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перевод и субтитры Саши Виноградова СОФИЛ, ул.Ласаля, дом 2, 18 июня 2012

18 июня, 45 лет после Монтерея, когда всё это началось

Freddie Mae Gautier

Mrs. Jeter had come to the house to do some light cleaning.

At that time, she really wasn't able to do anything heavy.

But my grandmother and her had been friends for years...

so she just kind of came by.

And she had this baby in her arms with his little feet out.

lt must have been in December as l can recall.

lt was in the wintertime. There was snow on the ground.

My mother said,

''What are you doing, that little baby with just one blanket?''

So she said, ''Well, this is Lucille's baby.

''And Lucille hasn't been home for a couple of days...

''and so here's the baby.''

So my brother raised so much sand...

we just took the baby.

And so, about two or three days later, Lucille came over...

and said, ''How come you're taking my baby away from me?'

My mother said, ''Here's the baby, you can have it back.

''But you better take good care of it.''

So she said, ''Okay, l'll be back in an hour to get it.''

Well, that was.... Hours went into, you know, like, weeks and things.

Sometimes she'd come and get Jimi, take him, and keep him a couple of days...

[ aged three mounths ] * and bring him back over there to my mother.

[ Johnny Allen ] * Even when Jimi was little...

[ not untill he was 10 - Jimmy ] when you were talking about something very unusual...

many times we'd look for him, and he'd be in the room by himself.

My mother kept other foster children.

Because Jimi was not a foster child.

He was just there because my mother felt

that he needed good care.

He'd be away from the other little children...

which is unusual for two and three years old...

and go and sit by himself in a room, very quiet.

My grandmother would look for him, or my mother or myself...

and he'd just be sitting there.

Nothing wrong, he hadn't fallen out with any of the kids. Just meditating.

And l kind of noticed that throughout...

he wasn't, as Al said, not rowdy.

[ in the UK ] More or less, he'd just kind of steal away to be by himself.

[ that became Jimi ] ln fact, there've been many times as we talked...

tears came in his eyes and rolled down his cheeks.

So you could see it was not....

And l ask him,

''Do you still go away like you did when you were a little boy?''

And he'd say, ''Many times.

''Sometimes my friends are looking for me...

''and l might have rented another room in the hotel

just to be by myself...

to sit and meditate.

l was in the service when he was born.

Got a letter from his aunt...

that l had a son.

l missed all his baby days.

Took a long time for me

to get adjusted to that.

At that time, his mother and l, we weren't together.

But later on, she came along...

and we went back together again.

l'd say, around '55...

l don't know, l was out of work,

l lost the home l was buying.

My other, younger, son, Leon...

l had to let him go into a foster home...

and Jimi and l stayed together 'cause he was the oldest.

So, Jimi and l, we just lived from one place to another...

at various places around Seattle.

Rooming houses, apartments...

just stay with my niece

and some friends.

l used to do a lot of landscape gardening with my brother-in-law.

l found an old ukulele...

out at one of my jobs...

it didn't have all the strings...

so he got strings for it.

He used to plunk away on that.

He got good.

Of course, there's only so far you go with a ukulele.

Then there was a friend of mine...

he had this acoustic guitar...

he wanted to sell for $5.

So Jimi told me about it...

and l thought, ''Okay.'' l gave him the money.

He strummed away on that. He used to be working away on that all the time.

Any spare time he had, he used to be playing his guitar.

So after he got good on that,

l went and got him an electric guitar.

Oh, he played with various groups. 77

Local groups around, teenage dances, and parties.

He loved to play the blues.

Some of his favorite artists were B.B. King,

Muddy Waters.

He was a dropout.

Well, kind of a put-out, too.

I wanna put a tiger in your tank

I wanna put a tiger in your tank

I wanna put a tiger in your tank

Never mind a tigere in your tank

How about an alligator?

the guys back then were thinking about gasoline

the men don't know

what the little white girls understand!

за роялем Otis Spann

Esso still have

the tiger as their mascot.

one tiger tale free

with every fill up

every car had a tiger tale hanging off their car antenna

Children had them on their bike handles

I don't care the people say

Put a tiger in my tank

McKinley Morganfield, 45

He tried to get jobs around town at that time...

as a busboy, at supermarkets, or anything...

but there just was nothing shaking.

He was classified 1A.

He knew he was gonna go so he said that...

instead of them getting him...

and putting him in whatever category

they wanted to...

and putting him in whatever category they wanted to...

So he said he wanted to be getting into the paratroopers.

He wanted to get one of these Screaming Eagle patches,

which he did.

But he used to go to town, playing with...

That's when he met Billy Cox. He was in the service with him.

And they used to go to town...

and play with

some of the different bands...

at these different places or clubs on the weekend...

when they got their weekend passes.

He had an injury of his back there, parachute-jumping...

and he got a medical on that.

Jimi got discharged a month before l did.

So he waited in Clarksville for me.

Meanwhile we got some gigs in Clarksville, in town.

Me and he were together in Clarksville with some other guys.

So we split from the other fellows and went to lndianapolis...

and tried to do our thing, which we did very unsuccessfully.

So we wound up back in Clarksville again.

l was working here at Channel 5 in the studio band.

l only came in.... He was working with Richard.

What was that show like? * *

What was that show like? * lt was good.

lt was good.

He was the star attraction of the show, really.

But he was, he was good.

And he came down this way,

Fort Campbell, with the lsley Brothers.

He split there shortly

'cause he had some big hassles with that outfit.

Now I've got my woman!

every time I think about you

You been so good to me

You know you make me wanna

...закинуть ногу... lift my heels up and

throw my hands up and

come on now

take it easy

I was standing on the corner

when I heard my bulldog bark

He was barkin' at the two men

who were gamblin' in the dark

It was Stagger Lee and Billy,

two men who gambled late

Stagger Lee threw seven,

Billy swore that

he threw eight

О чём вы подумали,

когда впервые услышали его записи, например, Purple Haze?

What did you think...

when you first heard his record, like Purple Haze?

was the one you'd been playing with?

Well, l did flips, man. l was proud of him.

So, that was the last l heard from him...

for maybe about two and a half years.

And then, the way he got in contact with me was this place where they...

sell amps, repair amps, and whatever.

l came in there one day and the fellow said...

he was trying to get in touch with me.

So l called the fellow.

He told me where Jimi was gonna be.

He'd be at a gig in Memphis, wanted me to come down.

So l went down, rapped with him.

He told me about some things he wanted to get into.

-This was after he made it? -Right.

So l was surprised. l said, ''Well, you know, why me, man?''

l was proud of his success.

So we got together.

They told me him and Buddy were gonna do some things.

l did a lot of work in the studio before Band of Gypsies got together.

Finally, we got together and did it.

Happy New Year first of all

I hope we'll have

a million or two million more of them...

if we can get over this summer,

he he he

right I'd like to dedicate this one

to the draggin' scene that's goin' on

all the soldiers that are fightin' in Chicago

Milwaukee and New York...

