Jimi Hendrix 07/04/1970
Set I
Fire
Lover Man
Spanish Castle Magic
Red House
Room Full Of Mirrors
Hear My Train A Comin'
Message To Love
All Along The Watchtower
Freedom
Foxey Lady
Purple Haze
Hey Joe
Voodoo Child (Slight Return)
Stone Free >
The Star Spangled Banner >
Straight Ahead
Hey Baby (New Rising Sun)
Lover Man
Spanish Castle Magic
Red House
Room Full Of Mirrors
Hear My Train A Comin'
Message To Love
All Along The Watchtower
Freedom
Foxey Lady
Purple Haze
Hey Joe
Voodoo Child (Slight Return)
Stone Free >
The Star Spangled Banner >
Straight Ahead
Hey Baby (New Rising Sun)
Set II
Set III
Comment
Atlanta International Pop Festival
Collectors With This Show
| User (active/rating) | Media / # | Show | Sound | Details | DB Source | User Source |
|---|---|---|---|---|---|---|
| wes meyette | / | View | ||||
| Michael D. | FLAC / | View | ||||
| michael kass | / 2 | View | ||||
| randy walton | cdr / 1 | a | View | sbd | ||
| Notes: | 66 minutes | |||||
| Gary K | cdr / 1 | A | A | View | SBD | |
| Jack Warner | FLAC / 1 | View | 21313 | MST>CD | ||
| Notes: | From oop Stages box set | |||||
| Marty | CDR / 2 | View | 5 source mix - "First Row Fireworks II" | |||
| MrSteve | cd / 1 | View | ||||
| Notes: | mpeg/video | |||||
| Brad Peck | DVD / 1 | View | ||||
| IMABAJIM | DVD / 1 | View | ||||
| Notes: | PROSHOT ,, REAL NICE ,, A- GRADE ,, 59MIN | |||||
| Brandon Moeller | CD-R / 1 | View | ||||
| Notes: | Received in a trade. | |||||
| Brandon Moeller | CD-R / 1 | View | ||||
| Notes: | Received in a trade! | |||||
| Adam | CDR / 1 | View | SBD | |||
| John | CDR / 1 | View | ||||
| Dwayne | cdr / 1 | View | SBD | |||
| jimiagogo | CD / 2 | A | View | Soundboard | ||
| Marc Ciccarelli | SHN / 1 | View | 2nd gen from narrow stereo mixdown | |||
| Douglas Tunstall | / 1 | View | VIDEO Pro Shot > ?? > DVD | |||
| Notes: | VIDEO Pro Shot > ?? > DVD | |||||
| ToolMobb | DVD / 1 | View | ||||
| Decky | DVD / 1 | A | View | |||
| Notes: | 59min(Pro)"Atlanta Pop Festival" | |||||
| steelerr | cd / 1 | View | ||||
| shadow121603 | Flac / 2 | View | Stereo SBD Recording "Atlanta" - Not sure of which label this is, but it is not from the "Stages"... | |||
| Notes: | Stereo SBD Recording "Atlanta" - Not sure of which label this is, but it is not from the "Stages" box set. | |||||
| Brian | DVD Video / 1 | View | ||||
| kindnoodles/chris helmick | cdr / 1 | View | 21313 | |||
| PeaceTrader | DVD / 1 | View | ||||
| Avatar | cdr / 1 | View | ||||
| Phil Shrout | VCD / 1 | A | A | View | Atlanta Pop Festival | |
| Phil Shrout | DVD / 1 | A | A | View | ||
| Notes: | Full Menus & Chapters | |||||
| Damian | DVD / 1 | View | ||||
| Notes: | To be circulated with supplemental audio, stored on DAA 362 Technically, the date should be July 5 as it was after midnight on the Saturday night when Jimi took to the stage. 1. Fire 2. Lover Man 3. Spanish Castle Magic 4. Red House 5. Room Full Of Mirrors 6. Hear My Train A Comin' 7. Message To Love 8. All Along The Watchtower 9. Freedom 10. Foxy Lady 11. Purple Haze 12. Hey Joe 13. Voodoo Child (slight return) 14. Stone Free 15. Star Spangled Banner 16. Straight Ahead 17. Hey Baby (new rising sun) 1-9, 11-17. Audience, 91.52, G+ 1-7,9-17. (Space mix) Soundboard, 90.00, VG+ 8-17.Soundboard, 46.32, E The Atlanta Reel DVD Edited by Kendall M. Cox Five audio sources were used in this DVD - the original laserdisc audio, the out-of-print commercial release Stages, the stereo soundboard traders' CD called "The Atlanta Reel", the stereo audience recording, and the "Space Mix". The audio begins with the audience tape, mixed into Stages for Jimi's intro, then the LD audio for most of Fire. SCM is from Stages, the intro to Red House is from the Space Mix soundboard, but after the first few bars it's all LD. The intro to AATW is patched with the audience tape, then it's Atlanta Reel on through the end of Hey Baby when we rejoin the audience taper. The main menu uses Freedom