8.

Heavy Metal (Is The Law) [Weikath/Hansen] Fight hard Live fast Play loud Step out of the crowd Iron Rulin' Steel bent Forever the faith will live on in our hearts There's nothing else in all the world That will bring it down We will play our wildest step to all around We need it as a liquid in our veins instead of blood Power Burnin' Brains out United metallians ready to strike White heat Red hot Mayhem If you don't feel it you won't understand There's nothing else in all the world That will bring it down We will play our wildest step to all around We need it as a liquid in our veins instead of blood [Chorus] Heavy Metal is the law that keeps us all united free A law that shatters earth and hell Heavy Metal can't be beaten by any dynasty We're all wizards fightin' with our spell [Solo: M/both] [Chorus]

5. A Tale That Wasn't Right Here I stand all alone Have my mind turned to stone Have my heart filled up with ice To avoid it's breakin' twice Thank to you, my dear old friend But you can't help, this is the end Of a tale that wasn't right I won't have no sleep tonight [Chorus] In my heart, in my soul I really hate to pay this toll Should be strong, young and bold But the only thing I feel is pain It's alright, we'll stay friends Trustin' in my confidence And let's say it's just alright You won't sleep alone tonight [Chorus] [Solo] [Mike] With my heart, with my soul Some guys cry you bought and sold They've been strong, young and bold And they say, play this song again [Chorus] [Solo Licks Mike] 6. Future World If you're out there all alone And you don't know where to go to Come and take a trip with me to Future World And if you're running through your life

And you don't know what the sense is Come and look how it could be, in Future World We all live in happiness our life is full of joy We say the world "tomorrow" without fear The feeling of togetherness is always at our side We love our life and we know we will stay [Chorus] Cause we all live in Future World A world that's full of love Our future life will be glorious Come with me - Future World You say you'd like to stay, But this is not your time Go back, find your own way to Future World Life can be for living Just try and never give in Tell everyone the way of Future World One day you'll live in happiness With a heart that's full of joy You'll say the world "tomorrow" without fear The feeling of togerherness will be at your side You'll say you love your life and you'll know why [Chorus] [Solo] [both / Kai / both] [Scream it out] [Chorus] 7. Halloween Masquerade, masquerade, Grab your mask and don't be late Get out get out well disguised Heat and fever in the air tonight Meet the others at the store,

Knock on other people's door Trick or treat they have to choice, Little ghost's are makin'lotsa noise But watch out... beware - listen... take care [Chorus] In the streets on Halloween There's something going on No way to escape the power unknown In the streets on Halloween The spirits will arise Make your choice, it's hell or paradice Ah - It's Halloween Ah - It's Halloween... tonight! Someone's sitting in a field, Never giving yield Sittinh there with gleaminf eyes, Wating for big pumpkin to arise Bad luck if you get a stone, Like the good old Charlie Brown You think Linus could be right The kids will sy it's just a stupid lie But watch out... beware - listen... take care [Chorus] Listen now - we are calling you... And there is magic in the air [Solo] [Kai] Magic in the air... on Halloween Black is the night full of fright You'll be missing the day What will be here very soon Changing your way A knock at your door It is real or is it a dream On trembling legs you open the door And you scream... on Halloween [Solo]

[Kai / Mike / Kai / Mike] Darkless Where am I now Is there anybody out there What has happened Am I in heaven Or is it hell I can see a light comin' It's comin' nearer It's shining It's shining so bright It's shining on me [Solo] [Kai / Mike / Rhythm change] [Mike / Kai / Mike / Kai] I am the one, doom's in my hands Now make your choice, Redeemed or enslaved I'll show you passion and glory He is the snake I'll hive you power and abudance He's the corrupter of man Save me from the evil one Give me strenght to carry on I will fight for all mankind's Deliverance and peace of mind [Harmony Solo] [both] But watch out... beware - listen... take care [Chorus] Yeah, it's Halloween [Solo Licks / Kai]

Yeah, it's Halloween... tonight 10. Keeper Of The Seven Keys [Music + lyrics: M. Weikath] Make the people hold each other's hands and fill their hearts with truth you made up your mind so do as divined Put on your armour ragged after fights hold up your sword you're leaving the light make yourself ready for the lords of the dark they'll watch your way so be cautious, quiet and hark You hear them whispering in the crowns of the trees you're whirling 'round but your eyes don't agree will 'o' the wisps misguiding your path you can't throw a curse without takin' their wrath [Bridge:] Watch out for the seas of hatred and sin or all us people forget what we've been our only hope's your victory kill that satan who won't let us be--kill! [Chorus:] You're the keeper of the seven keys that lock up the seven seas and the seer of visions sais before he went blind hide them from demons and rescue mankind or the world we're all in will soon be sold to the thone of the evil payed with Lucifer's gold

You can feel cold sweat running down your neck and the dwarfs of falseness throw mud at your back Guided by spells of the old seer's hand you're suffering pain only steel can stand [Bridge:] Stay well on your way and follow the sign fulfull your own promise and do what's divined the seven seas are far away placed in the valley of dust heat and sway [Chorus:] You're the keeper of the seven keys that lock up the seven seas and the seer of visions said before he went blind hide them from demons and rescue mankind or the world we're all in will soon be sold to the throne of the evil payed with Lucifer's gold Throw the first key into the sea of hate [Solo: Mike/Kai] throw the second key into the sea of fear throw the third key into the sea of senselessness and make the people hold each other's hands the fourth key belongs into the sea of greed and the fifth into the sea of ignorance Disease, disease, disease my friend for this whole world's in devil's hand Disease, disease, disease my friend throw the key or you may die [Solo: Kai/Mike/Kai/Mike] On a mound at the shore of the last sea he is sitting, fixing your sight with his high iron voice causing sickness he is playing you out with delight man who do you just think you are?

a silly bum with seven stars don't throw the key or you will see dimensions cruel as they can be don't let him suck off your power throw the key. . .! [Solo: both/Kai/Mike/Kai/Mike] An earthquake, squirting fire, bursting ground Satan's screaming, and earth swallowing him away! [Chorus:] You're the keeper of the seven keys you locked up the seven seas and the seer of visions can now rest in peace there ain't no more demons and no more disease and, mankind, live up, you're free again yes the tyrant is dead, he is gone, overthrown you have given our souls back to light 9. I Want Out [Music + lyrics: K. Hansen] From our lives' beginning on we are pushed in little forms no one asks us how we like to be in school they teach you what to think but everyone says different things but they're all convinced that they're the ones to see [Bridge:] So they keep talking and they never stop and at a certain point you give it up so the only thing that's left to think is this [Chorus:] I want out--to live my life alone I want out--leave me be I want out--to do things on my own I want out--to live my life and to be free People tell me A and B

they tell me how I have to see things that I have seen already clear so they push me then from side to side they're pushing me from black to white they're pushing 'til there's nothing more to hear [Bridge:] But don't push me to the maximum shut your mouth and take it home 'cause I decide the way things gonna be [Chorus:] I want out--to live my life alone I want out--leave me be I want out--to do things on my own I want out--to live my life and to be free There's a million ways to see the things in life a million ways to be the fool in the end of it, none of us is right sometimes we need to be alone [Solo: Kai/Both] No no no, leave me alone [Chorus:] I want out--to live my life alone I want out--leave me be I want out--to do things on my own I want out--to live my life and to be free 5. Forever And One (Neverland) [Music: Deris/Lyrics: Deris] What can I do? Will I be getting through? Now that I must try to leave it all behind Did you see what you have done to me? So hard to justify Slowly it's passing by

Forever and one I will miss you However, I kiss you yet again Way down in Neverland So hard I was trying Tomorrow I'll still be crying How could you hide your lies Your lies Here I am Seeing you once again My mind's so far away My heart's so close to stay Too proud to fight I'm walking back into night Will I ever find someone to believe? Forever and one I will miss you However, I kiss you yet again Way down in Neverland So hard I was trying Tomorrow I'll still be crying How could you hide your lies Your lies 1. If I Could Fly No fear, no pain Nobody left to blame I'll try alone Make destiny my own I learn to free my mind Myself I now must find Once more Once more If I could fly Like the king of the sky Could not tumble nor fall I would picture it all If I could fly See the world through my eyes Would not stumble nor fail To the heavens I sail If I could fly So here I am

In solitude I stand I've got dreams inside I need to realize My faith has grown No fear of the unknown No more No more If I could fly Like the king of the sky Could not tumble nor fall I would picture it all If I could fly See the world through my eyes Would not stumble nor fail I could ravage my jail If I could fly If I could, if I could, fly If I could, if I could, fly If I could, if I could fly Like the king of the sky Could not tumble nor fall I would picture it all If I could fly See the world through my eyes Would not stumble nor fail To the heavens I sail If I could fly Like the king of the sky Could not tumble nor fall I would picture it all If I could fly See the world through my eyes Would not stumble nor fail I could ravage my jail If I could fly

Heart (band)
From Wikipedia, the free encyclopedia

Jump to: navigation, search

Heart

Heart logo

Origin Years active Genres

Seattle, Washington, U.S.A Vancouver, Canada 1963 - Present day Hard Rock Pop-Rock Folk Rock Mushroom Portrait Epic Capitol Sovereign Artists Ann Wilson Nancy Wilson Ben Smith Mike Inez Craig Bartock

Labels

Members

Past members Mike Fisher Roger Fisher Howard Leese Steve Fossen Michael Derosier Mark Andes Denny Carmassi Fernando Saunders Denny Fongheiser Website(s) www.heart-music.com

Heart is an American band formed in Seattle, Washington. Going through several lineup changes, the only constant members of the group are sisters Ann and Nancy Wilson. The group's music during the 1970s was influenced by hard rock groups like Led Zeppelin, and folk music. In the 1980s they became a mainstream rock act, before dropping out of the public consciousness in the late 1990s.

Contents
[hide]

1 Band history o 1.1 Origins and early success (1963-1982) o 1.2 Mainstream years (1983-1989) o 1.3 Low profile (1990-Present Day) 2 Members 3 Discography 4 See also 5 References 6 External links

[edit] Band history

[edit] Origins and early success (1963-1982)
The Wilson sisters grew up in Southern California and Taiwan before their Marine Corps father retired to the Seattle suburbs. After attending college they returned to Seattle, with Nancy working as a folksinger and Ann joining an all-male local group in 1970. (The group was formed in 1963 by Steve Fossen and Roger and Mike Fisher as the Army. They later changed their name to White Heart, shortened to Heart in 1974.) Upon joining, Ann became lead guitarist Mike Fisher's girlfriend, and when Nancy joined in 1974, she became involved with Fisher's brother Roger. The band moved to Canada .[1] After many one-nighters around their new home of Vancouver, they attracted the attention of Mushroom Records in 1975, a Vancouverbased label run by Shelly Siegel. He had them cut Dreamboat Annie, which upon release in Canada sold 30,000 copies, no doubt benefitting from CRTC Canadian content regulations. In the U.S. Siegel released it first in Seattle, where it quickly sold another 25,000. With two hit singles"Crazy on You" (#35, 1976) and "Magic Man" (#9, 1976) the album eventually sold over a million copies. By early 1977, Heart had broken its contract with Mushroom Studios and switched to CBS subsidary Portrait, a move that resulted in a prolonged legal fight with Siegel. In retaliation he released the partly completed Magazine at the same time Portrait released Little Queen. A Seattle court ruled that Mushroom had to recall Magazine so that the group could remix several tracks and redo vocals before rereleasing the disc. (They had wanted the album taken off the market completely.) Little Queen, with the hit "Barracuda" (#11, 1977) became Heart's second million-seller; Magazine and the double-platinum Dog and Butterfly followed suit in 1978. During sessions for Bebe Le Strange the Wilson-Fisher liaison ended. Roger Fisher formed his own band in the Seattle area. Howard Lesse and Nancy took up guitar slack, and her

childhood friend Sue Ennis helped out on song collaborations. The group hit the road for a 77-city tour to support Bebe Le Strange, then returned to make Private Audition in 1982.

[edit] Mainstream years (1983-1989)

That album and the following year's Passionworks (featuring new bassist Mark Andes {Spirit, Jo Jo Gunne}, and drummer Denny Carmassi {Gamma}) failed to go gold, putting Heart at a career crossroads. But the groups first album for Capitol, simply titled Heart (#1, 1985) sold 5 million copies on the strength of four Top 10 hits: "What About Love?" (#10, 1985), "Never" (#4, 1985), "These Dreams" (#1, 1986), and "Nothin' at All" (#10, 1986). By that time the group had abandoned their earlier hard rock aspirations to make slick radio-friendly pop. In June 1986, Nancy Wilson married journalist, screenwriter, and director Cameron Crowe; she made a cameo appearance in his movie, Fast Times at Ridgemont High. Bad Animals (#2, 1987), too, contained a chart-topper, in the power ballad "Alone," as well as "Who Will You Run To" (#7, 1987), and "There's the Girl" (#12, 1987). In 1989 Ann Wilson and Cheap Trick's Robin Zander had a #6 hit with their duet, "Surrender to Me." Brigade (#3, 1990) became Heart's sixth multiplatinum LP and and three more Top 25 hits to its catalogue.

Ann (left) and Nancy Wilson, 1993

[edit] Low profile (1990-Present Day)

Following a 1990 tour, the Wilson sisters put together an informal acoustic group called the Lovemongers with Sue Ennis and Frank Cox; a four-song EP that included a version of Led Zeppelin's "Battle of Evermore" came out in late 1992, and the quartet performed several times in the Seattle area. The Lovemongers released a full-length album in 1997. When Heart reemerged with Desire Walks On (#48) in 1993, it was without Andes and Carmassi. For the group's subsequent tour, their places were taken by bassist Fernando Saunders and drummer Denny Fongheiser. The band offered live acoustic versions of its best-known songs on 1995's The Road Home, which was produced by Led Zeppelin's John Paul Jones. The pared-down format echoed Heart's low profile in the late '90s. Of the two sisters, Nancy had kept busier, scoring her husband's movies, Jerry Maguire, Almost Famous, and Elizabethtown, and releasing a solo album in 1999. That same year, she and Ann embarked on a tour on their own, the first time they had ever done so.

In addition to their own recording career, the Wilson sisters have played a key role on the Seattle music scene. Among the groups who have recorded at their Bad Animals studio are R.E.M., Pearl Jam, Alice in Chains, and Soundgarden. Heart's Heart: 20 Years of Rock & Roll was the first CD-ROM multimedia biography/greatest-hits package ever released. In 2004, the Wilsons released "Jupiter's Darling", their first studio album as Heart since 1993. It featured a variety that included a return to Heart's original sound, as well as a blend of pop and new textures. Stand-out tracks include "Make Me", "Enough", "Oldest Story In The World" and "Lost Angel". In October 2004, Heart's song 'Barracuda' appeared on the Grand Theft Auto: San Andreas radio station K-DST. In 2005 the Wilsons appeared on the CMT Music Awards as a special guest of Gretchen Wilson (no relation), who dueted with Ann on the Heart classic, "Crazy On You". Heart performed again with Gretchen on vh-1's Tribute to the band, Decades Live. The special also featured performances with Alice In Chains, Dave Navarro, Rufus Wainwright and Carrie Underwood. In 2006 the same 'Barracuda' song rocks at the bar on the alien spaceship in the Prey videogame.

[edit] Members

Ann Wilson Lead Vocals, flute, guitar, bass, autoharp, keyboards (1970-present Nancy Wilson Guitar, mandolin, keyboards, harmonica, vocals (1974-present) Mike Fisher (1963-1979, became sound engineer for the group) Roger Fisher Guitar, mandolin (1963-1979) Steve Fossen Bass Guitar (1963-1982) Howard Leese Guitar, keyboards, synthesizer (1975-1995) Michael Derosier Drums (1975-1982) Mark Andes Bass Guitar (1983-1990) Denny Carmassi Drums (1983-1993) Fernando Saunders Bass Guitar (1993-1995) Denny Fongheiser Drums (1993-1995) Ben Smith Drums (2002-present) Mike Inez Bass Guitar (2002-2006) Craig Bartok Guitar (2003-present) Debbie Shair Keyboard (2003-present) Ric Markmann Bass Guitar (2006-present)

We got an urge."

So says Nancy Wilson on the impetus for Jupiters Darling, the first new studio album from Heart in nearly a dozen years and a convincing case that the fire and spirit of real rock & roll is alive and well. All things considered, it's a natural point of departure for Nancy and Ann Wilson, considering that over their illustrious career, Heart has always made urgent, immediate and compelling music. Simply put, following their creative impulses has made Heart one of the most innovative and enduring musical partnerships of our time. It's a creative chemistry that has, to date, yielded sales of well over thirty million albums, with over twenty Top 40 hits and live shows that sell out stadiums whenever and wherever Heart performs. Jupiters Darling is the latest chapter in that extraordinary saga. Produced by Nancy Wilson and featuring sixteen riveting selections written primarily by the Wilson sisters, this long-awaited collection of new Heart originals marks a triumphant return to form for a band that, in reality, has never really been away. "Although we haven't been in the studio as Heart since 1993, we haven't exactly been taking it easy," asserts Ann. "We were involved in a side band called The Lovemongers; Nancy has done a lot of soundtrack work and released a solo album, and we've both gone on tour on our own." In point of fact, Heart has also actively maintained their reputation as one of rock's premier live attractions. With the 2003 double-CD and DVD release, Alive In Seattle, the sisters and their top-notch backing band were caught in the act of creating some of their freshest and most exciting music ever. It also afforded fans a taste of things to come with live versions of four tracks subsequently recorded for Jupiters Darling. "We've been thinking about going back into the studio as Heart for a long time," reveals Nancy. "When we finally decided to go for it, we asked ourselves a simple question: What would a dream album be for our fans? To answer that we went back to our own roots, the dream we had of giving Led Zeppelin a run for their money." "The climate for music has changed," adds Ann. "There is a real hunger out there for authentic rock. That was all the encouragement we needed." Yet, while conditions and creativity might have been in alignment, the Wilsons took their time in the songwriting process. "We worked at it for well over a year," Nancy reveals. "As we progressed, our standards got higher. We both realized we weren't into retro-Heart. The music had to be both familiar and new at the same time and that's no easy task." It's a task triumphantly accomplished on Jupiters Darling. And, while the album may bear the signature sound that has set Heart apart for more than two decades now - a dazzling blend of Ann's soaring vocals and Nancy's glorious guitar - there is an unquestionably contemporary element that not only brings these tracks right up to, but well ahead of, the moment. "Having access to all the latest technology gave us the freedom to try new things," Ann asserts. "At the same time we wanted to keep it real. Since we were working with our touring band, we were able to put some studio spin on our live sound. But what you hear is what you get: no machine music, no pitch correction." Aside from Heart stalwarts Darian Sahanaja on keyboards and the rock solid rhythm section of bassist Mike Inez and drummer Ben Smith, Jupiters Darling boasts brilliant contributions by, among others, guest guitarists Jerry Cantrell (Alice in Chains) and Pearl Jam's Mike McCready. New to the group is Craig Bartock, who co-produced the album with Nancy, collaborated on the writing of several key tracks, and played everything from guitar to pump organ to mellotron. "He was totally tuned in," enthuses Nancy. "He had all the same musical tastes and references, which gave us a great basis to work from." Yet, as pivotal as were both the both the technology and the musical crew assembled for sessions in Seattle and Los Angeles, Jupiters Darling is, from the anthemic opening notes of "Make Me" to the final wistful fade of "Hello Moonglow", pure and potent Heart.

"We went for songs that were simple, powerful, at times slightly political, but always emotionally honest," says Ann. "We think our fans, no matter how young or old, are smart, passionate people. They've stayed loyal because we've never underestimated them." "We'll never be a jukebox band, recycling our great hits," agrees Nancy. "We may have the same goals and ideals we started with, but we're always finding new ways of expressing them." From the evidence of Jupiters Darling, truer words were never spoken. From the revealing vulnerability of "Enough," to the hard won wisdom of "The Perfect Goodbye;" from the playful entendre of "Down The Nile," to the blistering rock of "Vainglorious;" from the scathing protest of "Oldest Story In The World," to the delicate melancholy of "I Need The Rain," Jupiters Darling is consummately crafted modern music at its finest. And, with an extensive touring itinerary scheduled this summer, Heart will be taking their exuberant new music to audiences across the U.S and Europe. All of which adds up to a simple truth. By staying true to their creative urge, two authentic roll & roll originals have fashioned great new music...just when we need it the most.

Dreamboat Annie (1976) 1. Magic Man 2. DreamBoat Annie (Fantasy Child) 3. Crazy On You 4. Soul Of The Sea 5. DreamBoat Annie 6. White Lightning & Wine 7. (Love Me Like Music) I'll Be Your Song 8. Sing Child 9. How Deep It Goes

Little Queen (1977) 1. Barracuda 3.

2. Love Alive Sylvan Song (Instrumental) 4. Dream Of The Archer 5. Kick It Out 6. Little Queen 7. Treat Me Well 8. Say Hello 9. Cry To Me
10. Go On Cry

10. DreamBoat Annie (Reprise)

Magazine (1978) 1. Heartless 2. Devil Delight 3. Just The Wine 4. Without You 5. Magazine 6. Here Song

Dog And Butterfly (1978) 1. Cook With Fire 2. High Time 3. Hijinx 4. Straight On 5. Dog And Butterfly 6. Lighter Touch

7.

Mother Earth Blues I've Got The Music In Me

7. 8.

Nada One Mistral Wind

8.

Bebe Le Strange (1980) 1. Bebe Le Strange 2.

Greatest Hits (1980)

Down On Me 3. Silver Wheels (Instrumental) 4. Break 5. Rockin Heaven Down 6. Even It Up 7. Strange Night 8. Raised On You 9. Pilot

2.

10. Sweet Darlin'

1. Barracuda Silver Wheels (Instrumental) 3. Crazy On You 4. Straight On 5. DreamBoat Annie 6. Even It Up 7. Magic Man 8. Heartless 9. Dog And Butterfly 10. Bebe Le Strange (live) 11. Tell It Like It Is 12. Mistral Wind (live)

13. Sweet Darlin' (live) 14. I'm Down / Long Tall Sally - (live)
15. Rock And Roll (live)

Private Audition (May 1982) 1. City's Burning 2. Bright Light Girl 3. Perfect Stranger 4. Private Audition 5. Angels 6. This Man Is Mine 7. The Situation 8. Hey Darlin' Darlin' 9. One Word 10. Fast Times

Passion Works (1983) How Can I Refuse 2. Blue Guitar 3. Johnny Moon 4. Sleep Alone 5. Together Now 6. Allies 7. (Beat By) Jealously 8. Heavy Heart 9. Love Mistake 10. Language Of Love 11. Ambush 1.

11. America

Heart (1985) If Looks Could Kill What About Love 3. Never 4. These Dreams 5. The Wolf 6. All Eyes 7. Nobody Home 8. Nothin' At All 9. What He Don't Know 1. 2.

Bad Animals (1987) Who Will You Run To 2. Alone 3. There's The Girl 4. I Want You So Bad 5. Wait For An Answer 6. Bad Animals 7. You Ain't So Tough 8. Strangers Of The Heart 9. Easy Target 10. RSVP 1.

10. Shell Shock

Brigade (1990) 1. Wild Child 2. All I Want To Do Is Make Love To You 3. Secret 4. Tall, Dark Handsome Stranger 5. I Didn't Want To Need You 6. The Night 7. Fallen From Grace 8. Under The Sky 9. Cruel Nights 10. Stranded 11. Call Of The Wild 12. I Want Your World To Turn

Desire Walks On (1993) 1. Black On Black II 2. Back To Avalon 3. The Woman In Me 4. Rage 5. In Walks The Night 6. My Crazy Head 7. Ring Them Bells 8. Will You Be There (In The Morning)

13. I Love You

The Road Home [LIVE] (1995) 1. DreamBoat Annie 3.

2. Dog And Butterfly (Up On) Cherry Blossom Road 4. Back To Avalon 5. Alone 6.

9.

