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portada.pdf 25/04/2009 10:55:22 a.m.

JIMI HENDRIX C

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Experience editorial


dedicatoria.pdf 25/04/2009 11:00:48 a.m.

to jimi hendrix and fans C

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get high!


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CONTENTS

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2Discography Discography

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1 Biography Biography Biography Biography Biography Biography Biography

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CONTENTS

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CONTENTS CONTENTS CONTENTS CONTENTS CONTENTS CONTENTS CONTENTS CONTENTS

Biography Biography Biography Biography Biography Biography Biography Biography Biography Biography Biography Biography

3woodstock Discography Discography Discography Discography Discography Discography Discography Discography Discography

Discography Discography Discography Discography Discography Discography Discography Discography Discography Discography Discography Discography Discography Discography Discography

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contenido.pdf 25/04/2009 11:05:24 a.m.


5-6.pdf 24/04/2009 03:06:01 p.m.

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James Marshall Hendrix was one of rock's few true originals. He was one of the most innovative and influential rock guitarists of the late '60s and perhaps the most important electric guitarist after Charlie Christian. His influence figures prominently in the playing styles of rockers ranging from Robin Trower to Vernon Reid to Stevie Ray Vaughan. A left-hander who took a right-handed Fender Stratocaster and played it upside down, Hendrix pioneered the use of the instrument as an electronic sound source. Players before Hendrix had experimented with feedback and distortion, but he turned those effects and others into a controlled, fluid vocabulary every bit as personal as the blues with which he began. His expressively unconventional, six-string vocabulary has lived on in the work of such guitarists as Adrian Belew, Eddie Van Halen, and

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Prince. But while he unleashed noise--and such classic hard-rock riffs as "Purple Haze," "Foxy Lady," and "Crosstown Traffic"--with uncanny mastery, Hendrix also created such tender ballads as "The Wind Cries Mary," the oft-covered "Little Wing," and "Angel," and haunting blues recordings such as "Red House" and "Voodoo Chile." Although Hendrix did not consider himself a good singer, his vocals were nearly as wide-ranging, intimate, and evocative as his guitar playing

rock

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7-8.pdf 24/04/2009 03:43:13 p.m.

live the love generation

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Hendrix's studio craft and his virtuosity with both conventional and unconventional guitar sounds have been widely imitated, and his image as the psychedelic voodoo child conjuring uncontrollable forces is a rock archetype. His songs have inspired several tribute albums, and have been recorded by a jazz group (1989's Hendrix Project), the Kronos String Quartet, and avant-garde flutist Robert Dick

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9-10.pdf 24/04/2009 05:43:49 p.m.

hendrix freedom man!

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stone free

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Hendrix's musical vision had a profound effect on everybody from Sly Stone to George Clinton to Miles Davis to Prince to OutKast. Hendrix's theatrical performing style--full of unmistakably sexual undulations, and such tricks as playing the guitar behind his back (a tradition that went back at least to bluesman T-Bone Walker) and picking it with his teeth--has never quite been equaled. In the decades since Hendrix's death, pop stars from Rick James and Prince to Lenny Kravitz and Erykah Badu have evoked his look and style.

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11-12.pdf 24/04/2009 06:38:21 p.m.

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lsd are you expirienced there are flowers in te rain

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the doors of the percepcption were flung open and everybody in the rock scene was liberated

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13-14.pdf 24/04/2009 07:35:05 p.m.

rkfhusdrnfklcmersgkudxhacmklrxcdskcsjdkfhkdsrugfvhsdkagjskjfmxcrkjaegfxmerkjcgfxnrskgcmaerscg stugbxeiugfxnaeiurgmaeukfykjfkaszerfhszeuhfkzdjcvnalrigfureogtwpefrshdiulcgbgfxnzhaekmzfaekucfg

