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

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    1967 October Newspaper & Magazine Articles (Text Only)

    Sunday 1 October 1967
    USA (Andalusia High Scool, AL)
    THE ANDY HI-LITE (page 4) Sound Track by Charles Bates And Philip Rawls
    Noisy! Destructive! Violent! Mad! Who could these adjectives be describing? The Who, of course.
    Pete Townsend, who invented the reverb [NOT!], formed The Who to bring into focus what
    numerous songs were expressing. Besides Pete on lead guitar. The Who consists of Keith Moon on
    drums, John John on bass guitar, and Roger Daltrey on vocal and destruction.
    The Who have one stage rule they never break. That is to destroy everythingon stage. They
    proved this in their appearances at the Big Bam Summer Show and on the Ed Sullivan Show.
    . . .
    . . .Jimi Hendrix, an Australian, who was turned down by Eric Burden as lead guitarist for the
    Animals, has the wildest exhibition in show business today. His exhibition is suitably named the
    Jimi Hendrix Experience. When Jimi played (to put it mildly) at the San Francisco
    [sic. ‘Monterey’]International Pop Festival this summer, he burned the stage to the ground
    along with everyone’s equipment who was appearing there! [lol!!]

    Sunday 1 October 1967USA (Phoenix)
    ARIZONA REPUBLIC (page 6M) Swing Around The Valley by Troy Irvine
    ...the VIP name and club location will be changed in about two weeks as owner Jack Curtis abandons
    his present Seventh Street location. He opened there in October 1964 with Stage 7 and a group called
    the Vibratos.
    “WHAT THE VALLEY needs is a hippie discie jockie, a long-hair freaky type who could go radio about
    four hours an evening playing cuts off albums by Country Joe and the Fish, the Velvet Underground,
    the Grateful Dead, the Stonie Ponies, Vanilla Fudge and the Jimi HendrixExperience. Instead of
    the top 40 station stereo jock, this fellow could mutter profound things like "wow," "what a bummer,"
    "feeling vibrations," "just got a flash," etc. This guy should have the hippiest vernacular but be straight
    enough to turn the turntables on and off. And with a name like Straight Arrow he just couldn't help
    but corner the hippies in the Valley.”

    Sunday 1 October 1967
    USA (NYC, NY)
    EAST VILLAGE OTHER (page 13) Review of the Arts EGO
    ‘Pop, Rock & Jelly’ by Emmet Lake
    ‘New York music scene has been delighted recently. Jimi Hendrix sat in with the John Hammond
    group a month ago at the Gaslight. Funny to see blonde John coming on like a 50-year-old Delta
    spade, and black Jimi coming on hip British. The music was great. Incredible, in fact; and Jimi
    Hendrix can move his snake tongue just as fast as his fingers.’ [interesting - as if one night and no
    mention of Clapton!]

    [Day?] October (Nov) 1967
    BEAT INSTRUMENTAL, (page 4) [B&W group photo]
    The Jimi Hendrix Experience have their own set of recording rules. Mostly "Thou shall't nots.
    "But," bassman, Noel Redding, said "we do have one positive rule. We must have at least one new
    sound on each record, and we must be able to reproduce it completely on stage".
    While other groups are using sitars, African drums. harpsichords, and various other new
    instruments, the Experience rely on Jimi to create new sounds with just his guitar. I asked Noel if
    he thought that they might exhaust ideas, unless they used different instruments. "I don't think so,"
    he said, "Jimi likes experimenting. He's always looking for new ideas. Using either a Wah-Wah
    foot tone control or combination of both, he extracts some very weird sounds from his guitar. And
    with my bass, which I have on full treble, we can obtain a tremendous variety of effects in the
    recording studio and on stage."
    MC: After their eventful visit to the U.S.A. Noel had some very definite views on the American
    recording scene.
    NR: "We used studios in New York and Los Angeles and, quite honestly, the only difference between
    their studios and ours is that they've got eight-track machines. But we don't need them because lead,
    bass, drums and rhythm through four-track have proved quite O.K.
    The American engineers were very good, and totally involved with the session, but then so do our
    engineers in England.
    There was some trouble over a contract, which they say we didn't fulfil. We were supposed to have
    recorded so many tracks, and the company said we didn't. But, despite all that,we would never
    travel to the States just to record. Recording is a very personal business.
    You've got to be in the right mood before going into the studio. When we get some good ideas, then
    we book a session. It's not worth going into a studio, and then wasting a lot off money
    thinking up ideas. If you do, it usually produces nothing". [Oops! Ed.]
    MC: What about a new album?
    NR: "We started work on lots of new tracks at the beginning of October. We used Olympic because
    they don't rush you. We must have a reasonable amount of time in a studio, and we set aside five
    days to record the album. We also hope the session will produce a new single, which will be released
    as soon as possible".
    MC: Did Jimi write all the material for the LP?
    NR: "Everything on the first LP was written by Jimi. But Mitch and I put in several ideas for the new
    one. But, unless we can think of something really good, Jimi will definitely be writing the new single."
    MC: All singles released by the [Jimi Hendrix] "Experience" have had strange titles. Was there any
    NR: "Not really, although 'Burning Of The Midnight Lamp' was written by Jimi when we were
    flying back from the States, and does tell of a personal experience. He was feeling very brought
    down after that trip, and the song has a pretty sad lyric. 'Hey Joe' is an old American folk song
    [not!], which we changed round a bit, although it still sounds similar to the original. Jimi had
    wanted to record it for a long time. 'Purple Haze' and "The Wind Cries Mary' were just
    commercial songs with good titles".
    MC: The group were very pleased with their reaction in the States. Have they planned any further
    NR: "Not in the near future. The Monkees' tour was a drag, especially when that Women's League
    started interfering. We played the clubs and colleges though, and the audiences were good. We are
    going to Paris this month, and we are looking forward to it. It was at the Olympia in Paris where we
    made our first public appearance, and the audience was great. After Paris, we have some college
    dates in this country, and then a tour with the 'Move' and the 'Amen Corner'. That should be really
    Last edited by stplsd; 08-13-20 at 06:21 PM.
    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 October Newspaper & Magazine Articles (Text Only)

    [Day?] October (Nov) 1967
    FLIP (page?) [B&W photo, ‘Peter pointing something out to Ric, who’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?] October (Nov) 1967
    THE FLOWER SCENE & THE LOVE GENERATION (cover) [Full page B&W Mason’s Yard photo:
    Jimi Hendrix’]
    (Page 10) ‘WILDMAN’ HENDRIX by Dave Sanders
    He's been banned from a tour with The Monkees, on the grounds that his stage act is a bit too much
    to be performed in front of young fans. He's been described as the bogeyman of pop music. He's been
    attacked for going too far in his contortions on club stages. But beneath it all he remains a musical
    The "he" referred to is Jimi Hendrix, of the beautiful people and one of the most way-out figures
    on the scene. Jimi wears beads and bells . . . and sometimes he hides the bells in his boots so that
    nobody knows where the tinkling is coming from.
    And good old Jimi says: "I know I upset some people. But I'm not entirely interested in
    appealing to any one section I just want to be me, honestly and with straightforwardness
    and I can only hope that a section of the community will go along with me."
    He looks so wild and he dresses so wild. Yet he talks with quiet confidence and he looks sometimes
    shy and his eyes are the eyes of someone who thinks about the scene very carefully indeed. He
    doesn't knock other artists. There are those who knock Engelbert Humperdinck, presumably on the
    grounds that he dresses in neat suits and sings in tune.
    But Jimisays: "I don't see people who buy my discs buying any of his. But there has to be
    room for all tastes. This guy sings well. I don't dig personally; but I can see that there
    should be a wide market for his material."
    Jimilives on memories of a childhood and wishes some of the joys of simply being a child could be
    carried over into adult life. He thinks of playing in the rain as a kid; of watching a sunset. And he
    thinks of the wealth he's found since being "imported" to Britain by ex-Animal Chas Chandler and
    he says adamantly: "The big things in life are still those that are free. The sun going down
    doesn't cost a cent. But you have got to have a strong belief in yourself whatever you are
    doing. You simply ally that belief to the nicer things of life."
    For too long Jimi has been cast as the arch-villain of pop music. The man who wiggles over-sexily
    and who does incredible things with his guitar . . . apart from actually playing it, which he does
    better than most.
    But beneath his wild-haired exterior there lurks a friendly, matey, anti-hate character who works
    hard because he feels that to give second-best is to belie your own faith and talent.
    He shares a flat with Chas Chandler. In the Hendrix bedroom is a maze, a fuzz, of collected
    material things like tapestries, and floral carpets and gilt cherubs and LP sleeves and little gifts he's
    picked up while on tour. It's there that he practices guitar whenever he gets a spare hour.
    His guitarstyle is personal and unique. He would hate to be likened to any of the great stars. He
    admits to having listened to people like Chuck Berry and Bo Diddley but he also says: "I want
    to keep changing all the time. I'd hate folk to think there was a specific Hendrix style.
    What I recorded yesterday could well be changed by the time I come to think of it
    And Jimi's matiness is shown by the way he insists on proper acceptance being given to his
    Experience, drummer Mitch Mitchell and bassist Noel Redding."We're all part of a team,"
    says he. "So don't give all the words and space to just me."

    [Day?] October 1967
    LONDON EVENING STANDARD (page?) ‘Ray Connolly Interview’ [syndicated under various titles
    in various edits internationally - the red and brown being two variants, so three here]:
    Jimi Hendrix,” they told me – lying to a man – “is so sincere about his music that one of these
    days he will probably make a human torch of himself on stage.” So [‘Not believing any such absurd
    romancing for a minute, but nevertheless’] anxious to meet a man whose friends were prepared to
    plan such a horrific demise on his behalf, I called to see him over his milk and menthol-tipped
    breakfast this week.
    Everyone with a television set must know who Hendrix is by now. He’s the fellow who looks rather
    like a Cherry-blossomed[ie‘boot-polished black’!]Mick Jagger: the one with the electric hair and
    fuzz-topped companions. He has [He’s] made four records and had four hits since coming to Britain
    from Greenwich Village a year ago, and he calls his trio The Jimi Hendrix Experience. (Their first
    album was called Are You Experienced?)
    He says he is [‘He’s’] twenty and lives with his manager and his manager’s wife in a Marble Arch
    [no ‘Marble Arch’] flat. It’s a big apartment – on the fourth floor of a modern block – and apart from
    the bathroom where there’s a [‘that’] celebrated picture of a naked Frank Zappa of the Mothers of
    Invention sitting on the loo [‘hanging on the wall’], it’s just what you’d expect for the average young
    married couple earning upwards of five or ten thousand a year.
    [It’s tasteful and conservative - ] That is, apart from Jimi’s quarters. In a room that looks for all the
    world like Mephistopheles’ parlour, with crimson curtains, sheets and carpets, the guitarist has
    [‘he’s’] collected a fascinating collection of talismans and charms. There’s a giant panda, peacock
    feathers, a three foot rag doll, magic Rip Van Winkle slippers and a tiny cloaked Swedish Superman.
    And suspended above the double divan bed are five huge granny shawls which hang like monstrous
    vivid spiders’ webs and clutch at a candled chandelier straight out of Jane Eyre. The walls are draped
    in ornate Chinese and Japanese canvases, and there’s an Oriental jar [‘arrangement’] of dead flowers
    on the sideboard.
    “I dig dead flowers,” says Jimi [‘he says’] in his great dark-brown voice, crushing one as he
    speaks between his thumb and forefinger. And hegiggles [like a small boy who’s trying to shock].
    He’s wearing tight tangerine pants, a blue and white flowered shirt and a black jacket with a
    patterned pageant of white doves.
    “You can learn from dead things, you know,” he says. “In my music I’ve learned from
    everything, mainly from my life.”
    So far his life has been traumatic. He was born in Seattle, Washington [no ‘Washington’], and for
    much of his childhood spent [he seemed to spend] a great deal of time commuting up to Vancouver
    to stay with his grandmother, a full-blooded Cherokee Indian [NOT!]. (Ethnically, he’s also part
    Mexican [NOT!], but mainly Negro.)
    “My mother and dad used to fall out a lot, and I always had to be ready to go tippy-toeing
    off up to Canada. My dad was very level-headed and religious, but my mother used to like
    having a good time and dressing up. She used to drink a lot and didn’t take care of herself.
    She died when I was about ten. But she was a groovy mother.”
    At fourteen he left high school because his father needed his wage [NOT!]. “Dad was a gardener
    and it got pretty bad in the winter when there wasn’t any grass to cut,”he says
    [no ‘he says’].
    By the time he was fifteen he had left home [NOT!], and he hasn’t been back since.
    “I have a half-sister of nearly six called Genevieve who I’ve never [even] seen. There
    may be more by now. I must call my dad. He’s married again. I sent him some money but
    he sent it back. Perhaps I’ll call him today.”
    After leaving home he had his hair straightened [in the best Nat “King” Cole manner] and took up
    playing guitar and bass with some of the sleek mohair-sheened rhythm and blues groups. For a
    while he played with Little Richard, and then with the Isley Brothers.
    Drafted at seventeen into the 91st Airborne Division of the U.S. army, he left after thirteen months
    when he hurt his back jumping out of a training aeroplane 10,000ft over Fort Campbell, Kentucky.
    He [“I] then went to Greenwich Village and played in some clubs, and it was there he [‘I’]metChas
    Chandler who is [no, ‘who is’ (] now his manager[) last year,” he remembered].
    It was in New York that the Hendrix guitar style developed as an individualised [no ‘as an
    individualised’] [a] composite of Muddy Waters, Howling Wolf, Dylan and the Beatles. And
    there, too, the Hendrixhair-do, which has set a trend for thousands of little ravers all over London,
    came into its own.
    “When I was a little boy I used to hate having my hair cut and would try to avoid my dad
    whenever it got long. I’d sneak in and out of the house and try not to be noticed, but
    eventually he’d always spot me and sit me down in the hall under the lamp and shave it all
    off until I looked like a skinned chicken. And then the next day at school all the kids would
    laugh at me.
    “I guess I’ve always been conscious of my personal appearance because I have big ears.
    In five years’ time I might be bald.” And he tugs at the tumbleweed of steel wool covering
    his head. “See how it comes out. That’s because I’ve been overworking.” [And he laughs at
    At the moment [the] Jimi [Hendrix] and his two Experiences are just finishing [off] their second
    album, Axis – Bold As Love, in which he further demonstrates the highly individual guitar patterns
    which have [no ‘have’] won him the top award as the musician of the year in the Melody Maker Pop
    The image that Jimi Hendrix, the pop star, presents to the outside world is strangely at variance
    with Hendrix at home. On television he can look mean, as though he is [‘were’] deliberately baiting
    [the] parents, and his act, in which he plays his electric guitar with his teeth, is considered [‘can be’]
    sexy and provocative – not least by the extreme Right Wing American women’s society, the
    Daughters of the American Revolution, who got him taken out of the Monkees’ tour of the United
    States last year. [no ‘– not least by the extreme Right Wing American women’s society, the
    Daughters of the American Revolution, who got him taken out of the Monkees’ tour of the United
    States last year.’] But in private he is [‘he’s’ one of the most] polite and likeable [people I’ve ever
    “My dad was very, very strict and taught me that I must respect my elders always. I
    couldn’t speak unless I was spoken to first by grown-ups. So I’ve always been very quiet.
    But I saw a lot of things. A fish wouldn’t get into trouble if he kept his mouth shut.’
    [Despite his hit records and successful personal appearances (he's reputed to be the only artist to
    get a sell-out for Nems at their Saturday night Saville Theater concerts) he says he still doesn't
    understand his appeal to the public.
    “For all I know everyone could be laughing at us. But if they are I’ll cry all the way to the
    And he giggles again—because he sees the joke as much as anyone.]
    [Also (extended/cut text - in red) in 10-11-67 DETROIT FREE PRESS (MI) (page 8D) The Teen
    Beat [B&W photo,Jimi Hendrix, who is 20 and lives with his manager and his manager’s wife in a
    London flat.] as, “I Dig Dead Flowers Giggles Jimi Hendrix
    & 12-11-67 SUN-HERALD (Sydney, Australia) (page 107) YOUNG WORLD, as, ‘Wild Man Jimi Is A
    Quiet Boy At Home’
    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 October Newspaper & Magazine Articles (Text Only)

