MONSTERKONZERT: Audio

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1st Night - The Arnold Soder Source

Recording Date: 30 May 1968
Audience Recording
Taper: Arnold Soder
Original Source: cassette
Total Time: 2:13:47
Quality: good
Availability: in circulation

Arnold donated the original cassettes to my archive in 2000

GESCHICHTE:
Mit ein paar Freunden fährt der damals 19-jährige Arnold Soder in einem organisierten Reisebus am 30. Mai 1968 von Möhlin aus ans Monsterkonzert wo er mit seinem brandneuen Philips-Kassettengerät Aufnahmen macht. Die beiden Philips C-90 Compact Cassetten sind bis heute das einzige Tondokument vom ersten Abend auf dem alle Bands teilweise, Jimi Hendrix sogar fast komplett, vorhanden sind. Die Tonqualität ist ganz passabel.

HISTORY:
On 30 May 1968, the 19 year old Arnold Soder travelled with a couple of friends by chartered coach from Möhlin to Zürich to enjoy the first night of the Monsterkonzert. He recorded the whole event onto 2 Philips C 90 Compact Cassettes with his brand-new Philips cassette recorder.To this day the two cassettes remain the only know audio document from the first night, containing excerpts of the performances of all bands and almost the entire Jimi Hendrix Set.

JIMPRESS 99 Autumn 2012:
The recording of the 30 May concert made by Arnold Soder occupies three sides of two 90-minute cassette tapes, and is of only "good" quality; much of the music is rendered less than fully enjoyable by the low fidelity of the recording. There is a substantial amount of echo due to the venue acoustics, and the sound indicates that the taper was probably some distance from the stage. There is also some distortion to the recording during the loudest parts. Furthermore, there is some annoyingly distracting sound by the taper, or someone near him, that diminishes a listener's enjoyment of some of the material substantially.

A copy of the Hendrix portion of the recording, pitch-adjusted upward by about 3% has seen limited circulation. The speed adjustment sounds approximately correct, so we will take this as a reference for all timings given for the Soder tapes.

The track list for the recording consists of:

SIDE 1 (44:29)

ANSELMO TREND
- Steppin’ Out 3:12
- Sitar and Flute Improvisation 1:30

THE KOOBAS
- ? 2:15
- ? 2:40
- Piece Of My Heart 2:18
- Morning Dew 3:27
- ? 0:30
- The First Cut Is The Deepest 2:30

JOHN MAYALL'S BLUESBREAKERS
- I Started Walking 3:32
- Unknown Harmonica Shuffle Song in Bb 3:45
- Look In The Mirror 1:44

TRAFFIC
- Pearly Queen 4:02
- Heaven Is In Your Mind 4:27
- Dear Mr. Fantasy 6:24

SIDE 2 (45:07)

ERIC BURDON + THE NEW ANIMALS
- ? New York 1963 - America 1968 12:03
- Monterey 6:52
- San Franciscan Nights 4:09
- Sky Pilot 4:47

THE MOVE
- Hey Grandma 3:07
- Piece Of My Heart 4:00
- Flowers In The Rain 2:04
- Fire Brigade 2:09
- Sunshine Help Me 4:25

SIDE 3 (44:11)

THE MOVE
- Sunshine Help Me (last bit only) 0:15

THE JIMI HENDRIX EXPERIENCE
- Tune Ups
- Introduction by Giorgio Frapolli
- Tax Free (23) 8:18
- Fire (107i) 2:40
- Hey Joe (80) 5:15
- Foxy Lady (120) 3:43
- Red House (105) 10:07
- Purple Haze (130) 6:38
- Farewell by Giorgio Frapolli

JIMPRESS 99 Autumn 2012:
The Hendrix portion of the tape runs 43:50. The recording begins immediately after the Move's performance, and includes 3:14 of crowd noise and tuning, punctuated by many tape stoppages. MC Giorgio Frapolli makes some announcements, ending with "Jimi Hendrix and his Experience", followed by the audience cheering. Some guitar chords and tuning runs are audible, and the sounds of microphone checks, with Noel saying "One, two" and "good evening." There are cuts in the audio, as well as distortion and feedback; then Jimi plays some riffs with his wah-wah pedal. Microphonic feedback is followed by Jimi saying "testing."

