I saw The Who in 1977 @ Maple Leaf Gardens. Entire band intact. We bought obstructed seats behind the stage. 18,000 fans. I didn’t care where we sat. The seats ended up being right behind Keith Moon slightly elevated above. Best seats We could have ever hoped for. The guys turned around, looked right at us all sitting there, absolutely stunned. Kieth and the boys were amazing. They destroyed the place, an absolute shambles I believe the ticket was 15 dollars Canadian 😊
Thanks for the interview. I had the pleasure of meeting Brian in Temecula helping his gig. He's a very nice chap and of course, tremendous keyboard player.
When I saw Jimi in Toronto I dropped out of high school for a steel factory job, and ordered a Marshall from England, getting the first Stratocaster around here, using a Crybaby, FuzzFace, MXR phase shifter, with other effects. Having other guitarists come over to see it and try it were the best lessons for me. Too bad I'm not local for the great keyboardist Brian Auger. If he's got time to talk about Jimi and Marshalls he's got time to jam with me!
I knew Brian Auger's Trinity with Julie Driscoll (Streetnoise, great album!) But I recently discovered two albums of The Oblivion Express, Closer To It, (a great great album!) and yesterday I heard another one at my friend's house, also a fenomenal album, I don't remember the title that quickly, but it had a painting of a train on the cover, red and greenish. And he has this great compilation of Auger's work, which is also fantastic! Come to Holland! We'd love to see you play! :)(:
Jimi knew about Marshalls BEFORE he went to England = my old friend Jorge Strunz [tremendous world guitar player in Strunz & Farah] lent him his Marshall for a gig in NYC before he went to UK
Indeed. Most of us were well aware of Marshall amps from looking at the back cover of The Blues Breakers LP, The "Beano" LP, from mid 1966. And how, if combined with Les Paul guitars, you could get an amazing sound. The combination of Marshall amp and Les Paul guitar still works to this day.
I love Brian's Oblivion Express stuff, esp. the early seventies. Terrific band, and a great unique blend of jazz rock without going off into pretentious 'prog' territory.
@@RocknJazzer I didn't say all of it (you're the one being absolutist), but some prog was very pretentious; it was 'look at how technically proficient we are at executing this extremely difficult passage... aren't you impressed?!' And it was bereft of any soul at all. And, yes, that's really "pretentious".
@@vampyros1 No, the 70s prog was about originality, imagination, uniqueness, energy, adventure, exploration, expansion of musical ideas, fusions of different genres (classical to jazz to blues psych, etc, everything was fair game, going beyond the common boring restrictive pop and rock harmonically and rhythmically, structure, etc. If all you hear is flashy showoff that is your close mindedness. There was no pretense or look at me agenda there with them, only ones imaged by others. What is the "pretense"? There was none. Wide open creativity do whatever you want is what is was. You know prog has many slow mellow songs too, as many or mor than ones with solod that you think are somehow only for show. Prog is every style combined. The most pretentious music is punk. Even elements of what became punk was in prog before punk, so prog influenced even punk music. Punk and/or alternative and indie music people are truly the musically pretentious snobs in reality, and any 70s prog or jazz fusion that most punkers hate are only musical adventurers, that is all. I like a bit of ALL music, even early rock from 50s and 60s garage and psych to 70s glam pre punk blue rock etc, and lots of oldschool hard rock and early metal (pre hair shred stuff). True music fans like many divergent genres and see them for what they are instead of boxing in the more challenging ones for a few solos or time changes that may intimidate listeners of simpler music styles, but really its all good. Expand your musical horizons. For instance I love hawkshaw library stuff, country joe, and early floyd as I see you do. You can choose to dislike things more complex than those as not for you, but they are not pretentious, there is no pretense in prog or most other instrumental virtuoso type of music, outside of most metal shred guitar and certain forms of classical technical pieces. Heck, even non techical things like much of the so called avant free music in jazz and classical is about as pretentious as one can get and there is no technicality there
I got to work for Brian converting all his old masters and vinyl to CD at my studio in Colorado 25 years ago. I and my Blues Rock band at that time opened for him several times and I had the incredible experience of getting to perform, play guitar with Brian and his Oblivion Express on stage several times as well, usually on Black Cat and a couple other tunes..his version of Season Of The Witch, etc..... Cannot begin to relate how marvelous, generous, charming, ethical and a man of deep character that Brian Auger is. My brother Leo just visited him in Venice about 2 months ago. He's 84 , not touring anymore, but Brian is still very busy, still working in the studios as a major session player in LA. Cheers!