Oh yes, and all the soldiers fightin' in Vietnam

like to do a thing called 'Machine Gun'

Machine gun

tearing my body all apart

Machine gun

tearing my body all apart

evil man make me kill ya

evil man make me kill me

evil man make me kill you

even though we're only families apart

well I pick up my axe and fight like a father, (you know what I mean)

Hey and your bullets keep knocking me down

Hey I pick up my axe and fight like a father now

Yeah but you still blast me down to the ground

the samt way you shoot me down baby

You'll be going just the same

three times the pain

and your own self to blame

hey

machine gun

Buddy Miles

I ain't afraid of your mess no more, babe

I ain't afraid no more

after a while your

your cheap talk

don't evern couse me pain

so let your bullets fly like rain

'cause I know all the time you're wrong baby

and you'll be goin' just the same

yeah machine gun

tearing my family

apart

yeah yeah

alright

tearing my family apart

don't you shoot him down

he's about leave here

don't shoot him down

he's got to stay here

he ain't going nowhere

yt's been shot down to the ground

oh where he can't survive

no no

So, Buddy...

didn't stay long. He split,

did his own thing.

The rest is history.

And my mom, she really felt sorry for him.

She's Pisces.

So, you know, they are kind of compassionate people.

So she felt kind of sorry for him.

She would buy him different little things... like maybe a shirt.

Or he's playing with some jive group

that wants you to wear a bow tie.

We didn't have no money to buy no beer.

We sneaked in, we were living with my mom...

without her even knowing it.

She'd go to work in the morning.

We'd come in and go to sleep.

And we'd get up before she gets back, and straighten up and be gone...

or either be sitting around

like we just walked in.

My mom threw us out one time

because of this little kitten we had.

She didn't throw us out, but, you know, Jimi was so stubborn until....

Like, the kitten....

She was finicky one day, and wouldn't eat the cat food.

Jimi got all upset. He thought the cat was gonna die...

'cause she'd froze the food a couple of days.

She's sick of the same old crap.

She wouldn't eat it. So Jimi took a can of my mom's solid white tuna...

49c a can at the time....

and poured it out for the kitty to eat.

She ate part of it and left the other part there.

My mom came home and hit the ceiling.

She said, ''You and that crazy-ass nigger, or that cat, one of the two,

" you gotta go.''

So Jimi said....

l told him a bunch of.... l wasn't gonna just go and say:

''My mom said: We gotta go, us or the cat.''

l went over and souped it up. l mean, l really did it up.

l said, ''She called you crazy...

''and she said you were a hippie and a parasite and all kinds of....''

''and she said you were a hippie and a parasite and all kinds of....''

And said something about his music. Oh, l exaggerated it to no end.

So we got on the subway with the cat...

in, you know, one of these big, brown, yellow-looking business envelopes.

And the cat scratched a hole in the end the bag.

You're not supposed to take animals on the subway.

Scratched a hole in it, and the lady across busts out laughing...

when she saw the little kitty poke his black head through the bag.

She busts out and started laughing

l grabbed its head,

leaving the bag's other end unprotected. And the kitty got out.

The conductor saw. We were scrambling for Kitty.

Jimi was laughing so hard. He couldn't help do nothing.

He just stood there acting like he was about to pee on himself.

He was standing up and really screaming to no end.

They threw us off the train at the next stop.

We had to walk all the way home.

He did Walking the Dog by Rufus Thomas all by himself...

and he really killed them then.

From then on, there was this crowd, you know how there's...

this certain neighborhood crowd that always comes.

There was this certain crowd that looked forward to him.

So then they'd buy us beer, now.

All of a sudden, they knew what Jimi was all about

and they'd buy us beer.

Baby's back, all dressed in black

Silver buttons up and down her back

High, low, tipsy toe

She broke the needle now she can't sew

Walking the dog

Just a-walking the dog

If you don't know how to do it

I'll show you how to walk the dog

I asked her mother for fifteen cents

See the fellow, he jumped the fence

Jumped so high, he touched the sky

Never got back until the fourth of July

Walking the dog

Just a-walking the dog

If you don't know how to do it

I'll show you how to walk the dog

Baby, baby, what's your twelve

Tell me, how does your garden grow

What with silver bells and cockle shells

And pretty maids all in a row

Walking the dog

Just a-walking the dog

If you don't know how to do it

I'll show you how to walk the dog

Just a-walking

Yeah, yeah, just a-walking

Yeah, yeah, just a-walking

If you don't know how to do it

I'll show you how to walk the dog

Just a-walking

Just a-walking

If you don't know how to do it

I'll show you how to walk the dog

There was a time when he was heavy, heavy, heavy into blues.

Blues was it, you know.

He would play a little rock every now and then...

a little rhythm and blues, they call it,

but it was stomp-down funky blues.

Elmore James was his favorite.

He used to take a little glass, you know, those little hotel glasses...

and put it on the strings, you know, like they'd do those steel bars...

and get that sound that Elmore gets, you know...

and he tried to wave his voice like Elmore did, right?

He used to wake me up all through the night, ''Hey, listen to this. l got it.''

And The Sky ls Crying was his favorite. lt Hurts Me Too was a favorite of his...

but The Sky ls Crying was his main thing, you know, and Bleeding Heart.

l'll never forget, about 3:00 or 4:00 a.m. he wakes me up:

''Hey, l got it.''

The sky is cryin

Look at the tears roll down the street

The sky is cryin

Look at the tears roll down the street

I've been 'till looking for my baby

And I wonder where can she be

I saw my baby early one morning

And she was walking on down the street

I saw my baby early one morning

Just she was walking on down the street

Made me feel so good

Untill my poor heart skip a beat

I've got a bad feelin'

My baby, my baby don't love me no more

I've got a bad feelin'

My baby don't love me no more

now the sky's torn,

the tears roll down my nose

He was just going crazy about Bob Dylan, telling me all this stuff, and l knew....

l saw in the pictures that he was white, right?

l just knew this was going to be some super, heavy, low-down...

funky white boy, you know what l mean?

l said, ''Let me go listen to this.''

He sat me in front of one speaker and he sat in front of the other.

And he turned it up so loud, l almost busted my eardrums.

How many roads most a man walk down

Before you call him a man?

How many seas must a white dove sail

Before she sleeps in the sand?

Yes, how many times must the cannon balls fly

Before they're forever banned?

The answer my friend is blowin' in the wind

The answer is blowin' in the wind

How many years can a mountain exist

Before it's washed to the sea?

How many years can some people exist

Before they're allowed to be free?

Yes how many times can a man turn his head

Pretending he just doesn't see?

The answer my friend is blowin' in the wind

The answer is blowin' in the wind

How many times must a man look up

Before he can really see the sky?

Yes, how many ears must one man have

Before he can hear people cry?

Yes, how many deaths will it take till he knows

That too many people have died?

The answer my friend is blowin' in the wind

The answer is blowin' in the wind

Joan Baez * *

The answer my friend is blowin' in the wind

The answer is blowin' in the wind

Peter Yarrow, Paul Stookey и Mary Travis

He came back from London and he's playing all this music for me.

lt's really evident that he's made a hell of a change, and there's even no...

hint of the old Jimi, you know. You just wouldn't even know it was the same cat.

l went to one gig, and that was in Hunter College...

the night the picture was made that was in the Electric Ladyland album.

Впервые я увиделThat's the only gig l ever went to after he was famous, you know...

because it was just too much. l couldn't get ready for it.

Jimi was playing with...

THE l.B. SPECIALS...

which was the backup band for the lsley Brothers.

And they were playing at a club called the Grand National.

l saw this cat, you know, and they were doing their thing

and doing it very well.

After the show was over...

l went up and just introduced myself.

Right after that, l think he joined up with...

с Jackie Wilson, l believe.

He was with him for a while.

And then, l believe, he did about... two or three months

with Little Richard.

We both just dug on each other, man.