TAX FREE
The concert begins with "Tax Free" (23), lasting 8:18. Close to the beginning (0:03-0:06) there is some weird audio interference - perhaps something was overrecorded ? "Tax Free" includes a great deal of wah-wah, and some fine palying; this is one of the highlights of the show. Mitch begins his drum solo at 3:05, earning cheers from the audience at 3:40; Jimi rejoins, playing quiet phrases, at 3:59. The sound here, as in many places throughout the tape, is distorted: though Noel's bass is audible, so is the voice of the taper, or of those nearby. There is an ugly audience noise at 5:46. At 7:46, the band drops out, and Jimi plays a closing cadenza, flavored wth the whammy bar. Jimi plays a few tuning runs after the song ends.

FIRE
Next is a succinct (and slightly incomplete) version of "Fire" (107i), lasting just 2:40. Noel's supporting vocals are audible in the choruses. Jimi's solo (1:11-1:21) is not memorable, but there are some interesting guitar breaks (1:26-1:45), slightly disfigured by taper voiceover near the beginning. The track ends prematurely at 2:40, omitting a bit of guitar, but in all likelihood not much more than the final chord. This is followed by 27 seconds of unrelated audio that runs backward, which is either the remnant of a previous recording o a subsequent tape-over. The concert recording resumes with some bass tuning runs, followed by what sounds like a false start of "Hey Joe"; something clearly isn't working right, and Jimi's guitar trails off after about 20 seconds. Noel makes a mostly unintelligible comment about a "problem" which is followed by some tuning by Jimi that includes several chords from "Hey Joe."

HEY JOE
"Hey Joe" (120) (5:15) begins with a sound painting, lasting 1:01, before the conventional opening begins. The audience cheers when Jimi begins singing (1:32); someone in range of the taper's microphone whistles along distractingly, starting at 1:41. Jimi's first solo (2:59-3:22) is fairly undistinguished. The whistler is again evident from 3:32-3:42. Jimi's outro solo (4:38-5:01) is again unremarkable. After the song ends, the audience applauds, we hear Jimi's guitar making it's "thank you" sounds, Noel gives a "Thank you very much, ta," and Jimi says "Thank you very much." More guitar and tuning follow. Jimi says "Like to continue on with a song we recorded off our Are You Experienced LP, back in 1874"

FOXY LADY
The next song is "Foxy Lady" (80) (3:34), which begins with a fifteen-second feedback introduction. The vocals in this song are nearly lost behind the instruments, except for the nearly a capella phrases that end the verses. The whistler again intrudes (1:15-1:31). Jimi's solo (1:55-2:16) and his outro cadenza (3:01-3:34) are typical. After the song concludes, we hear applause, indecipherable chat from Noel, microphonic feedback, laughter from the taper, tuning, and drums before a cut in the tape. Jimi then says "This is a very very slow song that was recorded in 1738" and again mentions the Are You Experienced LP. More guitar tuning follows, and another comment from Jimi, who says something like "We're gonna slow it down with this song called 'Red House."

RED HOUSE
"Red House" (105) (10:07) is the highlight of the show. It opens with two instrumental choruses, each beginning with Jimi's characteristic intro riff for the song. The third and fourth choruses are vocal; unfortunately the taper is audible at the end of the third chorus. The fifth chorus is a fiery instrumental, and the sixth restrained, chromatic, and chordal. Mitch takes a drum solo starting at 6:44; just 37 seconds later, Jimi offers some chromaticism in the background. Unfortunately the low volume here makes nearby audience noises more distracting. Jimi starts the next chorus by playing quiet lead guitar with wah-wah (7:45). There is a rude tape cut at 8:54, directly after the conclusion of the chorus, cutting the opening of the final vocal chorus - just a second or two, probably. The song ends at 10:07. Noel says " Thank you very much" and Jimi tunes his guitar. Jimi says something largely inaudible, including "Thank you very much for coming" and "last song"; he concludes with a final "thank you."