I saw Hendrix in Detroit at the masonic autitorium and he was using may be for the first time, these Sun amps. The things kept screwing up and there were these sun tecs running around like chickens with their heads cut off. At the end of the concert Jimmy took his frustrations out on the speaker cabinets. Impailing the cones with the head stock of the guitar like a spear.
I saw the Trinity in '66 in Preston...I think it was the 'Beachcomer' club, maybe capacity less than 100. Great gig, my take away was Brigg's "Two Bones and a pick"...…...As well as Julie on vocals there was the big fella Long John Baldry......and they let 'the young lad' do his Sam Cooke (and perhaps Otis) ...that was Rod Stewart....
@Peter Grahame ... I know. Jimi played the chitlin circuit after he got out of the Army. He was a sideman for a lot of bands including the Isley Brothers, Curtis Knight, etc.... Ever see this vid? ruclips.net/video/UvklBbYgnsk/видео.html
The interviewer is uninformed and misinformed. Here is a quote from an interview with Mike Bloomfield from 1975. "THE FIRST TIME I SAW Jimi play he was Jimmy James with the Blue Flames. I was performing with Paul Butterfield, and I was the hot shot guitarist on the block - I thought I was it. I'd never heard of Hendrix. Then someone said, "You got to see the guitar player with John Hammond." I was at the Cafe Au Go Go and he was at the Nite Owl or the Cafe Wha? I went right across the street and saw him. Hendrix knew who I was, and that day, in front of my eyes, he burned me to death. I didn't even get my guitar out. H bombs were going off, guided missiles were flying - I can't tell you the sounds he was getting out of his instrument. He was getting every sound I was ever to hear him get right there in that room with a Stratocaster, a Twin (amplifier), a Maestro fuzz, and that was all - he was doing it mainly through extreme volume. How he did this, I wish I understood. He just got right up in my face with that axe, and I didn't even want to pick up a guitar for the next year."
The interviewer tries to say that when Jimi plugged into a Marshall at the first jam with Brian Auger in London in Fall 1966, *that* is when he discovered all the possibilities of feedback and volume etc. Mike Bloomfield says totally otherwise as quoted in the article from Guitar Player Magazine. Mike saw Jimi in the Spring or summer of 1966 in New York at The Cafe A Go Go months before he even went to London.
I've never read that Bloomfield interview. Its amazing. When you realize that Bloomfield was seen as 'America's Clapton'. Wow...thanks for posting that tidbit. Hendrix was a mad scientist in the best ways.
I always love audio interviews like this done in stereo. You can tell of their superb audio expertise. By putting the host interviewer, in one channel and the guest interviewee, in the other channel. And still not being able to figure out. What left and right actually mean. As you only have a 50% chance of getting that right. I know how difficult it can be. Very difficult to tell which one is left and which one is not left, out, on the right. But perhaps the other way around? Because it's so difficult to tell which one is left and which one is right? And is something you can get wrong. If you do it behind your back. Or upside down. I recommend the other way. From the audience perspective. Where whatever is on your left is on their right. Oh this is so confusing. What to do? Pick one. You've got a 50% chance. Or just guess. Because it's hard to get wrong. This is absolutely right. If you live in a parallel mirrored universe. I don't. And, oh, it's backwards. According to, Left-Right, protocol. But that is quite confusing. Because it's likely your other left as opposed to your other right. Which is wrong. Right? Left? I see this is almost impossible to get correct. Because your laugh can be your right. And you're right can be your left. Depending on what planet you came from. And that was a planet from nearly 7 Light Years, away. Before it got to me. And must have gone through a mirrored parallel universe without knowing. If left or right could know they are going through a parallel universe? I've never spoken with them personally. So I don't know? I prefer speaking to left. Because it's almost impossible to speak to those on the right. As they are all insane. And the people on the left. Never get it right. Because they are on the left. All of which making the issue of getting left and right correct all the more difficult to do. For an audio engineer. That only has 2 ears. And not 4 or 5 or even 6. And that makes this selection process all the more difficult. Because you have to deal with only 2. Which is overly simplistic. And needs more thought and evaluation. Because it is such a difficult selection to make. And you don't know which way to go? As it requires an extremely high intellect. To understand the difference between correct and wrong. Remember to use the bathroom. That does not depict a man in a dress. Overtop the door. It's a pretty thought, sure. But you should use the other one. That you will find on the left. Or perhaps the right. Just pick one. You've got a 50% chance of getting the prize that's behind the right door. Or you get the booby prize. And then get arrested. Because you should have gotten the Wanger, prize. It's lower. On the totem pole. And then you have to shake. But only after you rattle and roll. On up to one of those, unisex, lavatories. Oh wow. Oh I'm sorry. That's a, third selection. That makes the decision making process almost impossible. Because one door could be wrong. You've got your work cut out for you. Left-winger RemyRAD
So you put a microphone on Brian but not on the interviewer? It sounds like Brian is yelling, which he isnt and the interviewer is sounding like he is whispering. 🙄. Come on. Do you guys listen to this while you edit?? Amateur hour.
