50 Years Ago Today: Jimi Hendrix wows Monterey

The most electrifying three minutes in the history of live rock music, made all the more significant because it was Jimi returning to his homeland in triumph

Click this link to view the same performance but with slightly different camera angles:

http://www.dailymotion.com/video/x5sx5h_jimi-hendrix-killing-floor-live-mon_music

On Sunday June 18 1967, The Jimi Hendrix Experience was introduced to the American rock audience, live for the first time, at the Monterey Pop Festival. As milestone moments go, they don't get much better than this. As described in my post about Jimi's shows at the Saville Theatre in London, he crafted a stage act in those first European gigs that reached its first real flowering (man) at his homecoming gig.

Monterey was the first major coming together of rock's foremost talents, including Janis Joplin, Otis Redding, the Grateful Dead, Buffalo Springfield, Simon & Garfunkel, The Mamas and Papas, Jefferson Airplane and The Who. Jimi must have been ecstatic to suddenly be in this rarefied atmosphere - the California sunshine, a groundbreaking festival gathering and, to judge by his performance, he revelled in this talented company: "Yeah, it's really out-of-sight here, it didn't even rain; no buttons to push...". And to top it off he was introduced by rock royalty; Brian Jones being the only one of the Stones or the Beatles who attended Monterey.

And for me, the adrenalin rush of their first song, Killing Floor - that had given Eric Clapton the shock of his life when Jimi first arrived in London - is perhaps the most exciting three minutes in the history of live rock. Jimi, Mitch and Noel, with their frilly shirts and feather boa, give it everything and leave mouths agape, like 'what did we just see?'

During the set, he pulled out all the stops, showing off his unique combination of rhythm and lead playing, cuffing the guitar, playing it behind is back, with his teeth, and then finally setting light to it, to the astonishment of the audience. Remember this is 50 years ago! The 1960s may have been swinging, but what Jimi did, in common with other revolutionaries of that era, was push out the boundaries beyond most people's imagining at that time.

The drugs helped in the mind-blowing, of course. Legend has it that Hendrix was tripping on Owsley LSD at Monterey. Hard to believe he could play and sing like that under the influence of mid-altering psychedelics, but records of the time suggest that may have been the case. At the earlier free festival at Mount Tamalpais, Owsley, the acid king immortalised in Steely Dan's Kid Charlemagne, was said to be dispensing acid to the performers as they were about to go onstage with the words, "do you want the sacrament?"

Robert Christgau noted in The Village Voice that Hendrix, after his famous row with Pete Townshend, (see the comments from John Phillips in the clip above) was stuck with topping the Who's guitar-smashing tour-de-force. "It's great sport to watch this outrageous scene-stealer wiggle his tongue, pick with his teeth, and set his axe on fire." 

The performance, he said, heralded "the dawning of an instrumental technique so effortlessly fecund and febrile that rock has yet to equal it, though hundreds of metal bands have gotten rich trying. Nowhere else will you witness a Hendrix still uncertain of his divinity."

 
This was a legendary performance. The arrival of King Guitar.

Youtube is not your friend when it comes to clips of Jimi playing Monterey. Most of them have been taken down by the copyright owners. What I have presented here - my own archived copy of Killing Floor, Rock Me Baby and the Wild Thing finale, give a taste of the magical set Jimi played. But there's plenty more, including a great version of Dylan's Like A Rolling Stone.

Try to get hold of a copy of the original Jimi Plays Monterey movie. I have it as part of a boxed set that includes Otis Redding's set, the original Monterey Pop movie and a DVD of outtake performances. Well worth checking out if your budget permits.

My most-viewed Youtube clips 3: Jeff Beck and David Gilmour - Hi Ho Silver Lining

Two for the price of one on this thread. It's actually not so rare now, but back in 2009 when I filmed this at the Royal Albert Hall, I don't think Jeff had ever played Hi Ho Silver Lining live, and certainly he hadn't sung it. As you are probably aware, the song was a hit for him in 1968, but it was so untypical of his style of music that he refused to play it live.
But obviously over the years, he softened his stance.
This all happened during the encore, which began with David Gilmour joining the band on stage. Beck and Gilmour traded licks during a long instrumental passage that concluded with the melody from Jerusalem.

That's the first clip you can view here. This was a real treat, to see Gilmour, who is usually so measured in his playing, batting lines back and forth with JB, the show-off. And clearly there's much respect between them. Jeff at one point feigns shock at one of Gilmour's trademark licks.

The other musicians, Jason Rebello (keyboards), Tal Wilkenfeld (bass) and Vinnie Colaiuta (drums) take a restrained approach to the track, in view of the fairly unrehearsed nature of it. And the comments on youtube show how rare and how much of treat it was for us in the audience.

