    Tuesday 5 September 1967
    EXPRESSEN (page?) [B&W Göteborg photo, "Jimi Hendrix has the American teenage mothers down
    for the count. With fear! But is
    Jimi very sexy, really?"] by Christina Mörk
    'NOPE, HENDRIX! You are not sexy!’ - Sexy? Me? Really.
    Hendrix - known as the sexy one - was not particularly interested in talking about his alleged
    sexiness after the performance at ‘Green Grove's main stage yesterday. And very sexy he isn't
    either. Musically erotic. Possibly.

    It was Jimi Hendrix who made the American teen mums cry out this summer. The women's
    organization Daughters of the American Revolution did not want him in the USA. Because of his stage
    act. -
    Those who think we are dirty are the same people who prevent Joan Baez from
    performing her pacifist songs officially
    , says Jimi.
    Mick Jagger of the Rolling Stones is alleged to have said: "No one is sexier than Jimi Hendrix.
    Except myself, of course
    ." And after having seen both of them, one can only agree. That Mick
    is sexier. And Tommy Blom. And Paul Jones. And Ola Håkansson. The difference is that Mick
    and the others – very consciously - move around in a sexy manner on stage. Jimi Hendrix
    does not.

    For the second show - at ‘Green Grove's’ ‘Dance In’ - Jimi is dressed more lightly than on the main
    stage. I cannot help it, but however hard I try I cannot feel the famous sex appeal of the skinny,
    spiky-haired and lazily smiling
    Jimi. Despite the bare stomach and the jerky hip movements. It isn't
    even very exciting seeing him rubbing himself and the guitar against the amplifiers.

    Or seeing him kneeling over the guitar. Or seeing him flick his tongue.
    [In box next to article]:
    Blues In Jimi’s Heart’ [4-9-67] by Ulf Ridifelt
    Sure he plays sexy pop.
    Jimi Hendrix!
    Sensual sounds were pouring out at ‘Green Grove’s’ ‘Dance In’ yesterday.
    Jimi Hendrix Experience
    is a typical IN band. They play intense rhythm and blues, far
    removed from pop music. Maybe this is
    noble pop.

    Here popular bands are accused of playing commercial jazz. Pop is developing more and more
    towards jazz. This may mean a necessary renewal of jazz.

    The most interesting thing about Hendrix is his fantastic way of utilising electronics. He makes a
    lot of artificial sounds. But the genuine blues feeling is always there at the bottom.

    Tuesday 5 September 1967
    SVENSKA DAGBLADET (page?) [B&W photo, ‘Jimi Hendrix at ‘Green Grove’’]
    '16,000 Heard Jimi Hendrix by Ludvig Rasmusson
    Anything bigger than Jimi Hendrix arbitrary there can be right now in the pop world. And nothing is
    more remarkable.

    This man's music could be described as accompaniment to Stockhausen and Ligeti. Just two or three
    years then had more than a dozen people have put up with these huge sound masses that
    throws out from their guitars. Now it is 16,000 making it. Yet he gives a concert in Stockholm Next
    Monday and also at ‘Green Grove’.

    The Jimi Hendrix Experience music is something that could have been invented by a science
    fiction writer and the only thing that did not fit with the music was their clothes, with "floral shirts
    with collars and incredibly frizzy hair. It would be more natural if they had space suits with glass
    I was either the right-hand traffic diversion or Jimi Hendrix. Either way, on Monday evening
    Skeppsbron and Strandvägen and the entire city was at a standstill. A long and dense queue of
    teenagers led into ‘Green Grove’. The ferry to Djurgården was as crowded as it could be. Cars and
    busses were fighting for space. 16,000 gained entry on time. It's a new record in every conceivable
    category - pop, ‘Green Grove’,
    Jimi Hendrix or whatever.
    It seems there is nothing bigger than Jimi Hendrix in the pop world right now. And nothing is more
    remarkable. This man's music could be described as Stockhausen and Ligeti with accompaniment.
    Only two or three years ago not more than a dozen people would have endured the massive sounds
    Hendrix produces from his guitars. Now there are 16,000 who do. Yet he gives a concert in
    Stockholm - next Monday and also at ‘Green Grove’. Who said a few weeks ago that
    Jimi Hendrix
    was too complicated for the masses? This claim could not have been disproved more efficiently.

    Jimi Hendrix Experience play more or less the sort of pop music that a provident science-fiction
    writer could have guessed at a couple of years ago. It's space sounds and fully electrical sounds.
    The only thing that does not match is the clothing. One would rather have expected space suits and
    helmets. But
    Jimi Hendrix and his men wear flowery shirts, necklaces and very unruly hair. Jimi
    Hendrix Experience
    is a one-man-show. Much more so now than when they were last here in
    spring. The two other musicians -
    Noel Redding on bass and Mitch Mitchell on drums - are only
    support for
    Hendrix himself. They keep entirely to the background. Neither of them is a great
    musician. The drummer
    Mitchell has listened way too much to Gene Krupa to really gel with
    . And Noel Redding's playing is pretty basic. What wouldn't Jimi Hendrix be capable of
    with more exciting support? Now they keep him firmly on the ground. But he's aiming for something

    Wednesday 6 (9) September 1967
    RECORD RETAILER (page 13) Britain’s Top 40 Albums
    16-05-05. Are You Experienced - Jimi Hendrix Experience
    (Page 15) Britain’s Top 50 Singles
    02-32-18. The Burning Of The Midnight Lamp - Jimi Hendrix Experience
    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: 1967 September Newspaper & Magazine Articles (Text Only)

    Wednesday 6 (7) September 1967
    USA (NYC, NY)
    VILLAGE VOICE (cover) [B&W photo of crowd at Village. ‘It Looks Like The Left Bank But It’s The
    Corner Of McDougal & Bleeker’]

    ‘That New Black Magic: Keep It Violent!’ by Leticia Kent

    Outside the Village Theatre on Second Avenue, propagandists pressed peace petitions on passers by.
    Inside, at a peace rally sponsored by the Fifth Avenue Parade Comittee, H. Rap Brown, head of the
    Student Non-Violent Coordinating Committee, was the main warlock. His magic was black violence.

    Other mediums with other messages were mistrusted.
    Nathan Schwerner, father of murdered civil rights worker Mickey Schwerner, was booed. So were
    Amy Swerdlow, speaking for the Women Strike for Peace, and Father Thomas Lee Hayes, from the
    Episcopal Peace Fellowship. They were scorned, one supposed, for being civil rightists.

    "The civil rights movement is dead," said Ron Clark, community organizer for the Congress of Racial
    Equality. "Black nationalism is where it's at." The audience — mostly white - applauded wildly.

    After a number of black leaders had revved up the audience. H. Rap Brown adjusted his shades and
    did his shock theatre thing. He was accompanied by a silent chorus of black body-guards.

    Brown said he believed blacks were surplus population in white America. He predicted that they
    would be put in concentration camps: "If you don't believe concentration camps, ask the Japanese-

    Non-violence, he declared, was conditioning blacks for slaughter: "This country can play Nazi if they
    choose to, but the black folks ain't gonna play Jews."
    [absolutely mental, how the fuck did anyone
    listen to this lunatic, “blacks”
    at this point had achieved a huge acceleration towards legitimate
    political power and access to university education, business, whatever, to the point of almost
    Whites, said Brown, do not even believe in non-violence: "When the shit hit the fan in the
    Mid-east, you dug in your pockets and supported Israel
    [Duh!]. You support some wars, so I'll support
    some wars."
    [fukin retard]
    Brown blamed the white controlled news media for both the death of Malcolm X [total psycho bullshit.
    and the political demise of Adam Clayton Powell. It was the white media, he insisted, that
    eroded black belief in black leadership: ''Blacks have more faith in Huntley-Brinkley than in Black

    Blacks are also "chumps," Brown said, for listening to liberal ideas such as birth control: "Birth
    control is a way of ending the race—a form of genocide."
    [tell that to women that are not totally
    subjugated by men]
    Nelson Rockefeller was rated no better than LBJ, but, said Brown, blacks are
    unconcerned about the '68 elections—they are concerned about being free: "Freedom is not a
    welfare commodity. It cannot be given. It must be seized
    [militarily ridiculous - anyway American
    ‘blacks’ had been
    free for 100 years at this point! Ed]"
    Characterizing the war in Vietnam as a "war of genocide against non-whites," [a ludicrous concept.
    Brown found some good in it as a training ground for black troops: "Ending the war in Vietnam
    means bringing the black troops home where the real war is
    [if there were to an actual war like that
    you and your pathetic little bunch of
    racists would be wiped out in a day. Ed.]"
    Brown expressed empathy for the hippies who have copped out of (the Great Society, but he
    deplored their non-violence: "Understand, you have to be able to fight back and you can't fight

    with flowers."
    Then, leaving no doubt that he advocated violence — except in the black ghetto—Brown pointed to
    Plainfield, New Jersey: "It was successful because we killed a cop
    [what a great man, celebrating
    the death of one man, one sworn to ‘serve and protect citizens’, a man who had, single-handedly,
    prevented further violence between a ‘white’ motorcycle gang and ‘blacks’ and was then cowardly
    attacked by the large ‘black’ mob, after the gang left, beaten and shot to death. Ed.]
    . You know
    how America loves her white cops
    [plenty of ‘black’/’brown’ cops too - what a disgusting, racist
    scumbag. Ed]
    . . ."
    To bewildered whites, Brown advised: "You can help us get some guns or you can do like John
    Brown and pick up a gun yourself and go out and help us shoot our enemy because you know where
    he is.”