"You got to tell the children the truth they don't need a whole lot of lies. Because one of these days, baby, they'll be running things. So when you give them love you better give it right" Jimi Hendrix Those who love spread truth. Those who hate spread lies. Those who hate and created a world swimming in a sea of lies murdered the body but they can’t kill the spirit of Jimi’s message and love that lives on within many forever. The haters who murder rock stars are the same haters who murder kings and presidents. It's an unnatural thing to be a Rock star and one of many illusions presented to the duped masses as “success”. Rock stars don't make themselves famous they are made famous quickly and unnaturally. And in return for being made famous they are under obligation, knowingly or unknowingly, to cooperate with those who made them famous. And those who made them famous believe that they have the right to make them even more famous by murdering them if they don't cooperate. True success is to see what they don’t want you to see and to learn what they don’t want you to know before you pass. The most truthful and forbidden documentary ever published has been taken down from theirtube countless times since its 2017 release: "Europa The Last Battle". Watch and share the full 10-part series at archive-dot-org while you still can!
We have to tell the children the truth .... It is not very popular, but Jesus Christ made everything and everything in the Bible is true. Jesus Christ is the 'Axis,' the One on Whom everything turns.
@@kenshiloh It is very popular.... many believe that everything in the bible is true. Jesus Christ is the Way, the Truth and the Life. All truth leads to Christ.
When I was 16, around 1972, I would go to see bands at the Corn Exchange in Cambridge and when we were queuing outside we often saw this guy walking round who looked like he was just one of the local drunks. People would nudge each other and say that's the guy who wrote all Pink Floyd's stuff, Syd Barrett. I have often wondered if that was really him, during his lost years.
This guy tells great and humorous stories.
Brian Auger = The Story Teller Man, The Humble Man, The Funny Man, The Honest Man and of course, The Best B3 Man!
I saw The Who in 1977 @ Maple Leaf Gardens. Entire band intact.
We bought obstructed seats behind the stage. 18,000 fans. I didn’t care where we sat.
The seats ended up being right behind Keith Moon slightly elevated above.
Best seats We could have ever hoped for. The guys turned around, looked right at us all sitting there, absolutely stunned.
Kieth and the boys were amazing. They destroyed the place, an absolute shambles I believe the ticket was 15 dollars Canadian 😊
Thanks for the interview. I had the pleasure of meeting Brian in Temecula helping his gig. He's a very nice chap and of course, tremendous keyboard player.
When I saw Jimi in Toronto I dropped out of high school for a steel factory job, and ordered a Marshall from England, getting the first Stratocaster around here, using a Crybaby, FuzzFace, MXR phase shifter, with other effects. Having other guitarists come over to see it and try it were the best lessons for me. Too bad I'm not local for the great keyboardist Brian Auger. If he's got time to talk about Jimi and Marshalls he's got time to jam with me!
What a nice person, good to hear the name Gary Boyle, one hell of a guitarist, thanks.