from the Atlanta Reel, the submenus are Room Full of Mirrors and Message To Love from the audience recording. Video: Atlanta Japanese Import Laserdisc -> Digital8 -> iMovie Mastered with iDVD 4.01 using Best Quality setting Big thanks to Dave G. for the Atlanta Reel FLACs, Ken T. for his iDVD troubleshooting, and Grasshopper for all the encouragement. Please distribute this DVD will all the files that came with it, not just the video. The extras file should have the following subdirectories: Atlanta Reel FLACs Memphis 69-04-18 APEs Pictures Memphis is a whole 'nother story, but here goes the short version: The taper had a CD made at a studio from his master cassette (yes cassette not reels). He loaned me this CD to pass around to the trading community. I originally passed it around as Audio CDs, but I kept the raw AIFF files I ripped on my Mac. These APEs are made from SHNs I made from WAVs which I made from those AIFFs - in other words, they have not been burnt to CD aside from the original CD from the taper. Got it? Good. For Trade Only - Not For Sale - Pass It On, Pass It On, To The Young And Old... From Chris Dixon's 30th Anniversary Series © C S Dixon July 4, 2000 marks 30 years since since Jimi's 1970 performance at the Second Atlanta International Pop Festival, at the Middle Georgia Raceway in Byron, Ga (about 90 miles from Atlanta). In truth, the date of Jimi's performance was July 5 since he went on after midnight on Sat. night, but this show has become so linked in Jimi lore to Independence Day '70 that most think of it that way. Crowd estimates are in the 400,000 range and with Jimi's performance in the middle of the weekend it's pretty safe to say this was his largest one time American concert audience. Woodstock may have had as many, or more, people at its peak, but the crowd was much smaller when Jimi played Woodstock on Monday morning (in a coincidence, it's said that the Monday morning duties at Atlanta Pop fell to Jimi pal Richie Havens, who'd opened Woodstock). There have been claims that Atlanta was Jimi's largest crowd ever, though most estimates that I've seen put Isle of Wight's attendance a little higher. Jimi & Co. turn in a lengthy but uneven set. The conditions at Atlanta Pop were notoriously brutal, with daytime temperatures well over 100 degrees and humidity to match (the liner notes of the 'First Great Rock Festivals of the 70s' album containing selected Atlanta Pop performances (but not Jimi's) said that to duplicate actual conditions, the record should be "played in a sauna"!). The day of traveling to the site and waiting around must have been wearying to the band (no luxury air conditioned tour buses or MTV 'hospitality suites' back then!), and the heat and/or temperature changes in the wee hours could have contributed to the tuning problems that dog Jimi throughout the show (the gear may well have sat in an oven-like closed truck all day). At times in the video Jimi looks very disgusted with the performance because of the tuning problems, though other times he seems in good humor talking to the crowd and appears/sounds able to get lost in the music during many sections. Jimi's tone seems quite trebly at times, and the tonal attack during much of this set leads me to wonder if some JBL speakers began to mix in with the stock Celestion speakers in his Marshall cabinets around this time (then again, could've also been the mic placement on whichever one of Jimi's 24 speakers ((6) 4x12 cabs) that got miced!). Also, at this gig we see some large Altec Lansing monitors, the same type that appear in Jimi's later shows. Either the sound company (said to be Hanley sound, of Woodstock fame) happened to be using the monitors Jimi would soon tour with, or the band had just bought the gear. Atlanta Pop, being one of the last from the rock festival heyday, was a high profile gig and Jimi's generous 90 minute set was professionally filmed and recorded. A video with about