Fantastic Negrito – The Last Days Of Oakland (2016)

FrontCover1Blues in the 21st century usually falls into two camps: hip revivalists raised on rock who are ready to shred and traditionalists content to confine the music on a narrow path. Fantastic Negrito — the new persona of Xavier Dphrepaulezz, who previously pledged allegiance to Sly Stone in the ’90s — disregards this playbook by offering a fresh take on blues with his 2016 album, The Last Days of Oakland. The title alone pushes against the sweeping tides of gentrification and the album begins with a litany of what’s good and bad within Oakland, a theme Fantastic Negrito touches upon throughout his album. Class and commerce aren’t the only thing on his mind: The Last Days of Oakland teems with all the turmoil of urban life in 2016, a place where racial, financial, technological, and political tensions all threaten to explode. Fantastic Negrito isn’t happy with certain classes being pushed to the margins but he’s not pining for the past: he respects tradition — a debt made explicit via a lithe cover of Lead Belly’s “In the Pines,” but heard throughout the album as he flits between jumping boogie, Dobro blues, flexible funk, and gospel — but he uses the past as a way of framing the present.

Xavier Dphrepaulezz

Certainly, his blues isn’t limited to thundering riffs or guitar solos, but that doesn’t mean that he resists the temptation of an overdriven six-string. “Hump Through the Winter” crunches with a color reminiscent of Led Zeppelin or, perhaps more accurately, Jack White or the Black Keys, a pair of millennial rockers whose blend of retro-tradition and modern sensibility is felt all through The Last Days of Oakland. What separates Fantastic Negrito from these 21st century peers is that he doubles down on funk and digitally erased cultural boundaries without losing a specific sense of self or place. There’s a reason why this album is named after his hometown: it’s an album about Oakland, just as it’s an album about Xavier, yet this city by the Bay stands in for any other city in America, just as Fantastic Negrito speaks for anybody frustrated by the loss of humanity in this era of gentrifications. (Stephen Thomas Erlewine)


“The Chilean” (guitar)
Xavier Dphrepaulezz (vocals, drum programming,guitar, piano)
LJ Holoman (keyboards)
Masa Kohama (guitar)
Colin Linden (slide-guitar)
Omar Maxwell (drums)
Cornelius Mims (bass)
Piwie (percussion)
Tomas Salcedo (guitar)


01. Intro – The Last Days Of Oakland (Dphrepaulezz) 0:35
02 Working Poor (Dphrepaulezz) 4:01
03. About A Bird (Dphrepaulezz) 3:40
04. Scary Woman (Dphrepaulezz) 3:10
05. Interlude – What Would Y.ou Do? (Dphrepaulezz) 1:20
06. The Nigga Song (Dphrepaulezz) 3:16
07. In The Pines (Leadbelly) 4:19
08. Hump Through The Winter (Dphrepaulezz) 3:54
09. Lost In A Crowd (Dphrepaulezz) 5:00
10. Interlude 2 – El Chileno (Dphrepaulezz) 0:41
11. The Worst (Dphrepaulezz) 3:52
12. Rant Rushmore (Dphrepaulezz) 5:01
13. Nothing Without You (Dphrepaulezz) 4.15




Beth Hart – Live At SWR1 (German TV rip) (2017)

FrontCover1.jpgBeth Hart (born January 24, 1972) is an American singer, songwriter and musician from Los Angeles, California, United States. She rose to fame with the release of her 1999 single “LA Song (Out of This Town)” from her second album Screamin’ for My Supper. The single was a number one hit in New Zealand, as well as reaching top 5 on the US Adult Contemporary and number 7 on the Billboard Adult Top 40 Chart. Subsequent albums namely Seesaw and Live in Amsterdam by Beth Hart and Joe Bonamassa, achieved number 1 status on the Billboard Blues Album Chart. Hart’s release Bang Bang Boom Boom rose to number 3 on the Billboard Blues Album Chart, as well as the album Don’t Explain by Hart and Bonamassa. The album Seesaw rose to number 8 on the Billboard Top Independent Album Chart. Hart has had two number 1 singles in Denmark “As Good as It Gets” and “Learning to Live”, as well a platinum selling album, Leave the Light On.

Hart’s first album with Bonamassa, Don’t Explain, went gold in the Netherlands. In 2014 Hart was nominated for a Grammy Award for Seesaw and she was also nominated for a Blues Music Award in the category ‘Best Contemporary Blues Female Artist’. (by wikipedia)

And here´s a TV rip from the German Sender SWR 1 … what a great, intimate concert !


