Jimi Hendrix adoratietopic #2

Waarom vind je het optreden van Wight zo slecht? Goed, Jimi was te laat om daar te spelen en had meende ik last van een jetlag.

Slecht speelde hij niet

er ging teveel verkeerd vind
red house hey baby machine gun en message to love zijn goed
als je de andere grote concerten van dat jaar kijk dus berkeley en atlanta dan merk je het verschil

hij was niet alleen te laat maar hij wou niet en het publiek had ie ook tegen

je moet ook goed in jimi zijn gezicht checken dan zie je dat het niet gaat zoals hij dat wil

Tijd begint te dringen voor Jimi Hendrix-huis


- Een stichting die van het huis waar Jimi Henrix als kind woonde een muziekcentrum wil maken, zit in tijdsnood. Een rechter besliste vrijdag dat de gemeente het recht heeft het huis te slopen. De stichting heeft tot 1 september om een noodoplossing te zoeken.

Vier jaar geleden betaalde de James Marshall Hendrix Foundation 30 duizend dollar voor de bescheiden woning in King County, Washington, waar de gitaarlegende van 1953 tot 1956 woonde. Ze verplaatste het huisje naar een terrein dat eigendom is van de stad. Volgens de gemeente hield de stichting zich niet aan de gemaakte afspraken en staat het huis er maar te staan. Het moet nu zo snel mogelijk worden verplaatst of gesloopt.

De Hendrix-aanhangers zeggen echter dat de gemeente alle beloften heeft gebroken waarin medewerking werd aangeboden het huis op te knappen en een mooie plek in de stad te geven. De woning zou worden omgebouwd tot een centrum waar muzieklessen kunnen worden gevolgd en voor weinig geld instrumenten kunnen worden gehuurd.

"We hebben mensen die bereid zijn zich aan het huis vast te te ketenen. Er moet koste wat kost worden voorkomen dat het wordt gesloopt", laat een woordvoerder van de Hendrix Foundation weten.

heeft er niemand meer wat te vertellen?

hendrix was de bom?

Ik kreeg van de gitarist van mijn oude band het compliment dat mijn speel-stijl lijkt op een kruising tussen Hendrix en slash...

Ik heb een dvd met optredens van Jimi op woodstock, erg vet om te zien/horen.

DVD van Jimi Hendrix, Until we meet again, is nu voor 5.99 bij FRS

JIMI HENDRIX'S CHILDHOOD HOME UNDER THREAT


JIMI HENDRIX’s boyhood home is under threat following a US judge’s refusal to extend an order barring its demolition.

However, plans to turn the legendary guitarist’s house into a community music centre have been deemed as worthwhile.

The house’s owners have been given until September 1 to appeal the decision.

The Hendrix Foundation has claimed that city officials have refused to work with them during the long-running dispute, whilst the Seattle authorities have said that deadlines to move or renovate the house have been missed, warranting demolition.

Henry Lewis, a long-standing friend of the Hendrix family, said: “We have people who are willing to chain themselves to that house to prevent them from tearing it down if we have to.”

According to BBC News, the foundation’s plans for the property include a facility that will offer music lessons, practice rooms and a library of musical instruments.

Officials in the suburb of Renton, where Hendrix is buried, have agreed to allow the house to be moved to a plot there, the foundation’s lawyer said in court.

A formal approval for this plan is expected on August 31, though the judge would not agree to extend the demolition ban until the end of September because it was impossible to determine how long the deal with Renton would take to be approved.

Earlier this year, Hendrix’s family said that they still hoped a road would be named after him.

Hendrix died in 1970 at the age of 27.

http://www.nme.com/news/113470.htm
was dit al gepost?

quote:

Op woensdag 24 augustus 2005 23:20 schreef Uzumaki_Naruto het volgende:
JIMI HENDRIX'S CHILDHOOD HOME UNDER THREAT


JIMI HENDRIX’s boyhood home is under threat following a US judge’s refusal to extend an order barring its demolition.

However, plans to turn the legendary guitarist’s house into a community music centre have been deemed as worthwhile.

The house’s owners have been given until September 1 to appeal the decision.

The Hendrix Foundation has claimed that city officials have refused to work with them during the long-running dispute, whilst the Seattle authorities have said that deadlines to move or renovate the house have been missed, warranting demolition.

Henry Lewis, a long-standing friend of the Hendrix family, said: “We have people who are willing to chain themselves to that house to prevent them from tearing it down if we have to.”

