1933 Jimmie Rodgers (Kisses Sweeter than Wine) 1939 Frankie Avalon (Why/Venus) 1949 Kerry Livgren (Kansas) 1952 Dee Dee Ramone (Doug Colvin) 1962 Joanne Catherall (Human League) 1966 Ian Spice (Breathe) 1967 Ricky Bell (Bell Biv Devoe)
Deaths On September 18
1970 Jimi Hendrix
Number 1 In The Charts On September 18
1961 Bobby Vee: ‘Take Good Care of My Baby’ US 45 1971 Tams: ‘Hey Girl Don’t Bother Me’ UK 45 1971 The Who: ‘Who’s Next’ UK LP 1976 Wild Cherry: ‘Play that Funky Music’ US 45 1982 John Cougar: ‘Jack and Diane’ US 45 1993 Meat Loaf : Bat Out Of Hell II – Back Into Hell: UK LP 1994 Garth Brooks : In Pieces : US LP
Various Music Events On September 18
1968 The Band hit UK chart with ‘The Weight’
1969 Tiny Tim announces his engagement to Miss Vicki Budinger at the New Jersey State Fair. He said later: ‘I was so moved I shed a tear and put it in an envelope that I always keep in my ukelele.’
1971 With a set built around ‘Atom Heart Mother’, Pink Floyd becomes the first rock band to perform at the Classical Music Festival in Montreux
1973 Wally releases debut album in UK on Atlantic Label, produced by Rick Wakeman and Bob Harris
1976 Brian Wilson inducted into US R&R Hall of Fame
1976 Boston debut on US chart with ‘More than a Feeling’
1980 Two-day Hendrix Festival begins at Paradiso Club, Amsterdam. 1,100 people turn up to see old films and videos and performances by Noel Redding and Mitch Mitchell
1983 Kiss appear on stage for the first time without their make-up
1997 Five days before they are to begin their “Bridges To Babylon” tour, The Rolling Stones play Chicago’s Double Door club in front of 400 people,
Have a groovy vintage retro day!
- Retro Rebirth
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Attended by 150,000 fans, it was the largest pop concert up to that time and is considered the more famous of the two Newport Pop Festivals, possibly because of the appearance of the Jimi Hendrix Experience, which got top billing at the venue.[4] Devonshire Downs was a racetrack at that time but now is part of the North Campus for California State University at Northridge.
The Newport Pop Festival was originally billed as “Newport 69,” and was held over the three-day weekend of June 20-22, 1969 in Northridge, California at Devonshire Downs. In published writings over the last 40 years, this latter event has been referred to as the “Newport 69 Pop Festival,” the “Newport Pop Festival 1969″ and simply the “Newport Pop Festival.” Subsequently, much confusion has been created over the years between the 1968 and 1969 events. Some of this confusion was generated by the participating musicians themselves who, later, in their interviews, kept getting the two events mixed up.
Though the latter event was organized by a different set of concert promoters and had no connection what so ever to Newport Beach, it is believed that the 1969 Festival was intended to be the spiritual successor to the Orange County event, hoping to capitalize on the brand name and market momentum generated by the 1968 festival. Unfortunately, this move of venue was necessary because the 1968 event had fallen in disfavor with the local community leaders. Three days after the 1968 event, the Costa Mesa City Council vowed to prevent a Newport Pop Festival encore. “To say that we would not like it back here would be the understatement of the year,” Costa Mesa Mayor Alvin Pinkley was quoted as saying.
Friday, June 20, 1969
Albert King, Edwin Hawkins Singers, The Jimi Hendrix Experience, Joe Cocker, Southwind, Spirit and Taj Mahal.
Saturday, June 21, 1969
Albert Collins, Brenton Wood, Buffy Ste. Marie, Charity, Creedence Clearwater Revival, Eric Burdon, Friends of Distinction, Jethro Tull, Lee Michaels, Love, Steppenwolf and Sweetwater.