    “AMERICA", prophesised Brown, "IS ABOUT TO BE BURNT DOWN." White activists filed out of the
    theatre. Some went home, supposedly, to get guns. Others stopped for coffee at Ratner's.
    [the only
    places burnt down were poor ‘black’ areas, causing many deaths, and many of these areas only
    recovered, if ever, 40 years or more later - so (tiny minority, extremist, egotistic, communist
    fantasists) ‘revolutionary’ black activists - who basically despised the very people they claimed to
    represent - basically fucked up a huge amount of ‘black’ people for over a generation and causing a
    huge amount of ill will and mistrust against American (ie USA) ‘black’ people by all other

    (Page 4) [Letters] ‘Confused’
    Dear Sir:
    I’m confused. Yesterday on local television Reverend Carl Allen, discussing "Black Power in Houston's
    Poverty Frontier," blasted the local press? for its coverage of the TSU riots, complaining that one
    had to turn to the New York Times to get any idea of what went on. Today I read Leah Fritz (Voice.
    August 24), who complains that the Times didn't find room on its front page or editorial pages for
    the TSU affair.

    —Jerome Shipman Houston, Texas
    Which Tree?
    Dear Sir:
    Here's a piece of honky logic, for your whiskers. To a mainly white audience in the East Village,
    Snick-man H. Rap Brown yelled his thing: "Understand this, brothers, this country can play Nazi if
    they choose to, but the black folks ain't gonna play Jews." And the Snick a little while back yelled
    their thing: "Israel did the Arabs, like Hitler did the Jews." (That's a paraphrase, and on the button.)
    So which tree you gonna hang the Jewish man on?

    —Sidney Bernard New York Editor Literary Times
    (Page 3) ‘scenes’
    IT WAS TO BE the great bail bust of the year: a starry cast under a starry sky

    playing to a thousand people on a field outside Woodstock
    to raise funds to bank against
    harassment by narcos.

    Thus, when several members of the Group Image and the Diggers were busted for one joint of
    grass on their way through Orange County en route to the benefit, they could at least rest assured
    that bail would be posted. They were taken to the Orange County Jail in Goshen, New York, where
    they were booked. Then they tried to get word to their friends in
    Woodstock. They called, and
    called again, and called again. The messages, it turned out, were lost and scrambled.

    Finally, several friends drove up from New York, cash in hand, to bail them out. But it turned
    out that they needed $4500 collateral. The friends proceeded to Woodstock to pick up the bread.
    When they arrived in Woodstock, they ran into a brick wall. They appealed for bail, from the
    benefit's take to no avail. All the bread, the people said, was tied up.

    So the people from the Group Image and the Diggers sat in the Goshen jail for two nights and a
    day, waiting for the bail from 60 miles away. Finally, it was no longer necessary. At the preliminary
    hearing on Monday, blessed Charlie from
    the Group Image pleaded guilty so his six friends could
    go free. He was sentenced to 30 days.

    But the music at Woodstock was out of sight.
    ALTHOUGH LONG HAIR doesn't have the shock value it did a year ago, somebody from some local
    school board will soon try to ban some 16-year-old from his high school classes, and even though
    all those poems about banana highs and newly balled chicks in the off-campus high school press
    aren't as fresh as the kids who write them, some-body is going to try to censor them.

    And then, the growing legions of high school activists will get out their mimeograph machines and
    go to work, trying to implement the freedoms of the press and speech they don't feel connected to
    in any other way.

    The protest movement that flurried briefly in high schools from Los Angles to Philadelphia to New
    York in 1965 and 1966 has more to do with "Why Mr. Jones Can't Teach" than the old institutional
    cliche about Johnny, but only the kids seem to be digging that.

    The depressing part is that condescending look an administrator can wear when he reads a
    mimeographed demand. The serious part is when the students who printed the manifesto get
    threatened by suspension.

    To help clear up the confusion, the American Civil Liberties Union is preparing a 'pamphlet,
    "Academic Freedom in the Secondary Schools.”

    It will be interesting to see if teachers get as turned on by its contents as they are by salary
    demands. If school stay-ins get cynical at 14 or 15, we may need a federal War on Alienation in
    another 10 years.

    (Page 10) IF YOU ARE a young artist, confronted with the usual rent problems young artists face,
    Judson Memorial Church could be your landlord.

    A lot of rooms, from $ to $5 per month, will be available beginning September 15 in a converted
    brown stone on Thompson Street just off Washington Square Park.
    To qualify you have to be studying
    one of the visual or performing arts. The idea is to provide an
    aesthetic environment as well as a place to sack out— at early East Village prices.

    Write to Mrs. Beverly Walte, c/o Judson Residence, 237 Thompson Street, or call AL 4-4318. Or
    you can run down and sit on the curb and try to look as creative as possible.

    ONE OF YESTERDAY'S heroes is back on the scene again. Galahad, who abandoned his super-
    publicized hippy hostel a couple of months ago and tripped westward, is now back. He was looking
    over MacDougal Street last weekend, still wearing his famous confederate officer's outfit, to the
    obvious ecstasy of 46 teenyboppers in front of a pizza stand.

    THEY SAY that Fillmore and Avalon ballrooms in San Francisco make more money from posters than
    from door receipts, which may have something to do with why the
    Night Owl Cafe, long a seedbed
    of New York rock talent has closed. Many groups got their start there. It was the Lovin' Spoonful's
    home before fame. All chairs and tables have been removed and MacDougal Street rumor says it
    will reopen as yet another poster store.

    (Pages 18 & 32) ‘Night Sounds’
    A bad discotheque solicits revelation; a bad one passively
    involves. This is the difference between
    two new Village nightspots—the Electric Circus and
    Neither club is the ultimate legal entertainment (they don't hold a candle to the Bronx on that score),
    but the Electric Circus qualifies as a welcome addition to the psychedelic landscape. It's no mere
    imitation of uptown mass-media-mix, where the ceiling flashes with marquee lights, the walls
    explode with screaming strobes, and the whole scene attacks and sets you trembling like an A-head
    on a vibrating belt.

    The new discotheque will offer tactile textures. It won't coerce you into participating, but every
    surface will offer intriguing possibilities for rapport in post-media mix, an audience will forget the
    elements involved, and em-brace the whole. Occasionally, this almost happens at the Electric Circus.
    It lets you play, the pace is soft, supple, and sane. The walls are grassy or furry; they shimmy or
    they glisten. The dance floor itself is covered by a cellular dome, and if you're bored with the
    projected light show you can pound your first into the wall. It stretches.

    The Electric Circus is slick, but not bland. It is too expensive, but for the bread, it provides the
    stimulating music most dance-halls neglect. So far
    the Paupers, the Chambers Brothers, and
    the Clear Light have appeared, and none of these acts is routine.

    It is histrionic with costumed players tripping choreographically down the corridors. Usually this
    theatricality gives the club a forced, phony quality. But the skits work when they are cryptic, like the
    images on the walls. Psychedelic theatre is an uncharted region, but the first successful acid-plays
    will probably weave a contrapuntal spell around music, like the Hindu dancer I saw at the Electric
    Circus interpreting "Within You and Without You" with her fingers and hips. Now, if she'd only tackle
    "Jingle Bells"....

    It is worth ignoring the jugglers and acrobats, because the Electric Circus is something you can
    watch and hear. It blows the mind, but not the middle ear.

    The same doesn't hold for Salvation, this year's tenant at One Sheridan Square. Named for the
    alleged relief it offers from the uptown megatheques, that club has the shrillest amplifying system
    this side of Yankee Stadium. Sounds don't happen, they erupt. This does a lot to make bad music
    seem significant, but it isn't much fun when your ears still ring the next morning. Not really.

    Salvation is pure masochism; an inferno a-go-go. The back room overlooks, through a one-way
    mirror, a pit filled with dancers. In this violet cauldron, people grind limbs and lashes to incredible
    decibels of sound, like jumping beans on a high flame. It looks hectic, but feels like one of Dante's
    rings, bristling with electric fire and agony.

    I've always felt that anyone seriously interested in obliterating his environment should consider junk
    and save his energy.
    Salvation is an anachronism from the age of inundation. Groove elsewhere!
    Present on opening night for a belated 1.30 a.m. set was Jimi Hendrix. The combination of amplifier
    Experience was enough to drive me up the glowing walls.Hendrix's musicianship is a lot more
    accessible than it was at
    Monterey, and sometimes, he succeeds in creating valid sound. But I find
    his side-men better musicians, with
    Hendrix himself largely unoriginal, unecstatic, and vulgar. He
    plays guitar as though he were riding a horse.