Beth Hart (vocals, piano, bass, guitar)
Jon Nichols (guitar, vocals)


01. Love Is A Lie (Hart)
02. Jazzman (Hart)
03. Good Day To Cry (Hart)
04. Tell Her You Belong To Me (Hart)
05. Broken And Ugly (Hart)
06. Isolation (Hart/Khoury/Herzberg)
07. Mama This One’s For You (Hart)
08. I’ll Take Care Of You (Benton)
09. Fire On The Floor (Hart)
10. My California (Hart/Westberg)
11. Leave The Light On (Hart/Leiber)

Total time: 59.15










Black River Bluesman & Bad Mood Hudson – Moonshine Medicine (2016)

FrontCover1.jpgThe Black River Bluesman and Bad Mood Hudson deliver the goods on Moonshine Medicine . They’re in with the big Alligators, Witch doctors , Chickens, and Lowebows. Not your soccer mom blues cruise blues. Something more dangerous . It’s as if Tony Iommi and Jessie Mae Hemphill had a love child with John Bonham and Sam Carr as delivery doctors. They dig Deep with the Lowebow to tones of earth shaking power and vocals and beats that bring to mind the howl of a beast in the wilds of the Finnish tundra. (John Lowe)

Coming direct from Finland, Jukka “Black River Bluesman” Juhola and “Andy” Bad Mood Hudson are a duo act with a number of recordings under their belt. Juhola handles the lead vocals while accompanying himself on Lowebow guitars, a custom version of the cigar box guitar, produced by Johnny Lowe in Memphis in a number of configurations and tunings. Hudson plays drums as well as adding backing vocals to an all-original batch of songs.

They create a distortion-laden wall of sound full of droning slide guitar tones riding ponderous drum beats. The title track opens the disc with Juhola barking out lyrics over accompaniment that resembles the Mississippi Hill country sound, minus the finesse and at a considerably louder volume level. “Big Alligator” continues in the heavy vein while “Latest Stranger” and “Gasoline” could be the duo’s attempts to emulate Black Sabbath.“Bucket Hot Water” finds Juhola playing in a more traditional manner while chanting, then shrieking mundane lyrics.


“Chicken Song” slows the pace, allowing the band to establish a more traditional blues sound. The frenzied approach is back on “Candy Box Blues,” “Knock Knock,” and “Digital Ghost,” causing the songs to blend together into a continuous cacophony of hard-edge sounds. The disc ends with “Going Down With The Lowebow” as the the two men repeatedly sing the title line while Juhola rips off taut licks from his instrument.

Black River Bluesman and Bad Mood Hudson have a unique insight into blues music. Fans of cigar box guitars and listeners who are open to a more modern rendering of blues may find this approach appealing. (Mark Thompson)


Andy “Bad Mood” Hudson (drums, vocals)
Jukka “Black River Bluesman” Juhola (vocals & lowebow guitar)


01. Moonshine Medicine (J.Juhola) 2.24
02. Big Alligator (J.Juhola/Roots) 2.44
03. Latest Stranger (J.Juhola/Roots) 2.52
04. Bucket Hot Water (J.Juhola) 2.30
05. Chicken Song (J.Juhola) 2.45
06. Candy Box Blues (J.Juhola/V.Juhola) 3.24
07. Knock Knock (J.Juhola) 2.19
08. Gasoline (J.Juhola) 2.45
09. Digital Ghost (J.Juhola) 2.31
10. Going Down With A Lowebow (J.Juhola) 2.49



Joan Baez – Live in New York (75th Birthday Concert) (TV rip) (2016)

FrontCover1On January 27th, 2016, folk icon Joan Baez celebrated her 75th birthday with a historic performance at the Beacon Theatre in New York City. The special event honored her legendary 50-plus years in music in an intimate, career-spanning live performance. Baez performed alongside fellow artists and friends, including: David Bromberg, Jackson Browne, Mary Chapin Carpenter, Judy Collins, David Crosby, Indigo Girls, Emmylou Harris, Damien Rice, Paul Simon, Mavis Staples, Nano Stern and Richard Thompson.

The legendary Joan Baez hosts her own birthday celebration and what a celebration it is, filled with a who’s who of guests who stop by to harmonize. Opening on guitar with the one, two punch of Steve Earle’s “God is God” from her last solo album “Day After Tomorrow” and the splendid Phil Och’s composition which she has been singing since the ’60’s, “There But For Fortune”, Baez sets the mood for an entrancing evening of acoustic folk music.

David Crosby trades vocals with the birthday girl on the Lennon and McCartney gem “Blackbird”. Irishman Damien Rice joins Joan for the traditional Irish ballad “She Moved Through the Fair”, with its sublime imagery of the swan in the evening moving over the lake.