PURPLE HAZE
After a brief tape cut, the final song, "Purple Haze (130) (6:38), begins with an extravagant 2:29 sound painting, with feedback, drums, and bass. The low audio quality keeps this free-for-all from being as enjoyable as one might hope. Jimi's vocals are largely inaudible until the line "Scuse me while I kiss the sky" at 3:21. The annoying whistler returns to spoil the fun (3:26-3:53). Jimi's solo (3:52 - 4:27) is mostly unscathed, but the whistler comes back during the pentatonic riff (4:34), and can be heard intermittently thereafter. Hendrix offers a cadenza, including some dental playing and feedback, to end the song (5:45-6:38). The MC speaks for another nine seconds, and the tape ends.

This same 30 May 1968 show has been captured in whole or in part by another audience member, Teddy Riedo, but the tape is not in circulation, and we cannot describe its quality or its contents.

1st Night - The Teddy Riedo Source

Recording Date: 30. May 1968
Audience Recording
Taper: Teddy Riedo
Original Source: cassette
Total Time:
Quality:
Availability: not in circulation

THE KOOBAS
- ?
- Morning Dew
- The First Cut Is The Deepest

JOHN MAYALL'S BLUESBREAKERS
- ?

TRAFFIC
- Paper Sun
- ?
- ?
- ?
- Heaven Is In Your Mind
- Dear Mr. Fantasy

ERIC BURDON + THE NEW ANIMALS
- ? New York 1963 - America 1968
- Monterey
- San Franciscan Nights
- Sky Pilot
- River Deep Mountain High

THE JIMI HENDRIX EXPERIENCE
- Tax Free
- Fire
- Hey Joe
- Foxy Lady
- Red House

2nd Night - The Roland Grundmann Source

Recording Date: 31. May 1968
Audience Recording
Taper: Roland Grundmann (Vienna, Austria)
Tapefinder: Manfred Breiteneder (Austria)
Original Source: cassette
Total Time: 51:57
Quality: good
Availability: in circulation

GESCHICHTE:
Manfred Breiteneder 2009: Der Taper hieß Roland Grundmann, er starb im November 1998, 48-jährig, an den Folgen schwerer Diabetes. Mein bester Freund kannte Roland Grundmann schon eine Weile (beide große Schallplattensammler aus Wien), und so wurde ich eines Tages, laut meinem Freund ca. 1982, auch zu einem Treffen eingeladen. Also dürfte ich das Tape dann ca. 1983 zum Kopieren bekommen haben, und seit jener Zeit zirkuliert es auch (Kees De Lange war einer der ersten Tauschpartner). Ich habe das Konzert damals auf eine TDK-Metal-Cassette überspielt. Roland konnte natürlich vieles erzählen (er sah Hendrix auch auf der Isle Of Wight !); ich kann mich eigentlich an nicht viel erinnern, außer an das "Bierdeckel-Schmeißen".

Bezüglich der Cassette weiß ich ganz genau, daß das komplette Konzert auf beiden Seiten aufgenommen war. Roland verwendete damals wahrscheinlich - so wie auch für Wien 69 - eine C-120. Aber ob es wirklich eine C-120, oder vielleicht doch nur eine C-90 war, kann ich leider nicht mehr sagen. Ich denke mal, daß es original genauso darauf war, wie ich es kopiert habe - ich bin da sehr pingelig (also Hey Joe am Beginn der Seite B) ! Mein Freund bestätigte mir gestern noch, daß auch die Animals darauf waren. Wenn das Original-Tape überhaupt noch existiert, dann wird es vielleicht - wie meistens - auf irgendeinem Speicher "dahin siechen".Übrigens hat ein Freund von Roland auch ein paar Super 8 Aufnahmen gemacht (ca. 2-3 Minuten Traffic, und dann ca. 3 Minuten Jimi ! Den Namen des Filmers weiß ich leider nicht).