These Dreams 7. Love Hurts 8. Straight On All I Want To Do Is Make Love To You

10. Crazy On You

11. Seasons 12. River 13. Barracuda

14. Dream Of The Archer

15. The Road Home

Greatest Hits (1998) 1. Strong, Strong Wind 2. Magic Man 3. Crazy On You 4. DreamBoat Annie 5. Barracuda 6. Little Queen 7. Kick It Out 8. Love Alive 9. Heartless 10. Straight On 11. Dog And Butterfly 12. Even It Up 13. Bebe Le Strange 14. Tell It Like It Is 15. This Man Is Mine

16. How Can I Refuse

17. Rock And Roll (live)

Heart - Greatest Hits: 1985-1995 (2000) 1. What About Love 2. If Looks Could Kill 3. Never 4. These Dreams 5. Nothin' At All 6. Alone 7. Who Will You Run To 8. There's The Girl 9. Surrender To Me 10. All I Want To Do Is Make Love To You 11. I Didn't Want To Need You 12. Tall, Dark Handsome Stranger

Essential Heart (2002) DISC 1: 1. Crazy On You 2. Magic Man 3. DreamBoat Annie (Reprise) 4. Barracuda 5. Little Queen 6. Kick It Out 7. Love Alive 8. Heartless 9. Straight On

13. Stranded 14. You're the Voice [Studio Version] 15. Back To Avalon 16. Black On Black II 17. Will You Be There (In The Morning)
18. The Road Home

10. Dog And Butterfly 11. Silver Wheels (Instrumental) 12. Even It Up 13. Rock & Roll (live) 14. Tell It Like It Is 15. Unchained Melody (live) 16. This Man Is Mine 17. How Can I Refuse

18. Allies
DISC 2: What About Love 2. Never 3. These Dreams 4. Nothin' At All 5. If Looks Could Kill 6. Alone 7. Who Will You Run To 8. There's The Girl 9. I Want You So Bad 10. All I Want To Do Is Make Love To You 11. Wild Child 12. I Didn't Want To Need You 13. Stranded 1.

14. Secret 15. You're The Voice (live) 16. Will You Be There (In The Morning) 17. Black On Black II 18. Ring Them Bells
19. The Road Home (edit)

Alive In Seattle (2003) DISC 1: 2. Crazy On You Sister Wild Rose 3. The Witch 4. Straight On 5. These Dreams 6. Mistral Wind 7. Alone

1.

9.

8. Dog And Butterfly Mona Lisas And Mad Hatters 10. Battle Of Evermore
DISC 2: 1. Heaven

Jupiter's Darling (2004) 1. Make Me 2. Oldest Story In The World 3. Things 4. The Perfect Goodbye 5. Enough 6. Move On 7. I Need The Rain 8. I Give Up 9. Vainglorious 10. No Other Love 11. Led To One 12. Down The Nile 13. I'm Fine 14. Fallen Ones 15. Lost Angel

16. Hello Moonglow

Bonus tracks:

2.
3. 5.

Magic Man Two Faces Of Eve

4.

Love Alive Break The Rock 6. Barracuda

How Deep It Goes Fallen Ones (UnPlugged

7.
8.

Wild Child Black Dog

9.

DreamBoat Annie (Reprise)

All I Want To Do Is Make Love To You It was a rainy night when he came into sight Standing by the road, no umbrella, no coat So I pulled up along side and I offered him a ride He accepted with a smile so we drove for a while I didn't ask him his name, this lonely boy in the rain Fate tell me it's right, is this love at first sight All I wanna do is make love to you Say you will You want me too All I wanna do is make love to you I've got lovin' arms to hold on to So we found this hotel, it was a place I knew well We made magic that night. Oh, he did everything right He brought the woman out of me, so many times, easily And in the morning when he woke all I left him was a note I told him "I am the flower you are the seed" We walked in the garden we planted a tree Don't try to find me, please don't you dare Just live in my memory, you'll always be there All I wanna do is make love to you One night of love was all we knew All I wanna do is make love to you I've got lovin' arms to hold on to Oh, oooh, we made love Love like strangers All night long We made love Then it happened one day, we came round the same way You can imagine his surprise when he saw his own eyes I said "please, please understand I'm in love with another man And what he couldn't give me was the one little thing that you can" All I wanna do is make love to you One night of love was all we knew All I wanna do is make love to you Say you will, you want me too All night long All night long

All night long All night long

HEART Alone I hear the ticking of the clock I'm lying here the room's pitch dark I wonder where you are tonight No answer on the telephone And the night goes by so very slow Oh I hope that it won't end though Alone Till now I always got by on my own I never really cared until I met you And now it chills me to the bone How do I get you alone How do I get you alone You don't know how long I have waited and I was going to tell you tonight But the secret is still my own and my love for you is still unknown Alone Till now I always got by on my own I never really cared until I met you And now it chills me to the bone How do I get you alone How do I get you alone How do I get you alone How do I get you alone Alone, alone

Hellhammer
Original black metal band Hellhammer created droning primitive music to create an atmosphere of evil, founding a generation of black metal bands. This same lineup continued as Celtic Frost, playing more death metal styled black metal.

Apocalyptic Raids
Noise Production: Advanced garage production preserves textural character of instrumental voices as well as intensity of noisy discharge created by composition ideals.

1985

Review: Innovation that could scarcely be recognized as such, Hellhammer crafted metal from broken elements of extremely minimalist metal and punk songs, building an environment of intensity through engagingly simple rhythms which carried confrontational basic viral conflit to its conclusion. Take for example the three-chord epic Massacra and the realm of implication created through its primitive, crudely appropriate atmosphere. Guitar drones through simple riffs taking the riding style of Motorhead and applying it to dark and

conclusive yet indefinite chord progressions to generate the most granular dark riffs possible. These are repeated in piece variations on the verse chorus structure, with the genius of Hellhammer being how to use two-chord variations of major riffs to hold down sizeable structural territory in each song. Tracklist: 1. The Third of the Storms (Evoked Damnation) (2:55) 2. Massacra (2:49) 3. Triumph of Death (9:30) 4. Horus/Aggressor (4:27) 5. Revelations of Doom (2:49) 6. Messiah (4:33) Length: 27:20 Tracks 1-4: Taken from Apocalyptic Raids demo Tracks 5-6: Previously released on Death Metal sampler.
Copyright 1985 Noise

Vocals are over-the-top, gasped out and dramatized performance that adds a nature of ludicrousness to this paradox: a rock n roll uptempo cruising surflike environment spawns the vile wretching of darkness, evident and obscure simultaneously. Simple rock style percussion contains subsections of song divided by guitar variation, with droning counterpoints emphasizing peaks of slowness. Like much of the black metal to follow it, this is merciless material that will repeat simple themes for effect in seemingly interminable meta-phrases. Its weird structures support simplicity and rise to complexity as contrasted with increasingly oppositional internal mirrors of other major song themes, layered in the mind as the shifting verse-chorus patterns passing through with characteristic black metal bridges using punk-style rhythms to carry through a power chord connection. Much of the ideas here innovated the changes in black metal to come: the tempo changes taking bouncing energy into dark battery, elemental connective structures bent from two two finger chords, methods of alternating riff variations, and the infectious rhythm of virus brought from drone to almost hardcore punk levels of reactive energy. Satanic Rites (Hellhammer Maniac Records 2000) Live (from the bathroom) in Switzerland Dec. 1983. A view into the developmental minimalism of Hellhammer, this live recording preserves a fuller range of their early efforts than official sources, showing a band with a flatter, more nullified sense of lead guitar tone and inflection of rhythm playing; 1. Intro (0:59) this perhaps reveals many of the hardcore punk 2. Messiah (4:25) stylistic influences in this band. Components of 3. Third of the Storms (3:07) 4. Buried And Forgotten (6:07) "Triumph of Death" may be found in their original 5. Maniac (3:51) granular status along with a high-energy primitive

6. Euronymous (3:12) 7. Triumph of Death (7:04) 8. Revelations of Doom (3:08) 9. Reaper (2:33) 10. Satanic Rites (7:20) 11. Crucifixion (2:49) 12. Unknown (2:02) Length: 46:39

hardcore version of the song by the same name, as well as ideas in riff texture later to appear on Celtic Frost albums crop up here. The delayed sense of delivery and range of concept even appearing on the final Hellhammer EP is underdeveloped here, showing raw ideas in a jumble of presentation order not yet clear. As the back of the CD says, "This record is for Hellhammer maniacs only" - or other assiduous students of black metal.

BLACK | DEATH | HEAVY | SPEED | THRASH | GRINDCORE

Copyright 1988-2004 the Dark Legions Archive

Hellhammer
From Wikipedia, the free encyclopedia

Jump to: navigation, search Hellhammer

Hellhammer logo

Origin Country Years active Genres

Zurich Switzerland 19821984 Black metal Death metal Doom metal Noise Records

Labels

Hellhammer was an early black metal band, hailing from Switzerland and popular briefly in Europe in the mid-1980s. They were a vital influence on black metal, death metal and doom metal, although their sound is most accurately described as fast, early black metal.

Contents
[hide]

1 Biography 2 More info 3 Discography 4 External links

[edit] Biography
Guitarist/vocalist Tom Gabriel Fischer (then known as Satanic Slaughter, later of Celtic Frost) and bassist/vocalist Steve Warrior formed the band in March 1982, originally naming it "Hammerhead". They were subsequently joined by drummer Bruce Day. In spite of their rather marginal musical and technical quality, demo tapes called Triumph of Death and Satanic Rites became underground, word-of-mouth hits and the band was eventually picked up by German-based Noise Records (1984). Steve Warrior had been replaced by former Schizo bassist Martin Eric Ain, a change which marked the beginning of a serious and radical transformation in the band's music and lyrics. These changes were ultimately responsible for Fischer's and Ain's increasing feeling of being limited within the confines of the purposely primitive Hellhammer vehicle.

[edit] More info

A legendary four-track 12" EP, Apocalyptic Raids, was released in March 1984. At the time, it was regarded as one of the heaviest and most extreme records yet produced. By then, the band had already broken up, but the recording was one of the original black/death metal recordings, and spawned a legion of imitators, playing doom metal, Norwegian black metal and industrial metal. Both Fischer and Ain later teamed up again when forming the seminal Celtic Frost in summer of 1984. Apocalyptic Raids was officially re-issued in expanded form on CD in 1990; this project was overseen by Ain. "Hellhammer" has also been used as a pseudonym by Jan Axel Blomberg, the drummer of influential black metal band Mayhem; the Hellhammer song "Eurynomos" transfigured to Euronymous, became the name of Mayhem's guitarist. Hellhammer, being one of the first bands to play what would evolve into black metal and death metal, have influenced countless amounts of bands in those genres. Death metal bands Napalm Death and Sepultura have covered the Hellhammer song "Messiah."

[edit] Discography

Death Fiend - (1983, Demo) Triumph of Death - (1983, Demo)

Satanic Rites - (1983, Demo) Death Metal - (1984, compliation with Helloween, Running Wild and Dark Avenger) Apocalyptic Raids - (1984, EP) Apocalyptic Raids 1990 A.D. - (1990, Re-issue)

The Hellhammer story begins as far back as the summer of 1981 when a young man by the name of Tom Warrior, the bassist for the band Grave Hill (which he formed), went to London during the peak of the NWOBHM (New Wave of British Heavy Metal) movement. Perhaps influenced during this time by metal bands such as Angel Witch, Cirith Ungol and Venom, he brought back some of this with him when returning home to Switzerland. This aggression had an effect upon his musical direction and style. Tom wanted to create a very extreme and heavy sound, and started writing heavier, more aggressive music for Grave Hill. However, the band just couldn't handle this new style the way Tom envisioned it. After attempts in his both Tarot and Grave Hill, Tom's extreme concept began to take shape in his new band Hammerhead, which he formed in early 1982. Enter bass guitarist/co-lead vocalist Steve "Savage Damage" Warrior, who helped Tom to rename the band Hellhammer, and drummer Pete Stratton. Stratton was soon replaced with drummer Bruce "Denial Fiend" Day, and a new meaning to the word "extreme" was born. Hellhammer's music was unlike anything anyone had ever heard before. Loud, brutal, and demonically heavy. This was music that could be used as a soundtrack for the end of the world! In early 1983 Hellhammer entered a studio to record 17 tracks which were used for the "Death Fiend" and "Triumph of Death" demos. The band was not happy with the result. Steve Warrior was let go on bass guitar soon after the recording. Hellhammer did not have enough money to do a better demo, so they were forced to release the recording as it was. Despite the poor sound quality, both demos sold out within a few weeks. This created interest from the German metal label Noise Records, who offered Hellhammer a three year record deal depending on the outcome of their third demo tape, which was "Satanic Rites." Three more bass players would be in and out of the band by the time the band was to record their second demo in December 1983. Bruce Day had also temporarily left the band around October 1983 and was replaced by Steve Priestly for 3 weeks. Day returned to the band and Hellhammer, consisting of only Warrior and Day, went into the Sound Concept Studio on December 2, 1983 to record "Satanic Rites." Tom had to handle bass, guitar, and vocals by himself.

In early 1984 Hellhammer finally found a bassist in the form of Martin "Slayed Necros" Ain. Hellhammer had only one official release, the 12" EP entitled "Apocalyptic Raids," which was unleashed in early 1984. They also appeared on a Noise compilation album, "Death Metal," with 2 tracks: "Messiah" and "Revelations of Doom." For a band with only 3 demos, one 12" EP and an appearance on a compilation album, they would unknowingly spawn hundreds of

bands to follow in their footsteps. (Parts of this brief biography up to this point were lifted from an article in "Kick Ass" Magazine, Issue 5, May 1984, written by Bob Muldowney). The concept of Hellhammer was very limited, and within a few weeks of recording the "Apocalyptic Raids" EP Tom and Martin felt they had done all they could with the band and left. Hellhammer had gained quite the cult following, and this would come back to haunt the latter projects of Tom and Martin. It seems that people either loved hellhammer or they hated them. One thing was for certain, they were the first of their kind and impossible to ignore.

HELLHAMMER LYRICS
album: "Satanic Rites" (1983)
Intro Messiah The Third Of Storms Buried And Forgotten Maniac Eurynomos Triumph Of Death Revelations Of Doom Reaper Satanic Rites Crucifixion Outro

album: "Apocalyptic Raids" (1984)

The Third Of The Storms (Evoked Damnation) Massacra Triumph Of Death Horus/Aggressor Revelations Of Doom Messiah

HELLHAMMER | Triumph Of Death Lyrics

When you have been down in your grave... alive Your mind decays and you're the coffin's slave And when, at midnight, an uncanny bell tolls Terrible noises, the dark graveyard calls Limbs break through the dirt

Decay stinks like hell Dark creatures in the fog Crusted blood on the dead Triumph of death! Triumph of death! Euronymous sends his souls Buried by horrible mistakes (Let me out) You feel you're eaten by worms And the night's alive again When you have been down in your grave... alive, alive, alive Your mind decays and you're MY coffin's slave And when, at midnight, an uncanny bell tolls Terrible noises, the dark graveyard calls... you, you, you, you, you

Jimi Hendrix
De la Wikipedia, enciclopedia liber

Sari la: Navigare, cutare

Jimi Hendrix pe coperta albumului "Live at Woodstock" James Marshall "Jimi" Hendrix (27 noiembrie, 1942 18 septembrie, 1970) a fost una dintre cele mai mari personaliti ale hard rock-ului, chitarist cu o tehnic de nentrecut. Jimi Hendrix este considerat unul dintre cei mai mari chitariti rock din lume, stilul su nou, la acea vreme, de a cnta la chitara electric a influenat majoritatea chitaritilor moderni. Din cauza vieii dezordonate el a lsat n urm puine nregistrri hi-fi; multe dintre discurile sale care circul, sunt piratate din concerte.

Cuprins
[ascunde]

1 Via 2 Discografie o 2.1 Albume de Studio o 2.2 Albume Live o 2.3 Albume Live lansate post-mortem o 2.4 Albume lansate post-mortem 3 Legturi externe

[modific] Via
Jimi a nvat s cnte la chitar la vrsta de 12 ani, pe cnd copilarea n Seattle, Washington, fiind influenat de legendele blues B.B. King i Robert Johnson. La nceput a cntat pentru formaii locale doar pentru rcoritoare i hamburgeri. n 1959, la 17 ani, sa nrolat n Air Force, unde a servit ca parautist pn cnd, datorit unei accidentri, 'cariera' sa militar s-a ncheiat. Pn n anul 1963 el cnta(se) pentru Little Richard, The Isley Brothers, Wilson Pickett, Jackie Wilson .a. ca al 2-lea chitarist sau chitarist de rezerv. Dei stngaci, el a cntat cu chitara pentru dreptaci, folosind-o rsturnat. Nu ia ncercat ansele de unul singur pn n anul 1965, dup ce l-a ascultat pe Bob Dylan cntnd. S-a reinut s porneasc o carier solo pn n acel moment, nepsndu-i de vocea pe care o avea, dar dac Dylan poate s se descurce cu vocea sa care suna destul de ciudat, el Jimi de ce nu ar putea ? Mai nti, s-a fcut cunoscut cntnd blues n cluburi din Greenwich Village, New York, sub numele Jimmy James, trupa sa numindu-se Blue Flames. S-a rspndit repede n ora, zvonul existenei unui chitarist nou care putea s scoat din chitara sa Fender Stratocaster sunete nemaiauzite de cineva pn atunci. Muzicieni de prin tot oraul veneau s-l vad cntnd, iar unul dintre ei, aflat n vizit n ora, era basistul trupei Animals - Chas Chandler. Impresionat profund, Chandler l convinge pe Jimi s se mute n Anglia, promindu-i c-l va face faimos. n Anglia, Chandler devine managerul lui Hendrix, i aduce un basist - Noel Redding i un baterist Mitch Mitchell, formnd astfel Jimi Hendrix Experience. Trio-ul a urcat foarte repede culmile succesului n US i UK, unde piesele Hey Joe, Purple Haze, The Wind Cries Mary au ajuns n top10 n prima jumtate a anului 1967. Albumul de debut al lui Jimi mpreun cu Experience, intitulat Are You Experienced?, a fost lansat, iniial, doar n Anglia, la nceputul anului 1967. Acest album a afiat nu doar calitile de chitarist de excepie ale lui Hendrix, ci i abilitatea sa de a scrie versuri pentru piesele albumului. n iunie 1967, el s-a ntors n America pentru a participa la Monterey Pop Festival, unde a trebuit s cnte dup un show de zile mari fcut de cei de la The Who. Dup ce publicul l-a privit pe Peter Townsend (The Who) distrugndu-i chitara pe scen, ridicnd astfel miza spectacolului, Jimi a ncheiat dnd foc chitarei sale. La nceput a cntat n turnee prin Statele Unite, deschiznd concertele pentru mai multe trupe. Dar nu trece foarte mult timp, pn cnd pornete la drum cu propriul turneu. Albumul Are You

Experienced? dei a fost lansat n US ntr-o versiune puin diferit de versiunea lansat n UK, a avut parte de un succes uria. Hendrix a inregistrat, n scurta via, doar 3 albume concepute n studio, celelalte dou fiind: Axis Bold As Love lansat n 1968, i dublul LP ELectric Ladyland, nregistrat de asemenea n 1968. Ambele albume fiind considerate de unii mai experimentale dect albumul de debut. Ultimul album aduce ceva nou n lumea muzicii prin folosirea inedit chiar a ntregului de nregistrri pe post de instrument, realizare posibil cu ajutorul inginerului de sunet: Eddie Kramer. La nceputul anului 1969, Jimi desfiineaza The Jimi Hendrix Experience. n luna mai, este arestat n Toronto, Canada pentru posesie de heroin, dar mai trziu a fost gsit nevinovat. n luna august, este cel care cnt la nchiderea celebrului festival de la Woodstock, unde concerteaz cu o trup de moment, numit Band Of Gypsies, pe care el a format-o special pentru acest concert mpreun cu bateristul Buddy Miles i basistul Billy Cox. Memorabil rmne de la reprezentaia sa de la Woodstock, versiunea n care a cntat The Star Spangled Banner. n formatul acesta, a lansat un album de nregistrri live. La scurt timp, aceast formul eueaz ns, i The Experience se reunete, ns nu pentru mult timp. Rmas singur, din nou, Hendrix nregistreaz noi piese, ns fr s planifice lansarea unui nou album, datorit dificultilor ntmpinate n a gsi un grup potrivit de muzicieni pentru a nregistra i porni n turneu. Dar, la mijlocul anului 1970, Hendrix i aduce din nou pe Mitchell i Cox, pentru a-l sprijini n turnee i pentru a ncepe nregistrarile unui nou dublu album, pe care Jimi ar fi intenionat s-l intituleze First Rays Of the New Rising Sun. Mai multe piese erau deja nregistrate pentru noul album, dar, din pcate, Hendrix moare pe 18 septembrie 1970,n timpul somnului provocat de beie, sufocat propria vom, iar albumul nu este finalizat. Jimi Hendrix a nregistrat o cantitate uria de material nelansat n timpul vieii sale, material ce a fost motiv al unei lungi dispute n tribunal. n 1995, aceast disput este ncheiat, iar drepturile asupra posesiunilor lui Hendrix, i revin lui Al Hendrix, tatl chitaristului. mpreun cu Janie, sora vitreg a lui Jimi, tatl su au angajat pe John McDermott i pe inginerul de sunet al lui Jimi - Eddie Kramer pentru a prelucra cele 3 albumele dar i nregistrrile nelansate, n vederea scoaterii pe pia a unor ediii CD. Astfel, n aprilie 1997, sunt relansate albumele lui Jimi, cu un sunet foarte mult mbuntit. Mai trziu, au aprut n magazinele de muzic i compilaii precum First Rays Of the New Rising Sun, sau South Saturn Delta ( cu piese precum: Cry Of Love, Rainbow Bridge, War heroes, Crash Landing). Au urmat i alte materiale de arhiv: Radio One, extins mai trziu pe un dublu cd - BBC Sessions (1998), iar n 1999 este lansat ntreg concertul lui Jimi Hendrix de la Woodstock, precum i alte materiale LIVE nregistrate pe vremea cnd Jimi concerta cu Band Of Gypsies, lansate sub numele Live At The Fillmore East.

[modific] Discografie
[modific] Albume de Studio

Are You Experienced? (1967) Axis: Bold As Love (1968) Electric Ladyland (1968)

[modific] Albume Live

Band of Gypsys (1970)

[modific] Albume Live lansate post-mortem

Hendrix in the West (1972) Jimi Plays Monterey (1986) The Last Experience Concert: Live at the Royal Albert Hall (1990) Stages (1991) Live at Woodstock (1999) Jimi Hendrix: Live at Berkeley (2003)

[modific] Albume lansate post-mortem

The Cry of Love (1971) Rainbow Bridge (1971) War Heroes (1972) Loose Ends (1974) Crash Landing (1975) Doriella Du Fontaine (Lightnin Rod) (1984) Rainy Day, Dream Away (2006)

Jimi Hendrix
From Wikipedia, the free encyclopedia

Jump to: navigation, search This article or section is not written in the formal tone expected of an encyclopedia article.
Please improve it or discuss changes on the talk page. See Wikipedia's guide to writing better articles for suggestions.

This article or section does not cite its references or sources.

You can help Wikipedia by introducing appropriate citations.

