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Jimi Hendrix Jimi Hendrix/NY,USA 1968 1st Generation Master
Jimi Hendrix Jimi Hendrix/NY,USA 1968 1st Generation Master
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Releases of rare Jimi Hendrix recordings began with his Hawaii live performances in his later years, and recently there has been a series of releases of audience recordings of the vibrant stage in 1967 with astonishing sound quality. Now comes a live recording from 1968, the peak of Jimi and the Experience's career. Although Jimi had won popularity in his native US following his appearance at the Monterey Pop Festival the previous year, his live activities in the US in 1967 lasted only for the summer, and he continued to perform mainly in the UK from that point on. Although this may seem surprising considering the explosion of popularity in Monterey, Jimi returned to the U.S. in February 1968 and resumed live performances in earnest, which led to an abundance of live music throughout the year. This resulted in a wealth of live recordings throughout the year. In addition, the East Coast branch of the Fillmore Auditorium in San Francisco, where Jimi had performed the previous year (the recordings have never been unearthed), had opened, and he played a gig there on May 10 at a theater named the Fillmore East. Although the Fillmore East is a venue with which he is very familiar, this was the first time he performed there. He performed twice that day, but it is the second show for which audience recordings have been made. It does not have the close soundboard quality of the 1967 Stockholm recording, but the balance between Jimi's vocals and the performance is very good, and the quality is excellent, which is surprisingly easy to hear considering that it was recorded in 1968. Because it is such an audience recording, it has been released in the past, and items such as "ONE NIGHT STAND" and its copy "CITY TO THE STICKS '68" existed. However, they were poor, with the basic pitch being off, a cassette with a gen-fail cassette, and fake cheers to cover up the cuts that occurred between the songs. The sound quality and performance were excellent, so it was a shame to see such an antiquated treatment. The version without such tricks is naturally distributed on ATM, which is Jimi's major source network among traders, and is regarded as the best in recent years among enthusiasts. Last year, a version based on this version, in which the hissing noise that is the dilemma of the original source has been thoroughly removed, was shared on fan sites. However, the hiss was only suppressed, and the result had an undeniably equalized feel. For this release, however, the world's leading authority on Hendrix research has provided us with a first generation master that was circulated only among core traders, which is completely different from those versions. The sound quality is better than any of the previous versions. What is even more remarkable is that the finale "Wild Thing," which was recorded in less than a minute in the past, is included here for more than three minutes. It is still an incomplete recording, but the difference in recording time is too great. The hiss noise was reduced to a level that would not alter the sound quality, as a final touch to make it suitable for release. The pitch was also adjusted. The sound quality is so good that the performance has long had a reputation among enthusiasts, but Jimi is really at the top of his game here. At the time, Jimi was in the midst of producing his masterpiece double album "ELECTRIC LADYLAND," and he was riding high. It was as if that momentum had carried over to the stage, and he played it down to the point where it felt good. This was especially evident on "Red House. There are many photos of this song that have been left behind, but Jimi, who had switched to a black Les Paul, began to play cautiously in the first half of the song, but in the middle of the song, he started to play like a raging bull. The performance lasted for 15 minutes, but it never seemed to be long at all. Unlike the previous year, when the solos remained within the scope of studio recordings, the performance time of all the songs began to be extended as the band's popularity grew and they were able to include a great deal of improvisation. Even "Hey Joe", the symbol of Jimi's early singles, has a live arrangement in the introduction. In addition, Jimi's solo played on this song was again played like a demon, and it was breathtaking. Incidentally, the amps were complaining of malfunctioning soon after the show started, and you could actually hear the "gee" noise coming from the amps. Still, Jimi did his best to keep playing until "Foxy Lady," and the amp must have been replaced during the guitar change time at the "Red House" section. Even so, Jimi had plenty of time to spare on this day, and even in between these troubles, he played the introduction of Chuck Berry's "Brown Eyed Handsome Man" and lightly played Cream's "Sunshine Of Your Love," which later became a regular part of his stage repertoire. He also lightly played "Sunshine Of Your Love" by Cream, which later became part of his regular stage repertoire. He also played a cover of Bob Dylan's "Can You Please Crawl Out Your Window," which was a masterpiece (and the funny ending was also a masterpiece). This is a great live performance that really packs the momentum unique to the first half of 1968 into a single disc. It is also a great sound source known from past items, but the too-late definitive version of the 1968 Fillmore that sweeps them away is finally available! Fillmore East, New York City, NY, USA 10th May 1968(2nd Show) (62:30) 1. Lover Man 2. Fire 3. Foxy Lady 4. Red House 5. Hey Joe 6. Sunshine Of Your Love 7. Train A Comin' 8. Can You Please Crawl Out Your Window? 9. Purple Haze 10. Wild Thing Jimi Hendrix - Guitar, Vocals Noel Redding - Bass Mitch Mitchell - Drums
