Jimi Hendrix / A Film About Jimi Hendrix / Джими Хендрикс [1973, 2005 ремастирован,DVDRip] rus+eng Sub

•"Good Times".....Jimi-Lonnie-Hermon-Lee.....студия в Нью-Джерси....10 июня 1966
•"Rock Me, Baby"...............Experience..............Monterey......................18 .June 1967
•"Wild Thing".....................Experience..............Monterey......................18.June 1967
•"Machine Gun".................Jimi-Mitch-Billy.........Isle..............................August 1970
•"Johnny B. Goode"...........Jimi-Mitch-Billy..........Berkeley..........................May 1970
•"Hey Joe"..++..................Experience...............Monterey...,,,,,,,,,,,,,,,,,.18 .June 1967
•"Purple Haze"++.............Experience...............Marquee....................London, 1967
•"Purple Haze".................Jimi-Mitch-Billy..........Berkeley...........................May 1970
•"Like A Rolling Stone"......Experience..............Monterey.......................18 June 1967
•"The Star Spangled Banner"..........................Woodstock...................August 1969
•"Machine Gun"...............Band of Gypsys.........Fillmore....................December 1969
•"Getting my Heart Back Together Again"...акустика ...студия ВВC..19 декабря 1967
•"In From the Storm".......Jimi-Mitch-Billy...........Isle..............................August 1970
•"Hear My Train A'Comin'"..++..................Experience.......................................1968
•"Red House"..++...............................Jimi-Mitch-Billy..Isle.....................August 1970

Al Hendrix, Eric Clapton, Little Richard, H, Mitch Mitchell, Lou Reed, Mick Jagger, Pete Townshend, Buddy Miles, Billy Cox, Arthur and Albert Allen, Monika Dannemann, Paul Caruso, Dic Cavett, Charles Washington, Jenifer Dean,
Alan Douglas.................джазовый продюсер, близкий друг Джими
Eddie Kramer, Stella Benabou, Germaine Greer, Frankie Crocker, Pat Hartley...

МАМЫ И ПАПЫ планировались стать звёздами фестиваля, их разместили, как и положено звёздам, в самом конце, на закрытие. Этот фестиваль - попытка правительства подчинить музыку хиппи и показать её в розовом свете. Ответственным за этот проект назначен был Джон Филипс (тот, который в меховой шапке) из МАМ И ПАП, звёздность им длжны были уступить только Саймон и Гарфункель и THE BYRDS, но получилось по-другому. Все неизвестные группы выступали бесплатно. Многие из Фриско отказались выступать. BIG BROTHER поэтому отказались сниматься, но потом воодушевлённые оказанным приёмом зрителей, согдасились, устроители даже дали им лучшее время 18 июня.
Провал супергрупп ничего не значил для правительства: самое главное, выделились лидеры контр-культуры - Отис, Джими и Джанис.
В рамках правительственной программы 'Хаос', была создана программа по "нейтрализации" роk-лидеров 'ContraPro', планировались создать даже специальные нейтрализационные лагеря. Но всё свели к простым убийствам: самолёт с группой Отиса Реддинга сбили зимой над округом Мэдисон, самолёт ушёл под лёд озера, Джими, в него влили красное вино, причём подгадали дату из его пятилетней давности песни, Джанис умерла через 10 минут после инъекции.

Спасибо тому "Толяну", который украл у меня целую коробку с видеокассетами, среди них был авторский перевод на этот фильм. Я бы никогда так глубоко бы не "digged", если бы он сохранился. Планирую перевести весь доступный видеоматериал про Джими на русский.

что послушать:
1964 w. THE ISLEY BROS...........https://rutr.life/forum/viewtopic.php?t=3425611 это не бутлег, а компиляция из трёх частей, 1. LP "In The Beginning", 2. 9-13 сорокопятки, и 3. 14-21: recording sessions, January 14, 1964 только где непонятно.
1965 with LITTLE RICHARD.....здесь нет
1966 студийные записи в Нью-Джерси.....май-июнь.... (компиляция, но представление получить можно) https://rutr.life/forum/viewtopic.php?t=2055413 три гитары, сакс, два голоса, в том числе и голос Джими
1968 https://rutr.life/forum/viewtopic.php?t=1099333 w. B.B.King - Generation Club, New York City, April 15, 1968
1968 w. Jim Morrison https://rutr.life/forum/viewtopic.php?t=1932278 , тоже не бутлег
смотреть
?????????? Gypsies https://rutr.life/forum/viewtopic.php?t=1513092

'Ещё одна спекуляция его имени'. Рецензия американца gkaufdude
Почти ничего нового. Среди них некому рассказать про Джими. А музыка, с 2-х концертов, да из Rainbow Bridge. Так как все права у семьи Хендрикс, и как бы они не старались, получилась помойка и обсасывание коротких встреч в ранние дни. Дайте ему покоиться с миром, а его музыка продолжает жить и чувства его свежи, несмотря на груз сорока лет. Очередная рубка денег. Куда только смотрят члены семьи Хендрикс?