an hours worth of Atlanta Pop material was released in Japan (complete with subtitles for Jimi's stage comments) and circulates widely, but the whole concert film has yet to be seen. The audio exists in excellent quality soundboard, as it was recorded to multitrack. As is so typical with Jimi's body of work, this show has been released in a piecemeal fashion over the years, with the largest chunk appearing on disc 4 of the out of print 'Stages' box set (11 of 17 songs, albeit out of order). That set had a mix that was a bit lopsided (Jimi center, bass and drums to each side) and with extra echo on Jimi's voice (and the audience level manipulated and/or added for dramatic effect). A better mix exists of the last half of the show and, not coincidentally, the 1 inch 8 track master reel of this same material (from 'Watchtower' on) was seen for sale on the open market some time back. There are a few mix variations of the show or portions thereof floating around (one has a strange delayed reverb in one channel only!) but it's nice to have this from soundboard in any case (there's also an audience tape in circulation). (Setlist): Fire; Lover Man; Spanish Castle Magic; Red House; Room Full Of Mirrors; Hear My Train; Message To Love; All Along The Watchtower; Freedom; Foxy Lady; Purple Haze; Hey Joe; Voodoo Child (SR); Stone Free; Star Spangled Banner; Straight Ahead; Hey Baby • Jimi says "Thank you for waiting...", makes some off-mic comments ending with "I can't hear nothing..." as he returns to the mic, and introduces the band (with himself, as always, on "public saxophone"). Launches into 'Fire', the band a little stiff but getting it together as things progress. We hear Billy singing on the chorus very faintly (we see him fairly infrequently in the video, sporting an appropriate 'stars n' stripes' motif shirt). Jimi loosens up a bit on the solo, and continues to use the whammy behind the main riff after the solo and at the end, giving the impression of two guitars, as only Jimi can, by applying whammy to the feeding back lower strings between phrases, bringing them back to pitch just before playing the riff, then dropping down again! Wild... • Jimi says "I hope it isn't too loud for you ...(waits a beat, with sly grin)...'cause if it is, we can always turn up...". Introduces 'Lover Man' by saying "There's a whole lot of girls running around loose 'cause their old man is in the army...(and watch out because here he comes, etc)". Jimi uses the Univibe on the solo. Ad libs a few extra words at the end and finishes with solo coda, very trebly with wah. • 'Spanish Castle Magic' gets underway with Jimi missing a chord during the first line of verse, prompting a "damn..." from him during one of the silences. He sneaks in a tune up and some messing about above the nut just before the solo, resulting in a 'ping' so maybe the low E string had come off of it's string tree? He settles in for the solo and moves through some flowing legato lines and some faster riffing. At 2:55 he quotes the showtune 'The Breeze and I' for a few bars, ending in a countryish bend. After a blast of wah-inflected soloing he does the "Hang on my darling..." verse at 3:35. Though the guitar's top strings are out of tune (not good during SCM, where a great many riffs are 'answered' with the open E and B strings), Jimi forges on with a little more soloing before ending around 4:15. BTW, the answering open E and B strings at the end are seen in the vid to be plucked with the fretting hand as it falls from the neck, his picking hand gesturing in the air. Too cool. • 'Red House' played again this night with the Strat, and we see in the video that he's been using the white Strat to this point. He takes it a bit slower, and though the guitar's a little out of tune he has the time to linger on each bend and instinctively compensate. Uses the whammy behind the start of the "wait a minute something's wrong" verse. Solo starts fairly