Teenage, love and travel

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As a teenager growing up in Seattle, Hendrix taught himself to play guitar by listening to records by blues guitarists Muddy Waters and B.B. King and rockers such as Chuck Berry and Eddie Cochran. He played in high school bands before enlisting in the U.S. Army in 1959. Discharged in 1961, Hendrix began working under the pseudonym Jimmy James as a pickup guitarist. By 1964, when he moved to New York, he had played behind Sam Cooke, B.B. King, Little Richard, Jackie Wilson, Ike and Tina Turner, and Wilson Pickett. In New York he played the club circuit with King Curtis, the Isley Brothers, John Paul Hammond, and Curtis Knight. In 1965 Hendrix formed his own band, Jimmy James and the Blue Flames, to play Greenwich Village coffeehouses. Chas Chandler of the Animals took him to London in the autumn of

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1966 and arranged for the creation of the Jimi Hendrix Experience, with Englishmen Noel Redding on bass and Mitch Mitchell on drums.

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The Experience's first single, "Hey Joe," reached Number Six on the U.K. chart in early 1967, followed shortly by "Purple Haze" and its double-platinum debut album, Are You Experienced? (Number Five, 1967). Hendrix fast became the rage of London's pop society. Though word of the Hendrix phenomenon spread through the U.S., he was not seen in America (and no records were released) until June 1967, when, at Paul McCartney's insistence, the Experience appeared at the Monterey Pop Festival. The performance, which Hendrix climaxed by burning his guitar, was filmed by D.A. Pennebaker for the documentary Monterey Pop.

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Hendrix's next albums were major hits (Axis: Bold as Love [Number Three, 1968], Electric Ladyland [Number One, 1968]) and he quickly became a superstar. Stories such as one reporting that the Experience was dropped from the bill of a Monkees tour at the insistence of the Daughters of the American Revolution became part of the Hendrix myth, but he considered himself a musician more than a star. Soon after the start of his second American tour, early in 1968, he renounced the extravagances of his stage act and simply performed his music. A hostile reception led him to conclude that his best music came out in the informal settings of studios and clubs, and he began construction of Electric Lady, his own studio in New York.

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Hendrix was eager to experiment with musical ideas, and he jammed with John McLaughlin, Larry Coryell, and members of Traffic, among others. Miles Davis admired his instinctiveness (and, in fact, planned to record with him), and Bob Dylan--whose "Like a Rolling Stone," "All Along the Watchtower," and "Drifter's Escape" Hendrix performed and recorded--later returned the tribute by performing "Watchtower" in the Hendrix mode.

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19-20.pdf 24/04/2009 08:41:37 p.m.

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As 1968 came to a close, disagreements arose between manager Chas Chandler and co-manager Michael Jeffrey; Jeffrey, who opposed Hendrix's avant-garde leanings, got the upper hand. Hendrix was also under pressure from Black Power advocates to form an all-black group and play to black audiences. These problems exacerbated already existing tensions within the Experience, and early in 1969 Redding left the group to form Fat Mattress. Hendrix replaced him with an army buddy, Billy Cox. Mitchell stayed on briefly, but by August the Experience was defunct. In summer 1969 the double-platinum Smash Hits (Number Six) was released.

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forever in the music

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21-22.pdf 24/04/2009 10:00:33 p.m.

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23-24.pdf 24/04/2009 10:39:06 p.m.

put play to your disco

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Hendrix synthesized many styles in creating his musical voice and his guitar style was unique, later to be abundantly imitated by others. Despite his hectic touring schedule and notorious perfectionism, he was a prolific recording artist and left behind more than 300 unreleased recordings. His career and untimely death has grouped him with Janis Joplin and Jim Morrison as one of contemporary music's tragic "three J's", iconic 1960s rock stars that suffered drug-related deaths at age 27 within months of each other, leaving legacies in death that have eclipsed the popularity and influence they experienced during their lifetimes. The other rock star who died in that period at age 27 was Brian Jones. Musically, Hendrix did much to further the development of the electric guitar's repertoire, establishing it as a unique sonic source, rather than merely an amplified version of the acoustic guitar. Likewise, his feedback, wah-wah and fuzz-laden soloing moved guitar distortion well beyond mere novelty, incorporating other effects pedals and units specifically designed for him by his sound technician Roger Mayer (such as the Octavia and Univibe) with dramatic results.