JIMPRES 99 Autumn 2012
The longest circulating source (51:57) for this show has been bootlegged several times in varying quality; it is the most complete and has the best sound quality of the three. This recording from 31 May was taped by Roland Grundmann. It is known as the "first source" by virtue of circulating first. This tape captures all of the songs by the Experience from that night, although ther is a short cut in "Red House" where apparently the cassette change occurs. At least two copies of the master are in circulation: a first-generation copy and a second-generation copy that does not descend from it. The second-generation copy derives from a first-generation cassette copy in the possession of Manfred Breiteneder, who passed on a second-generation tape copy to Marcel Aeby (the first-generation Breiteneder tape is not currently in circulation). This copy of the tape, or higher analog generations of it, was used for the

Beat Monster Concert (B663)

and Jimi in Zurich (B971) bootlegs.

The separate first-generation copy differs in some details from the other copy, and was used (in poorer quality) for the Monster bootleg (B613).

It was also widely circulated in November 2009 on the internet by an individual who commented that he received in in trade around 1982 from the taper itself.

This copy continues a little longer at the very end, including seven extra seconds of MC Giorgio Frapolli's closing speech. Also, the gap at the 9:34 mark in "Red House" due to the master tape side change is of slightly different lenght, as woul be expected of separate analog transfersof the master where each copy is made individually. The other two sources provide the missing bit of the song lost by this side change, and reveal that about 27 seconds of music is lost at this point.

A third difference involves the tape side break on the two versions. When Grundmann made tape copies from his master, he apparently decided to place the side break for the copies after "Red House" rather than at the original side change during the song. He therefore placed the end of the song at the end of side 1 on the copies, and introduced another break after the song where the copies themselves changed sides. Once again, since each copy was done individually, this cut occurs at slightly different places on the two copies. Using both copies it is possible to reconstruct the tape so that it lacks this introduced cut, since the duration of the missing audio is very briet (less than a second). The different placement of this secondary cut also confirms that the two version derive separately from the Grundmann master, and that the master changed sides at the cut during "Red House." Finally, there are some right-channel drop-outs during the first 25 seconds of Side 2 of the second generation version which are not on the separate first-generation copy.

SIDE 1 (22:44)

- Introduction by Giorgio Frapolli
- Voodoo Child (Slight Return) (23) 4:47
- Stone Free (10) 1:01
- Bierteckel Speach by Giorgio Frapolli
- I Don't Live Today (14) 3:41
- Red House (20) (part 1) 9:34

SIDE 2 (27:13)

- Red House (20) (part 2) 2:39 (total song timing 12:13)
- Hey Joe (30) 3:44
- Foxy Lady (31) 4:14
- Manic Depression (7) 3:47)
- Fire (25) 3:09
- Purple Haze (40) 6:07
- Farewell by Giorgio Frapolli

2nd Night - The Nötzli Brothers Source

Recording Date: 31. May 1968
Audience Recording
Taper: undisclosed (probably Theo Nötzli)
Original Source: cassette
Total Time: 33:50
Quality: good
Availability: partially in circulation

Chrisian Nötzli donated his original cassette to my archive in 2006

GESCHICHTE:
Christian Nötzli 1992: Ich kann mich leider nicht mehr an Einzelheiten erinnern wie das damals genau abgelaufen ist. Ich glaube die Original-Kassette stammte von meinem Bruder Theo und ich habe diese dann auf eine meiner Kassetten überspielt auf der ich bereits andere Aufnahmen von Hendrix vom Radio gemacht hatte. Was mit der Original-Kassete die ich damals von Theo erhalten habe passiet ist wissen wir leider nicht.