    (Page 21) Dancing every Wed. 8.00 p.m. GROUP IMAGE [B&W ad, negative photo of a ‘hippie’ with
    6 ‘joints’ in his mouth, singlet says, “The Group Image Sucks.” (©The Group Image Enterprises Inc.)

    PALM GARDENS 310 W. 5nd street
    The Fallen Angels - The Second Circus with mimes by Michael
    [featuring the greatest light show in the East] by The Union Light Co. and Truth and Beauty Inc.
    Special Guest - Hugh Romney [aka ‘Wavy Gravy’ Ed.]
    The Group Mirage with Bernard Hamtman and his Invisible Hippies
    (Page 31) [small B&W picture ad] BOB DYLAN [large 2-tone print of Dylan with cig in mouth]
    DON’T LOOK BACK A Film by D A Pennebaker.

    The 34th St. East
    Premiere Now
    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: 1967 September Newspaper & Magazine Articles (Text Only)

    Thursday 7 September 1967
    ARBETARBLADET (page?) [B&W pub. photo, ‘Mitch Mitchell, Jimi Hendrix and Noel Redding -
    collectively known as
    The Jimi Hendrix Experience’]
    The pop fans of Gastrikland [county] will have themselves a small feast on Friday night when Jimi
    and his band play two shows at Högbo Bruk. Jimi Hendrix Experience, as the group is

    -the two others are drummer Mitch Mitchell and bass player Noel Redding
    -play two shows in Högbo, but the question remains whether the house-mothers of Högbo and
    Sandviken will join the cause of their peers in the USA. There, a house-mother's organization
    Jimi much too wild to be allowed further touring in the region!
    When Jimi earlier this week once again made his Swedish tour debut, he was also
    here earlier this year as you know, he upset the audience again. Not only with his flamboyant stage
    presence, but also by performing half-naked and indulging in sexual innuendos on stage at ‘Green
    Grove’. Question is whether he will do this in Högbo also; the autumn night may get too cold even
    for a pop musician.

    For a musician he is, this long-haired, swarthy 22-year-old from Washington. He doesn't play like
    most guitarists do; he teases sounds out of the instrument with his hands, teeth and feet and really
    provides value for money for those interested in seeing extreme and experimental pop music on

    Mitch Mitchell and Noel Redding have been with Jimi a long time and are known as excellent
    backing musicians. Futhermore, the trio has been pronounced strong candidates to the title of
    "greatest personalities in pop" by an English newspaper.

    Thursday 7 September 1967
    Sunday 10/9 eve. 19.00 and 22.00
    Hansson & Karlsson
    Jimi Hendrix has been a huge hit on his tour of Sweden!
    No less than 16,000 heard Jimi in Stockholm
    Lund can hold 3,000
    Busses from Malmo, Kristianstad, Ystad, Trelleborg, Landskrona and Eslov
    Arr: Student Evening Committee & cub Bongo-New Orleans
    Sunday 17/9 eve. 15.00
    KING of SOUL JAMES BROWN [in ‘groovy’ text w. large 2-tone B&W photo of JB head, side on]
    The Famous Flames
    J.B. Dancers
    Full Star band
    “The Year’s Biggest Pop Event” Christer Borg, KvP
    Busses from Lund, Kristianstad, Ystad, Trelleborg, Eslov, Landskrona, Halsingborg.
    Arr: Club Bongo-New Orleans & Karussell Concert Agency

    Thursday 7 (9) September 1967
    DISC & MUSIC ECHO (page 2) [B&W photo, ‘● MITCH: engaged’]

    . . .Seen digging new “In” group Fairport Convention at London’s Speakeasy Club: Alan Price,
    Mitch Mitchell
    , Jeff Beck, Keith West and Jimi Hendrix, who was moved to sit in with the group
    on a couple of numbers. . .

    . . . Congratulations to Jimi Hendrix drummer Mitch Mitchell on his engagement to former Hanwell
    Carnival Queen, 17-year-old Carolyn Kinsey. . .

    (Page 3) Disc Top 30
    21 (23) BURNING OF THE MIDNIGHT LAMP …………Jimi Hendrix Experience, Track
    Top Ten LPs
    6 (4) Are You Experienced? Jimi Hendrix, Track
    ‘Beach Boys: psychedelic barber’s-shop quartet!’: ENGELBERT is a nice-looking cat with a
    nice voice that's good to listen to. I'd rather hear Hank Snow or Hank Williams singing
    these sort of songs. I like Engelbert's ballads but would prefer more original stuff.

    I've just heard Tom Jones' one for the first time since I got back from the States. He has
    an excellent voice, too. Song itself doesn't knock me out—but it's the way he puts it over
    that makes the whole thing.

    Alan Price? Yeh! The chart needs a song like this to get things going. People are too
    serious and this is a nice contrast. Music on it is outasight!

    Stevie Wonder's hit is one of the best records ever to come out of Motown. He's singing
    so much better, too. The voice and bass are the two best things on this disc.

    Tremeloes aren't particularly my bag. But they sound very good. The harmony's the thing.
    I suppose it must be groovy for a lot of people, though.

    I've only heard the Stones' "We Love You"—not "Dandelion" yet. Production-wise "We
    Love You
    " is very complex— more so than their other hits, I feel. This record only really
    moves me towards the end. I wouldn't say it was
    Beatles-influenced at all.
    Don't particularly like the Beach Boys. Makes me think of a psychedelic barber's shop

    Wow! Vanilla Fudge knocks me out. I've bought this record at least three times.People
    keep stealing it from me—that's why. Wait till you hear their LP, too.

    Next Week Dubliner Ronnie Drew
    (Page 5)Hendrix: third Saville spot’
    Jimi HENDRIXmakes his third appearance at London's Saville Theatre for another Sunday concert
    on October 8.
    Crazy World of Arthur Brown, John's Children and Cryin' Shames complete the bill.
    This Sunday, when Eric Burdon and the Animals top at the Saville, Dave Cash takes over as
    John Mayall’s Bluesbreakers appear on September 17 and Traffic make their first
    British appearance when they top the September 24 Saville bill.

    Nems Enterprises point out that although the second half of last week's Hendrix show was cancelled
    as a mark of respect to
    Brian Epstein, who had died earlier in the day, the "Sundays At The Saville"
    season itself is continuing as normal.

    TRACK have issued a single by Jimi Hendrix and Curtis Knight less than a month after forcing
    Decca to withdraw release of the same disc.

    Titled “How Would You Feel”, the track was recorded by Jimi long before he met the Experience,
    and has been issued by
    Track for “historical interest.”
    Both sides will probably also be included on a forthcoming EP entitled “Jimi Hendrix Old And
    SAMANTHA Juste, who has been ill since returning from her trip to the States, makes a return
    appearance on next week's "Top Of The Pops." Tonight's (Thursday show features
    Move, Flowerpot
    Men, Cliff Richard, Small Faces, Engelbert Humperdinck, Tom Jones, Spectrum and
    Jimi Hendrix.
    (Page 10) [B&W text ad] ONLY 10/- DOWN for 5 L.P.s
    (Balance 10/- weekly). After 10/- down, the 5 LPs, fresh from the makers, are posted to you,
    anywhere in Great Britain. Just send 10/- with a list of Nos. and titles. State your age. Under 17 not
    accepted. Print your full names and home address.County Court debtors not supplied.

    THE G. A. LONG PLAY CENTRE (Dept. D69), 42-44, GT. CAMBRIDGE RD., LONDON, N.17
    (Page 13) POP POST
    HOW people can listen to Jimi Hendrix beats me. His music is all the same thing right through and
    his hair is simply terrible. I wouldn’t even go as far as our back garden to watch him, and that’s only
    two yards away. — DENNIS JONES, 25 Cleveland Road, Stonebroom, Derbyshire.

    (Page 14)Jonathan King Column
    ‘The night King got busted!’
    IT'S BEEN a busy yet sad week. In the midst of it all; a wild, hectic night of trivial excitement. I got

    Well, that's not quite accurate. Let me go into it with greater detail. The scene—a dimmed “in-club"
    [the Speakeasy? Ed.]
    sounds ricochetting off walls, chatter in voices slightly raised of necessity.
    Myself; Everett K (whose vast display of plum shows on Radio 1 has just been revealed); Leaping
    Terry Doran, who has the envious job of looking after the Bee Gee's publishing company; Tony King,
    promotion wizard;
    Cynthia Lennon, a beautiful and intelligent lady; Tony Barrow, wily, shrewd
    Nems press officer. Drifting occasionally into field of conversation—
    Jimi Hendrix, Viv Prince.
    David Garrick's fiancee and others of a similar ilk.

    Suddenly — behold. A thunderous opening of doors, flashing lights, marked deterioration in sounds
    (from all to none). Hundreds upon hundreds of policemen pour in; a sea of stiff, tangled blue
    uniforms and bodies.

    You don't often see that at an "in-club". Sleazy strip joints; junkie bars; effeminate establishments
    —yes, but not, oh dear no, not an "in-club"!!