cleanly but he gives it the gas over the course of two verses, with Mitch pushing the beat toward a double time feel. On the third round of 12 bars the band drops back and Jimi does some 'talking guitar' with the wah (yeah, yeah, Jimi's guitar always talked, but it's especially vowel-like here). The earlier aggressive soloing has put the guitar more out of tune and Jimi struggles a little more during the last verse, shaking his head a couple of times. After the song, he is seen to take off the guitar and walk behind the amps for a word with a crew member ("But I'm sorry Jimi, no such thing as guitar techs and strobe tuners in 1970...") before emerging with the black/maple board Strat, which he would use for the remainder of the show (though, as we'll see, the tuning gremlins aren't done with our man....). • Jimi introduces 'Room Full of Mirrors' as a "..thing we're gonna have on the LP..". The start is a little ragged but they settle into the groove with a subtle shift to a half-time feel going into the verse. Jimi solos with the wah at 1:30, the sweeps of the wah and Univibe washing up against each other. He does some vocal/guitar scatting, then signals the band to a stop at 2:50 and does a wild solo coda, then switches gears after the last crashing chord to wind up with a few mellow chord variations. This is the last recorded US performance of RFoM, though he'll play it 3 more times in Europe come Sept. In the interim he would tinker with the 11/69 BoG track at Electric Lady, adding overdubs and completing a rough mix. • 'Hear My Train' taken a little slower this night and gives Jimi another chance to get lost in the blues. He adds the Univibe just after the start and does a little exploration but moves quickly to the verse at :55. The main solo comes at 2:55 and takes on a very smooth midrange-y tone, the more trebly attack seemingly tempered by the fuzz and/or tone controls and/or pickup selection at the guitar. At 3:00 he alternates fretted notes with open strings and at 4:30 we hear him experiment a bit with the Univibe speed pedal. He uses the wah briefly then does some sustained whammy work, moving to the 'wobbly' plucked notes as oft heard on 'Machine Gun' (BTW, this is the second of three consecutive recorded '70 gigs where MG does not appear). He does an unusual modal run at 5:50 then runs through some variations on the main riff, mixing in some chords and open strings, and settling on a 2 chord variation which he continues using behind the final verse. He switches the wah in and out for accents in the last chorus and uses it for the 'Gloria'-style chords after the verse. A little more soloing, without wah and featuring some sustaining lower register soloing leads to a final vocal refrain and end at about 9:30. • The bands flags a little in energy with a slightly slow 'Message To Love' (hey, it was a hot lazy southern night...). The solo is kept quite short. Mitch stops playing for the first 8 bars of the bridge whereas he more typically played through (I always liked it better with the stop, ala the BoG album...all the more drama when the drums re-enter!). • 'All Along The Watchtower' is next, our first soundboard recording of Jimi playing the song since the original Electric Ladyland track was recorded in early '68. Jimi accidentally starts it too low on the fretboard and plays until he starts to sing the first line, then corrects the key and starts the verse over with a preface of "As I was saying...". Nice solid version, even though he does forget a few words here and there. This is our first chance to actually *see* him play this song, and the video confirms that he imitates the recorded slide break with just bare hands and whammy! Reprises a variation on the opening line at the 'fade', singing "gotta get away, gotta get away from here...". • Fresh from studio work, 'Freedom' shows tight ensemble playing throughout, though Jimi does not stray as far from the rhythm work in