Christian Nötzli 2009: ich habe nochmals mit meinem Bruder Theo gesprochen, aber er kann sich auch nicht mehr so ganau erinnern - und unserer beiden Erinnerungen sind auch nicht identisch. Eventuell hat er tatsächlich an einem Konzert (er war ja an beiden) selber Aufnahmen gemacht oder er hat das Band später von jemandem erhalten. Gegen ersteres spricht, dass ich dann die Aufnahmen bestimmt schon am nächsten Tag gehört hätte und mich daran erinnern könnte. In meiner Erinnerung habe ich das Tape aber erst viel später nach dem Monsterkonzert zum ersten Mal gehört. Kurzum: alles ist möglich. Nenn es doch einfach "The Nötzli Brothers Tape", denn das ich es von meinem Bruder erhalten habe und folglich ohne ihne heute wahrscheinlich gar nicht mehr existieren würde, das ist unbestritten.

JIMPRESS 99 Autumn 2012
A part of this recording, also known as the "second source," has been in circulation for many years, including the songs "Voodoo Child (Slight Retun)," "Hey Joe," "Foxy Lady," and "Manic Depression." A more complete copy comes from Marcel Aeby, who tells how he received it:

"Christian Nötzli, a friend of mine from Zürich, had this cassette for years. He doesn't remember much about it, but it seems that his older brother Theo who went to see the Monsterkonzert is somehow involded. It might well be that Christian made this copy from Theo's original cassette. However the original recording seems to be lost. A few years ago Christian donated his cassette to my archive. Christian believes he got the original cassette from his older brother Theo. He then copied it on an already used cassette where he had previously recorded some Hendrix material from the radio.

In 1992 Christian made CD copies from his tape for himself and a few friends including me. Somehow he only copied 15:34 [omitting 'Hey Joe,' 'Foxy Lady,' 'Manic Depression,' and 'Voodoo Child (Slight Return)'] and for years I thought that was it. When listening to the copy I had made at the Swiss National Sound Archives in March 2009, I thought 'wait a minute.' I compared it with the Roland Grundmann tape and that way found the songs 'Hey Joe,' 'Foxy Lady,' 'Manic Depression', and 'Voodoo Child (Slight Return),' totaling almost 20 minutes."

The incomplete version of the Nötzli source that Marcel describes is in fact the complement of what has previously been in circulation. Therefore we have the strange situation where two incomlete parts of the complete recording had been made and sent out, but nobody knew that the complete thing existed. The reason for the incompleteness is unclear; neither partial copy is just a single tape side but parts of both sides instead. Whatever the reason, circulating copies of the incomplete transfer are of much poorer audio quality than Christian Nötzli's tape copy. The lineage of this tape is at best first generation: the best scenario assumes that Theo Nötzli was the taper and that Christian's cassette copy was made from Theo's master tape.

Christian's tape also contains broadcast material from the Experience's L'Olympia, Paris performance on 29 January 1968, as well as some non-Hendrix content of uncertain origin. The following describes only the Hendrix Monsterkonzert material, which runs 33:50. There are tape cuts between all of the songs, in addition to the cuts listed below that occur during the songs.

SIDE 1 (16:17)

- Voodoo Child (Slight Return) (23) 4:26
(17 seconds are missing from the beginning, and 3s from the end)
- Stone Free (10) 1:31
- Bierteckel Speach by Giorgio Frapolli
- I Don't Live Today (14) 3:33
(2 seconds are missing from the beginning, and 9s are cut at 2:46)
- Red House (20) (part 1) 5:53
(2:15 is missing between the two parts of the song)

SIDE 2 (17:33)

- Red House (20) (part 2) 4:35 (total song timing 10:28)
- Hey Joe (30) 3:45
- Foxy Lady (831) 4:01
(22 seconds are missing from the beginning)
- Manic Depression (7) 3:48

2nd Night - The Peter Naef Source

Recording Date: 31. May 1968
Audience Recording
Taper: Peter Naef
Original Source: reel to reel tape
Total Time: 1:48:46
Quality: poor
Availability: in circulation

Peter donated the original tape to my archive in 1988

GESCHICHTE:
Dieses Tape wurde von Peter Naef mit einem batteriebetriebenen Spulentonbandgerät 2-spurig Mono aufgenommen. Das heisst es ist auf beiden Seiten bespielt. Der Zutand des Bandes ist nicht mehr der allerbeste und die Tonqulität ist ziemlich schlecht.
Ich vermute das Peter das Tonbandgerät unter seiner Jacke versteckt hatte, dadurch kam er öfters an die Spulen was ein ziemlich starkes Schlingern verursacht hat.