(Hey Joe,Where You Gonna Go?) — написана Билли Робертсом и ставшая популярной в 60-е годы. Самая ранняя версия этой песни была сделана в 1965 году Лос-Анжелесской группой The Leaves. Во времена Хендоикса песня обрела новый смысл. Президентом США был в это время Л. Б. Джонсон, во время президентского срока которого стало приходить много похоронок с Вьетнамской войны. В народе тогда распространилось четверостишье: «Эй, ты, эЛ.Би. Джей, скольких ты убил детей?!» А строчки из 'Hey Joe' стали еще одним обращением к президенту: «Эй, Джо! Куда ты направляешься? Зачем взял пистолет?»
Tim Rose and Jimi Hendrix (1966)
Folk rock singer Tim Rose’s slower version of the song (recorded in 1966 and claimed to be Rose's arrangement of a wholly traditional song)[8] inspired the first single by The Jimi Hendrix Experience. Chas Chandler, who was now focusing on managing other acts, had also seen Rose performing the song at the Cafe Wha? in New York City and was looking for an artist to record a rock version of "Hey Joe". Chandler discovered Jimi Hendrix, who had also been playing at the Cafe Wha? in 1966 and performing an arrangement of "Hey Joe" inspired by Rose's rendition. Chandler decided to take Hendrix with him to England in September 1966, where he would subsequently turn the guitarist into a star.[36] Tim Rose re-recorded "Hey Joe" in the 1990s, re-titling it "Blue Steel .44" and again claimed the song as his own arrangement of a traditional song.
Some accounts credit the slower version of the song by the British band The Creation as being the inspiration for Hendrix's version; Chandler and Hendrix saw them perform the song after Jimi arrived in the UK, although The Creation's version was not released until after Hendrix's. It is unclear if the members of The Creation had heard Tim Rose's version.
Released in December 1966, Hendrix's version became a hit in the United Kingdom, entering the Top 10 of the UK Singles Chart in January 1967 and peaking at #6.[40] The single was released in the United States on May 1, 1967 with the B-side "51st Anniversary" but failed to chart. "Hey Joe" was the last song Jimi Hendrix performed at the Woodstock festival in 1969 and as such, it was also the final song of the whole festival. The song was performed after the crowd, comprising the 80,000 who hadn't yet left the festival, cheered for an encore.
Jimi Hendrix had seen Rose performing at Cafe Wha? in New York City, and released a similarly slow version in 1966 which became a huge hit, first in the UK, then worldwide. It was Linda Keith, Keith Richards' girlfriend at the time that played Rose's recording of "Hey Joe" to Chas Chandler.
http://www.youtube.com/watch?v=KWv03Wgz0PQ

Jimi Hendrix Was Not God, 5 July 2010
Author: Barry Comer from United States
... a nice sentiment about Hendrix.
http://cchronicle.com/2010/07/jimi-hendrix-was-not-god
Jimi closes his eyes with raised eyebrows that arch with heaven and steeples. His left arm reaching for breath and guidance from the angel; a purpled wing. My eyes now close with the aromas of someplace, of exploration and eruptions. From sleepy dreams and wisps of smoke that curl my hands, Purple Haze finds its way back. A piece of life in my corner of memories and favorites; my mantra of home to my heart.
By the time of his Band of Gypsys, the sound that exhaled my Star Spangled Banner disappeared. Anthem maker and Bold as Love warrior, Jimi slipped under. He died September 18, 1970 from massive amounts of wine, vomit and suspicion. James Marshall Hendrix lay in London deceased and I accepted another, just like the ones before and the ones in line... and so on

Роза и Джими снова вместе в THE WHISKY A GO GO на рок-декаде 30 января 2011 год, представляет младший брат Джими - Леон http://www.youtube.com/watch?v=QUY51cc5luQ
http://www.youtube.com/watch?v=A18z7vN_9O8
http://www.youtube.com/watch?v=MyXEIFoSXV8
оригинальная сорокопятка: http://www.youtube.com/watch?v=dfrZAru0LZY
First 10 secs of this nifty r&b number is what we live for. What a calling card. Understated but saturated with feeling JMH was listening hard to what Curtis Mayfield was doing with his melodic, clipped rhythm progressions and sweet hooks. He put his own stamp on it. This is one of the earliest samples of JMH on wax, circa '62, and you can already feel the soul and raw energy he brings to even a side man role. Even when he was a side man he was THE MAN. Loop the first 10 secs, pls!
http://www.youtube.com/watch?v=Xumib_AvySo

