(2) New books I can’t wait to get into,
👏🏿👏🏿👏🏿👏🏿👏🏿👏🏿👏🏿👏🏿👏🏿👏🏿👏🏿👏🏿👏🏿👏🏿👏🏿👏🏿👏🏿
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Our busy weekend of gigging was fun. Here’s our version of ‘Purple Haze’ performed yesterday at The Brickyard in Carlton.
We have added lots of 2026 dates to the site. Feel free to check them out here…
https://goodtimesroll-notts.tumblr.com/
See you soon x
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🔥😀👍Gear is Here: Have fun, own stuff U love
reverb.com/shop/jamesguitarshoppe
“The music you listen to becomes the soundtrack of your life.” ~ Mike Bloomfield
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Gonna force everyone who sees this post to see this beautiful frame I made for animation class
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december 26
1966
Jimi Hendrix writes the lyrics to “Purple Haze” in his dressing room between performances at London’s Uppercrust Club. He claims the song is not about drugs, but inspired by a dream where he was surrounded by a purple haze.
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🚨 Hendrix Classic Albums in a Major UK Rights Battle with Sony
The legendary music of The Jimi Hendrix Experience is now at the center of a high-profile performers’ rights lawsuit in London. The estates of bassist Noel Redding and drummer Mitch Mitchell claim they deserve a share of the sound-recording copyrights and modern streaming royalties from the band’s iconic albums:
🎸 Are You Experienced
🎸 Axis: Bold As Love
🎸 Electric Ladyland
These records shaped the psychedelic era and continue to earn significant revenue decades after release.
📌 Why the lawsuit now?
The estates argue that contracts from the 1960s and early 1970s never anticipated digital music, streaming platforms, or modern exploitation models. Because of that, they say the original agreements don’t cover Spotify-era royalties.
📌 Sony’s Response
Sony claims the band signed agreements allowing exploitation of the music “by any method now known or hereafter to be known,” and that Mitch Mitchell and Noel Redding later settled earlier disputes in the 1970s.
Sony also warns that if the estates win, it could trigger a wave of lawsuits from musicians of the ’60s and ’70s — potentially disrupting the entire music industry.
📌 What’s at stake?
This case could influence:
• How music rights from the analog era apply in the digital age
• How streaming royalties are shared
• The interpretation of legacy contracts
• The future of performer rights
A truly significant moment for music, copyright, and creative rights in the streaming era.
📌 Contact @ipconsultinggroup-1 For a Free tailored IP insights and legal guidance:
📧 protect@ipconsultinggroups.com
🌐 www.ipconsultinggroups.com
📞 DC: +1 (202) 666-8377 | MD: +1 (240) 477-6361 | FL: +1 (239) 292-6789
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Jimi Hendrix Documentary, “The Film”: https://archive.org/details/jimi-hendrix-the-film
1 hour 40 min documentary
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… sound of rebellion …
Jimi Hendrix’s ’Woodstock’ 1968 Olympic White Fender Stratocaster, the most iconic guitar of all time
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sept 16
1970
Jimi Hendrix jams with Eric Burdon and War at the London club Ronnie Scott’s two days before his death. It’s the last time he would play music.
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On This Day In Music History- 09/06
September 6, 1970, marked the day Jimi Hendrix performed live for the last time at the Open Air Love & Peace Festival in Germany. The festival was meant to be Europe’s response to the legendary 1969 Woodstock, organized by Helmut Ferdinand, Christian Berthold, and Tim Sievers — all in their late 20s and early 30s pursuing a dream.
From the start, the festival faced major problems. Big names like Ten Years After, Procol Harum, and Joan Baez backed out due to low ticket sales. The Hells Angels also caused chaos, stealing and handing out tickets for free. Many acts couldn’t even make it through traffic jams and car breakdowns, including Colosseum and Cactus. On top of that, severe thunderstorms led to power outages and water standing on the stage.
For 17 hours, 20,000 people waited for Hendrix. When he finally arrived, some of the audience was frustrated and began booing, throwing objects at the stage. Hendrix responded with characteristic wit:
“I don’t give a f*** if you boo, as long as you boo in key.”
With that, he launched into Howlin’ Wolf’s Killing Floor, and gradually won the crowd over. Even as storms rolled in, risking electrocution, Hendrix remained on stage, delivering what would become a legendary final performance.
He closed the set with a poignant finale, performing Voodoo Child and saying:
“If I don’t see you no more in this world / Well I’ll meet you in the next one / And don’t be late, don’t be late / ‘Cause I’m a Voodoo Child / Lord knows I’m a Voodoo Child.”
Truly, Hendrix left everything on that stage — a performance of a lifetime, and a fitting, bittersweet farewell.