the middle section as in some earlier renditions. The soundboard shows off some especially nice ride cymbal work from Mitch during the first chorus. • Jimi thanks the crowd "...for the last four years..." and dedicates 'Foxy Lady' to "..the girl with the purple underwear...". Again we could be hearing Billy singing very faintly on the verse, answering "...foxy...". Some climbing unison bends (ala 'Manic Depression') behind part of the final verse. Jimi ends with a mic stand slide, then does a good 20 seconds of solo coda, entirely one handed, before the last chord. • Jimi tells everyone to stand up for a "..happy birthday song for America..." and he plays the opening line of 'Star Spangled Banner', but for whatever reason he switches immediately to the opening riff of 'Purple Haze'. We hear climbing unison bends going into the verse, and he mimes kissing the sky after the appropriate verse line. The solo here is played almost entirely one handed (it probably happened fairly often, but we rarely have film evidence!). Another long solo coda, then he restates the opening guitar line. Just before the end he's seen fretting a note with his fingers coming down from *above* the neck, shaking it for all the vibrato it's worth! • 'Hey Joe' gets a short mellow solo intro that's reminiscent of 'Hey Baby'. Hints at 'I Feel Fine' early in the verse, quotes it outright after the first "..messin around.." line, then flirts with it again during the last verse where it morphs into a country-style bend! The solo features a very smooth midrange-heavy tone. Jimi's tuning seems to drift a little here, and he shoots the guitar a couple of dirty looks as he sneaks in a few on-the-fly tuneups. • Jimi says "I hope America has a million more birthdays...and there are concerts for each one...thank you and goodnight...", plays a snatch of the opening guitar figure, then launches into the 'scratchy' muted wah intro to VC(SR). The band is locked in nicely here, Jimi taking a long and adventuresome solo starting about 1:55. At 2:50 he punches the wah in and out for a staccato effect. At 3:25 he pulls back for some clean low register riffing, sort of a psychedelic John Lee Hooker vibe! At the end of the last verse he repeats "If I don't see you no more in this world..." twice. There's a wild snare roll by Mitch going into the last solo, with the guitar trebly as if the wah is in a fixed position. After some high speed riffing Jimi plays a nice little moving chord variation at 5:45, and the band stops at 6:00 for some muted wah as in the intro, with a few more variations. Finishes off with a little dental work. We hear instruments being unplugged and some chanted calls for "more!" before the cheers increase, suggesting that the music hereafter is an extended encore (something Jimi rarely did, but this was a unique situation). • After complaining that he can't see anyone because of the spotlight (there appears to have been very little stage lighting save the follow spot(s)). He jokes a little in a funny voice after the light is turned off him for a moment, then introduces 'Stone Free' with a "...hope you remember it...". He does little more tuning, looking a little displeased while doing so, then starts the song with the 4 climbing harmonics that we've heard open the more recent renditions. Once he's into the solo at 2:10 he's able to work around the tuning problems and gets lost in the music, Billy and Mitch tight behind him. Mitch spins some jazzy rolls and accents around the beat, and it almost sounds like a Cream jam in places. At 3:35 there seems to be a short, spontaneous call n' response between the guitar and the tom-tom rolls. He does lots of string bending, grabbing hard with the film showing his thumb and fingers touching each other from opposite sides of the neck regularly! At 4:25 he does some sliding octaves, then some fast pull-offs as he goes into the last verse. Hits an out of the ordinary (Jimi, ordinary?) final