Jimi: All Is by My Side

Line	From	To
This film contains very strong language	0:00:02	0:00:09
STAMPING, CLAPPING	0:00:21	0:00:23
DRUMSTICKS TAP A RAPID RHYTHM	0:00:25	0:00:27
CROWD MURMURS, SCATTERED BOOING	0:00:27	0:00:30
-PA: -'Ladies and gentlemen, please remain patient.	0:00:30	0:00:33
'We apologise for the continued delay	0:00:33	0:00:35
'in this evening's performance by the Jimi Hendrix Experience.	0:00:35	0:00:38
'We hope to bring you the show presently.'	0:00:38	0:00:40
STOMPING AND CLAPPING CONTINUE	0:00:40	0:00:42
'There's so much competition right now -	0:00:44	0:00:47
'Cream, The Who...	0:00:47	0:00:48
'No, no, no. No, no.	0:00:48	0:00:50
'I wouldn't - I wouldn't say competition, no.	0:00:50	0:00:53
'Well, do you think you're better than all of them?'	0:00:53	0:00:55
# Got a good reason	0:01:09	0:01:11
# Cos this is the season	0:01:13	0:01:14
CHATTERING	0:01:14	0:01:16
# To do that dance	0:01:16	0:01:18
# To get that groove	0:01:20	0:01:22
# I got that feel	0:01:24	0:01:25
# To get that groove	0:01:26	0:01:28
# I got that feel	0:01:30	0:01:32
# To do that dance	0:01:34	0:01:35
# Everybody	0:01:36	0:01:39
# Everybody, ha... #	0:01:40	0:01:43
Hey, sorry to bother you. Um, Linda Keith?	0:01:43	0:01:46
You are Linda Keith. Fantastic!	0:01:46	0:01:49
I was over there with my buddies. I knew it was you!	0:01:49	0:01:51
Can I have your autograph, please? Can you make it out to Ted?	0:01:51	0:01:54
Wouldn't you rather kiss?	0:01:54	0:01:57
# They're doin' it on the beat... #	0:01:57	0:01:58
Then you can tell your friends you've done the closest thing	0:02:00	0:02:03
to sucking a Rolling Stone's cock.	0:02:03	0:02:06
And that's what you really want, isn't it?	0:02:06	0:02:08
# Oh, let's dance Ha	0:02:08	0:02:10
# They're doin' it in the daytime	0:02:11	0:02:14
# They're doin' it in the night-time	0:02:14	0:02:16
# This is the night-time	0:02:18	0:02:20
# Hey. #	0:02:24	0:02:25
# You got it	0:02:33	0:02:35
MUSIC ENDS	0:02:41	0:02:42
SMATTERING OF APPLAUSE	0:02:45	0:02:47
CHATTERING	0:02:47	0:02:49
CHATTERING CONTINUES	0:02:55	0:02:56
Mark, can we go over, um...	0:03:00	0:03:02
-What do you say? -Well, I don't know.	0:03:04	0:03:08
-Nice set. -Thank you.	0:03:08	0:03:10
Listen, I'm here with a couple of my friends over at this table here...	0:03:10	0:03:13
in case you want to come over, grab a few drinks or something.	0:03:13	0:03:16
-WOMAN CHUCKLES MAN: -You got some lemons?	0:03:16	0:03:18
-Oh, sweetheart, I forgot the lemons. -No lemons?	0:03:18	0:03:21
Come on. You know you need lemons.	0:03:21	0:03:23
Gin, gin, gin, gin. Can you pass me the gin out there, please?	0:03:23	0:03:27
Not too much.	0:03:27	0:03:29
-I won't put too much in. -DOOR OPENS AND CLOSES	0:03:29	0:03:31
Howlin' Wolf?	0:03:38	0:03:40
Robert Johnson?	0:03:40	0:03:43
T-Bone Walker?	0:03:43	0:03:45
It's a promotional copy. It's completely fresh.	0:03:45	0:03:48
Whatever's cool.	0:03:48	0:03:50
I trust you.	0:03:50	0:03:52
Roberta.	0:03:52	0:03:54
-Dylan, huh? -Yeah.	0:03:57	0:03:59
-Well, I dig his hair. -CHUCKLES	0:04:00	0:04:02
Jimmy?	0:04:11	0:04:14
Do you want to try something?	0:04:14	0:04:16
# Well, I see you got your	0:04:22	0:04:24
# Brand-new leopard-skin pillbox hat	0:04:25	0:04:28
# Yes, I see you got your	0:04:31	0:04:34
# Brand-new leopard-skin pillbox hat... #	0:04:35	0:04:38
One thing.	0:04:40	0:04:43
First time, you don't look in the mirror.	0:04:43	0:04:45
All right.	0:04:47	0:04:48
# Under your brand-new leopard-skin pillbox hat	0:04:48	0:04:50
# Well, you look so pretty in it	0:04:50	0:04:54
# Honey, can I jump on it sometime?	0:04:54	0:04:57
# Yes, I just want to see	0:05:00	0:05:03
# If it's really that expensive kind	0:05:03	0:05:06
# You know, it balances on your head	0:05:09	0:05:12
# Just like a mattress balances on a bottle of... #	0:05:12	0:05:15
SONG STOPS	0:05:15	0:05:17
These guys are setting themselves on fire. You know?	0:05:23	0:05:26
Taking a stand for what they believe in.	0:05:26	0:05:29
Close your eyes for me.	0:05:29	0:05:30
-Really? -Yeah. Yeah.	0:05:30	0:05:33
-I really, really like it. -Yeah?	0:05:33	0:05:35
Of course I do, because it's your real name.	0:05:35	0:05:38
-Yeah. -You know, I think Jimmy James sounds very...	0:05:38	0:05:42
-Well, that's just... -Singsongy.	0:05:42	0:05:44
It's just for the act, you know.	0:05:44	0:05:46
Why do you need an act?	0:05:46	0:05:48
Well, I get on stage and I gotta perform.	0:05:48	0:05:50
Yes, why can't you just... get on stage and perform?	0:05:50	0:05:53
Why do you have to be a character?	0:05:53	0:05:55
-Just a thing, you know. -It's not.	0:05:55	0:05:58
It's not a thing. it's nothing. it's...	0:05:58	0:06:01
it's you just sort of standing up there with processed hair...	0:06:01	0:06:05
-and a leopard-print jacket. -I do think	0:06:05	0:06:08
-maybe that could be you. -It's not leopard. it's cheetah.	0:06:08	0:06:10
-Oh, really? -Yeah.	0:06:10	0:06:12
You know, Cheetah Club, cheetah jacket.	0:06:12	0:06:14
-Really? -Yeah.	0:06:14	0:06:16
I didn't get that.	0:06:16	0:06:18
Yeah.	0:06:18	0:06:19
You know what Johnson said?	0:06:19	0:06:21
You're going to have your cheetah jacket and you're going to be in hiding.	0:06:21	0:06:24
MARK: He said the suicides were tragic and unnecessary.	0:06:24	0:06:26
And I just really...I don't see the...	0:06:26	0:06:29
Why not? Why not?	0:06:33	0:06:36
Semi-literate kids are being...	0:06:36	0:06:38
-I know where this goes. -Where does it go? What do you mean?	0:06:38	0:06:42
Nowhere.	0:06:42	0:06:44
You're so serious. We're just-just having a good time, you know.	0:06:44	0:06:47
Do you think I'm wrong?	0:06:49	0:06:51
We all have situations. Yeah.	0:06:53	0:06:55
Do we?	0:06:55	0:06:58
Yeah, we do.	0:06:58	0:06:59
At least we have each other.	0:06:59	0:07:02
MARK: Most of my friends have burned their cards.	0:07:02	0:07:06
No, if you were done with...	0:07:06	0:07:09
the sort of cheetah and leopard-print...	0:07:09	0:07:12
..aspects of it all-	0:07:13	0:07:15
-You mean, done with Curtis? -Yeah, I mean... Mm-hmm.	0:07:15	0:07:17
I mean, why? Why would I want to...	0:07:17	0:07:20
I think that the act at the moment is perfectly adequate.	0:07:20	0:07:22
But I think that that's, um... the best thing that I can really say about it.	0:07:22	0:07:27
You can't get down on a man's hustle. That's his thing.	0:07:27	0:07:30
I'm not. I've got nothing against his hustle.	0:07:30	0:07:32
But...	0:07:32	0:07:33
how much hustle...	0:07:33	0:07:36
does it take to get you and your cheetah jacket booked into an empty club?	0:07:36	0:07:41
Well, that's how it is. Right?	0:07:41	0:07:43
RECORD STARTS You got Curtis, and it's a gig for me.	0:07:43	0:07:46
So I'm makin' the bread.	0:07:46	0:07:48
We all have our own situations.	0:07:48	0:07:50
Yeah, but if you were done with him?	0:07:50	0:07:52
-Do we? -You're high.	0:07:53	0:07:55
I'm-I'm asking you...	0:07:55	0:07:58
if you were done with Curtis...	0:07:58	0:08:00
what sort of music would you play?	0:08:00	0:08:02
I don't know.	0:08:02	0:08:04
It's like asking, if I had a spaceship would I go to Venus or Mars?	0:08:04	0:08:08
No, it's not!	0:08:08	0:08:09
I'm asking you, if you could play your music...	0:08:09	0:08:13
how would you do it?	0:08:13	0:08:15
If I could do things my way, like...	0:08:15	0:08:17
# I didn't know where to find my baby... #	0:08:17	0:08:20
I-I'd do that, you know. I'd just do something new.	0:08:20	0:08:24
You know, do my own thing. You know?	0:08:24	0:08:27
Yeah.	0:08:27	0:08:29
# When the sun set this evenin'... #	0:08:29	0:08:32
But I can't split Curtis now, so...	0:08:32	0:08:35
# I was steppin' in the same old place... #	0:08:35	0:08:38
It's his guitar, so I'll just...	0:08:38	0:08:41
I don't even have a guitar. You know?	0:08:41	0:08:43
BLUES ROCK PLAYS	0:08:43	0:08:44
BLUES ROCK FADES	0:09:01	0:09:03
MUSIC: Zadok The Priest by Handel	0:09:03	0:09:05
# Zadok the priest	0:09:15	0:09:20
# And Nathan the prophet... #	0:09:20	0:09:26
MUSIC STOPS	0:09:26	0:09:28
PIPES GROANING	0:09:30	0:09:32
Jimmy.	0:09:32	0:09:34
Jimmy!	0:09:34	0:09:35
I want to go to the Village with you.	0:09:35	0:09:38
There's nothing down there.	0:09:38	0:09:39
Can I borrow me a couple of bucks?	0:09:39	0:09:41
What?	0:09:41	0:09:43
I'm not going to be able to play tonight, so I need to eat.	0:09:43	0:09:45
You spent my last dollar buying that goddamn record.	0:09:45	0:09:48
-It's Dylan. -It is my money.	0:09:48	0:09:51
And you take it and you run around and do whatever with it?	0:09:51	0:09:54
I'm not borrowing you anything.	0:09:55	0:09:58
Are you listening?	0:09:58	0:10:00
If you want something, you take me with you.	0:10:00	0:10:03
There's nothing down there.	0:10:03	0:10:04
Shit.	0:10:07	0:10:08
Better bring me some food.	0:10:16	0:10:18
Thank you.	0:10:23	0:10:24
Don't come back with any more goddamn white boy albums.	0:10:24	0:10:28
-Jimmy. -DOOR OPENS	0:10:28	0:10:30
Jimmy! DOOR CLOSES	0:10:30	0:10:31
GUITAR FEEDBACK	0:10:31	0:10:34
BLUES ROCK GUITAR	0:10:47	0:10:48
GUITAR FLOURISH	0:11:44	0:11:46
MUSIC ENDS	0:11:49	0:11:51
-And you weren't impressed at all? -He's nothing.	0:11:51	0:11:53
You didn't see the way he plays?	0:11:53	0:11:55
-No, he's less than that. He's rubbish. -Watch his hands.	0:11:55	0:11:58
Christ.	0:11:58	0:11:59
His hands...are amazing.	0:11:59	0:12:01
He is an incredible guitar player.	0:12:01	0:12:03
It's not like the world's short on guitar players.	0:12:03	0:12:05
And what was he playing? A bloody hodgepodge full of nothing.	0:12:05	0:12:08
I'd lose more money on him than I'd ever make.	0:12:08	0:12:11
-He's brilliant. -Look, what am I to do? I'm your boyfriend's hire.	0:12:11	0:12:15
When he comes off tour, shall I inform him...	0:12:15	0:12:17
that you'd have me divide my time between him and your friend?	0:12:17	0:12:19
HE CHUCKLES	0:12:19	0:12:21
Linda, I understand more than you know.	0:12:21	0:12:24
I'm sure I tire of being simply the Rolling Stones' manager	0:12:24	0:12:26
as much as you do of being described as Keith Richards' girl,	0:12:26	0:12:30
as though that were a job description.	0:12:30	0:12:32
Identity is a wonderful thing.	0:12:32	0:12:35
I encourage you to have one.	0:12:35	0:12:37
But for God's sake, a little discretion wouldn't hurt either.	0:12:37	0:12:42
HE SIGHS	0:12:42	0:12:43
Come on.	0:12:43	0:12:45
-Linda. -Have a good night.	0:12:45	0:12:47
Oh, come on!	0:12:47	0:12:48
Why should people bother? Why spend the night coming to see you play?	0:12:50	0:12:54
Do you think that was entertaining?	0:12:54	0:12:56
Do you think it's attractive to watch somebody picking at their face?	0:12:56	0:12:59
My skin's all messed up.	0:12:59	0:13:01
No-one is looking at your skin.	0:13:01	0:13:03
You're standing up there, and you don't say anything.	0:13:03	0:13:05
And on the occasion that you decide to talk, it's an inaudible mumble.	0:13:05	0:13:09
-I'm not Keith, though. -I'm not asking you to be Keith.	0:13:09	0:13:12
I'm asking you to go up there and take the stage	0:13:14	0:13:17