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25-26.pdf 24/04/2009 10:48:40 p.m.

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s dmusic is peace! r u g s Hendrix affected popular music with similar profundity; along with earlier bands such as The Who and Cream, he established a sonically heavy yet technically proficient bent to rock music as a whole, significantly furthering the development of hard rock and paving the way for heavy metal. He took blues to another level. His music has also had a great influence on funk and the development of funk rock especially through the guitarists Ernie Isley of The Isley Brothers and Eddie Hazel of Funkadelic, Prince and Jesse Johnson of The Time. His influence even extends to many hip hop artists, including Questlove, Chuck D of Public Enemy, Ice-T (who covered "Hey Joe" with his heavy metal band Body Count), El-P and Wyclef Jean. Miles Davis was also deeply impressed by Hendrix and compared his improvisational skills with those of saxophonist John Coltrane, and Davis would later want guitarists in his bands to emulate him.

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Hendrix was ranked number 3 on VH1's 100 Greatest Artists of Hard Rock behind Black Sabbath at the second spot, and Led Zeppelin, ranked number one. Hendrix was ranked number 3 on VH1's list of 100 Best Pop Artists of all time, behind the Rolling Stones and the Beatles. He has been voted by Rolling Stone, Guitar World, and a number of other magazines and polls as the best electric guitarist of all time.

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27-28.pdf 24/04/2009 11:04:19 p.m.

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After being taken under Chas Chandler's wing and arriving in England in September 1966, The Jimi Hendrix Experience was formed with Mitch Mitchell on drums and Noel Redding on bass. The group signed with Track Records, newly formed by The Who's managers Kit Lambert and Chris Stamp. However the group's debut single appeared on Polydor Records, because Track was not yet operational. This group released three classic Top 10 hit UK singles produced by Chas Chandler : "Hey Joe"/"Stone Free" (December 1966), "Purple Haze"/"51st Anniversary" (March 1967, the 1st release by the new Track Records label, on a special white label) and "The Wind Cries Mary"/"Highway Chile" (May 1967). During the making of these singles, The Jimi Hendrix Experience also cut the tracks that became their debut album, which

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Chas Chandler also produced with the Olympic Studios Engineer Eddie Kramer (some tracks were recorded with engineers Dave Siddle at De Lane Lea & Mike Ross at CBS studios). Released in England that May without the three singles - as was the custom in the UK at that time - Are You Experienced and The Jimi Hendrix Experience quickly became a sensation all across (non communist bloc) Europe, with the album reaching #2 in the UK, behind The Beatles' Sgt. Pepper's Lonely Hearts Club Band.

is the debut album by English/American rock band The Jimi Hendrix Experience. Released in 1967, it was the first LP for Track Records. The album highlighted Jimi Hendrix's R&B-based, psychedelic, distortion- and feedback-laden electric guitar playing, and launched him as a major new international star. In 2003, Rolling Stone magazine ranked it #15 on Rolling Stone's 500 Greatest Albums of All Time.

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29-30.pdf 24/04/2009 11:23:54 p.m.

is the second studio album by The Jimi Hendrix Experience. Under pressure from their record company to follow-up the successful debut of their May 1967 album Are You Experienced, Axis: Bold as Love was released on Track Records in the UK in December 1967. It reached #5 in the UK and later, #3 in the US. The album was recorded to fulfill the band's contract, which stated that they must produce two albums in 1967. Even so, it was not released in the USA until 1968 due to fears that it might have disturbed the sales of the first album. Bassist Noel Redding has noted that this was his favourite of three Experience albums. He plays eight string bass on some tracks. Just before the album's completion, Hendrix left the master tapes of side 1 in a taxi. They were never found again, and thus the A-side had to be mixed again quickly. In 2003, the album was ranked number 82 on Rolling Stone magazine's list of the 500 greatest albums of all time

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31.32.pdf 24/04/2009 11:37:38 p.m.