    [Day?] October (Nov) 1967
    MUZIEK EXPRES (page 27) [full page B&W text ad] ‘hippy-happy’
    Fair For Teens and Twenties
    from friday 10 to tuesday 14 november in the AHOY hallen - Rotterdam
    Friday Evening 10 November Fair open: 7-11 o’clock
    first public appearance in the Netherlands
    ● plus The Motions Entry Price: f2.50
    (Page?) [B&W ad, text over full page photo from Ready Steady Go]
    are you experienced
    [Polydor logo]
    [Polydor logo]
    Burning of the midnight lamp

    [Day?] October (Nov) 1967
    MUZIEK PARADE (page 23) [B&W crap pic ad feat, large Jimi tiny Noel, Roy Orbison etc. Oddly
    in English?!] The Sound Of Success MARSHALL Jimi Hendrix Experience • The Tremeloes
    Procul HarumThe Cream • The Bee Gees • The Small Faces • Roy Orbison • Jimmy James
    & The
    Vagabonds • Spencer Davis.
    Marshall’s solid sound is behind all these great groups. Marshall world’s most powerfull, distortion
    free amplification equipment. Pur Marshall behind you! Select your own particular set-up, over three
    dozen separate units 18 watts to 200 watts.
    Read all about it! Write your name and address on a postcrd and send it to us. In return we’ll send
    you all you want to know.
    Our address: Rose, Morris and Co. Ltd., 32/34 Gordon House Road, London, N.W.5
    (Page?) [centre spread colour photo of JH from ‘Fanclub’ TV, ‘mp Jimi Hendrix’]

    [Day?] October (Nov) 1967
    Switzerland (German)
    POP (page?): [Full page B&W photo/text art of Jimi with nuclear explosion blasting out the top of his
    head. (Ad for Zürich concert)]

    POP drops the bomb.
    After the Swiss POP friends have been spoiled until now - with a few exceptions - with guest
    performances of the largest of the English pop greats by no means, now finally a big turnaround will
    At the end of May 1968, five of the biggest pop groups of the English pop scene will perform in the
    largest covered Swiss stadium on two days. Try to imagine:the JIMI HENDRIX EXPERIENCE, THE
    Without a doubt it will be one of the biggest pop concerts of all time. The frame will far exceed that
    of the Zurich Rolling Stones concert. For example, a major competition will be organized in this
    context; there will also be big receptions and some legendary pop characters in the auditorium, just
    to name a few of the surprises.
    The POP readers will enjoy a whole series of privileges. Details will be published in the next issue of
    But we do not want to deny our readers that it's coming to fruition
    This monster show is largely attributable to the account of Mr. Dr. H. Stotz. Chief of the Uniformed
    Security Police, and Mr. H. Hächler. Director of Hallenstadion AG. goes. We will present the youthful
    organizer in an exclusive interview in our next issue.
    [Another pink cartoon explosion with text: ‘pop Monsterkonzert In Zürcher Hallenstadion’]

    [Day?] October (Nov) 1967
    POP FOTO (page?): [Full page B&W photo of Jimi sitting on kerb outside Ringo flat, ‘Jimi Hendrix’]
    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 October Newspaper & Magazine Articles (Text Only)

    [Day?] October (Nov) 1967
    ROCK & FOLK (page?). . .et jimi hendrixby J.-N.C. (Jean-Noel Coghe)
    Dip...Dip...Dip.Dipdipdipdip, Broaum...mmmmmmmm!!! Too-a-oo, too-a-oo, oo-oo...Foxy Lady
    ...Are you Experienced??? On October 9th, at the Olympia,Jimi Hendrix was the star of a
    Musicorama*...ZipZipzipzip...And it was crowdy!
    “Ding dong", Hippies, real and false beatniks. "I'm a king bee", Rockers, "Shake, Rattle and Roll",
    pioneers. Some onlookers. And cops pushing everybody over.
    Professionals were amazed. What a crowd. "Let's go". The Olympia was packed. With amateurs,
    onlookers, enthusiasts, sceptics, and even Dalida fans who, that night, had been mistaken about the
    date. Hendrix and the Experience won unanimous support. Since the opening act was, as it's the
    habit, crap. At the backstage entrance I came across Plonk Lane from the Small Faces. The four Faces
    were here as well. In Paris with the "Immediate" staff, as spectators, before it's their turn to face up
    the Olympia. And I've been told the Mamas & the Papas were there too. And P. P.Arnold... etc. And old
    Rosko** indeed. Among the French artists present, I met Ronnie Bird... The number of amplifiers has
    been increased three times. Each guitarist has now three Marshalls, that is six speaker cabinets...
    The demonstration they gave was high classed; I think Hendrix used just about every possibility
    offered by his guitars. Redding on bass showed how effective and precise his playing can be. As for
    Mitch Mitchell, he reservedus a pretty serious little drum solo. Through the tunes played, such as
    "Stone Free", "Hey Joe", "Foxy Lady", "Are You Experienced", "The Wind Cries Mary",
    "Purple Haze" and others, the audience could figure how the studio and stage efforts look the same.
    No cheating with Mr Hendrix. His erotic act, although not so perceptible that night, amazed as
    much as the flashing sounds produced. But don't both complement one another? That's what "Freak
    out" is. Loyal to its habit, the Jimi Hendrix Experience ended up the show with their fantastic
    version of "Wild Thing", very much appreciated judging by the loud applause ringing out. All in all,
    isn't "Wild Thing" the true state of mind of Hendrix and his Experience?
    * "Musicorama" was the name given to special concert events at the Paris Olympia theatre. They
    were usually broadcast by the French "Europe N°1 "radio.
    **"Rosko, aka "President Rosko" in France and "Emperor Rosko" in the UK, was a radio presenter
    well known in the 60's for his pop music shows in both countries. Rosko never missed an important
    pop event...
    (Page 66)JIMI HENDRIX EXPERIENCE Burning Of The Midnight Lamp’ by K.M. (Kurt Mohr).
    The Stars That Play With Laughing Sam's Dice. BARCLAY 060.858 (45 single - 6,50 F) (England:
    Track) A very well made record. Ideas, crazy noises. But we're desperately in search of some human
    warmth. This music exudes disgust and loneliness. It's certainly a sociological document but I don't
    think this can be a path to follow.
    [Note from Foxy Papers translator Gilles Duhamel: "The record review was written, who was (he died
    in 2007) a music journalist and Soul/Rhythm and Blues specialist for several record labels. That short
    and condescending (to say the least) chronicle for Rock & Folk shows how far Mr Mohr was from
    Hendrix and the in music of 1967. Kurt Mohr was 46 at the time, probably a little too old for Jimi's
    wah-wah and tripping psychedelic moods."
    (Page?) [B&W with red, text & cover photos ad] A Revolution! THE POCKET DISC
    6 mini boums titles per 33 rpm disc
    jimi hendrix experience
    burning of the midnight lamp
    may this be love
    highway child
    hey joe
    purple haze
    the wind cries mary
    33 rpm 15 cm. Barclay 500 004
    licence Yameta
    [B&W Barclay LP cover photo]

    [Day?] October (Nov) 1967
    TEENSET (Vol.3, #11 Hollywood) [Photos of The Jimi Hendrix Experience][scan?] [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 October Newspaper & Magazine Articles (Text Only)

    [Day?] October (Nov) 1967
    TIQ (page 46) [B&W crap pic ad feat, large Jimi tiny Noel, Roy Orbison etc.
    Oddly still in English?]
    The Sound Of Success MARSHALL
    Jimi Hendrix Experience • The Tremeloes
    Procul HarumThe Cream • The Bee Gees • The Small Faces • Roy Orbison • Jimmy James &
    The Vagabonds • Spencer Davis.
    Marshall’s solid sound is behind all these great groups. Marshall world’s most powerful, distortion
    free amplification equipment. Pur Marshall behind you! Select your own particular set-up, over
    three dozen separate units 18 watts to 200 watts.
    Read all about it! Write your name and address on a postcard and send it to us. In return we’ll send
    you all you want to know.
    Our address: Rose, Morris and Co. Ltd., 32/34 Gordon House Road, London, N.W.5

    [Day?] October (Nov) 1967
    TOP POPS (page 6) MIRANDA WARD The Passing Scene
    . . . Which, very naturally, takes me on to Traffic. Their first appearance in GB passed off very well
    at the Saville.
    “Before it started we felt terrible. Everyone we know seems to be here and wewere scared of letting
    people down. We wanled somehow to avoid the first night feeling, but we couldn't, it had to be faced.
    It has all been very trying on the nerves and we are all very relieved that it's over. Of course,it
    wasn’t perfect, things weren't right all the way along the line but we are very pleased with the way it
    did go," commented STEVIE WINWOOD afterwards.
    NOEL REDDING, of the JIMI HENDRIX EXPERIENCE, was walking around with a very dazed
    expression . . .
    "Fantastic," he kept muttering, 'They are going to be the best. They are so good"
    I had originally intended going along to see the second show only, buttheir publicist, the elf-like
    ANNIE IVIL, telephoned me on the Sunday at lunchtime
    “I feel terrible and I'm going to stay in bed for the day. Could you possibly go down for the afternoon
    and evening and look after them in place of me?"
    All it involved was keeping photographers happy — seeing that they got the pictures they wanted —
    but at the same time making sure that no journalists or camera happy cats jumped on the boys.
    Everything went very well. Except when I lost CHRIS and JIM and had STEVIE and DAVE wailing for
    a picture session. Then, when I’d found the first two, STEVIE and DAVE had vanished
    All was well in the end and they did a quick session before rehearsing their numbers for the last time.
    AS WE WERE doing pictures on the front steps the WHO's van came up. NOEL REDDING had arrived.
    He'd just come back from his short holiday and was staying with NEVILLE, the WHO's roadie. whilst
    flat hunting. “I never seem to get the chance to look at flats . . . and I needed a holiday badly to
    catch up with sleep so I had to get away!
    AFTER THE rehearsal CHRIS WOOD (of TRAFFIC), NOEL, NEVILLE and I wandered up the Charing
    Cross road to a small restaurant in search of food.
    Then again, after the very successful first house, we went out for a quick drink
    When it was all over acrowd of us (including STEVIE, CHRIS, NOEL and friends) went down to the
    Speakeasy for dinner.
    The topic of conversation down there still seemed to be the MOTHERS OF INVENTION’s concert at
    the Royal Albert Hall, which had taken place the night before.