like you actually wanted to amount to something.	0:13:17	0:13:20
Yeah.	0:13:20	0:13:22
OK. OK.	0:13:22	0:13:24
You know, I've actually run out of people to come and see you play.	0:13:24	0:13:27
Can you look at me when I'm talking to you?	0:13:27	0:13:29
APPLAUSE	0:13:29	0:13:30
'Please?'	0:13:30	0:13:32
'I've-I've run out of people.'	0:13:37	0:13:40
Th-Thank you, um...	0:13:40	0:13:42
-Does that resonate with you on any level whatsoever? -Yeah, I hear you.	0:13:42	0:13:45
-Really? I don't believe you. -I hear you!	0:13:45	0:13:47
Hey, keep it down! We've still got a show going on.	0:13:47	0:13:49
Thank you! Yes!	0:13:49	0:13:52
MATCH STRIKES	0:13:57	0:13:59
You know, I've never been to Harlem.	0:14:07	0:14:09
I go around pitching rhythm and blues the whole time	0:14:11	0:14:14
and I've never even been to Harlem.	0:14:14	0:14:16
So you could invite me.	0:14:16	0:14:19
You wouldn't like it.	0:14:19	0:14:21
There's nothing... There's nothing up there for you.	0:14:21	0:14:24
Running around New York.	0:14:26	0:14:28
She's some kind of just...	0:14:29	0:14:32
Everybody knows about it. Everybody.	0:14:34	0:14:37
They all talk about the two of them.	0:14:37	0:14:39
It's humiliating. Bloody humiliating.	0:14:39	0:14:42
For you, it must be. And I regret that. I do.	0:14:42	0:14:46
And he's a drug addict. Did you know that?	0:14:46	0:14:49
He has her strung out all the time.	0:14:49	0:14:51
Are you just...	0:14:51	0:14:54
You're going to let her run around over in America, her and her...	0:14:54	0:14:57
I'll check the diary, but they'll be free at some point.	0:14:57	0:14:59
Chas.	0:14:59	0:15:01
Chas, hi. I'm, um - I'm Linda Keith.	0:15:01	0:15:05
I'm, uh, Keith Richard's girlfriend.	0:15:05	0:15:07
-Oh! Hi. -Hi.	0:15:07	0:15:09
-Keith's lass. -Yeah.	0:15:09	0:15:11
-How are you doing? -Fine. You?	0:15:11	0:15:13
I'm really good.	0:15:13	0:15:15
I think it's pretty much it for me after this tour.	0:15:15	0:15:18
Gone anyway. We've, uh, lost Alan.	0:15:19	0:15:22
What, temporarily?	0:15:22	0:15:24
No. He's, uh... He's got a fear of flying.	0:15:24	0:15:27
Honestly?	0:15:27	0:15:28
Now you're going to do the new record for us?	0:15:28	0:15:31
-Yeah. -And it's called? -The House Of The Rising Sun.	0:15:31	0:15:33
Right. Here we go then with... AUDIENCE SCREAMING	0:15:33	0:15:35
No, it's-it's done.	0:15:39	0:15:41
I can see the writing's on the wall.	0:15:41	0:15:44
And that manager ripped us off something shameful to boot.	0:15:44	0:15:47
Well, can't you sue him?	0:15:47	0:15:48
Spending money to make money to...	0:15:48	0:15:52
it's money I'll never see.	0:15:52	0:15:54
No, it's... I'd rather manage a couple of acts of me own.	0:15:54	0:15:58
Treat them proper, start stacking up the bills.	0:15:58	0:16:02
How about you? You still modelling?	0:16:02	0:16:05
Occasionally, yeah. Much to my father's consternation.	0:16:05	0:16:09
Good little British girls don't model.	0:16:09	0:16:11
I'm not really sure what we're supposed to do...	0:16:11	0:16:13
but apparently modelling	0:16:13	0:16:15
and shacking up with the Rolling Stones	0:16:15	0:16:17
aren't among the options.	0:16:17	0:16:19
Aye, well, things come.	0:16:21	0:16:23
You know, they always do.	0:16:24	0:16:26
Or so I've been told.	0:16:28	0:16:30
Are you serious about giving up performing in order to manage?	0:16:34	0:16:39
CHUCKLES	0:16:42	0:16:44
Because I may have something for you.	0:16:45	0:16:47
Do you think you might try putting something else into it?	0:16:49	0:16:52
Cos you're going up on stage for a reason.	0:16:52	0:16:55
I don't know. Maybe.	0:16:55	0:16:57
Do you think you're going to sing?	0:16:59	0:17:01
I think you'd have a lot more to offer if you were to sing.	0:17:01	0:17:03
My voice is... Oh, it's terrible.	0:17:03	0:17:06
But so's Dylan's. And he's doing all right, isn't he?	0:17:06	0:17:10
Chas really, really likes the blues.	0:17:13	0:17:15
So, if you had the mind to, you could play something...	0:17:23	0:17:26
Bluesy? Yeah, I'll play - However you want me to play, I'll play it. Yeah.	0:17:26	0:17:30
Do I sound like your mother?	0:17:32	0:17:34
I wouldn't know.	0:17:40	0:17:42
Your thing, Jimmy.	0:17:47	0:17:49
Your way.	0:17:50	0:17:51
'He's quite a quiet sort.	0:17:53	0:17:55
'So if he doesn't say much to you afterwards, I wouldn't take it personally.	0:17:55	0:17:58
-'It's not really in his nature. -CHAS: -Sure.'	0:17:58	0:18:01
He thinks he can't...	0:18:01	0:18:03
Well, he doesn't like to - he doesn't like to sing.	0:18:03	0:18:05
And he thinks that he has this sort of dodgy...	0:18:05	0:18:08
dodgy voice.	0:18:08	0:18:10
But I don't think it sounds funny at all, so...	0:18:10	0:18:14
-I fancy another. Do you want another? -Um, absolutely.	0:18:14	0:18:16
Yeah.	0:18:16	0:18:18
Well, welcome everybody to the Cafe Wha.	0:18:18	0:18:21
A real good show for you. A very good show.	0:18:21	0:18:23
Your starter this afternoon...	0:18:23	0:18:26
Mr Jimmy James and the Blue Flames.	0:18:26	0:18:28
APPLAUSE	0:18:28	0:18:31
FEEDBACK	0:18:34	0:18:36
All right.	0:18:45	0:18:47
CHEERING AND APPLAUSE	0:19:20	0:19:22
MUSIC FADES	0:20:03	0:20:06
Fuck.	0:20:14	0:20:17
FINGERS SQUEAKING ACROSS FRETS	0:20:18	0:20:20
So, you don't play in any of the R & B clubs in Harlem?	0:20:26	0:20:29
No, man. Those cats are way too strict up there.	0:20:29	0:20:31
They don't dig cats stretching the blues out up there.	0:20:31	0:20:34
-I don't know what's going on with them. -Well, fuck them.	0:20:34	0:20:37
Yeah, fuck them. You know, I like him.	0:20:37	0:20:39
-You're fucking brilliant. -Thank you.	0:20:39	0:20:41
Did Linda tell you what to play?	0:20:41	0:20:43
No, she just said play.	0:20:43	0:20:45
Look, I've heard pretty much everything there is to hear...	0:20:45	0:20:48
and, uh, I've got to say	0:20:48	0:20:50
you're taking it, you're tearing it apart in your hands, man.	0:20:50	0:20:53
Jesus Christ. No-one's got you signed?	0:20:53	0:20:56
-Jimmy, you're not really one for commitments, are you? -No.	0:20:56	0:21:00
Has Linda told you that I'm looking to, uh...	0:21:00	0:21:02
Says you're looking for people to work with.	0:21:02	0:21:04
I want to manage, but I've never managed an act.	0:21:04	0:21:06
-I've never been managed, so... -Well, that's even Stephen.	0:21:06	0:21:09
OK.	0:21:09	0:21:11
I'm off the tour in three months.	0:21:11	0:21:14
I think it'd be a hell of a thing if you came over to London.	0:21:14	0:21:17
London? There's so many great cats over there already playing, though.	0:21:17	0:21:20
Well, they haven't got you. Eh? That's for damn sure.	0:21:20	0:21:23
There'll be no stick-in-the-ass about this chord or that.	0:21:23	0:21:27
They'll be mad for what you're doing over there. Eh?	0:21:27	0:21:30
I mean, e-everybody there, everybody who's doing owt,	0:21:30	0:21:33
they're all working off the blues structure.	0:21:33	0:21:35
I don't want to get caught up in those kind of labels, though.	0:21:35	0:21:38
I don't want it to be, "He's playing the blues..."	0:21:38	0:21:40
or, "He's playing R & B or soul," all that kind of stuff, those cages, man.	0:21:40	0:21:44
-I'm not saying it has to be... -It's not about style.	0:21:44	0:21:47
You know, it's...	0:21:47	0:21:48
I want my music to go inside the soul of a person.	0:21:48	0:21:52
You know, for me it's colours.	0:21:52	0:21:54
I want people to feel the music the same way I see it.	0:21:54	0:21:57
It's just colours. That's it.	0:21:57	0:21:58
The rest is just painted with a little science fiction here and there.	0:21:58	0:22:02
I don't want to freak you out this early.	0:22:02	0:22:05
I've gotta get you over to London.	0:22:06	0:22:08
Have you ever met a real pimp?	0:22:10	0:22:13
Yeah, man, the pimps wear these things out in the street.	0:22:13	0:22:16
Yeah. They do.	0:22:17	0:22:19
I'll wear a hat on stage.	0:22:19	0:22:21
Oh, man, look at that pimp with that backwards guitar.	0:22:21	0:22:24
Linda, guy looking for you. Says he's Keith.	0:22:24	0:22:28
-Richards? -Alan.	0:22:28	0:22:30
Oh, um, send him back, I suppose, yeah.	0:22:30	0:22:33
Who's Alan?	0:22:33	0:22:35
He's my father.	0:22:35	0:22:37
-You're joking, right? -No.	0:22:37	0:22:39
-You for real? -Yes.	0:22:41	0:22:44
Oh, shit.	0:22:44	0:22:45
Linda.	0:22:52	0:22:53
You didn't want to ring or anything before you arrived?	0:22:55	0:22:58
This is Mr Jimmy Hendrix.	0:22:59	0:23:01
WOMAN SINGING ONSTAGE	0:23:01	0:23:04
It's a pleasure.	0:23:04	0:23:06
Collect your things.	0:23:09	0:23:11
Let's go.	0:23:12	0:23:14
Hey, man, come on.	0:23:14	0:23:16
# We were all outside	0:23:16	0:23:19
# Smoking... #	0:23:19	0:23:24
LINDA AND ALAN ARGUING	0:23:24	0:23:25
# You in the headlights	0:23:25	0:23:28
# Yeah, in the headlights	0:23:29	0:23:32
# Yeah, in the headlights... #	0:23:34	0:23:36
KNOCKING	0:23:40	0:23:42
Well, it's all taken care of.	0:23:50	0:23:53
I can get you your working papers and some decent gigs.	0:23:53	0:23:56
There won't be much money, not at first, but I'll take care of expenses.	0:23:56	0:24:00
I don't know, man.	0:24:02	0:24:04
-You were keen on coming to London before. -Yeah, but that was before.	0:24:04	0:24:08
Aye, so, wh-what's changed?	0:24:08	0:24:11
You don't have much to say for yourself, do you?	0:24:13	0:24:17
Knowledge speaks.	0:24:17	0:24:19
Wisdom listens.	0:24:19	0:24:20
Do you know Eric Clapton?	0:24:26	0:24:28
-What, have I heard of him? -No, do you know him?	0:24:28	0:24:32
-Sure. -CHUCKLES	0:24:32	0:24:33
Clapton's a mate.	0:24:33	0:24:34
If I go to London, can you set me up with him?	0:24:34	0:24:37
Him, Beck, Townshend.	0:24:38	0:24:40
No, no, just Clapton.	0:24:40	0:24:41
OK. Soon as we get you over.	0:24:42	0:24:44
Have you got a passport?	0:24:44	0:24:46
No, man.	0:24:46	0:24:48
-Have you got a birth certificate? -No.	0:24:48	0:24:50
Well, do you know how to get hold of a copy?	0:24:50	0:24:53
Does your family have a copy?	0:24:53	0:24:55
I'm not calling my pops. No, no. I'm not calling him.	0:24:55	0:24:57
If we don't get the birth certificate	0:24:57	0:24:59
we can't make the application for your passport.	0:24:59	0:25:02
I don't know. I'm not calling him, though.	0:25:02	0:25:05
MUSIC: Early Five Believers by Bob Dylan	0:25:05	0:25:08
Aye, OK. I'll make some calls.	0:25:08	0:25:11
Fucking families, eh?	0:25:11	0:25:14
I bet you my pop wouldn't even recognise me if he saw me now.	0:25:14	0:25:18
I haven't talked to him in so long.	0:25:18	0:25:20
I don't even know if they know I'm alive or not.	0:25:22	0:25:25
# Don't let me down... #	0:25:30	0:25:32
AIRPLANES PASSING	0:25:34	0:25:37
ACOUSTIC GUITAR	0:25:39	0:25:41
# You ain't nothing but a hound dog	0:25:46	0:25:50
# Barking up my tree	0:25:52	0:25:54
# You ain't nothing but a hound dog	0:25:56	0:25:57
If you're looking for trouble, then you've come to the right shop.	0:25:57	0:26:00
# Barking up my tree	0:26:00	0:26:03
# Well, you ain't never brought no rabbit back home	0:26:04	0:26:08
# How in the hell you going to feed me?	0:26:08	0:26:11
# Well, you said you was high class... #	0:26:13	0:26:16
-Yeah. -How was the trip over?	0:26:19	0:26:22