Jimi Hendrix

Born Died Alias(es)

November 27, 1942 Seattle, Washington September 18, 1970 London, England James Marshall Hendrix Maurice James Jimmy James Psychedelic rock Blues Rock Acid rock Hard rock R&B Jimmy James and the Blue Flames The Jimi Hendrix Experience Gypsy Sun and Rainbows Band of Gypsys The Cry of Love MCA, Reprise Fender Stratocaster, Gibson Flying V 1962 - 1966 (backup) 1966 - 1970 (lead) www.jimi-hendrix.com

Genre(s)

Affiliation(s)

Label(s) Notable guitars Years active Official site

"Hendrix" redirects here. For other uses, see Hendrix (disambiguation). James Marshall "Jimi" Hendrix (November 27, 1942 September 18, 1970) was an American musician, singer, songwriter, and guitarist. Widely hailed by music fans and critics alike, Hendrix is arguably the greatest and most influential electric guitarist in rock music history. He achieved worldwide fame in 1967 playing at the Monterey Pop Festival, then headlined the iconic 1969 Woodstock Festival before his sudden death in 1970, at the age of 27. A self-taught musician, the left-handed Hendrix played a right-handed Fender Stratocaster guitar turned upside down and re-strung to suit him. As a rock guitarist, Hendrix exploited the sonic tool of feedback and the sound of overdriven guitars to an extent that previous pioneers never achieved. He built upon the innovations and influences of blues stylists such as B.B. King, Albert King and Buddy Guy, derived style from rhythm and blues and soul guitarists Curtis Mayfield and Cornell Dupree, as well as that of traditional jazz. Hendrix was also inspired by rock pioneer Little Richard, having toured in Richard's back-up band "The Upsetters" before forming his own rock group in 1966. Hendrix strived to combine what he called "earth", a blues, jazz, or funk driven rhythm accompaniment, with "space", the high-pitched psychedelic sounds created by his guitar improvisations. As a record producer, Hendrix also broke new ground in using the recording studio as an extension of his musical ideas; he was notably one of the first to experiment with stereophonic and phasing effects during the recording process. Hendrix was inducted into the Rock & Roll Hall of Fame in 1992 and the UK Music Hall of Fame in 2005. His star on the Hollywood Walk of Fame (at 6627 Hollywood Blvd.) was dedicated in 1994. In 2006, his debut album, Are You Experienced, was inducted into the United States National Recording Preservation Board's National Recording Registry. In 2003, Rolling Stone named Hendrix number one on their list of the "100 greatest guitarists of all time". [1]

Contents
[hide]

1 Biography o 1.1 Early life o 1.2 Early career 1.2.1 New York 1.2.2 Greenwich Village o 1.3 Discovery o 1.4 The Jimi Hendrix Experience o 1.5 UK success 1.5.1 Are You Experienced 1.5.2 US success 1.5.3 Axis: Bold as Love

1.5.4 Electric Ladyland 1.5.5 Morrison's Lament 1.5.6 Breakup of Jimi Hendrix Experience 1.5.7 Legal troubles o 1.6 Gypsy Sun and Rainbows o 1.7 Woodstock o 1.8 Kidnapping o 1.9 Band of Gypsys o 1.10 Cry of Love band o 1.11 Electric Lady Studios o 1.12 European tour 2 Death o 2.1 Gravesite 3 Personality o 3.1 Fashion o 3.2 Politics and racism o 3.3 Drug use 4 Legacy o 4.1 Financial legacy o 4.2 Guitar legacy 4.2.1 Fender Stratocaster 4.2.2 Amplifiers and effects 5 Trivia 6 Discography o 6.1 Studio albums o 6.2 Live albums o 6.3 Anticipated releases 7 See also 8 References o 8.1 Footnotes o 8.2 Biographies o 8.3 Other books o 8.4 Magazine articles o 8.5 Interviews

9 External links

[edit] Biography
[edit] Early life
Main article: Early life of Jimi Hendrix

Hendrix grew up as a shy and sensitive boy, deeply affected by the conditions of poverty and neglect that he was raised in, and by the troubling family events of his childhood namely his parents' divorce when he was nine, and the death of his mother in 1958. Young Hendrix was particularly fond of Elvis Presley and Little Richard; he attended an Elvis concert in 1957 and shook hands with Little Richard that same year. He was exposed to blues music early on from listening to records by Muddy Waters and Lightnin Hopkins with a boarder his father had rented a room to. He was also strongly impressed by the 1954 western Johnny Guitar, in which the hero carries no gun but instead wears a guitar slung behind his back. At about age 14, Jimi acquired his very first guitar, a severely battered acoustic with one string that he retrieved when another boy had thrown it away. Young Jimi proudly slung his guitar behind his back like the hero in Johnny Guitar, and tried to coax every sound possible from its one string. His first electric guitar was a white Supro Ozark that his father bought for him. He learned simply by practicing and watching others play, and he emulated the flashy moves of T-Bone Walker and the duck walk of Chuck Berry. His first gig was with an unnamed band in the basement of a synagogue. After too much wild playing and showing off, he was fired between sets. The first formal band he played in was The Velvetones, who performed regularly at the Yesler Terrace Neighborhood House without pay. His flashy style and left-handed playing of a right-handed guitar were already drawing attention. When his guitar was stolen (after he left it backstage overnight), his father (James A. 'Al' Hendrix) bought him a white Silvertone Danelectro which Jimi promptly painted red and emblazoned with the words Betty Jean, the name of his high school girlfriend. After getting into trouble with the police over a stolen car, Hendrix traded a two-year prison sentence for enlistment in the U.S. Army and was stationed at Fort Campbell, Kentucky.

[edit] Early career

After he completed his military service, Hendrix and Billy Cox moved to nearby Clarksville, Tennessee and re-formed their band as The King Kasuals. The group toiled in low-paying gigs at obscure venues, eventually moving to Nashville. There they played and sometimes lived in the clubs along Jefferson Street, the traditional heart of Nashville's black community, and home to a lively rhythm and blues scene.[2] In November 1962, Hendrix participated in his first studio session, where his wild but still undeveloped playing found him cut from the soundboard. For the next three years, Hendrix made a precarious living on the Chitlin Circuit, performing in black oriented venues throughout the South with both the King Kasuals and in backing bands for various soul, R&B, and blues musicians including Chuck Jackson, Slim Harpo, Tommy Tucker, Sam Cooke, and Jackie Wilson. The Chitlin Circuit was an important phase of Jimi's career, since the refinement of his style and

blues roots occurred there. Unfortunately his work garnered him little fame or profit, and the extremes of racism and poverty that he endured left an indelible mark of hardship on his memories of this era.

[edit] New York

Frustrated by his experiences in the South, Hendrix decided to try his luck in New York City. In January 1964, he moved to Harlem, where he quickly befriended girlfriend Lithofayne "Fayne" Pridgeon and the Aleem twins, Taharqa and Tunde-Ra. The Aleem twins quickly became loyal friends who kept Hendrix out of trouble in New York. The twins also performed as backup singers on some of his recordings, most notably the funk anthem "Freedom". Pridgeon, a beautiful Harlem native with connections throughout the area's music scene, provided Hendrix with shelter, support, and encouragement during the poorest and most desperate years of his life. In February 1964, Hendrix won first prize in the Apollo Theater amateur contestthe win was encouraging, but in general he found the New York scene difficult to break into. In 1965, Hendrix earned a spot as the new guitarist for the The Isley Brothers' band and joined their national tour, which included the southern Chitlin Circuit. Hendrix played his first successful studio session on the two-part Isley Brothers hit "Testify". In Nashville, he left the Isleys to tour with Gorgeous George Odell. In Atlanta, he earned a spot in the backing band of Little Richard, known as The Upsetters. Although Hendrix idolized Richard, he clashed frequently with the star over tardiness, wardrobe, and above all, Hendrix's flashy stage antics. For a short while, Hendrix quit and toured with Ike and Tina Turner, but was quickly fired for playing wild guitar solos and returned to Little Richard's band. Months later, he was banished from The Upsetters after missing the tour bus in Washington, D.C. Around this time he refined his flamboyant guitar stage style, much of which was influenced by Johnny "Guitar" Watson. In the fall of 1965, Hendrix joined a New York-based band, Curtis Knight and the Squires, after meeting Knight in the lobby of a seedy midtown hotel where both men were living at the time. Hendrix then toured for two months with Joey Dee and the Starliters before rejoining the Squires in New York. On October 15, 1965, Hendrix signed a three-year recording contract with entrepreneur Ed Chalpin, receiving $1 and 1% royalty on records with Curtis Knight. While the relationship with Chalpin was shortlived, from a legal point of view, his contract remained in force, which caused considerable problems for Hendrix later on in his career. The legal dispute was eventually settled.

[edit] Greenwich Village

In the summer of 1966, Hendrix formed his own band, Jimmy James and The Blue Flames, composed of various friends he would casually meet at Manny's Music Shop, including a 15-year old runaway from California named Randy Wolfe. Since there were two musicians named "Randy" in the group, Hendrix dubbed Wolfe "Randy California"

and the other "Randy Texas". Randy California would later co-found the band Spirit with Ed Cassidy. Hendrix and his new band quickly gained local attention and played throughout New York City, but their primary spot was a residency at the Cafe Wha? on MacDougal Street in the West Village. During this period Hendrix met and worked with singer-guitarist Ellen McIlwaine and guitarist Jeff "Skunk" Baxter, who was an employee at Manny's. Hendrix also met iconoclast Frank Zappa during this time. Zappa is credited as having introduced Hendrix to the newly-invented wah-wah pedal.

[edit] Discovery
Early in 1966 at the Cheetah Club on West 21st Street, Linda Keith, then girlfriend of Rolling Stones guitarist Keith Richards, befriended Hendrix and recommended him to Stones manager Andrew Loog Oldham and producer Seymour Stein. Neither man took a liking to Hendrix's music, however, and they both passed. She then referred Chas Chandler, who was ending his tenure as bassist of The Animals and looking for talent to produce. Chandler was enamored with the song "Hey Joe" and was convinced that he could create a hit single by remaking it into a rock song. Impressed with Hendrix's version, Chandler brought him to London and signed him to a management and production contract with himself and ex-Animals manager Michael Jeffery. Chandler then helped Hendrix form a new band, The Jimi Hendrix Experience, with guitaristturned-bassist Noel Redding and drummer Mitch Mitchell.

[edit] The Jimi Hendrix Experience

It has been suggested that this article or section be merged with The Jimi Hendrix Experience. (Discuss)

The Jimi Hendrix Experience on the cover of the compilation album BBC Sessions (1998)

[edit] UK success
After a number of European club appearances, word of Hendrix spread through the London music community. His showmanship and virtuosity made instant fans of reigning

guitar heroes Eric Clapton and Jeff Beck, as well as members of The Beatles and The Who, whose managers signed Hendrix to The Who's record label, Track Records. Jimi's first single was a cover of "Hey Joe", crafted after folk-singer Tim Rose's slower revision of the song and adapted to Hendrix's emerging style. Backing the first single was Jimi's first songwriting effort, "Stone Free". Further success came with "Purple Haze", and "The Wind Cries Mary". The three singles were all UK Top 10 hits. Onstage, Hendrix was also making a huge impression with fiery renditions of the BB King hit "Rock Me Baby" and an ultra-fast revision of Howlin Wolf's blues classic, "Killing Floor".

Are You Experienced (U.K. version)

[edit] Are You Experienced

Main article: Are You Experienced (album) The first Jimi Hendrix Experience album, Are You Experienced, was released in the UK on May 12, 1967. It contained no previous UK singles or any B sides ("Hey Joe/Stone Free," "Purple Haze/51st Anniversary" and "The Wind Cries Mary/Highway Chile"). Only The Beatles' Sgt. Pepper's Lonely Hearts Club Band prevented Are You Experienced from reaching No. 1 on the UK charts. At this time, the Experience extensively toured the United Kingdom and parts of Europe . This allowed Hendrix to develop his stage presence, which reached a high point on March 31, 1967 when he set his guitar on fire. Later, after causing damage to amplifiers and other stage equipment at his shows, Rank Theatre management warned him to "tone down" his stage act. On June 4, 1967, the Experience played their last show in England, at London's Saville Theatre, before heading off to America. The Sgt. Pepper's album had just been released days prior, and two Beatles (Paul McCartney and George Harrison) were in attendance at the show, along with a roll call of other UK rock stardom: Brian Epstein, Eric Clapton, Spencer Davis, Jack Bruce, and pop singer Lulu. In a courageous and brilliant display, Jimi chose to open the show with his own rendition of "Sgt. Pepper's Lonely Hearts Club Band", crafted minutes before taking the stage. Months later, Reprise Records released the US version of Are You Experienced, removing "Red House," "Remember" and "Can You See Me" to make room for the first

three UK single A-sides. Where the UK album kicked off with "Foxy Lady," the American one started with "Purple Haze". The UK and US versions both offered a startling introduction to the Jimi Hendrix Experience, and the album was a blueprint for what had become possible on the electric guitar.

[edit] US success

The June 1987 cover of Rolling Stone magazine immortalizes Hendrix's iconic burning of his guitar at the Monterey Pop Festival twenty years prior. Although quite popular in Europe at this time, the Experience had yet to crack America. Their chance came when Paul McCartney recommended the group to the organizers of the Monterey International Pop Festival. This proved to be a great opportunity for Hendrix, not only because of the large audience present at the event, but also because the performances were filmed by D. A. Pennebaker and later shown in movie theaters throughout the country as the concert documentary Monterey Pop, which immortalized Hendrix's iconic burning and smashing of his guitar at the finale of his performance. Following the festival, the Experience played a short-lived gig as the opening act for pop group The Monkees on their first American tour. The Monkees asked for Hendrix because they were fans, but their mostly teenage audience did not warm to his outlandish stage act and he abruptly quit the tour after a few dates. Chas Chandler later admitted that being "thrown" from The Monkees tour was engineered to gain maximum media impact and publicity for Hendrix. At the time, a story circulated claiming that Hendrix was removed from the tour because of complaints made by the Daughters of the American Revolution that his stage conduct was "lewd and indecent". Australian journalist Lillian Roxon, accompanying the tour, concocted the story. The claim was repeated in Roxon's 1969 Rock Encyclopedia but she later admitted it was fabricated. Meanwhile in England, Hendrix's wild-man image and musical gimmickry (such as playing the guitar with his teeth and behind his back) continued to bring publicity, but Hendrix was already advancing musically and becoming frustrated by media and audience concentration on his stage tricks and hit singles.

Jimi Hendrix's "Killing Floor" (file info) play in browser (beta)

o o

This sample is from Hendrix's raucous entrance at the Monterey Pop Festival on June 18, 1967. Problems listening to the file? See media help.

Hendrix adapted the Howlin' Wolf blues classic "Killing Floor" into this wild and fast paced revision, and throughout the first year of his fame these became the first notes concertgoers would hear when witnessing a live Hendrix show. This sample is from the Experience's raucous entrance at the Monterey Pop Festival on June 18, 1967. The Monterey performance included an equally lively rendition of the BB King hit "Rock Me Baby", Tim Rose's "Hey Joe" and the Bob Dylan hit "Like a Rolling Stone". The set ended with Hendrix burning his guitar on stage, then smashing it to bits and tossing pieces out to the audience. The show instantly catapulted Hendrix into US stardom. Today, the charred remnants of Hendrix's psychedelically painted Stratocaster can now be found at the Experience Music Project in Seattle.

[edit] Axis: Bold as Love

Main article: Axis: Bold as Love

Axis: Bold as Love Hendrix is depicted as two Vedic deities, with the multiple hands of Durga and with his bandmates as avatars of Vishnu The Jimi Hendrix Experience's second 1967 album, Axis: Bold as Love continued the style established by Are You Experienced, but showcased a profound sense of melody along with his well-known technical virtuosity with tracks such as "Little Wing" and "If 6 Was 9". The opening track "EXP" featured a stereo effect in which a ruckus of sound emanating from Jimi's guitar appeared to revolve around the listener, fading out into the distance from the right channel, then returning in on the left. It should also be noted that this album marked the first time Jimi recorded the whole album with his guitar tuned down one half-tone, to Eb, which he used exclusively thereafter. A mishap almost prevented the album's release: Hendrix lost the master tape of side 1 of the LP, leaving it in the back seat of a New York City taxi. With the release deadline looming, Hendrix, Chandler and engineer Eddie Kramer remixed the missing side from the multitracks in an all-night session. Kramer and Hendrix later admitted that they were never entirely happy with the results.

Hendrix was also somewhat disappointed with the album's cover art. Although he appreciated the symbolic design, he had requested cover art that showcased his "Indian" heritage. The British art designers who created the cover assumed that he meant India the South Asian country, not the Native American race, and thus created cover art that depicts Hendrix and his Experience bandmates as the Vedic deities Durga and Vishnu. Upon the album's release, the Jimi Hendrix Experience continued to pursue an extremely demanding touring schedule, which involved performing in front of ever-larger audiences. This, combined with the influence of drugs, alcohol and fatigue, led to a trouble-plagued tour of Scandinavia that culminated with the arrest of Hendrix in Stockholm after trashing his hotel room in a drunken rage.

[edit] Electric Ladyland

Main article: Electric Ladyland Hendrix's third recording, a double album, Electric Ladyland (1968), was a departure from their previous efforts. As the album's recording progressed, Chas Chandler became so frustrated with Hendrix's perfectionism and with various friends and hangers-on milling about the studio that he decided to sever his professional relationship with Hendrix. Chandler's professional and musical education was very business-oriented, and it taught him that songs should be recorded in a matter of hours, and written with a view to releasing them as singles. His influence over the Experience's first two albums is clear in light of the facts that very few of the tracks are more than four minutes long, that both albums were recorded in short times, and that most of the songs on both albums conformed to the structure of a typical pop song. However, as Hendrix began developing his own vision and started to assert more control over the artistic process in the studio, Chandler decided to move to other opportunities and ceded overall control to Hendrix. Chandler's departure had a clear impact on the artistic direction that the recording took.

Electric Ladyland (U.S. version) Jimi began tinkering with different combinations of musicians and instruments, and modern electronic effects. For example, Dave Mason, Chris Wood and Steve Winwood from the band Traffic, drummer Buddy Miles and former Dylan organist Al Kooper,

among others, were all involved in the recording sessions. This was one of the other reasons that Chandler cited as precipitating his departure. He described how Hendrix went from a disciplined recording regimen to an erratic schedule, which often saw him beginning recording sessions in the middle of the night and with any number of hangerson. Chandler also expressed exasperation at the number of times Hendrix would insist on rerecording particular tracks - the song "Gypsy Eyes" was reportedly recorded 43 times. This was also frustrating for bassist Noel Redding, who would often leave the studio to calm himself, only to return and find that Hendrix had recorded the bass parts himself during Redding's absence. The effects of these events can clearly be identified in the album's musical style. On a purely superficial level, the tracks no longer conformed to the standard pop song format, often lacked easily identifiable patterns or sections, and would sometimes lack even a recognizable melody. More particularly, however, the themes that the songs addressed, and the music that Hendrix set out to record, went far beyond anything that he had attempted to achieve before. Electric Ladyland includes a number of compositions and arrangements for which Hendrix is still remembered. These include "Voodoo Child (Slight Return)" as well as Hendrix's rendition of Bob Dylan's "All Along The Watchtower". Hendrix's version was a complete departure from the original, and includes one of the most highly praised guitar arrangements in modern music. It was around this time that Jimi Hendrix lived with his girlfriend Kathy Etchingham at her Brook Street home, now the Handel House Museum, in the West End of London.

[edit] Morrison's Lament

Throughout the four years of his fame, Hendrix often appeared in impromptu jams with various musicians. A recording exists of Hendrix playing in March 1968 at Steve Paul's Scene Club, with blues legend Johnny Winter followed by Electric Flag drummer Buddy Miles in which a very intoxicated Jim Morrison grabbed an open microphone and contributed a growling, obscenity laced vocal accompaniment. The band continued to play behind him, and Hendrix can be heard on the tape announcing Morrison's presence and offering him a better microphone. The recording, circulated among Hendrix and Doors collectors, is titled Morrison's Lament. Albums of the recording were sold under various titles (originally Sky High, then Woke Up this Morning), some falsely claiming the presence of Johnny Winter's band.

[edit] Breakup of Jimi Hendrix Experience

The Jimi Hendrix Experience performed at London's Royal Albert Hall February 18 and February 24, 1969, two sold-out concerts which became the last British appearance of the

band. A Gold and Goldstein-produced film titled "Experience" was also recorded at these two shows, but remains to this day unreleased. Noel Redding felt increasingly frustrated by the fact that he was not playing his original and favored instrument, the guitar. In 1968, he decided to form his own band "Fat Mattress", which would sometimes open for the Experience - Hendrix would jokingly refer to them as "Thin Pillow". Redding and Hendrix would begin seeing less and less of each other, which also had an effect in the studio, with Hendrix playing many of the basslines on Electric Ladyland. Redding was also increasingly uncomfortable with the hysteria surrounding Hendrix's performances. The last Experience concert took place on June 29, 1969 at Barry Fey's Denver Pop Festival, a three-day event held at Denver's Mile High Stadium that was marked by rioting and tear gas. The three bandmates were smuggled out of the venue in the back of a rental truck which was crushed by a mob of fans. The next day, Noel Redding announced that he had quit the Experience.[3]

[edit] Legal troubles

Throughout 1969, Hendrix also encountered a number of legal difficulties. Firstly, a contractual dispute arose in relation to an unfavorable agreement that Hendrix had entered into with Ed Chalpin, a producer, long before he became successful. The dispute was resolved when the parties agreed that Hendrix would record an album specifically for Chalpin and that it would be released under his auspices. This was the genesis of the live album entitled Band of Gypsys. Then on May 3, 1969 Hendrix was arrested at Toronto's Pearson International Airport after heroin and hashish were found in his luggage. Hendrix argued in his jury trial defense that the drugs were slipped into his bag by a fan without his knowledge, and he was acquitted on that basis.

[edit] Gypsy Sun and Rainbows

After the departure of Noel Redding from the group, Hendrix moved into a rented eightbedroom mansion near the town of Shokan in upstate New York for the duration of the summer of 1969. Manager Michael Jeffery arranged the stay, with hopes that the respite would produce a new album. To replace Redding as bassist, Hendrix immediately tracked down Billy Cox, his old and trusted Army buddy. The trio of Hendrix, Cox, and Mitch Mitchell fulfilled his last commitment at the time, which was an appearance on The Tonight Show. In an effort to expand his sound beyond the power trio format, Hendrix then added rhythm guitarist Larry Lee (another old friend from his R&B days), and percussionists Juma Sultan and Jerry Velez. He dubbed the new band Gypsy Sun and Rainbows, although this was never formally announced by management. The cohesion of the group in the relaxed, country atmosphere of the Shokan house inspired fresh material like "Jam Back at the House", "Shokan Sunrise", "Villanova Junction", and the funk driven centerpieces of Hendrix's post-Experience sound: "Message to Love" and "Izabella".

[edit] Woodstock

Hendrix playing The Star-Spangled Banner, 1969 Hendrix's popularity eventually saw him headline the Woodstock music festival on August 18, 1969. Although a number of the world's most talented and popular musicians were invited to the festival, including The Who, The Grateful Dead, and Jefferson Airplane, Hendrix was considered to be the festival's main attraction. The band's $18,000 stipend was the highest of all Woodstock performers, and the group was given the topbilling position, scheduled to perform last on Sunday night. Due to enormous delays caused by bad weather and other logistical problems, he did not appear on stage until Monday morning, by which time the audience, which had peaked at over 500,000 people, had depleted to at most 180,000 - many of whom merely waited to catch a glimpse of Hendrix before leaving. The group was introduced at the festival as The Jimi Hendrix Experience, but Hendrix quickly conveyed the correct name of the band as Gypsy Sun and Rainbows and launched into a two hour set (the longest of his career) that was plagued with technical difficulties. Besides suffering microphone level and guitar tuning problems, it was also apparent that Jimi's new, much larger band was not rehearsed enough, and at times simply could not keep up with him. Despite this, Hendrix managed to deliver a historic performance, which featured his highlyappreciated rendition of the Star Spangled Banner, a solo improvisation which became a defining moment of the 1960s.

Jimi Hendrix's "Star Spangled Banner" (file info) play in browser (beta) o A sample of "The Star Spangled Banner" performed by Jimi Hendrix at Woodstock in 1969 o Problems listening to the file? See media help.

The controversial nature of Hendrix's style is epitomized in the sentiments expressed about his renditions of the "Star Spangled Banner", a tune he played loudly and sharply accompanied by simulated sounds of war (machine guns, bombs and screams) from his guitar. His impressionistic renditions have been described by some as anti-American mockery and by others a generation's statement on the unrest in U.S. society, oddly symbolic of the beauty, spontaneity, and tragedy that was endemic to Hendrix's life. Hendrix claimed that he did not intend for his performance of the national anthem to be a political statement. His comments imply that he simply intended it as a different

interpretation of the anthem. When taken to task on the Dick Cavett Show regarding the "unorthodox" nature of his performance of the song at Woodstock, Hendrix replied, "I thought it was beautiful," which was greeted with applause from the audience. His latercareer live favorite "Machine Gun" however, was clearly a protest song against war. Woodstock was not the first time Hendrix played the Star Spangled Banner in concert. It was in fact a setlist staple from fall 1968 through the summer of 1970, and studio recordings of the song exist as well.

[edit] Kidnapping
In September of 1969, Hendrix was apparently kidnapped and held for two days in New York City by men who appeared to be New York mobsters. The standoff ended when associates of manager Michael Jeffery appeared and peacefully regained custody of Hendrix. No police or media reports of the incident exist, but Hendrix himself retold the story often when confiding with friends or associates about his management problems. He believed that Jeffery staged the kidnapping to bolster his role as manager or as a threat of some kind. The incident did occur at a time when Hendrix was at odds with Jeffery over the direction of his career.

[edit] Band of Gypsys

Band of Gypsys (1970) The Gypsy Sun and Rainbows band was short-lived; after two post-Woodstock shows, some studio time, and an appearance on The Dick Cavett Show, Hendrix disbanded the group, but retained bassist Billy Cox. After attending to the successful defense of his drug possession charges in Toronto, Hendrix added drummer Buddy Miles and formed a new trio: the Band of Gypsys. Rehearsing for ten days at Juggy's sound studio, the group gelled quickly and produced a surprising amount of original material, including the lively "Earth Blues", which featured The Ronettes on background vocals. Four memorable concerts on New Year's Eve 1969-70 at Bill Graham's Fillmore East in New York captured several outstanding pieces, including one of Hendrix's greatest live performances: an explosive 12-minute rendition of his anti-war epic Machine Gun. The release of the Band of Gypsys albumthe only official live recording sanctioned by Jimi brought to an end the contract and legal battles with Ed Chalpin.

The second and final Band of Gypsys appearance occurred one month later (January 28, 1970) at a twelve-act show in Madison Square Garden dubbed the Winter Festival for Peace. Similarly to Woodstock, set delays forced Hendrix to take the stage at an inopportune 3am, only this time he was obviously high on drugs and in no shape to play. He belted out a dismal rendition of "Who Knows" before snapping a vulgar response at a woman who shouted a request for "Foxy Lady". He lasted halfway through a second song, then simply stopped playing, telling the audience: "That's what happens when earth fucks with spacenever forget that". He then sat quietly on the stage until staffers escorted him away. Various angles exist around this bizarre sceneBuddy Miles claimed that manager Michael Jeffery dosed Hendrix with LSD in an effort to sabotage the current band and bring about the return of the Experience lineup. Blues legend Johnny Winter said it was Hendrix's girlfriend Devon Wilson who spiked his drink with drugs for unknown reasons.