    When I spoke to FRANK ZAPPA in the interval he told me: "The audience is a lot less hostile than we
    expected, so we must be reaching a few. We would love to come back and do a full tour, but it all
    rather depends on the final out-come of this show."
    I arrived for the concert in time to catch FRANK rehearsing the strings section that they used for a
    bit. When the act is on stage FRANK conducts everything with his own sign language and it was
    fascinating watching him prepare the very formal violinists, cellists,etc. for a freak-out!
    DURING the course of the rehearsals I met TOM WILSON, the person responsible for putting DYLAN
    on the commercial pop map, who also records ERIC BURDON and THE ANIMALS, SIMON AND
    GARFUNKEL and the BLUES PROJECT among others. TOM had some people to see in London, but
    had also just come in with the MOTHERS for the trip — he produces their records. HOLLY GRAHAM
    NASH was another of the many pop personalities who went to the concert
    "Do you really think I could have stayed away'" he asked me. "It was an experience no one could
    have an excuse for missing!” All those who did will now be bitterly regretting it.
    ZAPPA will be back — he has to come again - public demand will persuade him.
    (Page 7) [small B&W photo, ‘Jimi knocked out by Mothers’]
    JIMI HENDRIX was knocked out at the MOTHER’S version of Hey Joe which they performed at
    the Royal Albert Hall as Hey Punk! [sic, ‘Flower Punk’ from We’re Only In It For The Money’]
    (Page 20)[3/4 page of photo used for back cover of US ELL & text, ‘JIMI HENDRIX’, etc. Framed
    in large curliques, and text overprinted with smoking lamps in blue & red]
    Miranda sits-in on Jimi’s disc session
    Technically the JIMI HENDRIX EXPERIENCE have just had a short holiday.
    MITCH and NOEL both went to the continent and JIMI stayed in London ...
    We are about to go into the studios to start our next album and I have so many ideas on
    my mind that I couldn't even think of going away!
    Because we have so little time to record this album, I've been putting in some work on it
    on my own—why don't you come down to the studios?”
    I did.
    With manager CHAS CHANDLER in the control room. Jimi started the first number. He then
    proceeded to build up a rough demo of the song by repeatedly recording on top of the first track
    with bass guitar, vocals and drums . . .
    I’ve never really played drums before! This is a gas!” he laughed. “The thing is that when
    we all get into the studios we will be short of time, so rather than describing the new
    numbers to the others they will be able to listen to these rough demos.
    JIMI spent a total of twelve hours in the studios altogether and when I saw him a few nights later
    he played me the results — although very rough they had the HENDRIX touch and the LP should
    be a gas.
    "You must come down to the studios again when we are doing it properly and see what it's really
    like!” he invited . . . I'll be there JIMI — who would turn down an invitation like that!
    The results of these recording marathons should be out by Christmas.
    It might not be that long a series of sessions.We've still got three tracks left over from
    our last album and three that we recorded last summer. We are going to listen to them
    again to see if they are good enough and will fit in.
    Actually, I don't really mind if they aren't suitable and we have to record some more. I
    love working in a studio. You can always get right down to it and it’s very satisfying work
    . . .”
    He then went on to tell methat he would really rather like to play drums on stage for maybe
    one number . . . “or half a number if it doesn’t work out that well!
    JIMI freaking out on guitar is an exciting sight . . .it should be groovy if he does on drums too. But
    I’m not sure if he was serious or just havingme on.
    I’ll ask MITCH next time I see him!
    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 October Newspaper & Magazine Articles (Text Only)

    Monday 2 October 1967
    VÍSIR [INDICATOR] (page ) [B&W close up of Jimi’s head from early publicity shot]
    Since Teenage
    ‘Steel Teeth Or. . .’
    This American fellow named Jimi Hendrix was born on 27 November, 1947 in Washington. He left
    school early, and he went into the army, but broke his ankle and damaged his back, so that was
    not a long career.
    Jimiroamed the West Coast and learned the guitar. One night one of the Isley Brothers heard
    him play the guitar, and immediately offered him employment in their band.
    Having played with the Isley Brothers for a time, he began to play with various instrumentalists
    and singers, many of whom have become popular - Little Richard and Ike and Tina Turner could
    be named among others.
    Jimi Hendrix did not have any great idea about coming to England until Chas Chandler and Mike
    Jeffrey, Managing Director of the "Animals" considered taking him there, he took a trip there, in
    September 1966, and he has already raised at a lot of attention across Britain.
    "I came to Britain, got me the two best musicians and finest gear and what we were about was
    producing music, our personal acoustics and our personal style. All this has succeeded, and more,"
    says Jimi Hendrix.
    In Jimis opinion Mitch Mitchell and Noel Redding are the two best musicians in England,
    Mitch is nineteen years old and plays the drums. He played with "Blue Flames" for about a year,
    but in November 1966 he met Chas Chandler, who then hired him to play for Jimi Hendrix.
    Due to Mitch’s knowledge and young, rich ideas, he is considered the mainstay of theJimi
    Henderix [sic] trio, TheExperience.
    Noel Redding, who, plays bass and sings, is 21 years old. Since he left school five years ago, he
    has played guitar with various bands.
    Noelfounded the band "The Loving Kind" in October 1965. The band was not popular, and that
    led to their records not selling. Soon Noelleft and went on his way. He approached Jimi Hendrix
    in October 1966, where he began playing bass and has managed it very well.
    Noel creates the great rhythms with bass strings, against Jimi Henderix great solos.
    Overall, this association is calledthe "JIMI HENDERIX EXPERIENCE" which means power
    "REYNSLA [’Experience’ is given in Icelandic here. Ed.]JIMI HENDERIX" The main JimiHenderix
    Experience features are their decorative dress, and that Jimi often bites the strings, when they are
    on fire, at least at concerts[Ha-ha-ha! Ed.]. - What kind of teeth does he have - ???
    The latest song by the Jimi Henderix Experience is called "Burning Of Midnight Lamp", and is
    now in 19th place in the British charts.”

    Tuesday 3 October 1967
    USA (OH)
    CINCINATTI INQUIRER (page 2-Teen) Our Readers Write
    Play It!’
    TO THE EDITOR:I wish to add my nameto the ever-increasing list ofthose who have become
    dissatisfied with the Monkeebusiness going on at thelocal radio stations. Whatthis city needs is a
    free-formrock station, an NOP forteen-agers, that is willing tostick its neck out beyondthe top 40
    and play thealbum cuts of the lesserknown groups. Just to namea few, The Grateful Dead,
    Country Joe and the Fish, Jimi Hendrix, and the Butterfield Blues Band. Theseare all great groups
    thatdeserve exposure, something they never seem toget on WSAI or WUBE.There is a lot of great
    music floating around, IfONLY someone will play it.

    Scott Fahnestock, Mariemont, Ohio

    Tuesday 3 October 1967
    USA (American University, WA)
    EAGLE (page?) ‘JIMI HENDRIX: MAKES YOU WIDER’ by Evan M. RothEagle Staff Writer
    Be forewarned. Used to be an Experience meant making youabit older. This one makes youwider,"
    So begins the liner notes of "Are You Experienced?" the first American album by the Jimi
    Hendrix Experience (Reprise R/RS 6261) and though these lines sound a bit forbidding, they are
    not far from the truth. Jimi Hendrix has created a new experiencein the world of sound and it is
    the wildest yet.
    Hendrix (an American from Portland, Oregon) has become famous inhis present home of London
    for being one of the finest guitarists today. To add to this he can play the guitar in more positions
    than anyone has ever imagined. He even plays it with his teeth: But that is irrelevant, what is
    important is that his group is one of the most important to arrive on the psychedelic scene today.
    His sound can be termed "psychedelic," but it differs greatlyfrom the sounds that are being
    developed by the major West Coast groups of the U.S. While groups like the Jefferson Airplane, Moby
    Grape or the Grateful Dead might sing about the pleasures of being high, the JimiHendrix
    experience creates a synthetic high by creating utterly fantastic electronic sounds. Turn thevolume
    all theway up while you are listening to this album and you will understand.
    The opening cut on the LP is "Purple Haze." Though it is based on an EAB7 chord progression and
    contains the elements of a city blues, "Purple Haze" has an entirely different character; It's wild
    and really way out. It can really blow your mind.
    Cut number two is equally as way out. You can almost tell just by its name: "ManicDepression."
    If you listen closely, you'll notice It's also a waltz. The waltz has surely come a long way.
    Another cut is “Love and Confusion," just from the use of the music, Hendrix creates a feeling of
    confusion that can evolve from a love affair.
    JimiHendrix is at home with "quiet" music as well as with the usual wild sounds he creates, Two
    such examples are "May This BeLove" and "The Wind CriesMary". Hendrix has created in these
    two cuts the feeling of euphoria that comes from loveordrugs. This is particularly evident in "The
    Wind Cries Mary" where the feeling of being in a pleasurable high almost beckons the listener to
    turn on.
    The longest cut of the LP, "Third Stone From the Sun," is a creative interweaving of Western
    psychedelia and Eastern music. First the piece begins with the serenity of a guru in meditation,
    builds up to a ferocious climax and drifts down to a peaceful end.
    I have not been able to cover all the cuts on this album, though these are also worth the timeit
    takes to listen to them. Also I have failed to mention Mitch Mitchell, the drummer, and Noel
    Redding, the bassist of the group. These two men complement andadd to the sounds and
    vibrations created by Hendrix.
    "Are You Experienced?" is a fine example of the new music that is being displayed to the public
    today, it is different, wild, noisy, meditative and as the liner notes contend, "will put the heads of
    Hendrix' listeners into some novel positions,"
    It will be worth It. But, as the liner notes also say,
    "Be forewarned."
    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 October Newspaper & Magazine Articles (Text Only)

    Tuesday 3 October 1967
    USA (East Lansing, MI)
    THE PAPER (page 7) ‘Psychedelic Scene: Enter Hendrix, Confusedly’ by Bill Kahl
    With the Beatles came the first suspicion that something new was happening in Pop music. Later it
    was labeled ''Psychedelic Music", but basically it was just plain musical taste that the Beatles
    promoted. As a result, good musicians in other fields (Folk and Jazz) considered performing Pop for
    the first time, and musicians already in Pop music were literally shamed into playing a little more
    than their old adulterated, watered down, syrupy, tasteless Rhythm and Blues.
    A group called the Jefferson Airplane was playing good Pop long before it was "in". The Byrds
    developed into fine musicians and a lot of new groups developed with the awakening of Pop Music;
    most better than average, a few excellent. More than ever, groups were writing their own songs
    and trying for their own sound—originality, if you will. Electricity was explored as never before. But
    then came the reaction that should have been expected. Monied people in the business began to see
    dollar signs with this new music, and so began to exploit it eagerly. This was done in two directions:
    one was to make all sorts of strange sounds (in the hope of passing it off as Psychedelic) and the
    other was to copy the sound of the prototype groups, i.e. Monkees-Beatles, etc. While it's true that
    Pop music generally is now on a higher plane than before, a slightly higher grade of mediocrity
    seems to be settling over it all.
    The excitement of making new, fresh music is dying (almost before it started) and money and quick
    fame are again the main motivations of most new groups. It's not all that black, however, as the
    Beatles continue to outdo themselves, and the Airplane hold fast to their impeccable taste. New
    groups like "Country Joe and the Fish" and "The Doors" have bags all their own, and they're good,
    too. And no one can touch the "Mothers" for sheer audacity, bluntness, and humor.
    A new edition to this short list of Pop greats is the "Jimi Hendrix Experience", a small group (3),
    with more power than any other group of twice its number. There are two guitars (mostly),
    sometimes a bass and drums. Two of the group are white; Hendrix makes it very plain that he is
    It's hard to pin down their style because they have so many bags thrown together (Motown, Blues,
    The first track on side one, "Purple Haze," let's you know immediately that Jimi Hendrix is really
    onto something, even though it is the most commercial cut on the album. (It's the single release).
    Density is the word that seems to fit this group best, and they play together as a real unit,not just
    three musicians that happen to be playing the same song. Hendrix and Noel Redding (2nd guitar)
    weave their lines together so smoothly that they seem to be one person. The only way to separate
    them most of the time is when distortion and electronic effects are used. (Hendrix does this). The
    group is the only one except the Beatles that has done this without a sense of gimmicry; it sounds
    like it really belongs. Also, most of the effects can be done live, as is not the case with the Beatles.
    There was only one cut on the album that I didn't care for—'Manic Depression'. It has as much
    power and drive as the others, but that's about all it has. Musically it seems barren, and the changes
    are repetitive and unexplored. The total effect is jarring and it grates on the nerves like sandpaper.
    Hendrix's voice, while never great, seems less than adequate here. It just adds to the total abrasive
    quality of the song. But it is possible, I suppose, that Hendrix is out to make us manically depressed
    'I Don't Live Today', 'Love or Confusion’ and 'Third Stone From the Sun,' rank as the best cuts
    on the album, with 'Are You Experienced?' running a close second.
    'I Don't Live Today' and 'Love or Confusion' are both incredible rhythmically, and build up a
    throbbing, hypnotic drone, with Monotonous electronic pulses at varying frequencies. The effect is
    somewhat likebeing buried by a steam roller, and then being mesmerized into not caring.
    ThirdStone From the Sun' is the most complex and interesting composition, a showcase for the
    drummer, Mitch Mitchell, who is one of the best of his genre. It has a floating quality about it,
    combined with a sense of forboding, the termination of an era: "you'll never hear surf music again."
    'Are You Experienced?' immediately calls to mind the Beatles, and is reminiscent of the feeling
    aroused by 'Strawberry Fields Forever' and 'A Day in the Life'. I'm not sure what Hendrix means
    by Experienced (drugs, freedom, holiness?)—but it's certain he believes that not many people are.
    There is a demanding quality about the song that upsets me, as if someone came up to me,
    grabbed me by the throat and insisted that I be beautiful, then threw me down in disgust because
    I wasn't.
    'Fire' and 'Foxey Lady' have the heaviest Motown influence and come on stone Spade. 'Hey Joe'
    is the only non-original on the album and stands up well against the Byrds and Love, creating a
    different feeling, slower, prettier.
    The finest lyrics on the album are in 'The Wind Cries Mary', and ‘It may be Love'. Hendrix can
    be beautiful as well as brutal.
    It is hard to judge anything, but Hendrix demands attention as few others; for he simply takes it.
    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 October Newspaper & Magazine Articles (Text Only)

    Wednesday 4 (7) October 1967
    RECORD RETAILER (page 18?) Britain’s Top 40 Albums
    20-05-06. Are You Experienced - Jimi Hendrix Experience (Page 19)
    Britain’s Top 50 Singles

    06-20-27. The Burning Of The Midnight Lamp - Jimi Hendrix Experience

    Wednesday 4 October 1967

    VARIETY (weekly), page?, Variety Album Bestsellers (A National Survey of Key Outlets)
    This Last No.
    Wk Wk Wk’s
    33 34 3 JIMI HENDRIX Experience (Reprise)
    Are You Experienced (R6261)

    Wednesday 4 (5) October 1967
    USA (NYC, NY)
    VILLAGE VOICE (page 4>) [Letters]Tomorrow Does Come’
    Dear Sir:
    To Margot Hentoff—
    Tomorrow does come.
    One is white if one chooses to be; one takes a share in the power and enters oneself in collusion
    with it if one chooses to; one becomes one of “the oppressors themselves” when and if ever one
    chooses to.
    People are now tempering the choices in their souls, and are preparing the sides of the line to be
    chosen when actions will come.
    At Lincoln Center they applaud; elsewhere they do other things.
    —Philip Corner Delancey Street
    Dear Sir:
    Despite my considerable admiration for Mr. Newfield I question his rather derogatory statements
    about Henry Cohen (Voice, September 14), second-in-command of the Human Resources
    During the last of the Wagner years. Cohen was the only major city official (he was then deputy
    administrator of the City Administrator’s office) pressing for the development of ghetto-controlled
    programs to combat poverty. Had he not run interference within the city administration for the
    Negro and Puerto Rican communities, agencies like HARYOU-Act would never have developed.
    Indeed, the early emphasis in New York on locally controlled programs in ghetto areas was
    subsequently adopted by the farmers [sic. planners?] of the Economic Opportunity legislation
    which led to programs like the Mississippi Child Development Project.
    Cohen’s views cost him his job, after 13 years of public service. Aides to Wagner feared the
    political consequences of letting ghetto communities operate their own programs, and so advocated
    unfettered control by City Hall of all anti-poverty projects. A bitter internecine struggle ensued
    among Wagner aides. Cohen lost, resigned in the spring of 1964. but returned to public life two years
    later under Lindsay.
    Under the circumstances, one is puzzled to find Mr. Cohen described as a “bureaucrat” and a
    “holdover of the Wagner administration.”
    —Richard Cloward Professor of Social Work Columbia School of Social Work ‘A Crucial Stage’
    Dear Sir;
    I recall Marvin Garson’s article about the movement in San Francisco vividly from a Village Voice in
    late August. He notes as the symbol of hope a Negro in a cable car content in his job. whistling, but
    wearing a black panther button. Garson concludes what I found a superb piece of commentary by
    noting that the city of San Francisco—which the white community runs—faces an-other earthquake of
    1906 proportions in the near future but has taken few precautions if any to prevent it.
    But when Garson reports from the NCNP (Voice, September 21), he is shocked and hurt by the black
    caucus’s demands and bemoans that the chance to run a third party ticket against Lyndon Johnson
    has been lost. What happened to his earlier awareness that black power is the only genuine sign of
    political hope in this country? What happened to his feeling that white leadership in this country
    became so bankrupt that it cared not to protect against natural let alone social catastrophe? Garson
    recalls those good old honest days when FSM at Berkeley was turning out daily leaflets filled with
    truth. The value of such nostalgia pales when one considers that no comparable student movement
    has since developed and that three years later and in almost total obscurity, Garson and the other
    FSM leaders served their jail sentences without much benefit to their movement
    I don’t believe the movement is dead—indeed it must not die—but it is surely at a crucial stage. If
    radical whites like Garson learn to accept black power and turn their activities to developing effective
    agencies of white power, then perhaps our hope can be fulfilled. Rather than feel hurt by the black
    caucus, the response should be to start educating and activating the mass of dormant white people
    in this country. The name “white civilizing committees” might rankle, but can any of us deny the
    point the black caucus made?
    —Lee Lowenfish University of Wisconsin Madison, Wisconsin
    Feiffer [cartoon], a younger, slim black man dressed in African robe and sandals, with white face
    mask and shades is talking to a silent, suited and booted, stout, balding, older white man with a
    crew cut and a briefcase. BM: “I denounce integration as meaningless and you call a meeting to
    discuss it; I abandon non-violence and and you call a meeting to discuss it; I indulge in anti-
    semitism and you call a meeting to discuss it; I advocate burning the cities and you call a meeting
    to discuss it; I try to break up the peace movement and you call a meeting to discuss it; The only
    black power in America is in panel discussions.”
    ‘In the Same Bag’
    Dear Sir:
    The National Conference on New Politics was much more complex than Marvin Garson would like his
    readers to believe. (Voice, September 14). We will not deny that he had a point, but he certainly
    missed many others.
    One, the Conference turned out to be a process of learning under pressure, i.e., as a first experiment
    aimed at bringing the many sides of the American Left together. We were compelled to learn about
    them before accomplishing anything. Mr. Garson seems to have gone to the Conference with a fixed i
    dea in his mind (“... hoping that a national electoral campaign would emerge to challenge Lyndon
    Johnson in 1968”) and found everything negative because his hope was frustrated.
    Two, the radicalism of the blacks and their revolutionary vitality became, by far, the outstanding issue
    of the Conference. The whites had two alternatives: to accept it as a fact and try to live with it or to
    reject it.
    Three, the acceptance of the 13 points in toto was, at least to many, a conscious choice of the first
    alternative rather than a clown show; a symbol of recognition and acceptance of black militancy
    rather than the approval of “embarrassing,” “inarticulate,” or “humiliating” points. The same is true
    for the 50 per-cent vote given to the Black Caucus. Why this should be qualified as a clown show
    rather than a revolutionary change will be easier for the Chicago Tribune readers to understand than
    (hopefully) for The Village Voice readers.
    Four, Garson does not have to worry about “sympathizing with the white victims of the black con
    men” since such characters might not exist in reality. At this stage of the game it is hard to imagine
    how any genuine step to the left could be made with-out the cooperation of the blacks the
    workability of this co-operation has, however, yet to be proved; the Chicago Conference only
    attempted to set the basis for it.
    There will be many opportunities to settle the “ludicrous” points Garson speaks of before they
    become concrete programs and policies. Perhaps there will even be an opportunity to demonstrate,
    at last, that black and white skins are all in the same bag. To kill it at its very root would have been
    a clown show. —Marvin and Lourdes Surkin, Bethlehem, Pennsylvania
    (Page 16) ‘scenes’
    If home was the Lower East Side during its historic immigrant era.
    This Sunday afternoon, October 8, Seward Park (at, Canal, Heater, and Essex Streets) will be the
    scene of “Portal of America: A Lower East Side Festival Reunion” which will feature ethnic
    refreshments; entertainment, past and pop; art exhibits, and collections of memorabilia. But the
    real kick should come from the reunion of old East Side residents, both those who left and those
    who stayed, who will meet again under the banners denoting their old micro-neighborhoods that
    made up the macrocosmic melting pot that was the Lower East Side. Registers will be avail-able at
    the neighborhood stations for recording names with old and new addressee. These rolls will then
    be deposited at the Educational Alliance, where they will serve as a permanent guide for anyone in
    search of old friends.
    For those for whom the history of the East Side began with the ersatz founding of the East Village
    during the 1960s, the fleeting resurrection of the Lower East Side could add a little perspective.
    The idea for the festival is an extension of Allan Schoener’s just published book, “Portal To America:
    The Lower East Side 1870-1925” which is an extension of the highly acclaimed photographic exhibit
    Schoener assembled for the Jewish museum.
    Timothy Leary is still the leading apostle of dropping out, but the question is how far. Resisting
    premature martyrdom, the prophet of the League for Spiritual Discovery will go to the Supreme
    Court to appeal last week’s ruling of the United States Court of Appeals for the Fifth Circuit. The
    Appeals Court up-held his federal conviction in Texas of illegally importing marijuana from Mexico in
    1965 and of transporting it without paying taxes. The Appeals Court decision stated that there was
    no evidence that marijuana is necessary to the practice of Leary’s religion. If Leary loses in the high
    court, he faces a 30-year sentence and a $30,000 fine. Leary’s daughter was also tried and
    convicted of transporting and concealing pot, but her sentence was suspended and she was put on
    probation until she is 21.
    (Page 19) [ad, with map]
    ‘THE EAST VILLAGE. The Place To Be This Summer’
    Cut out this page for your address guide.
    (Page 20)
    pop eye by Richard Goldstien
    ‘Cream: They Play Blues Not Superstar’
    Clapton worships bluesy raunch, even when he is playing pop. The Cream draw a sharp, almost
    genetic distinction between blues and rock, and they have little regard for hybrid music (when they
    talk aboutJimi Hendrix’s timing, they mean his image). For all their psychedelic cowpuncher gear,
    they are among the most conservative British pop exports. Like American city folk musicians (before
    rock devoured the word “acoustic”), the Cream are inspired interpreters if not innovators).
    [Ad] HEAR MALCOLM X TAPE RECORDINGS various speeches Sat’s Oct. 7, 14—7 pm
    873 Broadway (19th St.) Contr. 50c
    Young Socialist Alliance
    (Page 25) ‘WOR and The Future’
    At last word, Rosko, too, has left. His on-the-air resignation
    Monday night was prompted by what he calls an “unhealthy” attitude among new staff consultants.
    He asserts that WOR-FM now receives instructions for programming “direct from L. A.” And he cites
    the addition of “straight top 40” DJ Jim O’ Brian as conclusive proof that the new WOR-FM will be
    very old indeed.
    (Page 31) [small B&W picture ad]
    “An Absorbing Film! A Special, Hip Fun! – N.Y. Times.
    BOB DYLAN[large 2-tone print of Dylan with cig in mouth] DON’T LOOK BACK A Film by D A Pennebaker.
    34th St. East
    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 October Newspaper & Magazine Articles (Text Only)

    Thursday 5 (7)October 1967

    DISC & MUSIC ECHO (page?) Jimi Hendrix/ Move tour has been restricted to theatres and
    concert halls only—at the special request of both managements. "This tour is to be something
    new," said promoter Tito Burns, "and this was just part of the plan to make it new and exciting."

    Thursday 5 (?) October 1967
    INTERNATIONAL TIMES (page 14) [1/4 page B&W text ad]:Sundays at the Saville a NEMS
    presentation ● October 8: 6 p.m. and 8 p.m. ● JIMI HENDRIX EXPERIENCECrazy World of
    Arthur Brown
    ● John’s Children ● Crying Shames ● BOOK TEM 4011 ● There are Sunday shows
    every week-end at the Saville full details at the theatre booking offfice.

    Thursday 5 (7) October 1967
    MELODY MAKER (cover) ‘Move Move Up!’
    ... Tour
    The group’s British tour with the Jimi Hendrix Experienceopens at the Royal Albert Hall on
    November 14. …
    (Page 2) Melody Maker Pop 30
    06-20-24. Burning Of The Midnight - Lamp Jimi Hendrix- last entry
    01-NE-30. Homburg - Procol Harum
    (Page 4)The RAVER’S Weekly Tonic
    . . .Arthur Brown (Crazy World Of) says Nice’s Keith Emerson is the Jimi Hendrix of the
    organ . . .
    [B&W ad. Photo of (unknown?) bass player, ad.] the ‘marshall sound; is getting around. . .
    . . .used by many of today’s big names including
    Jimi Hendrix Experience, The Tremeloes,
    Procul Harum, Spencer Davis, The
    Cream, Bee Gees, Small Faces, JimmyJames And The Vagabonds.
    Marshall’s big sound is for you! Select your own particular set-up, over 2 dozen separate units from
    18 watts to 200 watts to choose from.
    MARSHALL - the world’s most powerful distortion free amplification. For full details write your name
    and address on a postcard and send it to us -
    (Page 5) ‘The Ultimate Burdon
    . . . “My new album…Winds of Change…is dedicated to everybody in the music business from the
    turn of the century to today - the people whom I think have left an important mark. People like King
    Oliver, Chick Webb and Robert Johnson, up to Dylan, Hendrix, the Beatles and the Stones. . .”
    (Page 11) ‘The Zombie Cometh’ by Nick Jones
    British Fans Just Don’t Seem To Want To Enjoy Pop Shows Now [ie the crowd at the Saville are to
    preoccupied with looking ‘cool’ to the point of barely responding. UK is compared unfavourably to USA

    . . .If communication can be achieved with the average beaty soul sounds - the more complex,
    dynamic and powerful music creators like Jimi Hendrix could instantly be more musically satisfying.
    With any kind of audience at a peak of excitement and appreciation Hendrix, for example, is going
    to introduce more and get more dimensional sounds - instead of making his climax one of volume
    and a faster beat, and is therefore going to keep exciting that audience, keep doing them in with
    more and more incredible climactic sounds, and is infinitely going to knock them out much further
    . . .
    (Page 16) [text box ad] Wellington Club
    Dereham, Norfolk
    Saturday, October 7th

    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 October Newspaper & Magazine Articles (Text Only)

    Thursday 5 (7) October 1967
    RECORD MIRROR (page 4) Bill Harry’s Pop Talk
    ‘Pop Shorts’
    . . . Koobas now added to the bill of a special spectacular concert in the Hallenstadium, Zurich,
    Switzerland from May 31-June 1 next year. Other artistes include The Cream, The Move, The
    Traffic andThe Jimi Hendrix Experience . . . Cream off to the States for one day only on
    December 21 to appear at a special party in Chicago. . .
    (Page 11)
    Britain’s Top 50 ‘National Chart Compiled by Record Retailer’ [Wednesday’s]
    27 Burning Of The Midnight Lamp 20 (6) Jimi Hendrix Experience (Track)
    TOP [30]L.P.’s
    6 Are You Experienced 5 Jimi Hendrix (Track)

    Friday 6 (14) October 1967
    BILLBOARD (page 37) Top Selling R&B LP’s
    26 entry Are You Experienced - Jimi Hendrix Experience.
    (Page 49) Top LP’s
    10 (10) Are You Experienced- Jimi Hendrix Experience
    (Page 66) Hits Of The World
    ‘Britain’ (courtesy Record Retailer [Wednesday’s UK])
    27 (30) Burning Of The Midnight Lamp- Jimi Hendrix Experience (Track)—Schroeder-Stamp-

    Friday 6 (14) October 1967
    CASHBOX (page 4) Top 100
    67 (75) Purple Haze — Jimi Hendrix Experience(Reprise 0597)
    (Page 53) Top 100 Albums
    16 bullet (19) Are You Experienced — Jimi Hendrix Experience (Reprise R/RS 6261)
    (Page 64) Great Britain
    ‘Great Britain’s Top LP’s’
    8. Are You Experienced—Jimi Hendrix (Track)
    (Page 84) [B&W photo of LP cover ad.Are You Experienced?— The Jimi Hendrix Experience

    Friday 6 October 1967
    GURU [1st issue] (cover) [B&W photo of JH in crowd at Monterey, text is totally unconnected]