    Anyway, after swallowing my vast quantities of hash and amphetamine; disposing of my handy
    hyperdermic in concealed portions of my person; stuffing my huge supplies of L.S.D. into my right
    sock, I became aware that this was not a drugs raid, merely a spot membership check.

    With half the police force and at least a dozen plain clothes detectives?
    King fixes officer with gimlet eye: "You've spelt my name wrong. Have you never heard of Jonathan

    Young policemen collapses in pink nerves and apologises profusely. As it happened, good manners
    and no rudeness was exhibited at all. They were polite; we sent them up slightly.
    Hendrix was
    cornered and stared at for ten minutes—an operation which he regarded with the greatest
    amusement and good humour.

    And then they left, followed by the loudest possible volume of the Stones' latest single. Oh, it was
    all marvellous fun.
    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: 1967 September Newspaper & Magazine Articles (Text Only)

    Thursday 7 September 1967
    USA (Washington, DC)
    EXAMINER (page?) [title?] by Thomas Shales: Outside the old Ambassador Theatre, on this cool
    August Sunday night, two guys with frizzy brown beards are tossing an imaginary ballo[o]n back
    and forth and trying to keep it from bouncing [on] the sidewalk. The crowd of people around them
    barely takes notice - not even when a chunky blonde in a mini-shift with a lot of gaudy flowers on it
    intercepts the balloon in flight and gives it a stalwart bash.

    'Anyway, the doors have opened now - some ten minutes after they were supposed to - and the
    gang is slowly seeping into what once [was] the Ambassador lobby....

    'Tonight the psychedelic posters have promised to be the night of the "Jimi Hendrix Experience,"
    and...the crowd makes its way for the show - a loud, violent, phantasmagorical light and sound
    extravaganza that even has the cold cement floors of the Ambassador making with good vibrations....

    'What, exactly, is it? Not really a freakout and not really a mind-warp, the new attraction at the
    Ambassador is a 'light show'... There's nothing quite like it around here, not even in New York City.

    Jimi Hendrix is saved for later, so right now a group called the Natty Bumpo (local talent) is
    performing at an incredible decibel level....

    Along the balcony railing, no less than 28 projectors are purveying the visual happenings -
    including both slides and movies, of course, and 6 "overhead" projectors - much like the
    opaque projectors used in class-rooms - which can throw all kinds of translucent material
    onto the walls, ceiling and floor....

    No alcoholic drinks are served - only things like Coca Cola, dispensed in a long, Versailles-like hallway,
    that is now The Snack Bar, a place where customers can go 'to get away from it all,' as Finestra says....

    And upstairs, Mike Schreibman is checking the men's room to make sure there is no marijuana
    business transpiring there - one of his nightly duties.

    "Though business is good, the owners of the show -who lease the Ambassador Theatre monthly -
    have seen much of their investment go toward endless legal fees. Some of the people living in the
    neighborhood, it seems, don't want the show[s] to continue, and many of them fought against
    having it even open in the first place....

    The crowds, meanwhile, reach unexpected highs at the Ambassador, and nobody there looks very
    worried about the future.

    Inside, Jimi Hendrix is wailing, accompanied by a few intrusive snorts from the huge fortress of
    electronic equipment on the stage, while a jittery animated daisy is projected onto his group from
    above. The giant images on the walls now include a huge blob of gyrating ectoplasm that gurgles and
    squirms on the beat of the music.

    Tonight's show will continue until one o'clock Monday morning, but some of the spectators are
    already leaving. Their parents said they had to be home by eleven".

    Thursday 7 September 1967
    USA (IN)
    INDIANAPOLIS NEWS (page?) ‘Unknowns Music Best Hendrix Says’
    HOLLYWOOD. Calif. — A hotel pool sparkled behind Jimi Hendrix, who was far from sparkling,
    having had less than three hours of sleep before his 11 a.m. interview, which came uncomfortably
    close chronologically to the windup of a party at Papa John Phillips' house.

    He muttered answers to questions, punctuating most of his statements with "That isn't necessarily

    Was American pop music going downhill? "That isn't necessarily true . . . " Was he disappointed by
    his lukewarm reception at a Hollywood Bowl concert last night? -
    That isn't necessarily true ..."
    And so on.

    The night before, the Jimi Hendrix Experience had led off a pop bill with the Mamas and the Papas.
    Those who clapped and cheered were avid. Those who didn't were equally avid.

    Four hundreds watts worth of Hendrix' guitar had fractured some Mamas and Papas-tuned eardrums.
    The singer's suggestive routines and guttural vocals had been too much for a host of monitoring

    Hendrix immigrated to the states from England in mid-June to appear at the Monterey pop
    and join the Monkees' national tour. He was kicked off the quartet's bill after seven
    concerts, when parental objections mounted past the allowable threshold.

    It was inevitable, because the Monkees' power is rooted in the interest of 13-year-olds and the
    violence of
    Jimi Hendrix, all sound and fury signifying vitality, is not their metier.
    "Since that ended," Hendrix said, "we have been playing everywhere — New York, the
    South [Monkees] and the West coast, but our appearances have been too scattered and too
    quick. I'd like to come back and play a more organized tour."

    Hendrix was born in Seattle, 21 years ago. As a teenager he meandered across the United States,
    playing guitar with uncountable combos and artists, including blues singer
    Muddy Waters [NOT! Ed.].
    He wound up in Greenwich Village, where he was discovered by
    Animal Chas Chandler, who took
    him to England nine months ago and helped recruit his henchmen, bass player
    Noel Redding and
    Mitch Mitchell, both 21. His first album, "Are You Experienced?" on Warner Bros., has
    hit the Top 10 in Los Angeles, propelled by his two one-nighters here, and most of the tracks are
    getting airplay on local stations.

    Hendrix said that he thought that the West Coast sound, particularly the San Francisco
    breed, is overrated and that more is happening musically on the East Coast and in England.
    he said "a lot of groups there are just lights. If you took their lighting away, nothing
    would be left.

    "I have been buying albums ever since I came here," he added, "and most of them are not
    worth listening to. I was disappointed."

    Mitch Mitchell chorused the complaint, singling out Country Joe and the Fish as an unworthy touted
    . Hendrix said that the best music was coming from unknown groups.
    The only commercial rock combo he praised was the Moby Grape, but he said he had yet to see it.
    He was critical of
    the Rolling Stones latest single. "We Love You," which he labeled a cheap play
    on their publicity.
    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: 1967 September Newspaper & Magazine Articles (Text Only)

    Thursday 7 (9) September 1967
    MELODY MAKER (page 2) Melody Maker Pop 30
    [02] 21 (23) BURNING OF THE MIDNIGHT LAMPJimi Hendrix, Track
    Top Ten LPs
    [12] 06 (04) ARE YOU EXPERIENCED? - Jimi Hendrix, Track
    (Page 4)The RAVER’S Weekly Tonic by Bob Dawbarn
    . . .Jimi Hendrix Experience drummer Mitch Mitchell met Buddy Rich and Elvin Jones during
    recent States trip. . .

    . . .Mitch Mitchellsays new Buddy Rich album is fantastic . . .
    . . . Brian Jones, Jeff Beck, Pete Hodges, Unit Four plus Two, the Nice and Jimi Hendrix dug
    Dantalion’s Chariot at Speakeasy . . .

    (Page 6) ‘NOW FOR FUDGE’
    . . . - an incredibly loud and powerful record with tints of Creamand Hendrix. What more could
    you ask. . .

    (Page 7) [B&W photo of Mitch with ‘freaked out’ hair]
    Mitch Mitchell Talks About His Impressions Of America
    AMERICA is a constant source of bewilderment to the British. The vastness and the contrasts have
    all been discussed at length ever since Captain Cook crashed the Mayflower into Brooklyn Bridge—
    or was it Drake who landed in a rude bark canoe on the Potomac?

    Since the early days of discovery, Britons have been returning with strange tales of the even
    stranger mixture of extroverts, rogues, innocents, and mixed-up giants who make up the population
    of the North American continent.

    Most Britons are still separated from over there by the cunningly placed Atlantic Ocean. Once, only
    royalty, politicians, soldiers and film celebrities could flit Stateside at will.

    Now English pop stars, mostly ordinary working lads who nave fallen upon riches and opportunity,
    are able to whisk across by jet propelled aeroplane.

    Latest to return from such a trip is fuzzy haired John "Mitch" Mitchell, drummer with the Jimi
    Hendrix Experience
    and he is as bewildered as any explorer armed only with racoon cap and
    powder horn.

    During the group's first visit they were barred from a tour with the Monkees by the Daughters Of
    The American Revolution; they caused a sensation among US hippies; they were jeered at for
    wearing long hair by the older generation—and greeted with love by the younger, —

    Mitch, back in London after two and a half months is still slightly shakey, and getting used to the
    novelty of being able to walk about in the clothes of his choice without being threatened with
    violence on the public thoroughfare.

    "America is fabulous, but I still couldn't live anywhere else but England. In London, if they see you
    with long hair on the street, people just laugh and say: 'Oh, he must be in a group then forget it.
    In America they'll shout: “Are you a boy or a girl?