[edit] Cry of Love band

Jeffery's reaction to the botched Band of Gypsys show was swift and firm; he immediately fired Buddy Miles and Billy Cox, then rushed Mitch Mitchell and Noel Redding over from England to begin press for the upcoming tour dates as a reunited Jimi Hendrix Experience. Before the tour began however, Jimi fired Redding from the band and reinstated Billy Cox. Fans refer to this final Hendrix/Cox/Mitchell lineup as the, Cry of Love band, named after the tour. Most of 1970 was spent recording during the week, and playing live on the weekends. The "Cry of Love" tour, begun in April at the LA Forum, was structured to accommodate this pattern. Performances on this tour were occasionally uneven in sound quality, but featured Hendrix, Cox and Mitchell playing new material alongside extended versions of older recordings. The tour included 30 performances and ended at Honolulu, Hawaii on August 1, 1970. A number of these shows were professionally recorded and produced some of Hendrix's most memorable live performances.

[edit] Electric Lady Studios

August of 1970 saw the opening of Electric Lady Studios in New York. Two years prior, Hendrix and Jeffery had invested jointly in the purchase of the Generation Club in Greenwich Village. Their initial plans to reopen the club were scrapped when the pair decided that the investment would serve them much better as a recording studio. The studio fees for the lengthy Electric Ladyland sessions were astronomical, and Jimi was constantly in search of a recording environment that suited him. Designed by architect and acoustician John Storyk, the studio was made specifically for Hendrix, with round windows and a machine capable of generating ambient lighting in a myriad of colors. It was designed to have a relaxing feel to encourage Jimi's creativity, but at the same time provide a professional recording atmosphere. Engineer Eddie Kramer upheld this by refusing to allow any drug use during session work.

Hendrix spent only four weeks recording in Electric Lady, most of which took place while the final phases of construction were still ongoing. An opening party was held on August 26, and the following day Hendrix created his last ever studio recording: a cool and tranquil instrumental known only as "Slow Blues". He then boarded an Air India flight for London (with Billy Cox in tow), joining Mitch Mitchell to perform at the Isle of Wight Festival.

[edit] European tour

The group then commenced on a tour of Europe designed to earn money to repay the studio loans, temper Jimi's mounting back taxes and legal fees, and fund the production of his next album, tentatively titled First Rays of The New Rising Sun. Longing for his new studio and creative outlets, the tour was a requirement by Jeffery that the already restless Hendrix was not eager to perform. Audience demands for the older hits and stage trickery that he had long tired of performing only served to worsen his mood. In Aarhus, Hendrix abandoned his show after only two songs, remarking: "I've been dead a long time". On September 6, 1970, his final concert performance, Hendrix was greeted with booing and jeering by fans at the Isle of Fehmarn Festival in Germany in a riot-like atmosphere reminiscent of the failed Altamont Festival. Shortly after he left the stage, it went up in flames during the first stage appearance of Ton Steine Scherben. Billy Cox quit the tour and headed home to Memphis, Tennessee after reportedly being dosed with PCP. Hendrix retreated to London, where he reached out to Chas Chandler, Eric Burdon, and other friends in a renewed attempt to divorce himself from manager Michael Jeffery. He caught up with Linda Keith, an old flame that he still admired, and gave her a brand new black Fender Stratocaster as a token of his appreciation for her discovery efforts years earlier. Included in the guitar case was a stack of letters - all of their mutually written correspondence. Jimi's last public performance was an informal jam at Ronnie Scott's Jazz Club in Soho with Burdon and his latest band, War.

[edit] Death
In the early morning hours of September 18, 1970, Jimi Hendrix was found dead in the basement flat of the Samarkand Hotel at 22 Lansdowne Crescent in London. Hendrix died amid circumstances which have never been fully explained, and the exact details of his death will probably never be confirmed. He had spent the night with his German girlfriend, Monika Dannemann, and likely died in bed after drinking wine and taking nine Vesperax sleeping pills, then asphyxiating on his own vomit. For years, Dannemann publicly claimed that Hendrix was alive when placed in the back of the ambulance; however, her comments about that morning were often contradictory and confused, varying from interview to interview. Police and ambulance reports reveal that not only was Hendrix dead when they arrived on the scene, but he had been dead for some time, the apartment's front door was wide open, and the apartment itself empty. Following a

libel case brought in 1996 by Hendrix's long-term British girlfriend Kathy Etchingham, Monika Dannemann allegedly took her own life. A sad poem written by Hendrix that was found in the apartment has led some to believe that he committed suicide. More speculative is the belief that Hendrix was murdered forcibly given the sleeping pills and wine, then asphyxiated with a scarf by professionals hired by manager Michael Jeffery. The most popular theory, however, is that he simply misjudged the potency of the sleeping pills, and asphyxiated in his sleep due to an inability to regain consciousness when he vomited. Reports that Hendrix's tapes of the concept album Black Gold had been stolen from the London flat are in fact wrong: the tapes were handed to Mitch Mitchell by Hendrix at the Isle of Wight Festival three weeks prior to his death. Hendrix's Greenwich Village apartment, however, was indeed plundered by an unknown series of vandals who stole numerous personal items, tapes, and countless pages of lyrics and poems, some of which have resurfaced in the hands of collectors or at auctions.

[edit] Gravesite

The original gravestone of Jimi Hendrix, incorporated into the granite base of his memorial where a large brass statue will someday be installed. Although Hendrix had verbally requested to be buried in England, his body was returned to Seattle and he was interred in Greenwood Memorial Park, Renton, Washington. Al Hendrix created a five-plot family burial site to include himself, his second wife Akayo June, his adopted daughter Janie, and son Leon. The headstone for Jimi contains a drawing of a Stratocaster guitar, though it is depicted as the instrument of a traditional right-handed player. As the popularity of Hendrix and his music grew over the decades following his death, concerns began to mount over fans damaging the adjoining graves at Greenwood, and the growing extended Hendrix family further prompted Al to create an expanded memorial site separate from other burial sites in the park. The memorial was announced in late 1999, but Al's deteriorating health led to delays. He passed away two months before its scheduled completion in 2002. Later that year, the remains of Jimi Hendrix, his father Al Hendrix, and grandmother Nora Rose Moore Hendrix were moved to the new site.

The memorial gravesite of Jimi Hendrix in Renton, Washington. The memorial is an impressive granite dome supported by three pillars under which Jimi Hendrix is interred. Jimi's autograph is inscribed at the base of each pillar, while two stepped entrances and one ramped entrance provide access to the dome's center where the original Stratocaster adorned headstone has been incorporated into a statue pedestal. A granite sundial complete with brass gnomon adjoins the dome, along with over 50 family plots that surround the central structure, half of which are currently adorned with raised granite headstones. To date, the memorial remains incomplete: brass accents for the dome and a large brass statue of Hendrix were announced as being under construction in Italy, but since late 2002, no information as to the status of the project has been revealed to the public. In addition, a memorial statue of Jimi playing a Stratocaster stands near the corner of Broadway and Pike Street in Seattle. In May 2006 Seattle honored the music, artistry and legacy of Jimi Hendrix with the naming of a new park near Seattle's historic Colman School in the heart of the Central District.

[edit] Personality
[edit] Fashion

The unique use of color and accessories that defined Jimi's fashion sense can be seen in this multiple exposure image that adorns the cover of Smash Hits, the only Hendrix compilation album released before his death.

Hendrix was well known for his unique sense of fashion, and strived to perfect his hairstyle and wardrobe almost to the point of obsession. A set of hair curlers was one of the few possessions that travelled with him to England upon his discovery in 1966. When his first advance check arrived, Hendrix immediately took to the streets of London in search of clothing at obscure fashion haunts like I Was Lord Kitchner's Valet, where he purchased an ages old British military jacket adorned with tasseled ropes. A traffic warden once ordered him to remove the jacket, citing it as an offense to the Queen. Many photographs of Hendrix show him wearing various rings, medallions and brooches, and Hendrix often peppered his attire with pins that professed his support for the hippie movement or his fascination with folk singer Bob Dylan. His only vacation, a month-long excursion to Morocco with friends Colette Mimram and Deering Howe, deeply affected his sense of art and style, and upon his return Hendrix filled his Greenwich Village apartment with Moroccan art and decor. Mimram and Stella Douglas, (the wife of producer Alan Douglas), created some of Hendrix's most memorable attire: a Bowler style derby adorned with either an angled feather or a set of silver bangles; a Trilby hat crowned with a purple scarf and adorned with various brooches; the blue dashikis he wore on the Dick Cavett Show, and the blue on white fringed jacket that he wore at Woodstock.

[edit] Politics and racism

Even after achieving worldwide success as a musician, Hendrix could not avoid experiences of racism, which was omnipresent whenever he returned to the Southern United States. While on tour with the Experience in the South, Hendrix would often wait in the car or bus during highway restaurant stops, sending Mitch Mitchell or a roadie in to purchase food for the group. His eccentric wardrobe and white friends compounded the offense that some Southern whites took from his mere presence. At one of his shows in the deep South, police officers hired for concert security drew their guns on Hendrix when he walked into the venue arm-in-arm with a tall blond woman. Before the show began, the entire security force walked off the job in protest. Jimi was also shunned by much of the black community for playing "white music" and for having white musicians in his band. Weeks after Woodstock, his performance at a Harlem block party became a harrowing experience. Within seconds of arriving at the site, his guitar was stolen from the back seat of his car by two Harlem thugs. When he appeared stageside to watch the early acts with his girlfriend Carmen Borrero (a PuertoRican model), the crowd assumed she was white and verbally harassed the pair. When he appeared on stage, he was bottled, and had eggs thrown at him from the crowd. After the show, drummer Mitch Mitchell and roadie Eric Barrett were physically assaulted while dismantling their set. Hendrix was also constantly harassed by various civil rights oriented activist and extremist groups who wished to use his fame to further their own message or cause. The Black Panthers even went as far as posting signs for his appearance at a benefit concert that Hendrix never even knew existed. Jimi tried to handle these experiences in stride and

with as much finesse as he could muster, but this usually meant pandering to whatever was pulling at him at any given time. He would speak in a "jive" tone with his black friends, but in the company of whites, his speech and mannerisms would seem more like those of a British sophisticate.[citation needed] It has been equally difficult for biographers to discern Hendrix's political views because his opinions on social and political topics varied in step with the company that he kept. To a crowd of hippies, Hendrix would speak about social change and against the Vietnam War; in Europe, however, he would rant in disgust to his British friends about witnessing anti-war protesters riot in Paris.

[edit] Drug use

Hendrix is widely known for and associated with the use of hallucinogenic drugs, most notably LSD. A common opinion is that Jimi's use of LSD was an integral part of his creative process. He had never taken hallucinogenics until the night he met Linda Keith, but likely experimented with other drugs in years prior. Various forms of sleeping pills and speed fueled his "stop and go" lifestyle throughout his career, and pictures exist of Hendrix smoking marijuana. Jimi was also notorious among friends and bandmates for becoming angry and violent when he drank alcohol. Kathy Etchingham spoke of an incident that took place in a London pub in which an intoxicated Hendrix beat her with a public telephone handset because he thought she was calling another man on the payphone. Alcohol was also cited as the cause of Hendrix's 1968 rampage that destroyed a Stockholm hotel room and led to his arrest. Drunk, Jimi once threw a glass vodka bottle at her, which shattered when it struck her face. Musician Paul Caruso's friendship with Hendrix ended in 1970 when Jimi punched him during an alcohol-fueled argument. The most controversial topic however, concerns his alleged abuse of heroin. The Hendrix family, along with a portion of his friends and biographers, emphatically maintains that Hendrix was never a heroin user, citing his irrational fear of needles. Known today as trypanophobia, this condition was never medically diagnosed in Hendrix, and snorting or smoking heroin were available (though less common and less effective) methods of heroin use in Hendrix's day. An equally strong number of associates and writers (including former bandmate Noel Redding) insist that Hendrix did use heroin. Some even hint that he was in a withdrawal period when he died of asphyxiation in September 1970. A toxicology report prepared shortly after his death found no heroin in his body, nor were there any marks from needles.

[edit] Legacy

The September 2000 issue of Guitarist magazine depicts what Hendrix might look like if he were alive and 57 years old, with a Parker guitar Hendrix's style was unique. He synthesized many styles in creating his musical voice, and his guitar playing was truly inimitable and breathtakingly exciting. Despite his hectic touring schedule and notorious perfectionism, he was a prolific recording artist and left behind more than 300 unreleased recordings. His astonishing career and ill-timed death has grouped him with Janis Joplin and Jim Morrison as one of contemporary music's tragic "three J's", iconic 60's rock stars that suffered drug-related deaths at age 27 (see The 27 Club) within months of each other, leaving legacies in death that have eclipsed the popularity and influence they experienced during their lifetimes. Musically, Hendrix did perhaps more than any other performer to further the development of the electric guitar repertoire. It is without question that he moved the instrument to a higher level, establishing it as more than merely an amplified version of the acoustic guitar. Likewise, his feedback and fuzz-laden soloing moved guitar distortion well beyond mere novelty, popularizing effects pedals and units (most notably the wah-wah pedal) dramatically. Hendrix affected popular music with similar profundity; along with earlier bands such as The Who and Cream, he established a sonically heavy yet technically proficient bent to rock music as a whole, significantly furthering the development of hard rock and paving the way for heavy metal. He took blues to another level. His music has also had a profound influence on funk and the development of funk rock especially through the guitarists Ernie Isley of The Isley Brothers and Eddie Hazel of Funkadelic, Prince and Jesse Johnson of The Time. His influence even extends to many hip hop artists, including Chuck D of Public Enemy, Ice-T (who covered Hey Joe), El-P and Wyclef Jean. Hendrix was listed as number 3 on VH1's list of 100 Best Hard Rockers of all time behind Black Sabbath at the second spot, and Led Zeppelin who were ranked number one. He was ranked number 3 on VH1's list of 100 Best Pop Artists of all time behind the Rolling

Stones and the Beatles. He has been voted by Rolling Stone, Guitar World, and a number of other magazines and polls as the best guitarist of all time.

[edit] Financial legacy

When Al Hendrix died of congestive heart failure in 2002, his will stipulated that Experience Hendrix, LLC was to exist as a trust designed to distribute profits to a list of Hendrix family beneficiaries. Upon his death, it was revealed that Al had signed a revision to his will which removed Jimi's brother Leon Hendrix as a beneficiary. A 2004 probate lawsuit merged Leon's challenge to the will with charges from other Hendrix family beneficiaries that Janie Hendrix was improperly handling the company finances. The suit argued that Janie and a cousin (Robert Hendrix) paid themselves exorbitant salaries and covered their own mortgages and personal expenses from the company's coffers while the beneficiaries went without payment and the Hendrix gravesite in Renton went uncompleted. Janie and Robert's defense was that the company was not profitable yet, and that their salary and benefits were justified given the work that they put into running the company. Leon charged that Janie bilked Al Hendrix, then old and frail, into signing the revised will, and sought to have the previous will reinstated. The defense argued that Al willingly removed Leon from his will because of Leon's problems with alcohol and gambling. In early 2005, presiding judge Jeffrey Ramsdell handed down a ruling that left the final will intact, but replaced Janie and Robert's role at the financial helm of Experience Hendrix with an independent trustee. To date, the gravesite of Jimi Hendrix remains incomplete.

[edit] Guitar legacy

[edit] Fender Stratocaster

Hendrix owned and used a variety of guitars during his career. His guitar of choice however, and the instrument that became most associated with him, was the Fender Stratocaster, or 'Strat'. He bought his first Stratocaster in 1965 and thereafter used it almost exclusively for his stage performances and recordings. Hendrix's emergence coincided with the lifting of post-war import restrictions (imposed in many British Commonwealth countries), which made the instrument much more available, and after its initial popularizers Buddy Holly and Hank B. Marvin, Hendrix arguably did more than any other player to make the Stratocaster the biggest-selling electric guitar in history. Before his arrival in the UK, most top players used Gibson and Rickenbacker models, but after Hendrix, almost all of the leading guitarists, including Jeff Beck and Eric Clapton, switched to the Stratocaster. Hendrix bought dozens of Strats and gave many away as gifts, including one given to ZZ Top guitarist Billy Gibbons. Many others were stolen, and a few were destroyed during his notorious guitar-burning finales.

The Strat's easy action and narrow neck were also ideally suited to Hendrix's evolving style and enhanced his tremendous dexterityHendrix's hands were large enough to fret across all six strings with his thumb, and he could reputedly play lead and rhythm parts simultaneously. Another remarkable fact about Hendrix is that he was left-handed, yet used right-handed Stratocasters, playing them upside-down. Hendrix restrung his guitars so that the heavier strings were in their standard position at the top of the neck. He preferred this layout because the tremolo arm and volume/tone controls were more easily accessible above the strings, but it also had an important effect on the sound of his guitar: because of the design of the pickups, his lowest string had a bright sound while his highest string had a mellow soundthe opposite of the Strat's intended design. A new Stratocaster model (with a wide headstock) was launched in late 1968, and as the cohesion of the Experience began to deteriorate, Hendrix wished to vary his playing and his repertoire with this new design. Choosing Stratocasters with a light-tone maple fretboard (giving a "brighter" sound than the "darker" rosewood), he wanted to balance the high-power play with further versatility and velocity, so in early 1969, he opted for high-gauge strings tuned a half-step down from the normal pitch. This enhanced the possibilities offered by the interlaced rhythm and solos during the Olmstead Studios sessions of April 1969. Later on tour, this stringing caused the drawback of more frequent losses in tuning after pushing down (or pulling) the tremolo bar - Hendrix would often ask the audience for a "minute to tune up" several times during the same concert. In addition to Fender Stratocasters, Hendrix was also photographed playing Fender Jaguars, Gretsch Corvette, Duosonics and Jazzmasters, and Gibson Les Paul Customs and SGs. Jimi used a white Gibson SG Custom for his performance on the Dick Cavett show in the summer of 1969, and the Isle of Wight film shows him playing a Gibson Flying V. While Jimi owned a number of Flying Vs throughout his career (included a black model with hand-painted designs by Hendrix), the Flying V used at the Isle of Wight was a unique left-handed guitar. Custom ordered from Gibson, Jimi's example featured gold hardware, a bound fingerboard and "spilt-diamond" fret markers that were not found on other 60s-era Flying Vs.

[edit] Amplifiers and effects

Hendrix was a catalyst in the development of modern guitar amplification and guitar effects. His high-energy stage act and the blistering volume at which he played required robust and powerful amplifiers. For the first few months of his touring career he used Vox and Fender amplifiers, but he soon found that they could not stand up to the rigors of an Experience show. Hendrix soon discovered a new range of high-powered guitar amps being made by London audio engineer Jim Marshall and they proved perfect for his needs. Along with the Strat, the Marshall stack and Marshall amplifiers were crucial in shaping his heavily overdriven sound, enabling him to master the creative use of feedback as a musical effect, and his exclusive use of this brand soon made it the most popular amplifier in rock music.

The sound of Hendrix's recordings seemed to have progressively changed from the "sharp edge" of 1966 and 1967 to the warmer sounds of 1969 and 1970. The first two albums were recorded in England with his British-made Marshall amps operating at 240 volts/50 Hertz. He then recorded in the US (beginning in May 1968 on Electric Ladyland) - under 110 volts/60 Hertz. The evolution in the Stratocasters used (pre-68 v.s. post-68 models) may have contributed to this change as well. Weather conditions may also have had an effect on his amps: the warm sound of Woodstock contrasts to the "edgy" sound of the Isle of Wight recordings. Hendrix also constantly looked for new guitar effects. He was one of the first guitarists to move past simple gimmickry and to exploit the full expressive possibilities of electronic effects such as the wah-wah pedal. He had a fruitful association with engineer Roger Mayer and made extensive use of several Mayer devices including the Axis fuzz unit, the Octavia octave doubler and especially the UniVibe, a unit designed to electronically simulate the modulation effects of the Leslie speaker. He also used an Arbiter Fuzz Face for a time. It should be noted that while Jimi never used an Electro-Harmonix Big Muff, he did try out prototypes before he died and the tone of the pedal was modeled after Hendrix's tone. The Hendrix sound combined high volume and high power, feedback manipulation and a range of cutting-edge guitar effects, especially the UniVibe-Octavia combination, which can be heard to full effect on the Band of Gypsys' live version of "Machine Gun." He was also known for his trick playing, which included playing with only his right (fretting) hand, using his teeth or playing behind his back, although he soon grew tired of audience demands to perform these tricks.

[edit] Trivia
In order to meet Wikipedia's quality standards, this article's trivia section may require cleanup.
The trivia section may be too large, or indiscriminate. Please help by removing unencyclopedic content or integrating content from the trivia section into other appropriate areas of the article.

See also: Jimi Hendrix in popular culture

Blue plaque outside his home in London 1968-69

During a brief excursion to Vancouver in 1965, Hendrix played in a Motown band named, Bobby Taylor & the Vancouvers with Taylor and then aspiring musician Tommy Chong (of Cheech and Chong fame). In 1965, guitar pioneer and producer, Les Paul, watched Hendrix audition for a nightclub gig in Greenwich Village, NYC, and was awestruck by his performance. An errand forced Les Paul to leave the club before he had the chance to speak with Hendrix. When he returned later to contact and sign Hendrix, Les Paul found that the club owner had turned Hendrix down for being too loud and crazy, and that Hendrix had disappeared. Hendrix suffered from progressive hearing loss. This often forced him to listen to recordings at such a high volume, it would drive even his bandmates out of the room at times. In 1967, Hendrix and his girlfriend Kathy Etchingham moved into a flat at 23 Brook Street in central London. The adjacent building at 25 Brook Street was once the home of baroque composer George Frideric Handel. Hendrix, aware of this musical coincidence, bought Handel recordings including Messiah and the Water Music. The two houses currently comprise the Handel House Museum, where both musicians are celebrated. At the height of his fame in 1969, Hendrix contributed two songs ("Purple Haze" and "If 6 was 9") to the soundtrack of the counterculture themed biker film, Easy Rider. Inspired by watching the completed movie upon its release, Hendrix created a rollicking road-themed song titled "Ezy Rider" and planned to release it on his fourth studio album First Rays of the New Rising Sun. Because the song was in an advanced stage of completion at the time of Hendrix's death, it has been included on many of his posthumous releases. Lemmy Kilmister worked as a roadie for The Jimi Hendrix Experience before founding his own band, Motrhead. Phil Hartman was a roadie for The Jimi Hendrix Experience. The legendary rock groupie, Cynthia Albritton (known today as Cynthia Plaster Caster) credits Hendrix and Noel Redding as the first two subjects in her decades long art project of creating plaster molds of rock stars' genitals. Hendrix claimed that during a layover in Paris while returning from his only career break (a month-long respite to Morocco), he had a one night stand with actress Brigitte Bardot. The first annual Jimi Hendrix Awareness Week was held from August 13-19 2006 at Le Fevre High School in South Australia. Premiering in 2000, Wood Harris played Jimi Hendrix in a made-for-TV biopic on the rock star's life entitled "Hendrix", directed by Leon Ichaso and co-starring Billy Zane and Vivica A. Fox. Although recognized as one of the most important musicians in American history, All Along the Watchtower was Hendrix's only Top 40 single. The late English singer-songwriter, Kirsty MacColl, entitled her 1991 album, recorded at Electric Lady Studios, Electric Landlady, - an obvious pun on Electric Ladyland.

[edit] Discography

Main article: Jimi Hendrix discography

[edit] Studio albums

Release Year US UK Chart Chart

Album

Notable Songs

1967 Are You Experienced?

#5

#2

Fire Foxy Lady Hey Joe Purple Haze The Wind Cries Mary

1967

#3

#5

Bold as Love Castles Made of Sand Little Wing Spanish Castle Magic

Axis: Bold as Love

1968

#1

#5

Crosstown Traffic All Along the Watchtower Voodoo Child (Slight Return) 1983...A Merman I Should Turn To Be

Electric Ladyland

[edit] Live albums

Release Year US UK Chart Chart Notable Performances

Album

Venue

1970

#5

#5

Band of Gypsys

Bill Graham's Fillmore East Auditorium New York City January 1, 1970 (Two shows)

Machine Gun Power of Soul Earth Blues Message to Love

[edit] Anticipated releases

See also Hendrix anticipated releases Despite the extremely prolific recording career of Hendrix and the staggering volume of published content (estimated at over 500 unique releases), there are still items in the Hendrix vaults (and elsewhere) that have yet to pass through the eyes and eardrums of even ardent collectors. Some of the tie-ups involve legal disputes or lost tapes, while others are simply being held by Experience Hendrix for release at intervals that the company deems worthy according to its long term plans.

Biographies

Steven Roby, "Black Gold: The Lost Archives of Jimi Hendrix", (Billoboard Books, 2002) Johnny Black, Jimi Hendrix: The Ultimate Experience, 1999 Tony Brown, Jimi Hendrix, 2003 Charles R. Cross, Room Full of Mirrors: A Biography of Jimi Hendrix, 2005: ISBN 1-4013-0028-6 David Henderson, 'Scuse Me while I Kiss the Sky: The Life of Jimi Hendrix, 1978: ISBN 0-553-01334-3 James A. 'Al' Hendrix, My Son Jimi, 1999 Sharon Lawrence, Jimi Hendrix: The Man, the Magic, the Truth, 2004: ISBN 006-056299-4 Charles Shaar Murray, Crosstown Traffic: Jimi Hendrix and Post-War Pop, 2nd rev. edition 2001: ISBN 0-571-20749-9 Noel Redding, Are You Experienced?: The Inside Story of the Jimi Hendrix Experience, 1996: ISBN 0-306-80681-9 Keith Shadwick, Jimi Hendrix: Musician, 2003 Harry Shapiro, Jimi Hendrix: Electric Gypsy, 1995

[edit] Other books

Ken Matesich, Jimi Hendrix: A Discography, 1982 David Stubbs, Jimi Hendrix: Voodoo Child: The Stories Behind Every Song, 2003

John Kruth, Bright Moments: The Life & Legacy of Rahsaan

Main Releases

The Last Experience 2006

Experience - Original Soundtrack To The Motion Picture 2006 The Last Experience Cd2 2006 The Last Experience Cd1 2006 Best Of Jimi Hendrix 20th Century Masters The Millennium Collection 2005 Live At Berkeley 2003 Purple Haze/Uranus Rock 2003 Woke Up This Morning & Found... (Planet Media) 2003 Voices 2003 Jimi Plays Berkeley: The Second Set 2003 Martin Scorsese Presents The Blues: Jimi Hendrix 2003 Blue Wild Angel: Live At The Isle... 2002 Blue Wild Angel: Live At The Isle Of Wight 2002 Blue Wild Angel Live At The Isle Of Wight 2002 The Jimi Hendrix Collection 2001 Voodoo Child: The Jimi Hendrix Collection 2001 The Legends Collection 2001 The Jimi Hendrix Experience 2000 Rare As Love

2000

An Audio Biography: In His Own Words 2000 Jimi Hendrix 2000 His Greatest Hits, Vol. 2 1999 Groove Maker 1999 Purple Haze In Woodstock 1999 Live At The Fillmore East 1999 Live At Woodstock 1999 Red House 1999 Experience Hendrix: The Best Of Jimi Hendrix 1998 NYC '68 1998 Woke Up This Morning & Found... (Stony Plain) 1998 His Greatest Hits 1998 New York Session 1998 The Early Years 1998 The BBC Sessions 1998 South Saturn Delta 1997 First Rays Of The New Rising Sun 1997 Sunshine Of Your Love 1995 Voodoo Soup 1995 Blues 1994 Interview - Crosstown Conversation 1994 The Last Experience: His Final Live Performance 1994 The Experience Collection 1993 The Ultimate Experience 1993

Early Instrumentals 1992 Stages 1991 Lifelines: The Jimi Hendrix Story 1990 The Essential Jimi Hendrix, Vol 1 & 2 1989 Radio One 1988 Live At Winterland + 3 1987 Live At Winterland 1987 Jimi Plays Monterey 1986 Historic Hendrix 1986 Kiss The Sky 1984 The Jimi Hendrix Concerts 1982 Crash Landing 1975 The Cry Of Love 1971 Band Of Gypsys 1970 Electric Ladyland 1968 The Best Of 1968 Smash Hits 1968 Axis: Bold As Love 1967 Are You Experienced? 1967

Singles

Merry Christmas And Happy New Year 1999 Sunshine Of Your Love 1999 Jimi Hendrix Speaks 1990

The Peel Sessions 1990

Compilations

Hard Cell In The Grooves Daytrippers: The Definitive 60's Box Before The Experience 2006 Harley-Davidson: Ride 2005 Lords of Dogtown: Music From the Motion Picture 2005 Back From Yesterday 2005 Progressions: 100 Years Of Jazz Guitar 2005 Rykodisc 20th Anniversary 2004 Easy Rider: Deluxe Edition (2CD) 2004 Martin Scorsese Presents The Blues: Best Of 2003 Martin Scorsese Presents The Blues... 2003 Capitol Records 1942-2002 2002 Strange Daze 2001 Plan 9: A Tribute To Ed Wood 2001 Summer Of Love (Dressed To Kill) 2001 Axe Men: The Greatest Guitar Stars Of All Time 2000 Guitar Gods (Dressed To Kill) 2000 Acid: The Final Frontier 1999 Acid Space 1999 Searching For Jimi Hendrix 1999

Rock Giants Vol. 1 1999 Mods V. Rockers 1999 The Ultimate Grammy Box... 1999 Lost Voices: The Songs Of Jimi... 1998 Harley Davidson Road Songs Vol. 2 1998 Guitar Heroes (Riviere) 1998 Chronicles 1998 City Of Angels 1998 Disraeli Years 1998 The Sixties To Seventies: In Search Of Space 1997 To The Extreme 1997 Daytrippers 1997 Fender 50th Anniversary Guitar Legends 1996 Hush 1996 Message To Love: The Isle of Wight Festival 1970 1996 Apollo 13 1995 Woodstock: Three Days of Peace & Music 1994 PCU 1994 Woodstock Diary 1994 Live Forever 1993 A Bronx Tale: Music From The Motion Picture 1993 Singles 1992 Steal This Disc 1990 One And Only: 25 Years Of Radio 1 1990 Rocking The Blues

1989

Steal This Disc, Vol 2 1988 The Best Of Woodstock 1969

Guest

The Early Years Lonnie Youngblood 2006

Released 1985-1995 / Unreleased 2005

Music by Sculthorpe, Sallinen, Glass, Nancarrow, Hendrix Kronos Quartet 2005

The Dreamers 2004

Power Of Soul: Jimi Hendrix Tribute 2004

The String Quartet Tribute To Jimi Hendrix 2003

Voodoo Crossing: A Tribute To Jimi Hendrix 2003

Dogtown & Z-Boys 2002

Essential Cult Movies: A Connoisseur's... 2000

The String Quartet Tribute To R.E.M. 1999

It's Your Thing: The Story Of The Isley... The Isley Brothers 1999

It's Your Thing: The Story Of The Isley Brothers The Isley Brothers 1999

A Tribute To Jimi Hendrix Buddy Miles 1997

Prefontaine 1997

Go Cat Go Carl Perkins 1996

Apollo 13 1995

Blue Chips 1994

Bound By Honor 1993

Singles 1992

Wayne's World 1992

Flashback 1990

Woodstock 2 (WEA) 1989

1969 1988

Still Life The Rolling Stones 1982

CSN Crosby, Stills and Nash 1977

Gil Evans

Plays The Music Of Jimi Hendrix 1975

Woodstock/Woodstock 2 (Mobile Fidelity) 1970

Woodstock (WEA) 1970

Studio albums

The Jimi Hendrix Experience box set (2000) Release Year Album US UK Chart Chart Notable Songs

1967

#5

#2

Hey Joe Purple Haze The Wind Cries Mary Fire

Are You Experienced?

Bold as Love Little Wing

1967

#3

#5

Axis: Bold as Love

Voodoo Child (Slight Return) All Along the Watchtower

1968

#1

#5

Electric Ladyland

1971

Posthumous Release The Cry of Love

Freedom Night Bird Flying Ezy Rider Angel

1997 First Rays of the New Rising Sun

Posthumous Release

Izabella Astro Man, Earth Blues Dolly Dagger

[edit] Live albums

Release Year Album US UK Chart Chart Venue Notable Performances

1970

#5

#5

Band of Gypsys

Bill Graham's Fillmore East Auditorium New York City January 1, 1970 (Two shows)

Machine Gun Power of Soul Earth Blues Message to Love

Various 1968 and 1970 concerts:

1972

Posthumous Release

Hendrix in the West

San Diego Sports Arena Berkeley Community Theater Royal Albert Hall, London Isle of Wight Festival, England

Johnny B. Goode Blue Suede Shoes God Save the Queen Sgt. Pepper's Lonely Hearts Club Band

1986

Posthumous Release Jimi Plays Monterey

Monterey Pop Festival Monterey County Fairgrounds Sunday, June 18, 1967

Killing Floor Like a Rolling Stone Rock Me Baby Wild Thing Little Wing Voodoo Child (Slight Return) Bleeding Heart Sunshine of Your Love

1990 The Last Experience Concert: Live at the Royal Albert Hall

Posthumous Release

Royal Albert Hall London, England February 24, 1969

Various concerts:

1991 Stages

Posthumous Release

Stockholm May 24, 1967 Paris January 29, 1968 San Diego May 24, 1969 Atlanta - July 4, 1970

I Don't Live Today Catfish Blues Spanish Castle Magic Hear My Train a Comin'

2003 Jimi Hendrix: Live at Berkeley

Berkeley Community Theater Posthumous Berkeley, California, Release USA Saturday May 30, 1970

Pass It On (Straight Ahead) Hey Baby (New Rising Sun) Lover Man Machine Gun

[edit] Compilations

South Saturn Delta (1997) Smash Hits (1969) UK #5; U.S. #6 Rainbow Bridge Concert (1971) The Cry of Love (1971) War Heroes (1972) Loose Ends (1974) Crash Landing (1975) Kiss the Sky (1982) Doriella Du Fontaine (Lightnin Rod) (1984) The Ultimate Experience (1993) Blues (1994) Voodoo Soup (1995) South Saturn Delta (1997) Experience Hendrix: The Best of Jimi Hendrix (1998) BBC Sessions (1998) Live at the Fillmore East (1999) Live at Woodstock (1999) The Jimi Hendrix Experience (MCA Box) (2000) Voodoo Child: The Jimi Hendrix Collection (2001) Blue Wild Angel: Live at the Isle of Wight (2002) Martin Scorsese Presents the Blues: Jimi Hendrix (2003) Rainy Day, Dream Away (2006)

Jimi Hendrix - His Greatest Hits (2006)

[edit] Discography production

Due to his tireless creative habits and untimely death, Hendrix left behind countless hours of unreleased material in the form of personal recordings, impromptu jams, studio takes, and unfinished or abandoned songs in various stages of completion. His death also led to an immense interest in recordings of his live performances. In addition, Hendrix wrote vast quantities of lyrics and poems on notepads, envelopes, scraps of paper, and hotel stationery. Decades have passed since his death, yet on a regular basis, new material is still discovered in tape vaults, auction houses, dusty attic shoeboxes, or swap meets, and previously unreleased material still reaches the public via trade among collectors or official release by various record companies. Unfortunately, most posthumous Hendrix releases consist of a few new songs or performances peppered in with re-releases of songs available on other albums. To date, no comprehensive catalog is available and collectors often purchase dozens of albums with redundant material in attempts to obtain Hendrix's complete oeuvre. Control over the Hendrix musical legacy has changed hands numerous times, and legal issues further complicate the story of his posthumous catalog. The control and material released is typically categorized into three distinct eras:

[edit] The Michael Jeffery era (1970-1973)

This first era produced music that was sanctioned by Al Hendrix as the heir to Jimi's estate and created by the same personnel that Hendrix was working with at the time of his death: drummer Mitch Mitchell, engineer Eddie Kramer, and manager Michael Jeffery. The LP Cry of Love (1971) was the first posthumous Hendrix release and was crafted to represent Jimi's intended fourth studio album. The soundtrack to the Rainbow Bridge movie also became available on LP in 1971, featuring several tracks that were not in the film: "Dolly Dagger", "Earth Blues", "Room Full of Mirrors", and a stellar version of "Star Spangled Banner" mixed at the Record Plant. The Rainbow Bridge album is highlighted by a 10-minute electric version of "Hear My Train A-Comin.", which saw the song transformed almost beyond recognition; like "Machine Gun", it showcased the classic elements of the Hendrix electric sound and featured some of his most inspired improvisation. Another LP to emerge from this era was the live compilation Hendrix In The West, consisting of top-shelf American and British live recordings from 1969 and 1970, including an outstanding rendition of the concert favorite "Red House" recorded at the San Diego Sports Arena, plus "Johnny B. Goode", "Lover Man", and "Blue Suede Shoes" (soundcheck) at the Berkeley Community Theater. The album also included "Little Wing", "Voodoo Child" (recorded at the Royal Albert Hall, London), "God Save the Queen", and "Sergeant Pepper's Lonely Hearts Club Band" which was recorded at the Isle of Wight Festival.

In 1973, British producer Joe Boyd produced a film documentary on Hendrix's life, titled simply Jimi Hendrix, which included live performances from the Monterey, Berkeley, and Isle of Wight concerts interspersed with interview footage. The film played in arthouse cinemas around the world for many years, and a double-album soundtrack was also released. This era ended in 1973 when Michael Jeffery perished in a mid-air plane collision. Hendrix family lawyer Leo Branton then arranged the sale of Hendrix's music rights to overseas companies under his control, without informing Al Hendrix of the implications or conflict of interest involved.

[edit] The Alan Douglas era (1974-1996)

The second era is defined by the period of control held by producer Alan Douglas, who managed the Hendrix legacy after the Leo Branton deal took place. Douglas reconstructed selections of studio material by hiring session players to overdub portions that were incomplete. The resulting LPs, Crash Landing and Midnight Lightning, contain several important tracks but are generally considered to be of substandard quality. Intending to "refresh" Hendrix's sound with the funk driven grooves of the era, they achieved only marginally successful sales, and the use of replacement musicians (including lead guitar work) was viewed by fans as sacrilege. Interest in Jimi's music waned during the 1980s as his genre evolved into classic rock and was avoided by American and British youth in favor of new wave, pop, and metal acts. With the advent of the compact disc, Polygram and Warner-Reprise reissued many Hendrix recordings on CD in the late 1980s and early 1990s. The earliest Polygram reissues are of a poor standard - Electric Ladyland suffered particularly, being evidently a direct transfer from the existing LP masters, with tracks placed out of their correct order. This reflected the original LP running order, an artifact of the days when double-LPs were pressed with sides 1 and 4 on one LP and sides 2 and 3 on the other, so that the records could be placed on an automatic changer and played in sequence by turning the entire stack over. Polygram subsequently released a superior-quality double boxed set of eight CDs with studio tracks in one four-disc box and the live tracks in another. This was followed by an excellent four-disc set of live concerts on Reprise. An audio documentary, originally made for radio and later released on four CDs, also appeared around this time and also included previously unreleased material. Douglas also supervised the re-release of Jimi's three Experience-era albums in the early 1990s, without their original artwork. Subsequent versions issued since the Hendrix family took control of Jimi's catalogue have featured the original artwork.

[edit] The Experience Hendrix era (1997-present)

A striking and previously unreleased photograph of Hendrix adorns this 1998 greatest hits compilation, the best selling Experience Hendrix release to date. The third, and arguably most successful, era of the Hendrix legacy began in 1995 when Al Hendrix regained the rights to Jimi's music after a two-year court battle funded by Microsoft executive Paul Allen. This litigation had been prompted by Al Hendrix learning through the media that MCA records had purchased the rights to Jimi's catalogue. For nearly three decades, poor legal advice provided by individuals associated with Jimi's manager, Michael Jeffery, had led Al to believe that he alone retained ownership of all master tapes. Following a successful lawsuit, Al placed his adopted daughter Janie in charge of the newly formed company, Experience Hendrix, LLC. Working in collaboration with engineer Eddie Kramer, biographer John McDermott and bandmates Billy Cox and Mitch Mitchell, Experience Hendrix embarked on an extensive reissue program designed to showcase restore Hendrix's musical legacy. Their first order of business was to rebuild CD releases of Are You Experienced, Axis: Bold As Love, and Electric Ladyland using the original studio tapes, since previous CD releases were substandard conversions of LP masters. These new releases featured much improved sound quality and reproduced all the album's original artwork. In 1997, the company released its version of Hendrix's planned fourth studio album, titled First Rays of the New Rising Sun. The release was compiled using track listings hand written by Hendrix and consisted of songs previously released on Cry of Love, Rainbow Bridge, and War Heroes. A "definitive" greatest hits album followed in 1998, and an epic four-disc box set filled with selections of live and studio performances was released in 2000. Experience Hendrix also released concert soundboard recordings and other rare finds under the auspices of "official bootlegs" through its Dagger Records label. To date, Experience Hendrix has made more than $44 million from the recordings and associated merchandising. Press commentary from the company has revealed that it intends to produce a documentary feature of its own in the near future, followed by a scripted biographical feature film.

[edit] Audio sample: Title #3

Jimi Hendrix's "Title #3" (file info) play in browser (beta)

o o

This sample is from the incomplete and lyricless Hendrix song known simply as "Title #3". Problems listening to the file? See media help.

Recorded in 1967 during sessions for Are You Experienced, this song was conceived by Hendrix and this base track performed, only to be abandoned so the group could concentrate on other tasks. Hendrix never returned to the song again. Decades later, it was selected for inclusion in The Jimi Hendrix Experience, a four-disc box set produced by Experience Hendrix, LLC. The song's name was derived from the entry Hendrix made in the session log that day, naming each untitled song after its place in the log.

[edit] Anticipated Releases

[edit] The Royal Albert Hall film
The two sold-out Jimi Hendrix Experience concerts performed at London's Royal Albert Hall on February 18 and February 24, 1969 became the last British appearance of the band, and were known as brilliant performances, the latter of which ended with Hendrix wrecking his guitar and then throwing it into the crowd which prompted them to rush onto the stage. This was the last time he wrecked his equipment on stage. The shows were filmed by musical directors Gold and Goldstein and intended for worldwide release as a concert film (to be titled Experience), but unknown legal issues have prevented the film's release for over 35 years.

[edit] Jimi and Noel's 8mm films

Hendrix and his Experience bandmate Noel Redding were known to carry an 8mm movie camera on tour and create footage of the group off-stage, on the road, and sightseeing in the many countries they visited while touring. Rumors persist that some of the films include footage of their bedroom exploits with groupies, but while no risqu footage has surfaced publicly, some of the 8mm scenes can be seen in various documentaries on Hendrix where the Experience band is mentioned. It remains unclear just how much of the 8mm footage still exists or who owns it, but fans point out that this may be a source of unreleased footage that reveals Hendrix and his entourage in a more relaxed and casual setting.

[edit] Black Gold

In early 1970, Hendrix recorded a suite of songs in his Greenwich Village apartment intended to serve as a demo for a concept album that he titled Black Gold. The tapes consist of sixteen songs, all created by a solo Hendrix armed only with his voice and a Martin acoustic guitar. Near the end of the collection lies an embryonic two-part rendition of his now infamous superhero themed funk-rock tune "Astro Man", in which Hendrix sings lines from the 1950's Mighty Mouse cartoon theme and makes humorous yet derogatory references to Superman. Other songs from the Black Gold sessions were

also further developed in the studio and thus have surfaced elsewhere in the Hendrix catalog (namely "Stepping Stone", "Machine Gun", and "Drifting"), but at least nine of the songs are known to be unique to the tapes. Months later, at the Isle of Wight Festival, Hendrix gave the tapes to his drummer Mitch Mitchell to have him listen and comment on the necessary rhythm section requirements for recording the songs. After Hendrix's untimely death in September 1970, Mitchell simply forgot about the tapes, apparently unaware that they were one of a kind masters. For twenty two years, the Black Gold tapes sat unmolested in a black Ampex tape box that Hendrix himself tied shut with a headband and hand labeled with the letters "BG". It was not until 1992 that avid Hendrix collector and biographer Tony Brown interviewed Mitchell and learned that the mythical Black Gold tapes, thought to have been stolen from Jimi's apartment by vandals who ransacked it for collectibles upon his death, were in fact lying in Mitchell's home in England. By coincidence, Mitchell also possessed the Martin guitar that was used to create the material. Brown was invited to review the tapes and published a summary of his account, but to date the material has not been released and is not available to Hendrix collectors. A bootleg compilation erroneously titled "Black Gold" often circulates among online file traders, some of whom are duped into believing that they have obtained the actual Black Gold suite. Only Brown and a handful of friends close to Mitch Mitchell have listened to the real tapes. Because of the label markings and conventions used by Hendrix to identify the tapes, and the fact that the themed Black Gold songs were the most embryonic of his late catalog, Hendrix aficionados maintain that this demo represents a proposed fifth studio album and predict that the material will reveal the broadest extensions of Hendrix's intended musical direction. Because of this, many consider Black Gold the 'holy grail' of Hendrix collectibles. Mitch Mitchell's association with Experience Hendrix, LLC is an indicator that Black Gold may someday see worldwide release. Coincidentally, in that same year singer and pianist Nina Simone released a live album called Black Gold.

[edit] TV & radio interviews of Jimi Hendrix

A significant amount of TV and radio interviews of Jimi Hendrix are known to exist, and are frequently for sale in a number of forums, especially on Ebay, however in many instances these TV and radio interviews are very difficult to obtain. The TV and radio interviews of Jimi Hendrix exist in vinyl format (45-rpm and 33-rpm), CD, and as VHS or DVD. Although a number of United States TV and radio interviews of Jimi Hendrix and his bandmates exist, the largest selection of TV and radio interviews were recorded in either the United Kingdom, Western Europe (especially Holland) & Scandinavia (especially Sweden). The official 2 cd CD compilation ('BBC SESSIONS') contains brief remarks by Jimi Hendrix as broadcast on BBC broadcasts featuring the Jimi Hendrix Experience (altho the Experience's 2-cd BBC sessions contains relatively little on air commentary by Jimi Hendrix, not nearly as extensive as on air comments and remarks by Ray & Dave Davies on the 2-cd BBC Kinks sessions). Future entries will document in greater detail TV & radio interviews of Jimi Hendrix and Experience bandmates Noel

Redding and Mitch Mitchell. These TV and radio interviews are both officially released as well as 'unofficially' released (commonly known as 'bootleg' or 'pirate' items). One official release currently available in a number of commercial forums is a 4-cd boxset titled, "As it happened." This 4-cd boxset generally sells between $25 to $35. Another interview cd, apparently no longer produced and not readily available, and when available often expensive ($50+ for the single cd sealed) is titled "Crosstown conversation," featuring one of the last interviews of Jimi Hendrix before he died [the status of this Crosstown Conversation cd - i.e., official vs. unofficial - is still being researched]. An official release, relatively common on the market but apparently out of print, is titled "Hendrix speaks," featuring two long interviews (each 20 to 23 minutes) involving Jimi Hendrix, a still sealed copy generally available for $8 to $10 in a number of online forums.

[edit] Notable live performances

[edit] The Jimi Hendrix Experience

October 13, 1966 - Novelty Club, Evreux, Normandie, France (first Experience show ever) June 18, 1967 - Monterey International Pop Music Festival, California, USA (first Experience show in America) o "Like a Rolling Stone" at YouTube o "Wild Thing" (burning guitar finale) at YouTube February 24, 1969 - Royal Albert Hall, London, UK (last Experience show in England) o "Hear My Train a'Comin" at YouTube June 29, 1969 - Barry Fey's Denver Pop Festival, Mile High Stadium, Denver, Colorado, USA (last Experience show ever)

[edit] Gypsy Sun and Rainbows

August 18, 1969 - Woodstock Music & Art Fair; Bethel, New York, USA September 5, 1969 - United Block Association Harlem Benefit, 139 Street/Lenox Avenue, New York City, USA September 9, 1969 - The Dick Cavett Show, ABC live television broadcast, USA

[edit] Band of Gypsys

December 31, 1969 - The Fillmore East Auditorium (two shows), New York City, USA o "Who Knows" at YouTube January 1, 1970 - The Fillmore East Auditorium (two shows), New York City, USA o "Power of Soul" at YouTube January 28, 1970 - Winter Festival For Peace, Madison Square Garden; New York City, USA

[edit] Cry of Love band

April 25, 1970 - LA Forum; Inglewood, Los Angeles, USA (first Cry of Love concert) May 30, 1970 - Berkeley Community Theater, Berkeley, California, USA August 30, 1970 - Isle of Wight Music Festival, Afton, Isle of Wight, UK September 6, 1970 - Fehmarn Love and Peace Festival, Mecklenburg Bay, Isle of Fehmarn, West Germany (last concert ever)

[edit] Solo/collaborative

September 16, 1970 - Ronnie Scott's Club, London, England (jam session, last performance ever)

[edit] Musical equipment

[edit] Guitars

Fender
o o o o o

Stratocaster Jaguar Duo-Sonic and Musicmaster (1961) Telecaster Jazzmaster Gibson SG Gibson Flying V (1967 and 1968 makes and a black Custom edition used at the very end of his career) Gibson 330 Gibson Firebird Danelectro Shorthorn (1959) Supro Ozark 1560S Electric Epiphone Wilshire Three Rickenbackers: a bass, a 6-string, and a 12-string guitar Martin D-45, bought new Hfner electric Guild 12-string acoustic Gibson stereo Gretsch Corvette Zemaitis 12-string acoustic guitar (played on an acoustic version of "Hear my Train a Comin") Two Hagstrom 8-string basses (played by Hendrix in "Spanish Castle Magic" on "Axis: Bold as Love")

Gibson
o o o o

Others
o o o o o o o o o o o

Eric Barrett adds that Hendrix generally had more than one of everything, except the Rickenbackers.