chord... • ...and launches straight into 'Star Spangled Banner'. We hear what sounds like the pop of fireworks, and maybe Jimi saved the song after the earlier teaser, waiting for a fireworks cue (on the other hand, some accounts have the fireworks going off elsewhere in the show...). Anyway, he attacks SSB with the wah, throwing in a number of melodic embellishments and his usual 'war zone' effects (after reaching down to adjust his pedals, as seen in the vid). The final climbing chords, with some unique voicings, alternate with a couple of high speed fills... • ..the last of which serves to segue straight into 'Straight Ahead', it's opening lines a bit more arranged but the guitar just that much more out of tune from the SSB manipulations. At the song's previous public airing (Baltimore 6/13) Jimi had been between lyric 'drafts', singing only two lines at that show, but in the interim he has come up with the lyrics which would be used on the familiar studio version (this too would get considerable work at Electric Lady during the summer). The intro is played with fuzz and/or overdrive but he cleans it up for the verse. Band seems to be getting a little tired, though maybe they're distracted by the folks almost literally waving sparklers in their faces at the lip of the stage! Jimi does a decent solo, with a clever arpeggiated line standing out at 2:35. At 3:30 he does the main riff w/ wah and he sings the "hello my friend..." as the last verse instead of the first verse it would become on the studio cut. They end it on an E chord... • ...and Jimi continues to strum the E, tuning a little as he plays. He starts the worked-out 'Hey Baby' intro with Billy. He has smoothed out the arrangement since the songs last outing at Berkeley but sadly the guitar is a little too far out of tune for the clean, delicate chord voicings he's using and, even worse, the D and G strings are among the worst offenders and since they're in the middle of the neck it's tougher to work around them. Jimi ends the intro and moves to some flamenco-flavoured lines. It's here that the guitar goes *way* out of tune, either by itself or because he's bumped the wrong tuning key as he's reached for a quick tuneup (no footage of this part, mercifully I suppose...). We hear voices off mic, maybe even the band, reacting to the sour notes with pained "ooh"s. He attempts to go into the main Am-G-F progression of 'Hey Baby' but it's hopeless as the guitar's tuning is just too far gone (maybe the most 'out' I've ever heard on a Jimi tape, and that means *out* - only the 3 Feb 68 'Red House' comes immediately to mind as close....). Jimi soldiers on for a little longer, managing a few interesting single string lines (and some unintentional pan-tonal twists) but it grinds to a halt without Jimi attempting any of the vocals. Painful to hear, but not as painful to me as thinking how Jimi must've felt (there are number of points in the show where it's 'Wince Along with Jimi'...). This is the main reason why this show will probably never be released truly complete (though a proper compilation would still be welcome). A very anti climactic end to a show that, while flawed, does have some high points. Not only did Jimi play this wee hours marathon set, but they then traveled to Miami for a concert *later that evening*! Jeez, no wonder he was so sick of the road.... Chris Mark Jepson presents "..And now for our next song." ~~All mispellings, contractions, punctuations, omissions, are all on purpose. I have to go over n over it to get it right in the first place, so everything is subsequently triple double checked.