What could follow that? The last thing any of us expected was for them to start into Jeff's big pop hit! It wasn't immediately obvious that was what they were playing until Gilmour started singing the first verse, "You're everywhere and nowhere baby..." at which point the audience raised the noise levels a notch or two. And then, when Jeff took the second verse, they really did go wild.

Both clips have about 30,000 views at the time of writing, helped by being featured on other sites, I believe.

Enjoy.

Sgt. Pepper is The Beatles... who knew?

50 years ago, in June 1967, the Beatles released a concept album, before the term was ever used of course, but that's what it was. Sgt. Pepper's Lonely Hearts Club Band was their way of distancing themselves from Beatlemania.

As history shows, it was Paul McCartney's idea that the Beatles present themselves as some kind of vaudeville act, as a means of releasing new material that would reflect their new songwriting and recording innovations.

The first release of this new era was the double A-side single of Strawberry Fields Forever and Penny Lane, which was previewed on TV's Juke Box Jury in February 1967. I can remember seeing the show and, on first listen, being rather baffled by SFF. It really was unlike anything they, or anyone, had done before. I don't remember whether it was voted a Hit or a Miss, but you could understand if the panel of judges were unsure what to make of it. 

Penny Lane was a different matter of course, being a much more traditional song with a strong melody and a jaunty rhythm.

Which led us into the anticipation for the new Beatles album, unveiled on June 1, a Thursday. Was anybody really fooled by this masquerade of the Beatles pretending to be someone else?  Well, to judge from EMI's advertising, they must have been worried that people were confused about the band's identity. Otherwise they wouldn't have felt the need to remind people who was behind the album.

"Remember - Sgt. Pepper's Lonely Hearts Club Band is The Beatles"

oh thanks, I was wondering who it was...

My vintage 1967 mono copy of Sgt Pepper, with insert cut-outs and inner sleeve

It was the Summer of Love, Peace, Music and LSD, so not surprisingly, when the band were attending the cover shoot for the album, two of them, John and George, were literally flying.

And consider this: When Sgt Pepper was released on 1st June 1967 (their 8th album) Paul McCartney and George Harrison were still only 24 years old.

For the back story to the making of Sgt Pepper, you could do worse than visit this page:
http://www.thebeatles.com/album/sgt-peppers-lonely-hearts-club-band

And of course, this week sees release of the 50th anniversary edition of Sgt. Pepper's Lonely Hearts Club Band. We hope you will enjoy the show...

Crossing the Bridge of Sighs - Robin Trower live

The rock trio format produced many great bands in the 1960s and 70s, from Cream and the Jimi Hendrix Experience, through Taste, the early Thin Lizzy with Eric Bell and - one of my personal favourites - the Robin Trower Band.
Trower was a member of Procol Harum during their 60s heyday, but by 1970/71 he was forging a new sound and direction. His first post-Procol band, Jude, evolved into the three-piece Robin Trower band and their first album Twice Removed from Yesterday established the blueprint they refined through the 1970s.

Early days of the RT band, with Reg Isidore (right)

Trower's guitar playing drew instant attention because of the similarities in tone and sheer power with Jimi Hendrix. The early comparisons with Jimi were valid to some extent. The Robin Trower sound did borrow from the master, but Trower was soon able to demonstrate that he had his own personal style that was as distinctive as Jimi’s. He was genuinely trying to forge a new direction for the rock trio and, as Charles Shaar Murray’s review of their second album Bridge of Sighs indicates, Trower was able to win people over with the sheer force of his playing.
CSM's review states: "Trower and his sidemen seem to give the evoking of an atmosphere very high priority, which means that unless you’re prepared to sit down and listen hard, you’re going to miss the point completely. By pursuing a direction totally unlike that of any other three-piece guitar-led band, Trower may well be cutting himself off from a large number of potential listeners who are only interested in guitar pyrotechnics of the kind he is quite capable of playing if he so desires. However, what he is doing here is ultimately far more valuable."

The NME review of  'Bridge of Sighs' from 1973

"It's just a bit of a yawn," said Robin at the time, with regard to the Hendrix comparisons: "I guess it gives people something to talk about. People like to put you in a pigeonhole if they're uncertain. Maybe it makes it easier for people to accept what I'm doing, the Hendrix thing gives them something to hold on to."
Of course, the Trower sound had another key ingredient – the smooth soulful voice of bass player Jimmy Dewar who, along with drummer Reg Isidore provided the dynamic backing on the first two RT band albums. Dewar was undoubtedly one of the great British vocalists and his contribution was crucial in making their albums and live shows so memorable. This video clip shows what a silky smooth voice can really add in a rock context. It's an early (pre-album) version of Day Of The Eagle (from Bridge of Sighs) with different lyrics.