A real highlight is Mary Chapin Carpenter duets with Baez on Donovan’s “Catch The Wind”, a song that Joan and her late sister Mimi Farina performed for years in concert. Emmylou Harris then takes the stage to perform Stephen Foster’s “Hard Times Come Again No More”. a staple of Emmylou’s which benefits from the addition of harmonies from Baez. The amazing Jackson Browne joins Joan and Emmylou for Woody Guthrie’s “Deportee”, a haunting and true song about immigrant workers killed in a plane crash. This is a staple of Baez’s repertoire and one that she did solo on her last live CD “Bowery Songs”.

Mavis Staples then joins her for a medley of “Oh Freedom” (before I’ll be a slave, I’ll be buried in my grave, and go home to my Lord and be free) and the strident, defiant “Ain’t Gonna Let Nobody Turn Me Around.” The latter was the opener of Joan’s acclaimed A&M records live release “From Every Stage”.


Disc 2 opens with Mary Chapin Carpenter and the Indigo Girls harmonizing on the beautiful “The Water is Wide”, a classic folk tune if ever there was one. Richard Thompson’s “She Never Could Resist A Winding Road” would most likely be on the new studio record. The song, a paen to wanderlust, fits perfectly into Baez’s life as a traveling troubadour, having toured the world many times over.

Then Jackson Browne takes the stage again for a duet with Baez on Browne’s “Before the Deluge”, a song that Baez first covered on her “Honest Lullaby” album. The lovely soprano of Judy Collins blends with Joan’s dusky mezzo soprano on Joan’s iconic song about Bob Dylan, the always lovely “Diamonds and Rust”. Baez sings the line, “50 years ago I bought you some cuff links”, joking about “back then they actually sold them”.

Chilean singer Nano Stern joins Joan on another Baez concert staple “Gracias a la Vida” (“Thanks to Life”), after first acknowledging Baez for her performances and activism on behalf of his country. One of the most moving moments of the show for me was Paul Simon and Joan Baez harmonizing on Simon’s masterpiece “The Boxer”. The lyrics “after changes upon changes, we are more or less the same”, seemed apt on the occasion of Baez’s 75th birthday party. She may be older and grayer, but she is as lively, gracious and vibrant as ever. Her voice has changed from the high soprano of her early years but to me it sounds regal, authoritative, and sure.

The show ends with Dylan’s “Forever Young” …


The audience at New York City’s Beacon Theater sang happy birthday to the birthday girl. It seemed appropriate that Baez get a gift from the audience after so generously sharing the gift of song with her musical friends. It was definitely an evening to remember. Highly recommended. (by Bruce A. Potts)

Video ripped from a HDTV – Arte (Germany) – broadcast


Joan Baez (vocals, guitar)
Gabriel Harris (percussion)
Dirk Powell (guitar)
David Crosby – Mary Chapin Carpenter – Emmylou Harris – Mavis Staples – The Indigo Girls – Damien Rice – Richard Thompson – Jackson Browne – Judy Collins – Nano Stern – Paul Simon

01. God Is God (Earle) 3.35
02. There But For Fortune (Ochs) 4.34
03. Blackbird (with David Crosby) (/Lennon/McCartney)3.20
04. Catch The Wind (with Mary Chapin Carpenter) (Leitch) 4.01
05. Hard Times Come Again No More (with Emmylou Harris) (Foster) 5.30
06. Swing Low, Sweet Chariot (Traditional) 3.50
07. Oh, Freedom (with Mavis Staples) (Traditional) 2,46
08. Ain’t Gonna Let Nobody Turn Me Around (with Mavis Staples) (Traditional) 3.39
09. The Water Is Wide (with The Indigo Girls and Mary Chapin Carpenter) (Traditional) 4.54
10. She Moved Through The Fair (with Damien Rice) (Traditional) 5.41
11. She Never Could Resist A Winding Road (with Richard Thompson) (Thompson) 3.39
12. Before The Deluge (with Jackson Browne) (Browne) 6.38
13. Diamonds And Rust (with Judy Collins) (Baez) 5.44
14. Gracias a la vida (with Nano Stern) (Parra) 6.21
15. The Boxer (with Paul Simon and Richard Thompson) (Simon) 7.26
16. Forever Young (Dylan) 4.31



And here´s the audio version of this concert
(click on the pic)


Gib eine Beschriftung ein

Laura Pausini – Laura Xmas (2016)

FrontCover1Laura Pausini, omri (Italian: [ˈlaura pauˈziːni]; born 16 May 1974) is an Italian pop singer-songwriter, record producer and television personality. As a child, she was encouraged by her father to join him during his performances in local piano bars. After competing in local singing contests, Pausini signed her first recording contract. She rose to fame in 1993, winning the newcomer artists’ section of the 43rd Sanremo Music Festival with her debut single “La solitudine”, which became an Italian standard and an international hit, topping the charts in Italy, the Netherlands and Belgium. Her eponymous debut album was released in Italy on 23 April 1993 and later became an international success, selling two million copies worldwide.