No.	0:26:24	0:26:25
You know, I-I'm not ready, and I look a bit of a mess.	0:26:25	0:26:29
Next time you're a mess it'll be...	0:26:30	0:26:33
# Sleepin' in the morning	0:26:33	0:26:35
SHE LAUGHS	0:26:35	0:26:38
-How's he doing? -Life of the party.	0:26:38	0:26:40
-# Yeah-eah-eah... # -Do you fancy meeting up tonight, then?	0:26:48	0:26:50
# Whoo-ooh-ooh	0:26:50	0:26:52
-# Yeah-eah-eah -About nine.	0:26:52	0:26:54
At The Scotch.	0:26:54	0:26:56
He hasn't got his work visa yet, so he can only play for about a minute.	0:26:56	0:26:59
# Two old maids laid in bed	0:26:59	0:27:03
# One looked at the other one and said... #	0:27:03	0:27:05
ALL LAUGHING Shit, I forgot the words.	0:27:05	0:27:07
Hey, Jimmy, let's get you back to the hotel.	0:27:07	0:27:09
Wait. Kathy's got to meet him.	0:27:09	0:27:11
SHE SIGHS	0:27:13	0:27:14
Come on. Get up. Come on.	0:27:15	0:27:18
You've got to see what Chas has brought round.	0:27:19	0:27:22
-He looks like the Wild Man of Borneo. -Get me a drink.	0:27:22	0:27:24
-Rita! -I want her to meet Jimmy!	0:27:24	0:27:27
-Stop screaming. -Rita!	0:27:27	0:27:29
We'll meet you at The Scotch!	0:27:29	0:27:31
-No, it's an interesting...evening. -ELECTRIC GUITAR STRUMMING	0:27:31	0:27:35
I'm just going to be one second.	0:27:35	0:27:37
GUITAR CONTINUES	0:27:40	0:27:42
Hi. Hi. How are you?	0:27:47	0:27:50
Hey, Linda. What's going on?	0:27:50	0:27:53
-You doing OK? -Yeah. Yeah. You all right?	0:27:53	0:27:55
Yeah, yeah. So, you guys found it.	0:27:55	0:27:57
Yeah, yeah.	0:28:02	0:28:04
-Is he already here? -Yeah. Let's go inside.	0:28:16	0:28:20
I'm very sober.	0:28:20	0:28:22
-Won't get too drunk tonight, then. -Oh, I know.	0:28:22	0:28:26
Oh, my God, that's the guy I was telling you about.	0:28:29	0:28:32
-I like his hair. -He's wild.	0:28:32	0:28:35
He does look wild, though.	0:28:35	0:28:37
-Do you want a drink? -I'll have white wine.	0:28:37	0:28:41
Two white wines, please.	0:29:06	0:29:08
It's a good crowd tonight.	0:29:13	0:29:15
What's his name again?	0:29:17	0:29:19
APPLAUSE AND CHEERING	0:29:20	0:29:23
I don't know whether I should try and get it all done this evening	0:29:29	0:29:32
or whether I should get up early tomorrow.	0:29:32	0:29:35
You should.	0:29:35	0:29:37
I mean, don't procrastinate.	0:29:37	0:29:40
I'm just going to pop to the loo.	0:29:40	0:29:42
Have you got a light on you?	0:29:45	0:29:47
Chas has probably got one.	0:29:49	0:29:51
Let me go and find one from him and I'll be back in a minute.	0:29:51	0:29:54
I'm sorry, darling. Excuse me.	0:29:54	0:29:57
Light?	0:29:59	0:30:01
-Do you know Jimmy? -Hiya. No.	0:30:05	0:30:07
-This is Kathy. -Kathy. Nice to meet you.	0:30:07	0:30:09
-Where are you from? -Well, I'm from Seattle originally.	0:30:09	0:30:13
Seattle. Where's that, then?	0:30:13	0:30:15
-You know California? -Yeah, I've heard of that place.	0:30:15	0:30:17
Well, it's north of California.	0:30:17	0:30:19
-I like your scarf. -Oh, thank you.	0:30:19	0:30:21
-That's quite cool. -Thank you. Appreciate it.	0:30:21	0:30:23
-Yeah, I like that. -Thank you.	0:30:23	0:30:25
I like your shirt as well. Did you get those clothes from America?	0:30:25	0:30:28
What's it like?	0:30:28	0:30:30
Well, no. I've heard of it. Haven't been there.	0:30:30	0:30:33
KATHY LAUGHING I like your laugh.	0:30:33	0:30:35
Yeah, Seattle, Washington. That's where I'm from.	0:30:35	0:30:37
Oh, Washington! Where the president lives.	0:30:37	0:30:39
No. No, it's the other Wash... That's Washington DC.	0:30:39	0:30:42
Do you mind asking that woman to move out of my seat?	0:30:42	0:30:45
That's how we are. KATHY LAUGHING	0:30:45	0:30:47
You're silly. I like that.	0:30:47	0:30:49
I know. I like that about you too.	0:30:49	0:30:51
I don't understand geography.	0:30:51	0:30:53
-Can you ask her to move out my seat? -She's just having herself...	0:30:53	0:30:56
I didn't ask you.	0:30:56	0:30:58
Just being social, love.	0:30:58	0:30:59
-Why don't you be social elsewhere? -Sod off, you posh cow!	0:30:59	0:31:03
-Do you know her? -Yeah, she's a friend.	0:31:03	0:31:05
Tell your fucking friend to fuck the fuck off!	0:31:05	0:31:08
Whoa.	0:31:08	0:31:09
Anyway, no, I haven't been.	0:31:09	0:31:12
You have a beautiful, beautiful mouth.	0:31:12	0:31:14
-Hey, can I tell you something? -Yeah, go on.	0:31:14	0:31:17
INAUDIBLE	0:31:17	0:31:18
LAUGHING	0:31:20	0:31:21
Move out of my fucking seat!	0:31:21	0:31:23
Fucking hell!	0:31:23	0:31:25
-Can you just... -Can you just...	0:31:27	0:31:29
ELECTRIC GUITAR FEEDBACK	0:31:29	0:31:30
THUNDER RUMBLING	0:31:41	0:31:44
RADIO SWITCHES ON	0:32:20	0:32:22
-MAN ON RADIO: -'..from a point at sea to the circles of your mind,	0:32:22	0:32:26
'a new force is at work for planetary transformation.	0:32:26	0:32:29
'New radio for a new world, on 96.3 kilohertz medium wave,	0:32:29	0:32:34
'Europe's voice of love and awareness is Radio Caroline.'	0:32:34	0:32:37
MUSIC	0:32:37	0:32:40
# You can catch it if you want a ride	0:32:45	0:32:49
# Don't you worry	0:32:49	0:32:51
# If it pass you by	0:32:51	0:32:57
# You can catch it if you want a ride	0:33:02	0:33:05
# Don't you worry	0:33:05	0:33:07
# If it pass you by	0:33:07	0:33:13
# Lord, you know the reason why	0:33:18	0:33:22
# On this train	0:33:22	0:33:24
# Till I die	0:33:24	0:33:29
# The train I ride	0:33:34	0:33:36
# Goes to God knows where	0:33:36	0:33:38
# I don't know	0:33:38	0:33:40
# And I don't care	0:33:40	0:33:44
-SCREAMS -Jesus! Fuck!	0:33:44	0:33:46
-Jesus Christ. -What are you...	0:33:47	0:33:49
Linda, no!	0:33:49	0:33:51
# The train I ride goes to God knows where... #	0:33:51	0:33:53
What the fuck was that?	0:33:53	0:33:55
It was my guitar.	0:33:55	0:33:57
CHATTERING	0:33:57	0:33:58
THUNDER RUMBLING	0:33:58	0:34:00
I apologise for last night.	0:34:58	0:35:01
I think I just let my emotions, um...	0:35:02	0:35:06
get the better of me.	0:35:06	0:35:08
That's cool. Yeah, no problem.	0:35:08	0:35:10
You've had one day, Jimmy.	0:35:16	0:35:17
You've had one day in London, and you've just made such a royal mess of things.	0:35:17	0:35:22
Well, I-I didn't plan it.	0:35:22	0:35:24
You know, I don't have experience.	0:35:25	0:35:27
You're putting things out in some kind of order?	0:35:27	0:35:30
I mean, you pulling me from a club, that wasn't a plan.	0:35:30	0:35:32
There's no way I could have planned for that.	0:35:34	0:35:36
It's just how it is. There's no accounting for people.	0:35:36	0:35:39
I mean, sometimes they're...	0:35:39	0:35:40
You know, they're just like, whoo, and everything's cool...	0:35:40	0:35:43
and...sometimes they'd rather just get high	0:35:43	0:35:46
than be a mother to their kid.	0:35:46	0:35:49
Well, that was a very short travel...	0:35:54	0:35:57
..from your mother leaving you	0:35:59	0:36:00
to you fucking every girl that you see.	0:36:00	0:36:03
Is that how you intend to hobble along?	0:36:06	0:36:09
Is that going to be your crutch?	0:36:09	0:36:11
I got no intentions. I see how intentions do people.	0:36:11	0:36:14
They're like, I'm going to plan to do this and I'm planning to do that.	0:36:14	0:36:18
And as soon as things don't work out, it fucks them all up.	0:36:18	0:36:22
I'm not with that, man.	0:36:22	0:36:24
I have my own thing, my own time, in its own space, and everything is beautiful.	0:36:24	0:36:27
All this other stuff is just...	0:36:27	0:36:29
Well, it's reality.	0:36:29	0:36:31
But you can't change the world.	0:36:31	0:36:33
If I could, only thing I'd probably do is just put...	0:36:33	0:36:36
I'd like a little bit more colour on the streets.	0:36:36	0:36:39
Other than that, man, just take shit how it comes.	0:36:39	0:36:42
But your problem is that you're going to stumble	0:36:42	0:36:44
around and you're going to think that	0:36:44	0:36:45
that's enough...	0:36:45	0:36:47
that genius is enough to win the day for you	0:36:47	0:36:51
and that you're going to take things how they come.	0:36:51	0:36:54
But this is what I'm trying to tell you, Jimmy.	0:36:54	0:36:56
You can't leave it to other people to sort out your life.	0:36:56	0:36:59
This is YOUR life.	0:36:59	0:37:01
Please, will you just have at it.	0:37:01	0:37:03
-You say... -I do, yes.	0:37:03	0:37:05
I'm s-supposed to listen to you, huh?	0:37:05	0:37:08
Listen to you tell me about being more myself?	0:37:08	0:37:11
But what's the alternative?	0:37:11	0:37:12
You don't listen to me, so you listen to everybody else?	0:37:12	0:37:15
Why should I listen to you, though?	0:37:15	0:37:17
Because I love you.	0:37:17	0:37:19
When I saw you at the Cheetah Club	0:37:27	0:37:29
there were about 20 people in a space for a thousand	0:37:29	0:37:32
and those 20 people, they just...	0:37:32	0:37:36
..they were chatting and they were drinking	0:37:37	0:37:39
and they were completely ignoring what was happening on stage.	0:37:39	0:37:42
And I wanted to turn to them all and I wanted to say,	0:37:42	0:37:45
"Are all of you completely mad?	0:37:45	0:37:48
"Can't you see him?	0:37:48	0:37:50
"Can't you see what he can do?"	0:37:50	0:37:52
I don't think any of this even means anything to you.	0:37:53	0:37:57
You never listen to anything I said.	0:37:58	0:38:00
You never have.	0:38:00	0:38:03
I always do.	0:38:03	0:38:04
Always.	0:38:05	0:38:06
What? What?	0:38:12	0:38:14
What?	0:38:15	0:38:17
The first night that we spent together I said to you,	0:38:17	0:38:21
"Whatever you do, don't look in the mirror."	0:38:21	0:38:24
But you were giving me junk to get high on.	0:38:24	0:38:26
Then you going to tell me don't look in the mirror, and when I do you freak all out.	0:38:26	0:38:30
Man, I mean, that's... Come on. That's not fair.	0:38:30	0:38:33
But every experience doesn't need to be a reckless one.	0:38:33	0:38:36
And being on the bad end of a freak-out,	0:38:37	0:38:41
that's not the way to discover that I speak the truth.	0:38:41	0:38:45
What did you see when you looked in the mirror?	0:38:49	0:38:51
Oh, man. Crazy shit.	0:38:51	0:38:53
Like...	0:38:53	0:38:55
I looked like Marilyn Monroe.	0:38:57	0:38:59
Yeah.	0:39:00	0:39:03
Mind the press, Jimmy.	0:39:10	0:39:12
They can be absolutely voracious.	0:39:15	0:39:18
It's best to curry a little favour with them.	0:39:21	0:39:24
Do you know Keith Altham? He's a really clever one.	0:39:24	0:39:27
Wouldn't do you any harm to stay close to him.	0:39:27	0:39:31
Chas has probably already thought of that.	0:39:31	0:39:34
He's so good, Chas. You know, you're in really good hands with him.	0:39:34	0:39:38
Just make sure you listen to him.	0:39:40	0:39:42
NO SOUND	0:40:23	0:40:25
GUITAR PLAYS	0:40:34	0:40:36
You want to hang out?	0:40:38	0:40:40
AMPLIFIER HUMMING, FEEDBACK	0:40:59	0:41:03
GUITAR CONTINUES	0:41:03	0:41:06
LAUGHS	0:42:01	0:42:04
Well, it's changing. it really is.	0:42:05	0:42:08
There's definitely room to make moves.	0:42:08	0:42:10
I mean, the Beatles, they're done touring, so that leaves this gap.	0:42:12	0:42:15
Yeah.	0:42:15	0:42:16
Then you've got the Kinks, the Small Faces.	0:42:16	0:42:18
Everything's become more straight-edged rock and roll.	0:42:18	0:42:22