Isidore was muscular and frenetic - a key part of the band in the early days. But he was maybe a little too loose for Trower’s liking. Robin said at the time of the third album For Earth Below, when Bill Lordan joined, “'Reggie just started to drift a bit. I run a very tight ship”. And so in came the tall blond American Lordon, who had previously played with Sly Stone and, it was claimed (somewhat implausibly) with Jimi in the Band of Gypsies. Trower said they all knew when they got together that he was the right choice: “It was classic! He knew he was right for us before we did. He'd been into us from the time the first album came out and he's been trying to get hold of me ever since, cause he knew he was The Drummer. He phoned me up and said, 'I'm the guy you want. Don't listen to anybody else.' And he was right. He was absolutely perfect.”

My vantage point for Robin Trower at the Reading Festival in August 1975

The RTB were one of the best live bands I ever saw. And that run of albums, from Twice Removed… through Bridge of Sighs, For Earth Below and Long Misty Days were constants on my record deck at the time. I saw them live a few times, notably at the Reading Festival in 1975, when they provided the high point of the Sunday afternoon. I have this memory of the crowd getting in such a frenzy – it was a sunny afternoon at the end of what had been a typically sodden weekend (it poured down during the headline set by Yes on the Saturday night) and a kind of delirium came over the crowd during Trower’s set. At the climax of one of the songs, a great wave of cheering could be heard as a (good-natured) rubbish fight broke out across a no-man’s land puddle of mud in the middle of the crowd. I just remember this cloud of paper and empty bottles suspended in the air, the crowd seemingly spurred on by the excitement of the music.

The BBC recorded them for an In Concert show in early 1975 but then ruined the recording by releasing it on CD in the mid 1990s with fake crowd noise. Thankfully, the original tapes survived (see links below). I have the original, recorded off the radio, and Trower is incredible. It’s an old-fashioned ‘wireless’ recording onto a Phillips portable cassette recorder, complete with Pete Drummond’s between song announcements. I've never heard a better version of Daydream. It’s a must for any fans of the classic era Trower band. The band are at the top of their game, Trower's tone and fluid soloing have rarely been captured so consistently in one show. Apart from the version of Daydream, highlights for me are the new song Gonna Be More Suspicious which really jumps out of the speakers on the BBC version. Lady Love crackles with intensity. Too Rolling Stoned was an instant classic. Here's my recording of Daydream, and I have pasted links to a re-broadcast of the entire show at the foot of this post:

I saw the RTB again at the Hammersmith Odeon on the tour promoting Long Misty Days. Trower provided a jaw-dropping volume on the title track with its wall-of-guitar intro. Although he has continued to make records to this day, his reputation rests on that golden period in the mid 70s and the trio format with Jimmy Dewar on vocals. Dewar sadly died in 2002. Robin Trower can be seen on the gig circuit, still playing the classic material. In 2005, when I saw him playing at the Mean Fiddler in London, the volume knob was still way up at 11. He began the set with a terrific rendition of Too Rolling Stoned. What amazes me about this clip is that my camera was able to process the sound so well. It really was very loud.   

BBC In Concert Program, January 1975
Day of The Eagle, Bridge of Sighs, Gonna Be More Suspicious
http://www.youtube.com/watch?v=GnGbbd_nU-Q&list=PL-R4Z6A4NVglr89GKkAf-Smwb-SStIlMZ

Fine Day, Lady Love, Daydream
http://www.youtube.com/watch?v=FAlQN66vOQo&list=PL-R4Z6A4NVglr89GKkAf-Smwb-SStIlMZ

Too Rolling Stoned, I Can't Wait Much Longer
http://www.youtube.com/watch?v=MPg6b8im6sw&list=PL22xMk52Uk_QUi0CbEMmbUPTJzHJSSboT

Alethea, Little Bit of Sympathy, Rock Me Baby
http://www.youtube.com/watch?v=gtVtICWvcXE&list=PLA4AD3535D7E692A6

Reading Festival, 23rd August 1975
http://www.youtube.com/watch?v=LAoVe9CvCHM

Steely Dan interviewed in 1975, 1976 and 1977

Here are three interviews with Donald Fagen and Walter Becker from the mid 70s, when they were producing some of their most excellent music. They talk songwriting technique and what they look for in the musicians for each session. And true to form, they never take themselves too seriously.