[edit] Amplifiers

Fender Fender Twin Reverb (1965 to 1966) Fender Dual Showman (1968) Marshall Sunn Vox
o o

[edit] Accessories

Arbiter Fuzz Face (fuzzbox) Dunlop Cry Baby Wah Uni-Vox Univibe Vox Wah-Wah

Nascut: Johnny Allen Hendrix la 27 nov.1942, in Seattle,USA A murit: la 18 sept. 1970, in Londra, Anglia Perioada de activitate: 1963 - 1970. Stiluri abordate: Blues-Rock, Hard Rock, Psychedelic. Jimi Hendrix Discografie, Links Daca a existat in muzica rock vreo stea cazatoare, aceea a fost cu siguranta Jimi Hendrix. In cei 4 ani in care a fost un superstar, a realizat cu chitara electrica mai mult decat orice alt chitarist de dinaintea lui sau decat cei care au urmat. Canta la chitara in modalitati in care nimeni altcineva nu putea, si dupa el chiar nu a mai existat un chitarist mai bun. Putea sa cante cu chitara la spate, sau cu dintii, sau

chiar cu chitara in flacari. Pe scena, in fata a mii de persoane, LIVE, canta de neimaginat.., iar dupa cum afirma unii dintre cei mai apropiati prieteni ai sai dincolo de scena.. atunci cand canta pentru prieteni era mai presus de prestatiile din concert. Jimi a a invatat sa cante la chitara la varsta de 12 ani, pe cand copilarea in Seattle, Washington, fiind influentat de legendele blues B.B. King si Robert Johnson. La inceput a cantat pentru formatii locale doar pentru racoritoare si hamburgeri. In 1959, la 17 ani, s-a inrolat in Air Force, unde a servit ca parasutist pana cand, datorita unei accidentari, 'cariera' sa militara s-a incheiat. Pana in anul 1963 el canta(se) pentru Little Richard, The Isley Brothers, Wilson Pickett, Jackie Wilson s.a. ca al 2 lea chitarist sau chitarist de rezerva. Desi stangaci, el a cantat cu chitara pentru dreptaci, folosind-o rasturnata. Nu si-a incercat sansele de unul singur pana in anul 1965, dupa ce l-a ascultat pe Bob Dylan cantand. S-a abtinut sa porneasca o cariera solo pana in acel moment, nepasandu-i de vocea pe care o avea, dar daca Dylan poate sa se descurce cu vocea sa care suna destul de ciudat, el - Jimi de ce nu ar putea ? Mai intai, s-a facut cunoscut cantand blues in cluburi din Greenwich Village, New York, sub numele Jimmy James, trupa sa numindu-se Blue Flames. S-a raspandit repede in oras, zvonul existentei unui chitarist nou care putea sa scoata din chitara sa Fender Stratocaster sunete nemaiauzite de cineva pana atunci. Muzicieni de prin tot orasul veneau sa-l vada cantand, iar unul dintre ei, aflat in vizita in oras, era basistul trupei Animals - Chas Chandler. Impresionat profund, Chandler il convinge pe Jimi sa se mute in Anglia, promitandui ca-l va face faimos. In Anglia, Chandler devine managerul lui Hendrix, ii aduce un basist - Noel Redding si un baterist - Mitch Mitchell, formand astfel Jimi Hendrix Experience. Trio-ul a urcat foarte repede culmile succesului in US si UK, unde piesele Hey Joe, Purple Haze, The Wind Cries Mary au ajuns in top10 in prima jumatate a anului 1967. Albumul de debut al lui Jimi impreuna cu Experience, intitulat Are You Experienced?, a fost lansat, initial, doar in Anglia, la inceputul anului 1967. Acest album a afisat nu doar calitatile de chitarist de exceptie ale lui Hendrix, ci si abilitatea sa de a scrie versuri pt piesele albumului (Hey Joe, Purple Haze, The wind Cries Mary, cum aminteam si mai sus, au ajuns in TOP10 in Anglia). In iunie 1967, el s-a intors in America pentru a participa la Monterey Pop Festival, unde a trebuit sa cante dupa

un show de zile mari facut de cei de la The Who. Dupa ce publicul l-a privit pe Peter Townsend (The Who) distrugandusi chitara pe scena, ridicand astfel miza spectacolului, Jimi a incheiat dand foc chitarei sale. La inceput a cantat in turnee prin Statele Unite, deschizand concertele pentru mai multe trupe. Dar nu trece foarte mult timp, panca cand porneste la drum cu propriul turneu. Albumul Are You Experienced? desi a fost lansat in US intr-o versiune putin diferita de versiunea lansata in UK, a avut parte de un succes urias. Hendrix a inregistrat, in scurta viata, doar 3 albume concepute in studio, Are You Experienced?, celelalte doua fiind: Axis: Bold As Love lansat in 1968, si dublul LP ELectric Ladyland, inregistrat acelasi an. Ambele albume fiind considerate mai experimentale decat albumul de debut.Ultimul album aduce ceva nou in lumea muzicii prin folosirea inedita chiar a studio de inregistrari pe post de instrument, realizare posibila cu ajutorul inginerului de sunet: Eddie Kramer. La inceputul anului 1969, Jimi desfiinteaza The Jimi Hendrix Experience. In luna mai, este arestat in Toronta, Canada pentru posesie de heroina, dar mai tarziu a fost gasit nevinovat. In luna august, este cel care canta la inchiderea celebrului festival de la Woodstock, unde concerteaza cu o trupa de moment, numita Band Of Gypsies, pe care el a format-o special pt acest concert impreuna cu bateristul Buddy Miles si basistul Billy Cox. Memorabil ramane de la reprezentatia sa de la Woodstock, modul in care a cantat The Star Spangled Banner. In formatul acesta, a lansat un album de inregistrari live. La scurt timp, aceasta formula esueaza insa, si The Experience se reuneste, insa nu pentru mult timp. Ramas singur,din nou, Hendrix inregistreaza noi piese, insa fara sa planifice lansarea unui nou album, datorita dificultatile intampinate in a gasi un grup potrivit de muzicieni pentru a inregistra si porni in turneu. Dar, la mijlocul anului 1970, Hendrix ii aduce din nou pe Mitchell si Cox, pt a-l sprijini in turnee si pentru a incepe inregistrarile unui nou dublu album, pe care Jimi ar fi intentionat sa-l intituleze First Rays Of the New Rising Sun. Mai multe piese erau deja inregistrate pentru noul album, dar, din pacate, Hendrix moare pe 18 sept 1970, inecat in propria voma, iar albumul nu este finalizat. Jimi Hendrix a inregistrat o cantitate uriasa de material nelansat in timpul vietii sale, material ce a fost motiv al unei lungi dispute in tribunal. In 1995, aceasta disputa este incheiata, iar drepturile asupra posesiunilor lui Hendrix, ii revin lui Al Hendrix, tatal chitaristului. Impreuna cu Janie, sora vitrega a lui Jimi, tatal sau au angajat pe John McDermott si pe inginerul de sunet al lui Jimi - Eddie Kramer pentru a prelucra cele 3 albumele dar si inregistrarile nelansate, in vederea unor scoaterii pe piata a unor editii CD. Astfel , in aprilie 1997, sunt relansate albumele lui Jimi, cu un sunet foarte mult imbunatatit. Mai tarziu, au aparut in magazinele de muzica si compilatii precum First Rays Of the New Rising Sun, sau South Saturn Delta ( cu piese precum: Cry Of Love, Rainbow Bridge, War heroes, Crash Landing). Au urmat si alte materiale de arhiva: Radio One, extins mai tarziu pe un dublu cd - BBC Sessions (1998), iar in 1999 este lansat intreg concertul lui Jimi Hendrix de la Woodstock, precum si alte materiale LIVE inregistrate pe vremea cand Jimi

concerta cu Band Of Gypsies, lansate sub numele Live At The Fillmore East.

Discografie Jimi Hendrix

(studio)

01. 02. 03. 04. 05. 06. 07. 08. 09. 10. 11.

1967 Are You Experienced? (US Version) "Purple Haze" - 2:51 "Manic Depression" - 3:42 "Hey Joe" (Billy Roberts) - 3:30 "Love or Confusion" - 3:11 "May This Be Love" - 3:11 "I Don't Live Today" - 3:55 "The Wind Cries Mary" - 3:20 "Fire" - 2:43 "Third Stone from the Sun" - 6:44 "Foxey Lady" - 3:19 "Are You Experienced?" - 4:16

01. 02. 03. 04. 05. 06. 07. 08. 09. 10. 11. 12. 13.

1967 Axis: Bold as Love "EXP" - 1:55 "Up from the Skies" - 2:55 "Spanish Castle Magic" - 3:00 "Wait Until Tomorrow" - 3:00 "Ain't No Telling" - 1:46 "Little Wing" - 2:24 "If 6 Was 9" - 5:32 "You Got Me Floatin'" - 2:45 "Castles Made of Sand" - 2:46 "She's So Fine" (Noel Redding) - 2:37 "One Rainy Wish" - 3:40 "Little Miss Lover" - 2:20 "Bold as Love" - 4:09

1968 Electric Ladyland

01. 02. 03. 04. 05. 06. 07. 08. 09. 10. 11. 12. 13. 14. 15. 16.

"...And the Gods Made Love" - 1:21 "Have You Ever Been (To Electric Ladyland)" "Crosstown Traffic" - 2:25 "Voodoo Chile" - 15:05 "Little Miss Strange" - 2:50 "Long Hot Summer Night" - 3:30 "Come On (Part 1)" - 4:10 "Gypsy Eyes" - 3:46 "Burning of the Midnight Lamp" - 3:44 "Rainy Day, Dream Away" - 3:43 "1983... (A Merman I Should Turn to Be)" "Moon, Turn the Tides...gently gently away" "Still Raining, Still Dreaming" - 4:24 "House Burning Down" - 4:35 "All Along the Watchtower" - 4:01 "Voodoo Child (Slight Return)" - 5:14

Jimi Hendrix Links

> The Official Jimi Hendrix Site > A Jimi Hendrix Experience > Jimi Hendrix Online Archive > > > > > > > The Jimi Hendrix Music Site Jimi Hendrix Online Store Jimi Hendrix At Rockmine Jimpress Jimi Hendrix Photo Gallery Jimi Hendrix Tabs Jimi Hendrix Lyrics

Cream
Cream - a fost formata in anul 1966, in Anglia Perioada de activitate: 1966 - 1969 Membri: Eric Clapton - chitara, Jack Bruce - bass si voce, Ginger Baker - baterie. Stiluri abordate:Blues-Rock, Hard Rock, Psychedelic, British Blues, British Psychedelia Cream - discografie Desi formatia Cream a avut o viata scurta, putin peste 2 ani, influenta lor a fost imensa, si in perioada lor de varf, a 2a parte a anilor 60, si in perioada de dupa destramarea grupului. Cream a fost prima formatie de top care a exploatat cu adevarat puterea formatului de trio. Datorita formatiei Cream, Eric Clapton a devenit cu adevarat un star de talie internationala. Criticii au etichetat grupul ca fiind supraapreciat, citand accentul pe care Cream il punea pe 'sclipire', virtuozitate, si dorinta de a se da in spectacol, de suferit avand bunul gust si concentrarea. Aceasta era uneori adevarata, luand in considerarea cateva din prestatiile lor live, dar in realitate cele mai bune inregistrari (in studio) ale lor erau fuziuni excelente intre blues, pop si psychedelia, cu materiale concise si originale, care intreceau ca numar reprizele de

blues 'depasite' si solo-urile prea lungi. Cream putea fi vazut ca primul supergrup rock ai carui membri aveau sa ajunga superstaruri, desi nici unul dintre cei 3 membri nu era prea cunoscut cand s-a format trupa la mijlocul lui 1966. Eric Clapton avea renumele cel mai mare dintre cei 3; acesta se afirmase deja ca un erou al chitarei in cadrul formatiei THE YARDBIRDS, si mai apoi in John Mayall's Bluesbreakers, o trupa orientata mult mai mult spre blues. Basistul/solistul Jack Bruce, si bateristul Ginger Baker fesesera amandoi in THE GRAHAM BOND. Bruce a mai lucrat, pt foarte scurt timp, alaturi de Clapton in cadrul THE BLUESBREAKERS, si de asemenea, tot pt scurt timp, a fost membrul trupei MAnfred Mann. Toti cei trei muzicieni tanjeau dupa depasirea limitelor unui grup standar de rock/R&B/blues, intr-o formula care sa le permita mai multa libertate de a canta instrumental si de a improviza, cumva intr-o formula clasica pt jazz. Solourile uimitoare de chitara ale lui Eric Clapton au atras mai toata admiratia, si totusi Bruce era cel putin la fel de responsabil pentru desavarsirea sunetului trupei, el cantand mai toate materialele cu vocea sa bogata. De asemenea, Jack Bruce a scris cele mai bune compozitii ale grupului, uneori in colaborare cu Pete Brown, o persoana dinafara trupei. La inceput, sunetul formatiei Cream prindea viata prin sisteme electrice si amplificatoare specifice bluesului, sound care a dominat primul lor album, intitulat Fresh Cream ( care a urcat pana in TOP10 in Anglia, la inceputul anului 1967). Piese ca "N.S.U." si "I Feel Free" au demonstrat ca formatia era capabila de a trece dincolo de blues, membrii regasindu-se cu adevarat pe albumul DISRAELI GEARS, lansat spre finele anului 1967. Albumul a adus un sound proaspat, plin de putere, uneori indreptat spre un pop psihedelic, si a continut piese memorabile, armonioase si uneori cu riff-uri ferme. "Strange Brew", "Dance The Night Away". "Tales of Brave Ulysses", si "S.W.L.A.B.R." se numara printre cele mai bune piese ale lor, albumul urcand pana in Top5 in SUA, unde pana nu demult nu erau prea cunoscuti. DISRAELI GEARS a furnizat primul lor mare hit in SUA, "Sunshine of Your Love", piesa bazata pe unul dintre cele mai populare riff-uri hard-rock din anii '60. Dublul album WHEELS OF FIRE, le-a asigurat celor de la CREAM, locuri fruntase in topurile americane, in 1968, ridicandu-i alaturi de cei de la BEATLES si alaturi de Hendrix pe lista celor mai mari nume in muzica rock din lume. Albumul in sine era de o factura mai extravaganta comparativ cu Disraeli Gears, extravaganta staruita, poate, si de hotararea de a prezenta publicului separat material nou de studio si inregistrari live. "White Room" s-a conturat ca un nou single de mare succes in America, show-

urile trupei devenind din ce in ce mai cautate. Decizia lor de a desfiinta trupa la finele anului 1968, intr-o perioada cand se parea ca erau mai sus ca niciodata, a venit ca un soc pt mare parte din ascultatorii de muzica rock. Viata scurta a acestei trupe nu a fost totusi o surpriza nepravazuta luand in considerare talentul, ambitiile si ego-ul fiecarui membru. Clapton, in mod special, dorea sa realizeze mai mult, sa exploreze directii mai subtile. Dupa turneul de ramas bun din Sua, Cream se destrama in noiembrie '68. In 1969, au devenit totusi, si mai mari decat au fost, datorita lansarii postum a unui album ce continea material de studio si live; intitulat "Goodbye Cream", a urcat pana pe locul 2, atractia principala fiind piesa "Badge" compusa de Clapton impreuna cu George Harrison, piesa ce ramane una dintre cele mai indragite ale formatiei Cream. Clapton si Baker au iesit din nou in lumina reflectoarelor in 1969, constituind un alt grup cu viata scurta - Blind Faith, dupa care Clapton si-a continuat drumul intr-o cariera dintre cele mai lungi si de succes pe care o poate avea cineva in muzica rock. Bruce si Baker nu au mai reusit performante macar la fel de mari ca cele realizate in formatia Cream, dar si-au ocupat amandoi urmatoarele decenii implicati in diverse proiecte interesante din aria rock, jazz si muzica experimentala.

Discografie Cream:
Cream - Fresh Cream (1966) Track list: 01. "I Feel Free" - 2.51 02. "N.S.U." - 2.43 03. "Sleepy Time Time" - 4.20 04. "Dreaming" - 1.58 05. "Sweet Wine" - 3.17 06. "Spoonful" - 6.30 07. "Cat's Squirrel" - 3.03 08. "Four Until Late" - 2.07 09. "Rollin' And Tumblin'" - 4.42 10. "I'm So Glad" - 3.57 11. "Toad" - 5.11

Cream - Disraeli Gears (1967)

Track list: 01. "Strange Brew" - 2.46 02. "Sunshine of Your Love" - 4.10 03. "World Of Pain" - 3.02 04. "Dance The Night Away" - 3.34 05. "Blue Condition" - 3.29 06. "Tales Of Brave Ulysses" - 2.46 07. "SWLABR" - 2.31 08. "We're Going Wrong" - 3.26 09. "Outside Woman Blues" - 2.24 10. "Take It Back" - 3.05 11. "Mother's Lament"

Cream - Wheels of Fire (1968) Track list: 1. "White Room" - 4.58 2. "Sitting On Top Of The World" - 4.58 3. "Passing The Time" - 4.37 1 4. "As You Said" - 4.20 5. "Pressed Rat And Warthog" - 3.13 6. "Politician" - 4.12 7. "Those Were The Days" - 2.53 8. "Born Under A Bad Sign" - 3.09 9. "Deserted Cities Of The Heart" - 3.38

Cream - Goodbye (1969) Track list: Live 1. "I'm So Glad" - 9:13 2. "Politician" - 6:20 3. "Sitting On Top Of The World" - 5:04 Studio 4. "Badge" - 2:47 5. "Doing That Scrapyard Thing" - 3:18 6. "What A Bringdown" - 3:57 7. "Anyone for Tennis" - 2:35

Cream - Live Cream (1970)

Track list: 1. "N.S.U." - 10.15 2. "Sleepy Time Time" - 6.52 3. "Sweet Wine" - 15.16 4. "Rollin' And Tumblin'" - 6.42 5. "Lawdy Mama" - 2.46

Cream - Live Cream Volume II (1972)

Track list: 1. "Deserted Cities of the Heart" - 4.33 2. "White Room" - 5.40 3. "Politician" - 5.08 4. "Tales of Brave Ulysses" - 4.46 5. "Sunshine of Your Love" - 7.25 6. "Steppin' Out" - 13.28

Cream - Strange Brew: The Very Best of Cream (1983) Track list: 01. "Badge" - 2:46 02. "Sunshine of Your Love" - 4:10 03. "Crossroads" - 4:14 04. "White Room" - 4:58 05. "Born Under a Bad Sign" - 3:13 06. "SWLABR" - 2:34 07. "Strange Brew" - 2:48 08. "Anyone For Tennis? (The Savage Seven Theme)" - 2:38 09. "I Feel Free" - 2:54 10. "Politician" - 4:12 11. "Tales of Brave Ulysees" - 2:49 12. "Spoonful" - 6:30

The Very Best of Cream (1995) Track list: 01. "Wrapping Paper" - 2.21 02. "I Feel Free" - 2:54

03. 04. 05. 06. 07. 08. 09. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20.

"N.S.U." - 2:47 "Sweet Wine" - 3:19 "I'm So Glad" - 4:01 "Spoonful" - 6:30 "Strange Brew" - 2:48 "Sunshine of Your Love" - 4:10 "Tales of Brave Ulysses" - 2:46 "SWLABR" - 2:31 "We're Going Wrong" - 3:29 "White Room" - 4:58 "Sitting On Top of the World" - 4:59 "Politician"- 4:11 "Those Were the Days" - 2:56 "Born Under a Bad Sign" - 3:09 "Deserted Cities of the Heart" - 3:41 "Crossroads" - 4:14 "Anyone For Tennis" - 2:37 "Badge" - 2:46

Jethro Tull

Jethro Tull - formata in anul 1967 in orasul Blackpool, Anglia. Perioada de activitate: 1967 - prezent. Membrii trupei: - Ian Anderson (flaut, chitara, bouzouki, mandolina, muzicuta, voce) Martin Barre (chitara electrica si acustica, flaut), Andy Giddings (clape), Doane Perry (tobe), Jonathan Noyce(chitara bass). Stiluri abordate: Blues - Rock, Hard Rock, Prog-Rock/ Art Rock, Album Rock, Folk. * Jethro Tull - discografie

Jethro Tull a fost un fenomen unic in istoria muzicii. Amestecul lor de hard rock, folk, blues, versuri profunde, si un stil ce sfida o analiza usoara a muzicii, nu i-a oprit sa primeasca 11 Gold si 4 Platinum. Desi criticii i-au luat foarte putin in serios, nici un magazin de muzica nu dorea sa fie fara multiple copii dupa cele mai populare albume

ale lor sau diferitele compilatii Best Of, si putini care le-ar fi ignorat complet noile aparitii. Dintre formatiile contemporane cu ei, numai Yes au succese comparabile cu Jethro Tull, dar cei de la Yes au avut multe schimbari in componenta formatiei si in stilul muzicii, in timp ce Jethro Tull au fost remarcabil de stabili pana in anii '90. Condusi de un om - nebun - flautist - chitarist cantaret - compozitor pe nume Ian Anderson, Jethro Tull si-au croit singuri un drum in muzica. Jethro Tull isi are radacinile in blues-ul britanic al anilor '60. Ian Anderson s-a mutat in Blackpool la varsta de 12 ani. Prima sa formatie a fost The Blades, cu Michael Stephens la chitara, Jeffrey HammondHammond la chitara-bass si John Evans la tobe, cantand un amestec de jazz, blues prin cluburile din nordul tarii. In 1965, si-au schimbat numele in John Evan Band si mai tarziu John Evan Smash. Spre sfarsitul lui 1967, Glenn Cornick l-a inlocuit pe Hammond-Hammond. Trupa s-a mutat in Luton pt. a fi mai aproape de Londra, centrul blues boom-ului britanic, si trupa s-a destramat in momentul in care Anderson si Cornick l-au intalnit pe chitaristul/cantaretul Mick Abrahams si bateristul Clive Bunker, care au cantat impreuna inainte in formatia Toggery Five si acum erau membrii unei trupe locale numite McGregor's Engine. In decembrie 1967, cei patru s-au decis sa formeze o noua trupa. Au inceput prin a canta de 2 ori pe saptamana, au incercat diverse nume (Navy Blue, Bag Of Blues). Numele pe care l-au folosit, Jethro Tull, imprumutat de la un fermier/inventator din sec 18, s-a dovedit popular si memorabil, si asa a ramas. In Ianuarie 1968, au scos un single numit Sunshine Day, lansat de MGM Records (sub numele scris gresti Jethro Toe) in luna urmatoare. Single-ul nu a ajuns nicaieri, dar trupa a reusit sa-si asigure un loc la Marquee Club in Londra, unde au devenit foarte populari. La inceput, au avut probleme cu imaginea si configuratia formatiei. In primavara lui 1968, managerii Terry Ellis si Chris Wright (care mai tarziu au fondat Chrysalis Records) au venit cu ideea ca Anderson sa renunte la flaut, si ca Mick Abrahams sa fie centrul scenei. In acele timpuri, multi entuziasti nu acceptau instrumente de suflat deloc, mai ales flautul, si pentru un grup care cautau succes si recunoastere, Jethro Tull era un pic prea ciudat. Abrahams era un entuziast al bluesul hardcore, si idolul sau era Alexi Korner, si cauta un stil mai traditional, ceea ce il punea pe el si chitara sa in frunte. Desi calitatile lui Abrahams erau de necontestat, publicul britanic nu-i putea ridica la mai mult de rangul de formatie de club. Purtarea lui Anderson pe scena, sarind intr-un palton zdrentuit si stand intr-un picior in timp ce canta la flaut, si amestecul lui de folk, blues si jazz, a oferit formatiei ocazia de a acapara un public mai mare si atentia presei. Au cantat in deschidere la Pink Floyd, in primul festival de rock in Hyde Park din Londra, si in August au fost hit-ul festivalului de jazz si blues din Sansbury-on-Thames. Pana la sfarsitul verii au prins un contract cu Island Records. Albumul rezultant, This Was, a fost lansat in Noiembrie 1968. In acest timp, Anderson devenise membrul dominant al trupei in concerte, si pana la sfarsitul lui august, Abrahams a parasit formatia. Jethro Tull a recrutat si rejectat doi chitaristi, viitorul chitarist Black Sabbath Tony Iommi (care a cantat pentru Jethro Tull doar o saptamana, destul cat sa apara la Rolling Stones Circus extravaganza), si Davy O'List, fostul chitarist de la formatia Nice. In final, Martin Barre, un fost student la arhitectura a