Or harder-edged.	0:42:22	0:42:24
I think people are more responsive to that right now.	0:42:24	0:42:28
I mean, look at where the world is.	0:42:28	0:42:30
The whole world's got an edge to it, hasn't it?	0:42:30	0:42:33
Hasn't it?	0:42:36	0:42:37
-I dig your hair. -I do hair.	0:42:38	0:42:41
-Yeah? -Yeah.	0:42:41	0:42:42
-I dig it a lot. -I know all about it. Yours is cool.	0:42:42	0:42:45
Is it natural or a permanent? Be honest. Don't lie to me.	0:42:45	0:42:48
No, it's God's own. Look.	0:42:48	0:42:50
It's cool. it's like Dylan's. I dig it a lot. Really.	0:42:50	0:42:53
Yeah? Cheers.	0:42:53	0:42:55
The way the advertisement was worded...	0:42:56	0:42:58
-Does this look like a crane to you? -No, baby.	0:42:58	0:43:01
It doesn't have to be anything.	0:43:01	0:43:03
It's beautiful the way it is.	0:43:03	0:43:05
Th-The way it was worded, I thought I was auditioning for the Animals.	0:43:05	0:43:10
Animals? Why would you think that?	0:43:10	0:43:12
No, not the Animals.	0:43:12	0:43:14
-I am an animal, but not the Animals. -He's an animal.	0:43:14	0:43:17
Is-Is the pay OK?	0:43:17	0:43:19
I'm skint.	0:43:19	0:43:21
-Skint? What's skint? -It means broke.	0:43:21	0:43:23
Oh, I dig that word.	0:43:23	0:43:24
W-Well, no... The gig doesn't pay that much.	0:43:24	0:43:27
We're skint too.	0:43:27	0:43:29
Man, we're broke, but we're cool.	0:43:30	0:43:32
Yeah, we have a right laugh.	0:43:32	0:43:34
Might as well hang out with us and be broke and cool.	0:43:34	0:43:37
Better than being just broke.	0:43:40	0:43:42
-What do you think? -Yeah.	0:43:42	0:43:43
WOMAN VOCALISING	0:43:43	0:43:44
You're selfish. You didn't even bring me a smoke.	0:43:44	0:43:47
Right. Here, I'll bring you a fucking smoke.	0:43:47	0:43:50
PHONE RINGS	0:43:52	0:43:54
INDISTINCT	0:43:54	0:43:56
PHONE CONTINUES RINGING	0:43:56	0:43:58
PHONE CONTINUES RINGING	0:44:08	0:44:10
-'Hello?' -H-H-Hello?	0:44:10	0:44:11
-OPERATOR: -'I have an international collect call	0:44:11	0:44:13
'from Jimmy Hendrix to Mr Al Hendrix.	0:44:13	0:44:15
-'Mr Hendrix? -Uh, y-yeah.	0:44:15	0:44:17
-'Will you accept the charges? -Well, who is the call from?'	0:44:17	0:44:21
Hey... Hey, Dad.	0:44:21	0:44:22
-'Will you accept the charges? -Uh, y-yeah.	0:44:22	0:44:25
-'Go ahead with the call.' -It's Jimmy.	0:44:25	0:44:27
-'Who?' -It's your boy Jimmy. Can you hear me?	0:44:27	0:44:31
-'Who?' -It's Jimmy. It's your boy Jimmy.	0:44:31	0:44:34
Check this out. Guess where I am.	0:44:34	0:44:37
Guess where I am.	0:44:37	0:44:39
I'm in London.	0:44:40	0:44:42
I'm in London, man!	0:44:42	0:44:44
Hello?	0:44:45	0:44:47
-'Wh-Where?' -I'm in London, England.	0:44:47	0:44:49
This cat, he pulled me out of a club where I was playing.	0:44:49	0:44:52
-He's managing me now, and I got my own thing together. -'And that's funny?'	0:44:52	0:44:56
I'm making a record.	0:44:56	0:44:58
-'That's funny to you?' -JIMMY CHUCKLES	0:44:58	0:45:00
No, I'm not trying to be funny.	0:45:00	0:45:02
'Think I'm some kind of fool.'	0:45:02	0:45:05
Y-You know what?	0:45:05	0:45:07
B-Babe.	0:45:07	0:45:08
Dad, someone wants to talk to you. Hold on for a second.	0:45:08	0:45:11
Come on. Tell him. T-Talk to him. Talk to him.	0:45:11	0:45:14
Hiya, Mr Hendrix. This is Kathy.	0:45:15	0:45:17
-'Ana' who is this now?' -Friend of Jimmy's.	0:45:17	0:45:20
It's wondrous to finally speak with you. Jimmy's been going on about you.	0:45:20	0:45:24
-'Wh...' -He's over here doing some quite sensational things.	0:45:24	0:45:28
He's got a manager now. He's starting a band.	0:45:28	0:45:31
I've heard him play, by the way. You should be, um, quite proud.	0:45:31	0:45:34
AL SCOFFS	0:45:34	0:45:36
Quite proud.	0:45:37	0:45:39
-'Yeah. So he's in England?' -Yeah.	0:45:39	0:45:41
'If he's in England, why the hell is he calling me collect?	0:45:41	0:45:45
'I'm not paying for any goddamn collect call.	0:45:45	0:45:47
'He wants to talk to me from England, you tell him to write me a goddamn letter.	0:45:47	0:45:52
SCOFFS	0:45:52	0:45:54
'Stupid boy must think I'm crazy or something.	0:45:54	0:45:58
'Hello?'	0:45:58	0:45:59
-Jim? -'Hello?	0:46:00	0:46:02
'There's nobody there. Hello?	0:46:02	0:46:04
-'Hello?' -Yeah.	0:46:06	0:46:08
'Where in the hell did you get that kind of money?	0:46:08	0:46:11
'If you're there, it's cos you stole a goddamn bank.'	0:46:11	0:46:14
No. I didn't steal anything, man.	0:46:14	0:46:16
I'm really doing something here.	0:46:16	0:46:18
'Yeah.	0:46:18	0:46:21
SCOFFS	0:46:21	0:46:23
'You callin' me collect.'	0:46:23	0:46:24
I gotta go. OK? I gotta go. All right?	0:46:24	0:46:27
I-I'll talk to you later.	0:46:27	0:46:29
'Mm-hmm.'	0:46:29	0:46:31
-All right. -'Yeah.'	0:46:31	0:46:34
Right. All right, then, gentlemen.	0:46:51	0:46:54
Let's take stock of the situation.	0:46:56	0:46:58
So then it's this Redding fellow for bass guitarist, yeah?	0:46:58	0:47:02
He's a good lad. He's good for it.	0:47:02	0:47:04
Right. What about the drums?	0:47:04	0:47:05
We are keeping the ensemble to a three-piece, are we not?	0:47:05	0:47:09
Aye.	0:47:09	0:47:10
We're still looking for drummers.	0:47:10	0:47:12
Well, get to it. Squandering time.	0:47:12	0:47:15
You squander time, you squander money.	0:47:15	0:47:17
Uh, there's a-there's a couple of things we need to, uh...	0:47:17	0:47:20
Jimi Hendrix and the Experience.	0:47:20	0:47:22
Yeah. I like that. Quite like it.	0:47:22	0:47:24
-Yeah? -And it's Jimi?	0:47:24	0:47:26
-It's J-I-M-I. -Yeah, yeah. I like it that way.	0:47:26	0:47:28
-Well, it was my pleasure to come up with the idea. -No, I thought...	0:47:28	0:47:32
Your success will be thanks enough.	0:47:32	0:47:33
We've got a couple of other things we need to discuss, actually.	0:47:33	0:47:37
Do tell.	0:47:38	0:47:39
Well, I've got some contracts out there.	0:47:39	0:47:42
Stuff I signed when I was trying to make a break.	0:47:42	0:47:44
We were listening to some old records, and Jimi reveals that he's...	0:47:44	0:47:48
Just stuff that I was doing. I was just kicking around.	0:47:48	0:47:50
-Nothing really serious. -Right.	0:47:50	0:47:52
When you say some contracts...	0:47:52	0:47:54
I did a recording with Curtis Knight, and I had to sign something.	0:47:54	0:47:59
-It was just - I was doing background work. -A couple of contracts.	0:47:59	0:48:02
Technically, he's still signed on with these blokes.	0:48:02	0:48:04
And I got one with this cat - I was just doing session work.	0:48:04	0:48:08
It's nothing you need to worry about.	0:48:08	0:48:10
When you say this cat...	0:48:10	0:48:13
who do you mean?	0:48:13	0:48:14
Juggy Murray.	0:48:15	0:48:17
-Juggy. -Yeah.	0:48:20	0:48:23
Right.	0:48:23	0:48:26
We find ourselves in a bit of a situation.	0:48:26	0:48:27
And I suppose I'm off to America to handle it.	0:48:29	0:48:32
-Handle - how are you going to... -The Jimi Hendrix Experience.	0:48:32	0:48:34
Yeah, it's better like that. It's sharper, it's cleaner, it's faster.	0:48:34	0:48:38
Says it all in a few words.	0:48:38	0:48:40
You appreciate that, yeah, Jimi? The economy of vocabulary?	0:48:40	0:48:44
Yeah, sure.	0:48:44	0:48:45
When I return from America	0:48:45	0:48:47
I may have a recording contract for you over there as well.	0:48:47	0:48:50
So, uh, let's get on with putting the Experience together.	0:48:50	0:48:54
DOOR OPENS	0:48:58	0:49:00
CHATTERING	0:49:07	0:49:09
BLUES ROCK PLAYS	0:49:09	0:49:11
# Well, I had a little dog and his name was Bob... #	0:49:18	0:49:21
-Hey. -Sorry, man.	0:49:23	0:49:26
Hey. I-I-Is that... Is that him, man?	0:49:26	0:49:30
There he is. God himself.	0:49:30	0:49:32
I'll go and see if he's all right with a quick chat.	0:49:32	0:49:35
Eric.	0:49:40	0:49:42
How's it going? Listen...	0:49:43	0:49:46
Look, there's Serena. Give a big smile and a wave.	0:49:46	0:49:51
-Hi, love. -What are you doing?	0:49:51	0:49:53
-She said you'd sleep with anything that plays a guitar. -Cheeky bitch!	0:49:53	0:49:56
Keith Moon doesn't play guitar!	0:49:56	0:49:58
Fuck if I'm waving at her. You fucking cheeky bitch! Got my eye on you!	0:49:58	0:50:01
-Do you want to pop over before they start? -Yeah.	0:50:01	0:50:04
And, hey, ask him if I can jam with them.	0:50:04	0:50:07
Yeah, I want to play with them.	0:50:07	0:50:09
INAUDIBLE CONVERSATION	0:50:29	0:50:31
AMPLIFIER BUZZING	0:50:47	0:50:48
Go on, get your guitar.	0:50:48	0:50:49
BLUES TRACK FADES	0:50:49	0:50:51
MUFFLED MUSIC	0:50:54	0:51:02
Yeah!	0:51:42	0:51:44
CHEERING	0:52:01	0:52:03
MUSIC ENDS	0:52:03	0:52:05
Go on. Yeah, go on.	0:52:08	0:52:09
And, Jimi, he's doing this as a favour to a friend, OK?	0:52:09	0:52:12
-Favour to a friend. -Yeah, OK.	0:52:12	0:52:14
Thank you.	0:52:15	0:52:17
Hey, man, really big, big fans of you guys, man.	0:52:17	0:52:20
-Thank you. -Hey, really big fan.	0:52:20	0:52:22
You can plug in over there.	0:52:29	0:52:31
Oh, no, no. Here's fine.	0:52:31	0:52:32
AMPLIFIER BUZZING	0:52:34	0:52:35
I was just thinking, we could just jam a little bit, if that's good.	0:52:40	0:52:43
Or do you know Killin' Floor?	0:52:43	0:52:44
Mannish Boy?	0:52:46	0:52:47
-You know Mannish Boy? -I don't much know those.	0:52:47	0:52:50
Come on. You're a blues man. You've gotta know these songs. I'll teach you.	0:52:50	0:52:54
DISSONANT CHORD, FEEDBACK	0:52:54	0:52:56
We've a guest who's going to sit in with us...	0:52:58	0:53:00
who brought himself all the way over from America.	0:53:00	0:53:03
What's the name again, mate?	0:53:05	0:53:07
Jimi Hendrix.	0:53:07	0:53:09
Mr Jimi Hendrix.	0:53:09	0:53:11
HEAVY BLUES ROCK	0:53:12	0:53:16
BAND JOINS IN	0:53:29	0:53:31
INAUDIBLE	0:53:45	0:53:47
CHEERING	0:53:59	0:54:01
Whoo!	0:54:04	0:54:05
MUSIC CONTINUES	0:54:16	0:54:18
Eric.	0:54:20	0:54:22
Is he really that fucking good?	0:54:22	0:54:24
MUSIC ENDS	0:54:50	0:54:52
CHEERING AND APPLAUSE	0:54:52	0:54:55
BRASS BAND PLAYS	0:55:03	0:55:04
MUSIC CONTINUES	0:55:17	0:55:19
I don't need any.	0:55:28	0:55:30
Give me some.	0:55:30	0:55:33
Now, ladies and gentlemen, your favourite, my favourite,	0:56:01	0:56:04
the King of the Cockneys, Tommy Pudding!	0:56:04	0:56:07
Nice big hand, ladies and gentlemen.	0:56:07	0:56:09
CHEERING AND APPLAUSE	0:56:09	0:56:11
PIANO PLAYS	0:56:13	0:56:16
# Oh, slap a bit of treacle on your pudding, Mary Ann	0:56:21	0:56:25
# Mary Ann, Mary Ann, Mary Ann	0:56:25	0:56:28
# Oh, smother it, cover it...	0:56:29	0:56:31
MUSIC FADES	0:56:31	0:56:32
MUSIC: Itchycoo Park by Small Faces	0:56:32	0:56:35
# Over Bridge of Sighs	0:56:36	0:56:39
# To rest my eyes in shades of green	0:56:39	0:56:43
# Under dreaming spires	0:56:43	0:56:46
# To Itchycoo Park, that's where I've been	0:56:46	0:56:49
# What did you do there?	0:56:49	0:56:51
-# I got high -What did you feel there?... #	0:56:51	0:56:54
Hey, Kathy. Hey, babe.	0:56:54	0:56:58
Hmm.	0:57:00	0:57:01
Wh-What do you think?	0:57:01	0:57:03
Excuse me. it's stopped.	0:57:11	0:57:13
What's that?	0:57:13	0:57:14
It was working a moment ago and now it's stopped.	0:57:14	0:57:17
Broken. Cheap little thing.	0:57:19	0:57:20
-Can you fix it? -Yeah.	0:57:20	0:57:22