I knew Brian Auger's Trinity with Julie Driscoll (Streetnoise, great album!) But I recently discovered two albums of The Oblivion Express, Closer To It, (a great great album!) and yesterday I heard another one at my friend's house, also a fenomenal album, I don't remember the title that quickly, but it had a painting of a train on the cover, red and greenish. And he has this great compilation of Auger's work, which is also fantastic! Come to Holland! We'd love to see you play! :)(:
How polite is Brian Auger ! ? … and how annoying is the Interviewer !!!?
Jimi knew about Marshalls BEFORE he went to England = my old friend Jorge Strunz [tremendous world guitar player in Strunz & Farah] lent him his Marshall for a gig in NYC before he went to UK
Indeed. Most of us were well aware of Marshall amps from looking at the back cover of The Blues Breakers LP, The "Beano" LP, from mid 1966. And how, if combined with Les Paul guitars, you could get an amazing sound. The combination of Marshall amp and Les Paul guitar still works to this day.
@@manjay49 great comment Man Jay !
WOW...Strunz & Farah...I forgot I have that tape...thanks for the reminder.
I love Brian's Oblivion Express stuff, esp. the early seventies. Terrific band, and a great unique blend of jazz rock without going off into pretentious 'prog' territory.
Live at the Whiskey A Go Go was the shit!!!
nothing "pretentious" about prog
@@RocknJazzer I didn't say all of it (you're the one being absolutist), but some prog was very pretentious; it was 'look at how technically proficient we are at executing this extremely difficult passage... aren't you impressed?!' And it was bereft of any soul at all. And, yes, that's really "pretentious".
@@vampyros1 No, the 70s prog was about originality, imagination, uniqueness, energy, adventure, exploration, expansion of musical ideas, fusions of different genres (classical to jazz to blues psych, etc, everything was fair game, going beyond the common boring restrictive pop and rock harmonically and rhythmically, structure, etc. If all you hear is flashy showoff that is your close mindedness. There was no pretense or look at me agenda there with them, only ones imaged by others. What is the "pretense"? There was none. Wide open creativity do whatever you want is what is was. You know prog has many slow mellow songs too, as many or mor than ones with solod that you think are somehow only for show. Prog is every style combined. The most pretentious music is punk. Even elements of what became punk was in prog before punk, so prog influenced even punk music. Punk and/or alternative and indie music people are truly the musically pretentious snobs in reality, and any 70s prog or jazz fusion that most punkers hate are only musical adventurers, that is all.
I like a bit of ALL music, even early rock from 50s and 60s garage and psych to 70s glam pre punk blue rock etc, and lots of oldschool hard rock and early metal (pre hair shred stuff). True music fans like many divergent genres and see them for what they are instead of boxing in the more challenging ones for a few solos or time changes that may intimidate listeners of simpler music styles, but really its all good. Expand your musical horizons. For instance I love hawkshaw library stuff, country joe, and early floyd as I see you do. You can choose to dislike things more complex than those as not for you, but they are not pretentious, there is no pretense in prog or most other instrumental virtuoso type of music, outside of most metal shred guitar and certain forms of classical technical pieces. Heck, even non techical things like much of the so called avant free music in jazz and classical is about as pretentious as one can get and there is no technicality there
I got to work for Brian converting all his old masters and vinyl to CD at my studio in Colorado 25 years ago. I and my Blues Rock band at that time opened for him several times and I had the incredible experience of getting to perform, play guitar with Brian and his Oblivion Express on stage several times as well, usually on Black Cat and a couple other tunes..his version of Season Of The Witch, etc..... Cannot begin to relate how marvelous, generous, charming, ethical and a man of deep character that Brian Auger is. My brother Leo just visited him in Venice about 2 months ago. He's 84 , not touring anymore, but Brian is still very busy, still working in the studios as a major session player in LA. Cheers!
I saw Hendrix in Detroit at the masonic autitorium and he was using may be for the first time, these Sun amps. The things kept screwing up and there were these sun tecs running around like chickens with their heads cut off. At the end of the concert Jimmy took his frustrations out on the speaker cabinets. Impailing the cones with the head stock of the guitar like a spear.