According to BBC News, the foundation’s plans for the property include a facility that will offer music lessons, practice rooms and a library of musical instruments.

Officials in the suburb of Renton, where Hendrix is buried, have agreed to allow the house to be moved to a plot there, the foundation’s lawyer said in court.

A formal approval for this plan is expected on August 31, though the judge would not agree to extend the demolition ban until the end of September because it was impossible to determine how long the deal with Renton would take to be approved.

Earlier this year, Hendrix’s family said that they still hoped a road would be named after him.

Hendrix died in 1970 at the age of 27.

http://www.nme.com/news/113470.htm
was dit al gepost?

Ja vorige pagina maar dat was nederlandse versie

jimi is gewoon de op 1 na beste

Op één na de beste? Het is de beste gitarist

En kom niet aan met dat Rushgitaristen gewouwel

ach ik ken een heele hoop gitaristen en als je bij mij de op 1 na beste bent dan ben je idd heeel goed en dat is jimi ook maja smaken verschillen

quote:

Op donderdag 25 augustus 2005 14:52 schreef horned_reaper het volgende:
ach ik ken een heele hoop gitaristen en als je bij mij de op 1 na beste bent dan ben je idd heeel goed en dat is jimi ook maja smaken verschillen

Dan ben ik toch heel benieuwd wie op 1 bij je komt.

alex lifeson vind ik echt een super gitarist

het is ook geen solo gitarist

quote:

Op donderdag 25 augustus 2005 15:24 schreef horned_reaper het volgende:
alex lifeson vind ik echt een super gitarist

En hij heeft ook verschillende nieuwe stijlen muziek gemaakt? Grootheden als Miles Davis hebben van zijn kunsten geleerd? Heeft hij ook vier albums gemaakt? Was hij ook 21 toen hij zijn grootste hit had en de wereld deed veranderen? Kan hij ook zowel links- als een rechtshandige gitaar bespelen? Of heeft hij ook de hedendaagse mode beïnvloed?

ik weet wat jimi alemaal heeft gedaan maar ik heb alex ook altijd een stijl apart gevonden die mij altidj het meeste aansprak

maar alex lifeson komt niet in de buurt van echt grote gitaristen zoals page en hendrix
miles davis heeft meer van hendrix geleerd dan je denkt hendrix heeft ook volgens velen het eerste heavy metal nummer gemaakt spanish castle magic

So, Jimi Hendrix didn't just influence players, he influenced a whole new form (Fusion/Jazz-Funk) and for a good example listen to what Miles does on his album _Agharta_ (along with _Pangea_ were his last recordings before hiatus) where they settle into a deep rhythmic groove thing invoked by Sly Stone and James Brown and then Miles starts invoking Hendrix through his two guitar players (Cosey and Lucas) along with his own wah-way drenched trumpet. One guitar player invokes Jimi's R&B, blues, funk leanings while the other gets into that ornamental, ethereal thing...the influence is unmistakable.

naja smaken verschillen zoals ik al zij en IK persoonlijk vind alex de beste maar das dan in mijn ogen
heb je BTW alex wel eens horen spelen vanaf 1974 tot nu ??

Ik ben nog naar het laatste concert van Rush geweest, en Alex Lifeson is heus wel een goede gitarist, maar lang niet zo invloedrijk en vernieuwend als Jimi Hendrix. Waarschijnlijk zal hij zelf de eerste zijn die dat toegeeft. Verder is dat vergelijken van gitaristen behoorlijk nutteloos, dus graag niet hier...

Jimi Hendrikx speelde fantastisch gitaar
Dus een goede gitarist was hij

http://ramhurl.real.com/s(...)imihendrix_epk_hi.rm

een filmpje van hendrix over de bbc sessions

quote:

Op donderdag 25 augustus 2005 18:37 schreef hendrixfan het volgende:
maar alex lifeson komt niet in de buurt van echt grote gitaristen zoals page en hendrix
miles davis heeft meer van hendrix geleerd dan je denkt hendrix heeft ook volgens velen het eerste heavy metal nummer gemaakt spanish castle magic

So, Jimi Hendrix didn't just influence players, he influenced a whole new form (Fusion/Jazz-Funk) and for a good example listen to what Miles does on his album _Agharta_ (along with _Pangea_ were his last recordings before hiatus) where they settle into a deep rhythmic groove thing invoked by Sly Stone and James Brown and then Miles starts invoking Hendrix through his two guitar players (Cosey and Lucas) along with his own wah-way drenched trumpet. One guitar player invokes Jimi's R&B, blues, funk leanings while the other gets into that ornamental, ethereal thing...the influence is unmistakable.