    "England is full of eccentrics who are tolerated, and everybody is much happier. London is still the
    centre of the pop scene and everything is much faster over here. I've been away a couple of months
    and everything has changed. I never believed flower power would catch on so quickly.

    "The West Coast? Forget it. The standard of music with a few exceptions is no higher, and the
    recording studios are no better than ours.
    The Beatles never re-corded in America did they?"
    "We were knocked out with the reaction to us in the States, because we went out unknown, but on
    every gig there were fans who knew our LP tracks. It's like a status symbol to own an English LP.

    "We went out on a three week promotion trip and it lasted two and half months, so we were
    bound to get brought down some of the time. A few things shattered my illusions.

    "I went to see Elvin Jones playing in a club, and he was my idol ever since I started playing. But the
    crowds in the jazz clubs were very blase. Nobody showed any interest at all. They've got the best in
    America, but they don't show much enthusiasm for their artists.

    "When I went to see Elvin, there were only two people in a really grotty and nasty bar. I told the
    barman I would like to say hello. He came over and said: “English pop group huh?” But when he
    saw we were genuine he came over and kissed me. I think we were the first people to take any
    interest in him for months.

    "Then he got up to play and he kept stopping the group and saying to the bass player: “Don't ever
    play like that with me.” Actually he didn't play very well for the first couple of numbers and he kept
    looking over at me. Then be played a ridiculous solo at the end."

    I could never work on the jazz scene. It's so self-destructive. Jazzmen have so much dedication, but
    they earn no money and their health goes. Then people look at them and say: ‘It serves you right’”

    Mitch described his contact with the hippies at Monterey, and other centres of hippery, "You couldn't
    put the place into words. There are a lot of acid-heads there, but with all their faults you can
    appreciate these people are honestly doing some good. Can you imagine, even the chief of police
    wears a flower in his ear and wants to go to Haight Ashbury to see what its all about The younger
    generation in America are really very nice.

    “But in New York you get the really ignorant and violent people, and they are mostly tourists from the
    Mid-West. Then there are the junkies who come up and paw at your girl when you’re walking along
    the street. I was staggered. We're only friendly little gnomes after all!

    "We saw cops using night sticks clubbing Negroes to the ground and Noel' (bassistNoel Redding)
    saw five, kicking a Negro on the pavement. We were told not to go in Central Park after dark or go on
    the subway after 9 p.m. or walk down 42nd Street because we might get shot. I never met so many
    people who wanted to get away from one place.”

    Mitch paid for his coffee, bid adieu and wandered out of the cafe. He was wearing a bright green
    jacket, white flared trousers and his hair sprayed in all directions.

    In New York this would doubtless have been the signal for concentrated bursts of machine gun fire,
    if not bomb throwing or a spot of witch burning.

    In Fleet Street, London. Mitch was instantly swallowed up into a crowd of City gents wearing curious
    bowler bats, policemen in huge stiff helmets, girls in brightly coloured mini-dresses, workmen in blue
    jeans with way out whitewash designs on the legs, and a whole mass of

    freaking-out eccentric English men.
    An American girl I new once forwarded the theory all the English were in-bred and thus insane.
    Not in-bred, "just well-bred," I gently chided, or would have done if I had thought of it at the time. . .
    [in ‘Western’ text, like an advert for the movie. Each photo as a ‘Wanted’ bandit poster]
    Guitar-slinging heroes with sideburns, wild and woolly clothes, blazing away on all six strings, are a
    phenomenon peculiar to the rootin, tootin British pop scene. They set trends, make or break groups,
    and draw almost fanatical fan worship.

    They march along, shoulder to shoulder down the main street of beat, profess admiration for each
    other’s style, while under the surface bubbles the belief among each one that HE is the fastest and
    the blusiest. Who are these young men of the groups who beat up towns the length and breadth of
    the country every night with a barrage of note-bending, feedback and fuzztone? Here is a break-
    down of the Magnificent Seven, their origins and styles. It is compiled by Chris Welch.

    ERIC is King of Britain's blues guitarists and is raved about even in America, home of the blues.
    At one time young English fans called him “God " and when he was playing with John Mayall's
    was followed from gig to gig. He even set trends for fashions. widely popularising
    military uniforms, sideboards and moustaches.

    Today the first heat of fan fanaticism has mercifully cooled off and Eric is accepted as just being
    great. He was born at Ripley, Surrey, on October 8, 1944, was first inspired by
    Chuck Berry and
    began playing when studying to be a stained glass designer at Kingston
    Art School.
    He formed a group with Tom McGuinness which failed. Tom joined Manfred Mann, while Eric joined
    Yardbirds, having met Keith Relf at art school The group became successful after replacing the
    Rolling Stones
    at the Crawdaddy Club, Richmond. Their first record was " I Wish You Would," in May

    Eric later split with them to roam about the world, joinJohn Mayall, then finally form the Cream
    in 1966 with
    Ginger Baker and Jack Bruce.
    IF anybody can claim to Clapton's crown, it is American Jimi Hendrix, who has settled in Britain,
    or rather stirred up Britain with the sensational
    Jimi has both the feedback violence of Townshend and the blues of Clapton, combined with a
    flair for showmanship that is earning him the hero worship that
    Eric had.
    He was born in Seattle. Washington in 1945. He left school early and joined the Army. Later he
    toured the Southern States of America in a vaudeville act. He was discovered by the
    Isley Brothers
    and joined their band. Since then he has played with B. B. King. Sam Cooke, Solomon Burke, Chuck
    Jackson and Jackie Wilson
    [Not! He played for Little Richard].
    In New York he joined Joey Dee and the Starlighters during the Twist era [not!]. In August
    1966 he went solo with a backing group in Greenwich Village.
    Ex-AnimalChas Chandlerpersuaded
    him to come to England in September where he formed a group with
    Mitch Mitchell and Noel
    Pete Townshend and the Who's influence on scores of British groups is imponderable. Townshend was
    the first to use feedback effectively, although nowadays it is difficult to recall the sensation early
    records like "My Generation" caused.

    The wild and riotous Townshend approach seemed to open the floodgates of musical violence and
    nothing has been the same since.

    And few young players, even today, can avoid the temptation of employing the famous Townshend
    arm-swinging movements now and again. Unlike the rest of the Magnificent Seven, Pete hasn’t flitted
    from group to group or indulged in much mass solo playing.

    Songwriting and the group sound are more important to him. He has been solidly with the Who
    since they were the High Numbers.

    Full title Peter Dennis Blandford Townshend, he was born in Chiswick in 1905. His father played in
    dance-bands and Pete's early musical tastes included Ray Charles, Sam Cooke and
    the Beatles. He
    also likes jazz and classical composers.
    [also studied at art school]
    Jeff is the enigma of the Seven. At one time his style was clearly cut. and he was hailed as one of
    the best blues guitarists.

    But then he went through periods of change in an attempt to create a style that owed nothing to
    and was more commercially acceptable on the pop front. At the moment he is fronting his
    own group with singer
    Rod Stewart, producing records like " Hi Ho Silver Lining," and " Tallyman."
    without really being blues or pop.

    But Jeff is still a fine guitarist and made a huge name for himself while playing exciting music
    with the
    Jeff was born in Wallington, Surrey in 1944. He was educated. like so many of the guitar-slingers
    art school, this time in Wimbledon. His favourite artists include B. B. King. Buddy Guy, Les Paul
    and one of his favourite British, groups is
    the Who. He has considerable speed and ideas on guitar
    and it remains to be seen how he will develop.

    Jimmy is the dark horse of the Seven. Not so well known among the fans because since he replaced
    Jeff Beck with the Yardbirds, the group have worked mostly in America and the group have not
    had an English hit for many months

    But Jimmy is highly rated by his fellow guitar slingers, and among those fans who appreciate his
    very freaky style.

    He also plays sitar and has a big interest in electronics. Jimmy, aged 22, first made a name for
    himself as a session musician, but when he was only 14 he was playing with Neil Christian and the

    His school friend was Jeff Beck, and originally joined the Yardbirds on bass guitar to replace Paul
    Samwell-Smith. When Jeff left he switched to lead again.

    When the Yardbirds come marching back from America fans will be able to watch one of the
    meanest of the Seven in action again.

    Although Stevie does not play guitar so much since he switched to electric organ, while he was with
    Spencer Davis, he was rated as one of the best blues guitarists in the country, as well as being one
    of the youngest.

    Heavily influenced by Eric Clapton and Clapton’s infuences like B B. King and Buddy Guy,
    Steve also developed his own sound and was noted for his trick of singing and playing in unison,

    [like Hendrix]
    which used to be electrically exciting.
    Steve was born in Birmingham in 1948 and went to Great Barr Comprehensive School. He made
    his first public appearance with his father's band when he was only nine years old, and later played
    in his brother Huff’s band, before joining Spencer.

    As well as becoming one of the Seven as a guitarist Steve also managed to sweep the board as
    singer, pianist and organist, while getting by on vibes, bass guitar and drums.