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Electric Ladyland is the third and final album by the Jimi Hendrix Experience, released in 1968 on Reprise Records (see 1968 in music). Written and produced by Jimi Hendrix, the album is seen as the peak of Hendrix's mastery of the electric guitar, and is frequently cited as one of the greatest rock albums of all time. It is not only the last of his albums released as the Jimi Hendrix Experience, but also the last of Hendrix's studio albums to be professionally produced under his own supervision. After Electric Ladyland, Hendrix spent the remaining two years of his life attempting to organize a new band and recording a breadth of new songs. The album cover was originally very controversial because it had nude women on the front cover. Since this was very offending, there was another front cover made with Jimi Hendrix's face on it. Released as a double album, Electric Ladyland is a cross-section of Hendrix's wide range of musical talent. It includes samples of several genres and styles of music, including the psychedelia of "Burning of the Midnight Lamp" (previously a UK single in the summer of 1967), the bluesy guitar jam "Voodoo Chile", the New Orleans-style rock and roll of "Come On", the epic studio production of "1983... (A Merman I Should Turn to Be)", and the social commentary of "House Burning Down". The album also features a cover version of Bob Dylan's "All Along the Watchtower" that was widely praised by many, including Dylan himself, as well as "Voodoo Child (Slight Return)", a staple of both radio and guitar repertoire.

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voodoo child gypsy eyes 31

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33-34.pdf 25/04/2009 12:15:24 a.m.

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born to be wild

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get your pot free

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crazy

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35-36.pdf 25/04/2009 12:54:12 a.m.

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jimi discos

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music makes people

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1969

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madison square garden

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in new yor city, septemb er 10

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39-40.pdf 25/04/2009 01:36:25 a.m.

electric sky church

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In August 1969, Hendrix appeared at the Woodstock Festival with a large, informal ensemble called the Electric Sky Church, and later that year he put together the all-black Band of Gypsys--with Cox and drummer Buddy Miles (Electric Flag), with whom he had played behind Wilson Pickett. The Band of Gypsys' debut concert at New York's Fillmore East on New Year's Eve 1969 provided the recordings for the group's only album during its existence, Band of Gypsys (Number Five, 1970). (A second album of vintage tracks was released in 1986.) Hendrix walked offstage in the middle of their Madison Square Garden gig; when he performed again some months later it was with Mitchell and Cox, the group that recorded The Cry of Love (Number Three,

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1971), Hendrix's last self-authorized album. With them he played at the Isle of Wight Festival, his last concert, in August 1970, a recording of which would see release in 2002. A month later he was dead. The cause of death was given in a coroner's report as inhalation of vomit following barbiturate intoxication. Suicide was not ruled out, but evidence pointed to an accident.

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41-42.pdf 25/04/2009 01:41:48 a.m.

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In the years since his death, the Hendrix legend has lived on through various media. Randi Hansen (who appeared in the video for Devo's 1984 cover of "Are You Experienced?") became the best known of a bunch of full-time Hendrix impersonators, even re-forming the Band of Gypsys with bassist Tony Saunders and Buddy Miles--who, briefly in the late '80s, was replaced by Mitch Mitchell.

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Well over a dozen books have been written about Hendrix, including tones by both Redding and Mitchell; the most authoritative bio was generally considered to be David Henderson's 'Scuse Me While I Kiss the Sky, while Charles R. Cross's Room Full of Mirrors delves deepest into Hendrix's early years in Seattle. And virtually every note Hendrix ever allowed to be recorded has been marketed on over 100 albums, some of which mine his years as a pickup guitarist, various bootlegs and legitimate live concerts and jam sessions, and even taped interviews and conversations. A controversial series produced by Alan

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Douglas, who recorded over 1,000 hours of Hendrix alone at the Electric Lady studio in the last year of his life, garnered attention through the mid-'90s. With the consent of the Hendrix estate, Douglas edited the tapes, erased some tracks, and dubbed in others, with mixed results. Radio One collected energetic live-in-the-studio performances by Hendrix and the Experience recorded for British radio in 1967; the later BBC Sessions mined the same material more thoroughly.