Jimi Hendrix & Buddy Miles On Stage
Sunday, June 22, 1969
Booker T & the MGs, Chambers Brothers, Flock, Grass Roots, Johnny Winter, Marvin Gaye, Mother Earth, Jimi Hendrix, Buddy Miles, Mother Earth, Eric Burdon (jam), Poco (formerly Pogo), The Byrds, The Rascals and Three Dog Night .
Eric Burden On Stage
Video Of Jimi Hendrix Playing at Newport 69
Have a groovy vintage retro day!
- Retro Rebirth
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In honor of Jimi’s new release “Valleys Of Neptune”. I twisted & tweaked a whole bunch of Jimi Hendrix graphics for you to enjoy. BTW you got to check out the album, it sounds INCREDIBLE! but of course it does – Jimi is on it and Hendrix is GOD!
Have a groovy day!
- Retro Rebirth
If you liked this article then make sure you subscribe to the feed via RSS It’s Free. You can also follow me on Twitter too!
Jimi Hendrix was one of rock’s few true originals. He was one of the most innovative and influential rock guitarists of the late ’60s and perhaps the most important electric guitarist after Charlie Christian. His influence figures prominently in the playing styles of rockers ranging from Robin Trower to Vernon Reid to Stevie Ray Vaughan. A left-hander who took a right-handed Fender Stratocaster and played it upside down, Hendrix pioneered the use of the instrument as an electronic sound source. Players before Hendrix had experimented with feedback and distortion, but he turned those effects and others into a controlled, fluid vocabulary every bit as personal as the blues with which he began. His expressively unconventional, six-string vocabulary has lived on in the work of such guitarists as Adrian Belew, Eddie Van Halen, and Prince. But while he unleashed noise–and such classic hard-rock riffs as “Purple Haze,” “Foxy Lady,” and “Crosstown Traffic”–with uncanny mastery, Hendrix also created such tender ballads as “The Wind Cries Mary,” the oft-covered “Little Wing,” and “Angel,” and haunting blues recordings such as “Red House” and “Voodoo Chile.” Although Hendrix did not consider himself a good singer, his vocals were nearly as wide-ranging, intimate, and evocative as his guitar playing.
Hendrix’s studio craft and his virtuosity with both conventional and unconventional guitar sounds have been widely imitated, and his image as the psychedelic voodoo child conjuring uncontrollable forces is a rock archetype. His songs have inspired several tribute albums, and have been recorded by a jazz group (1989′s Hendrix Project), the Kronos String Quartet, and avant-garde flutist Robert Dick. Hendrix’s musical vision had a profound effect on everybody from Sly Stone to George Clinton to Miles Davis to Prince to OutKast. Hendrix’s theatrical performing style–full of unmistakably sexual undulations, and such tricks as playing the guitar behind his back (a tradition that went back at least to bluesman T-Bone Walker) and picking it with his teeth–has never quite been equaled. In the decades since Hendrix’s death, pop stars from Rick James and Prince to Lenny Kravitz and Erykah Badu have evoked his look and style.
As a teenager growing up in Seattle, Hendrix taught himself to play guitar by listening to records by blues guitarists Muddy Waters and B.B. King and rockers such as Chuck Berry and Eddie Cochran. He played in high school bands before enlisting in the U.S. Army in 1959. Discharged in 1961, Hendrix began working under the pseudonym Jimmy James as a pickup guitarist. By 1964, when he moved to New York, he had played behind Sam Cooke, B.B. King, Little Richard, Jackie Wilson, Ike and Tina Turner, and Wilson Pickett. In New York he played the club circuit with King Curtis, the Isley Brothers, John Paul Hammond, and Curtis Knight.
In 1965 Hendrix formed his own band, Jimmy James and the Blue Flames, to play Greenwich Village coffeehouses. Chas Chandler of the Animals took him to London in the autumn of 1966 and arranged for the creation of the Jimi Hendrix Experience, with Englishmen Noel Redding on bass and Mitch Mitchell on drums.