Laura Xmas is her thirteenth studio album (and her first with Christmas music). The album has been released in two versions: in English and Spanish (this version being called Laura Navidad). The song Astro del ciel is performed in Italian and Adeste Fideles in Latin. A special French version of the album was released, with the song Noël Blanc substituting White Christmas. (by wikipedia)


This production not only presents one of the most amazing, beautiful voices to emerge in decades, but all the recordings were with the Patrick Williams Orchestra. Patrick Williams  is a 20th and 21st century American composer who is highly recognized for his many achievements and awards in jazz, popular music, concert music and music for film and television. Twelve recordings are featured on this album. Christmas favorites are presented including “It’s beginning to look a lot like Christmas”, “White Christmas”, “Oh Happy Day”, “Have yourself a Merry Little Christmas” and much more.


Laura Pausini (vocals)
The Patrick Williams Orchestra:
Violin: Brian Benning, Charlie Bisharat, Darius Campo, Roberto Cani, Ron Clark, Kevin Connolly, Joel Derouin, Lisa Dondlinger, Lisa Evtuhov, Neel Hammond, Johana Krejci, Marisa Kuney, Phil Levy, Joel Pargman, Alyssa Park, Sara Parkins, Radu Pieptea, Katia Popov, Rafael Rishik, Neil Samples, Katie Sloan, Ina Veli, Rita Weber, Roger Wilkie
Viola: Robert Brophy, Andrew Duckles, Alma Fernandez, David Walther, Rodney Wirtz
Cello: Trevor Handy, Armen Ksajikian, Timm Loo, László Mezö, Tina Soule, Mike Valerio, John Walz
Saxophone: Dan Higgins, Sal Lozano, Don Shelton, Bob Sheppard, Jeff Driskill, Gene Cipriano
Flute: Sara Andon, Greg Huckins, Larry Kaplan, Steve Kujala, David Shostac, Gary Woodward
French Horn: Mark Adams, Jim Atkinson, Steve Becknell, Nathan Campbell, Allen Fogle, Dylan Hart, Paul Klintworth, Kristen Morrison, Danielle Ondarza, Brad Warnaar
Trumpet: Wayne Bergeron, Chuck Findley, Dan Fornero, James Horvorka, Rob Schaer, Mike Stever, Bob Summers
Trombone: Charles Loper, Andy Martin, Bob McChesney, Bill Richenbach, Dave Ryan, Fred Simmons
Percussion: Dan Greco
Harp: Julie Berghofer, Marcia Dickstein

Rhythm Section:
Chuck Berghofer (bass)
Peter Erskine (drums)
Jim Fox (guitar)
Tom Ranier (piano)

Pop Rhythm Section:
Nathan East (bass)
George Doering (guitar)
Randy Kerber (piano)
Dean Parks (guitar)
JR Robinson (drums)

Choral Group (on 07, 08, 10. + 12.):
Soprano: Monique Donnelly, Teri Koide, Susie Stevens, Suzanne Waters
Alto: Christine Guter, Scottie Haskell, Baraka May, Charissa Nielsen
Tenor: Walt Harrah, Todd Honeycutt, David Loucks, Gerald White
Bass: Eric Bradley, Alvin Chea, Bob Joyce, Greg Whipple

Gospel Group (on 11):
Soprano: Alexandra Browm, Carmen Carter, Julia Waters, Suzanne Waters
Alto: Aleta Braxton, Andrea Jones, Baraka May, Maxine Waters
Tenor: Eric Butler, Jim Gilstrap, Dorian Holley, Carmen Twillie
Bass: Eric Bradley, Alvin Chea, Josef Powell, Oren Waters
Kids Group (8): James Johnson-Brown, Micah Luna, Baraka May, Claira Titman, Emily Titman, Scottie Haskell

Waters Trio (on 06. + 09.):
Julia Waters, Maxine Waters, Oren Waters


01. It’s Beginning To Look A Lot Like Christmas (Willson) 3.56
02. Let It Snow! Let It Snow! Let It Snow! (Cahn/Styne) 3.01
03. Santa Claus Is Coming To Town (Coots/Gillespie) 2.07
04. Jingle Bell Rock (Beal/Boothe) 3-47
05. