Thursday, March 15, 2018

Jimi Hendrix - 2008 - Live 1968: Paris-Ottawa

Jimi Hendrix 
Live 1968: Paris-Ottawa

Recorded Live At The Olympia Theater, Paris, France, January 29, 1968
01. Killing Floor 4:32
02. Catfish Blues 8:46
03. Foxey Lady 5:29
04. Red House 4:24
05. Drivin' South 9:24
06. The Wind Cries Mary 3:55
07. Fire 4:16
08. Little Wing 3:40
09. Purple Haze 5:59

Capitol Theater, Ottawa, Canada. March 19, 1968 [First Show]
10. Sgt. Pepper's Lonely Hearts Club Band 2:16
11. Fire 3:29
12. Purple Haze 5:15

Bass – Noel Redding
Drums – Mitch Mitchell
Guitar, Vocals – Jimi Hendrix

The Jimi Hendrix Experience: Live In Paris & Ottawa 1968 is the 10th release in the long-running Dagger Records series of official ‘bootleg’ style recordings from Experience Hendrix. Live In Paris & Ottawa 1968 presents two fiery live performances that highlight Jimi Hendrix’s rapdily evolving music repertoire as the rock trio embarked on a worldwide tour in support of their sophomore release, Axis: Bold As Love.

The Jimi Hendrix Experience: Live In Paris & Ottawa 1968 kicks off with a rousing performance at Paris, France’s famed L’Olympia Theatre. The January 29, 1968 performance marked the third time The Jimi Hendrix Experience had performed at the venue in just over a year; having first made their French debut as a support act with legendary French vocalist Johnny Halliday in October 1966.

Originally released as part of the 1991 4CD box set Stages, The Jimi Hendrix Experience’s L’Olympia Theatre performance makes it’s return engagement to CD for the first time in more than 15 years. Like all previous recordings in the Dagger Records library, Live In Paris & Ottawa 1968 is once again highlighted by posthumous studio engineering and mastering by our dynamic technical team of Eddie Kramer and George Marino.

The Experience’s Paris performance features nine fiery recordings, including two rousing Blues classics “Killing Floor” and “Catfish Blues;” six unforgettable live performances featuring some of Jimi Hendrix’s most celebrated self-penned compositions including “Foxey Lady,” “Red House,” “The Wind Cries Mary,” “Fire,” “Little Wing” and the ageless “Purple Haze;” plus “Drivin’ South,” a composition Hendrix first recorded and performed in 1965 while serving as one of R&B/Soul musician, Curtis Knight’s young guitarists.

The release of this celebrated January 1968 performance at L’Olympia Theatre is the perfect companion release with Dagger Records’ sixth CD release The Jimi Hendrix Experience: Paris 1967 / San Francisco 1968 (originally released in April 2003), which featured The Experience’s October 9, 1967 show at the same venue.

In addition to The Experience’s French performance, Live In Paris & Ottawa 1968 is rounded out with the inclusion of three previously unreleased live recordings of The Jimi Hendrix Experience performing in concert at the Capitol Theatre in Ottawa, Ontario, Canada. The three, previously unreleased songs represented here include The Beatles’ hit single “Sgt. Pepper’s Lonely Hearts Club Band” along with two classic Hendrix anthems including “Fire” and “Purple Haze.” These new recordings were taped during The Experience’s first show on the evening of March 19, 1968 and are sourced from a previously undiscovered tape.

Recordings from The Experience’s second show on March 19, 1968 in Ottawa was the subject of Dagger Records’ fourth release The Jimi Hendrix Experience: Live In Ottawa and combine nicely with this new release to round out any Hendrix fan’s music library.