The Experience’s first single, “Hey Joe,” reached Number Six on the U.K. chart in early 1967, followed shortly by “Purple Haze” and its double-platinum debut album, Are You Experienced? (Number Five, 1967). Hendrix fast became the rage of London’s pop society. Though word of the Hendrix phenomenon spread through the U.S., he was not seen in America (and no records were released) until June 1967, when, at Paul McCartney’s insistence, the Experience appeared at the Monterey Pop Festival. The performance, which Hendrix climaxed by burning his guitar, was filmed by D.A. Pennebaker for the documentary Monterey Pop.
Hendrix’s next albums were major hits (Axis: Bold as Love [Number Three, 1968], Electric Ladyland [Number One, 1968]) and he quickly became a superstar. Stories such as one reporting that the Experience was dropped from the bill of a Monkees tour at the insistence of the Daughters of the American Revolution became part of the Hendrix myth, but he considered himself a musician more than a star. Soon after the start of his second American tour, early in 1968, he renounced the extravagances of his stage act and simply performed his music. A hostile reception led him to conclude that his best music came out in the informal settings of studios and clubs, and he began construction of Electric Lady, his own studio in New York.
Hendrix was eager to experiment with musical ideas, and he jammed with John McLaughlin, Larry Coryell, and members of Traffic, among others. Miles Davis admired his instinctiveness (and, in fact, planned to record with him), and Bob Dylan–whose “Like a Rolling Stone,” “All Along the Watchtower,” and “Drifter’s Escape” Hendrix performed and recorded–later returned the tribute by performing “Watchtower” in the Hendrix mode.
As 1968 came to a close, disagreements arose between manager Chas Chandler and co-manager Michael Jeffrey; Jeffrey, who opposed Hendrix’s avant-garde leanings, got the upper hand. Hendrix was also under pressure from Black Power advocates to form an all-black group and play to black audiences. These problems exacerbated already existing tensions within the Experience, and early in 1969 Redding left the group to form Fat Mattress. Hendrix replaced him with an army buddy, Billy Cox. Mitchell stayed on briefly, but by August the Experience was defunct. In summer 1969 the double-platinum Smash Hits (Number Six) was released.
In August 1969, Hendrix appeared at the Woodstock Festival with a large, informal ensemble called the Electric Sky Church, and later that year he put together the all-black Band of Gypsys–with Cox and drummer Buddy Miles (Electric Flag), with whom he had played behind Wilson Pickett. The Band of Gypsys’ debut concert at New York’s Fillmore East on New Year’s Eve 1969 provided the recordings for the group’s only album during its existence, Band of Gypsys (Number Five, 1970). (A second album of vintage tracks was released in 1986.) Hendrix walked offstage in the middle of their Madison Square Garden gig; when he performed again some months later it was with Mitchell and Cox, the group that recorded The Cry of Love (Number Three, 1971), Hendrix’s last self-authorized album. With them he played at the Isle of Wight Festival, his last concert, in August 1970, a recording of which would see release in 2002. A month later he was dead. The cause of death was given in a coroner’s report as inhalation of vomit following barbiturate intoxication. Suicide was not ruled out, but evidence pointed to an accident.
In the years since his death, the Hendrix legend has lived on through various media. Randi Hansen (who appeared in the video for Devo’s 1984 cover of “Are You Experienced?”) became the best known of a bunch of full-time Hendrix impersonators, even re-forming the Band of Gypsys with bassist Tony Saunders and Buddy Miles–who, briefly in the late ’80s, was replaced by Mitch Mitchell.
Well over a dozen books have been written about Hendrix, including tones by both Redding and Mitchell; the most authoritative bio was generally considered to be David Henderson’s ‘Scuse Me While I Kiss the Sky, while Charles R. Cross’s Room Full of Mirrors delves deepest into Hendrix’s early years in Seattle. And virtually every note Hendrix ever allowed to be recorded has been marketed on over 100 albums, some of which mine his years as a pickup guitarist, various bootlegs and legitimate live concerts and jam sessions, and even taped interviews and conversations. A controversial series produced by Alan Douglas, who recorded over 1,000 hours of Hendrix alone at the Electric Lady studio in the last year of his life, garnered attention through the mid-’90s. With the consent of the Hendrix estate, Douglas edited the tapes, erased some tracks, and dubbed in others, with mixed results. Radio One collected energetic live-in-the-studio performances by Hendrix and the Experience recorded for British radio in 1967; the later BBC Sessions mined the same material more thoroughly.