Howlin' Wolf:
7. Talk On The Blues
8. Meet Me In The Bottom
9. How Many More Years
10. Dust My Broom
11. Reprise: Meet Me In The Bottom
Muddy Waters Newport 1960 july 3
02. Tiger In Your Tank
Curtis Mayfield
01. It's All Right (1965)
02. Womans Got Soul (1965)
03. I Need You (1965)
04. People Get Ready (1965)
05. Meeting Over Yonder (1965)
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МАМЫ И ПАПЫ планировались стать звёздами фестиваля, их разместили, как и положено звёздам, в самом конце, на закрытие. Этот фестиваль - попытка правительства подчинить музыку хиппи и показать её в розовом свете. Ответственным за этот проект назначен был Джон Филипс (тот, который в меховой шапке) из МАМ И ПАП, звёздность им длжны были уступить только Саймон и Гарфункель и THE BYRDS, но получилось по-другому. Все неизвестные группы выступали бесплатно. Многие из Фриско отказались выступать. BIG BROTHER поэтому отказались сниматься, но потом воодушевлённые оказанным приёмом зрителей, согдасились, устроители даже дали им лучшее время 18 июня.
Провал супергрупп ничего не значил для правительства: самое главное, выделились лидеры контр-культуры - Отис, Джими и Джанис.
В рамках правительственной программы 'Хаос', была создана программа по "нейтрализации" роk-лидеров 'ContraPro', планировались создать даже специальные нейтрализационные лагеря. Но всё свели к простым убийствам: самолёт с группой Отиса Реддинга сбили зимой над округом Мэдисон, самолёт ушёл под лёд озера, Джими, в него влили красное вино, причём подгадали дату из его пятилетней давности песни, Джанис умерла через 10 минут после инъекции.
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Cancellations and no-showsSeveral acts were also notable for their non-appearance.
The Beach Boys, who had been involved in the conception of the event[10] and at one point scheduled to headline and close the show, failed to perform. Their failure to perform was caused by a number of serious issues plaguing the group. Firstly Carl Wilson was in feud with officials for his refusal to be drafted into service for the Vietnam War. The group's new and radical album Smile had recently been aborted with band leader Brian Wilson in a depressed state and unwilling to perform live with the group (he hadn't performed live with the group since late 1964, although he would perform with the group at Honolulu, Hawaii in August of 1967). The group also felt that since Smile had not been released that the older material they had available to perform would not be favorable with the audience. Their failure to perform permanently damaged their reputation and popularity in the US, which would contribute to their replacement album Smiley Smile charting lower than any other of their previous album releases.
The Beatles were rumored to appear because of the involvement of their press officer Derek Taylor, but they declined, since their music had become too complex to be performed live. Instead, at the instigation of Paul McCartney, the festival booked The Who and the Jimi Hendrix Experience.
The Kinks were invited but could not get a work visa to enter the US due to a dispute with the American Federation of Musicians.
Donovan was refused a visa to enter the United States because of a 1966 drug bust.[10]
Captain Beefheart & The Magic Band was also invited to appear but, according to the liner notes for the CD reissue of their album Safe As Milk, the band turned the offer down at the insistence of guitarist Ry Cooder, who felt the group was not ready.
According to Eric Clapton, Cream did not perform because the band's manager wanted to make a bigger splash for their American debut.
Dionne Warwick and the Impressions were advertised on some of the early posters for the event, but Warwick dropped out due to a conflict in booking that weekend: she was booked at the Fairmont Hotel and it was thought that if she canceled that appearance it would negatively affect her career.
Though the logo for the band Kaleidoscope is seen in the film, they did not perform at the Monterey Pop Festival.
Although The Rolling Stones did not play, guitarist and founder Brian Jones attended and appeared onstage to introduce Hendrix.
Though it was long rumored that Love had declined an invitation to Woodstock, Mojo Magazine later confirmed that it was Monterey they had rejected.
The promoters also invited several Motown artists to perform and even were going to give the label's artists their own slot. However, Berry Gordy refused to let any of his acts appear, even though Smokey Robinson was on the board of directors.
The Doors did not appear because the coordinators forgot to invite them. John Densmore, the band's drummer, in his book, "Riders on the Storm", expressed his belief that they were not invited because their music didn't express the ideals of the time, Peace and Love.
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The Jimi Hendrix Experience
Live at Monterey
(Experience Hendrix/Geffen/UMe)
#1 Boxed Set/Live Album/Music DVD for 2007
First Appeared in The Music Box, October 2007, Volume 14, #10
Written by John Metzger
The Jimi Hendrix Experience’s appearance at the Monterey International Pop Festival in 1967 has been available for years in an array of audio and video formats. Live at Monterey is yet another permutation of D.A. Pennebaker’s films Monterey Pop and its offshoot Jimi Plays Monterey. To say, however, that there is nothing revelatory about its latest incarnation in separate CD and DVD packages would be to miss the point entirely. To put it bluntly, one of the most important and exhilarating performances in the history of rock ’n‘ roll has never looked or sounded better.