    Friday 6 October 1967
    USA (CA)
    Perhaps she was a child of sorrows. A victim of one life’s lacy, incense-scented locks, that purr, and
    smile, and curl, grinning incandescent in the darkness, to lead you farther into the tangled forest til
    you are wholly, totally lost—flash and then go out. Or maybe she just cried a lot. But then that’s not
    for nothing, though the reasons, the hidden, deepest reasons, maybe drowned in last night’s
    downpour, and in the obscurity of rain on unlit windows. Whatever willowshrouded pools in whatever
    depths of her caused her to cry like that last night (and it’s sad but crying does not get sadness out
    of your system, but is only a symptom of a system that produces sadness), the sensual stream
    which, running through her, was as real as the source of tears, or it never would have done: Procol
    Harum. Some gentlemen prefer The Who; some say that Jimi Hendrix is the be-all and the
    end-all of the music revelation. I myself am sogladlisteningtoTheCream that the occasion
    calls for more than words, leaving them far behind, (and The Cream knows it too: their words are
    few and to the overwhelming point). But Procol Harum takes clever words, makes well-turned
    phrases, and holding them upside-down, empties them of literary meaning until the latent gloss or
    slime of words has taken refuge in the drainpipes, and the bare yet strangely now mystical wind,
    echoing with drifts and swells of music like wave reverberations on astormsweptbeach, howls and
    murmurs “Foul,’’ but goes further than to give vent to a murderous rage for being able to go no
    further, and permeates the rainy night with “Why?"—and causes grown-up girls to cry. That is the
    force and scope of Procol Harum’s first album, and right away let me add for those of you who
    were enticed by the exotic flavor of the name, it’s not the name of a man, as you may have thought,
    but of a bunch of men, five in all, which makes it that much farther out. Gary Brooker is the man
    who sings “A Whiter Shade of Pale” and all the other cuts; he also writes the music and plays
    Dylanesque piano. The words are all written by Keith Reid, who is not in the group. Consult your
    local album cover for further details. Speculation I have no doubt has been widespread about the
    significance of “Whiter Shade of Pale" in the ever changing and unpredictable musical art of rock.
    A friend of mine who plays lead guitar in a Clapton-oriented Stanford group called The Gyre (which,
    if given the right breaks, may eclipse the Airplane in San Francisco Sound Competition) intends to
    write such a song for his group, with words of no apparent rather than obscure meaning as in late
    Dylan. Content is out; style is in. These latter centuries of Western prose, from the rhetoric of
    liberalism to the cant of academic psychology, each linguistic specialization equally cold, clinical and
    superficial, when intelligible, have produced—what? Even the eloquent bullshit with which some
    Buffalo Hoof, Dakota City council plasters the town’s local telephone poles over the question of filling
    a ditch reveals the inner vacuum of the fill-the-bay, asphalt-the-beach, defoliate-the-jungle
    mentality; to cleanse in fire the cryptic swamp of the soul: in such symbolic rage does modern man
    strut his imperial and pathological hour upon the stage. And burns his bridges behind him, cutting
    himself farther and farther off from his past, to enact the present on impulse and the doubtful
    “weight of history.” “ . . . Alas! Our dried voices, when We whisper together Are quiet and
    meaningless As wind in dry grass Or rats’ feet over broken glass ..." As the Pox Americana begins to
    degenerate into confusion and the artificial lights go out where plastic lilacs last in the dooryard
    bloomed, we find that the West has less and less to say the more it goes on talking, and so Fresh
    Cream can say it all in one incisive phrase (take your pick). For who would dream of fixing a hole
    where the rain gets in and stops one’s mind from wandering—in a land which prides itself on the
    nasty habit of cramming corks up fresh young cunts. If you get the drift, and you drift along, up
    over the breakers clogged with weeds and words of unfeeling meaning, and out to the sea which
    spawned us all, borne along by feeling, the experience may be all that’s meaningful happening, with
    strange and yet suggestive words for us to give it meaning. My friend John Thomson (look for his
    poems in AvantGarde) says that there are no meaningless songs, only meaningless bullshit and
    bullshit’s what Procol Harum (back to them) is not: but feeling, sea-winding out to the unlit
    stretches of ocean wherethe source of our tears may have ridden on an interrupted wave.
    Understanding this, one might yet begin to pick up a few bits and snatches of revealing candor here
    and there, shrouded in no more obscurity than the mystic sounds of life: She wandered through the
    garden fence And said I’ve bought a great expense, A potion guaranteed to bring Relief from all your
    suffering. There is a note on the back of the albumcover which cautions the purchaser: “To be
    listened to in the spirit in which it was made." Let me add, since this is supposed to be a review, of
    sorts, don’t buy the album. But who expects solely to be entertained in these psychedelic days?
    (Page 13) [B&W text ad] KAZOO GOODIES
    NEW POSTERS: Photographic “TRUST” (Mother & Child), “LOVE IN THE GRASS” (groovy couple at
    Pleasure Faire), “MARTY BALN” and “GRACIE SLICK” (no explanation needed). OTHERS; “YELLOW
    Persian hash pipes - enamal on brass, small, delicate, lovely. Indian Bead Bell Necklace, Turquoise
    bracelets. FLUTES: (Snake Charmers) Indian—Many varieties from 25-1.50. Beautifully made—
    several registers—fine, reedy oriental sounds. TAMBOURINES: Headless, good quality—Mexican-
    clear, pure echoing ring. All sizes, single and double rings. INCENSE: Rajah-powder lasts 1 month!
    Sandlewood, Goddess of Love, Jasmine, Lotus. Hong Kong Stick, small & large, sold by the stick!!
    BURNERS: 6 Varieties—from small to large. AND: Papers (Rizia is in!) pendants, buttons (“Hebrew
    Fake” is back) beads, the newest and bestest of all.
    TO ORDER BOOKS BY MAIL: Add 25¢ per order for postage and handling. Calif, residents add 5%
    sales tax. Send 25¢ for catalogue. SEND ALL MAIL ORDERS TO FAIRFAX ADDRESS.
    424 1/2 No. FAIRFAX AVE., L.A. 90036 Open Every Day 10 a.m. to 2 a.m.
    1 E. COLORADO BLVD. at FAIR OAKS Open Every Day 10 a.m. to 1 a.m.
    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 October Newspaper & Magazine Articles (Text Only)

    Friday 6 (7) October 1967
    HIS face is craggy and lived-in-maybe a little too lived-in-and over the face there'san air of grumbling
    humour and a wild frizz of Hendrix hair. The name is AllanClarke, the Hollie who until not so long ago
    tended to stand quietly in the valley of theshadow of Nash . . .
    (Page 9)NME Top 30
    01-NE-18. Homburg - Procol Harum -
    07-25–28. Burning Of The Midnight Lamp - Jimi Hendrix Experience (Track) last entry
    (Page 10)
    Jimi Hendrix next single is likely to be another self-penned number "Little Miss Love", to be issued
    by Track early in December. He is currently engaged in a 15-day crash recording programme to
    complete his second LP, due out in January. TheHendrix Experience is booked for a five-day tour of
    Germany from December 13, playing TV dates in major cities.
    (Page 11) ‘HendrixMove new dates, only one Rascal here’
    CHANGES in the tour schedule for the Jimi Hendrix -MoveAmen Corner package, plus two additional
    dates, wereannounced this week by promoter Tito Burns ofthe HaroldDavison office. The tour now
    visits Coventry Theatre on November 19, and Nottingham Theatre Royal (originally plannedfor that
    date) on December 3. The package's appearance atCardiff Sophia Gardens is brought forward two
    days to November 23.
    Two extra dates have been added to the itinerary since the NNME exclusively printed the first eight
    venues last week. They are BELFAST Festival of Arts (November 27) and CHATHAM Town Hall
    (December 1). Leicester DeMontfort Hall will be visited atthe end of October, but the date has not yet
    been finalised.
    (Page 12)NME Points Championship -
    ‘Hump Increases Lead’
    THREE-QUARTERS of the way through the NME PointsChampionship for 1967, Engelbert Humperdinck
    has takena commmanding lead over the Monkees. They are followed by
    Tom Jones, the Tremeloes and Jimi Hendrix.
    The Beatleshave crept up to sixth position. Twelve of the leading 20 names are groups -and 14 ofthe
    places are occupied by British artistes.
    5. Jimi Hendrix. . . .475
    [B&W text ad] ONLY 5/- WEEKLY for 3 L.P.s
    Balance 5/- weekly). After 5/- 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.
    Any popular LP including all Beatles, Stones, Beach Boys, Monkees, Bob Dylan, Elvis, Jim Reeves,
    J. Hendrix, Otis Redding, Supremes and all Tamla Motown Stars.
    The G. A. Long Play Centre (Dept. A6H), 42-44, Gt. Cambridge Rd., London, N.17
    (Page 15)WHO’S WHERE
    London Saville (8th)
    (Page 16) Life-lines of FLOWERPOT MEN
    Neil Landon
    Best Friend: Noel Redding
    (Page 18) ‘Hippies rave over Pink Floyd and Keith West’ by Anne Mackenzie
    By far the best performance of the evening came from Tim Rose. He looked far too "normal" to be
    there at all, but an electrifying version of his own song [NOT!! Ed.], " Hey Joe," almost put Jimi
    Hendrix to shame and had the audience whistling and shouting for more.
    Also on the bill were the Fairport Convention and the Incredible String Band - which doesn't take
    itself seriously, and that's just as well.
    [B&W text ad] Sunday at the Saville
    October 8: 6 p.m. and 8:30 p.m.
    Crazy World of
    The Herd
    BOOK TEM 4011
    A NEMS Presentation
    (Page 19) NME Popword
    Before Hendrix
    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 October Newspaper & Magazine Articles (Text Only)

    Friday 6 October 1967
    USA (PA)
    POTTSTOWN MERCURY (page 16-B) [B&W ad] ‘H. Renz Smale’
    ‘The LP Spotlight’
    02. Absolutely Free Mothers of Invention
    08. Are You Experienced Jimi Hendrix
    14. Live If You Want It! Rolling Stones
    15. Animalism Animals
    16. Ticket To Ride Vanilla Fudge

    Friday 6 (14) October 1967
    RECORD WORLD (page 21) Money Music by Karl Rudman
    ‘Pop Station Listings’
    WLS, Chicago, New: Rose Garden; the Family; "It's You I Need," Temptations. Sales:
    Jimi Hendrix. Reaction: "Younger Generation," Janis Ian; Neil Diamond. Great Reaction: 7-
    cut of "You Keep Me Hanging On," Vanilla Fudge.
    (Page25) 100 TOP POPS
    69 71 PURPLE HAZE 7 Jimi Hendrix Experience-Reprise 0597
    Top Pops Alphabetically -Plus Publisher & Licensee
    PURPLE HAZE (Sea Lark Ent., BMI) 69
    (Page 30) 100 TOP LP’s
    15 16 ARE YOU EXPERIENCED Jim Hendrix Experience Reprise R/RS 6261; 4RA 6261 (4) 7
    (Page 45) Frisco Sounds by Roger Hartstone
    . . .
    Hendrix Only Match
    Big Brother is the only San Francisco group of the four mentioned. But Butterfield and Musselwhite
    are being associated with San Francisco and have been playing here constantly for the last four
    months. The Cream are English, but they're loved here anyway. Clayton [sic] is just so great-his
    talents are only matched by one other guitarist -Jimi Hendrix (Reprise).

    Saturday 7 October 1967
    USA (OH)
    CINCINNATI ENQUIRER (page 2-Teen) Our Readers Write
    Play It!
    I wish to add my name to the ever-increasing list of those who have become dissatisfied with the
    Monkee business going on at the local radio stations. What this city needs is a free-form rock
    station, an NOP for teenagers, that is willing to stick its neck out beyond the top 40 and play the
    album cuts of the lesser known groups. Just to name a few, The Grateful Dead, Country Joe and
    the Fish, Jimi Hendrix, and the Butterfield Blues Band. These are all great groups that deserve
    exposure, something they never seem to get on WSAI or WUBE.
    There is a lot of great music floating around, if ONLY someone will play it.
    Scott Fahnestock Mariemont, Ohio

    Saturday 7 October 1967
    DEREHAM & FAKENHAM TIMES (page ?) [Advert] The Wellington Club. Saturday, October
    7th. Personal Appearance. One of the few chances to see the fantastic Jimi Hendrix Experience.
    Plus supporting acts 8-11.45. Usual free buses [from Norfolk] Licensed bars. Tickets 12/6 or at the
    door. Coming Soon Amen Corner.

    Saturday 7 October 1967
    USA (CA)
    SAN DIEGO UNION (page C-6) Youth
    The Who’s Disc Is Nice Surprise’ by Dick Barnes
    This freely-freaking English group has taken the country by storm. Their bag is the soaring,
    explosive sound, coupled with guitar smashing, a la Jimi Hendrix [Jimi’s smashing was actually a
    la the Who! Ed.]
    At Anaheim
    The Who were booked into a concert in Anaheim several weeks ago, backing up Herman’s Hermits,
    the darlings of the pre-teeny-bopper set
    [Monkees, anyone? Ed.], and The Who
    walked away with the show. [Allegedly Ed....]
    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 October Newspaper & Magazine Articles (Text Only)

    Sunday 8 October 1967
    USA (Phoenix)
    ARIZONA REPUBLIC (page 6M) ‘Here Are Some Other Types Of Rock ‘n’ Roll’ by Troy Irvine
    Two weeks ago this column attempted to describe acid rock by definition and by contrasting and
    comparing it with other types of rock 'n' roll. Two albums were given as examples.
    There are many other categories such as Motown sound, soul, surf beat, Mercy beat, Memphis soul,
    raga rock, folk rock, teenybopper rock, rhythm and blues, pop, electronic rock and electric blues.
    IN THE LATTER category there are several outstanding groups, including Paul Butterfield, the Blues
    , Jimi Hendrix Experience, B. B. King and Canned Heat.
    About half of the electric bluesers are Caucasian, but their inflection definitely is rural Negro, and
    they ‘tell it like it is’.[etc. rest is puff piece for Canned Heat. Ed]

    Sunday 8 October 1967
    Canada (Victoria, BC)
    DAILY COLONIST (page 24) The Week In Records by Cathy Lowther
    Hit LP —
    The Jimi Hendrix Experience still has the lead. If Steve Pugsley doesn't pick up his
    copy soon, someone else will be glad to get it.

    Sunday 8 October 1967
    USA (Austin uni, TX)
    DAILY TEXAN (page 12) ‘Hendrix ‘Experience’ Explodes Psychedelic Soul-Sounds Mesh’
    by Tom Whheeler
    The climax of the Monterrey Festival was the Jimi Hendrix Experience's volatile performance
    which ended with Hendrix setting fire to his guitar, smashing it to pieces, and flinging the shattered
    remains into the audience.
    The Jimi Hendrix Experience's first album, "Are You Experienced?" translates their live
    performance into sound, breaking the sound into fragments, setting it on fire, and hurling it at the
    Psychedelic Soul
    The group combines soul and psychedelics, with Hendrix singing of modern sex-and-drug themes in
    a deep rhythm ‘n blues-rooted voice against an instrumental background of wild electronic
    With only two guitars and a set of drums, the Experience (Jimi Hendrix-guitar; Noel Redding-
    [bass!] guitar; Mitch Mitchell-drums) produces an astounding electronic volcano of sound.
    Standard hard rock drum rolls and guitar runs slide, fade, and erupt into menacing growls, grinding
    moans, and shrill whines.The Experience employs these techniques with great effect in “Third Stone
    From the Sun
    ," a disturbing melange of groaning sound and abstract verse.
    Elsewhere, the effects are used with greater control to add emotional impact to normal instrumental
    backing. For instance, in "Foxey Lady" the instrumental nicely underscores Hendrix's sensuously
    insinuating vocal.
    The backing is more conventional, but no less exciting, in "Fire.” Against their solid, vibrant
    instrumental backing the Experience pleads, "Let me stand next to you fiyur," showing that the
    is experienced in both the musical skill and the exciting eroticism of more traditional
    rhythm 'n blues.
    Particularly interesting is Hendrix's slow, well-paced rendition of "Hey Joe." Its unexpected in view
    of both the usual treatment given the number and Hendrix’s normally wild delivery.
    Utilize Potential
    It's evident that the Jimi Hendrix Experience has expanded from a solid musical base to a group
    of skilled musicians who dare to utilize the full potential of their equipment, in recording, or in live
    performance. Their first album shows a rapidly developing group in full control.