In 1990 the first of several Hendrix tribute albums, If Six Was Nine, was released. Former Free/Bad Company/Firm vocalist Paul Rodgers released another tribute (The Hendrix Set, 1993) and appeared on the all-star Stone Free, which featured Hendrix covers from musicians ranging from Eric Clapton to Buddy Guy to the Cure to Ice-T to classical violinist Nigel Kennedy. In 1991 Hendrix's ex-girlfriend Kathy Etchingham, along with Mitch Mitchell and his wife Dee, began prodding Scotland Yard to reopen an investigation into their friend's

death. England's attorney general finally agreed to the request in 1993; in early 1994 Scotland Yard announced it had found no evidence to bother pursuing the case any further. In 1993 an audio-visual exhibit of Hendrix's work called "JimI Hendrix: On the Road Again" toured college campuses and art galleries in the U.S., to enthusiastic--and predominately young--audiences.

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45-46.pdf 25/04/2009 01:55:26 a.m.

Well, I stand up next to a mountain And I chop it down with the edge of my hand Yeah! Well, I stand up next to a mountain And I chop it down with the edge of my hand Well, I pick up all the pieces and make an island Might even raise a little sand Yeah!

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In 1994 a 24-year-old Swede named James Henrik Daniel Sundquist claimed to have been conceived by the guitarist and Eva Sundquist during a 1969 Stockholm sojourn. Sundquist legally challenged Hendrix's father, James "Al" Hendrix, as the sole heir to the Jimi Hendrix estate, which was estimated to be worth at least $30 million. A year earlier, Al Hendrix, who in the mid-'70s had signed away the rights to portions of his son's work to various international conglomerates, had claimed that he'd been misled. With the financial aid of Paul Allen, the billionaire Hendrix fan who'd cofounded Microsoft with Bill Gates, he filed a federal lawsuit against those conglomerates and against the holding companies and lawyers connected to the estate. In 1995 he regained complete control of his son's estate, which included Jimi Hendrix's finished and unreleased recordings, as well as his musical compositions. This evolved into a series of CD reissues that were remastered from the original tapes. Having re-released CDs of the guitarist's entire catalogue, the Hendrix estate, under the Experience Hendrix imprint of MCA, also issued the album on which Hendrix was working at the time of his death, First Rays of

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the New Rising Sun (Number 49, 1997). South Saturn Delta (Number 51, 1997) delved further into the archives. Experience Hendrix: The Best of Jimi Hendrix (Number 133, 1998) followed, as did the double-CD BBC Sessions (Number 50, 1998), the Band of Gypsys-era Live at the Fillmore East (Number 65, 1999), Live at Woodstock (Number 90, 1999), and, in 2000, the four-CD/eight-LP Jimi Hendrix Experience box set. (Several other live discs were made available through an online imprint, Dagger Records.) Meanwhile Paul Allen amassed his cash to fund a modest Jimi Hendrix museum, which eventually blossomed into the $100 million Experience Music Project. Eight years in the making, the high-tech, interactive rock & roll museum complete with a Jimi Hendrix Gallery opened at the Seattle Center in 2000.

cause Im a voodoo child Lord knows Im a voodoo child baby I want to say one more last thing I didnt mean to take up all your sweet time Ill give it right back to ya one of these days Hahaha! I said I didnt mean to take up all your sweet time Ill give it right back one of these days Oh yeah! If I dont meet you no more in this world then uh Ill meet ya on the next one And dont be late Dont be late cause Im a voodoo child voodoo child Lord knows Im a voodoo child Hey hey hey! Im a voodoo child baby I dont take no for an answer Question no Yeah!

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47-48.pdf 25/04/2009 02:05:54 a.m.

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Jimi Hendrix