Jimi Hendrix - Live at Woodstock

198 Pages·1995·68.33 MB·English

by  Jimi Hendrix

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Introduction

Message To Love

Hear My Train A Comin’
Spanish Castle Magic
Red House

Lover Man

Foxey Lady

Jam Back At The House
hrabella

Fire

Voodoo Child (Slight Return)
Star Spangled Banner
Purple Haze

Woodstock Improvisation
Villanova Junction

Hey Joe
“Give us a minute-ant a-halfto tuneup, okay? Like, we only had ite "

tworehearsals. So, we'd like todo nething hut primary chythin things.
ut, mean, this ls the first ray ef the new rising sun anyways. Se we might
aswell start from the carth, Which is rhythm.”

‘The earth, that morning, was an unholy mess: a eid natural

amphitheater devastated by rain, erosion, bootptints, and enough

refuse to choke’a mid-sized American city; @ mud-bowl graveyard of

WALLKILL Ika tents, sleeping bays and anything clse, wet and ruined, that the

pilgrims didn't feel was worth carting horre, or to wherever they were

heeded next. When Jimi Hendrix took the stage at what was fet ofthe

\Weodstock Music and At Fa’ — after 8:0 A Mon Monday, August

18, 1969, for a paltry cluster of 25,000 souls; under the first, soft, blue

sky of the entire long, mad weekend — whet he must have seen was

PUTER TEPER re 2 long way rom heaven. twas, inact, disgrace, A fl of sodden

‘cash, going all the way to the horizon,

Selective memory and perfumed nostalgia, combined. with a
‘vibrant, expertly skewed documentary ‘il, have ensured that
‘Woodstock — the criginal edition, not the series of bloodless, marufactured anniversary affairs
‘now produced in its name — will forever symbolize all that was supposed to be righteous and

~ cleansing about the rock-testival experience. There is a lot of truth buried under all that aura, For
three days in August, 1969: on Max Yasqur's '600-acre dairy farm outside the village of Bethel,
“New York, peace and noise tkmpled over extrers pkysical duress, the kungled mechanics of
‘hippie capitalism and the ultimate bad luck: ratten weather. Glued together by music and need,
ss more than 400,000 revellers — twice the figure expected by promoters Michael Lang, Artie
‘orrfeld, Joo! Rosemen end dof Roberts; nearly four times the numberof tickets actualy sold
{and, af course, never collected) — confronted the combined tuners of overcapacity and

underplanning with remarkable calm and astanishing cominon sense. New York state officals

declared Yasgur’s pastures a disaster area, As far as | was concemed, there were only two real

“proper introduc

ich coordinator and
Bassist Billy Cox, one of Hendrix's oldest and
most devoted friends and, ike Hendex, 0 votoran of

both the Amiy and the Southern RGB-bar grind;

Lany oe, Mepis _Singortgrtarist wo

winter of 1962; percussionist Jory Velez, om in

Puerta ice sized inthe Bron an acqueniance

from the ete-night henge at she Seene New Yok;

a sect percissionist. Juma Suter, en associate
frome Herein’ Scuiting days in Greemvich lage
ant, wow stock a member of ia Aboriginal
Music Sous, wich layed weekly at a inal
cine: Mitt Mitel, back tom England and not
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D1 om are Newne Love
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‘wo vocal cameos at Woodstock — a Lee original, “Mastermind,” and the Impressions’
“Gypsy Woman,” a throwbeck to Lee and Hendrix's clu days together — were slow.
haggard filler, with litle Kerdrix guitar to salvage them. Which is why neither song is
included on this album, Some things are moant tobe preserved only on boctlegs.

But Leo, Velez and Sultan were a vita, if twansitory, part of Hendrix's reconnection with
the deep biues cf his formative R&B experiences and the polyrhythmic color enooded even
deeper in Hendrix's Alrican-American and Cheroke2 heritage. His Woodstock bend
proved to be a hasty, misshapen thing, giving only two mare public performances — the
September 5th free street show in Harlem: a desultory set at September 10th apening of
the Salvation Club in New York — end part cipating in a handful of recorcing sessions at
New York's Hit Factory. ut it was a pivatal experiment in astrel tavelling and oarthly

swinging; i was Suul musi, with plenly of raomn ly spread cul.

u can leave if you want to.
We're just jammin’, that's all.”