Right after the Monterey Pop Festival...

Jimi...

myself, Stephen Stills, David Crosby...

Bruce Palmer, who used to be the bass player for Buffalo Springfield...

and Neil Young, we all went out to...

where the Buffalo Springfield were staying at in Malibu at that time.

And we jammed for something like...

36 hours straight, nonstop.

l had met Billy Cox, you know...

and l didn't really know him before.

Jimi introduced him to me.

l remember one night that...

we had an all-night session at Record Plant.

We went down and everybody was just having a good time.

Jimi stops the session

and so we went down to a place called Baggy's Studios.

And they had some drums down there

and he had all of his amplifiers...

and then we was just jamming.

And the next thing l know, l got a call...

at about 12:00 that afternoon.

l didn't go to bed till about 8:00 that morning.

He said, ''Buddy, come on, man.

Let's go down and play, man.

''Let's go back down to Baggy's.''

l was just looking at him

and l said, ''Okay, man,'' you know.

Like, at about 4:00 p.m...

we did it again, nonstop.

The way he was playing the guitar...

just the way he was...

and there must have been other indefinable qualities...

that...

made me feel so incredible.

l had seen good guitar players before and l had done...

a complete freak-out. l mean, it was amazing.

l couldn't understand

how everybody was just quite casually...

dancing or whatever they were doing...

because l felt it was just so important.

Then, l'm seeing this

very tall, lanky guitar player...

who wasn't taking

any notice of what the rest of the band were doing.

l can't believe that he was doing the footsteps and the dance routine.

Certainly not after knowing him.

l can't imagine any of that.

l really had to meet him. l just wanted so much to know who he was...

and what he was all about

and what was going on.

So my friends...

went and spoke to him...

and asked him if he'd like to come back...

with us to our apartment...

and he was very shy...

and l think that he thought we had some dark, ulterior motives.

Then the evening was quite fantastic.

We just sat around and we played loads of records.

He thought he had to have a sort of...

a real singing voice...

and l played him record after record

of Dylan songs...

and eventually he said,

''Well, if Dylan can do it, so can l.''

Darkness at the break of noon

Shadows even the silver spoon

The handmade blade, the child's balloon

Eclipses both the sun and moon

To understand you know too soon

There is no sense in trying

Pointed threats, they bluff with scorn

Suicide remarks are torn

From the fools gold mouthpiece

The hollow horn plays wasted words

Proved to warn

That he not busy being born

Is busy dying

Temptation's page flies out the door

You follow, find yourself at war

Watch waterfalls of pity roar

You feel to moan but unlike before

You discover that

You'd just be one more

Person crying

So don't fear

if you hear

A foreign sound to you ear

It's alright, Ma,

I'm only sighing

As some warn victory, some downfall

Private reasons great or small

Can be seen in the eyes of those that call

To make all that should be killed to crawl

While others say don't hate nothing at all

Except hatred

Disillusioned words like bullets bark

As human gods aim for their marks

Made everything from toy guns that sparks

To flesh-colored Christs that glow in the dark

It's easy to see without looking too far

That not much

Is really sacred

While preachers preach of evil fates

Teachers teach that knowledge waits

Can lead to hundred-dollar plates

Goodness hides behind its gates

But even the President of the United States

Sometimes must have

To stand naked

An' though the rules of the road

have been lodged

It's only people's games

that you got to dodge

And it's alright, Ma,

I can make it

Advertising signs that con you

Into thinking you're the one

That can do what's never been done

That can win what's never been won

Meantime life outside goes on

All around you

You loose yourself, you reappear

You suddenly find you got nothing to fear

Alone you stand without nobody near

When a trembling distant voice, unclear

Startles your sleeping ears to hear

That somebody thinks

They really found you

A question in your nerves is lit

Yet you know there is no answer fit to satisfy

Insure you not to quit

To keep it in your mind and not forget

That it is not he or she or them or it

That you belong to

Although the masters

make the rules

For the wise men and the fools

I got nothing, Ma

to live up to

For them that must obey authority

That they do not respect in any degree

Who despite their jobs, their destinies

Speak jealously of them that are free

Cultivate their flowers to be

Nothing more than something

They invest in

While some on principles baptized

To strict party platforms ties

Social clubs in drag disguise

Outsiders they can freely criticize

Tell nothing except who to idolize

And then say God Bless him

While one who sings with his tongue on fire

Gargles in the rat race choir

Bent out of shape from society's pliers

Cares not to come up any higher

But rather get you down in the hole

That he's in

But I mean no harm nor put fault

On anyone that lives in a vault

But it's alright, Ma

if I can't please him

Old lady judges, watch people in pairs

Limited in sex, they dare

To push fake morals, insult and stare

While money doesn't talk, it swears

Obscenity, who really cares

Propaganda, all is phony

While them that defend what they cannot see

With a killer's pride, security

It blows the minds most bitterly

For them that think death's honesty

Won't fall upon them naturally

Life sometimes

Must get lonely

My eyes collide head-on

with stuffed graveyards

False gods, I scuff

At pettiness which plays so rough

Walk upside-down inside handcuffs

Kick my legs to crash it off

Say okay, I have had enough

What else can you show me

And if my thought-dreams could been seen

They'd probably put my head

in a guillotine

But it's alright, Ma

it's life, and life only

And he sort of made his decision there and then

He was going to get a band together of his own...

and sing and do the songs that he wanted to do.

l don't think he'd thought about writing songs,

though l know that he had...

been writing lyrics, at least.

He said he hadn't yet...

because he was so unsure of himself.

He had no confidence in his own sort of creativity.

We got him a guitar,

which was a good starting point.

ln Cafe Au Go-Go, he really liked it there.

He loved the Village.

l don't know that he'd spent much time in the Village before

he was playing there.

And there were some great people

and everybody was really into sounds...

and he would just be quite happy...

and everybody he talked to

he'd get on very well with.

They would talk about records and music.

And he was absolutely fine. He loved it.

He loved Bob Dylan.

He dressed and looked like Dylan.

We all dressed and looked like Dylan.

We looked ridiculous walking down the street.

l was just...

awed at the fact that he'd be playing at the Cafe Wha?

Flash of inspiration...

l got a job at the Cafe Au Go-Go.

Within a week we opened there...

l didn't even play guitar. l was a stand-up harmonica...

and l sang.

He played the guitar. There was a backup guitar player...

Randy Wolfe...

who later became Randy California.

l got to know Jimi pretty well.

We worked not more than two or three weeks there.

And it was really a sensation kind of thing, you know...

because l had already... established a name for myself in that area...

but Jimi Hendrix was

unbelievable.

At that time, he was Jimmy James...

and he called his little group the Blue Flame.

You couldn't help but notice that this guy was unbelievable.

l wasn't there when he was offered...

the plane ticket to England.

l mean, l was there, but was not at the scene where it happened.

l remember, it was at Max's Kansas City.

l was there having a drink or something...

and he walked in with his entourage.

l hadn't seen him for about five months or six months.

He saw me immediately and knew me...

and came up, ''How are you doing?'' that kind of thing.

But he was, you know, very preoccupied with...

his whole scene, his entourage he was taking care of.

l saw him one more time...

at Steve Paul's Scene...

in New York in '66 towards the end of the summer.

And l'd been playing there for months.

He used to come

in there with...

eight girls on either arm...

and just take over the whole scene.

l think that was about the best

l knew him, was at the beginning.

After that, he started to get more and more...

outside of the small London circuit.