JIMPRESS 99 Autumn 2012

We are fortunate to have access to the master of a third source recording. Marcel Aeby describes it: "This tape was recorded by Peter Naef on a battery-powered reel-to-reel tape recorder in 2-track mono, meaning, both sides of the tape were used. The tape is not in prime condition and audio quality is poor. I presume Peter hid the tape recorder under his jacket, inadvertently touching the reels now and again, which caused the tape to wobble.

The best currently circulating copies are very close in quality to the master, and are probably no more than one or two analog generations away from it. As Marcel says, the audio quality is poor, making even an identification of the songs by other groups on the tape difficult, and there are noticeable pitch fluctuations.The recording runs 108 minutes, with the Hendrix portion totaling 25:31. The complete contents of the tape, all of it material from Monsterkonzert, are listed here.

SIDE 1 (58:56)

THE KOOBAS
- ? 1:40
- ? 2:31
- Morning Dew 3:28

JOHN MAYALL'S BLUESBREAKERS
- Room To Move 3:14
- Sweet Little Angel 3:15
- The Death Of J.B. Lenoir 1:58
- I'm A Stranger 4:51
- Sad Sad Day 5:35
- Parchman Farm 4:29

TRAFFIC
- Paper Sun 2:04
- Pearly Queen 4:41
- Heaven Is In Your Mind 4:53
- Blind Man 6:41

THE MOVE
- Hey Grandma 3:08
- Piece Of My Heart 3:54
- Flowers In The Rain 2:04

SIDE 2 (49:50)

THE MOVE
- Sunshine Help Me 2:26

ERIC BURDON + THE NEW ANIMALS
- ? New York 1963 - America 1968 9:33
- Monterey 8:32
- San Franciscan Nights 3:31

THE JIMI HENDRIX EXPERIENCE
- Voodoo Child (Slight Return) (23) 4:48
- Stone Free (10) 1:36
- Bierteckel Speach by Giorgio Frapolli
- I Don't Live Today (14) 3:53
- Red House (20) 11:13
(the last 2:38 of the song is missing)

2nd Night - The Concert

JIMPRESS 99 Autumn 2012
The Grundmann recording is both the most complete and the best quality, so it is convenient to use it as the primary reference source. The second-generation copy runs a little faster (nearly 3%) than the first-generation copy; that is, the audio is pitched nearly half a semitone sharper than that of the first-generation tape. The speed of the second-generation copy sounds more accurate, and agrees almost exactly with the Nötzli source, so we take it as the standard for timings.

The tape opens with a few enthusiastic words of introduction by the MC, Giorgio Frapolli, followed by a few guitar tune-up phrases, followed by sounds from the audience; the taper (or someone near him) is also audible. Following some microphonic feedback, Noel says "Good evening". More tuning of guitar and bass follows, and then a very brief (one second) false start for the first song: some scratching guitar for "Voodoo Child (Slight Return)." A four-second false start is next, followed by someone (Noel?) saying "one, two," and a bit of microphonic feedback.

VOODOO CHILD (SLIGHT RETURN)
"Voodo Child (Slight Return)" (23) (4:47) is next, in what is almost certainly its live debut. The scratchy introduction is a good one. The pentatonic theme, colored wit the wah-wah pedal, changes in tone at 0:26; perhaps Jimi steps on another pedal. The first solo (0:31-1:14) and the second one (1:58-2:55) are both good ones. Jimi's vocal melody for the first line of the second verse - "Didn't mean to take up all your sweet time" - is significantly different from subsequent versions, and he sings slightly different words in the next line: "give it right back after a while." (When he repeats the line, he sings the more usual "give it right back one of these days.") The second chorus, too, is different: Jimi extends it, singing "cause I'm a voodoo child, voodoo child, Lord knows I'm a voodoo child, baby, voodoo child, baby, voodoo child, voodoo child." Jimi plays a relatively brief outro solo and ending (3:42-4:47).