~~ Atlanta Pop Festival July 4 1970 [mc=Jimi Hendrix!"] "Happy birthday, happy birthday. Give us about a minute and a half to tune up ok? _ _ _ _ . Jimi off mic="Hey hey Gene, make this louder, _ _. I can't hear the the pa system. I can't hear nothin. [dude #1=Huh? they are! Yeah they, they're recording everything."] [dude #2=Brian says they aren't supposed to be recording.."] "Testin 1 2 3 testin testin. It's gonna take a while to like get into it but like ah we have all year so. [aud mbr yells=C'mon Jimi!"] "I'd like to introduce the new member to the group, it's Billy Cox on bass. [twang] And Mitch Mitchel on drums. Yours truely on public ahh saxophone we can call it that. ya ready? 1,2,1,2,3 FIRE "Thank you. [twang, twang] We really hope it isn't too loud for ya, because if it is we can always turn it up hehe. Like to do another thing, goes somethin like this here. Aye dig, there's a whole lotta you girls runnin around loose because their old man's in the Army and so forth and when he comes back, he's gonna find you up there with your other man and somebody's gonna get, what? LOVER MAN [spoken="It's called Here Comes Your Lover Man.] SPANISH CASTLE MAGIC "Yeah ok we'd like to slow it down a little bit n quiet it down and ah do a [twang] slow blues for the evening, a thing called Red House. RED HOUSE "Sorry for the tuning, it'll only take a second [twang twang] Like to do a thing that, that we're gonna have on our new lp, a thing called Room Full Of Mirrors. ROOM FULL OF MIRRORS [screetch twang] [p.a. leaking=This is /Harky\, over. No I haven't"] [crowd laughs] "Alright hello. How ya doin', hello. [twang] Start all over again, hello? [crowd collectively says=Hello!"] [guitar laughs] [twang twang] HEAR MY TRAIN A COMIN MESSAGE TO LOVE [guitar="thank you"] [twang] "Yeah let's play somethin that _ _ right now. See if we can get inside, get his head together. ALL ALONG THE WATCHTOWER FREEDOM "Say thank you very much for the last four years. And also dedicated to the girl over there with the purple underwear on, yeah. FOXY LADY "Alright everybody stand up 'n get off your, your thing and stand up on your feet because we'd like to do ah a happy birthday song to America, thing that goes somethin like, [twang] little thing they used to brainwash us, make us sing it in school. Let's all, everybody, stand up 'n and sing it together, with feeling. PURPLE HAZE "Thank you very much, we can look at the fireworks now. I'd like to say thank you very much for ah staying. Ah next time, like to see ya again soon. [twang] HEY JOE "I hope America has about a million more of these kind of birthdays, [twang] and ah concerts, and ah so forth at every one of them. [twang] Thank you very much and goodnight. VOODOO CHILDsr [aud chant=We want Hendrix, we want Hendrix, we want Hendrix..."] "Thank you very much you all are really kind. Ok? Ah you know if I could see you, we could get it together, but that light is blindin me man, it's hard to play when you can't see nobody you know? Now I can see you, yeah right, yuuahuhahhh. [twang] I'd like to do a thing called Stone Free to help ya, remember that one. STONE FREE/ STAR SPANGLED BANNER/ STRAIGHT AHEAD aka PASS IT ON / HEY BABY [Mitch?="Relax your neck.] This arrangement © Mark Jepson, 02 July 2003 | |||||
| Damian | DVD / 1 | View | ||||
| Notes: | Same disc as Newport | |||||
| Evenstar | DVD / 1 | View | Proshot | |||
| Music Man | VCD / 1 | B | B | View | ||
| Notes: | Pro Shot. | |||||
| Hopper's DVD List | DVD / 1 | View | ||||
| Steve O'Malley | DVD / 1 | A | A | View | ||
| Steve O'Malley | CDR / 1 | A | View | |||
| Notes: | from OOP box set Stages | |||||
| joebeacon | cdr / 1 | View | ||||
| Wiserphil | / 1 | A | View | |||
| Billywantsshows | CDR / 2 | A | A | View | ||
| Hopper | CDR / 1 | A | View | |||
| Jeff S | cd-r / 1 | A | View | sbd | ||
| Notes: | alt. set | |||||
| catherine | cdr wav / 1 | A+ | A+ | View | ||
| Notes: | sbd from Atlanta Pop Festival..sounds fantastic! One of his last shows | |||||
| sonny gable | / 1 | View | ||||
| Notes: | DVD | |||||
| BEASTAFA | DVD+R / 1 | A | View | DVD+R | ||
| Notes: | Pro-shot. | |||||
| Jamie | DVD / 1 | A | View | PRO | ||
| Notes: | NTSC - pro shot | |||||
| Curt | DVD / 1 | View | ||||
| Notes: | Deer5001 version | |||||