He was playing around the country and then going back to America.

And l didn't really see him, you know,

except for six months at a time.

And then l got to know him less and less.

At the beginning,

you know, when l was living in London...

he used to come around to the flat a lot and stay there.

We had a great time, really.

l thought, at first, you know, his band, the Experience...

l thought it was a bit of a mistake.

l thought it was a hype, really.

l felt from the first that

he should have had at least an American band.

Whether white or black, it didn't matter...

as long as they kind of knew the music they were playing.

l felt that Chas had really just picked up...

two free musicians who were in the rock field loosely.

l thought Mitch, before that, was playing with, sort of...

Georgie Fame, and more into a jazz thing.

l don't know what Noel was doing.

l mean, it didn't take them long once

Jimi sort of introduced them to his music.

They really got into it very quickly.

l thought at first that it could've been a better band

or a bigger band, but...

it worked in the end, obviously.

He'd been in England about a week...

and he'd just gotten the Experience together.

And he had the club on its feet, you know...

from the word go,

they couldn't believe it.

lt was solid musicians, the whole club.

He was incredible,

he really was.

He'd rehearse two days and he had, like, an hour-and-a-half act...

of great songs, and the band was together.

He could have been up there on his own.

He didn't really need anybody else.

He could play on his own and do it perfectly.

The first time l saw him,

l think he was wearing a suit.

He was combing his hair back like Tony Curtis, you know.

At first when l saw that gig,

he couldn't keep his eyes off the mirror...

and he was touching his hair and getting it all right and everything.

He was like that all the time, really, freaking out with his clothes, you know.

l mean,

if he hadn't come to London,

l doubt if he would've...

really looked as good as he did...

because as soon as he got here, he had velvet suits made and sort of...

lace shirts and things, you know.

lt suited him so perfectly and that's what London wanted right then...

and he filled the gap perfectly.

As far as l was concerned, he was in the same category.

He was of the same caliber as people like Howlin' Wolf.

lt was almost like walking up to Howlin' Wolf

and saying:

''Have you heard Muddy Waters' latest album?''

You know, who am l?

You know, l mean, we didn't really talk about it like that at all...

and l didn't feel, l didn't actually know

that he had a collection of records.

Like l said earlier on, l felt

it was just part of him.

Like most blues singers, if you speak to them...

have never heard of the other blues singers around...

unless they are in the same town.

And l felt that was the same with him.

l know he loved Robert Johnson.

That was one very strong bond we had in common...

because l've always loved Robert Johnson, you know.

I woke up this mornin',

feelin' round for my shoes

Know by that I got

these old walkin' blues, well

Woke this mornin'

feelin round for my shoes

But you know by that,

I got these old walkin' blues

Lord

I feel like blowin my

old lonesome horn

Got up this mornin, my little Bernice

was gone, Lord

I feel like

blowin

my lonesome horn

Well I got up this mornin,

whoa all I had was gone

But we certainly didn't discuss the music at length at any time.

You know, we talked trivia, really.

lt was a bit like being thrown back into the days when...

l had heroes like Chuck Berry and Jimmy Reed..

T-Bone Walker, and people like that.

lt was like suddenly being thrust back into that.

And funnily enough, the clubs...

l dragged around to see Jimi

in the two weeks he did in London...

were all the same clubs that l had seen all those people at when l was 16 years old.

The Marquee Club,

Blaises...

and Cromwellian, he played.

He played everywhere, all the London clubs.

We were like a couple of schoolboys.

We used ring up and find out his date sheet

Pick one another up, get all excited on the way there,

then stand in the front.

And often if the crowd was a bit down, we used to stand and, like...

get all excited and try

and whip the crowd up, you know.

But Eric was much closer to Jimi than l was...

and l felt, in a way,

that perhaps this was because... Jimi felt he had the edge on Eric...

but that he couldn't quite make me out.

lt was strange, our position.

l felt incredibly competitive with Jimi.

l felt, ''Okay, he is great. He is a genius.

''There is a fantastic aura about the man.

''But if I really let him whip me too much...

I'll never really be able to ever play again.

''So l must fight back,'' as it were.

After that, l think it was probably good in a way that...

l wasn't able to pinhole Jimi...

and maybe that he wasn't able to pinhole The Who,

either...

because it meant we took slightly different paths.

Jimi said some very, very precious things.

They weren't meant necessarily for the world to hear...

but to me they were very important.

All right, they were said when he was drunk and so on...

but they were said, and they've always been important.

He always felt that Eric and he and l...

had a sort of, you know...

empathy, if you follow me...

and complemented one another in a certain way

Although l knew that to be true at heart..

l could never see myself in the triangle. l could never fit in.

ln fact, the bit where l fitted in...

was in the least glamorous bit, was in the plastic bit, the stage bit.

l was the very plastic bit of Jimi's stage show.

Eric, of course, was the very soulful bit, the musician bit...

the far more romantic thing.

Mine was the blatant, the showbiz,

the years on the road with Little Richard...

the act, you know, the facade...

the rock and roll leotards, and God knows what.

What happened there was really important to me..

and fantastically important to The Who.

lt just changed the sound of the electric guitar...

completely.

lt turned the whole rock world upside down.

We just did three weeks, within that...

there were no records made, but people apparently...

seemed to like the energy put out by the band.

And it was, like, the one thing where it wasn't a structured agreement...

like as much as Cream, you know.

There was one thing that...

it's like

the second trio

as such.

You know, Noel had come from a straight English rock-and-roll band.

Jimi was influenced by whatever he'd been working with.

l come from.....

l don't know...

maybe, like as a fringe, sort of...

pseudo Brooks Brothers suits, jazz sort of scene, you know.

lt's just finding people that you're compatible with musically...

which, you know, is very, very difficult to find.

l found, possibly, like three or four people, and l've been playing for years.

And l think he felt the same way.

lt was a very close band in a very, very abstract way.

Everyone had very firm ideas about what they wanted.

Unfortunately,

at certain times,

there were only like, maybe...,

two-thirds aiming for the same thing.

What was your relationship to Jimi like in those early days?

Pretty distant.

l mean, as much as, like.... lt was selfish motive.

We had to get off on stage

l still feel this way

about playing with musicians and friendship comes...

from the people l'm playing with if l like their music,

you know.

lt's give and take.

With three people it's easy to form a chain, you know, to link it up.

Yeah, we didn't notice we didn't hang out so much together.

l don't really know what kind of energy it was.

lt caused a lot of problems at the time...

because he had very specific ideas about what was required...

and what sound he wanted to do.

A lot of the early stuff was done, basically,

in two or three takes...

as much as Chas Chandler...

never let us forget that House of the Rising Sun by The Animals...

was made for L4 ($10).

l mean, it sold ultra-million copies.

There was a house in New Orleans

They call the 'Rising Sun'

And it's been the ruin of many a poor boy

And, God, I know I'm one

My mother was a tailor

She sewed my new blue jeans

My father was a gamblin' man

Down in New Orleans

Hilton Valentine

Alan Price

Chas Chandler

Oh, Mother tell your children

Not to do what I have done

Spend your lives in sin and misery

In the House of the Rising Sun

John Steel

There is a house in New Orleans

They call the 'Rising Sun'

And it's been the ruin of many a poor boy

And, God, I know I'm one

Eric Burdon, ему первому позвонила Моника, что не может разбудить Джими

Эрик до сих пор уверен в самоубийстве Джими

He was the first person ever that made me aware....