    He left Spencer’s group early this year to form Traffic.
    Peter Green is the newest, toughest and meanest of the guitar cowboys. He plays hard blues with
    no concessions. He built up his name among blues fans as
    Capton’s successor in the great blues
    breeding house.
    John Mayall's Bluesbreakers
    Peter was born in the East End of London in 1946 and lived there until he was nine and moved to
    Putney. When he was ten his brother gave him a Spanish guitar and he worked out a few chords.
    Later he switched to bass and when he was 15 earned pocket money playing with Bobby Denim and
    the Dominoes.

    He met John Mayall briefly but lost touch. After putting an advertisement in Melody Maker John
    called him up and said he had been looking for him. With breaks for working with Peter Bardens and
    the Shotgun Express, he was with Mayall until forming his own group the
    Fleetwood Mac, a
    success at the recent Windsor Jazz Festival.

    (Page 14) ‘Tomorrow are Doing It Today’
    . . .Tomorrow has in guitarist Steve Howe one of the brightest new stars - not a disciple of Clapton
    Hendrix or any of the blues-men - . . .
    (Page 16) New POP Records Nick Jones sorts out the new singles
    Curtis Knight and Jimi Hendrix: “How Would You Feel” (Track)
    Decca Records had planned to release this old Hendrix recording but good young Track scored
    instead and now release this storming, sliding cooker with our
    Jimi eating that guitar behind
    Knight’s powerful and distinctive vocal. The number written by Curtis Knight has a very
    esque construction and a topical message in its call for quality [sic, ‘equality’?] in American
    society. Really nice raving powerful sound with that kind of rawness
    Hendrix was putting down on
    his first his first British release “
    Hey Joe” / “Stone Free

    (cover. Not this issue) The Move will be making their first ever British concert tour in the first two
    weeks of November. Last year the Rank Organisation banned
    The Move from playing in their
    theatres because of the group’s loud and explosive, TV-smashing act.
    The Move will co-headline with
    The Jimi Hendrix Experience.
    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: 1967 September Newspaper & Magazine Articles (Text Only)

    Thursday 7 September 1967
    NYA WERMLANDS TIDNING [‘New Wermlands Journal’] (page?)
    [B&W text ad in tree shaped ‘groovy’ text, ‘HI YOU IN MARIEBERGS FOREST’]
    SUN. 9 Sept. Eve. 20.00 and 22.00
    Dance: Jorgen Reinholds

    Thursday 7 (9) September 1967
    RECORD MIRROR (page 3) [nice mid ‘67 B&W photo of Mitch, Mitch Mitchell Guaranteed Genuine’]
    MITCH IS REAL’ by David Griffiths
    . . . proclaimed the button on Mitch Mitchell's shirt. Asked about the origin of this reassuring
    Mitch confessed that Mitch Ryder of the Detroit Wheels gave it to him during a visit to New
    (guaranteed GENUINE) Mitch — the one who plays drums as part of the Jimi Hendrix
    — went over to USA with the Experience to play at the Monterey Pop Festival and
    a fantastic
    experience it turned out to be.
    only intended to be in America for three weeks but we ended up staying two and a half months,"
    Mitch. "We were offered a tour with The Monkees but we were only on it a couple of weeks —
    I'd say most of the fans in a Monkees audience are about nine years old, not our scene. But we had
    some great times, including a concert at the Hollywood Bowl with the Mamas and Papas. We were
    unknown when we went over there. Our album wasn't even released. But we were amazed to meet
    many people, particularly in San Francisco, who already had it. I think it's quite the thing over there
    to buy imported British LPs."

    Work-wise, the trip, if you'll pardon the expression, was a bit difficult for Mitch and his colleague in
    the Experience
    , Noel Redding; being British they were under visa restraint which didn't bother
    because he is American. “We [Mitch & Noel] were restricted to H2 visas and that meant we had
    to get permission for every job. I was offered a couple of recording sessions in Hollywood but had to
    turn them down. Also, we couldn’t go to radio and TV studios for interviews or we’d be in trouble with
    the unions.”
    [According to ‘Mojo Navigator’, Jimi did several radio interviews in San Francisco during
    their short, but celebrated, stay there. But then HE was a US citizen & had been a union member
    They said he was quite candid especially regarding the meaning of his lyrics, word spread almost
    instantly in that close scene]

    "On the West Coast we had a marvellous time. Everybody was so nice. But I didn't like New York
    very much. Mostly, the trouble was caused by our clothes. We've worked all around Europe, including
    allegedly tough areas like the St. Pauli district in Hamburg, and never had any trouble. They just look
    at us, maybe laugh, and think we're in a pop group. But in New York they gave us a hard time. I
    suppose they thought we were pooves! I'd be walking down a street with a girl and guys would try to
    pull her away from me. They were just ignorant, man."

    Although he's just 20, Mitch has been in show business since he was 10. "I went to drama school,
    along with
    Stevie Winwood of the Small Faces and Chris Sandford who was in Coronation Street. I
    used to appear as a kid in TV commercials. One of them — for Jubbly Orange Drink — is still being
    screened and every now and then I keep getting repeat fees. It's a funny feeling, getting money for
    something I did years ago.

    "Through doing commercials I got to know plenty of musicians, which is why I played on a few
    recording sessions before I joined
    Jimi. I also toured with Georgie Fame as one of the Blue
    . But now, withthe Experience, I feel like I've been let out of prison. There's just the three
    of us and it leaves so much more scope for personal expression than playing with a larger band."

    I asked Mitch if he missed any of the kicks associated with larger sounds and he said: "Sure, but
    then we're going to record with a big band and I'm writing arrangements for them — another new
    thrill for me."

    Touring with a trio has its special problems,Mitch has found: if the group were larger it wouldn't
    matter too much if one member were ill. "
    Now, if one of us can't play, the others can't work. So we
    have to be extra careful of our health. And although I work less than I used to — only a 20-minute
    set rather than most of the evening — I have to work harder. This is because we have to hit an
    audience, make our impact, in such a short time. It can be exhausting."

    Like an increasing number of young pop musicians, Mitch is absolutely serious about his craft. It's
    more than just a well-paid job to him, it's Art.
    "There are those who tend to get blase. They have a
    hit record and sit back and live off it, touring round the world for a year. They come back to nothing
    and wonder why.

    "Man, you can't con the public. You've got to progress. My playing has got better and this has
    taught me that it can get a lot better still. We've had tremendous luck in being accepted so fast. We
    did what we wanted to do, and it worked. You can't pander to the public — this is the most aware
    generation the world has yet known. I know you'll always get people trying to exploit kids' gullibility
    but these days young people are listening to songs' words and the songs, on the whole, are better
    than the older generation's rubbish such as 'Mountain Greenery'.

    "No doubt they'll be looking back in 20 years' time and saying the same about us."
    And what does Mitch think he might be doing in 20 years? "I shall probably still be in the business
    but not necessarily playing drums. That might stop any time. When I find drumming has become
    just a job to me, I'll stop. At the moment, though, it's my love."

    (Page 11) Britain’s Top 50
    ‘National Chart Compiled by Record Retailer’ [UK, Wednesdays]
    18 Burning Of The Midnight Lamp 32 (2) Jimi Hendrix Experience (Track)

    Top [30] LP’s
    5 Are You Experienced 5 Jimi Hendrix (Track)
    (Page 12)
    The Face
    . . . Private Eye still refers to her as Marihuana Faithful . . .
    . . . Jimi Hendrix sat in with Fairport Convention at the Speakeasy last Sunday. . .
    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: 1967 September Newspaper & Magazine Articles (Text Only)

    Thursday 7 September 1967
    VESTMANLANDS LÄNS TIDNING [‘V. County News’] (page?)
    [B&W photo caption below]
    Jimi Hendrix who played on Wednesday-evening at Västerås Sports Hall in front of a couple of
    hundred pop-hungry youths can be seen in lively action in the picture above.

    Friday 8 September 1967
    ARBETARBLADET [‘Worker’s Paper’] (page?) [B&W text ad. For 8-9-67 at the ‘Pop Barn’:
    1 Evening 18 and 21 (2 perf.)
    With the world’s most topical group at present
    (26,000 audience in Göteborg)
    Outsiders Midnighters Halifax Team
    = 4 bands

    Friday 8 (16) September 1967
    BILLBOARD (page 24) ‘Jimi Hendrix ExperienceIs Exciting Experienceby Loraine Alterman
    Detroit– Playing at the Fifth Dimension in Anne Arbor recently
    [15 August], the Jimi Hendrix
    , Reprise Records group, proved themselves to be a tremendously exciting act. Onstage,
    with hair a la Dylan puts on a show with his brilliant guitar work and electric stage
    presence. While performing he swings the guitar in back of him and plays it resting on his back. He
    also zings it with his teeth or falls to the floor to play it.

    While all this wild movement is taking place, the music Hendrix, his guitarist Noel Redding and
    Mitch Mitchell make is beautifull in it’s invention and execution. Most of the numbers
    Hendrix originals like “The Wind Cries Mary” and “Foxey Lady.”
    Hendrix’s voice has that tough soulful quality that reflects his roots in the blues. The group is tight
    and musically disciplined while their music is freed from traditional constraints.