I saw the Trinity in '66 in Preston...I think it was the 'Beachcomer' club, maybe capacity less than 100. Great gig, my take away was Brigg's "Two Bones and a pick"...…...As well as Julie on vocals there was the big fella Long John Baldry......and they let 'the young lad' do his Sam Cooke (and perhaps Otis) ...that was Rod Stewart....
actually Little Richard discovered Jimi.
100%
R U kidding? Linda Keith told Chas Chandler about Hendrix. Jimi was just a sideman for Little Richard... Get your story straight...
@Peter Grahame ... I know. Jimi played the chitlin circuit after he got out of the Army. He was a sideman for a lot of bands including the Isley Brothers, Curtis Knight, etc.... Ever see this vid? ruclips.net/video/UvklBbYgnsk/видео.html
Chuck Jordan. LINDA KEITH!!!!!
Weird audio. The interviewer on the left comes out of the right speaker...Brian sitting on the right, comes out of the left speaker.
The interviewer is uninformed and misinformed. Here is a quote from an interview with Mike Bloomfield from 1975. "THE FIRST TIME I SAW Jimi play he was Jimmy James with the Blue Flames. I was performing with Paul Butterfield, and I was the hot shot guitarist on the block - I thought I was it. I'd never heard of Hendrix. Then someone said, "You got to see the guitar player with John Hammond." I was at the Cafe Au Go Go and he was at the Nite Owl or the Cafe Wha? I went right across the street and saw him. Hendrix knew who I was, and that day, in front of my eyes, he burned me to death. I didn't even get my guitar out. H bombs were going off, guided missiles were flying - I can't tell you the sounds he was getting out of his instrument. He was getting every sound I was ever to hear him get right there in that room with a Stratocaster, a Twin (amplifier), a Maestro fuzz, and that was all - he was doing it mainly through extreme volume. How he did this, I wish I understood. He just got right up in my face with that axe, and I didn't even want to pick up a guitar for the next year."
how is he uninformed and misinformed, what does that quote you reference have to do with this interview?
The interviewer tries to say that when Jimi plugged into a Marshall at the first jam with Brian Auger in London in Fall 1966, *that* is when he discovered all the possibilities of feedback and volume etc. Mike Bloomfield says totally otherwise as quoted in the article from Guitar Player Magazine. Mike saw Jimi in the Spring or summer of 1966 in New York at The Cafe A Go Go months before he even went to London.
Wow!
Now that is an accolade.
I've never read that Bloomfield interview. Its amazing. When you realize that Bloomfield was seen as 'America's Clapton'. Wow...thanks for posting that tidbit. Hendrix was a mad scientist in the best ways.
@@televinv8062 It was initially printed in Guitar Player's Jimi Hendrix tribute issue in 1975.
anyone else see that Brian looks like a mix of Gerard Depardieu and Harvey Keitel ?
I always love audio interviews like this done in stereo. You can tell of their superb audio expertise. By putting the host interviewer, in one channel and the guest interviewee, in the other channel. And still not being able to figure out. What left and right actually mean. As you only have a 50% chance of getting that right. I know how difficult it can be. Very difficult to tell which one is left and which one is not left, out, on the right. But perhaps the other way around? Because it's so difficult to tell which one is left and which one is right? And is something you can get wrong. If you do it behind your back. Or upside down. I recommend the other way. From the audience perspective. Where whatever is on your left is on their right. Oh this is so confusing. What to do? Pick one. You've got a 50% chance. Or just guess. Because it's hard to get wrong.
This is absolutely right. If you live in a parallel mirrored universe. I don't. And, oh, it's backwards. According to, Left-Right, protocol. But that is quite confusing. Because it's likely your other left as opposed to your other right. Which is wrong. Right? Left?
I see this is almost impossible to get correct. Because your laugh can be your right. And you're right can be your left. Depending on what planet you came from. And that was a planet from nearly 7 Light Years, away. Before it got to me. And must have gone through a mirrored parallel universe without knowing. If left or right could know they are going through a parallel universe? I've never spoken with them personally. So I don't know? I prefer speaking to left. Because it's almost impossible to speak to those on the right. As they are all insane. And the people on the left. Never get it right. Because they are on the left.