Actually, he made me listen...

because it is very important to hear the lyrics before....

we actually did any tracks.

A lot of the tracks were done by the two of us, with Jimi with the guitar and drums.

Jimi would put the bass on afterwards.

That was one reason...

for any discrepancies in the Experience, as such.

The reaction happened so fast.

That was the one thing, you know,

l mean, you're pressurized...

into, like, road, studio, you know.

lt's a vicious circle.

You got to keep things going out.

Obviously after working in....

After Jimi, being American, working in America...

he had a lot more idea

of what he actually saw...

and wanted to produce.

You know, he talked an awful lot for one person.

l think the best thing that happened within those eight months...

before America, was really....

Even right after Monterey....

Just to carry on, because it all links up.

Bill Graham took us on as a risk...

and we played the original Fillmore for a couple of weeks.

There was the Airplane and Janis Joplin, right.

There was all sorts there.

At that time, Jimi introduced me...

to a lot of Dylan

and a few other people.

He, in turn, Noel, was very much into, like, an English...

lairy.

So we each gave each other bits of music...

and that sort of gave a force.

You know, you became aware of people like Roland Kirk.

We'd all go off and play with different people.

So you can bring whatever you got from those people...

back into the band.

So we all had, like, pretty...

l'm not saying set ideas.

t's really unfortunate about

some of the drug connotations... that have come with our image.

They leave a lot to be desired, really.

l only ever knew him to take one holiday ever.

Like we'd take time off and l'd go off...

and go in the sunshine and Jim would come back to New York...

and live in a couple of rooms on 12th Street, whatever it was.

And that was it for him.

There are very few people who can go anywhere on this earth...

and draw a lot of people...

without making it political or anything else.

And there were certain countries you would visit...

where people want to go and get off, whatever they want to do...

have a fight or a sit-down.

He had whatever charisma was there.

The band was formed...

during October of '66.

So then they went to....

They were only together 10 days before their first tour.

[ с 18 октября ] That was in France, with Johnny Hallyday.

THE LEAVES

Hey Joe, where you goin' with that gun in your hand?

I said, Hey Joe, where you goin' with that gun in your hand?

I'm goin down to shoot my woman,

I caught her messin' 'round with another man

I said, I'm goin' down to shoot my woman,

I caught her messin' 'round with another man

Hey Joe, I think that ain't too cool

Hey Joe, I think that ain't too cool

'Hey Joe' Линда услышала впервые в исполнении Розы Ли Брукс

эту песню здесь, в Штатах, пели тогда многие что говорится, была на слуху

но пластинку именно в их исполнении, она дала послушать Час Чандлеру, сказав,

что если её исполнит этот парень в своей манере

можно в сделать большие деньги в Европе

так как она слышала, что...

здесь многие её пели, изменив первые строчки

имея ввиду президента, они пели:

"Эй Джо, куда идёшь с пистолетом?" "Убивать детей?"

так как в этот год приходило наибольшее количество похоронок из Вьетнама

Originally, we only came for two or three weeks for the Monterey thing...

sort of a promotional thing...

but ended up, it was three months before we got back.

We joined the Monkees tour down in Florida

It was a very strange situation, private plane and everything like that...

so straight, you know.

They had more security guards than people who wanted to get in.

It was strange. It was hopeless for Jimi because he had 15 minutes.

For him,

to get him to finish one number in 15 minutes

was ridiculous.

We had a kind of relationship....

l know my job.

He knew l wasn't into, like...

the whole music thing...

as far as rock-and-roll music was concerned.

l wasn't a musician. l didn't know a lot about it, really.

So we had a kind of relationship separate, apart from the music.

l had my job to do.

Whether or not l knew about music didn't affect it.

That's probably why we stuck each other out for such a long time, you know.

We were in Sweden. A place called Karlstad, north of Sweden.

And we're playing,

like, the fairgrounds called.... Something like that.

We were sitting in the dressing room,

waiting to go on.

We said to the Swedish guide who spoke good English:

''Who is playing with us? What's the support act?''

The guy says, ''Performing seals.''

We couldn't believe it.

We heard the noise and opened the door.

There it is, the seals are flapping to go up the stage on the long ramp.

НThe support act for Jimi Hendrix was performing seals.

24 маy 1967

After all the jacks are in their boxes

And the clowns have all gone to bed

You can hear happiness

staggering on down the street

Footprints dressed in red

And the wind whispers Mary

What was it like on the road, was it crazy?

lt was quite crazy, l suppose.

They used to start off pretty crazy.

By the end,

everyone was too tired to be crazy.

ln Denver, once, we nearly got killed.

Denver, it was the last gig the original Experience played...

in the Mile High Stadium

ln Denver, it was a pop festival.

The air was so thick with tear gas and stuff, it was tough to see.

it was tough to see.

Everybody was sort of reeling.

Just in the last number, the crowd broke through.

The stage.... No security, it was like standing in a football field.

So it's like 30,000 kids come rushing over the football field...

and they can get all the way around the stage.

so...

l actually get them in the back of the equipment truck, padlock them in...

in complete darkness in the back of equipment truck.

We have to try and get out through these kids.

They squashed the truck, a big truck, they squashed it so much.

lncluding the roof of the cab.

We couldn't get the back doors open when we got back to the hotel.

They'd been all over it, squashed it.

l had to get levers and things to get the back door up.

What led him to break up the Experience?

l don't know, really. They'd been working very hard.

They hadn't a break from one another. They'd vacation together.

They'd work together, live together...

and everything.

l think probably what brought it on, same thing as with most bands...

l think probably what brought it on, same thing as with most bands...

Especially, they'd been working hard.

The funniest thing that happened with the group....

l'd get up in the morning to go catch a plane.

They'd all get up.

They'd sit in their room and say,

''ls so and so downstairs?''

l'd say, ''No.'' ''Well, l'm not coming down till he's down.''

Then the others would say,

''l'm not coming till he's down.''

The three would sit in their rooms until

l'd lie and say ''The other went down.''

They'd all stay in bed till the rest were ready

and then come running down.

After he'd done the Electric Lady album...

he became dissatisfied.

l think he thought to himself he'd run out of gas, kind of thing...

he didn't seem to be able to get into anything new.

Couldn't get into writing anything new.

That's why he seemed so happy with... the Cry of Love album.

He...

He got himself back into writing songs

that he was happy with.

The last time l saw him?

l'd say it was about...

two days before he died.

l spoke to him the night before he died.

He called me up to make reservations to come back...

to finish off the Cry of Love album.

He was gonna come back and then go back into....

First time l ever saw Jimi Hendrix was in a club called Blaises in South Kensington.

His manager Chas Chandler had arranged a gig there...

[ открывать таланты ] * as a showcase for his, Chas', new act.

l'd seen Mitch in Denmark Street a few weeks before...

he told me he was rehearsing...

with a guitar player and a bass player.

Blaises, when we got down there, was packed full...

of the upper echelons of the rock-and-roll business.

l think George Harrison was there.

Some of the Stones were there.

He did a round of the London clubs,

places like The Bag O' Nails... the Speakeasy.

l think he did a week in a place called the Seven and a Half.

He did the Scotch of St. James.

l was with a band called The Pretty Things.

l remember, in fact...

doing a gig in Paris with The Pretty Things...

on the bill with Jimi Hendrix, and by this time, l had gotten into him...

and l turned the....

l said to The Pretty Things, ''You've got to see this guy. He's fantastic."