    Hendrixis scheduled to play the Grande Ballroom in Detroit in February
    [1968, he ended up playing the Masonic temple instead. Ed.].
    (Page 22) Bubbling Under The Hot 100
    110 PURPLE HAZE - Jimi Hendrix Experience, Reprise 0597
    (Page 36) Top LP’s
    36 bullet100 ARE YOU EXPERIENCED - Jimi Hendrix Experience, Reprise R 6261 (M)
    RS 6261 (S)
    (Page 69) Hits Of The World
    18 32 BURNING OF THE MIDNIGHT LAMP -Jimi Hendrix Experience (Track) -Shroeder-
    Stamp /Lambert

    Friday 8 (16) September 1967
    CASH BOX (page 4) Top 100
    72 (74) PURPLE HAZE Jimi Hendrix Experience(Reprise 0597)
    (Page 15) [Full page Reprise colour ad for PURPLE HAZE same as Billboard above]
    (Page 53) Top 100 Albums
    34 (36) ARE YOU EXPERIENCED? Jimi Hendrix Experience (Reprise R/RS 6261)
    (Page 100) Great Britain
    Top Ten LP’s
    6. ARE YOU EXPERIENCED—Jimi Hendrix (Track)

    Friday 8 September 1967
    GEFLE DAGBLAD (page?) [B&W text ad. For 8-9-67 at the ‘Pop Barn’:
    1 Evening 18 and 21 (2 perf.)
    With the world’s most topical group at present
    (26,000 audience in Goteborg)
    Outsiders Midnighters Halifax Team
    4 bands indoors!
    If possible, visit the show at 18:00. Demand for tickets to 21 show is namely huge.

    Friday 8 September 1967
    GUARDIAN (page 8) ‘What price the Jerri Thorpe Experience?’
    JEREMY THORPE’S momentous “winter crusade" booklet, out next week, is reputed to “welcome”
    vigorous debate within the Liberal Party which is just as well since, willy nilly, vigorous debate
    happens to be what the Liberal Parly is hopelessly lumbered with. Indeed, it now seems that the
    Young Liberals will have no fewer than 450 YL delegates at the Blackpool party conference this month;
    22 constituencies are sending nothing but red guards. Without doubt, this is the biggest block vote
    ever assembled at a Liberal congress; if it sticks together, it can pass any motion it likes, even send
    Thorpe and cohorts into involuntary liquidation. And what are the Liberal young planning after
    Blackpool? Immediately, a “ guitar-in ” at the Festival Hall, starring
    the Jimi Hendrix Experience
    an act which, maybe symbolically, ends with
    Hendrix blasting stage and instruments to bits.
    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: 1967 September Newspaper & Magazine Articles (Text Only)

    Friday 8 September 1967
    USA (CA)
    LOS ANGELES FREE PRESS(page 22) [B&W photo, ‘Peter Townshend (left) and Roger Daltry, of The
    Who. Photo by Bill Kerby’]

    BILL KERBY once had the impression that the world was a seething mass of confusion and
    misinformation strung together by telephone wires. Now I have here viable proof of my theory: a
    long distance phone interview with Roger Daltry, the lead singer of “The Who,” all the way from
    Columbus, Ohio, where they were one nighting it with the Blues Magoos and that rock crushing, pile-
    driver of the moppet set, Herman and his cuddly Hermits. You haven’t lived until you’ve tried to track
    down a British rock group called the Who, “who?” the operator kept saying,“yes, that’s what I said,
    “The Who,” “ who?... ...” in our great American Midwest. I never quite realized the power in being
    adorable coupled with blistering mediocrity until it became apparent that all the operators and hotel
    clerks had heard of Herman, but not the Who. I understand in England, where quality still has some
    coin, it’s the other way around. But it is here that I talked to them, not in England. And it’s here, in
    the Anaheim Convention Center on Sept. 8 The Who are going to play, not in England. And what all
    those pre-pubescent teenies will have to see before Cuddles comes out is a rock group unlike any
    other, before or since. They will perform many songs, one about a live-delerium tremens, another
    about a spider, and another, a vicious satire on unrequited teeny love. Then they will do, time and
    tittering audience permitting, their “mini-opera,” with its many different voicings, and different time
    signatures; an amalgam of Gilbert and Sullivan, black Christmas carols, and Reddy Kilowatt. Then
    Daltry, sort of an electric Hamlet, will smile and mumble something about,“this is what you’ve all
    been waiting for . . .” and they will probably go into “My Generation,” and then the world inside the
    Anaheim Convention Center will come to Armegeddon and will end. Right before your very eyes.
    You and I, feasting on calamity,
    our very mouths agape, will bear dumb witness to one of the most s
    pectacular sights of our confused, jaded, McLuenesque lives. Very simply, you just won’t believe it. If
    I were an agent, I wouldn’t book Jesus Christ doing a guest set with the Beatles to come on after The
    Who, but somehow Herman and his Hermits will. The comparison alone should be worth the price of

    FP: Have you enjoyed the tour?
    RD: Being over here has been a real shot in the arm, as it were; a new lease on life. In England,
    we’re one of the biggest pop groups around, but over here we’re nothing and we know this. I mean
    we’re on our own and it’s like starting again. While we still feel revived, I want to go back to England
    and keep it going. This tour’s done us a lot of good as a group. We get a bit blase over in England,
    fame being what it is, but here we’ve really had to work. When you play with Herman in the U.S., it’s
    his audience and you really have to put out to get them.

    FP: Do you notice a division in the crowd? Is it two different audiences for you and Herman?
    RD: Most of our fans leave when we’re through and Herman comes on. Herman’s really a great guy,
    though. He doesn’t sing what he wants to sing but the little kids take the music to heart. The kids
    have been great, even the preteeny boppers ... they’ve tried to understand us. We even do our mini-
    operas for them and it’s going down well. We’ve been smashing up the guitars quite a lot... it’s what
    the kids want to see.

    FP: How do they react?
    RD: There’s about a five minute shock period and they don’t know what to do ... just sit there with
    their mouths open. Then, when we’re back in the dressing room, they want us back on. It’s like a
    delayed action bomb.

    FP: How does it strike you, having a younger audience here than in England?
    RD: The teenies and the preteenies have got to go somewhere and it’s obvious they can’t understand
    the level of music that the Beatles are playing now. I mean that’s sophisticated and ridiculously
    brilliant. But Herman isn’t a hack or anything like that. He knows his crowd which is great. He
    doesn’t hide the fact that he plays for the little kids, y’know. The little six year olds have got to start
    somewhere, don’t they? Herman hasn’t drawn fantastic crowds and I think this will be his last big
    tour. He’s made a lot of money and he can start doing the things he wants to do. But he just doesn’t
    pull the same fans every year. Like when a kid gets to be 15, he doesn’t want to know Herman
    anymore. It’s like the first chapter of Pop and then they graduate.

    FP: Are you driving toward more theatrical concept pieces?
    RD: We want to get more theatrical. There are so many groups bringing in outside gimmicks, y’know,
    but we want to bring a total theatrical concept to the music.

    FP: Can you elaborate on that just a bit? Are you afraid of the “no commercial potential” that
    plagues so many innovators?

    RD: No. We have some really new, I think, ideas and we plan to take them just as far as people
    will buy them, and maybe further. Mainly our thing on records comes from working on stage for so
    long together. We’ll do more of the longer pieces definitely. I’m sorry that I can’t say many of the
    other things... part of it will be the surprise. But if it works, it will be hot. It should be, all things
    going right, an act to end all acts.

    FP: Why doesn’t the Who experiment with electronics more?
    RD: We’ve been together almost four years and we went through the electronic bag about three
    years or so ago, playing feedback and all that. It’s hard to go back, hmm?