Jimi Hendrix - 2006 - Burning Desire

Jimi Hendrix 
Burning Desire

01. Izabella 4:23
02. Ezy Ryder/MLK Jam 20:01
03. Cherokee Mist/Astro Man 4:53
04. Record Plant 2X 11:03
05. Villanova Junction Blues 4:56
06. Burning Desire 9:48
07. Stepping Stone/Villanova Junction Blues 6:38
08. Slow Time Blues 3:49

Bass – Billy Cox
Drums – Buddy Miles
Guitar – Jimi Hendrix

Jimi Hendrix: Burning Desire is the ninth release in the Dagger Records authorized ‘bootleg’ recording series. Burning Desire presents compelling new examples of Jimi’s remarkable creative explorations through 1969 and early 1970.

Like its predecessors Hear My Music and Morning Symphony Ideas, Burning Desire provides a window into Jimi’s growth as a musician and composer. In the shadow of Electric Ladyland, the original Jimi Hendrix Experience struggled to remain a cohesive unit. As 1969 progressed, Jimi’s ceaseless creative pursuit would lead to experimental sessions and ambitious attempts to integrate new elements such as horns, percussion, rhythm guitar, and keyboards into fertile rhythm patterns and songs. Burning Desire showcases additional examples of Jimi’s extended explorations with bassist Billy Cox and drummer Buddy Miles at the Record Plant throughout 1969 and early 1970. Jimi can be heard developing exciting new material such as “Ezy Ryder,” “Cherokee Mist,” “Villanova Junction Blues,” “Izabella,” and “Burning Desire.” These previously unreleased studio recordings yet again establish Hendrix’s passion for creativity and developing new music.

This stuff is heavy folks…but the band is clearly still figuring things out don't forget…but I'll be damned if anybody nowadays could pull this off. It's that good, just missing flow and solid structure of course. These are jam sessions don't forget.

Jimi Hendrix - 2005 - Live At The Isle Of Fehmarn

Jimi Hendrix 
Live At The Isle Of Fehmarn 

01. Introduction 3:54
02. Killing Floor 3:52
03. Spanish Castle Magic 5:13
04. All Along The Watchtower 4:47
05. Hey Joe 4:41
06. Hey Baby (New Rising Sun) 6:03
07. Message To Love 5:06
08. Foxey Lady 4:45
09. Red House 10:10
10. Ezy Ryder 4:10
11. Freedom 8:23
12. Room Full Of Mirrors 3:5
13. Purple Haze 2:38
14. Voodoo Child (Slight Return) 9:57

Bass – Billy Cox
Guitar, Vocals – Jimi Hendrix
Drums – Mitch Mitchell

Note: Recorded at the Love + Peace Festival, Isle of Fehmarn, September 6, 1970.
Jimi Hendrix's final (Actually 2nd to last if you count the jam with WAR the night before his death) live performance. He died 12 days later

The Jimi Hendrix Experience: Live At The Isle Of Fehmarn marks the eighth release in Dagger Records’ popular bootleg-style recording series. This historically significant album features The Jimi Hendrix Experience’s final live performance on September 6, 1970 during the Love & Peace Festival held on the Isle Of Fehmarn in Germany.

Originally slated to perform on September 5th, The Experience’s appearance at the festival was delayed by frequent rain storms that plagued the previous days shows. Having just completed a series of six concerts in six days including headlining shows at both the Isle Of Wight (August 30) and Berlin (September 4), the extra day of rest would serve the group well.

By the time The Experience took to the stage on September 6, audience tensions were guarded following a series of fights between German bikers, that had escalated in ferocity, and included the festival Box Office being robbed at gun point and Jimi Hendrix’s own road manager, Gerry Stickells being attacked. Depsite these problems, The Experience delivered an enthusiastic hour-plus performance which saw Jimi lead the trio through a series of songs encompassing all of the different periods of the group’s existence.