Starting in April 1975, at the time of the album Katy Lied, the first interview appeared in the NME and was based on a meeting in California with the writer Richard Cromelin.  Having moved to the west coast from New York, the two are clearly still adjusting to the change in lifestyle.
"It's about 10 or 15 years behind," says Fagen of suburban San Fernando Valley. "We're going to have to relocate. Our heart is still on Second Avenue, and that's what we like to write about. Our lyrics are basically experience combined with a little fantasy."

Becker explained how he and Fagen like to make each song original: "We'll set up a framework, no matter how bizarre it may be. I'll come up with an idea and he'll come up with a scenario and we'll decide what we think the song is about, and which part of the exposition of what is happening is in each verse and get a title together. And no matter how strange the idea may be, we just go along and hope that we can finish the song."

They met at Bard College, where Fagen was "the dean of the pick-up band syndrome". Turns out there were several bands at the college and Fagen was the leader of all of them. Mostly, this appears to have been because the other musicians were not at his level. "We were writing tunes where some of the chords were not triads, and you couldn't use your capo that much. It was hard to get what we wanted in those days, so it didn't come out in utter magnificence," Becker said of the duo's early collaborations.

They tell the story about how the various band members were recruited, especially Denny Dias, who at this point, in 1975, was the only remaining member from the original band. Apparently Fagen and Becker hooked up with Dias's band and "we used to chastise and abuse them," Fagen recalls. "They all quit. So there was Denny and we'd ruined his band. He had no place else to go."

They also explain how, after some initial success with Reelin' In The Years from the first album, 'Can't Buy A Thrill', the threat of obscurity loomed dangerously near. The next single, Show Biz Kids, from the second album 'Countdown To Ecstasy' was, in Fagen's words "a brutal failure". They followed it with an edited version of My Old School, which saw even less action.

The resounding commercial success of the third album 'Pretzel Logic' and the single Rikki Don't Lose That Number, was consolidated in 1974 by a world tour. But Fagen still felt that "We've more or less abandoned hope of being one of the big, important rock and roll groups. Our music is somehow a little too cheesy at times. and turns off the rock intelligentsia for the most part. And at other times it's too bizarre to be appreciated by anybody."

Becker and Fagen also talk about the sound problems during the recording of Katy Lied that forced them to remix the album and delayed its release. They also address the question of the departure of former member Jeff 'Skunk' Baxter. Skunk, they claim, was only missing from the last album because he was on the road with the Doobie Brothers.

But it's clear they were not content to rely on the same musicians for each album, and wanted to push their session players to stretch themselves. Becker talks about how Rick Derringer was initially freaked out by what was expected of him on the track Chain Lightning. "Then he realised he needed to do something a little different from what he normally does."

click on the image to read the article

June 1976

The NME's Steve Clarke encountered Becker (then still only 26) and Fagen (28) a month after the release of 'The Royal Scam', announcing that the band was ready to tour again, including dates for Britain in 1977 (when in fact they didn't come to the UK again until 1993!). Becker even talks about who will be in the touring band. Denny Dias is the only one who has the stamina to stay the course with The Dan, he says. "He's willing to indulge us a little more than our old compatriots," said Becker.

Both deny being difficult to work with and lead the interviewer a merry dance when he asks what some of the songs are about. Becker denies Kid Charlemagne is about a dealer, more "a man of science. Someone who makes consciousness expanding substances of the most dramatic sensational type no longer in vogue."

(Indeed, it's about Augustus Owsley Stanley, the famous king of the LSD manufacturers). 

At one point, Donald Fagen states that the lyrics on their recent albums have a bit more maturity. When Clarke suggests Steely Dan songs are intentionally obscure, Becker counters that "it seems to us that people are intentionally dumb." Fagen adds that, "You can only do so much with a song, and because we are probably more literary, we use more literary techniques."

Paul Griffin plays the piano solo on Sign In Stranger and also receives a writer's credit on The Fez. This came about because, according to Fagen, "He wrote the main theme". Becker disputes this, saying "I wouldn't call it the main theme. He wrote a melody that is featured. At least he says he wrote it."  They gave him a credit "in case later on some sort of scandal developed".

'Don't Take Me Alive' is very much a song of these troubled times, writes Clarke about a song that still resonates with the times today. Fagen says of the song: "In Los Angeles and through the world in general, terrorism is a way of life for a lot of people."

They feel little affinity with anything else that is going on in rock in '76, though both express a fondness for Single Bed by Fox. They also enjoy The Eagles, Phoebe Snow and Van Morrison. They say comparisons between Steely Dan and 10CC are ridiculous: "Last time here we were being compared to the Doobie Brothers."

