Oil Well Bootlegs - RSC CD: Jimi Hendrix - Little Wing Oil Well

Jimi Hendrix - Little Wing
Oil Well – RSC 036 CD

1 Fire 3:40
2 Are You Experienced? 12:43
3 Little Wing 3:56
4 Voodoo Chile 6:28
5 Wild Thing 3:25
6 Like A Rolling Stone 11:45
7 Hear My Train A-Comin' 8:13

Note:
All songs by Jimi Hendrix unless noted
~~Live in Seattle, August 2, 1968~~
Recorded live at Winterland, San Francisco, CA, USA, October 1968

Fire recorded on October 12, 1968 - 1st show
Are You Experienced? recorded on October 11, 1968, 1st show
Little Wing recorded on October 12, 1968, 2nd show
Voodoo Chile recorded on October 10, 1968, 1st show
Wild Thing recorded on October 12, 1968, 1st show
Like A Rolling Stone recorded on October 11, 1968, 2nd show
Hear My Train A-Comin' recorded on October 10, 1968, 2nd show

Lineup:
Jimi Hendrix – guitar, vocals
Mitch Mitchell – drums
Noel Redding – bass guitar, backing vocals
Virgil Gonsalves – flute on "Are You Experienced?"
Herbie Rich – organ

This Oil Well version has a fine cover, fine quality.
Limited to 200 copies only. Due to its rarity and good quality, this disc is recommended.
The cover claims these are recordings from Seattle, WA 02.08.1968. In reality Hendrix played in San Antonio on 02.08.68, and these recordings are neither from San Antonio, Seattle nor 02.08.68. The only known Hendrix recordings from Seattle are those from Sicks Stadium 26.07.70. This album is a collection of songs recorded live by Jimi Hendrix Experience during the band's six performances at the Winterland Ballroom in San Francisco, California between October 10 and 12, 1968.
Read below for more informations!

Audio quality:

Quality content:

© Official released material:
This concert has been released officially on: "Live at Winterland" Box Set on September 13, 2011, by Experience Hendrix and Legacy Recordings.
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Hendrix at Winterland
This run of Jimi Hendrix concerts at Winterland, with Dino Valenti and then Buddy Miles Express opening, produced some of the most interesting Hendrix sets ever recorded. In mid 1968, as Hendrix had just released his monumental Electric Ladyland album, he began actively pursuing opportunities to jam with other musicians. He became more open to his improvisational abilities than at any other time in his all too brief career.

These shows capture Hendrix at his most exploratory, expanding the boundaries of his music and open to adding other musicians to the mix - in this case with no rehearsals. This new approach would eventually spell the demise of the Jimi Hendrix Experience as a band, but for a brief time, would open up inspiring new possibilities within the music. These sets illustrate this new improvisational approach that Hendrix was beginning to explore. Without exception, these Winterland sets offer fascinating glimpses into Hendrix's thought process and the new approach he was taking to his music in 1968

"Live at Winterland" Box Set
'Winterland' is clearly the centerpiece of the most recent wave of Jimi Hendrix re-issues, capturing the legendary guitarist and the original Experience at the height of their powers across a three night and six show October 1968 residency in San Francisco.
The long out of print, single-disc 1987 edition of this record has been expanded to a four CD (or eight LP) set that is smartly sequenced so as to both replicate the highlights of every show and still make sense in a single, if extended, listening session.
Most songs are performed twice, and staples such as 'Purple Haze' are performed up to four times each. But what shines through is how successful Hendrix, drummer Mitch Mitchell and bassist Noel Redding were at constantly emphasizing different aspects of these songs, altering the original riffs, tempos and rhythms just enough to make each performance its own unique creation.

In the extensive liner notes for this collection, which is filled with beautiful photographs of Hendrix in action, much is made of the idea that the timing for these concerts simply couldn't have better. The Experience has been together for almost exactly two years and grown nearly telepathic with one another on the concert stage.
Further, after a barrage of one-night stands in venues that frequently had poor P.A. systems, the band were thrilled to be able to stay in one place and stretch out with a series of shows in a venue with much better equipment. The fact that this all went down in San Francisco, the de facto center of the musical counter-culture movement, with audiences eager to follow the band down any path they chose couldn't have hurt, either.

Jimi and his rhythm section certainly rose to the occasion, delivering a series of strong and surprise-filled performances consisting largely of classics like 'Hey Joe,' 'Red House' (check out the 15 minute version from the opening night) and 'Foxy Lady.' They also made time for special setlist additions -- particularly on the later show of each night, according to the notes -- such as the rarely played 'Manic Depression' and a sneak peak at 'Voodoo Child (Slight Return),' which would come out as part of Hendrix's final studio album, 'Electric Ladyland,' a week later.