    There is more to the Jimi Hendrix Experience than psychedelia gimmicks and equipment-
    destroying performance, just as there is more to Hendrix's lyrics than simple sex and being high
    on drugs. In the title song. "Are You Experienced?" Hendrix asks "Are you experienced?",
    necessarily stoned - but beautiful?" The Jimi Hendrix Experience is.

    Sunday 8 October 1967
    USA (MI)
    DETROIT FREE PRESS (page 11B) ‘Billboard’s best Selling Records of the Week’
    10 - Are You Experienced, Jimi Hendrix Experience (Reprise)
    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 October Newspaper & Magazine Articles (Text Only)

    Sunday 8 October 1967
    LESBÓK MORGUNBLAÐSINS (page?) [2 B&W photos, JHE & Cream]

    "The Cream" and "Jimi Hendrix Experience" are bands that are often mentioned in the same
    vein, perhaps not surprising as they are similar to each other in terms of looks and instrumental
    play.These bands have limited themselves to a certain type of "blues music" that is currently
    gaining popularity in both the United Kingdom and the United States. Both bands are composed of
    only three people - guitar, bass and drums - they are similar in dress and all have their hair in
    “ringlets”, which at first glance makes them [disgusting to color(?)].
    But what about the look. These shows, as well as others, seem to fit the unruly modern youth in
    good spirits, and they now sail swiftly up into the starry sky, which, perhaps, is no less thanks to
    good instrumental play, but all these are excellent performers.
    These pictures were taken at a London airport, but The Cream was planning an eight-week audio
    tour to the United States and Jimi Hendrix was arriving from there after a three-month stay there.

    Sunday 8 October 1967
    USA (Boston, MA)
    SUNDAY ADVERTISER(page 16) ‘This Week’s Top Twenty Albums’
    01—"Fresh Cream" —Fresh Cream 02—"Best" —Sonny and Cher
    03—"At Home At the Palace" —Judy Garland
    04—“Groovin’ —Young Rascals 05—"Super Hits" —Various Artists
    06—"Sgt. Peppers” —The Beatles

    07—"Ode To Billie Joe" —Bobby Gentry
    08—"One Nation Underground " —Pearls Before Swine
    09—“To Sir With Love” —Movie Soundtrack
    10—“Greatest Hits” The Supremes
    11—“Reach Out” —Four Tops
    12—“Greatest Hits” The Hollies
    13—“Greatest Hits” The Temptations
    14—"Flowers" —Rolling Stones
    15—"Winds of Change" —The Animals
    16—“Release Me” —Englebert Humperdinck
    17—''Surrealistic Pillow" —Jefferson Airplane
    18—"Experience" —Jimmy Hendricks
    19—“Man and a Woman" —Movie Soundtrack
    20—"Velvet Underground" —Velvet Underground
    (The above list of to-20 albums was compiled by the Jordan Marsh Co.
    Music Store based on sales
    for the week.)

    Monday 9 October 1967
    NEWSWEEK (page 92) [B&W photo, Jimi biting guitar, ‘Hendrix: ‘Not as easy as it looks’]
    [Interview 26 September, 43 Upper Berkeley Street, London]
    ‘The Voice of Experience’ by Kevin Buckley
    With their hair frizzled to a frenzy, they seem to be singing their way through an electrocution. And,
    indeed, their instruments, two guitars and a drum, throb with electric power - pull the master switch,
    and the “Jimi Hendrix Experience would undergo a stage-wide blackout. But this nasty-looking
    trio with it’s triptych of smirking simian faces is not merely a curiosity of the electronic age, it is a
    hard-driving, funky group in the style of Ray Charles and Little Richard that is musical to the tips of
    it’s technology.
    Its lead-guitarist-singer-composer Jimi Hendrix has just been voted the world’s top pop musician by
    the annual Melody Maker Readers Poll in England. The group’s first album, “Are You Experienced,”
    is in the top ten in both Britain and the U.S. But, more important, it’s curious blend of avant-garde
    electronic oscillations with soul sounds and it’s penchant for violence have already made the [Jimi
    Experience something of a legend and the most interesting, if frightening, new figures to
    hop on the pop turntable since the nasty old Rolling Stones.”
    The group plays “accidental” music, not in the spirit of John Cage, but of three men inadvertently
    stumbling down a flight of stairs. “Once I was playing away and there was a short circuit and
    the guitar went up in flames,”
    says Hendrix, whose musical immolations illuminated the recent
    Monterey Pop Festival. “It went over pretty well, so for three times after that I sprayed lighter
    fluid on it and then stamped out the burning pieces.

    When we played in the Hollywood Bowl, they were waiting for us with fire extinguishers.”
    Sometimes the hirsute Hendrix, called “Mau-Mau” by one British paper, simply smashes his
    instrument to bits. That too, he, explains, grew out of an accident:“One time I was rolling around
    the stage and I fell off into the crowd. I tried to get back but the crowd was
    pressing in so I
    threw the guitar back, I didn’t mean to break it, but when you throw a
    guitar, it breaks.”
    In one sense the “Experience’s” destruction is inevitable rather than accidental, the surfacing of a
    violent streak that has always run through rock ‘n’ roll, the spontaneous and impulsive violence of
    the young. “I kiss and caress my drums, I love them so much,” says Londoner Mitch Mitchell,
    22, who, with guitarist Noel Redding, 21, another Britisher, add Anglo rhythms and harmonies to
    ’s strictly American blues style. “But if you can’t get the right thing from them, destroy
    them. Once I couldn’t get what I wanted out of the amplifier, so I kicked it and kicked it.”

    Why all the violence? “We just try not to bore ourselves,” says the 21-year-old Hendrix,“and
    hope the audience likes it.”

    Sometimes they like it too much, swarming on stage in droves. On the group’s American tour this
    summer, the Daughters of the American Revolution in San Francisco blocked their appearance with
    the Monkees on the ground that the[Jimi Hendrix] Experience” was “too erotic.” The group
    refused to soften their act, quit and packed houses on their own up and down the West Coast. Their
    album jumped from a cliff-hanging 100th to No. 12. They were made.
    Frets and whines
    Hendrix supplies the eroticism, making love to his guitar with the fervor and imagination of Chuck
    and Casanova. “Sometimes I jump on the guitar,” Hendrix told Newsweek’s Kevin R
    Buckley, “sometimes I grind the strings up against the frets. The more it grinds the more it
    whines. Sometimes I rub up against the amplifier. Sometimes I sit on it. Sometimes I play
    the guitar with my teeth, or I’ll be playing along and I’ll feel like playing with my elbow. I
    can’t remember all the things I do.”
    Hendrix learned his showmanship when he left his native Seattle at 16 and started traveling the
    Nashville-Memphis circuit, backing blues stars like Little Richard, the Isley Brothers and Joe
    Jackson [?]. In 1965, he led a group of his own into Greenwich Village, playing in the low-ceilinged
    places he still likes best.
    Chas Chandler of the Animals heard him there a year ago
    and spirited him to London. Since then, it has been a bitter-sweet mixture of sweat and success.
    “We’re constantly working,” says Hendrix. “This isn’t as easy as it looks.”
    But, of course, there are compensations. On the group’s next U.S. tour Mitchell and Redding will
    drive a Rolls-Royce with Union Jack and Stars and Stripes affixed
    [Ah-ha-ha-mental! NOT! They
    almost entirely flew- by aeroplane, as previous! Ed.]
    , and Hendrixcan dream of the day when he
    will be free to control his own life.“In five years I want to write some plays,”

    he says. And some books. I want to sit on an island—my island—and listen to my beard grow.
    And then I’ll come back and start all over again as a bee—a king bee.”
    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 October Newspaper & Magazine Articles (Text Only)

    Wednesday 11 October 1967
    USA (Washington, DC)
    EVENING STAR (page E8) [B&W ad] October Harvest Sale
    Woodward & Lothrop Records hear the singer’s world at savings monophonic, stereophonic
    Reprise, Dean Martin’s Welcome to My World, Country My Way with Nancy Sinatra, The Live Kinks,
    Jimmy Hendrix in Experienced.

    Wednesday 11 October 1967
    USA (CA)
    OAKLAND TRIBUNE (page 25) Teen Age
    Jimmy Hendrix wins pop music poll’
    British-based AmericanJimmy Hendrix was voted the world's top pop musician in the Melody
    Makers Readers’ Pop Poll in London, reports Associated Press.
    Hendrix, practically unknown in Britain a year ago, favors eccentric military garb and when he isn't
    doing some-thing else "is liable to play his guitar with his teeth," the report says
    The Beatles retained their titles for "top group'' and best long playing album with
    Sgt. Pepper's Lonely Hearts Club Band"
    A new group, the "Procol Harum," took the top single disc award away from the Beatles with their
    "Whiter Shade of Pale" record.
    Otis Redding was voted top international male singer.
    For the seventh time in eight years. Cliff Richard headed the British male singers section. His only
    defeat came last year when Tom Jones was number one. This year Jones was number two.
    Dusty Springfield kept her title as top British girl singer.

    Wednesday 11 (14) October 1967
    RECORD RETAILER (pages 8&9) Chart Analysis July – September
    Album Artists
    4. Jimi Hendrix Experience
    ‘Top Albums’
    4. Are You Experienced
    (Page 13)
    Britain’s Top 40 Albums

    21-06-09. Are You Experienced - Jimi Hendrix Experience
    (Page 15) Britain’s Top 50 Singles
    07-27-31. The Burning Of The Midnight Lamp - Jimi Hendrix Experience

    Wednesday 11 October 1967
    VARIETY (weekly), page?,
    [...], The Looking Glass, Sonny & Cher, Buffalo Springfield, Jimi Hendrix, Mamas & Papas, Blues
    Project, Donovan, Beatles, Turtles, and wound with an 18 minute

    track titled “Revelation.” [rest of text]
    (Page?) ‘Variety Album Bestsellers’ (A National Survey of Key Outlets)
    This Last No.
    Wk Wk Wk’s
    27 33 04 JIMI HENDRIX Experience (Reprise)
    Are You Experienced (R6261)