Then l left The Pretty Things, 'cause they didn't pay me any wages.

Then l got this word that Mitch was looking for me, and would l contact him?

l did the last part of the Walker Brothers tour.

We then went out and did...

one-nighters around the country...

getting really good reactions. l can remember playing...

the lmperial Ballroom, Nelson...

a real cavern of a dance hall.

The kids in the audience there....

He got down on his knees with his guitar on the stage...

sitting up...sort of rising up and down on the tremolo.

And the kids just surged forward

and dragged the guitar out of his hand.

He managed to hold onto the guitar, but they got all the strings.

The best concerts l think he ever gave in England...

were the Saville Theater concerts.

The Saville Theater was owned by Brian Epstein...

and it was more or less a hobby for Epstein.

lt was the best presentation of rock and roll in London.

He had this theater and he put on the bands that he liked.

One night, Marshall had given us some new amplifiers to try out...

some 8x10'' cabinets...

and they really weren't working at all.

l think l changed five amplifiers over for one amplifier...

and still none of it worked efficiently.

lt sort of worked out all right in one way...

because that night we got a stroboscope on him at the Saville.

We came to Wild Thing...

and l'd given instructions to the lighting engineer in the theater...

to turn all the lights out.

We turned all the lights out

and l had this stroboscope...

and l put this stroboscope onto its most hypnotic pattern. With all the lights out,

it was the only light. The only thing by which you could see anything was this stroboscope.

When it came to Wild Thing, he just tore into those amplifiers.

Just knocked them.

He took his guitar off,

swung it around his head, smashed them every which way.

Mitch was on a double drum riser, which meant that he was sitting....

His feet would be four or five feet up in the air...

and Jimi was just smashing it.

So then the drums were starting to roll off the stage...

because he was knocking the legs off the drum riser.

All this was going on

on just an every-other-frame level.

lt was like he was a demon running around.

l think he was wearing a red velvet suit that night.

And he was running around the stage smashing everything...

just under the light of the stroboscope.

And the audience rose up out of their seats like some...

tidal wave and just surged to the front.

And l think they...

he just threw the bits of the guitar out at them that night.

l was overwhelmed, this was in England.

He came into Olympic.

l think they recorded Hey Joe in another studio.

They came because they were dissatisfied with the sound.

They heard about Olympic.

lt was brand new,

it just had opened.

As soon as they came in, they had these double stacks of Marshalls...

this huge double bass drum kit for Mitch, and everything.

We flipped out, we just....

We'd never heard anything like it.

l'd never heard anything like it.

The most exciting, the first album...

'Are You Experienced?'

and...

Axis or part of Axis, l think...

Chas Chandler was producing,

or co-producing.

The first time you ever heard phasing effect...

where you get...

two sounds together and they start to...

do this, you know?

A sound like water going down a funnel.

He told us a story. He said, ''l hear a sound...

''and l heard the sound in a dream.''

This was on Axis.' Bold as Love. You know that...

incredible drum break, where they start in one corner and go to the other corner.

All this kind of thing.

He heard that sound in a dream, and he says,

''l want you to recreate that for me.''

And we said, ''We think we know what it is.''

We did it for him and he freaked out.

He said he relived his dream.

ln one way, he had a kind of a casual...

attitude towards working in the studio.

ln another way, he was very, very precise...

and very demanding on everybody around.

He'd work for hours on end.

He'd jam for 10, 12, 14 hours.

Mixing.

'Electric Lady, that album...

the 1983 side, you know... the one side.

We mixed that straight through in about 14 and a half, 15 hours.

lt was nothing.

During '69, about February...

l had a call from Mike Jeffries.

Would l be interested in...

getting together with Jimi and Michael and designing and building a studio?

l said l'd come take a look at the place that they had selected. lt was the old....

Prior to that it was the Village Barn

and then it became the Generation nightclub...

and they'd taken over after Generation had opened and closed within six months.

They wanted to turn it into a nightclub... where Jimi could play,

and a studio.

l came down, looked at the place and said:

''This is too valuable to waste. Let's make it an incredible studio.

''Let's make the best studio in New York City.''

Jimi just wanted a place, basically, that was...

really comfortable to work in...

a nice environment...

you know, that had great sound.

And John Storyk, the architect, interpreted this in a way...

you can see with the shape forms...

the muted lighting, which you can... make rainbow colors on any of the four walls,

which are carpet.

l'd say, ''Give me red lights tonight.''

Or blue lights, yellow lights or something like that.

Wash the walls in different colors. He dug that.

Apart from the sound, of course, which....

Jimi got tired of playing the...

sexually upfront thing with the guitar, you know.

He just wanted to...

After all that thing had finished with Axis...

and the first album, his music was growing to another area, it became....

He called it church music, electric church music.

He felt he wanted to get closer to the more...

religious kind of things...

more soul, gospel...

oriented things. He was very influenced by that.

lf he had the song...

incomplete, it was just a germ of an idea... it could take days

He would come in one night and jam on the idea...

get some rough things down, take a tape home and listen to it.

ln fact, he used to take tapes home and play them to himself, apparently...

and he'd fall asleep with them still playing...

and wake up the next day, listen to them, keep playing them...

till the ideas formulated.

He'd sit down, write lyrics after the track was cut...

and he was happy with the track.

He'd sit down there with pages and pages of lyric.

ou know, take lyrics from one song...

stick it into another song.

He would do that.

Noel came in, Noel Redding.

And he said, ''What are you doing?''

l said, ''l'm with this band now called The Nice.

And he said, ''Our road manager flipped out.

''He couldn't take it anymore. We need you.''

And l said, ''When?''

He said, ''10:00 a.m. tomorrow... ''the plane leaves, we're going to Milan.'' And l said, ''Wow.''

So at about 10:00 a.m...

Gerry Stickles calls me up and he said:

''l'm at the office, why aren't you here?'' You know?

So l just...

went over, packed a little bag and did...

five days.

Most of the time, it was just Jimi, Mitch, Noel, and Gerry.

They went by car and plane.

l used to have three guys with me and we trucked everywhere.

Then came the point where...

Jimi would sometimes bring a chick on the road.

She'd never last longer than about two days.

The chick couldn't take it.

She just couldn't take all the hassle and the rushing about.

So he'd send her home.

When we played in Spain,

everybody bought masks and snorkels

and fins

That was the time everybody had these super-8s...

and everybody was filming everybody. lt was the funniest thing...

to see Jimi with the big Afro hairstyle then...

this mask, and his little thing with the Ping-Pong ball...

and his flippers, going into the water...

and he walked and walked...

till you couldn't see him anymore and the waves just went over him.

lt was just hilarious.

They argued. Every band argued.

Noel would say Jimi was playing too loud.

Jimi would say Noel was playing too loud.

Mitch would say he wasn't playing loud enough.

But nobody ever messed with his guitars. l was the only one...

who used to, like...

re-string his guitars and...

you know, generally take care of them.

And he didn't like, you know...

if another musician, say we'd be playing at a festival...

and other musicians come into the dressing room...

and pick up one of his guitars...

instantly, he'd say, ''Please put it down.''

They'll say, ''l know Jimi, l've known him for years,''

and l'd say: ''Doesn't matter, you know, put it down.''

They used to get upset about it, but...

if Jimi came in and saw somebody, he didn't like it.

He just didn't like you messing with that.

l'd say, ''What's happening?'' And he said:

''l spoke to Mitch and he's coming back.