    FP: Is there a pronounced difference between your career here and in England?
    RD: In England we’re far away from the smashup, but over here, the kids still want to see it. Now
    in England we can go on to something else because they have
    Jimi Hendrix to smash up guitars
    for them. It’s quite expensive, you know. Peter (Townshend, lead guitarist) has been through about
    70 at $400 apiece. It’s a very difficult position: in England, they’ve seen the smashup thing for so
    long, but over here, they hardly even know it. So we’ll probably do our big change, the one I spoke
    about, in England. It’s like a book with a beginning and an end, but no middle. This working in two
    totally different worlds is not easy; it’s just unbelievable. But the refusal to change is death. (See
    part two of the Who interview, next week. Learn what they are like in person. What do they think of
    Vietnam? the hippies? IN America? our farting President? Disneyland? Is Twiggy really Keith Moon’s
    little brother? Are the allegations of Roger Daltry’s love affair with John Lennon true? Is it more than
    coincidence that the Who are in America just as Regis Debray is trying to free himself from the wily
    Bolivians?? Learn all these things and much more next week, as Los Angeles’ own Free Press scoops
    both Richard Goldstein and “Crawdaddy.”
    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: 1967 September Newspaper & Magazine Articles (Text Only)

    Friday 8 (9) September 1967
    (Page 2) ‘Trems Capture Love Sound’
    . . .The Trems are the sort of blokes who would go into a hairdresser for one of the current Hendrix
    frizzy hairstyles, then fall about laughing

    at the comedy of it !. . .
    (Page 5) [B&W photo of Jimi onstage. B&W photo of group, ‘Here is JIMI HENDRIX with his
    —drummer MITCH MITCHELL (left) and bass guitar NOEL REDDING—taken at the
    Saville theatre after their recent concert there—a sad night when their second show was cancelled
    due to the death of
    Brian Epstein. Jimi and the boys are now in Scandinavia following their
    appearance in Berlin’]

    JimiHendrix Admits ‘Lamp’ is a Bit Smoky’ by Keith Altham
    – “TIME to tuck the tiny tots up and put them safely abed with a nice Monkees' record! Why?
    Because "the electric bogeyman" is back in town! He's taking another fantastic excursion into the
    realms of pop nightmares with "
    The Burning Of The Midnight Lamp!"
    If you, too, are baffled by this latest piece of musical Voodoo fromJimi Hendrix, you may take
    some heart from the fact that both
    Mick Jagger and I are equally mystified by this disc. After having
    heard the single a few times, I'm feeling like the man who, admiring a fast car on the road, declares:
    "That was damn good. What was it?"

    At his flat off the Edgware Road Jimi smiled when I expressed my bewilderment as to what it was all

    "I'm glad there is this kind of reaction," he said happily. "Maybe it's a little murky in there,
    a bit smoky, but it's the kind of disc you put down and go back to. When I first heard

    Procol Harum
    's ‘Whiter Shade Of Pale' the meaning was very muddy. I understood about
    the first verse and that was all. But as you hear it again and again you begin to put the
    thing together.

    Started in plane
    "I wrote part of the song on a plane between LA and New York and finished it in the studios
    in America.

    There are some very personal things in there. But I think everyone can understand the
    feeling when your travelling that no matter what your address there is no place you can
    call home." The feeling of man in a little old house in the middle of a desert where he is

    burning the midnight lamp!
    "It's a different record—like I do one thing and they say: ‘That's good—that's great.' Then
    I say ‘well how about this then' and they say ‘yeah, that's a number one,' so I do
    something else. I guess something has to come apart somewhere.

    "I've never tried to establish one sound as a guitarist. You always knew it was Chuck
    or Duane Eddy or Bo Diddley when they played. But I'm trying to get new things all
    the time." Some people are ashamed of their hit records but I'm proud to be associated with
    mine. I think it's a very groovy record and if you don't like it, well then turn it over. That's a
    very nice ditty on the other side!"
    We made a brief excursion to see Jimi's bedroom, which is like
    a kind of Aladdin's cave, hung with lace shawls, tapestries and great coloured balls of cloth pinned to
    the ceiling.

    The colour red predominates. LPs are liberally sprinkled over the flower carpet and suspended from
    the lamp shade in the middle of the ceiling are the two little gilt figures of cherubs he
    recently in an antique shop
    . One of the little angels had a broken arm.
    "That's the groovy thing about him," smiled Jimi. "He can fly with a broken arm!"
    Back to the lounge where we talked about success and the changes hits have wrought in Jimi's life.
    "It depends what you think is success," said Jimi. "To me it's like doing your utmost,
    achieving the ultimate. Well, I have not done that. I think I shall always be looking for

    "All the things I thought were important before I had a hit record are just as important
    now. Trying to understand people and respect their feelings regardless of your position or
    theirs. The beautiful things are still the same—the sunset and the dew on the grass. No
    material wealth changes the way I feel about these things.

    "If your looking for real happiness you go back to the happiest days you had as a child.
    Remember when playing in the rain was fun? I remember one time when I was only four
    and I wet my pants and I stayed out in the rain for hours so I would get wet all over and
    my mum wouldn't know. She knew, though!"

    We talked of the Maharishi Mahesh Yogi, whom the Beatles have lately adopted (or vice versa).
    "I don't really believe that this transcendental meditation is much more than day-
    Jimi commented. "If you really believe in yourself you can think it out on your
    own; you don't need someone else!"

    We talked of flower-power, of course.
    "Yeah! I wonder what's next!" smiled Jimi. "I suppose we'll get weed-speed, and I can't
    wait for the winter when we'll get all those fog-songs and sledge-heads 'on the scene."

    Jimi's latest contribution to the beautiful world are bells on his apache-boots, hidden beneath the
    leather fringes. This device is insured to drive everyone in listening distance mad because they
    cannot find out where the tinkling is coming from'.

    Will Jimi be considering a film soon?
    Special film
    "I'd like to do one but it would have to be a special kind of film," Jimi replied. "I can't see
    me jumping up and down on trampolines and things, or learning dialogue. It would have
    to be an art presentation."

    Of Engelbert Humperdinck, the Dr. Jekyll to Jimi's Mr. Hyde, he says: "I can't imagine the people
    buying Engelbert's discs are buying mine, unless they are musical freaks who buy every
    record because it's in the hit parade,"
    Jimi told me."I sat down and listened to Engelbert
    one night—he really has a very good voice, it's flawless. Maybe if you don't have a very
    good imagination you need good looks and a flawless voice."

    Before leaving, Jimi talked a little of his reputation (or rather his notoriety) as the arch-villain of
    pop who has complaints from all directions from the under fives and over sixties. Did it concern
    him that the establishment considered his appearance that of a freak and his act as being in
    questionable taste?

    "I'm not trying to look like everyone else," said Jimi simply. I’m just trying to be myself.
    I'm not trying to entertain the teeny-boppers who could not be expected to understand,
    or the very old. I'm trying to be honest and I'm trying to be me. These are the clothes I
    like and this is the way I like my hair."

    And that, dear people, is Jimi Hendrix, the gentle-demon the only sheep I have ever met in wolf’s

    (Page 7) NME Pop 30
    03-18-15. The Burning Of The Midnight Lamp - Jimi Hendrix Experience
    Britain’s Top 15 LPs
    16-08-07. Are You Experienced - Jimi Hendrix Experience
    JIMI HENDRIX — whose second-house performance at London's Saville theatre a fortnight ago
    was cancelled due to the death of
    Brian Epstein—has been re-booked to appear at the venue on
    October 8.

    With him on the bill will be Arthur Brown and Track recording artists John's Children.
    John's Children are also set for three days of concerts in Poland and Czechoslovakia from December
    3, and for a four-day appearance at the Acapulco film festival in January.

    The Pink Floyd and Keith West with his group Tomorrow are set for a concert at the Saville
    theatre on October 1, with the Incredible String Band and the Knack.

    GEORGIE FAME and his band, Cliff Bennett and the Rebel Rousers, the Herd, the bands of Chris
    Barber and Alan Elsdon, and compere Keith Skues are among artists appearing daily in Light
    Programme's "Swingalong" from Monday, September 25, to Friday, September 29. Set for the
    previous week in this series (18th-23rd) are the Searchers, Clinton Ford, the Migil Five, the Peddlers,
    Maureen Evans the Montanas and compere Pete Myers.

    The Flowerpot Men make their first live broadcast in "Saturday Club" on September 16. Also
    featured in the show are Kenny Lynch and Rob and Dean Douglas, The Peddlers,
    Georgie Fame and
    Glen Weston are set for the following week's edition (23rd).

    The Jimi Hendrix Experience joins Engelbert Humperdinck in "Monday Monday" on September
    John Mayall's Bluesbreakers are set for the September 11 show, latest bookings for "Easy
    Beat" include
    the Move (September 17) and the Bee Gees (September 24).
    The Fortunes, Helen Shapiro and Malcolm Roberts are the guests in Light's "Pop North" on
    September 14. The following week (21st), the Marmalade joins Dave Berry and Kiki Dee.

    Brenda Lee has been set for the November 9 edition in this series.
    Clive Taylor
    Favourite instrumentalists: Jimi Hendrix
    Alan Jones
    Favourite groups: Jimi Hendrix Experience
    (Page 14) Tailpieces By The Alley Cat
    .... Last week, Fairport Convention's audience included Jimi Hendrix, Alan Price, Keith West and Jeff
    Beck at London Speakeasy club....

    [B&W text ad] ONLY 10/- WEEKLY for 3 L.P.s
    (10/- down). The 3 LPs, fresh from the makers, are posted to you, anywhere in G.B. Just send 10/-
    with a list of Nos. and titles. You can have 4 or 5 LPs for 10/- down and I0/- weekly. Print your full
    names, age and home address. Under 17 not accepted. County Court debtors not supplied.


    (Page ?) [title?] […]you don’t mean for things to be personal all the time, but it is.”[rest of

    (Page?) [title?]
    “we got screams and good reactions and some kids even rushed the stage. But we were
    not getting any billing, all the posters on the show just screamed out MONKEES. … We
    decided it was just the wrong audience. I think they’re replacing me with Mickey Mouse
    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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