All of which making the issue of getting left and right correct all the more difficult to do. For an audio engineer. That only has 2 ears. And not 4 or 5 or even 6. And that makes this selection process all the more difficult. Because you have to deal with only 2. Which is overly simplistic. And needs more thought and evaluation. Because it is such a difficult selection to make. And you don't know which way to go? As it requires an extremely high intellect. To understand the difference between correct and wrong.
Remember to use the bathroom. That does not depict a man in a dress. Overtop the door. It's a pretty thought, sure. But you should use the other one. That you will find on the left. Or perhaps the right. Just pick one. You've got a 50% chance of getting the prize that's behind the right door. Or you get the booby prize. And then get arrested. Because you should have gotten the Wanger, prize. It's lower. On the totem pole. And then you have to shake. But only after you rattle and roll. On up to one of those, unisex, lavatories. Oh wow. Oh I'm sorry. That's a, third selection. That makes the decision making process almost impossible. Because one door could be wrong. You've got your work cut out for you.
Left-winger
RemyRAD
Trump 2020,the end of the Democrats! Couldn't resist
I was a kid when Wheels came out. I adored it. I still adore it!
💖♪ ♫ 🎸🎷 🎻🎹🎺 Thanks a lot !
Master!!!!
Drummer from Oblivion went to Tom Pettys' Heartbreakers, had to believe!
seems as if everyone and their mothers are being credited for turning jimi onto marshalls now.
So you put a microphone on Brian but not on the interviewer? It sounds like Brian is yelling, which he isnt and the interviewer is sounding like he is whispering. 🙄. Come on. Do you guys listen to this while you edit?? Amateur hour.
Surprisingly no mention of Miles who arguably created fusion around that time and must have influenced him.
Is that an Hartley Thompson amp behind Brians head ?
GML EQ
Interviewer (aka nerd) should have done his homework.
Horrible audio. The stereo sound is opposite to the video.
Who is the interviewer?? He's got a really nasally jazz voice - schezaam!!
Too bad Hendrix's tombstone has the guitar right side up and right handed instead of upside down and left handed
"You got to tell the children the truth they don't need
a whole lot of lies. Because one of these days, baby,
they'll be running things. So when you give them love
you better give it right" Jimi Hendrix
Those who love spread truth. Those who hate spread
lies. Those who hate and created a world swimming
in a sea of lies murdered the body but they can’t kill
the spirit of Jimi’s message and love that lives on
within many forever. The haters who murder rock
stars are the same haters who murder kings and
presidents. It's an unnatural thing to be a Rock star
and one of many illusions presented to the duped
masses as “success”. Rock stars don't make
themselves famous they are made famous quickly
and unnaturally. And in return for being made famous
they are under obligation, knowingly or unknowingly,
to cooperate with those who made them famous. And
those who made them famous believe that they have
the right to make them even more famous by
murdering them if they don't cooperate.
True success is to see what they don’t want you to see
and to learn what they don’t want you to know before
you pass. The most truthful and forbidden documentary
ever published has been taken down from theirtube
countless times since its 2017 release: "Europa The
Last Battle". Watch and share the full 10-part series at
archive-dot-org while you still can!
We have to tell the children the truth ....
It is not very popular, but Jesus Christ made everything and everything in the Bible is true. Jesus Christ is the 'Axis,' the One on Whom everything turns.
@@kenshiloh It is very popular.... many believe that everything in the bible is true. Jesus Christ is the Way, the Truth and the Life. All truth leads to Christ.
Doh! Right you are.
So weird, the two voices are hard panned and that too, opposite to where they are sitting.
This guy's in a heck of a lot better shape than Syd Barrett. Why, better drugs?
When I was 16, around 1972, I would go to see bands at the Corn Exchange in Cambridge and when we were queuing outside we often saw this guy walking round who looked like he was just one of the local drunks. People would nudge each other and say that's the guy who wrote all Pink Floyd's stuff, Syd Barrett. I have often wondered if that was really him, during his lost years.
When Jimmy was in the Army he's locked himself in the barracks room for 8 9 10 hours 15 hours and do nothing but plays guitar
Anyone who stuck knives in his keyboards gets my respect. Great interview.
Wasn't that Keith Emerson of Emerson Lake & Palmer?
@@bholaoates1542: YES !!!
Naught 4Sale and when Keith was in the Nice.
Terrible interview, terrible interviewer!