''We're gonna get this new band together and we're gonna play Woodstock.''

So we said, ''Yeah.''

'Cause l was dying to get back with him, you know...

because about three, four months...

Mitch and l were just staying in England, not doing anything.

So we came over and we got all that one together.

But it was strange, it was really weird.

lt wasn't as happy as it used to be...

with the Experience. We did Woodstock.

We arrived, l don't know, at 1 :00 p.m., to go on at 8:00 p.m.

We didn't go on till 9:15 a.m. the next morning.

So you can imagine how everybody felt.

For a start, they felt really bad and tired...

and they went on, but they still did a great set.

But l was really glad that he didn't keep that band.

And then we went out again, with Jimi...

Mitch and Billy Cox.

And we did Europe with them.

We did some American dates as well.

When we made that movie, Rainbow Bridge....

We went there and there was all these health-food freaks.

And l'm no health-food freak, you know?

And they were all up there meditating and stuff.

When Gerry and l arrived, there was no alcohol in the house...

there was no meat, just vegetables.

And we went berserk.

So we sent down.... The camera crew, and all that...

they couldn't wait till we got there. We went down...

got all this meat and all this booze.

Jimi had to sit down with them...

and eat all this seaweed and all this crap, you know?

Just didn't want to offend anybody.

And as soon as that was over, he'd come running up to us...

and we had the whole Kentucky Fried Chicken and stuff...

and he'd get drunk and go back to the house and try to be straight.

You know, it was just great.

We were going over to do the lsle of Wight...

and the group all went ahead...

and that was the opening of Electric Lady Studios.

So l stayed behind with Jimi....

Because Mike Jeffries had promised he'd get us on the last flight no matter what.

But l'd still get hassled...

to get him out of that studio and into the limo...

and off to the airport.

We got to the airport and he was in an incredible mood.

The studio opened well, and he was just in a great mood.

And we got to the airport and as we went through...

the metal detector, l went through...

and Jimi came through and you know...

customs men and everybody, they used to always pick on him.

They knew who he was.

They used to say things like:

''Wouldn't let my daughter get near him,'' and all that crap.

He went through and the man stopped him and said:

''You got any metal on you?'' And Jimi said, ''No.''

He says, ''Well, go back.''

Jimi went back and came through again.

And he was wearing like skintight pants and...

a body shirt, it was obvious he wasn't wearing any.

The man says, ''l don't understand how come it goes.''

Jimi says, ''lt's my metallic hair spray.''

l just cracked up.

He cracked up but the old man didn't think it was too funny.

So we get on the plane and there was....

lt was just about him and l. lt was a jumbo.

Him and l and about 13 other people in first class.

We had all those like, incredible, really nice-looking...

airline stewardesses, they took care of us all night.

He was just so happy. We watched a movie.

About two hours out of London, we fell asleep.

And we arrived in London...

lt was really great because he hadn't played London for two years.

And when we got off the plane...

all the press were there.

And l said, you know, ''They're here.''

He'd get so scared, instantly he'd get so scared.

And l went to walk away...

and he pulled me back and says:

''You stay here.'' You know, because...

he felt secure with some people.

There was a few people around him he could trust.

So l ended up with...

Looking at the papers and seeing my picture in some of them.

ln other ones, seeing Jimi, and they'd cut me out.

lt was really weird, some of the pictures.

He came out and he wasn't happy.

He said that the fuzz box was wrong.

We changed that after the first number.

For the second number he said the wawa pedal was wrong.

So we changed that and then we changed a couple of amps.

l remember him saying to the kids:

''We'll stay all night here if we have to till we get it right.''

And the kids were all just happy.

He played about two and a half hours that night.

lt was funny because...

he was playing down on his knees...

and he split his pants and he came round and he said:

''Got a safety pin?''

With all that volume.

l could normally hear ''fuzz box,'' ''wawa,'' ''amp''...

but ''safety pin'' was kind of hard. l went, ''What?''

He said, ''Got a safety pin?''

l said, ''Wait a minute,'' so he went back and he had like...

a big, long thing...

on one of his sleeves, so he was like hiding himself.

He came around and l said, ''l got a safety pin.''

So he walked round the back of the amps...

and said, ''Put your hand here.''

So l put my finger on it and he said, ''Just hit it.''

So l was standing there just doing this while he's...

getting a safety pin and fixing his pants.

So he went out again...

and l remember a few of The Who were there...

John Wolff, their road manager...

Wiggy was just in hysterics...

me standing there and Jimi just grinning.

And he went back out and...

his face was beaming and he took off. He was just so happy.

At that time he had a house in Boiceville...

which is just outside of Woodstock...

and so l more or less moved in there.

We started playing every day. At that time it was just...

him playing guitar and myself playing percussion instruments

Later on, Billy Cox came...

it was, like, just three people.

At that time, the group was called, it wasn't...

Jimi wanted to change the name from the Jimi Hendrix Experience...

to the Gypsy Sons and Rainbows.

You know, a lot of people never caught that.

But it was introduced at the Woodstock festival...

like he said, ''Okay, folks, here we are.

''Our new group is the Gypsy Sons and Rainbows.''

He wasn't coming from the Jimi Hendrix Experience, which was...

closer to a cooperative group. After the festival...

that was dissolved.

The management...

felt that it was too many people, they didn't like the sound.

lt was too much of a change.

Okay, folks, here we are again.

Our new group is the Gypsy Sons and Rainbows

The last time l saw him was the morning before he went to England.

We had been in the studio all that evening.

He was just going to rest...

then he was leaving at 2:00 p.m. that afternoon.

That was about 7:00 a.m.

We were feeling pretty up because...

we had just done some....

We had a nice night at the studio...

and felt fairly good about some of the things that had happened...

you know, that time, so...

it was a good feeling but a tired feeling.

At the time, most of the groups that were gaining acceptance

were white groups.

Very few of the groups had any black performers in them.

He was accepted in the white society, came back to a basically white society

played for a basically white audience

and l'm sure that it disturbed him a great deal.

l think it was very important for him to gain the acceptance

of the black audience...

of the black person in America because...

he came from that and he felt a great association with that.

He apologized for everything.

You kind of felt that his background was such that his mother made him

say thank you

and all the amenities.

l remember l used to make

a kind of paella,

which he loved, he used to come over and get it. lt was nothing.

But he'd come over here and he'd

have it and every time he went back for a plate of it

e would ask me whether it was all right for him to do it.

l once told him,

never to apologize to me, never to ask me,

whether it was all right to do anything.

But it never stopped.

And one day he...

l knew he was coming over,

and l decided to try something.

l looked out of the peephole of the door...

l opened it just as he got to the door and l said:

''Excuse me, Jimi.'' And he said, ''Thank you.''

lt was almost an immediate reaction.

lt was something that he didn't even think about.

l think that if you listen to the Star-Spangled Banner...

l think that's indicative.

There's a lot to be said about that.

That particular thing is a masterpiece to me...

because it...

kind of showed exactly how he felt about...

say, the country, the hypocrisy...

And, point of fact, l wish everybody...

could sing the Star-Spangled Banner without accompaniment.

And then they would understand a little bit more, l think...

about what that...

disastrous piece of music,

if you want to call it that, really means.

-When did you first... -ln '68. 1968.

lt's when we became very good friends.

Traveled together.

l went on an American tour with him.

And he came to Morocco for vacation.

When l first met him he was quite outrageous...

and then, obviously, started growing.