Noel says "Thank you very much, ta," but Jimi, reacting to audience members throwing beer mats up on stage, is less gracious: "Don't do that, don't do that. Hey look, we can't play if you're gonna throw those things up here, okay? No, don't do that. No, no, bad. Yeah, we can't play if you're gonna do that. If you throw any more, then we come off the stage." Jimi plays a little twelve-second burst of guitar, which blends seamlessly into the opening harmonic notes of the next song.

STONE FREE
"Stone Free" (10) (1:01) is cut short by audience misbehaviour: there is a brief guitar break (1:08-1:14), but no real solo, as the song ends just 15 seconds into the second verse. MC Frapolli addresses the audience in Swiss German; [Fans! Bitte kei Gägeschtänd uf d'Büne werfe, au kei Bierteckel. Jimi Hendrix hört susch uf schpile! Er hört susch uf! Bitte also ruhig ihm zuelose. Sini Musig brucht sehr vill Ufmerksamkeit, losed nöd nu mit em Buuch, sondern au no chli mit den Ohre!] Peter Herzig translated his comments in Jimpress 25 (February, 1994): "Fans, please don't throw any objects towards the stage, not even beer mats. Otherwise, Jimi Hendrix will stop playing! He will stop! So please listen to him quietly. His music needs a lot of attention; don't listen with your stomach only, but also a bit with your ears!" After a bit more tuning, and some microphonic feedback, Jimi speaks: "Look, I'm telling you right now, if you throw any more of those things, man, just forget it, okay? Thanks a lot." After more tuning and feedback, and some chat from the taper, we get more tuning and then Hendrix says "We'd like to do a song that we recorded off our new LP, our old one, it's called 'I Don't Live Today', dedicated to the American Indian and you people."

I DON'T LIVE TODAY
"I Don't Live Today" (14) (3:41) begins with a brief drum introduction; the guitar enters at 0:18, quickly followed by the first vocal verse. The first guitar solo (1.24-1:54) is unfortunately marred by frequent chat from the taper from 1:33-1:46. At 2:09, Jimi offers a sound painting following the line "nothing but existing"; another solo (2:21-3:41) brings the song to an end. Noel says "Thank you, thank you very much" over the applause.

Jimi says "We'd like to slow the pace - we're gonna slow the pace down. Wait a minute, wait a minute, hold on, hold on." In response to calls for "Hey Joe," Hendrix says "Yeah, yeah, okay, yeah, okay, okay, we'll do it." There is another call from the audience for "Hey Joe." More chat from the taper is audible, and there is more tuning; Jimi's guitar is quite musical (4:56-5:04). Jimi says "Thank you very much; we'd like to slow down the pace and play a song called "Red House."

RED HOUSE
"Red House" (20) (12:13) is one of the longest versions Hendrix ever played. Jimi only began to play versions longer than six minutes in March of 1968, so it's also one of the earliest long versions. The opening two choruses are beautiful instrumentals, played on a black Gibson Les Paul Custom guitar (a rare choice for Jimi); the second chorus begins with the same arpeggios that characterize the first. After the instrumentals, Jimi sings two verses. The last line of the first vocal is "in about - let's see now - 99 and one-half days." The next choruses are instrumental: chorus five features fiery guitar, with Jimi kicking in the wah-wah pedal in the ninth measure, at the dominant (5:26). The sixt chorus is again fiery, opening with bends and complex double-pull-offs. The seventh chorus is quiet, percussive guitar, with minimal accompaniment, reminiscent of Jimi's performance in Ottawa on 19 March 1968. Chorus eight gives more of the same, with some jazzy, chordal playing from Hendrix. The ninth chorus features quiet unaccompanied lead guitar, with wah-wah; the cut in the source tape at 9:34 omits about 27 seconds of music, as noted above. In the ninth verse, Mitch Mitchell and Noel Redding join in, and the tenth and final verse is again vocal.