Jimi’s Isle Of Fehmarn performance has been widely bootlegged over the last 35 years yet it was never professionally recorded. Amateur recordings made from the audience by fans have served as the only known documentation of this historic concert until now. As the eighth entry in this popular ‘bootleg’ series, Dagger presents a newly discovered recording made by the festival’s promoters. Unbeknownst to Hendrix, the promoters captured the group’s entire performance by feeding two overhead stage microphones into a consumer grade Revox reel-to-reel tape machine located off to the side of the stage. The resulting document, rough hewn and unmixed, is clear and not unlike the amateur
audience recording featured on the initial Dagger offering Live At The Oakland Coliseum.

In addition to “Killing Floor,” Live At The Isle Of Fehmarn also features “Spanish Castle Magic,” “All Along The Watchtower,” “Hey Joe,” “Message To Love,” “Hey Baby (New Rising Sun),” “Foxey Lady,” “Red House,” “Ezy Ryder,” “Freedom,” “Room Full Of Mirrors,” “Purple Haze,” and a particularly memorable rendition of “Voodoo Child (Slight Return).”

Anyone who has read the events of Hendrix last concert at the Isle Of Fehmarn knows that he played under extremely dire conditions. A raging gale blowing in from the Baltic Sea delayed this show one day after he was to appear, totally pissing off the audience and putting everyone in a horrible mood witnessed by the screams of "Go Home" scattered among the booing. Playing in intermittent driving rain, constant wind, and fighting among a wet,stoned out crowd also being hassled by German Bikers, Jimi still shows flashes of brilliance but all in all you can sense he wanted to get the hell out of there. Sound-wise, this is a bootleg. Drums are hard to hear, hardly any bass drum or bottom end, mostly high register guitar and tinny vocals. The band is in good form, however, and if you listen close, before they start "Killing Floor," Hendrix does a quick pass at "Louie, Louie" which is kind of funny. The songs have the standards like "Hey Joe," Foxy," "Voodoo Child, and "Purple Haze," but newer material like "Freedom," "Ezy Ryder," and "Hey Baby" make it interesting. Can't give this a 5 star rating mostly because of the sound and also Hendrix was obviously fighting an out of tune guitar. Playing in a storm will certainly affect your guitar strings!'s the last time the Experience ever played in concert. If you ever get a chance, watch some of the 8MM footage from this concert and you will understand what I mean. The festival site was an absolute mess. Such a pity it had to end under these hellish conditions. Certainly the opposite end of Woodstock and he deserved to go out on a much brighter note.

Along with an unfriendly crowd the sound mix is terrible; the drums sound poorly and are difficult to make out, the bass is little more than toneless background thumping, and Jimi's voice is weak and lost in all the noise. So, you may ask, why the 4 stars? With all the faults of this album, the one thing it has going for it is that Jimi's playing is in top form, and his guitar volume is pushed out in front of all the other clutter. More than nearly every other live Jimi Hendrix album, this one clearly exposes Jimi's abilities for all to awe. If this album consisted of only Jimi and his guitar, and all the other instruments and crowd noise were eliminated, this album would easily rate 5 STARS. If you're a guitar player and want to hear the Master perform feats the envy of all other guitar players, this is the album to own. The sound quality is so poor it's tough to listen, but when you focus on only the guitar it takes you to a place beyond where mortals dwell.

Jimi Hendrix - 2004 - Hear My Music

Jimi Hendrix -
Hear My Music 

01. Slow Version 4:59
02. Drone Blues 8:31
03. Ezy Ryder/Star Spangled Banner 10:18
04. Jimi/Jimmy Jam 17:00
05. Jam 292 5:25
06. Trash Man 7:25
07. Message To Love 2:36
08. Gypsy Blood 1:24
09. Valleys Of Neptune (Guitar) 4:00
10. Blues Jam At Olympic 5:11
11. Valleys Of Neptune (Piano) 3:05

This collection of instrumental recordings reveal just a few of the creative explorations Jimi Hendrix was undertaking throughout the first half of 1969.

Never intended for release in their present state, this collection shines further light on his creative development and unending quest for new musical challenges. The diversity of these recordings-from solo demos to group efforts with The Experience to free form jam sessions-make clear Hendrix’s sheer love of playing music and interacting with fellow musicians in any setting whatsoever.