The histories of both the Monterey International Pop Festival and Jimi Hendrix’s emergence from the British music scene have been told so frequently that they have become pop culture legends. Yet, understanding the background is a crucial component to comprehending the bigger picture. Initially conceived as a single-day commercial concert, the Monterey International Pop Festival blossomed into a weekend-long charity event that succeeded in its attempt to bring credibility to the burgeoning rock scene. In the preceding nine months, Hendrix had moved to London and taken the U.K. by storm, though he remained a relatively unknown commodity in the United States. By fusing vintage footage with previously unreleased and newly conducted interviews, these stories are repeated in the documentary American Landing that opens the DVD rendition of Live at Monterey, thus providing the context for everything that follows.
There’s no doubt that part of Hendrix’s mystique was dependent upon the visual aspects of his stage show. Consequently, although the soundtrack to Live at Monterey makes a fine album — and it features one song (Can You See Me) that wasn’t filmed — Hendrix’s performance must be seen in order to appreciate fully what he accomplished. As amazing as his delivery was, it’s all the more intoxicating to watch how he manipulated the audience. At Monterey, Hendrix not only was aware that he had everything to prove, but he also had complete confidence in knowing that what he was about to do would cause quite stir.
Introduced by the Rolling Stones’ Brian Jones, Hendrix took the stage and launched into a rapid-fire rendition of Howling Wolf’s Killing Floor. Fueled by the caffeinated rhythm supplied by bass player Noel Redding and drummer Mitch Mitchell, the song immediately was urgent and gripping. Although Hendrix tossed off the kinds of guitar riffs that he could play in his sleep, the intensity of his performance demanded attention, and the glint in his eye indicated that he had a few tricks stuffed up his sleeve.
With each passing tune in his perfectly paced set, Hendrix raised the ante. He played guitar between his legs, behind his back, and with his teeth, and like the cosmic flight director he was, Hendrix masterfully coaxed the audience through a multitude of moods. He was aware that his reputation had preceded him, and he used this to his advantage, teasing and taunting the crowd at every turn. He reveled in the feverishly sensual drive of Foxey Lady, the gentle beauty of The Wind Cries Mary, and the hard-driving, psychedelic angst of Purple Haze. Elsewhere, B.B. King’s Rock Me Baby was turned into a furiously thrashing, crash-and-burn blast of white-hot heat, while Bob Dylan’s Like a Rolling Stone was tender and seductive, yet undeniably dangerous. Through it all, Hendrix’s highly combustible solos never failed to hit their mark, and each seemed to build upon the one before it as he carefully laid a path that could only lead to a full-scale release of the tension he was creating.
Somehow, someway, Hendrix simultaneously was living completely within the moment while also working his way through a script that he cleverly had mapped out in his head. The music that emanated from the stage was raw and visceral, and even 40 years later, it is impossible to turn away from watching him perform his madman’s march. After a few cryptic words of warning, he cajoled a wall of feedback and distortion from his guitar before guiding Redding and Mitchell straight into the heady, heavy sludge of Chip Taylor’s Wild Thing. Tucking a snippet from Frank Sinatra’s 1966 hit Strangers in the Night into the tune’s mid-section, Hendrix effectively co-opted and upended the pop universe. He further broadened the cultural and generational divides by pressing his guitar against an amp and simulating sexual intercourse. He then crouched over his instrument, doused it with lighter fluid, and set it on fire before bringing his set to an abrupt conclusion by manically swinging his guitar over his head and smashing it to bits. His antics, of course, were shocking to the assembled crowd — the cameras captured the reaction with long, lingering looks at a few faces — and The Who’s own explosive outpouring was made to seem like child’s play. Nevertheless, while Hendrix’s theatrics certainly helped to create a buzz and attract a wealth of attention, it was his talent and charisma that made him a star.
Live at Monterey comes padded with intriguing extras, too. Six cameras were used to film the event, and for several tracks, viewers can create their own visuals to accompany the music by flipping through the array of footage that was shot. The set also includes a small photo gallery as well as an additional interview segment with Lou Adler, one of the organizers of the Monterey International Pop Festival. Of most interest, however, is the rare glimpse at the Jimi Hendrix Experience performing in a small club in Chelmsford, England in February 1967. The audio is fuzzy, and the picture is grainy. Nevertheless, the material is priceless. Even without the bonus features, however, Live at Monterey is, without a doubt, essential viewing. It is a rare, historical artifact that hasn’t lost any of its edge.
Read more: Jimi Hendrix Experience - Live at Monterey (Film / DVD Review) http://www.musicbox-online.com/filmreviews-2007/hendrix-live-monterey-10152007.html#ixzz22bO7BVko
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