    Wednesday 11 (12) October 1967
    USA (NYC, NY)
    VILLAGE VOICE (cover>) [B&W photo of ‘Groovy’] A CEREMONIAL BURIAL of the hippie
    movement took place last weekend; this weekend in New York a hippie and his girlfriend were
    unceremoniously murdered in the cellar of a slum tenement on Avenue B (the street above is a few
    steps from where it happened). “Groovy” (left) was a highly visible figure on the scene and a close
    friend of Galahad (below) [B&W photo].
    High on Life and Deader than Dead
    “A 26-year-old Black Nationalist ex-convict today was charged with the bludgeon slayings of two
    whites, a teenage socialite and a tattooed hippie, in the basement of an East Village tenement
    following what police called a ‘wild acid party’ Saturday night . . .”
    The obituaries of Linda Rae Fitzpatrick, 18, and James Leroy Hutchinson (“Groovy”), 24, will run
    like that all over the country as a reminder to Americans that freaking-out in the land of the free
    and the home of the brave can be fatal.
    “The published picture of Linda must have been taken in high school,” said Galahad, a Digger who
    was Groovy’s closest friend. “It’s all wrong. Her hair was blonde and short. She was a happy-go-
    lucky character—a really beautiful chick. In one sense she was serious—almost conservative; in
    another she was really high on life” In this way she was like Groovy who grooved on life. He didn’t
    really need drugs to keep him high.”
    “I met Groovy in New Orleans,” Galahad reminisced. “It was just about Mardi Gras time last
    February. We’ve been together ever since. Before that, I had always traveled alone. But there was
    something about Groovy that set him apart from everyone. People thought he was my satellite, but
    they were wrong. Groovy did his own thing and he had his own importance. There wasn’t anything
    he wouldn’t do: the weird, the unusual, the freaky, but it was beautiful. It made people laugh.
    Basically, we were in the same bag.”
    “For example,” he went on. “recently, when we were coming back from San Francisco, we passed
    through Chicago. We decided to lay over a few days and look up some friends. Right
    away, we got busted for loitering. A cop started shaking down Groovy, who had an electric razor in
    his pocket. When the cop hit the razor case. Groovy screamed, ‘Don’t touch. It will go off and blow
    us all up’ Scared, the cop stepped back. I thought, ‘Here is a totally funny man, a guy who can
    freak-out a cop ii the line of duty.’”
    “To know Groovy for five minutes was to love him,” said Galahad. “The tragic thing about his death
    —its violence—is that Groovy never lifted his hand to another man. I know, I traveled thousands of
    miles with him, and you can take my word that he would never have hurt a living thing. Even at the
    Be-In,” Galahad attested, “I saw no hostility in Groovy, no belligerence to-ward the cops or the
    straight people. He didn’t harass anyone. He seemed somehow to have got rid of his aggressions.”
    “Groovy freaked out in such a beautiful way,” Galahad continued. “He would walk up to you and give
    you a pop bottle cap. If you asked him what it was for, he’d say, ‘It’s yours because I gave it to you.’
    It didn’t have to be a thing of value. It didn’t even have to mean anything to anyone. It was just the
    idea that he’d given you something.”
    “It’s true,” conceded Galahad, “Groovy took a lot of drugs. He turned on with everybody. And when
    he had the stuff, he turned other people on. He wasn’t afraid to take anything; in fact, he took
    everything. He’d trip on acid, race with methedrine, smoke pot ... It was a series of different trips.
    Yet, every time you’d see Groovy, he always wore the same smile and did the same crazy routines-
    no, not the same, different ones. That was the beautiful thing about him. Groovy could make
    something out of nothing and make it the funniest thing you ever saw.”
    According to Galahad, Groovy was illiterate. He couldn’t read or write and he didn’t think it was
    necessary to learn. Galahad was his scribe. Often they would sit in the Peace Eye Bookstore together,
    Groovy dictating, Gala-had writing. “He didn’t have to write it,” said Galahad, “he had many
    intelligent things to say, and what he said, came from the heart. His knowledge was gained through
    Last May, Galahad and Groovy were arrested for “impairing the morals of a minor,” a 15-year-old
    run-away girl whom they had let stay in their apartment, called a commune. The charges against
    Groovy were dismissed. But the commune bit was very much his and his “vibrations” sustained it
    until foe “publicity and the plastics moved in.”
    Before he was killed, Groovy said he wanted to open a non-profit cafe called the Thing Shop, where
    everyone could do his thing—whether or not he had the price of a meal- Now, Groovy’s friends are
    talking about having a wake for him. This, says Galahad, is all wrong. ‘”He wouldn’t want people to
    sit around in mourning or to walk the streets in paranoia. He’d want them to keep on doing their
    thing.” A groovy memorial would be to open a Thing Shop. It’s next on Galahad’s list.
    (Page 4) Is She Kidding?’
    Dear Sir:
    If Mrs. Hentoff is kidding when she says white women are socially worse off than Negroes (Voice,
    October 5.) well, all right, forget it. But if she’s serious, asylum her and melt the key.
    —Joe Jensen New York City [Duh! Joe she never said any such thing, try reading. Ed.]
    ‘De-Joking Women’
    Dear Sir:
    Margot Hentoff’s splendid “Letter from New York” on women (Voice, October 5) did a lot to make a
    dent in the truth in her words: “But, in the end, we are a joke.” Let’s de-joke ourselves. All those
    votes we have.
    —Ruth Herschberger West 10th Street
    ‘No Gas Chambers’
    Dear Sir:
    Today was a Saturday in October, a beaut, golden, flashing, and my son (age four) and I went over
    to tour the west Village. Walking from 8th Street to Waverly Place, on Sixth Avenue, we passed the
    Resistance (draft resisters) whom my son shot at with his cowboy gun, the Save the Poor Arabs
    from Jewish Imperialism people, and my son shot them too, and arrived at the third attraction, a
    handsome, well-dressed, bearded young Negro gentleman who had drawn the largest crowd of all.
    And I said to my son, “Wait, Mommy wants to listen.”
    I didn’t get the beginning of the sentence, but the end was “Jewish conspiracy rules the world,” and
    I started to feel nauseous but fascinated. An elderly Jewish gentleman with white hair and glasses
    objected softly—I didn’t catch it—and the young speaker (so fiery in his gray suit, white shirt, and
    dark tie) said, “Man I’m not going to conform to your standards! You Jews have had your day. Now
    it’s our turn, and you are going to get it, Jew, You’ve really had it!” It all seemed so unreal here in
    our city where any crowd you pick has got to contain at least 50 per cent Jews, this handsome fellow
    was saying these crazy things and nobody was answering him, nobody at all till finally a young
    Jewish guy, badly dressed but also with a beard, rushed in—“Now you wait a minute”—his girl friend
    saying, “Don’t don’t . . Then three other black men, not nearly so pretty, surrounded the speaker
    and glared at the boy and the speaker said, “Okay man, you want action, let’s go, okay, let’s go,
    okay,” but didn’t make a move and the three guys glowering behind his back. So the speaker went
    on to the effect that the Jews run the country but they are coming down—there’s even opposition in
    their own ranks—the hippies! They’re all Jews too!” Just then some hippie kids came along with
    Indian hats, feathers and beads, and heard him and laughed, clear laughter of children, and their
    laughter made me feel better.
    So I see you got us coming and going, man, we are the Establishment and the anti-Establishment
    —we got horns and tails —we are it—the EVIL. So the kids moved away—maybe they had better
    things to do, and I unfroze, and grabbed my son’s hand and shouted, “You’re a liar!” and beat it to
    the five and ten where we were heading any. way. Shaky, I bought him a policeman’s gun ‘cause
    the cowboy gun was broken (Oh yes I am in the peace movement) and walking out saw the speaker
    strolling nimbly coolly away towards 3rd Street. Whatever he had wanted to do, he had done, and I
    thought, like a new idea, but of course it isn’t, “You’re a NAZI, man, even if you have a beautiful
    brown face—you’re the real thing. You use anti-Semitism old-style to bring down the roof on us all.”
    And my kid, popping away with bullets of love at man and pissing dog on the street, is not going to
    any gas chamber of yours, love.
    If you don’t know who your real enemies are, I’m sorry for you.
    I do.
    —Harriet Sohmere Zwerling East 7th Street
    (Page 5) Static on the Left: Politics of Masquerade’ by June Greenlief
    On the night that Malcolm X lay dying on that stage where he had just begun his last speech, on the
    night when women in his audience flung them-selves across the bodies of their children while men
    crawled beneath the literature tables for protection against stray bullets, some discerning Americans
    realised what they had lost in a country, where, in the early ‘30s, near the village of Elaine, Arkansas
    whites and Negroes quietly integrated themselves into one single tenant farmers’ union because they
    understood that against their employers they were more effective together than apart.
    For Malcolm X, like Saul be-come Paul on the road to Damascus, Harlem thief converted to
    puritanism and religion, having turned east on the road to Mecca, learned finally that “Whitey” did
    not mean a skin color or even a station in life, but a stance, a posture, and that this posture was a
    combination of stupidity and arrogance. Thus at the time of his death Malcolm was almost ready to
    lead a growing number of followers back to that place near the village of Elaine, Arkansas.
    Discerning Americans who at-tended the National Conference on New Politics in Chicago over the
    Labor Day weekend in 1967 learned even more clearly what they had lost on the night that women
    protected their children and men their skins, for the NCNP was a scene worthy of Genet or Pirandello,
    with whites masquerading as either poor or black, blacks posing as revolutionaries or as arrogant
    whites, conservatives pretending to be communists, women feigning to be oppressed, and liberals
    pretending not to be there at all.
    The scene was also reminiscent of those dear, dead and innocent days when members of the
    American Communist Party ran about looking frantically for A Worker before whom to genuflect The
    Worker had become The Black (or Afro-American in some cases, but never Negro, such power there
    is in a name or in a mask), and The Blacks were having a whale of a good time putting on Whitey,
    who was having an even better time playing self-indulgent guilt games.
    It was a satisfying group shrink, with real villains (the middle classes) and true heroes (people killed
    by police in the ghetto), and there was even a real audience to hiss and applaud at the proper places,
    for whatever else the delegates at-tending the convention were de-void of, they did not lack for
    vitality. Aisles could not be cleared, parliamentary order was seldom kept, mimeograph machines
    (there was grave doubt as to which political tendency-black, red, or gray—walked off with the
    mimeograph machines) poured out inkily wet declarations with frenetic regularity, caucuses
    multiplied like rabbits, and people stood on chairs in order to see, to hear, or even to be vaguely
    Although excellent psycho-drama, politically the conference alternated between farce and melodrama.
    On Saturday, September 2, a middle-aged fellow trying to attend a workshop on the organisation of
    indigent whites and claiming to be a political from a ward where such activity was quite normal, was
    quite normal, was told by a young man disguised as a poor white (shirttail hanging out and hair
    shaggily arranged) and talking the prestige dialect of Connecticut, that all workshops had been
    cancelled for an emergency plenary session in one of the posh halls at the Palmer House.
    The wardheeler and numerous other palefaces who had come for the scheduled workshops were
    thereupon treated to the first show on earth since Barnum and Bailey, when a badly organized, badly
    written, confused, repetitive, and quite impractical set of 13 points was presented to voting members
    of the convention as an ultimatum from the black caucus. The 13 points included acceptance of the
    Newark Black Power resolutions (some of which had never been revealed to the outside world, and
    the remainder of which could hardly be remembered by anyone from any world), 50 per cent
    representation on the conference steering committee by black caucus members, condemnation of
    the Arab-Israeli and Vietnamese wars as one and the same thing: (an idea which Lyndon Baines
    Johnson has used in an attempt to silence “Jewish intellectuals” from protesting the Vietnam war),
    and “immediate reparation for the historic, physical, sexual, mental and economic exploitation of
    black people.”|
    Now anyone even vaguely conversant with political theory or even mildly aware of gamesmanship
    would have sent back such an “ultimatum” to its origins with a notation to the effect that such a
    bourgeois document could not be taken seriously, and would have constructed a counter-ultimatum
    demanding: (1) 100 per cent black representation on the steering committee at a conference which,
    as one speaker pointed out, couldn’t be steered by anyone in the first place; (2) immediate
    extermination of all whites in Cicero, Illinois; (3)
    sexual reparation in the form of an orgy on the floor of the Palmer House; (4) the expulsion from
    the black caucus of anyone drawing any sort of money from Whitey.
    However, the 13 points were debated with all the ponderous hysteria befitting a discussion of the
    Ten Commandments or the political platform of the Vegetarian Party, and were finally passed by
    people who didn’t want to think about the “specifics” of the resolutions, but who had decided to vote
    “with the spirit of it.” Seldom has there been such lack of fusion between the spirit and the letter,
    since Floyd McKissick, reputedly the chief drafter of the 13 points, apparently doesn’t know his
    letters very well, and the spirit, like the Holy Ghost, was one of those things that cannot be named.
    The National Guardian and various other journals hailed the passing of the 13 points as some kind
    of wonderful new rapprochement between whites and blacks, but as James Ridgeway reported in
    the September 16 issue of the New Republic, in reality not only had Whitey been
    put on as on idiot (and as usual had acted the part to perfection), but that in addition “the
    convention made fools as well of the serious militant blacks who were struggling to build up some
    kind of community institutions in the black ghettoes, the people who in fact are trying to make
    some meaning of black power.”
    Not too many days after the conference came to an unofficial end, H. Rap Brown, Floyd McKissick,
    and their assorted bodyguards (more and more these men, with their robot-like henchmen and their
    almost inevitable dark glasses are beginning to look like Papa Duvalier’s ton tons macoutes, soul
    brothers of Hitler’s Black Shirts and spiritual heirs of the late great showman, Father Divine) were
    acting as loyal little strikebreakers for the New York City Board of Education while the majority of
    New York teachers, white and black, were out on strike for—in essence—the More Effective Schools
    Program. It is amusing to note that a school board which under ordinary circumstances wouldn’t let
    either Brown or McKissick within ten miles of a blackboard, was quite happy to allow these red, red
    revolutionaries to teach “civics” to a group of screaming Harlem school children. Meanwhile,
    McKissick, who had declared himself so violently opposed to the war in Vietnam, asked that striking
    teachers be drafted and sent straight overseas to that little brushfire altercation.
    Now several things may result from this fun and these games. Within a few months McKissick should
    land himself a cushy job with the Office of Economic Opportunity, whence he can dole out money to
    people cannily misrepresenting themselves as impoverished whites, while Brown should do well as a
    hireling of the CIA. But whatever happens to the Brown-McKissick vaudeville team, it is all too
    possible that the revolt in the urban ghettoes, which is not so much a revolt as a scream of total
    despair, may take the form of black fascism. Therefore, it might come to pass that the Birchites and
    the Black Nationalists, drilling with guns in their segregated cellars, will meet on the playing fields of
    the next national election, where they can cast votes for Ronald (Baby) Reagan or Shirley Temple.
    Secondly, a politically viable program could have come out of the National Conference on New Politics
    had enough people been interested in politics, for the war in Vietnam grows more unpopular daily,
    and ghetto blood-shed becomes more costly and more frightening. On these two issues—bringing the
    boys home now, and making ghettoes into livable neighborhoods—the delegates to the convention
    could have gone home to Skokie and Scarsdale and Kokomo and even to once-bleeding Kansas and
    could have talked to the folks back there. A great many Americans will listen closely when it is pointed
    out to them that their taxes are going up for a war that they do not understand, do not want, and are
    not winning.
    (Page 24) pop eye by Richard Goldstein
    . . .Watch for a new serious rock-newspaper from San Francisco, Rolling Stone, edited in part by
    Ralph Gleason and Jann Wenner (of Ramparts) is the logical answer to the reign of teenie-fodder like
    Beat[KRLA etc.Ed.] on the West Coast [RS 1st issue published Nov. Ed.]. . . .
    (Page 30) [small B&W picture ad] The Trip [in swirling psyche text, below a picture of Fonda &
    Strasberg, eyes closed in bliss] For Mature Audiences.’ ‘See The Trip from the beginning’
    (Page 33) [small B&W picture ad] “An Absorbing Film! A Special, Hip Fun! – N.Y. Times.
    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
    (Page 35)
    [ad, with map] ‘THE EAST VILLAGE. The Place To Be . . .’ Cut out this page for your
    address guide. [includes that part of Ave B (just off Tompkins Sq. Park) where Linda & Groovy were
    murdered. Ed.]