Page op 1 lijn met Hendrix zetten

Page was een goede studiomuzikant, maar live was het een kwelling. Misschien als ie wat minder ##### had gebruikt was het goed gekomen.

Bovendien denk ik Clapton meer op een niveau met Hendrix staat, vooral tijdens zijn Cream-periode.

quote:

Op zaterdag 27 augustus 2005 13:00 schreef axis303 het volgende:

[..]

Page op 1 lijn met Hendrix zetten

Page was een goede studiomuzikant, maar live was het een kwelling. Misschien als ie wat minder ##### had gebruikt was het goed gekomen.

Bovendien denk ik Clapton meer op een niveau met Hendrix staat, vooral tijdens zijn Cream-periode.

natuurlijk is hendrix beter dan page maar page was wel een goede gitarist hij heeft ook veel vernieuwende dingen gedaan ook live

Clapton vind ik ook beter dan page en vooral in de cream periode

Jimi Hendrix: The Greatest Guitarist of All Time
The bridge between the blues and modern sounds
By Pete Townshend


I feel sad for people who have to judge Jimi Hendrix on the basis of recordings and film alone, because in the flesh he was so extraordinary. He had a kind of alchemist's ability; when he was on the stage, he changed. He physically changed. He became incredibly graceful and beautiful. It wasn't just people taking LSD, though that was going on, there's no question. But he had a power that almost sobered you up if you were on an acid trip. He was bigger than LSD.
What he played was fucking loud but also incredibly lyrical and expert. He managed to build this bridge between true blues guitar -- the kind that Eric Clapton had been battling with for years and years -- and modern sounds, the kind of Syd Barrett-meets-Townshend sound, the wall of screaming guitar sound that U2 popularized. He brought the two together brilliantly. And it was supported by a visual magic that obviously you won't get if you just listen to the music. He did this thing where he would play a chord, and then he would sweep his left hand through the air in a curve, and it would almost take you away from the idea that there was a guitar player here and that the music was actually coming out of the end of his fingers. And then people say, "Well, you were obviously on drugs." But I wasn't, and I wasn't drunk, either. I can just remember being taken over by this, and the images he was producing or evoking were naturally psychedelic in tone because we were surrounded by psychedelic graphics. All of the images that were around us at the time had this kind of echoey, acidy quality to them. The lighting in all the clubs was psychedelic and drippy.

He was dusty -- he had cobwebs and dust all over him. He was a very unremarkable-looking guy with an old military jacket on that was pretty dirty. It looked like he'd maybe slept in it a few nights running. When he would walk toward the stage, nobody would really take much notice of him. But when he walked off, I saw him walk up to some of the most covetable women in the world. Hendrix would snap his fingers, and they followed him. Onstage, he was very erotic as well. To a man watching, he was erotic like Mick Jagger is erotic. It wasn't "You know, I'd like to take that guy in the bathroom and fuck him." It was a high form of eroticism, almost spiritual in quality. There was a sense of wanting to possess him and wanting to be a part of him, to know how he did what he did because he was so powerfully affecting. Johnny Rotten did it, Kurt Cobain did it. As a man, you wanted to be a part of Johnny Rotten's gang, you wanted to be a part of Kurt Cobain's gang.

He was shy and kind and sweet, and he was fucked up and insecure. If you were as lucky as I was, you'd spend a few hours with him after a gig and watch him descend out of this incredibly colorful, energized face. There was also something quite sad about watching him. There was a hedonism about him. Toward the end of his life, he seemed to be having fun, but maybe a little bit too much. It was happening to a lot of people, but it was sad to see it happen to him.

With Jimi, I didn't have any envy. I never had any sense that I could ever come close. I remember feeling quite sorry for Eric, who thought that he might actually be able to emulate Jimi. I also felt sorry that he should think that he needed to. Because I thought Eric was wonderful anyway. Perhaps I make assumptions here that I shouldn't, but it's true. Once -- I think it was at a gig Jimi played at the Scotch of St. James [in London] -- Eric and I found ourselves holding each other's hands. You know, what we were watching was so profoundly powerful.