After the song ends, Noel says "Thank you very much, ta"; overlapping with Noel, Jimi says "That was "Red House." Hendrix says "Like to continue on with another song." There is a bit more tuning, as Jimi changes from the Les Paul Custom back to a [blue] Fender Stratocaster.

HEY JOE
"Hey Joe" (30) (3:44) follows the studio version quite closely. The taper is audible, saying "Hey Joe" at 1:23. Hendrix quotes from the Beatles song "I Feel Fine" (1:31-1:35) right before the first solo (1:36-1:57), and again during the next vocal (2:14-2:18). Jimi offers a brief outro solo (3:12-3:34) before the chromatic riff and end.

Jimi tunes his guitar as the audience applauds. Noel says something largely indecipherable, perhaps about tuning or the vocals.

FOXY LADY
"Foxy Lady" (31) (4:14) begins with 23 seconds of feedback, though it is not clearly audible until about 0:09. Jimi's first solo (2:14-2:53) includes Hendrix's characteristic dental tone right from the start. Audience response swells near the end of the solo (2:48-2:53), as if in response to a bit of showmanship; Hendrix plays a cadenza and brings the song to an end (3:40-4:14).

Noel says "Thank you very much, ta," and Jimi tunes up, offering a cute little thrill (4:40-4:41). Hendrix says "Thank you very much for staying this long. Like to continue." Jimi goes on to say something that sounds a bit like "The crowd does love us."

MANIC DEPRESSION
"Manic Depression" (7) (3:47) is a rare live outing: this is the second longest (and the next to last) of only eight known concert versions. The first solo (1:24-2:17) is worthy, as is the outro and ending (3:29-3:47).

Noel says "Thank you very much," as he so often does; Jimi says "I'd like to say thank you very much for coming. We have one more last number to do. And dedicated to everybody out there - and everybody there. Song goes something like this - oh yeah, we got two more songs to do, yeah." We hear a bit more guitar tuning.

FIRE
"Fire" (25) (3:09) has a rather different form from the usual one. Jimi offers some exuberant lead guitar playing (0:11-0:22) even before the initial vocal verse. Noel's vocal contributions to the choruses are audible. Jimi's first solo (1:26-1:36) follows the studio version closely. He then plays the introductory riff, and adds some wild improvisation (1:41-2:03), including double pull-offs (1:55-1:59). He offers a fine outro solo (2:30-2:50) too.

The band members thank the audience, and Jimi says "Yeah, we only have one more last number to do, so we'd like to say thank you very very much for coming - thank you and goodbye." He offers a bit more tuning.

PURPLE HAZE
"Purple Haze" (40) (6:07) closes the concert. Hendrix begins the song with a vivid sound painting lasting 2:11; unfortunately, chatter from the taper is frequently audible (and distracting) in the first minute. Jimi has some fun with the vocals, singing "kiss this guy" in place of "kiss the sky" (3:04-3:05); he also blows the lyrics in the second verse, singing "if it's day or night" in place of "if I'm coming up or down" (3:15-3.16). His solo (3:35-4:09) is initially close to the studio version, but includes improvisational elements in the latter half. In Hendrix's outro vocals, the taper is again audible, but Jimi's final cadenza and ending (5:25-6:07), including some dental playing, sounds fine.

Jimi says "Thank you very much," while the last guitar chord is still sounding. The final sounds on the tape are the words of the MC, who speaks in German this time, saying [Zum Schluss: Jimi Hendrix and his Experience. Damit ist heut unser heutiger Abend abgeschlossen. Ich danke für Ihr zahlreiches Erscheinen. Bis zum nächsten Mal. Gute Heimkehr.] "At last: Jimi Hendrix and his Experience. Therewith today's evening has come to an end. Until next time. Hafe a safe trip back home." The second night of the Monsterkonzert had come to an end.