    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 October Newspaper & Magazine Articles (Text Only)

    Thursday 12 October 1967
    USA (uni, Hamilton, NY)
    COLGATE MAROON (page 5) ‘Review: Experience, Hendrix-Style’ by Michael Barclay '68
    "May you never hear surf music again."
    Jimi Hendrix
    A relatively new genre of contemporary music has been unfortunately dubbed "psychedelic," as a
    result of its preoccupation with electronics and its aural simulation of an hallucinogenic experience
    with drugs. This music is quite concurrent with the times, within which drugs and electronics are
    prominent. However, because of the stigma which labels the music "psychedelic," many great
    contemporary performers are not getting themselves heard. The Grateful Dead, the Cream, Country
    Joe and the Fish, Big Brother and the Holding Company, and countless other groups remain obscure,
    known only by their names and not by their music.
    From within this potpourri of musicians, Jimi Hendrix has scratched, screamed and powered his
    way to recognition. His three man group, the Jimi Hendrix Experience, from England, produces
    the most exciting sound that contemporary music has experienced. Hendrix is the front liner of
    the group, playing lead guitar and doing the singing. His technique on the instrument is a unique
    combination of jazz, blues, folk and pure sound, and on his recording he capably lays it down.
    Vocally and even rhythmically he approaches the "Soul" technique of Wilson Pickett, James Brown
    and their contemporaries, when combined with his "raunchy" guitar work, new expressions are
    produced and a new world of sound is afforded the listener.
    The best song on the album is "Foxy Lady." From the outset, Hendrix is determined to get
    through to the un experienced. He slowly builds a musical climax with a guitar phrase that is
    reminiscent of bees in a hive. At the point of highest possible "feedback" within musical reason, he
    rips a note a full octave andis then joined by his rhythm section to produce his tribute to a "Foxy
    Probably the most impressive thing about the album as a whole is the originality of the songs
    themselves and Hendrix' guitar solos. On three of the other cuts, "Purple Haze," "Fire" and "I
    Don't Live Today,' 'as well as "Foxy Lady," Hendrix displays fantastic taste in his solos. His
    notes occasionally sing and then scratch off into the background, only to be ripped forward again.
    He doesn't over-play the instrument and till his solos with excess notes, but produces long and
    tremulous phrases which are beautifully eerie.
    The only song on the album which is not his own, is "Hey Joe." But this does not present a problem
    for the creative Hendrix; he performs the song magnificently. Again he adds style and taste to the
    performance with his guitar work.
    Hendrix displays three style types on the recording. The first is the hard rock of the songs
    previously mentioned. The second and probably least impressive is his pure sound productions.
    "Love or Confusion," "Are You Experienced" and "Third Stone from the Sun" are created
    through the use of reversed tapes and electronic devices (such as volume controls, distortion
    boosters, and very talented engineers). Only occasionally does he produce a worthy musical phrase.
    This is best exemplified on "Third Stone from the Sun," when out of the chaos of sound, a
    hauntingly beautiful twelve note phrase drifts. The merit of this style rests in its pure creativity.
    Hendrix' third style is his own brand of folk-rock. But even this is unique and hardly resembles
    anything which has preceded it. He combines beautiful chording on his guitar with light, original
    ballads to produce "The Wind Cries Mary" and "May This Be Love." This is. perhaps, his best
    style, but unfortunately is his least played. In "May This Be Love," he uses a tape recorder which
    echoes his instrumental interludes over and over again, giving the song the atmosphere of a
    waterfall, which he uses to symbolize love. The notes of the guitar appear to fall in drips and the
    vocal is probably the sweetest sounding of all the cuts.
    Through these three styles, he attempts to communicate to the listener that he should heed the
    message of the new music. In his last cut, he asks "Are You Experienced," and comments that if
    you're not, you should "get experienced." This, I think, speaks eloquently not only for his music,
    but for the others in the field who only want to please you.

    Thursday 12 (14) October 1967
    DISC & MUSIC ECHO (page 4) ‘Move tour change’
    Dates for the Jimi Hendrix/Move tour have been changed this week. New bookings: Belfast Festival
    of Arts (November 27) and Cheltenham Town Hall (December 1).
    The tour now plays Coventry Theatre on October 19, Cardiff Sophia Gardens (23) and Nottingham
    Theatre Royal (December 3).
    Later bookings for the tour, which opens at London’s Royal Albert Hall on November 14, is P.P.
    Arnold’s former backing group, the Nice.
    Top Gear (Radio 1 - 2 p.m.)
    Jimi Hendrix Experience, Bee Gees, Johnny Young, Incredible String Band, Skip Bifferty.
    (Page 11)Presenting Disc’s Who’s Whoof the swinging Radio 1 scene
    . . .
    ‘Mike Lennox’
    Standing six foot two with ‘Hendrix’ blonde hair and blue eyes. . .[etc.]
    (Page 14) Jonathan King Column
    “Multi-coloured trolls out of Peer Gynt; bright, fuzzy haired bouncing dolls - alive and trembling with
    vitality. Mitch—arms in 75 positions at once; right leg pounding, thumping against the taut bass
    drum. Noel, plucking 50 notes in every bar, nodding backwards and forwards in a crazy dance with
    the mike stand. Jimi—howling, screeching, but totally in command; smiling, cool—leaping up in the
    air, crouching tight against the floor. And at the side, proud in the lights, Chas Chandlerwho
    discovered them, put them together, watched them grow and knew, believed, adored and cared for
    the Jimi Hendrix Experience.
    I saw them at the beginning, and I saw them again last Sunday at London’s Saville Theatre.
    Incredible showmanship combined with outstanding musical dramatic skill. I’m delighted they are so
    big. I’ve said it before. But seeing them cavorting around, so happy and so good, made me want to
    say it all again. And I just have.”
    DISC SPECIAL. LP SOUNDS ‘67 [4 page monthly guide]
    HAVE you joined the Stereo Set? Or are you still content to groove along as a member of the Mono
    Club? We’re not talking about the "in” or "out" places where the pop stars meet. But we are talking
    about the records they make.
    And these days—on the LP scene—its smart to go stereo. Sales of pop stereo recordings are
    increasing all the time. And the demand for stereo from the buyers of classical recordings was so
    great that the massive EMI organisation has now taken the revolutionary step of pressing all its
    classical repertoire in stereo only.
    Hitherto, such recordings had been available in both mono and stereo. They still are on the pop side.
    But pop sales of stereo are growing daily. It’s the old story—once you’ve tasted champagne, beer
    seems pretty flat. Or a push-bike is not so comfortable as a car or motor scooter.
    Reason for the popularity of stereo is that the sound reproduction is so much better than mono.
    Stereo adds a new depth and "spaciousness" to sound. A 3D effect almost. It’s almost the same as
    the difference between ordinary and colour TV. But there’s not the same cost gap. Beauty of stereo
    recordings is that they cost no more than mono versions. But, of course, you do have to have the
    record player to cope with them. If you play stereo records on mono record players, you’ll damage
    So you either have to buy a stereo record player or build a stereo hi-fi set yourself.
    Just what is the £.s.d. of stereo?
    Says hi-fi expert Chris Tidy, of the Technical Trading Company: “I know of one installation that cost
    £5,000. But don’t be scared. This was built by a perfectionist.
    "You could build a very effective stereo set-up for £70. But this is going into the higher price
    "A stereo record player may be bought for about £24—not much more than a mono version. Apart
    from technical differences in ‘the works,’ there’s an extra loudspeaker which has to be placed some
    little distance from the one built into the set.
    "You must have two speakers to get the stereo effect. And they should be about 10 feet apart.
    "If you’re buying a stereogram of the type used as a fixture in your lounge, then you will have to
    pay about £70.
    "But for this money you can get better equipment if you build up the system yourself.
    "You can get an efficient stereo amplifier for £17 10s. A record deck—the turntable and pick-up arm
    —can, be got for from £10 to £12. The plinth to stand the record deck on would be about £8.
    "Two speakers in wooden enclosures would cost about £22. Then the cartridge holding the stylus—or
    needle as most people still call it—would be another £4. So far, you’ve spent only £63.
    "If you're a real do-it-yourself expert, or know a handy-man, then you can cut the cost considerably
    by having the speaker enclosures made. And the record plinth need not cost more than about £3 if
    you make it yourself.
    "But even if you don’t want to go to this trouble, it’s well worth buying one of the commercially-
    made record players or stereograms. Maybe to the expert’s ears, they lack finesse soundwise, but
    you'll still find a new thrill when you hear your discs played in stereo.”
    [Note: All JHE single & LP releases prior to USA & Canada Reprise Records’ release of AYE LP were in
    mono, AYE was not available in true stereo outside of USA & Canada- though a couple of tracks that
    were never mixed in stereo were left off that release and a couple of single releases with a stereo
    mix took their places- these superior stereo mixes only gradually becoming available on Track/
    Polydor budget 1970 re-releases, one or two only becoming available very much later. But this
    month’s LP release- Axis was promoted as a stereo LP, although still available in a dedicated mono
    mix - the last; both the next Track records releases (1968) - single (Watchtower/Crosstown) and LP
    (ELL) - were only available in stereo in UK, US & other mono releases were just stereo merge, not
    dedicated mono mixes]
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

  17. #17
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    Re: 1967 October Newspaper & Magazine Articles (Text Only)

    Thursday 12 (14) October 1967
    MELODY MAKER (page 4) The RAVER’S Weekly Tonic by Bob Dawbarn
    How-to-be-hip, lesson one: You don’t shout boring abuse at groups you don’t like while waiting for
    Jimi Hendrix. You just wrap up and try to forgive if it makes it makes your feel better . . .
    [B&W photo, ‘HENDRIX: feeling somewhat piquey’]
    Caught In The Act
    Hail Jimi Hendrix, British All-In Wrestling Champion! Our Jim, feeling somewhat piquey at the
    Saville Theatre, London, on Sunday decided to conclude his musical performance by grappling with
    bass player Noel Redding, dragging him to the floor and assailing him bodily. Presumably, all clean
    fun, and in the interest of psychedelic experience, one still had the feeling that Jimimeant it - or at
    least half of it. The Experiencehad been playing exceptionally well, groovy sounds like ‘Hound Dog’,
    Can You Please Crawl Out Your Window, ‘Purple Haze’, Foxy Lady’ etc., when came
    the freak-out on ‘Wild ThingJameswent spare, knocked over the amplifiers, flung down his guitar,
    and assaulted the said bass player. Apart from these asides,Jimiplayed fantastic guitar with every
    trick imaginable, Mitch played a beautiful solo on a Howling Wolf blues, and Noel kept his
    glasses on.
    (Page 5) ‘MAGNIFICENT SEVEN’ (drummers)
    Mini Mitch Mitchell the transistorised drummer
    (Page 6) [B&W photo, ‘HENDRIX: London opening] ‘Pink Floyd join Jimi Hendrix - Move on
    tour of England.
    The Pink Floyd have been added to the bill of the Jimi Hendrix Experience - Move tour - which
    also includes the Amen Corner - and which starts at London’s Royal Albert Hall on November 14.
    Although venues have not yet been finalised, the tour is expected to play Bournemouth (15);
    Leeds (17); Liverpool (18); Nottingham (19); Portsmouth (22); Bristol (24); Cardiff (25);
    Manchester (26); Belfast (28); Chatham (December 1), and Brighton (2)
    (Page 9) Fudge Slow Down To Hang On To Success’ by Chris Welch
    JIMI HENDRIX slowed down ‘Hey Joe’, previously always recorded as an all-out tear-up, and
    came up with a giant hit. Then Vanilla Fudge slowed down ‘You Keep Me Hanging On’, the
    Supremes hit, and brought it back for a second chart blast.
    (Page 25) CLUBS
    Tuesday Oct. 24th. (7.30 - 11:0)
    (Page 28)mailbag
    How dare Chris Welch say Stevie Winwood, Pete Townshend, Jimmy Page, Jeff Beck, Eric Clapton,
    Peter Green and Jimi Hendrix are the greatest.
    As far as I am concernedStevie Winwood, Pete Townshend, Jimmy Page, Jeff Beck, Eric
    Clapton, Peter Green and Jimi Hendrix are the greatest.
    - Chris Welch, London, SE6.

    Thursday 12(14)October 1967
    RECORD MIRROR (page 4) ‘New singles from Jimi Hendrix, Donovan, the DC-5, Marvin and
    Tammi & John Walker’
    Among the new singles to be released on the week ending October 20th are ones by Jimi Hendrix
    & Curtis Knight, Brenda Lee, Barry McGuire, Tommie Roe, Andy Stewart, The Dave Clark Five,
    Lee Dorsey, Marvin Gaye & Tammi Terrell, Stevie Wonder, John Walker, Madelaine Bell, Kenny Ball
    and Donovan.
    All the singles to be released that week are as follows:
    DECCA. John Mayall's Bluesbreakers — "Suspicious"; DERAM. Timebox—"Don't Make Promises";
    Sol Raye — "While I'm Here"; LONDON. Jimi Hendrix & Curtis Night— "Hush Now";
    BRUNSWICK. Brenda Lee — "Where's the Melody"; MONUMENT. Sam Baker — "I Believe in You";
    RCA. Barry McGuire — "Masters of War"; Frank Sinatra Jun. — 'Building with a Steeple"; C.B.S. Roy
    Harper — "Mid-Spring Dithering"; The Buckinghams — "Hey Baby, (They're playing our Song)";
    Joan Bon & the Coquettes—"I'll ReleaseYou”; Mary McCarthy — 'Happy Days, and Lonely Nights";
    Sounds Bob Rogers — "Among My Souvenirs"; Bob & Carol — "Cat Named Jim"; Jackie Lomax —
    "Genuine Imitation Life"; H.M.V. Tommie Roe—"Melancholy Mood"; The Candymen — "Georgie
    Pines"; Andy Stewart — "The Tartan Ribbon"; Tales of Justine—"Albert, (The Sunflower)";
    COLUMBIA. The Dave Clark Five — "Everybody Knows"; PARLOPHONE. Barbara Ruskin — "Come
    Into My Arms Again"; STATESIDE. Lee Dorsey — "Go-Go-Girl"; The Elastic Band — "Spazz"; Soul
    Survivors — "Expressway To Your Heart"; TAMLA MOTOWN. Marvin Gaye & Tammi Terrell — "Your
    Precious Love"; Stevie Wonder — "I'm Wondering"; MARMALADE. "Chris Barber's Band — "Catcall";
    POLYDOR. Garry James — "Teddy Bear"; PHILIPS. John Walker — "If I Promise"; Madelaine Bell
    — "Picture Me Gone"; The Living Daylight — "Biala Maria"; PYE. The Ferris Wheel— "Can't Break the
    Habit"; Tony Jordan — "The Wind Calls"; Kenny Ball & His Jazzmen — "Before I Was A Man";
    Donovan — "There Is A Mountain"; IRISH SINGLE. The Reapers — "Banks Of The Ohio"; A & M.
    Jimmie Rodgers—"Child Of Clay"; B. T. PUPPY. The Happenings — "Why Do Fools Fall In Love".
    Hendrix and Brown triumph at the Saville Theatre . . .’ by Derek Boltwood
    AS the sun was setting slowly in the west, and the seagulls were flying softly over Sorrento, and
    throughout Britain the police were making a last minute check on their breathaliser equipment, yet
    another incredible show was being presented at the Saville [8 October], a show of immense
    proportions, starring the already massive Jimi Hendrix, and the soon to be massive Arthur Brown.
    The show was opened by Chas Chandler's latest discovery, Eire Apparent, who didn't do at all
    badly considering it was their first major gig. A nice sound but little personality. The Herd, on the
    other hand showed alot of personality, and gave quite an impressive performance. I've rated this
    group for a long time, and I'm glad to see that they are at last beginning to go places — it's a pity
    that Sunday's Saville audience weren't in a particularly receptive mood. It makes it difficult for the
    supporting acts when the audience appear to be intolerant of anything but the stars of the show —
    I'm talking about a small section of the audience which love, beauty and flower-power seems to