Talking of which, former Dan back-up singer Mike McDonald, now livening up the Doobies, told Clarke that Becker and Fagen wished they were Charlie Parker and Duke Ellington. "That's essentially true," says Walter. 

 

 Click on the images to read the articles.

December 1977

Rolling Stone's Cameron Crowe writes about the second coming of Steely Dan, following the release of the stylistically different but nonetheless peerless masterwork 'Aja'.

My most-viewed Youtube clips: 2. Tommy Bolin live 1976 - 'Delightful'

I put this together using whatever photos I could find of Tommy and the band, which included drummer Narada Michael Walden, fresh from his time with the Mahavishnu Orchestra.

Michael had just released his first solo album, The Garden of Love Light, which features Jeff Beck and Carlos Santana. Tommy's band took the track 'Delightful' and played a beautiful version of it here, catching the groove just right. There's a later show on the CD this was taken from (First Time Live) which is much quicker, and loses the groove as a result.

So here we have just about the best example of Tommy Bolin's short-lived band. And it's obviously captivated folks, to judge from the comments on the YT page. Coming up for 55,000 views at the time of writing. Enjoy.

Expressions to avoid during a recording session

I was reminded of this list by a thread about Steely Dan on the Afterword blog. When SD reformed in the 1990s, their website was an extension of Fagen and Becker's sardonic humour. This list appeared on the site, together with things like '36 Rules for Bands'. Anyone who has been in a band, or in a studio, should get a laugh or two out of this.

EXPRESSIONS TO AVOID DURING A RECORDING SESSION

1.     Ready, Freddie (pronounced red-eye fred-eye)

2.     Bingo, gringo

3.     Uno, Bruno

4.     The phones sound O.K. but I need more of myself

5.     We won't need a click

6.     I like what you're trying to do but not the way you're doing it

7.     An excellent first attempt

8.     Was that the sound you had on the demo?

9.     Make the click louder

10.   That was a pretty good take for this time of night

11.   If you want the tempo any brighter than that, we better wait for a sunny day

12.   No dynamics? We're playing as loud as we can

13.   I think that's a pretty good sounding take for what were getting paid..

14.   That was great, let's do it again

15.   Is that about as tight as you boys want to get it?

16.   Is it possible the click is speeding up?

17.   I'm at the point where I'm making dumb mistakes - before I was making much smarter  mistakes

18.   So many drummers, so little time

19.  Why don't we do the double first and the lead will be easier to get once we've got the double

20.   I never had this problem when I was being produced by Lenny and Russ

21.   We got some things, we need some things

22.   Fabulous

23.   Punch in at the section

24.   You can't make ice cream out of shit

25.   You can't polish a turd

26.   Just let your spirit soar

27.   My spirit's already sore from the last thirty takes...

28.   Close

29.   Less is more

30.   Less is Paul

31.   Less is Brown

32.   Less is less

33.   That's the way I've been playing it all along

34.   I just wish I could get a whole band that sounds as good as I do

35.   This will be a great opportunity for me to show off my chop

36.   Let's hear the bass, if you can call it that

37.   Does your amp have an underdrive channel?

38.   You can erase that one, I remember exactly what I played

39.   We'll catch that in the mix

40.   You guys can fix that in Soundtools, right?

41.   I brought my kid along, he's never been in a recording studio before

42.   My girlfriend sings great background vocals

43.   I know a great drummer

44.   You guys want to try some heroin?

45.   Your girlfriend's been in the bathroom a long time

46.   Please, man, stay away from my faxes, okay?

47.   I'm not going to be any more dishonest with you than I am with Donald

48.   I'd like a little more of a live feeling on this tune.

49.   I also play eleven other instruments

50.   Sorry I'm late, I just got through with my blood test (or CAT scan)

51.   That vocal's not a keeper is it?

52.   That's how I wrote it but that's not how I like to play it

53.   I can't think of any improvements that won't make it worse

54.   That ground loop is a trademark thing for me

55.   That's the new old comp from today - I want to hear the new old comp from last Tuesday

56.   That reverb would sound a lot better if it were coming out of a piece of MY GEAR

57.   How bout we get rid of these 3M machines and get ourselves a frozen yogurt machine

58.   Skunk called, he's on his way down

59.   The frozen yogurt machine is broken

60.   When was the last time we worked together? Tonight.

While we're on the subject of behaviour in the studio, here's a glimpse of what it was like to be in the studio back in the day (early 1980s) with legendary producer Quincy Jones. My reaction in the comments section (from 2009 apparently) is: have they been at the nose candy or what?

"I Love Quincy" documentary from 1982, featuring Patti Austin 

recording the song "It's Gonna Be Special"