Wouldn't be worth the money you'd spend to make it right.	0:57:22	0:57:24
# Be nice and have fun in the sun	0:57:26	0:57:29
# I'll tell you what I'll do	0:57:30	0:57:32
# What will you do?	0:57:32	0:57:34
# I'd like to go there now... #	0:57:34	0:57:35
Don't you think it's groovy?	0:57:35	0:57:37
-You look handsome. -Thank you. Should I get it?	0:57:37	0:57:39
-Yeah. -Hey, how much does this run?	0:57:39	0:57:41
ELECTRIC GUITAR PLAYS	0:57:41	0:57:44
He's aggressive, I'll say that.	0:57:54	0:57:56
-In a good way or a bad way? -He just...	0:57:56	0:57:58
Did you see how he was giving Jimi the eye the whole time?	0:57:58	0:58:00
He just is. He's aggressive.	0:58:00	0:58:02
-What did you make of Aynsley? -Well, he's solid.	0:58:02	0:58:05
-Well, I liked him too. -I didn't say I liked him.	0:58:05	0:58:07
He's solid, but he follows a bit much.	0:58:07	0:58:09
Look, Chas, I'm thankful for the gig	0:58:09	0:58:11
but I'm still learning my way around the bass.	0:58:11	0:58:13
Might be good to have someone who's a bit more up-front.	0:58:13	0:58:16
Might be good to find someone who shows a bit of bloody respect.	0:58:16	0:58:18
Oh, cos it's your band now, eh?	0:58:18	0:58:20
It's called the Jimi Hendrix Experience	0:58:20	0:58:21
not The Two Pillocks and a Bloke From America Experience.	0:58:21	0:58:23
As long as we all know our place.	0:58:23	0:58:25
I don't want to have a big freak-out about it.	0:58:25	0:58:27
He's fierce, yeah. You can't knock a cat for being fierce.	0:58:27	0:58:31
It's like Elvin Jones or something like that.	0:58:31	0:58:32
Yeah, he's more jazz orientated.	0:58:32	0:58:34
Yeah, so it won't be that same, you know, kind	0:58:34	0:58:36
of rock thing everybody else is trying to do.	0:58:36	0:58:38
Exactly.	0:58:38	0:58:39
What were you saying about getting a bit more experience in the Experience?	0:58:39	0:58:42
Mmm, he's right.	0:58:42	0:58:44
I can say what I bloody well want, you know.	0:58:44	0:58:46
OK. Look.	0:58:46	0:58:49
Aynsley.	0:58:50	0:58:51
Mitch.	0:58:53	0:58:54
CHATTERING	0:59:26	0:59:28
Yeah, a bit of Little Richard.	0:59:28	0:59:29
-Yeah, it's kind of cute. -Thanks.	0:59:29	0:59:31
Why do you call yourselves The Breakaways?	0:59:31	0:59:33
This is the ultimate...	0:59:33	0:59:35
Jimi Hendrix Experience singing experience.	0:59:35	0:59:39
I think we should all sing in it.	0:59:39	0:59:40
Kind of choral. Choral singing.	0:59:40	0:59:42
We should have... Hey, Breakaways.	0:59:42	0:59:44
We should have The Breakaways sing, like, the lead and then...	0:59:44	0:59:47
-Not too very high. -Yeah.	0:59:47	0:59:50
How high can we sing, Jimi?	0:59:50	0:59:52
HIGH-PITCHED: # En-joy. #	0:59:52	0:59:54
GIRLS GIGGLING	0:59:55	0:59:57
40, 45, 50, OK.	0:59:57	1:00:00
So, all-in-all that's 500.	1:00:00	1:00:02
So it's... That's three hours, aye?	1:00:02	1:00:04
-Two hours, Chas. -HE SCOFFS	1:00:04	1:00:06
-Oh, come on, you're breaking me heart. -I'm doing you a favour.	1:00:06	1:00:09
-Got the best equipment here. Best studio. -I can see that.	1:00:09	1:00:11
Look - Three hours.	1:00:11	1:00:13
-I'm going to be counting it, Chas, cos I know you. -You do know me.	1:00:13	1:00:16
So you don't need to count it. That's 500.	1:00:16	1:00:18
-He's not even tuned up yet. -I can see that!	1:00:18	1:00:20
-You've not got anyone booked... -Two hours.	1:00:20	1:00:22
If you're finished within two hours...	1:00:22	1:00:24
Rolling.	1:00:29	1:00:31
Can we turn the lights down a little bit?	1:00:31	1:00:33
Can we?	1:00:33	1:00:35
To create just a little mood, you know.	1:00:35	1:00:37
What's my voice sound like in there, on the microphone?	1:00:37	1:00:40
-We've gotta lay the track, Jimi, so... -All right, all right.	1:00:40	1:00:43
Lights or not, however you need to get over yourself and sing...	1:00:43	1:00:46
while I've still got the bus fare to get home, that'd be grand.	1:00:46	1:00:50
All right, man, sorry.	1:00:50	1:00:52
-OK, h-here we go. -No. Do you want to turn the lights down?	1:00:52	1:00:55
Yeah, please. Yeah, I think it would help.	1:00:55	1:00:57
-Thank you. -OK.	1:00:57	1:00:59
CHUCKLES	1:01:03	1:01:05
Rolling.	1:01:06	1:01:09
STRUMMING GUITAR	1:01:09	1:01:10
What are the bloody lights doing off?	1:01:10	1:01:13
MEN GROANING CHUCKLING	1:01:13	1:01:14
Jesus Christ Almighty! We're recording!	1:01:14	1:01:17
Who records in the fucking dark? I didn't know.	1:01:17	1:01:19
Oh, that's grand to know! So, you're not completely stupid!	1:01:19	1:01:22
You're just plain ignorant!	1:01:22	1:01:24
Now, would you bugger off out so we can stop	1:01:24	1:01:26
wasting money and get something done...	1:01:26	1:01:28
you clingy fucking bitch!	1:01:28	1:01:30
STRUMMING GUITAR	1:01:38	1:01:40
S-Sorry.	1:01:40	1:01:41
All right.	1:01:41	1:01:43
OK, here we go. This time no laughing, man.	1:01:43	1:01:45
CLEARS THROAT	1:01:47	1:01:49
CHATTERING	1:02:06	1:02:08
Yeah, that was a nice one.	1:02:08	1:02:09
-Nice job. That was great, ladies. -See you all later.	1:02:09	1:02:12
I like what you did. That was out of sight.	1:02:12	1:02:14
It was nice.	1:02:18	1:02:19
Hey! Hey!	1:02:19	1:02:21
You let him talk to me like that? Clingy bitch? You don't say a word?	1:02:21	1:02:24
-W-What are you talking... -I'm your bloody girlfriend.	1:02:24	1:02:27
-What was I supposed to do? -You're supposed to stick up for me.	1:02:27	1:02:30
Well, fuck you! You ruined my take, woman. What are you...	1:02:30	1:02:32
Fuck you! Fuck you!	1:02:32	1:02:34
You fucking...	1:02:36	1:02:38
You want to hit me?	1:02:38	1:02:39
-For fuck's sake, get off her, man. -Get off her. Come on.	1:02:39	1:02:43
It's all right. it's done, man. it's done.	1:02:43	1:02:46
Bastard! Where were you?	1:02:46	1:02:49
See? Sh-She's just crazy.	1:02:49	1:02:51
-Where fucking were you? -She's crazy.	1:02:51	1:02:52
No, let her play.	1:02:52	1:02:55
Fuck you.	1:02:55	1:02:57
CRYING CONTINUES	1:02:57	1:02:59
Fucking crazy.	1:03:02	1:03:04
Fuck is wrong with you?	1:03:05	1:03:07
'People see the, uh...	1:03:13	1:03:15
'the energy that you perform with on stage.	1:03:15	1:03:17
'E-Energy. Is that what you call it? Energy?	1:03:17	1:03:19
'But it looks exhausting.	1:03:19	1:03:22
-'Are you having fun? -Well, yeah, yeah.	1:03:22	1:03:24
'It's work just like anything else...	1:03:24	1:03:27
'you know, getting on stage every night-it is.	1:03:27	1:03:30
'It takes a lot out of your energy. Is that what you call it?	1:03:30	1:03:32
'But, I mean, if you-if you don't put your all into it, you know...	1:03:32	1:03:37
'if you don't put your whole entire self into it, why do it?	1:03:37	1:03:40
'You know?	1:03:40	1:03:42
'You have your new album coming out, your first album.	1:03:42	1:03:44
'Yeah. Yeah, everybody go buy it too.	1:03:44	1:03:47
'There's so much competition right now.	1:03:48	1:03:51
'Cream, The Who...	1:03:51	1:03:52
'No, no, no. No, no. I wouldn't say competition, you know.	1:03:52	1:03:56
'But the Beatles have a new record due.	1:03:56	1:03:58
'It's meant to be amazing.	1:03:58	1:04:00
'Uh, do you feel worried at all?'	1:04:00	1:04:02
That's right. French fries, right? French fries and eggs?	1:04:04	1:04:06
-Yeah, chips. -Why do you all drink so much tea?	1:04:06	1:04:09
What's up with the tea thing, man?	1:04:09	1:04:10
Tea. it's what we drink.	1:04:10	1:04:12
It's because we were invading India.	1:04:12	1:04:13
That's why you all stay up all the time. You never go to fucking sleep.	1:04:13	1:04:16
There isn't... Tea doesn't make you stay awake.	1:04:16	1:04:18
-Yes, it does. -Alcohol makes you stay awake. -No, alcohol makes you go to sleep.	1:04:18	1:04:22
-It makes me go to sleep. -Doesn't take much for you to go to sleep.	1:04:22	1:04:25
I have to drink alcohol when I take your cooking.	1:04:25	1:04:27
Hey, horse.	1:04:27	1:04:29
-What are you about? -What are we about? What do you mean?	1:04:29	1:04:32
Nothing.	1:04:32	1:04:33
Everything.	1:04:33	1:04:35
Something.	1:04:35	1:04:37
-Cheeky bastard. -Is he giving you trouble?	1:04:37	1:04:40
No, he's not giving me trouble, as you can see.	1:04:40	1:04:42
-Cheers, mate. -All right, thanks, mate.	1:04:42	1:04:44
-You together? -Is that any of your business?	1:04:44	1:04:46
-He your ooga-booga man? -Sod off, you gobshite.	1:04:46	1:04:49
You talk like you're pissed. Are you drunk?	1:04:49	1:04:52
You want a public morals charge?	1:04:52	1:04:54
You in the military?	1:04:54	1:04:56
Yeah. I'm a soldier.	1:04:56	1:04:58
Which war?	1:04:58	1:05:00
All of them.	1:05:00	1:05:02
I'm in a constant, constant struggle against...	1:05:02	1:05:05
the colour grey, fat mattresses, you know, small minds.	1:05:05	1:05:09
I'm always losing that one, though.	1:05:09	1:05:11
-Having a laugh? -Yeah. Yeah, we are. We're having a laugh.	1:05:11	1:05:15
-Off the path, please, sir. -MAN: Sorry, sir.	1:05:15	1:05:17
-My pa was in the military. -Yeah.	1:05:18	1:05:20
God bl-God-God-God bless him.	1:05:20	1:05:22
Died wearing that jacket.	1:05:22	1:05:24
This one? Cos this is from the Veterinary Corps.	1:05:25	1:05:28
Your pa died, like, handling donkeys and asses or something like that?	1:05:28	1:05:31
-Don't you... -It's all right, mate.	1:05:31	1:05:33
Don't do that, cos it ain't worth it, is he?	1:05:33	1:05:35
You're a disgrace to every man who wore that uniform.	1:05:35	1:05:38
Take it off.	1:05:39	1:05:41
Take it off.	1:05:41	1:05:43
Bop it. On your bike.	1:05:58	1:06:02
Bike? We don't have no bike.	1:06:02	1:06:04
Fucking...	1:06:04	1:06:06
You shouldn't have given him your jacket.	1:06:06	1:06:08
You shouldn't have given it to him.	1:06:08	1:06:10
You don't know what it's like. You don't have to go through it.	1:06:11	1:06:15
Don't even need to talk about it.	1:06:16	1:06:18
It was a hell of a show...on paper.	1:06:23	1:06:25
-Yeah? -McCartney phoned up himself.	1:06:25	1:06:28
Says he's recommending you personally.	1:06:28	1:06:30
There's only two acts representing the UK.	1:06:30	1:06:32
-What's the other? -Well, The Who is the other.	1:06:32	1:06:34
Of course, yeah. LAUGHING	1:06:34	1:06:36
Monterey. I've never even been to Monterey.	1:06:36	1:06:38
Is it warm?	1:06:38	1:06:40
No, it's Northern California, but you don't have to worry about that.	1:06:40	1:06:42
I think I'd better bring a proper coat.	1:06:42	1:06:44
Do you think I'll need a new coat? We should get new coats.	1:06:44	1:06:47
Hey, who-who else is playing?	1:06:47	1:06:48
Uh, Otis Redding, he's on. The Mamas and the Papas.	1:06:48	1:06:52
-John Phillips, it's his thing. -Yeah, yeah.	1:06:52	1:06:54
Uh, The Who, like I said.	1:06:54	1:06:57
Jefferson Airplane.	1:06:57	1:06:59
And you.	1:06:59	1:07:00
Jimi. Come on. Give us a smile, son, huh?	1:07:03	1:07:07
-This is a good day. -Yeah.	1:07:08	1:07:10
It's a hell of a day.	1:07:10	1:07:13
-WOMAN: -You know, talk about the guitar and,	1:07:13	1:07:15
I mean, it's about what you do on stage.	1:07:15	1:07:17
I mean, you are just electric up there.	1:07:17	1:07:19
I mean, we don't even care - it's what you do, essentially.	1:07:19	1:07:22
You can feel this vibe. We all feel it.	1:07:22	1:07:25