This insightful 11-song release features “Slow Version,” “Ezy Ryder/Star Spangled Banner,” “Jam 292,” “Trash Man,” “Message To Love,” “Gypsy Blood,” two versions of “Valleys Of Neptune” including a solo electric guitar rendition and a piano solo, “Blues Jam At Olympic,” plus the original unedited versions of “Drone Blue” and “Jimi/Jimmy Jam” from the long out-of-print 1980 release Nine To The Universe. Hear My Music marks the first time these recordings have ever been released in their original unedited format.

The fact that this CD is 70 (or so) minutes of purely instrumental Jimi makes it unique, especially for those who enjoy and/or collect instrumental music, playing it while involved in artistic/creative pursuits, etc. The Star Spangled Banner section is surprisingly good, not just a straight rendition, but nearly on par with the Woodstock version, wherein one truly senses dropping bombs & wailing victims. In terms of playing this music while involved in artistic activities, well, it may be a tad too intense; and one may wish there were more serene moments (as in brief tracks 8 & 9) but certainly one will, at times, be involved in artistic pursuits where the intensity of the instrumentals will, in fact, be compatible.

Jimi Hendrix - 2003 - Paris 1967 - San Francisco 1968

Jimi Hendrix 
Paris 1967 - San Francisco 1968 

Recorded Live At The Olympia Theater, Paris, France, October 9, 1967
01. Stone Free 3:40
02. Hey Joe 4:22
03. Fire 3:29
04. Rock Me Baby 5:03
05. Red House 7:49
06. Purple Haze 7:26
07. Wild Thing 5:56

Recorded Live At The Fillmore Auditorium, San Francisco, CA, February 4, 1968 [Second Show]
08. Killing Floor 4:05
09. Red House 5:42
10. Catfish Blues 11:43
11. Dear Mr. Fantasy (Part One) 5:10
12. Dear Mr. Fantasy (Part Two) 7:34
13. Purple Haze 5:00

Bass – Noel Redding
Drums – Mitch Mitchell
Drums - Buddy Miles (Dear Mr. Fantasy)
Jimi Hendrix - Guitars, Vocals

We begin in Paris at the famed Olympia Theater. These raw, direct to two-track live recordings made for French radio document the Experience’s triumphant return to Paris almost one year to the date of their 1966 showcase as a support act for Johnny Hallyday. By the time of their October 9, 1967 performance, the Experience had captivated Europe via Are You Experienced and such memorable singles as “Hey Joe” and “Purple Haze”. An exuberant, sold out house roared their approval throughout the evening.

This Paris performance came just eight days after sessions for what would become Axis: Bold As Love had resumed at London’s Olympic Studios on October 1, 1967. The Experience was in top form on this evening. Two superb examples of this spirited performance were included as part of the 2000 Jimi Hendrix Experience box set. “The Wind Cries Mary” and “Catfish Blues” made perfectly clear the appeal and historical value of these Paris radio recordings.

The Experience roared out of the gate with “Stone Free” and followed, much to the frenzied delight of the audience, with vibrant renditions of “Hey Joe” and “Fire.”

Beyond the songs already set aside as part of the Jimi Hendrix Experience box set, two additional Paris performances have not been included on this release. Technical problems commenced during the latter half of “Catfish Blues” and a malfunctioning microphone rendered “Burning Of The Midnight Lamp” and “Foxey Lady” unusable.

Thankfully, Jimi’s vocal microphone was restored just prior to the start of B.B. King’s “Rock Me Baby.” A compact “Red House” prefaced a grinding, muscular take of “Purple Haze.”

Jimi then followed with “Wild Thing,” replete with incomprehensible feedback swoops and a rousing, tongue in cheek lead vocal that emphatically closed the show.