fost alegerea pentru o inlocuire permanenta. In Mai 1969, prima inregistrare a lui Barre cu trupa, albumul Living In The Past, a ajuns pe locul trei in topul Britanic si formatia a ajuns in primele locuri in topul de muzica Pop datorita cantecului Living In The Past. Formatia a cantat la cateva festivale in acea vara. Urmatorul album, Stand Up, 1969, cu toate piesele (in afara de Bouree care e scrisa de Bach) scrise de Ian Anderson au atins locul intai in topuri in luna urmatoare. Stand Up a continut prima piesa orchestrata de Jethro Tull, Reasons For Waiting, care includea viori coordonate de David Palmer, un absolvent al Academiei Regale de Muzica care a mai contribuit la o piesa de pe This Was. Influenta lui Palmer va creste din ce in ce mai mult pana cand se altatura oficial formatiei in 1977. Intre timp, piesa Sweet Dream, lansata in Noiembrie, a ajuns pe locul sapte in Anglia, fiind prima lansare a trupei la casa de discuri Chrysalis. Urmatorul single, The Witch's Promise, a ajuns pe locul 4 in Anglia in Ianuarie 1970. Urmatorul album al trupei, Benefit -1970, a marcat ultima lor privire inapoi catre blues, si in acelasi timp prezenta lui John Evan, care a renuntat la tobe pentru pian si orga. Benefit a atins locul 3 in Anglia, dar, mult mai important, a urcat pe locul 11 in topul american, si cantecele sale, incluzand Nothing Is Easy si Sossity, You're a Woman Now, au jucat un rol cheie in repertoriul de scena al formatiei. La inceputul lui iulie 1970, trupa a impartit un spectacol cu Jimi Hendrix, B.B. King si Johnny Winter la Festivalul Pop de la Atlanta, in fata a 200.000 oameni. In Decembrie, urmand un alt turneu american, Cornick s-a decis sa paraseasca trupa, si a fost inlocuit la chitara-bass de prietenul lui Anderson din copilarie Jeffrey Hammond-Hammond. La inceputul anului 1971, au inceput munca la ce avea sa fie pentru multi fani, cel mai bun album al trupei, albumul Aqualung. In acest album versurile lui Anderson au capatat profunzimea pe care o cauta, versuri legate de relatia dintre om si Dumnezeu, si felul in care religia afecta aceasta relatie. Influentele din blues aproape ca au disparut, lasand loc hard rock-ului si pasajelor folk. Aqualung a ajuns pe locul 7 in topurile americane, si pe 4 in Anglia, iar turneul american a avut un succes imens. Bunker a parasit trupa ca sa se insoare, si a fost inlocuit cu Barriemore Barlow. In toamna lui 1971, au inceput sa lucreze la albumul Thick As A Brick. Mult mai ambitios din punct de vedere structural decat Aqualung, acest album a fost in principiu o lunga melodie adancita in metafore, comentarii sociale, si imaginea lui Anderson de intelept-nebun. Lansat in Anglia in aprilie 1972, Thick As A Brick a ajuns pe locul 5, dar cand a fost lansat in SUA o luna mai tarziu, a ajuns pe primul loc, fiind primul album care a avut mai mult succes in SUA decat in Anglia. In iunie 1972, ca raspuns la cererea crescanda pentru noi piese ale trupei, Chrysalis Records a lansat Living In The Past, o colectie variata de piese: single-uri, EP-uri britanice, albumele de inceput, si un show la Carnagie Hall. Ajunsi aici, se pare ca formatia nu putea sa greseasca, si pentru fani asa era. Pentru critici, insa, totul s-a terminat in iulie 1973 odata cu lansarea albumului A Passion Play. Albumul era tot o melodie extinsa, de data asta axata pe fantastic si metafore religioase mult mai profunde decat Aqualung. De aceasta data, criticii au devenit ostili fata de Anderson si restul trupei, atacand albumul pentru versurile obscure si lungimea exagerata. Totusi, albumul a ajuns pe primul loc in America si pe locul 13 in Anglia. Au pornit in turneu in America (concertul dura 2 ore si jumate, cuprinzand albumul A Passion Play, Thick As A Brick, si cele mai de succes piese de pe Aqualung), dar Anderson nu a fost pregatit pentru

atacul criticilor la adresa turneului, si in mijlocul turneului a amenintat ca va anula totul si se va intoarce in Anglia. Dar pana la urma situatia s-a calmat cand s-a observat ca publicul e in extaz si toate biletele la concertele programate erau vandute. In 1974 apare albumul War Child, conceput ca o parte din proiectul unui film care nu a fost material vreodata. Acesta a fost ultimul album Jethro Tull care a primit Platinum Disc, ajungand pe locul 2 in topurile americane, si pe 14 in Anglia, iar piesa Bungle In The Jungle ajungand pe locul 11 in America. In acest timp Anderson s-a implicat in productia unui album al formatiei Steeleye Span, un grup folk-rock, care avea de asemenea contract cu Chrysalis Records, si care a cantat in deschidere pentru Tull in unul din concertele din America. Muzica lor a inceput sa influenteze incet versurile lui Anderson in urmatorii ani. Albumul Minstrel In The Gallery, a aparut zece luni mai tarziu, in septembrie 1975, ajungand pe locul 7 in SUA. Succesul albumului a fost unul limitat. In ian76 Hammond-Hammond a parasit trupa pentru a incepe o cariera in arta. Inlocuitorul sau, John Glascock, s-a alaturat in timp pentru inregistrarile albumului Too Old To Rock'n'roll, To Young To Die, un album ce continea in mare parte piese dintr-o spectacol conceput, dar care nu a fost pus in scena, de Anderson si Palmer, si a fost lansat in mai 1976. Spre sfarsitul lui 1976, un EP numit Ring Out Solstice Bells a ajuns pe locul 28. Acest cantec a facut parte mai tarziu din albumul Songs From The Wood. Acesta a fost cel mai de succes si unificat, din punct de vedere artistic, al trupei de ceva timp. Acesta a fost albumul folk al trupei, reflectand pasiunea lui Anderson pentru cantecele folk englezesti. Dupa lansare trupa a plecat in turneu prin Anglia, primul turneu britanic al trupei dupa aproape 3 ani. In mai 1977, David Palmer s-a alaturat oficial ca membru al trupei, cantand la clape.Rezistand pana la sfarsitul anilor 70, Jethro Tull s-au trezit intr-un nou mediu muzical, cu jurnalistii si fanii fiind fixati pe fenomenul punk. In octombrie 1977, Repeat (The Best Of Jethro Tull, vol. 2), intentionat sa umple golul de 11 luni dintre albume, a fost lansat in SUA si Anglia. Din pacate, continand doar o piesa noua si nu a ajuns in topurile britanice, iar in SUA, doar a intrat in Top 100. Lansat in aprilie 1978, Heavy Horses, a fost cel mai personal album al lui Anderson, titlul exprimand regretul lui Anderson fata de disparitia rasei Shire de cai din Anglia, datorata modernizarii. In toamna lui 1978, primul dublu EP Live-Bursting Out, a fost lansat cu un succes moderat, urmat de un turneu in SUA, si o transmisie televizata de la Madison Square Garden. 1979 a fost un an tragic pentru trupa. John Glascock a murit in urma unor complicatii in timpul unei operatii pe 17 Noiembrie, la 5 saptamani dupa lansarea albumului Stormwatch. Locul lui Glascock a fost luat de Dave Pegg, basistul de la Fairport Convention. Turneul Stormwatch in noua formula a fost un succes, desi albumul Stormwatch nu a ajuns in Top 20 in SUA.

Schimbarea membrilor formatiei, cauzata de moartea lui Glascock, l-a determinat pe Anderson sa scoata un album solo in vara lui 1980, acompaniat de Barre, Pegg si Mark Craney la tobe, cu Eddie Johnson la vioara (ex-King Crimson).Albumul, intitulat A, a fost lansat pana la urma ca un album Jethro Tull in septembrie 1980, dar nici macar numele formatiei nu a contribuit la succesul albumului. Barlow, Evan si Palmer, in schimb, n-au mai facut parte din formatie odata cu inregistrarea albumului A, si noua formula a Jethro Tull a plecat in turneu pentru sustinerea albumului. Jobson a plecat odata cu terminarea turneului, si iarasi cu o alta formula, cu Barre, Pegg, Gerry Conway (tobe) si PeterJohn Vettesse (clape), albumul Broadsword And The Beast a fost inregistrat in 1982. In 1983, Anderson s-a dedicat primului sau album solo oficial, Walk Into Light. Dupa evolutia stearsa, Anderson a reinviat Jethro Tull pentru albumul Under Wraps, inregistrat in 1984. Nici un alt album nu a fost lansat pana in 1987, datorita infectiei la gat a lui Anderson, cand a fost lansat Crest Of A Knave, care a ajuns pe locul 19 in Anglia si pe 32 in SUA. In 1988 trupa a plecat in turneu in SUA pentru aniversarea a 20 de ani de la infiintare. In februarie 1989 trupa a primit premiul Grammy pentru cel mai bun album folk/rock, Crest Of A Knave, ceea ce a adus la atacuri serioase din partea criticilor. Albumul Rock Island, lansat in septembrie al aceluiasi an, a ajuns pe locul 18 in Anglia, si pe locul 56 in SUA. In 1990, albumul Catfish Rising a ajuns numai pe locul 27 in Anglia, si 88 in SUA. Albumul A Little Light Music, o compilatie unplugged, inregistrata in turneul din 1992, a ajuns numai pe locul 34 in Anglia, si 150 in SUA. In ciuda acestor numere, au continuat sa cante in concerte, avand destul succes. In aprilie 1993, Chrysalis a lansat un Box Set de 4 cd-uri pentru a 25-a aniversare a formatiei. Intre timp, Anderson a continuat sa scrie si sa inregistreze muzica separat de trupa, cel mai notabil fiind Divinities: Twelve Dances With God, un album solo cu o orientare clasica, apoi a urmat albumul Jethro Tull.com in 1999.

Discografie Jethro Tull This Was (1968) Stand Up (1969) Benefit (1970) Aqualung (1971) Thick as a Brick (1972) Living in the Past (1972) A Passion Play (1973) War Child (1974) Minstrel in the Gallery (1975) M.U. - The Best of Jethro Tull (1976) (collection) Too Old to Rock And Roll, Too Young to Die (1976)

Songs from the Wood (1977) Repeat - The Best of Jethro Tull - Vol II (1977) (collection) Heavy Horses (1978) Live - Bursting Out (1978) (live) Stormwatch (1979) A (1980) Broadsword and the Beast (1982) Under Wraps (1984) Live at Hammersmith '84 (1990) (live) Original Masters (1985) (collection) A Classic Case (1985) (orchestral cover album) Crest of a Knave (1987) 20 Years of Jethro Tull (1988) Rock Island (1989) Catfish Rising (1991) A Little Light Music (1992) (live) 25th Anniversary boxed set (1993) (collection) The Best of Jethro Tull: The Anniversary Collection (1993) (collection) Nightcap (1993) Roots to Branches (1995) J-Tull Dot Com (1999) Living with the Past (2002) (live) The Jethro Tull Christmas Album (2003)

DISCOGRAFIE (imagini din pagina oficiala Holograf) 1. 1 (LP) 1983

Muzica si versurile : Mihai Pocorschi Producator: Electrecord

SINTEM AICI DOAR PENTRU VOI BALADA CONTROLORULUI NU NE-NTOARCEM DIN DRUM LUMEA PASARI DE FUM SINGURATATEA ASTRONAUTULUI YX-5793 ANOTIMPURILE (Antoniu Furtuna, Mihai Pocorschi) TE-ASTEPT SA VII SECOLUL XXI ROCK-UL DEZARMARII

COMPONENTA (1983)
GABRIEL COTABITA - vocal MIHAI POCORSCHI - chitara solo, vocal SORIN CIOBANU - chitara solo ANTONIU FURTUNA - clape NIKOS TEMISTOCLE - chitara bass EDI PETROSEL - tobe

2. 2 (LP, MC) 1987

Muzica : Emilian Petrosel, Mihai Pocorschi, Antonio Furtuna Versurile : Mihai Pocorschi Producator: Electrecord

CU FIECARE CLIPA (versuri Emilian Petrosel & Dan Bittman) UMBRE PE CER PACEA NU-I UN SIMPLU JOC VIATA VA INVINGE (Romeo Vanica, Dan Verona) LUMINILE RAMPEI BALADA PESCARULUI AMATOR LUMEA DE VIS VINO COMPONENTA (1987)
DAN BITTMAN - vocal NUTU OLTEANU - chitara solo, vocal TINO FURTUNA - claviaturi M POPESCU - chitara bass, vocal EDI PETROSEL - tobe

3. III (LP 1988)

Muzica si versurile : Holograf Producator: Electrecord

VISUL MEU DIN ZORI CINE STIE UNDE SPERANTA DIN SUFLETUL MEU PASI SPRE VIITOR AVEM O SINGURA LUME TE VOI IUBI MEREU IN LOC DE BUN RAMAS COMPONENTA (1988)
DAN BITTMAN - vocal NUTU OLTEANU - chitara solo, vocal TINO FURTUNA - claviaturi

IULIAN VRABETE - chitara bass, vocal EDI PETROSEL - tobe

4. PATRU (EP) 1989

Muzica si versurile : Holograf Producator: Electrecord

VREAU SA TE VAD ZIMBIND ORIUNDE TE VEI AFLA POATE CA E NOAPTEA OM SINGUR COMPONENTA (1989)
DAN BITTMAN - vocal NUTU OLTEANU - chitara solo, vocal TINO FURTUNA - claviaturi IULIAN VRABETE - chitara bass, vocal EDY PETROSEL - tobe

5. WORLD FULL OF LIES (Single) 1990

Producator: Electrecord

6. BANII VORBESC (LP) 1991

Muzica si versurile : Holograf Producator: Electrecord

MAFIA FEMEIE, TU SPUNE PE BUNE ASA DE SINGUR UNDE ESTI ? VIA ISTAMBUL BANII VORBESC RAZA DE LUMINA COMPONENTA (1991)
DAN BITTMAN - vocal FLORIN OCHESCU - chitara solo TINO FURTUNA - claviaturi, vocal

IULIAN VRABETE - chitara bass, vocal EDI PETROSEL - tobe

7. WORLD FULL OF LIES (CD) 1993

Producator: Captain Records (Italia)

MAFIA LOVE IS ALL YOU'VE GOT ISTAMBUL MONEY CAN TALK WHEN YOU'RE GONE YOU'RE ALL THAT I WANT TELL ME GIVE ME ALL YOUR LOVING NOW WHENEVER YOU CALL MY NAME WORLD FULL OF LIES GOTTA DO IT 8. STAI IN POALA MEA (LP, CD, MC) 1995
Muzica si versurile : Holograf Producator: Electrecord

MAMA O SA FIE BINE DACA NOI RADIO, RADIO NOAPTE BUNA BLESTEM BANU-I OCHIUL DRACULUI AI O ORA SA TE DISTREZI M-AM SATURAT STAI IN POALA MEA VISE IN BUZUNAR STAI 9. 69% UNPLUGGED (CD, MC) 1996
Muzica si versurile : Holograf Producator: Zone Records

VREAU SA TE VAD ZAMBIND BALADA CONTROLORULUI SINGUR PE DRUM VISUL MEU DIN ZORI SIMONA SPUNE PE BUNE MAFIA TE VOI IUBI MAMA

OCHII TAI UMBRE PE CER M-AM SATURAT O SA FIE BINE BANII VORBESC STAI IN POALA MEA 10. SUPERSONIC (CD, MC) 1998
Muzica si versurile : Holograf Producator: MediaPro Music

C-ASA VREAU EU! AM BULIT-O! LINIA EROTICA (018989869) N-AM NOROC VREAU O MINUNE VIATA MEA TI-AM DAT UN INEL NU ERA DIMINEATA UNDE ESTI? DINCOLO DE NORI FAC CE VREAU DAR STIU CE FAC! 11. UNDEVA DEPARTE (CD, MC) 1999
Muzica si versurile : Holograf Producator: MediaPro Music

UNDEVA DEPARTE RAZA DE LUMINA UMBRE PE CER SINGUR PE DRUM VINO TE VOI IUBI MEREU OCHII TAI ORIUNDE TE VEI AFLA VIA ISTAMBUL BANII VORBESC

12. HOLOGRAFICA (CD, MC) 2000

Muzica si versurile : Holograf Producator: MediaPro Music

HAI IN LUNA AM RAMAS DOAR NOI SPORT EXTREM SUNT UN BALCANIC CHIAR DACA E GREU ROMEO SI JULIETA SA NU-MI IEI NICIODATA DRAGOSTEA VINE VINERI INIMA MEA NU E INTREAGA DACA NU ESTI TU VINE O ZI... 13. DIMINEATA IN ALTA VIATA (CD, MC) 2002
Muzica si versurile : Holograf Producator: MediaPro Music

ACASA TI-AM DAT UN INEL UNDEVA DEPARTE AM RAMAS DOAR NOI VINE O ZI MAMA DIMINEATA SA NU-MI IEI DRAGOSTEA INIMA MEA NU E INTREAGA VISUL MEU DIN ZORI OCHII TAI TE VOI IUBI DINCOLO DE NORI UNDE ESTI COMPONENTA (1995-2002)
DAN BITTMAN - vocal ROMEO DEDIU - chitara solo MUGUREL VRABETE - chitara bass TINO FURTUNA - clape

EDI PETROSEL - tobe Trancris de Madalin Dajbog

Gen muzical: rock

Din 1978 - cind a luat fiinta - HOLOGRAF - a devenit un nume omniprezent in topul celor mai indragite grupuri de hard-rock din Romania, stilul abordat plasind trupa pe o pozitie distincta in peisajul rock-ului autohton. Activitatea trupei cuprinde mii de concerte sustinute in toate orasele tarii, precum si in RDG (1985), Bulgaria (1987), Polonia (1988), Coreea de Nord (1989), Rusia (1989), Franta, Anglia, Olanda si Republica Moldova. HOLOGRAF a cintat pe aceeasi scena cu mari nume ale muzicii rock si pop - Uriah Heep, Ian Gillan, Scorpions, Jethro Tull, Jerry Lee Lewis, Jesus Jones, Kylie Minogue. De-a lungul timpului, la HOLOGRAF au activat unii dintre cei mai valorosi artisti: Marti Popescu, Nutu Olteanu, Florin Ochescu, Mihai Pocorschi, Gabriel Cotabita. Desi aflat la maturitate, grupul este departe de apusul carierei. Recent semnat, contractul cu casa de discuri ZONE RECORDS prevede realizarea a cinci albume, in decurs de sase ani. Primele trupe rock aparute in Romania au fost trupe studentesti, primele festivaluri ale acestui gen au fost la randul lor studentesti, si asta datorita faptului ca acea muzica era pentru cei de varsta respectiva si putuse fi descoperita de tineri dincolo de perdeaua de fum a muzicii usoare oficiale. Mediul studentesc adapostea si boema necesara genului si permitea, prin casele de cultura unde directivele cenzurii erau ocolite cu inteligenta, micile excese muzicale si vestimentare. Student la Politehnica si folkist, castigator la festivalul "Primavara Baladelor" Mihai Pocorschi si cativa studenti de la Geologie au inceput sa repete la Casa de Cultura a Studentilor (numita Grigore Preoteasa, pe vremea aceea) undeva la inceputul toamnei anului 1978. Au mai venit unii, au mai plecat altii, s-a inchegat in cele din urma o formula din care faceau parte Mihai Pocorschi (chit, voce), Eugen Sonia (bas), Cristian Lesciuc (chit. solo) si Boris Petroff (tobe) si ei si-au spus "Holograf" Foarte curand la tobe a aparut Edi Petrosel si a mai venit si Tino Furtuna (clape), iar solist vocal a devenit Stefan Radescu. Mai tarziu Cristian Lesciuc a fost inlocuit de Cornel Stanescu si asta a fost formula perioadei de studentie. Impreuna au castigat premii la festivaluri ("Club A" ,studentesti) si au facut primele imprimari la radio si televiziune. Anii studentiei au trecut repede si membrii trupei au fost pusi in fata unei mari probleme. In acea vreme terminarea studiilor insemna trimiterea la un post intr-un oras departe de Bucuresti, si in general formatiile studentesti dispareau prin dispersarea membrilor. Holografii au ramas impreuna, reusind sa se adune fiecare din ei cat de aproape de orasul Pitesti. Au fost doi ani de chin, de navete obositoare, de eforturi pentru a putea repeta si canta. Dar au fost si rezultate, trupa a devenit un nume in lumea muzicala, si era timpul pentru inca un pas inainte. Inceputa cu gandul unui contract in strainatate, colaborarea cu Gabriel Cotabita (vocal) si Nicki Themistocle (bas) s-a transformat in realizarea primului album - Holograf 1 - aparut in 1983. Din pacate cei doi veneau din Craiova si nu si-au permanentizat sederea in capitala. Discul a placut datorita sonoritatilor moderne, a notei de umor si a vocii inconfundabile a lui Gabriel Cotabita. Aparitiile in Cenaclul Flacara i-au dus prin tara si lumea a inceput sa-i cunoasca mai bine. Un turneu in Rusia (URSS in acele vremuri) i-a despartit de Gabriel Cotabita dar i-a determinat sa devina liber-profesionisti. Holograf, compus acum din Mihai Pocorschi, Edi Petrosel, Tino Furtuna si Marti Popescu (bas) l-a convins pe Dan Bittman- pana atunci solist la Blitz, Domino, Iris - sa li se alature si sa inceapa sa lucreze la o muzica mai clar orientata spre rock-ul anilor '80. Mihai Pocorschi s-a imbolnavit de hepatita si Nutu Olteanu a parasit Irisul si a venit la Holograf. Era 1986 si urma prima vara de Costinesti. In aceasta formula, cu o dotare tehnica solida si cu ambitia de a intra in randul trupelor "mari", pentru Holograf a fost de ajuns un turneu prin toata tara ca sa devina un nume din ce in ce mai prezent. Au imprimat materialul pentru un disc si s-au pregatit sa devina niste profesionisti - sa traiasca din muzica lor. Dar Marti Popescu s-a hotarat sa plece definitiv din tara si din ianuarie 1987 a fost inlocuit de Iulian Vrabete. Turnee in tara, veri la Costinesti, trei albume - Holograf 2, Holograf 3 (record de vanzari), Holograf 4 (primul maxi-single) au insemnat anii 87, 88, 89. Holograf era cu siguranta un succes enorm, in fruntea oricaror clasamente. Reusisera sa cante in diverse deplasari oficiale in Bulgaria, Polonia, Coreea de Nord, Rusia. Ce ar mai fi fost de facut?