You know, he never stopped growing...

he just sort of started settling down and became more subtle about his clothes.

But he had very good taste.

He knew exactly what looked good on him and what didn't.

He had very good taste.

ln his own way. What he could wear,

nobody else could wear...

l don't think.

But we did the jacket that he was wearing in Woodstock.

We did that for him.

That suit that he was wearing New Year's Eve at the Fillmore...

we did that for him. A lot of other clothes.

The last time l saw him

was for the opening night of his studio on 8th Street.

He was going to London.

And he said:

''l'm gonna die before l'm 30 years old.''

And l said, ''l can't stand it when you talk like that, Jimi.''

And he just laughed.

l just could not understand for myself why Jimi...

was so unrecognized.

And l wanted very much for him to make records...

so that l could play them on my record player at home.

l brought all the love letters and l sat and read them to him.

And every time...

we'd get to a particular part, he'd go over his little thing.

''Did l say that?'' Or something like that.

But then at the end...

we would talk about what led up to that letter and stuff...

without him even going off.

К этому времени Джими уже должен был быть убит,

но планы мистической, предсказанной пять лет назад смерти

были сорваны

Джими уехал на съёмки 'Rainbow Bridge'

Убийство планировалось на конец июля,

запись 'Баллады о Джими' была завершена 31 июля 1965

в конце есть слова: "Он не ушёл, он просто умер"

а может убийцы понадеялись на жаркое лето, 38 Цельсия в тени?

We did lsle of Wight and then went to the Continent.

And he died two weeks later.

People say it was intentional or...

No way was it

intentional.

No way,

he was just so happy.

lt was just an accident.

l miss his presence,

but, you know...

he still left so much beauty that...

l can't cry...

or l can't be remorseful.

He was a great loss to the whole world.

lt was too bad...

that in his youth he was cut down, but..

maybe the man...

upstairs knew best...

and as l told him...

l'm not fanatical about religion but that...

is what the Bible says.

You rejoice when they leave here and cry when they come...

because of the conditions in the world.

The man upstairs thought

that he fulfilled what he had to do on this Earth.

That's why l always...

just keep it to myself,

my own thoughts about...

his death.

l mean it just...

don't jive.

When he died...

apart from a big piece of our lives going away...

a big chunk of musical history sort of suddenly disappearing...

it was very hard to come back in again and try and mix...

tapes that he'd previously done.

lt took me about two, three months...

to get the courage up to take the tapes out

and play them again.

lt was hard.

We always feel that Jimi's presence is here.

Wherever we are, we know he's here.

When l mix his tapes...

l can feel it.

l can feel his presence very strongly.

'Dolly Dagger', probably took...

l think he cut it twice.

This was the second time he cut it.

He cut a rough version of it, l think, at the Record Plant.

And then when the studio was finished and built...

we came and cut it.

l think the track was cut in one evening.

This whole long section,

as you can see, it goes on and on.

Here comes Dolly *

Dagger *

Her love’s so heavy, gonna make you stagger *

Dolly What l'm going to do here is,

Dagger, l'm going to show you...

she drinks her blood from a jagged edge... *

she drinks her blood from a jagged edge... how Dolly Dagger was broken down.

she drinks her blood from a jagged edge... *

l'll show you how it's broken down

into bass, drums...

guitar, Jimi's basic rhythm guitar.

One of the lead vocal tracks was put on at the same time as the guitar was put on.

There's percussion...

at the same time as the basic track was cut.

Then there was a lot of overdubbing.

Fuzz bass, extra percussion tracks, another lead guitar track...

drum overdubs, foot stomping, background voices...

Here's the drums.

And now the bass which is taken direct.

Direct feed from the bass guitar

right into the console.

And there's an amplifier track, which is usually quite distorted...

but we use it for that effect.

And in Jimi's basic guitar...

which is taken in stereo as a direct feed on his guitar and an amp feed.

Here's the direct which is very clean.

And you can hear the difference between that...

and this.

And in stereo, it sounds pretty neat.

We have the bass back in.

See, the bass and the guitar...

are playing basically the same line together.

This, kind of, locks the rhythm in.

At the same time, we have this percussion track going on.

As well as a conga track.

This is cut live.

Pretty good separation. Thank you, Electric Lady.

There's a plug if ever l heard one.

Now we'll try and find the fuzz bass guitar overdub.

lf we can find it.

No, hasn't come up yet. lt'll be somewhere around.

Here's the lead guitar.

Jimi...

put on a lead vocal at the same time as

putting on this lead guitar so he'd get into the mood of the vocal

as well as putting on the guitar. l'll split it up for you.

That's the leakage you're hearing.

Jimi standing in the studio with a huge bank of Marshalls.

Plus there a vocal mike on him, too. So you're hearing that on this vocal mike.

Here's the fuzz bass.

l'm just going to wind back and find the point...

where the backup vocals come in. That was yet another overdub.

Jimi is singing in there with the Ghetto Fighters.

Here comes burnt-out Superman *

tryin' to shoot his dust off.... *

tryin' to shoot his dust off.... And another vocal track which we never used.

And another vocal track which we never used.

Back to the old conga track.

Here's the footstomping track we have that was interesting.

l'll add some echo to it.

There's a nice line in there, a tribute to Devon.

Jimi says.... You'll hear it. l'll play it you.

l'll pull the tracks down so you can hear what he's saying.

'Cause Devon was in the control room at the same time.

l think this song was obviously dedicated to her.

Here it is.

Watch out, Devon Here it is.

Watch out, Devon *

Give me a little bit of that heaven *

lt's kind of a nice touch.

Dolly

everybody

get it on, get it on, get it on

Dolly

everybody

get it on, get it on, get it on

Dolly

everybody

get it on, get it on, get it on

As you can see, it's a very complex track.

Many layers of sounds...

and Jimi's lead guitar somehow floats through the whole thing...

and locks it all together.

Когда открыли коробки с киноплёнками, на которых была надпись:

"Hendrix Performance from the july 4, 1970 Atlanta Pop Festival"

эмульсия буквально спрыгивала с целлулоида

Изображение реставрировали покадрово,

на это ушло почти 1500 часов невероятных усилий

Звуковую дорожку восстановил Eddie Kramer, создав из праха Dolby 5.1

к 2005 году работа была завершена

Everyday in the week

I'm in a different city

If I stay too long people try

to pull me down

They talk about me like a dog

talkin' about the clothes I wear

But they don't realise

they're the ones who's square

And that's why

you can't hold me down

I don't want to be tide down

I gotta move

Hey

I said stone free

do what I please

stone free to ride the breeze

stone free, baby I can't stay

I got to got to got to get away

Listen here baby

A woman here, a woman there try to keep me

in a plastic cage

But they don't realise

it's so easy to break

yeah buta sometimes I get a ha feel my heart

kind a gettin' hot

You know I mean?

That's when I got to move

before I get caught

I know this and the is why

you can't hold me down

I don't want to be tied down

I gotta move on

I said stone free

Do what I please

stone free to ride the breeze

stone free I can't stay

got to get away

tear me loose

Джими играл перед самой большой аудиторией

600 тысяч слушателей (!)

в это лето на нашей планете

стояла нестерпимая жара

4 июля было 38 Цельсия в тени (!)

Stone free to ride on the breeze

Stone free do what I please

Stone free I can/t stay

I got to I got to get away

Stone free go on down the highway

Stone free don/t try to hold me back baby

Stone free got to baby