Much like the also recently expanded and re-released 'In the West' live collection (reviewed here), 'Winterland' betrays absolutely no signs of barrel-scraping. Near the end of the liner notes, Hendrix is quoted as saying that he was focused on "playing more of a pure-type thing, exactly what I feel at the particular time." His ability to do so repeatedly in a live concert setting, together with the fortunate circumstances and timing of this particular weekend, make 'Winterland' a fantastic listening experience.

Paolo Caru' review of Winterland Box
Finally. Every fan who loves and knows Jimi Hendrix cannot help but be happy.The San Francisco Winterland concerts (10, 11, 12 October 1968, two concerts per evening) are considered among the most beautiful of the Seattle southpaw.
In the 1980s Rykodisc had released a CD, Live at Winterland, which gave an idea of the value of those concerts. Nothing to do, however, with this box: four CDs, which cover almost the entire six evenings, with splendid audio quality. Kramer had told me, in the interview a few months ago, that he was working on these tapes and that they were magnificent. But I didn't think they were so beautiful. Endless jam sessions, epochal versions (there are two of Bob Dylan's Like a Rolling Stone that arrive at twelve minutes each and which alone are worth the price of the box). There are songs that rarely appeared in live versions: Killing Floor, Tax Free, Little Wing, Manic Depression. The six concerts have been repeatedly connected, but with audio quality rarely above sufficiency, now they feel as if they were recorded yesterday. In a nutshell, this is Hendrix's LIVE CONCERT, one of the most beautiful, but given the quality of both the sound and the performance, I think it's the definitive live.

I said about Like a Rolling Stone. Dylan's famous song had had a superb version in Monterey, but these two are far superior. And what about Killing Floor, a devastating blues by Howlin 'Wolf, where Jack Casady of Jefferson Airplane appears on bass: Jack, with Jimi and Mitch Mitchell, makes an incredible version. Hey Joe appears three times, one better than the other, as well as Are You Experienced, which in the execution of October 11th stretches beyond twelve minutes, in an exciting jam. Then we have Red House, more than 15 minutes of incredible sounds that mix, of jams that stretch in pure improvisation, of music that flows with great force from the leader's guitar.
Different from the other two. As well as Tax Free which, in the version of October 10, stretches almost up to sixteen minutes, becoming one of the most creative jam of ours.

Then there is also the tribute to Eric Clapton and Cream, with two beautiful versions of Sunshine of Your Love.They were evenings of great passion, strength, and brilliant expressiveness: Jimi was not yet afflicted by the problems that would have undermined his existence, he sounded free and creative as never before. Purple Haze, Fire, Foxey Lady, the classics are wasted, but Jimi does not throw away a note. Listen to Hear My Train A Comin, one of its most beautiful, long, creative blues. This textbook version, well above ten minutes, with continuous solos, detachments and restarts or, again, the vigorous Wild Thing of the Troggs, which certainly could not be missing, as well as Voodoo Child, Spanish Castle Magic, Lover Man.

Still young Voodoo Child marks the future of Hendrix: an even more creative future, without ties to anyone, free as air. The fluidity of the music, the continuous improvisations, the strength of man are just some of the qualities that Jimi had: the voice was perhaps not the best, but the guitar thrown and passionate was more than a voice, After listening to Wild Thing in its version, I can no longer listen to that of the Troggs and also Sunshine Of Your Love (version of 12) which reaches almost ten minutes, is so beautiful that it seems that there are even two guitars and that he you play with only two hands. Kramer did a work of the madonna, a work on sounds: it made everything extremely bright, current, new. It is almost difficult to believe that these recordings are from 1968, forty-three years ago, it is difficult to believe it. Little Wing, a pity that lasts only four minutes, is pure poetry, while Purple Haze appears three times and is always a force of nature. This box deserves five stars, we give it four because it is live, the five go only to work in the studio. But in this case the temptation to give the maximum is very high.

Of course, if he hadn't died so young, Hendrix would have reached extraordinary expressive heights: he would have done jazz, would have expanded his improvisations, would have gone through various musical genres, would have had no boundaries.
Listen to the longer versions of Red House and Tax Free that appear in this box, and you will realize how far it had come. He would have lengthened certain songs out of all proportion, he would have crossed his guitar with other protagonists, no matter what musical style.
Jimi was able to play everything. Absolutely all. And with a strength, a heart and a versatility that, after him, no longer had anyone, to such an extent.