A venit decembrie 1989. Cortina de fier a cazut si Vestul, zarit pana atunci doar prin reviste si casete video, era gata sa fie cucerit. Asa credeau ei. Primele deplasari, in Franta si Anglia, in prima parte a lui 1990 le-au aratat ca succesul amabil dintr-o sala de spectacol sau o imprimare nu inseamna nimic, si ca nu e suficient sa te uiti in reviste ca sa intelegi cum functioneaza o piata muzicala nemiloasa. Si mai ales ca trebuie sa traiesti printre acei oameni ca sa poti canta despre ei, ca nu instrumentele ci ideile reprezinta cheia. Nutu Olteanu a plecat in Suedia si locul lui a fost luat de Florin Ochescu. A fost din nou un moment dificil. In tara muzica romaneasca de orice fel fusese maturata de cea straina care, dupa decenii de cenzura, exploda in radiouri, televiziuni si discoteci, politica si ziarele atrageau si ultimul interes si Holograf devenea o amintire din anii '80. Ca si cu zece ani in urma, solutia a fost plecarea intr-un alt loc. In '91, '92, '93 trupa a cantat in Olanda, in cluburi si discoteci, reusind astfel sa ramana impreuna, sa invete multe din sistemul perfectionat al pietei muzicale europene. In tara a scos un album -Banii Vorbesc- si a mai cantat sporadic. In 1993, Florin Ochescu a parasit trupa si in locul lui a venit Romeo Dediu, tanar chitarist de la trupa Commando. Anul 1994 a fost anul reinvierii muzicale in Romania. Lumea a inceput sa se sature de MTV si sa redescopere trupele romanesti. Piata publicitara a inceput sa organizeze evenimente si lucrurile au inceput sa se miste. Vechea "tripleta de aur" a rock-ului romanesc (Iris, Holograf, Compact) si-au reluat locul in inimile publicului, avand de luptat insa cu o alta amenintare - fiecare an aducea un nou curent "la moda" . Pe rand batranii dinozauri au fost "desfiintati" de trash, techno, rave, jungle si presa romaneasca. Pana la urma Holograf a reusit sa iasa din complexul de "trupa batrana" si sa-si vada de treaba. In 1995 a aparut albumul "Stai In Poala Mea", inca tributar rock-ului anilor '80. Anul 1996 aduce albumul "69% Unplugged", colectie de piese celebre ale grupului. Adevaratul succes a inceput in 1998, cu albumul "Supersonic", succes ce a umbrit orice alta realizare muzicala si a demonstrat ca Holograf , in ciuda varstei, este de abia la inceputul unei noi etape, pentru ca a inteles ca adevarata muzica nu tine cont de varsta, moda sau imprejurari. Tinerii redactori de presa nu-i mai priveau ca pe niste curiozitati ci ca pe ceea ce erau - artisti de succes. Albumul "Undeva Departe" din 1999 a mai produs un hit iar "Holografica", aparut in noiembrie 2000 a spulberat recordurile de vanzari. Pentru prima data o trupa romaneasca avea un succes absolut, indiferent de varsta si gusturile ascultatorilor, fie ei in tara sau peste hotare. La 22 de ani de la infiintare, Holograf ajungea unde nici nu visasera cei cativa studenti ce repetau in salita mica de la etajul doi al Case de Cultura a Studentilor. Acum Holograf este din nou intr-un moment delicat. Succesul are doua fete, si cei ce nu sunt precauti risca sa fie distrusi chiar de el. Acum orice produs Holograf este judecat mult mai atent, si singura sansa este incercarea continua de a se depasi. Mai presus de palmares, de succese sau infrangeri, Holograf a aratat ca dragostea pentru muzica a unor tineri, prietenia lor si ambitia de a merge pe aceasta cale pot transforma un vis in realitate. ?Pur si Simplu? este concluzia acestei stari de lucruri. Compus, aranjat, inregistrat si produs de Holograf, albumul este prima realizare complet independenta, moment in care grupul a considerat ca are experienta suficienta ca sa-si decida singur drumul. Zece piese noi isi asteapta confruntarea cu publicul, atat prin radio sau TV, cat si in cele 50 de zile de turneu ce vor completa promovarea acestui disc, transformand anul 2003 intr-unul din cei mai importanti ani din viata formatiei.

Site: www.holograf.info.ro Discografie Holograf 1983 Holograf 1 (LP) (Electrecord) 1987 Holograf 2 (LP, MC) (Electrecord) 1988 Holograf 3 (LP) (Electrecord) 1989 Holograf 4 (EP) (Electrecord) 1991 Banii vorbesc (LP) (Electrecord)

 1995 Stai in Poala Mea (LP, CD, MC) (Electrecord) 1998 Supersonic (CD, MC) (MediaPro Music) 1999 Undeva Departe (CD, MC) (MediaPro Music) 2000 Holografica (CD, MC) (MediaPro Music) 2002 Best of Holograf - Dimineata in alta viata (CD, MC) (MediaPro Music) 2003 Pur si Simplu (Roton)

Pe vremea cand muzica reprezenta o evadare din realitatea cenusie, cinci studenti infiintau o formatie la Casa de Cultura a Studentilor din Bucuresti. In 1978 Mihai Pocorschi, Eugen Sonia, Boris Petrof, Cristian Lesciuc si Stefan Radulescu au fost muzicienii care au reprezentat primul "nucleu" al Holograf-ului. La scurt timp dupa aceea, in 1979, au fost cooptati doi membri noi: Edi Petrosel (tobe) si Tino Furtuna (clape), ei ramanand pana azi in componenta formatiei. In acel an, grupul a obtinut primul succes, un premiu important in cadrul festivalului Club A. Schimbarile de componenta au continuat, iar dupa incheierea studiilor formatia s-a mutat la Pitesti pentru o scurta perioada de timp. In 1983, trei dintre membri fondatori (Mihai Pocorschi, Edi Petrosel si Tino Furtuna) impreuna cu doi muzicieni din Craiova (Gabriel Cotabita si Nicky Temistocle) lanseaza albumul de debut, intitulat "Holograf 1". Anul 1986 deschide drumul spre o cariera reala. Apar noi membri, ajungandu-se la formula : Edi Petrosel, Tino Furtuna, Dan Bittman, Ion Olteanu si Marti Popescu. In aceasta componenta este imprimat urmatorul album , "Holograf 2", lansat in 1987. Tot atunci Marti Popescu este inlocuit de Iulian Vrabete si lucrurile vor ramane neschimbate in urmatorii ani. Turneele in intreaga tara fac trupa tot mai cunoscuta. Piese moderne si melodioase, spectacole pline de viata si Holograf devine una dintre cele mai apreciate trupe rock din Romania. Astfel se explica faptul ca albumul "Holograf 3" se vinde in peste 200 000 de copii in 1988, devenind probabil cel mai mare succes al anilor 80 din tara. Formatia a reusit sa iasa de cateva ori si in strainatate, insa numai in state socialiste (Bulgaria, URSS, Germania Democrata, Polonia, Coreea de Nord) si doar cu ocazii oficiale. Cea mai importanta activitate raman turneele in tara, si, fireste, verile la Costinesti. Continua si lucrul in studio si maxi-single-ul "Holograf 4" apare in toamna anului 1989. Decembrie 1989 ofera trupei posibilitatea de a iesi in lume. Chitaristul Ion Olteanu pleaca din tara si este inlocuit de Florin Ochescu. In aprilie 1990 Holograf apare la festivalul Printemps de Bourges din Franta, iar in luna iulie a aceluiasi an pleaca spre Anglia pentru primele inregistrari profesionale si contacte cu adevarata industrie muzicala. Intre 1991 si 1993 Holograf canta in Olanda. "Banii vorbesc", unul dintre cele mai importante albume ale trupei este lansat in 1992, urmand ca adevaratul lui mesaj sa fie inteles mai tarziu. Chitaristul Florin Ochescu este inlocuit in '93 de Romeo Dediu, care ramane de atunci in trupa. Formatia incepe din nou activitatea din Romania si spectacolele de succes in intreaga tara. Prin colaborarea cu Captain Records, un album ce contine versiuni in limba engleza ale pieselor Holograf este lansat in Italia. Albumul "Stai in Poala Mea", lansat in 1995, marcheaza o schimbare de stil, de la hard rock spre un sound mult mai modern. Iar in 1996, apare pe piata un album ce ajunge usor la sufletul fanilor : "69% Unplugged" - o colectie de piese interpretate live , cu instrumente acustice. Noiembrie 1998 aduce albumul "Supersonic", al carui single, "Ti-am dat un inel" devine unul dintre cele mai mari succese ale formatiei. Fara sa ridice piciorul de pe pedala de acceleratie, cei cinci membri scot pe piata in decembrie 1999 albumul "Undeva departe", ce contine piesa ce da titlul albumului precum si alte noua piese mai vechi, reorchestrate. Albumul urmator, "Holografica" (considerat a fi cel mai reusit dintre toate albumele formatiei) apare in noiembrie 2000. In primele doua saptamani acesta s-a vandut in 100 000 de exemplare si

toate biletele turneului au fost vandute cu o saptamana inaintea fiecarui concert. "Pur si simplu", lansat in 2003, si urmat de un turneu national de mare succes, ridica din nou recordul vanzarilor la peste 250 000 de unitati. Albumul scoate in circulatie cinci piese ce devin hituri si reuseste sa ramana trei ani in atentia publicului, lucru putin obisnuit intr-o piata foarte dinamica. Anul 2006 este anul de lucru pentru urmatorul album, prevazut pentru a fi lansat in octombrie. Dupa 12 albume de conceptie, dupa aproape 30 de ani de existenta, lucrurile sunt abia la inceput...

Holograf |

Galerie foto

Albume

Noutati

Forum

Audio - Video

Linkuri - Contact |

HOLOGRAF 1 - 1983 , Electrecord

Edi Petrosel - tobe Tino Furtuna - clape Mihai Pocorschi - chitara, voce Gabriel Cotabita - vocal N. Temistocle - bass

Suntem aici doar pentru voi Balada controlorului Nu ne-ntoarcem din drum Lumea Pasari de fum Singuratatea astronautului YX-5793 Anotimpurile Te-astept sa vii Secolul XXI Rock-ul dezarmarii

HOLOGRAF 2 - 1987 , Electrecord

Edi Petrosel - tobe Tino Furtuna - clape Ioan Olteanu - chitara Dan Bittman - vocal M. Popescu - bass

Cu fiecare clipa Umbre pe cer Pacea nu-i un simplu joc Viata va nvinge Luminile rampei Balada pescarului amator Lumea de vis Vino

HOLOGRAF 3 - 1988, Electrecord

Edi Petrosel - tobe Tino Furtuna - clape Ioan Olteanu - chitara Dan Bittman - vocal Iulian Vrabete - bass

Visul meu din zori Cine stie unde Speranta din sufletul meu Pasi spre viitor

Avem o singura lume Te voi iubi mereu n loc de ramas bun

HOLOGRAF 4 - 1989, Electrecord

Edi Petrosel - tobe Tino Furtuna - clape Ioan Olteanu - chitara Dan Bittman - vocal Iulian Vrabete - bass

Vreau sa te vad zmbind Oriunde te vei afla Poate ca e noaptea Om singur

WORLD FULL OF LIES - 1993 , Captain Records

Edi Petrosel - tobe Tino Furtuna - clape Ioan Olteanu--chitara Dan Bittman - vocal Iulian Vrabete - bass

Mafia Love Is All You've Got

Istanbul Money Can Talk When You're Gone You're All That I Want Tell Me Give Me All Your Loving Now Whenever You Call My Name World Full Of Lies Gotta Do It

WORLD FULL OF LIES - 1990 , Electrecord -imprimat in Anglia-

Edi Petrosel - tobe Tino Furtuna - clape Florin Ochescu - chitara Dan Bittman - vocal Iulian Vrabete - bass

Mafia Love Is All You've Got Istanbul Money Can Talk When You're Gone You're All That I Want Tell Me Give Me All Your Loving Now Whenever You Call My Name World Full Of Lies Gotta Do It

BANII VORBESC - 1992, Electrecord

Edi Petrosel - tobe Tino Furtuna - clape Florin Ochescu - chitara Dan Bittman - vocal Iulian Vrabete - bass

Mafia Femeie, tu Spune pe bune Asa de singur Unde esti? Via Istanbul Banii vorbesc Raza de lumina

STAI IN POALA MEA - 1995, Electrecord

Edi Petrosel - tobe Tino Furtuna - clape Romeo Dediu - chitara Dan Bittman - vocal Iulian Vrabete - bass

Ai o ora sa te distrezi Vise n buzunar M-am saturat Radio, radio SIDA Mama Stai n poala mea Noapte nebuna O sa fie bine Banu-i ochiul dracului Simona

HOLOGRAF 69% UNPLUGGED - 1996, Zone Records

Edi Petrosel - tobe Tino Furtuna - clape Romeo Dediu - chitara Dan Bittman - vocal Iulian Vrabete - bass Marius Batu - chitara acustica, vocal

Vreau sa te vad zmbind Balada controlorului Singur pe drum Visul meu din zori Simona Spune pe bune Mafia Te voi iubi Mama Ochii tai Umbre pe cer M-am saturat O sa fie bine Banii vorbesc Stai n poala mea

SUPERSONIC - 1998, Media Pro Music

Edi Petrosel - tobe Tino Furtuna - clape Romeo Dediu - chitara Dan Bittman - vocal Iulian Vrabete - bass

C-asa vreau eu Am bulit-o! Linia erotica (018989869) N-am noroc Vreau o minune Viata mea Ti-am dat un inel Nu era Dimineata Unde esti? Dincolo de nori Fac ce vreau dar stiu ce fac!

UNDEVA DEPARTE 1999, Media Pro Music

Edi Petrosel - tobe Tino Furtuna - clape Romeo Dediu - chitara Dan Bittman - vocal Iulian Vrabete - bass Colaboratori: Marius Batu - chitara acustica, voce

Undeva departe Raza de lumina Umbre pe cer Singur pe drum Vino Te voi iubi mereu Ochii tai Oriunde te vei afla Via Istanbul Banii vorbesc

HOLOGRAFICA 2000, Media Pro music

Edi Petrosel - tobe Tino Furtuna - clape Romeo Dediu - chitara Dan Bittman - vocal Iulian Vrabete - bass Colaboratori: Mircea Baniciu

Marius Batu - chitara ac, voce Emil Soumah - percutie

Hai n luna Am ramas doar noi Sport extrem Sunt un balcanic Chiar daca e greu Romeo si Julieta Sa nu-mi iei niciodata dragostea Vine vineri Inima mea nu e ntreaga daca nu esti tu Vine o zi ...

BEST OF HOLOGRAF Dimineata in alta viata 2002 , Media Pro Music

Edi Petrosel - tobe Tino Furtuna - clape Romeo Dediu - chitara Dan Bittman - vocal Iulian Vrabete - bass

Acasa Ti-am dat un inel Undeva departe Am ramas doar noi Vine o zi Mama Dimineata Sa nu-mi iei dragostea Inima mea nu e ntreaga daca nu esti tu Visul meu din zori Ochii tai Te voi iubi Dincolo de nori Unde esti

PUR SI SIMPLU 2003, Holograf Production

Edi Petrosel - tobe

Tino Furtuna - clape Romeo Dediu - chitara Dan Bittman - vocal Iulian Vrabete - bass

Colaboratori: Mihai Coman - clape, backing vocals Emil Soumah - percutie Nutu Olteanu - chitara Alexandra Ungureanu - voce Catalin Cucerzan - trombon Rudy Bloch - saxofon Silviu Albei, Panci Constandache - trompeta Marcel Iures - voce

Stiu cine sunt Suflet pereche Daca pot sa zmbesc Pot sa fiu ce vrei nger de-as fi Dragostea mea N-am iubit pe nimeni asa cum te-am iubit pe tine Fara ea N-am stiut Ramas bun

Holograf |

Galerie foto

Albume

Noutati

Forum

Audio - Video

Linkuri - Contact |

TAINA 2006, Holograf Production

Edi Petrosel - tobe Tino Furtuna - clape Romeo Dediu - chitara Dan Bittman - vocal Iulian Vrabete - bass

Mihai Coman - clape, backing vocals Emil Soumah - percutie

Daca vrei iubire Dragostea-i nebuna Vine o vreme Ascensorul Cine stie Si baietii plang Asa frumoasa Doar o viata nu-mi ajunge Vrei sa fii doar cum vrei tu Taina

Versuri
Holograf - Sa nu-mi iei niciodata dragostea I: Poti sa-mi iei tot ce-am mai scump pe lume Poti sa-mi iei zile, noptile si anii de vrei Sa ma lasi singur intr-un loc anume De unde sa nu pot vreodata sa ma intorc la-ai mei, Dar sa nu-mi iei niciodata dragostea.. Dar sa nu-mi iei niciodata dragostea.. II: Poti sa ma faci una cu pamantul Sa ma calci in picioare de-o mie de ori Sa ma sfasai cu dintii si-apoi sa chemi vantul Sa-mi imprastie trupul intr-o mie de zari, Refren: Dar sa nu-mi iei niciodata dragostea..

Dar sa nu-mi iei niciodata dragostea.. Fiindca atunci am sa mor de dorul tau Fiindca atunci am sa mor de dorul tau Fiindca atunci am sa mor de dorul tau Si zilele vor fi din nou asa cum au mai fost. De dorul tau, da, da, de dorul tau. III: Poti sa ma torni intr-un pahar cu apa Sau sa ma uiti pe fundul marii printre pestii rapitori Sa ma lasi sa plutesc pe un val in Marea Moarta Sau din cer cu ploaia incet sa ma cobor, Refren:.. I:.. Refren:..

Holograf - Nu am iubit pe nimeni I: Eu am intalnit un inger care m-a intrebat Daca in viata am iubit cu adevarat macar o dat', Da, eu nu am stiut ce sa-i raspund la inceput, Dar te-am vazut venind spre mine Si-am simtit ca-apari ca o minune fara un cuvant as spune Intri asa in viata mea.. Refren: Si n-am iubit pe nimeni asa cum te-am iubit pe tine N-am iubit pe nimeni in toata viata mea Nu am iubit pe nimeni alta asa cum te-am iubit In toata viata mea, in toata viata mea... II: Cred ca avem o viata, doar o viata sa traim Si-avem un suflet, doar un suflet sa iubim Asa ca intr-o poveste fara a prinde chiar de veste Ne intalnim cu dragostea.. Refren:.. N-am iubit... Refren:.. Holograf - Ti-am dat un inel I: Poa' sa vina primavara Cu alaiul ei de flori

Poa' sa vina si-alta vara Fara tine nu le vad Poa' sa vina cine o vrea sa vina Daca nu esti tu e in zadar. Seara incepe fara tine Noaptea este si mai grea Cand ma trezesc si langa mine Nu gasesc iubirea ta Si crede-ma, crede-ma ca fara tine nu sunt eu Nu, nu, nu, nu. II: Am lasat la usa casei tale un inel Daca vrei o veste de la mine iti spune el Daca vrei sa fii cu mine nu mai astepta Nu astepta, nu astepta.. Refren: Ti-am dat un inel Ti-am dat un inel Ti-am dat un inel Mare cat inima mea. III: Stii prea bine ca-mi esti draga Stii prea bine ca te vreau Si stii prea bine Viata intreaga pentru tine eu o dau Si nu uita (nu uita) Nu uita ca dragostea nu s-a pierdut. Nu, nu.. IV: Daca insa toate astea te-or aduce inapoi Daca zilele si noptile sunt pentru amandoi Daca crezi in mine vino si nu astepta, nu astepta, nu astepta. Refren:.. V: Sapte inimi am in mine. sapte vieti de as avea Dintre toate, stii prea bine, tot pe tine te-as lua Vremea insa nu ne iarta Lasa totul cum era si vino acum, Vino acum, si vino acum, si vino acum. Refren:.. Mare cat inima mea Mare cat inima mea Mare cat inima mea Nimeni n-a stiut cand a inceput Nimeni cand s-a terminat

Nimeni nu mi-a spus cand te-a durut Nimeni cand te-ai bucurat. II: Ma intreaba zilele daca mai vii Si noptile daca mai stii Ca locul tau e aici... Refren: Si dragostea mea (Zilele ma-ntreaba daca vii...) Va fi doar a ta (Noptile ma dor si tu nu stii...) Si dragostea mea (Orele se duc si ele usor...) Va fi doar a ta (Clipele sa vina acum nu vor...). III: Sunt atat de singur pe Pamant Imi spuneam mereu in gand Oamenii ma lasa sa ma mint Eu imi fac mereu iubiri. IV: Se duc iar zilele fara sa vii Si noptile, dar vreau sa stii Ca locul tau e aici... Refren:.. V: Doamne, nu mai inteleg nimic Din tot ce-as vrea... Stiu ca n-am sa mai iubesc la fel In viata mea... VI: Doamne, lumea s-a schimbat prea mult Si mult as vrea... Sa mai pot sa mai iubesc o data In viata mea... (Si dragostea mea...) Zilele ma-ntreaba daca vii (Va fi doar a ta...) Noptile ma dor si tu nu stii (Si dragostea mea...) Orele se duc si ele usor (Va fi doar a ta...) Clipele sa vina acum nu vor. Refren:..

Versuri
Holograf - Undeva departe Refren: Undeva, departe E iubirea mea. Undeva, acolo S-a pierdut si ea. Undeva in noapte O stea a mai cazut. Oare cine poate sa m-ajute Sa pot s-o iau acum de la-nceput ? I: Astazi, totul imi pare atat de greu Da, astazi, imi dau seama ca nu pot sa mai fiu eu. Sunt atatea zile si-atatea nopti de cand pe lume ratacesc Fara sa stiu unde merg si de ce mai traiesc. Refren:.. II: Maine, maine este o alta zi Da, maine, maine poate te voi regasi. Si-ntr-atatea zile si-atatea nopti iubirea am sa-ti dau Acum stiu sa te chem, acum stiu ca te vreau. Refren:..

Holograf - Vine o zi I: Stiu, un copil se naste acum. Da, stiu, un batran isi ia ramas bun. Eu, i-am spus vremii sa stea in loc. Amintirea mea vreau sa fie-a ta. Refren: Vine o zi, vine o zi cand se va sfarsi. Nimeni nu va sti, nimeni nu va sti oare cand va fi. Vine o zi, vine o zi iar de voi pleca, Nimeni nu va sti, nimeni nu va sti cat voi regreta, Cat voi regreta, cat voi regreta... II: Nu, nu am ce sa iti las in loc Doar cantul meu si un pic de noroc Stiu, nu e mult dar e suflet curat

Si adevarat, si adevarat... Refren:..

Versuri
Holograf & Marcel Iures - Fara ea I: Gandurile mi-au plecat Peste lume au zburat Unde au intrebat Nu mi te-au aflat Visele mi-au spus usor Ca te vor gasi dar s-au intors la locul lor fara a tu stii.. Nu mai am la cine sa ma rog Nu mai am... Refren: Fara ea...fara ea.. Fara ea...nu mai e nimeni langa mine in noaptea grea.. Si ma trezesc iar fara ea II: Sufletu-mi si el s-a dus Pana-n cer acolo sus Cate stele a colindat Insa tot nu te-a aflat S-a intors din nori cu-o stea Si mi-a spus ca e lumina din privirea ta Insa stii ca doar cu ea.. Nu mai am..de ce sa mai traiesc Nu mai am... Refren:.. Intr-o zi m-a intrebat inima ?(Suflete)? de ce-a plecat si n-a mai venit? Cate zile vor mai fii..cate zile voi trai Stiu...stiu ca n-am sa mai iubesc Pana n-am sa o gasesc...asa i-am spus.. Nu mai am...de ce sa mai traiesc Nu mai am... Refren:..

Asa i-am spus....

Holograf - Inger de-as fi I: Stai departe de mine Stai departe de vrei sa ma ai Nu te apropia prea mult de lumea mea Nu-ti face viata grea Nu veni langa mine Nu veni daca vrei sa iubesti Nu te mai gandi Mai bine ai fugi decat sa te-amagesti. Refren: Inger de-as fi tot nu m-ai prinde de aripi Din brate ti-as fugi Dragostea mea tot nu ar fi pe de-a intregul Chiar de s-ar putea. II: Iar incredere in mine sa nu ai nici un pic de acum Nu ma asculta cand spun ca esti a mea Iti face viata grea. Refren:.. III: Daca vrei sa zbori cu mine printre nori Te voi lua usor Impotriva mea, te rog nu mai lupta Renunta acum si fii a mea. Refren:..
Mama ce se-ntapla azi cu mine Tot ce am stiut eu s-a schimbat Mama ce e rau si ce e bine Cum mai pot avea tot ce-am visat? Oooooooo, e o lege pt toti Viata e o jungla vrei nu vrei Oooooooo, sa te-ascunzi de ea nu poti e un singur drum, asculta: Sa moara mamaaaaaaaaaa Refren: *2 (toti) Banii vorbesc, banii vorbesc Unii te ridica, altii te lovesc Banii nu tac, banii sa-i fac Totul e in mana lor (mana lor) Banii vorbeeeeeesc.

Refren: (Smiley) Frate, ce se-ntampla azi cu tine, Tot ce ai stiut tu s-a schimbat, TOOT ce era rau acum e bine, Oare cum mai poti avea tot ce-ai visat?! OOoooOOOOOOOOO, e o lege pt toti Viata e o jungla vrei nu vrei Oooooooo, sa te-ascunzi de ea nu poti e un singur drum, asculta: Sa moara mamaaaaaaaaaa Refren: *2 (toti) Banii vorbesc, banii vorbesc Unii te ridica, altii te lovesc Banii nu tac, banii sa-i fac Totul e in mana lor Banii vorbeeeeeesc. C.R.B.L : Vreau sa incercam Nu merg acum ca Beckam Cu Holograf si Simplu Topurile o sa le-atacam Ghete peste ghete Peste Rock, peste rap [...] de cazi in cap Frate, uite-te ce fac, vezi: N-ai cum sa te-asezi Pt ca-ti vine sa dansezi Vezi, e vorba despre bani Si stiu ca-ti place sa visezi, vezi: Smiley: Banii ii aud, imi vorbesc numai mie Fosnaie dulce-n bancnote de-o mie De lei grei (de lei grei) Shht, i-auzi: Sa moara mamaaaaaaaaaaaaa Refren: *2 (toti) Banii vorbesc, banii vorbesc Unii te ridica, altii te lovesc Banii nu tac, banii sa-i fac Totul e in mana lor (mana lor) Banii vorbeeeeeesc. Sa moara mamaaaaaaaaaaaaa Refren: *2 (toti) Banii vorbesc, banii vorbesc Unii te ridica, altii te lovesc Banii nu tac, banii sa-i fac

Totul e in mana lor (mana lor) Bani vorbeeeeeesc.