The third or fourth time that I saw him, he was supporting the Who at the Saville Theatre. That was the first time I saw him set his guitar on fire. It didn't do very much. He poured lighter fluid over the guitar and set fire to it, and then the next day he would be playing with a guitar that was a little bit charred. In fact, I remember teasing him, saying, "That's not good enough -- you need a proper flame-thrower, it needs to be completely destroyed." We started getting into an argument about destroying your guitar -- if you're going to do it, you have to do it properly. You have to break every little piece of the guitar, and then you have to give it away so it can't be rebuilt. Only that is proper breaking your guitar. He was looking at me like I was fucking mad.

Trying to work out how he affected me at my ground zero, the fact is that I felt like I was robbed. I felt the Who were in some ways quite a silly little group, that they were indeed my art-school installation. They were constructed ideas and images and some cool little pop songs. Some of the music was good, but a lot of what the Who did was very tongue-in-cheek, or we reserved the right to pretend it was tongue-in-cheek if the audience laughed at it. The Who would always look like we didn't really mean it, like it didn't really matter. You know, you smash a guitar, you walk off and go, "Fuck it all. It's all a load of tripe anyway." That really was the beginning of that punk consciousness. And Jimi arrived with proper music.

He made the electric guitar beautiful. It had always been dangerous, it had always been able to evoke anger. If you go right back to the beginning of it, John Lee Hooker shoving a microphone into his guitar back in the 1940s, it made his guitar sound angry, impetuous, and dangerous. The guitar players who worked through the Fifties and with the early rock artists - James Burton, who worked with Ricky Nelson and the Everly Brothers, Steve Cropper with Booker T. -- these Nashville-influenced players had a steely, flick-knife sound, really kind of spiky compared to the beautiful sound of the six-string acoustic being played in the background. In those great early Elvis songs, you hear Elvis himself playing guitar on songs like "Hound Dog," and then you hear an electric guitar come in, and it's not a pleasant sound. Early blues players, too -- Muddy Waters, Buddy Guy, Albert King -- they did it to hurt your ears. Jimi made it beautiful and made it OK to make it beautiful.

The 100 Greatest Guitarists of All Time
The 100 Greatest Guitarists of All Time

1Jimi Hendrix
2 Duane Allman of the Allman Brothers Band
3 B.B. King
4 Eric Clapton
5 Robert Johnson
6 Chuck Berry
7 Stevie Ray Vaughan
8 Ry Cooder
9 Jimmy Page of Led Zeppelin
10 Keith Richards of the Rolling Stones
11Kirk Hammett of Metallica
12 Kurt Cobain of Nirvana
13 Jerry Garcia of the Grateful Dead
14 Jeff Beck
15 Carlos Santana
16 Johnny Ramone of the Ramones
17 Jack White of the White Stripes
18 John Frusciante of the Red Hot Chili Peppers
19 Richard Thompson
20 James Burton
21 George Harrison
22 Mike Bloomfield
23 Warren Haynes
24 The Edge of U2
25 Freddy King
26 Tom Morello of Rage Against the Machine and Audioslave
27 Mark Knopfler of Dire Straits
28 Stephen Stills
29 Ron Asheton of the Stooges
30 Buddy Guy
31 Dick Dale
32 John Cipollina of Quicksilver Messenger Service
33 & 34 Lee Ranaldo, Thurston Moore of Sonic Youth
35 John Fahey
36 Steve Cropper of Booker T. and the MG's
37 Bo Diddley
38 Peter Green of Fleetwood Mac
39 Brian May of Queen
40 John Fogerty of Creedence Clearwater Revival
41 Clarence White of the Byrds
42 Robert Fripp of King Crimson
43 Eddie Hazel of Funkadelic
44 Scotty Moore
45 Frank Zappa
46 Les Paul
47 T-Bone Walker
48 Joe Perry of Aerosmith
49 John McLaughlin
50 Pete Townshend
51 Paul Kossoff of Free
52 Lou Reed
53 Mickey Baker
54 Jorma Kaukonen of Jefferson Airplane
55 Ritchie Blackmore of Deep Purple
56 Tom Verlaine of Television
57 Roy Buchanan
58 Dickey Betts
59 & 60 Jonny Greenwood, Ed O'Brien of Radiohead
61 Ike Turner
62 Zoot Horn Rollo of the Magic Band
63 Danny Gatton
64 Mick Ronson
65 Hubert Sumlin
66 Vernon Reid of Living Colour
67 Link Wray
68 Jerry Miller of Moby Grape
69 Steve Howe of Yes
70 Eddie Van Halen
71 Lightnin' Hopkins
72 Joni Mitchell
73 Trey Anastasio of Phish
74 Johnny Winter
75 Adam Jones of Tool
76 Ali Farka Toure
77 Henry Vestine of Canned Heat
78 Robbie Robertson of the Band
79 Cliff Gallup of the Blue Caps (1997)
80 Robert Quine of the Voidoids
81 Derek Trucks
82 David Gilmour of Pink Floyd
83 Neil Young
84 Eddie Cochran
85 Randy Rhoads
86 Tony Iommi of Black Sabbath
87 Joan Jett
88 Dave Davies of the Kinks
89 D. Boon of the Minutemen
90 Glen Buxton of Alice Cooper
91 Robby Krieger of the Doors
92 & 93 Fred "Sonic" Smith, Wayne Kramer of the MC5
94 Bert Jansch
95 Kevin Shields of My Bloody Valentine
96 Angus Young of AC/DC
97 Robert Randolph
98 Leigh Stephens of Blue Cheer
99 Greg Ginn of Black Flag
100 Kim Thayil of Soundgarden (Posted Aug 27, 2003)