| ELBAAMRANI | DVD5 / 1 | View | Video Source: Low Gen Vhs > ? Author > DVD | |||
| Rachel Ford | cdr / 1 | a | a | View | ||
| Notes: | i have been informed this is missing 2 tracks on it, great show nonetheless!!!!!!!!!! | |||||
| josh griffis | / 0 | View | ||||
| Jordan Jacobs | Flac / 0 | View | xx | |||
| Notes: | First Row Fireworks v2.0 =Vibratory 3 Source Merge SBD + AUD Matrix > WAV > FLAC | |||||
| Slammer | CDR / 1 | View | ||||
| pat gossage | cd / 1 | a | a | View | ||
| sonny gable | / 1 | View | ||||
| Alan (Slydell) | Audio / 2 | View | SBD > "Stages" Boxset liberated boot | |||
| Alan (Slydell) | VCD / 1 | View | No lineage info | |||
| rain_king | DVD / 1 | View | ||||
| rain_king | FLAC / 2 | View | SBD recording | |||
| Chefb | FLAC / 2 | View | ||||
| Notes: | with extra outtakes | |||||
| Jon | DVD / 1 | View | ||||
| Notes: | Pro Shot | |||||
| Mike Tucc | CDR / 1 | B+ | View | AUD | ||
| Notes: | Possibly incomplete setlist due to conflicting reports of actual setlist played | |||||
| BH | flac / 1 | View | ||||
| Scott Taylor | DVD / 1 | View | ||||
| CAL TIMPF | CDR / 1 | View | ||||
| Todd | CD / 1 | A+ | View | Soundboard | ||
| Brion Green | DVD / 1 | View | SEE TECH NOTES FOR LINEAGE | |||
| Notes: | 3.58 GB's | |||||
| Scott | CDR / 1 | View | ||||
| clay pelland | / 1 | View | DVD | |||
| Notes: | DVD | |||||
| barry bryson 2 | cdr / 1 | View | ||||
| ken steinberg | / 1 | A | A | View | ||
| Notes: | 2nd Atlanta International Pop Festival | |||||
| ManWithTheHorn | 1 x dvd / 1 | A | View | |||
| Notes: | 2nd Atlanta Pop Festival. | |||||
| Darek | DVD / 1 | PRO | View | - | ||
| Be Like What | DVD / 1 | View | ||||
| Chris Bct | cdr / 1 | A | A | View | ||
| dak | cd / 1 | View | ||||
| VinnyF | / 1 | A | View | |||
| Goldman | DVD / 1 | View | ||||
| rusty_spoons | DVD / 1 | A+ | A+ | View | ||
| Notes: | PRO-Shot, fantastic. Remastered DVD, Not a VHS-transfer(#54b) | |||||
| Jeff | VCD / 1 | A | A- | View | ProShot | |
| Notes: | Soundboard Audio | |||||
| Jon | DVD / 1 | A- | View | Low Gen Vhs > ? Author > DVD | ||
| Notes: | Good quality for the date, up close shots but it look a little bit blurry, definetley good still, sound is great | |||||
| Mike Sullivan | DVD / 1 | View | ||||
| Mallett | CD / 1 | View | ||||
| Joe Leal | cdr / 1 | a | a | View | 'stages' bootleg disc 4 | |
| phil kelly | CDR / 2 | A | View | soundboard | ||
| Notes: | soundboard | |||||
| noah phence | / 0 | View | ||||
| Toto | DVD / 1 | A+ | A+ | View | Video: Pro Shot > Low Gen VHS / Audio: SBD | |
| Reverend Alex Lagusis | / 0 | View | ||||
| LARRIDER | CDR / 2 | A | View | |||
| Corey | cdr / 1 | a | a | View | ||
| Rick Ford | cdr / 1 | A+ | A+ | View | ||
| Notes: | i have been informed this is missing 2 tracks on it, a great show nonetheless!!!!! | |||||
| Sean McIntyre | DVD / 1 | View | DVD | |||
| Notes: | PRO SHOT DVD | |||||
| chooglin | / 0 | View | ||||
| Unknowndude | DVD / 1 | B | B | View | pro-shot DVD | |
| Notes: | Decent for being sourced from an aging tape. | |||||
| Matt | / 0 | View | ||||
| Michael Drayer | VCD / 1 | View | ??? Video | |||
| Jonathan Steckler | / 1 | View | ||||
| MeltN2aDream | dvd / 1 | View | pro shot DVD video | |||
| MeltN2aDream | dvd / 1 | View | pro shot DVD video | |||
| EricS | CDR / 1 | View | ||||
| RnW | CD-R / 1 | A+ | View | |||
| Notes: | Set 2: ALTERNATE SET 1: Fire, Lover Man, Spanish Castle Magic, Foxy Lady, Purple Haze, Hear My Train A Coming, Stone Free, Star Spangled Banner, Straight Ahead, Room Full Of Mirrors, VooDoo Child (Slight Return) Comment: Hendrix, Cox & Mitchell: Jimi Hendrix, Mitch Mitchell, and Billy Cox. "2nd Atlanta International Pop Festival". 4th of July. | |||||
| mike griffin | / 2 | A | View | |||
| Todd French | SHN / 1 | View | 21313 | Out-of-print box set: Jimi Hendrix Stages. Reprise Records 9-26732-2 (1991)>EAC>SHN | ||
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