Can you feel it? I think we should just...	1:07:25	1:07:29
LOUD CHATTERING	1:07:29	1:07:30
It's the herald of a new age.	1:07:32	1:07:35
TV ON	1:07:35	1:07:36
SHE SIGHS	1:07:45	1:07:47
Hey, hey, hey. Put that back. Come on now.	1:07:56	1:07:58
What are you doing?	1:07:59	1:08:01
What time is it?	1:08:07	1:08:09
I don't know. Two o'clock, maybe.	1:08:09	1:08:13
Two o'clock.	1:08:13	1:08:14
The Salvation Army band's playing outside.	1:08:16	1:08:18
Do you want to go and have a listen?	1:08:18	1:08:20
I want to go out.	1:08:25	1:08:27
Yeah, OK.	1:08:27	1:08:28
I want to go out with you.	1:08:32	1:08:34
It's two o'clock!	1:08:39	1:08:41
I heard you the first time.	1:08:43	1:08:44
It's two o'clock and you're just sitting there. You never want to go out.	1:08:44	1:08:48
Woman, I gig every night.	1:08:48	1:08:50
You play music. That's not socialising.	1:08:50	1:08:51
Don't lay this shit on me now.	1:08:51	1:08:53
I want to go out with people.	1:08:53	1:08:55
W-Well, go... I don't want to go out with people.	1:08:55	1:08:58
It just make me uptight. They're always just-just bullshitting.	1:08:58	1:09:01
Everyone makes you uptight. They're not always bullshitting.	1:09:01	1:09:03
But if they're not talking about Dylan or Howlin' Wolf,	1:09:03	1:09:04
you don't want to hear what they say.	1:09:04	1:09:06
There are more things to talk about, you know.	1:09:06	1:09:08
Wh-Wh- OK, what?	1:09:08	1:09:10
What do you want to talk about? Speak.	1:09:10	1:09:12
-TV: -'One way or the other, man. There was no middle of the road.'	1:09:12	1:09:16
I've got friends.	1:09:19	1:09:21
Who? Right.	1:09:21	1:09:23
I've got people that I can hang out with.	1:09:23	1:09:25
Fuck's sake. Fuck does he think he is?	1:09:27	1:09:30
Ooh, Oh, my God. You're so fucking cool.	1:09:31	1:09:33
You're not fucking cool. You're fucking boring is what you are.	1:09:33	1:09:36
Uptight fucking bastard.	1:09:36	1:09:37
Thinks the fucking sun shines out of his fucking ass.	1:09:37	1:09:40
Who does he think I am, for fuck's sake, an old maid?	1:09:40	1:09:42
Bastard.	1:09:43	1:09:45
Fuck you.	1:09:45	1:09:47
TV AUDIENCE LAUGHING	1:09:47	1:09:49
Stay-at-home bloody girl.	1:09:49	1:09:52
FOOTSTEPS STOMPING	1:09:52	1:09:53
You know what? Get the fuck out of here.	1:09:59	1:10:02
DOOR CLOSES	1:10:02	1:10:04
I don't need this shit.	1:10:04	1:10:07
TV: CHATTER AND LAUGHTER CONTINUES	1:10:07	1:10:10
It's good? You like it?	1:10:50	1:10:52
Yeah, I dig it. I-It's cool.	1:10:52	1:10:54
What's it about?	1:10:54	1:10:56
It's about this star child, this	1:10:56	1:10:58
super-intelligent being out in the universe.	1:10:58	1:11:00
Right. OK.	1:11:00	1:11:01
And it's just out there, just waiting.	1:11:01	1:11:03
Then one day it's going to come down from outer	1:11:03	1:11:05
space and save us all from ourselves.	1:11:05	1:11:07
You know, teach us, you know, not to hate, you know, and how to really, really love.	1:11:07	1:11:11
Well, that's-that's heavy.	1:11:11	1:11:13
-You know, it's for real. -Yeah?	1:11:13	1:11:15
Yeah. There's all sorts of things out there we don't even know about.	1:11:15	1:11:18
Like, other people in the solar system that have the same feelings that we do.	1:11:18	1:11:21
OK.	1:11:21	1:11:22
Without the bad feelings, you know.	1:11:22	1:11:25
You know, like, our negative vibrations upset their way of living, for instance.	1:11:25	1:11:28
-Yeah. -And they're a whole lot...	1:11:28	1:11:31
Nothing but negativity bringing us down.	1:11:31	1:11:34
But the solar system is going through this huge change.	1:11:34	1:11:36
It's going to affect Earth in about 30 years, yeah.	1:11:36	1:11:39
And our space brothers, they're going to come down...	1:11:39	1:11:41
and they're going to show us the way.	1:11:41	1:11:44
-The way? -Yeah.	1:11:44	1:11:46
I dig that.	1:11:46	1:11:47
-Oh, hey. -What are you doing?	1:11:52	1:11:54
-We were just hanging out. -What have you done to him?	1:11:54	1:11:56
Jimi, wake up! Open your eyes!	1:11:56	1:11:58
-What have you given him? -Nothing.	1:11:58	1:11:59
-Come on. Get up now. Wake up. -He's good.	1:11:59	1:12:01
-We just smoked some weed. -You've got to get up now.	1:12:01	1:12:04
Get out! You have to get up now. Come on.	1:12:04	1:12:06
No, no. it's cool. We were just hanging out.	1:12:06	1:12:09
I missed you.	1:12:12	1:12:14
W-We were just talking.	1:12:14	1:12:16
You know, he was going on about the star child and science fiction and all that.	1:12:16	1:12:20
He just wanted me to stay with him until you got back.	1:12:20	1:12:22
You want this?	1:12:22	1:12:24
He just bought it.	1:12:24	1:12:26
OK.	1:12:27	1:12:29
I get it.	1:12:29	1:12:30
You're all right. You can stay.	1:12:33	1:12:34
-No, I'm going to... -No, you're all right.	1:12:34	1:12:37
All right.	1:12:39	1:12:40
I've seen him play. He's good.	1:12:44	1:12:46
-He's great. -Yeah, he's going to be a rock star one day.	1:12:46	1:12:50
He is a rock star. He already is one.	1:12:50	1:12:52
All right.	1:12:53	1:12:55
-Where's that accent from? -Milwaukee.	1:12:55	1:12:58
-Don't know it. -There's nothing to know.	1:12:58	1:13:00
-You been together long? -Since he arrived.	1:13:02	1:13:04
-Since last September. -Really? That's a long time in groupie years.	1:13:04	1:13:07
I'm not a groupie. I'm his girlfriend.	1:13:07	1:13:09
All right, girlfriend. OK.	1:13:09	1:13:11
What's your magic?	1:13:12	1:13:14
I'm a bloody good time.	1:13:14	1:13:16
We have a laugh. That's my magic.	1:13:16	1:13:19
Should have seen what I got him away from. God.	1:13:19	1:13:22
All fixed teeth and plummy talk.	1:13:22	1:13:25
Boring.	1:13:25	1:13:27
-Easy's always boring. -Hmm.	1:13:27	1:13:30
You ever been with any rock 'n' rollers, then?	1:13:34	1:13:36
Yeah, I been with plenty.	1:13:36	1:13:37
What was the longest?	1:13:37	1:13:38
Uh, one time I was with the same cat for, uh...	1:13:38	1:13:43
five-and-a-half months.	1:13:43	1:13:45
Five-and-one-half. Yeah.	1:13:45	1:13:48
What happened?	1:13:48	1:13:50
Oh, he met a better-looking girl. Wasn't no thing.	1:13:50	1:13:54
Then I met a bigger rock star.	1:13:54	1:13:56
It's all about the bigger, better deal.	1:13:56	1:13:59
But you don't gotta worry about that.	1:13:59	1:14:00
I'll never meet a bigger rock star?	1:14:00	1:14:02
He'll never meet a finer-looking girl.	1:14:02	1:14:05
We're not even on the damn charts, man.	1:14:08	1:14:10
Top 100, and we don't even make any kind of ripple or nothing, man.	1:14:10	1:14:14
People need to put a face to the music.	1:14:14	1:14:16
You know, you need to get seen over there.	1:14:16	1:14:19
What you said... You said if we wanted to win, we have to take London.	1:14:19	1:14:23
You have. You have taken London.	1:14:23	1:14:25
But we've got nowt if we don't take America.	1:14:25	1:14:27
It's always something with you, man.	1:14:27	1:14:29
You start with one thing and then it turns into some other bullshit.	1:14:29	1:14:31
-What is that, man? -I'm not bullshitting you.	1:14:31	1:14:34
Not with the record where it's at.	1:14:34	1:14:37
Look, I've broke my back to get us this far.	1:14:37	1:14:39
I've spent my every last pound to get us where we are.	1:14:39	1:14:42
-So it's about you? -It's about the payoff.	1:14:42	1:14:45
For me, aye. For you. For us.	1:14:45	1:14:47
For the lads.	1:14:47	1:14:49
100 songs, man. Not... Not one, man, like...	1:14:49	1:14:54
Just hold it together until Monterey.	1:14:54	1:14:56
OK?	1:14:58	1:14:59
-OK? -Yeah, yeah, man, yeah.	1:15:01	1:15:04
BOTH LAUGHING	1:15:17	1:15:19
I like it, though. You know what?	1:15:21	1:15:22
You sh... You should let it, like, like-like, grow huge.	1:15:22	1:15:25
-Like an angel. -I'm going to grow it.	1:15:25	1:15:27
I'm not going to cut it any more.	1:15:27	1:15:28
Like when I had it before, I just put loads of pomade in.	1:15:28	1:15:31
-Yeah. -You know, Flatten it down, but...	1:15:31	1:15:35
It shapes your face up really nice.	1:15:35	1:15:37
-We were going this way. -Oh, yeah, yeah.	1:15:37	1:15:40
You know what I mean?	1:15:40	1:15:42
When you started. Yeah?	1:15:42	1:15:44
Brought somebody to see you.	1:15:55	1:15:58
-As-salaam alaikum. -How you doing, man?	1:15:59	1:16:01
Hey.	1:16:01	1:16:02
Come in, come in.	1:16:02	1:16:04
-TV: -'The government of America has failed you!'	1:16:04	1:16:07
You know Jimi, right?	1:16:07	1:16:08
Jimi's going to be a rock star one day.	1:16:08	1:16:10
Oh, no, he IS a rock star.	1:16:10	1:16:13
That's what your girl would say, right?	1:16:13	1:16:16
-Want to give Jimi some of that good weed you got. -Yeah.	1:16:16	1:16:20
'There are Negroes now who preach to you...	1:16:20	1:16:22
'that the way to freedom and equality is through nonviolence.'	1:16:22	1:16:26
-Goddamn. -Yeah, we have a lot of guests.	1:16:26	1:16:28
Where's your rolling paper at?	1:16:28	1:16:30
-It's in the drawer where it always is. -All right.	1:16:30	1:16:33
MAN CONTINUES SPEAKING	1:16:33	1:16:35
Ah. Seen you play.	1:16:35	1:16:37
Jimi Hendrix, yes. You hella good.	1:16:37	1:16:39
So, how are you liking London?	1:16:41	1:16:44
Uh, it's a good scene.	1:16:44	1:16:47
Yeah, a good scene, yeah?	1:16:47	1:16:49
So, um, where is this good scene?	1:16:49	1:16:52
Been playing at The Scotch.	1:16:52	1:16:53
Uh, I played down at The Bag Of Nails the other night, man.	1:16:53	1:16:56
Some really cool people there.	1:16:56	1:16:57
-Yeah? -Yeah.	1:16:57	1:16:59
They relate to music differently here than they do in America.	1:16:59	1:17:02
In America, it's still... Everything's all split up still, in America.	1:17:02	1:17:06
You know, you have, like, one scene for this type of music...	1:17:06	1:17:08
and a whole another scene for another type of music.	1:17:08	1:17:10
And the moment you try to put it all together,	1:17:10	1:17:12
you know, they get all uptight with you.	1:17:12	1:17:15
Here they just...they give you more freedom to play...	1:17:15	1:17:19
and I love that.	1:17:19	1:17:21
You know, they let you do what you want to do any-any time you want to.	1:17:21	1:17:25
-CHUCKLES -What? Let you?	1:17:25	1:17:27
Yeah.	1:17:27	1:17:29
I'm sorry, but you just said you had freedom to play.	1:17:29	1:17:33
Well, if you have freedom, people don't let you do anything.	1:17:33	1:17:35
You just do it.	1:17:35	1:17:37
There's nothing in the drawer.	1:17:41	1:17:43
It's in the bloody drawer, man. Look for it.	1:17:43	1:17:45
But, you know, good on you...	1:17:46	1:17:48
for coming over, enjoying yourself.	1:17:48	1:17:50
On behalf of England... Well, on behalf of Black England, welcome.	1:17:50	1:17:55
Thank you.	1:17:55	1:17:57
I would think that maybe you hadn't had much chance to see Black England.	1:17:58	1:18:02
You know, Brixton, Notting Hill.	1:18:02	1:18:04
I don't break it down like Black England or White England.	1:18:04	1:18:07
But it is like that.	1:18:08	1:18:11
They break it down.	1:18:11	1:18:12
Or maybe you haven't had your share of hassles over here.	1:18:12	1:18:15
I read in the papers how they talk about your music.	1:18:17	1:18:20
Wild and tribal and violent.	1:18:20	1:18:22
Words, man. Just words.	1:18:24	1:18:26