Jimi Hendrix
In 1966, he arrived in London an unknown. A week later, he was a superstar
By CHARLES R. CROSS


Jimi Hendrix took his first footsteps on British soil on Saturday, September 24th, 1966, arriving at Heathrow at nine in the morning. As he walked off the plane, he carried a small bag that contained a change of clothes, his pink plastic hair curlers and a jar of Valderma cream for the acne that still marred his twenty-three-year-old face. These few items, along with his precious guitar, were all he owned.
Escorting Jimi was Chas Chandler, formerly the bassist for the Animals, who was launching himself as a manager. Chandler had come upon Jimi in a Greenwich Village club and spilled a milkshake on himself, convinced that Jimi was his ticket to riches. Jimi was penniless at the time, having spent the previous three years as a backup musician on the chitlin circuit. Though Jimi had been born in Seattle, and didn't even begin to play guitar until he was fifteen, by the time Chandler met him he had already toured the nation with countless R&B combos, including Little Richard and the Isley Brothers. In Greenwich Village, fueled by both LSD and Bob Dylan's Blonde on Blonde, Jimi was attempting to re-create himself as a solo act. He was playing to twenty teenagers when Chandler arrived, yet Jimi still only agreed to follow him to England if he promised to introduce him to Eric Clapton.

Once in England, Chandler immediately set out to turn Jimi into a star. On the way from the airport, they stopped by the house of bandleader Zoot Money. Jimi attempted to play his Stratocaster through Money's stereo, and when that failed, he grabbed an acoustic guitar and began to wail. Andy Summers, who a dozen years later would help form the Police, lived in the basement and heard the commotion. When he came upstairs to join the informal party and found himself mesmerized by how Jimi's huge hands seemed at one with the instrument's neck, he became the first of Britain's guitar players to be awed by Jimi's phenomenal skill.

Also rooming in the house was twenty-year-old Kathy Etchingham, who would soon also be smitten by Jimi. She worked as a part-time DJ and had dated Brian Jones, Keith Moon and a few other rock stars. Money's wife tried to wake her to tell her about the new sensation in the living room. She said, "Wake up, Kathy. You've got to come and see this guy Chas has brought back. He looks like the Wild Man of Borneo." The tag would later end up as one of Jimi's nicknames in the tabloids, a consequence of his unkempt physical appearance and his race, both of which were so unusual on London's music scene that he might as well have been a new anthropological discovery. The name was racist, of course, and the description would never have been used for a white musician. Still, Jimi enjoyed the nickname, as it sounded mysterious and foreign, qualities he hoped to cultivate.

Etchingham was too tired to take a peek at the so-called wild man, but later that evening she went for a drink at a club and discovered Jimi onstage. As he started to play blues tunes, the club went silent and the crowd watched in a sort of shared rapture. "He was just amazing," Etchingham recalled. "People had never seen anything like it." Eric Burdon of the Animals was one of the many musicians at the club that night. "It was haunting how good he was," Burdon said. "You just stopped and watched."