From Paris we move to San Francisco and The Winterland Ballroom. In the interim, the Experience had completed Axis: Bold As Love and had come to San Francisco to kick off their US tour in support of the album. Impresario Bill Graham had booked the group to perform eight concerts over four consecutive nights. The Experience performed at the Fillmore Auditorium on February 1st while The Winterland Ballroom hosted the performances on the 2nd, 3rd and 4th. Each of the eight performances were sold out.

Sadly, none of Jimi’s San Francisco performances in February were professionally recorded. Eight months later, all six of the Experience’s October Winterland appearances were preserved on tape but no such plans had been set in place for these concerts. Fortunately, an amateur stereo recording drawn from the stage monitor soundboard provides us with another compelling chapter in Jimi’s rich legacy. This rough hewn, two-track recording documents Jimi’s second show on February 4th, the eighth and final performance of his four-night stand.

Bill Graham had organized an extraordinary roster of talent on this evening. The Experience topped a bill that included renowned blues guitarist Albert King and local favorites Big Brother & The Holding Company, fronted by Janis Joplin. Albert King was a favorite of Jimi’s. The left-handed blues giant wrenched stinging single notes from his trademark Gibson Flying V. Although King like Hendrix played a right-handed guitar flipped over, he did not restring the instrument, leaving the high E string at the top in reverse order. King had refined his distinctive guitar technique over years of performances in taverns, hardscrabble juke joints, and occasional package tours. By the time of this Winterla appearance, King was just beginning to enjoy wider critical and commercial success. The guitarist had been signed to Stax Records, the R&B based recording home for such popular artists as Otis Redding. His most recent album, Born Under A Bad Sign, had a marked influence on a younger generation of guitarists such as Eric Clapton whose group Cream covered the title track on their best selling Wheels Of Fire double album later that summer.

Perhaps in homage to King, Jimi revised his set list for this Winterland performance. It is not known what other songs, if any, were performed apart from those preserved on this recording. Nonetheless, seemingly in place of such Experience favorites as “Fire” and “Foxey Lady” came three consecutive blues numbers. “Killing Floor” was throttled back from the furious tempo Jimi had employed at the Monterey Pop Festival the previous summer. This Winterland rendition was more in keeping with the pacing of Howlin’ Wolf’s original 1966 Chess Records arrangement.

Jimi followed “Killing Floor” with “Red House,” his own blues masterwork. “Red House” stands today as one of the guitarist’s finest achievements, yet the song was virtually unknown to everyone in the venue on that evening. “Red House” had yet to be released on disc in the United States. Much to Jimi’s disappointment, Reprise had elected to hold “Red House” back when the company issued its US version of Are You Experienced in August 1967.

Jimi’s version of “Catfish Blues,” an early Experience stage favorite, came next before the proceedings took an unusual turn. Mitch Mitchell invited Buddy Miles onstage to take over his drum kit prior to the start of the next number. “We’re going to muck things up even further and have Buddy Miles from the Electric Flag come up and play drums,” instructed Mitchell humorously. Mitchell’s invitation was completely unscripted but it was the type of gesture, he explains, that both challenged and stimulated the respective members of the band. “What it comes down to with Jimi, with myself, and even with Noel to some degree, was that it always felt good and it was agreed that we’d try to play with as many people as possible,” explains Mitchell. “That was a really important thing to the members of the band. Buddy Miles was with the Electric Flag at Monterey and there came a time when I thought, ‘Christ, I’d like to hear what Jimi would sound like with him.’ So we were playing in San Francisco at one of the Experience gigs and Buddy was there. I said to him, ‘Do me a favor, swap seats with me and play.'”

With Miles in place, Jimi launched into a loose, extended instrumental reading of “Dear Mr. Fantasy,” the title track of Traffic’s second album. The Experience, and Hendrix in particular, had befriended the group in London and thoroughly enjoyed their music. Dave Mason, Chris Wood, and Steve Winwood would all later contribute to Jimi’s Electric Ladyland. Buddy Miles was based in San Francisco at that time, as the city was home to the Electric Flag. The drummer always relished the opportunity to play with Jimi no matter what the occasion. “My goodness, let me put it this way,” explains Miles. “Playing with Jimi Hendrix was probably my greatest musical achievement. I would think to any musician it would be the ultimate compliment, because you know your playing with the world’s greatest musician.”