They're all just words. I don't get uptight about them words, you know.	1:18:26	1:18:29
But they don't use those words when they're talking about Jeff Beck or Eric Clapton.	1:18:29	1:18:33
You know, when they play the blues, it's acceptable.	1:18:35	1:18:38
But when you play the blues...	1:18:38	1:18:40
you're a violent, black abomination.	1:18:40	1:18:43
Thank you.	1:18:43	1:18:44
England is different to America.	1:18:46	1:18:49
You know, our-our race issues are more...subtle.	1:18:49	1:18:52
This new England was built on the Windrush.	1:18:54	1:18:56
You heard of that? You know what it is?	1:18:56	1:18:59
-Windrush? -I've never heard of that.	1:18:59	1:19:01
After the war, right...	1:19:01	1:19:03
uh, Caribbeans - well, West Indians got, um...	1:19:03	1:19:07
they got lured to England, you know.	1:19:07	1:19:10
Lots of signs all over the place advertising work and jobs.	1:19:10	1:19:15
Come on, come over. Work hard for a better life.	1:19:15	1:19:17
Yeah, possibilities.	1:19:17	1:19:19
-Yeah, but there were no possibilities. -Hmm.	1:19:19	1:19:22
No housing. No decent pay.	1:19:22	1:19:25
-There's a class system here in England. -Notting Hill, man.	1:19:25	1:19:28
-There was hard work. -Those Teddy Boys were fucking black people up.	1:19:28	1:19:30
But there's no better life.	1:19:30	1:19:31
But it's hard all over now for everybody. Right? You know.	1:19:31	1:19:35
I mean, people are just people. You know, just like animals.	1:19:35	1:19:38
Animals are going to be animals, right?	1:19:38	1:19:39
Picking-Picking their noses, picking their asses, you know.	1:19:39	1:19:43
Animals are animals. Yes, yes.	1:19:43	1:19:45
To other animals you'll never be eaten.	1:19:45	1:19:48
And, look, you know...	1:19:48	1:19:50
I'm saying this brother to brother, all right?	1:19:50	1:19:52
You'll never be nothing to them but a curiosity.	1:19:52	1:19:55
And that's - that's the truth.	1:19:55	1:19:57
They don't let you up on that stage. They want you up there.	1:19:59	1:20:01
Their electric wog.	1:20:01	1:20:03
Oh, that's cold, man.	1:20:03	1:20:05
You're fooling around with all these white kids	1:20:05	1:20:07
but it's black British who need someone to inspire them.	1:20:07	1:20:09
-Inspire, man. -Why is that funny to you?	1:20:09	1:20:12
-You're putting things on me I don't even want to be. -You could be a symbol.	1:20:12	1:20:15
-I don't even understand. What are you talking about? -You could be a symbol.	1:20:15	1:20:18
-I'm just playing my guitar. -Play music to your people.	1:20:18	1:20:20
My people?	1:20:20	1:20:22
They're all my people. What-What...	1:20:23	1:20:25
Every last one of them, they're my people.	1:20:25	1:20:27
SIGHS SHARPLY	1:20:27	1:20:28
Jimi, the people you got around you now, they don't get it.	1:20:28	1:20:31
If you are going up on that stage just so you can go up on that stage...	1:20:31	1:20:35
you're wasting yourself.	1:20:35	1:20:37
-Your music should be notes of protest. -Right the hell on, man.	1:20:37	1:20:40
Protest is all over with. Everybody wants solutions now, you know.	1:20:40	1:20:44
You're getting up on stage with your gyrating, your gimmicks... Is that your solution?	1:20:44	1:20:47
I'm sick of everybody talking about these gimmicks, man.	1:20:47	1:20:49
You know, the world is nothing but a great big, fat gimmick.	1:20:49	1:20:53
Wars, you know, napalm bombs and all this kind of stuff.	1:20:53	1:20:56
You know, you got people getting burnt up on television, right in front of our faces.	1:20:56	1:21:01
You know, all this violence. And that's not my scene, man.	1:21:01	1:21:04
So what is your scene? Laying back and doing nothing?	1:21:04	1:21:07
And I should be like you? Do exactly what you're doing, huh?	1:21:07	1:21:10
Talking shit and smoking weed, huh?	1:21:10	1:21:12
Cos, yeah, the weed is good, man...	1:21:12	1:21:14
but this shit that you're talking, man...	1:21:14	1:21:17
You-You really want to change things?	1:21:17	1:21:19
When the power of love takes over the love of power, that's when things will change.	1:21:19	1:21:23
DISSONANT CHORD	1:21:31	1:21:32
FEEDBACK	1:21:37	1:21:39
CHATTERING AND MURMURING	1:21:39	1:21:41
GUITAR CONTINUES	1:21:41	1:21:42
Play something!	1:21:44	1:21:46
-Play a fucking song! -Get off!	1:21:47	1:21:50
Go on, then.	1:21:50	1:21:52
Where's the fucking show?	1:21:52	1:21:54
Paid a bloody pound for this shit!	1:21:54	1:21:56
Just shut your bas...	1:21:56	1:21:58
"Greeted by near silence, obsessive guitar-tuning and foul gestures,	1:21:58	1:22:03
"fans may have wondered what they missed musically during the..."	1:22:03	1:22:05
-Jimi. -I'm not in tune, man.	1:22:05	1:22:07
-Just play something, man. -Man, fuck you.	1:22:07	1:22:09
I'm going to get this guitar in tune if it takes me all fucking night.	1:22:09	1:22:12
"Having listened to their first album, the answer is, little.	1:22:12	1:22:15
"Jimi Hendrix is neither a notable songwriter, nor an accomplished vocalist.	1:22:15	1:22:20
"He is sullen when not outright angry...	1:22:20	1:22:22
"vague when not utterly arcane.	1:22:22	1:22:25
"The rank quality of his songs, the puerile nature of the lyrics,	1:22:25	1:22:28
"the sum total of the record is unrelentingly,	1:22:28	1:22:31
"lyrically and inartistically primal."	1:22:31	1:22:34
You'd just rather play any old kind of shit, huh?	1:22:35	1:22:38
And you don't care what it sounds like.	1:22:39	1:22:41
Well, leave then, man!	1:22:41	1:22:42
That didn't take them very long, did it?	1:22:42	1:22:44
Single didn't even chart in the States.	1:22:44	1:22:48
You toss in a review like that...	1:22:48	1:22:49
But they don't know anything.	1:22:49	1:22:51
I can hear the clack already.	1:22:51	1:22:53
People going on about whether he deserved the Monterey invitation.	1:22:53	1:22:57
What the fuck are we here for?	1:22:57	1:22:59
What-What-What do we do all this shit for?	1:22:59	1:23:01
Mitch?	1:23:01	1:23:03
Where's your old lady?	1:23:07	1:23:08
I don't know.	1:23:10	1:23:11
Girl runs around a lot.	1:23:12	1:23:14
Ah, there's others. Whispering in his ear, filling him up.	1:23:14	1:23:19
Ah, just ginning him up.	1:23:19	1:23:21
It's disrespectful, you know.	1:23:22	1:23:24
Running round on you like that.	1:23:26	1:23:27
Jimi and the lads are supposed to be playing the Saville Theatre.	1:23:27	1:23:30
Brian Epstein's chucking this big do	1:23:30	1:23:32
to celebrate the new Beatles disc and the boys are going to be there.	1:23:32	1:23:34
If Jimi has another performance like that last one...	1:23:34	1:23:37
-SIGHS -..we could lose Monterey.	1:23:38	1:23:41
We'll be done before we're started.	1:23:41	1:23:43
CHATTERING	1:23:47	1:23:50
Where's your girlfriend?	1:23:57	1:23:58
She's-She's at home tonight.	1:23:58	1:24:00
She's not coming out?	1:24:00	1:24:01
Hey! Hey!	1:24:08	1:24:11
Come here.	1:24:11	1:24:12
- C-Come on. Come here. - Go on. Go ahead.	1:24:13	1:24:15
Come over here.	1:24:15	1:24:17
OK, one minute.	1:24:17	1:24:18
Sit down. Sit down with me some.	1:24:20	1:24:22
Come on, sit down. Sit down.	1:24:22	1:24:24
WOMAN LAUGHING	1:24:24	1:24:26
# Gimme some lovin'	1:24:26	1:24:27
# Gimme, gimme some lovin'	1:24:27	1:24:29
# Gimme some lovin'	1:24:29	1:24:30
# Gimme some lovin'	1:24:30	1:24:32
# Gimme some lovin'	1:24:32	1:24:34
# Every day... #	1:24:34	1:24:36
Hey. You want to come grab a drink?	1:24:36	1:24:40
Yeah.	1:24:40	1:24:41
No, she's all right. She's fine.	1:24:41	1:24:43
Yeah, I'm fine. I'll see you in a minute.	1:24:46	1:24:49
All right.	1:24:49	1:24:51
# Well, I feel so good, everything is getting higher	1:24:54	1:24:58
# You better take it easy cos the place is on fire... #	1:24:58	1:25:02
I'm just going to go and ring someone up, all right? I'll be back in a minute.	1:25:02	1:25:06
# So glad we made it	1:25:08	1:25:10
# So glad we made it	1:25:11	1:25:13
# You got to	1:25:13	1:25:15
-# Gimme some lovin' -Gimme some lovin'	1:25:15	1:25:18
# Gimme some lovin'	1:25:18	1:25:19
# Gimme some lovin'	1:25:19	1:25:21
# Gimme some lovin'	1:25:21	1:25:22
# Every day... #	1:25:22	1:25:24
Hiya. it's me.	1:25:27	1:25:29
You all right, darling? You going to come down?	1:25:29	1:25:32
Yeah, place is all right. It's about half full.	1:25:32	1:25:34
There'll be... There'll be more people down later...	1:25:34	1:25:36
# Well, I feel so good, everything is getting higher	1:25:41	1:25:45
# You better take it easy cos the place is on fire	1:25:45	1:25:48
# Been a hard day, nothing went too good	1:25:48	1:25:51
# Now I'm going to relax just like everybody should... #	1:25:51	1:25:54
Hey, Jimi. Great show.	1:25:54	1:25:56
-Oh, thank you, man. -Yeah, love your stuff, man.	1:25:56	1:25:57
Wow, thank you. I really appreciate it. Thank you.	1:25:57	1:25:59
WOMEN GIGGLING	1:25:59	1:26:03
What is this, huh? What is this, huh?	1:26:03	1:26:05
SCREAMING	1:26:05	1:26:07
-Get off! -You disrespect me!	1:26:07	1:26:09
You disrespect me? Huh?	1:26:09	1:26:11
Who are you talking to, huh? Who you talkin' to, huh?	1:26:11	1:26:14
-You disrespect me! -Keep him away!	1:26:14	1:26:16
No, I'm all right. I'm all right.	1:26:16	1:26:17
I'm OK. I'm OK.	1:26:17	1:26:20
-I said get him away! -You disrespect me?	1:26:20	1:26:22
-Are you going to be OK? -Yeah.	1:26:49	1:26:50
-You going to be all right? -Yeah, thank you.	1:26:50	1:26:52
OK.	1:26:52	1:26:53
Cool?	1:27:47	1:27:49
I'm supposed to take, um...	1:27:49	1:27:52
I'm supposed to take these for the pain...	1:27:52	1:27:55
and then, uh, these to help me sleep.	1:27:55	1:27:57
Mmm, um, later, not now.	1:27:57	1:27:58
I'm not-not supposed to sleep tonight.	1:27:58	1:28:00
I wrote these for you.	1:28:03	1:28:05
You write out lyrics you can't even read yourself	1:28:19	1:28:21
and that's supposed to make everything all right?	1:28:21	1:28:23
I never doubted you. That wasn't me, that was you.	1:28:41	1:28:44
You were the one. That was your shite.	1:28:44	1:28:47
You got no-one to blame but you.	1:28:54	1:28:58
That's the bitch of it.	1:28:58	1:29:00
When it comes down to things...	1:29:00	1:29:02
-SIGHS -..it's your own goddamn fault.	1:29:03	1:29:06
You know, you think getting it on with a rock 'n' roller	1:29:06	1:29:08
is going to be nothing but good times.	1:29:08	1:29:11
They're the ones that make this shit real, but it never gets real for them.	1:29:11	1:29:15
Their whole life - a big motherfuckin' blowjob.	1:29:17	1:29:20
Can't keep thinking it's something that it's not.	1:29:22	1:29:25
Him fucking around...	1:29:25	1:29:26
and sooner or later he's going to fuck his way back to you.	1:29:26	1:29:29
He ain't going to fuck his way back to you. He's just fucking WITH you.	1:29:31	1:29:34
Why would you say that? Why would you say something like that?	1:29:37	1:29:40
Cos I'm your sister.	1:29:40	1:29:43
I'm not going to let you sit there and fall apart, thinking he loves you	1:29:43	1:29:46
when he don't love anything but himself.	1:29:46	1:29:49
You worn out, baby?	1:29:50	1:29:53
You look worn out.	1:29:53	1:29:54
Know what you need?	1:29:56	1:29:58
Hold on.	1:29:58	1:30:00