Walking out of the club, Jimi -- unaware that British cars drove on the left side of the street -- stepped in front of a taxi. "I managed to grab him and pull him back, and the taxi just brushed him," Etchingham said. Later, Jimi asked her to come to bed with him. She found him charming and handsome, and consented. They would stay together for the next two years, and Etchingham would be one of Jimi's longest-term girlfriends. She knew everyone on the scene, and she became his entree into Swinging London and friendships with the Who, the Rolling Stones and many other bands.

Jimi had been in England less than twenty-four hours and he'd already wowed a key segment of London's music scene, bedded his first English "bird" and narrowly avoided death. He had spent twenty-three years of his life struggling in an America where black musicians were outcasts within rock music. In one single day in London, his entire life had permanently been recast.

Chas Chandler's partner was Michael Jeffrey, the Animals' manager and a former British intelligence officer who did little to defuse sinister rumors that he had killed people as a spy. They placed a "musicians wanted" ad in Melody Maker, which drew in a twenty-year-old guitar player named Noel Redding. He had never before played bass, but Jimi liked Redding's frizzy hair, which reminded him of Dylan, and he was hired.

Even after Redding was hired, Chandler phoned Brian Auger, who led the blues-based jazz band the Brian Auger Trinity, and proposed a radical idea. "I've got this really amazing guitar player from America," Chandler told him. "I think it would be perfect if he fronted your band." Auger declined. As a fallback, Chandler asked if Jimi could at least jam with the Trinity at a show that evening. To this, Auger agreed.

The Trinity's guitarist, Vic Briggs, was setting up his gear when Jimi came onstage. Briggs was using one of the first Marshall amplifiers, an experimental model that had four six-inch speakers -- smaller than the later Marshall stacks but still capable of tremendous power. When Jimi plugged his guitar into the amp, he turned the amplifier volume knobs to their maximum, much to Briggs' amazement. "I had never had the controls up past five," Briggs said. Seeing Briggs' look of horror, Jimi said, "Don't worry, man, I turned it down on the guitar." He shouted out four chords and began.

The sound was a wall of feedback and distortion, which itself was enough to turn every head in the club; the moment also marked the beginning of Jimi's love affair with Marshall amplifiers. "Everyone's jaw dropped to the floor," Auger said. "The difference between him and a lot of the English guitar players like Clapton, Jeff Beck and Alvin Lee was that you could still tell what the influences were in Clapton's and Beck's playing. There were a lot of B.B. King, Albert King and Freddie King followers around in England. But Jimi wasn't following anyone -- he was playing something new."

Just a week after Jimi landed in England, Cream were playing a show at the Polytechnic in central London. Chandler bumped into Clapton a few days before and told him he'd like to introduce Jimi sometime. Meeting Clapton, of course, was the one promise Chandler had made to Jimi before they left New York. Clapton mentioned the Polytechnic gig and suggested Chandler bring his protege. In all likelihood, Clapton meant he would be glad simply to meet Jimi, but Jimi nonetheless arrived with his guitar. Chandler, Jimi and their girlfriends stood in the audience during the first half of the show, and Chandler called up to the stage and summoned Clapton over to ask if Jimi might jam. The request was so preposterous that no one in Cream -- Clapton, Jack Bruce or Ginger Baker -- knew quite what to say: No one had ever asked to jam with them before; most would have been too intimidated by their reputation as the best band in Britain. Bruce finally said, "Sure, he can plug into my bass amp."

Jimi plugged his guitar into a spare channel and immediately began Howlin' Wolf's "Killing Floor." "I'd grown up around Eric, and I knew what a fan he was of Albert King, who had a slow version of that song," recalled press agent Tony Garland, who was at the show. "When Jimi started his take, though, it was about three times as fast as Albert King's version, and you could see Eric's jaw drop -- he didn't know what was going to come next." Remembering the show later, Clapton said, "I thought, 'My God, this is like Buddy Guy on acid.' "

When Bruce told his version of the fabled event, he focused on Clapton's reaction and alluded to graffiti in London that proclaimed, "Clapton is God." "It must have been difficult for Eric to handle," Bruce said, "because [Eric] was 'God,' and this unknown person comes along and burns." Jeff Beck was in the audience that night, and he, too, took warning from Jimi's performance. "Even if it was crap -- and it wasn't -- it got to the press," Beck later said. Jimi had been in London for eight days and he had already met God, and burned him.

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