In 1990 the first of several Hendrix tribute albums, If Six Was Nine, was released. Former Free/Bad Company/Firm vocalist Paul Rodgers released another tribute (The Hendrix Set, 1993) and appeared on the all-star Stone Free, which featured Hendrix covers from musicians ranging from Eric Clapton to Buddy Guy to the Cure to Ice-T to classical violinist Nigel Kennedy.
In 1991 Hendrix’s ex-girlfriend Kathy Etchingham, along with Mitch Mitchell and his wife Dee, began prodding Scotland Yard to reopen an investigation into their friend’s death. England’s attorney general finally agreed to the request in 1993; in early 1994 Scotland Yard announced it had found no evidence to bother pursuing the case any further. In 1993 an audio-visual exhibit of Hendrix’s work called “JimI Hendrix: On the Road Again” toured college campuses and art galleries in the U.S., to enthusiastic–and predominately young–audiences.
In 1994 a 24-year-old Swede named James Henrik Daniel Sundquist claimed to have been conceived by the guitarist and Eva Sundquist during a 1969 Stockholm sojourn. Sundquist legally challenged Hendrix’s father, James “Al” Hendrix, as the sole heir to the Jimi Hendrix estate, which was estimated to be worth at least $30 million. A year earlier, Al Hendrix, who in the mid-’70s had signed away the rights to portions of his son’s work to various international conglomerates, had claimed that he’d been misled. With the financial aid of Paul Allen, the billionaire Hendrix fan who’d cofounded Microsoft with Bill Gates, he filed a federal lawsuit against those conglomerates and against the holding companies and lawyers connected to the estate. In 1995 he regained complete control of his son’s estate, which included Jimi Hendrix’s finished and unreleased recordings, as well as his musical compositions. This evolved into a series of CD reissues that were remastered from the original tapes. Having re-released CDs of the guitarist’s entire catalogue, the Hendrix estate, under the Experience Hendrix imprint of MCA, also issued the album on which Hendrix was working at the time of his death, First Rays of the New Rising Sun (Number 49, 1997). South Saturn Delta (Number 51, 1997) delved further into the archives. Experience Hendrix: The Best of Jimi Hendrix (Number 133, 1998) followed, as did the double-CD BBC Sessions (Number 50, 1998), the Band of Gypsys-era Live at the Fillmore East (Number 65, 1999), Live at Woodstock (Number 90, 1999), and, in 2000, the four-CD/eight-LP Jimi Hendrix Experience box set. (Several other live discs were made available through an online imprint, Dagger Records.) Meanwhile Paul Allen amassed his cash to fund a modest Jimi Hendrix museum, which eventually blossomed into the $100 million Experience Music Project. Eight years in the making, the high-tech, interactive rock & roll museum – complete with a Jimi Hendrix Gallery – opened at the Seattle Center in 2000.
Various Videos Of Jimi Hendrix
Jimi Hendrix- Sgt Peppers Lonely Hearts Club Band Live Video
Jimi Hendrix – Voodoo Chile Live @ The Atlanta Pop Festival July 4, 1970
Jimi Hendrix – Foxy Lady – Live At The Isle Of Wight 1970
Jimi Hendrix with The Rolling Stones Backstage Jam
Jimi Hendrix Discography (Excerpt)
1990 Lifelines: The Jimi Hendrix Story 1990 Night Life 1989 Radio One 1987 Live at Winterland 1986 Jimi Plays Monterey 1984 Kiss the Sky 1975 Crash Landing 1970 Band Of Gypsys 1969 Smash Hits 1968 Electric Ladyland 1967 Axis: Bold As Love 1967 Are You Experienced?