You have any, uh... Let me see right here.	1:30:00	1:30:03
Yeah, you got some.	1:30:04	1:30:05
You know what? You just need to take a couple of these, man.	1:30:07	1:30:11
You know?	1:30:11	1:30:13
Just take a couple of them.	1:30:13	1:30:15
Help you sleep that shit right off.	1:30:15	1:30:17
-Maybe take a few. -POURING DRINK	1:30:18	1:30:20
-When I'm feeling all... -SHE INHALES	1:30:21	1:30:23
GROANS	1:30:37	1:30:38
SOBBING	1:30:55	1:30:58
If you need anything, I'll just be outside.	1:31:23	1:31:26
GUITAR CHORD, FEEDBACK	1:31:57	1:32:00
PIANO AND STRINGS	1:32:01	1:32:04
I...	1:32:04	1:32:05
JIMI EXHALES	1:32:07	1:32:09
CHATTERING	1:32:14	1:32:15
Hey, lads, thanks for coming.	1:32:21	1:32:23
What's happening?	1:32:23	1:32:25
LAUGHING	1:32:31	1:32:33
# All your love I miss lovin'	1:32:57	1:32:59
# All your kiss I miss kissin'	1:33:01	1:33:03
# All your love I miss lovin'	1:33:04	1:33:06
# All your kiss I miss kissin'	1:33:08	1:33:10
# Before I met you, baby	1:33:11	1:33:14
# I didn't know what I was missing	1:33:15	1:33:17
# All the love, pretty baby	1:33:19	1:33:21
# I have in store for you	1:33:22	1:33:25
# All the love, pretty baby	1:33:26	1:33:28
# I have in store for you	1:33:30	1:33:33
# The way I love you, baby	1:33:33	1:33:36
# I know you love me too... #	1:33:37	1:33:39
Sorry, man.	1:33:57	1:33:59
Have a good show.	1:33:59	1:34:01
Jimi.	1:34:05	1:34:06
Have a fucking good show.	1:34:08	1:34:10
MUSIC FADES	1:34:14	1:34:16
Hey, put-put this on. We're going to open with that.	1:34:19	1:34:21
The title track.	1:34:21	1:34:23
If we put this in the key of E and go to town with it, man...	1:34:25	1:34:28
It only came out two days ago. Half an hour	1:34:28	1:34:30
before the show, you want us to learn a new song?	1:34:30	1:34:32
-We're a band. Come on, man. -The Beatles are in the audience.	1:34:32	1:34:35
It's a fucking insult.	1:34:35	1:34:36
Only if we fuck it up.	1:34:36	1:34:38
Come on. Let's have fun with living, man.	1:34:38	1:34:40
-Oh, that's cool, man. -CHUCKLES	1:34:40	1:34:42
All right, so, Mitch, you start it off	1:34:42	1:34:44
-and you give us a little rhythm and then... -I'll give you four, yeah?	1:34:44	1:34:47
AUDIENCE CLAPPING RHYTHMICALLY	1:34:56	1:34:59
-You-You start it off with the beat, right. -Gimme four.	1:35:01	1:35:03
-IMITATING BEAT -Let's keep it groovy.	1:35:03	1:35:05
Yeah, I like that.	1:35:05	1:35:06
And then I'm going to do a solo act after the first verse.	1:35:06	1:35:10
OK, yeah. Just on the chorus.	1:35:10	1:35:11
-PA: -'We apologise for the delay	1:35:11	1:35:13
'in this evening's performance by The Jimi Hendrix Experience.	1:35:13	1:35:15
'We hope to bring you the show presently.'	1:35:15	1:35:18
Hey, Jimi, listen.	1:35:19	1:35:20
Mmm? Yeah. Yeah.	1:35:20	1:35:23
MURMURING AND YELLING	1:35:36	1:35:39
Hey, I like those pants, Noel.	1:35:45	1:35:47
Beautiful, man. CHUCKLING	1:35:48	1:35:50
-PA: -'Ladies and gentlemen, honoured guests...	1:35:56	1:35:59
'The Jimi Hendrix Experience.'	1:35:59	1:36:02
APPLAUSE	1:36:02	1:36:04
Hey, your ears. Watch out for your ears, man.	1:36:05	1:36:09
Yeah, your ears. Watch out for your ears.	1:36:09	1:36:12
Hey!	1:36:22	1:36:23
# It was 20 years ago today	1:36:23	1:36:25
# Sgt Pepper taught the band to play	1:36:25	1:36:27
# They've been going in and out of style	1:36:27	1:36:29
# But they're guaranteed to raise a smile	1:36:29	1:36:32
# So may I introduce to you	1:36:32	1:36:34
# The act you've known for all these years	1:36:34	1:36:37
# Sgt Pepper's Lonely Hearts Club Band	1:36:37	1:36:40
Whoo! Look out!	1:36:40	1:36:42
# We're Sgt Pepper's Lonely Hearts Club Band	1:37:00	1:37:05
# We hope you will enjoy the show	1:37:05	1:37:08
# We're Sgt Pepper's Lonely Hearts Club Band	1:37:10	1:37:14
# Sit back and let the evening go	1:37:14	1:37:18
Yeah!	1:37:18	1:37:19
APPLAUSE AND CHEERING	1:37:30	1:37:33
# I don't really want to stop the show	1:37:40	1:37:43
# But I thought you might like to know	1:37:43	1:37:45
# That the singer's going to sing a song	1:37:45	1:37:47
# And he wants you all to sing along	1:37:47	1:37:50
# So let me introduce to you	1:37:50	1:37:52
# The one and only Billy Shears	1:37:52	1:37:55
# Sgt Pepper's Lonely Hearts Club Band	1:37:55	1:37:58
Look out! Whoo!	1:37:58	1:38:00
Yeah.	1:38:04	1:38:05
Get into it, man!	1:38:06	1:38:08
MUSIC ENDS	1:38:14	1:38:16
AUDIENCE CHEERING	1:38:17	1:38:19
Oh, yeah. Hey, Mitch, you see them up there?	1:38:41	1:38:43
I'd like to go.	1:38:54	1:38:55
Jimi?	1:38:57	1:38:59
Yeah?	1:38:59	1:39:00
I'd like to go with you.	1:39:00	1:39:02
We've got touring right after, you know.	1:39:02	1:39:04
If it works out, you know, we'll see.	1:39:04	1:39:06
Well, just for the festival, then.	1:39:11	1:39:13
I'll just go for the festival. Then I'll come straight home.	1:39:19	1:39:22
You should rest.	1:39:26	1:39:28
-No, I'm fine. -Rest.	1:39:28	1:39:30
I'm good enough to sit and watch you.	1:39:30	1:39:33
I've never been to San Francisco before.	1:39:33	1:39:36
It's Monterey.	1:39:36	1:39:38
There's nothing there for you. You wouldn't like it.	1:39:38	1:39:41
You know, I'm going to go and then come right back. It's no big thing at all, OK?	1:39:45	1:39:49
There were like rats and everything. Yeah.	1:39:52	1:39:54
It was very... Didn't smell too good.	1:39:54	1:39:57
Big, awful smell.	1:39:57	1:39:59
# Run, run, get your gun	1:39:59	1:40:01
# TomTom, na-na-na-na	1:40:03	1:40:05
I-I think it's, um...	1:40:05	1:40:07
it's really - it's really just finding bars now...	1:40:07	1:40:10
that you can sort of switch off in.	1:40:10	1:40:12
-There are not many around. -No, I guess everyone's...	1:40:12	1:40:16
Everyone's so aware of, um...of it.	1:40:16	1:40:21
Yeah.	1:40:21	1:40:23
Absolutely.	1:40:23	1:40:24
But, hey, I'm going to just grab something from my coat.	1:40:25	1:40:29
Be back.	1:40:29	1:40:31
Where did I put my...handbag?	1:40:33	1:40:35
Over here.	1:40:35	1:40:36
# TomTom, na-na-na-na	1:40:36	1:40:39
# Bang, bang, you low-down thing	1:40:40	1:40:43
# Tom Tom... #	1:40:44	1:40:46
Are you nervous?	1:40:47	1:40:49
No, of course not. GIGGLING	1:40:49	1:40:51
Yeah.	1:40:51	1:40:53
Are you excited?	1:40:54	1:40:56
It's still crazy to me.	1:40:56	1:40:57
All these acts are going to be on stage.	1:40:57	1:40:59
I mean, Simon and Garfunkel, Otis Redding, Janis Joplin. Come on, man...	1:40:59	1:41:03
-And you. -Yeah.	1:41:03	1:41:05
Hey, can you believe that?	1:41:05	1:41:07
Yes, I can.	1:41:07	1:41:09
-You want to go? -To Monterey?	1:41:11	1:41:13
Yeah, you should go.	1:41:13	1:41:15
What would your girlfriend have to say about that?	1:41:15	1:41:17
Or perhaps you wouldn't tell her.	1:41:18	1:41:20
Perhaps we'd just secretly run off together.	1:41:22	1:41:24
Did you hear Red House?	1:41:27	1:41:29
Yeah.	1:41:30	1:41:31
You know I wrote that for you, right? Could you tell?	1:41:31	1:41:34
And Keith wrote Ruby Tuesday for me when we broke things off.	1:41:39	1:41:42
Got all these men writing songs to me.	1:41:44	1:41:46
Then I go home and I listen to them alone.	1:41:48	1:41:50
What is it with you rock 'n' rollers?	1:41:54	1:41:56
You can perform for a thousand people	1:41:56	1:41:58
and you can't be honest with one.	1:41:58	1:42:00
You can sing it all, you just...	1:42:02	1:42:04
..can't say the words.	1:42:06	1:42:08
Why do you want me to go with you?	1:42:13	1:42:15
Doesn't really bring me any closer to packing my bags.	1:42:20	1:42:23
Good times.	1:42:23	1:42:25
We could have had good times here.	1:42:27	1:42:29
No, it's... Here wasn't our thing.	1:42:29	1:42:33
Here was just way too restricted, man.	1:42:34	1:42:36
-It was too formal? -Yeah.	1:42:36	1:42:38
So what would it be like there?	1:42:39	1:42:41
-Just looser. -Looser?	1:42:41	1:42:43
Like unsteady?	1:42:45	1:42:47
You know, the minute things take off for you...	1:42:48	1:42:50
I wonder if you're going to notice that I'm not around anymore.	1:42:50	1:42:54
Yeah.	1:42:54	1:42:55
Of course.	1:42:58	1:43:00
Things you love, they stay with you.	1:43:05	1:43:07
If you want them to or not.	1:43:08	1:43:10
You have a very annoying way of being...	1:43:16	1:43:18
..quite simply profound.	1:43:20	1:43:22
# I gotta have your love every day	1:43:23	1:43:26
# One that's real and will stay	1:43:28	1:43:31
I don't think it would be a good idea	1:43:31	1:43:34
for me to come to Monterey.	1:43:34	1:43:36
# I can't seem to make you mine	1:43:36	1:43:39
# Can't seem to make you mine	1:43:57	1:44:00
# Oh	1:44:00	1:44:01
# Can't seem to make you mine	1:44:01	1:44:04
# Oh	1:44:04	1:44:05
# Come back, baby, to me	1:44:05	1:44:08
# Oh	1:44:08	1:44:10
# End my misery	1:44:10	1:44:12
# Oh	1:44:12	1:44:13
# I give you love night and day	1:44:13	1:44:17
# Never ever go away	1:44:18	1:44:20
# Can't seem to make you mine... #	1:44:22	1:44:25
SHE STRUMS GUITAR	1:44:44	1:44:46
-PA: -'BOAC is pleased to announce the early arrival of flight number 12.	1:44:56	1:45:00
'The plane passengers can be met at gate number three.'	1:45:00	1:45:03
They're going to love your accents. They're going to go crazy, like the girls...	1:45:06	1:45:09
You're the one with the accent, Jimi.	1:45:09	1:45:10
CHATTERING CONTINUES	1:45:12	1:45:14
LAUGHTER	1:45:15	1:45:17
'So, do you think you're better than all of them?	1:45:27	1:45:30
'No, no.	1:45:30	1:45:31
'It's not about being better, you know, or anything-anything like that.	1:45:31	1:45:35
'You know, it's about being inspired.	1:45:35	1:45:37
'And I'm inspired by everybody. I'm inspired by all kinds of people.	1:45:37	1:45:40
'You know, it's art to me. You know, and with art,	1:45:40	1:45:43
'it's just showing something that you've never seen before.	1:45:43	1:45:45
'Or-Or even if it's something that you see every day...	1:45:45	1:45:48
'just showing it in a new way, you know.	1:45:48	1:45:50
'So I should-I should be able to take, like, any song and...	1:45:50	1:45:53
'I should be able to take Auld Lang Syne	1:45:53	1:45:55
'and do it in a new way you've never even heard it before.	1:45:55	1:45:58
'You know what I mean? So...	1:45:58	1:45:59
'it's all inspiration and inspiring other people.'	1:45:59	1:46:04
Come on! Everybody sing along with me.	1:46:18	1:46:21
# Wild thing	1:46:21	1:46:24
Yeah!	1:46:24	1:46:26
# You make my heart sing	1:46:26	1:46:29
Oh, yeah, I see you.	1:46:31	1:46:32
# You make everything groovy	1:46:32	1:46:36
# Wild thing	1:46:39	1:46:41
# Wild thing, I think you move me	1:46:46	1:46:50
# But I want to know for sure	1:46:52	1:46:56
# Come on, just... sock it' to me one time again.	1:46:57	1:47:01
# You move me	1:47:04	1:47:07
Look out!	1:47:07	1:47:08
# Wild thing	1:47:08	1:47:10
Yeah!	1:47:10	1:47:12
# You make my heart sing	1:47:12	1:47:15
# You make everything	1:47:18	1:47:22
# Groovy	1:47:22	1:47:23
Come on!	1:47:23	1:47:24
# Wild thing	1:47:25	1:47:26
Yeah, yeah!	1:47:30	1:47:31
# Wild thing	1:47:31	1:47:32
Yeah, yeah!	1:47:35	1:47:38
# Wild thing	1:47:38	1:47:39
# Wild thing	1:47:42	1:47:43
# Wild thing. #	1:47:46	1:47:48

Jimi: All Is by My Side

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