“Dear Mr. Fantasy” is presented here in two separate parts. When the recording was originally made, the first side of the tape ended abruptly and came off the spool. The amateur tape operator then hurriedly flipped the reel over, rethreaded the tape and snapped on the record button. The recording resumed, preserving the balance of the jam complete with Jimi’s bagpipe like guitar effects near the close.

Mitch Mitchell returned to the stage as Miles exhorted the audience to make their approval for the Experience drummer heard. Jimi then apologized for not being able to play longer. He offered “Purple Haze” in grateful recognition to an audience and a city that had so warmly embraced him in the eight months since Monterey. As “Purple Haze” built to its crescendo, the recording that had been documenting the concert came to a sudden close. Perhaps Jimi continued with another number or returned to provide an encore. Unless additional documentation or a second, separate recording should ever surface, we may never know. Until then, listen and enjoy!

Jimi Hendrix - 2003 - Live At Berkeley

Jimi Hendrix 
Live At Berkeley

01. Introduction 1:47
02. Straight Ahead 6:58
03. Hey Baby (New Rising Sun)6:07
04. Lover Man 2:59
05. Stone Free 4:08
06. Hey Joe 4:49
07. I Don't Live Today 5:26
08. Machine Gun 11:22
09. Foxey Lady 6:30
10. Star Spangled Banner 2:45
11. Purple Haze 3:48
12. Voodoo Child (Slight Return) 10:49

Recorded at Berkeley Community Theater - Saturday May 30, 1970. 2nd Show, 10pm

Jimi Hendrix - Guitar, lead vocal
Billy Cox - Bass, backing vocal
Mitch Mitchell - Drums

It's amazing how much Jimi Hendrix material is available for a man whose recording career lasted from 1967-1970. Live in Berkeley is the latest in what arguably could be the greatest posthumous rock recording artist ever. Since shortly after his death in 1970, Reprise, Capitol, Rykodisc, MCA and Experience Hendrix have kept up a regular slate of live and studio Hendrix recordings. Some were of questionable quality, while some where quite revealing. All had their moments. Since Janie Hendrix (his sister) and the late Al Hendrix (his father) took control, painstaking effort has been put into making the Hendrix catalogue what it should be as well as issuing unreleased live and studio material. While producer Jack Douglas did some things with Hendrix material during the 1970s that many fans didn't care for, Eddie Kramer, who worked with Hendrix extensively while he was alive, has done a great job with more recent projects like Live at Berkeley.

Whether on CD or LP the sound is pristine. Kramer makes the show sound like it was recorded last week rather than 1970. By the way, the LP release is a limited run of 10,000 copies on heavy vinyl.

The album features a mix of the new material he was working on at the time ("Pass it On", "Hey Baby (New Rising Sun)"), as well as inspired workouts from earlier in his career like "Hey Joe", & "I Don't Live Today". While the album has its rough spots, like when RF interference causes a police radio to be picked up during "Hey Joe", this just adds to the performance. It's a killer show from beginning to end. Hendrix's "aw shucks" personality shines through on between song banter.
Billy Cox, Mitch Mitchell and Hendrix all play with the confidence of a band who know exactly what they are doing.

Live at Berkeley was recorded and filmed on Saturday, May 5, 1970 at the Berkeley Community Theatre. Two shows were held that night and this recording is of the 2nd show.

Some of the Berkeley material has slipped out over the years on various albums, but this is the first time an entire show has been released and as long as Janie Hendrix and Eddie Kramer continue to find things like this to release then Jimi Hendrix's enormous legend will only continue to grow.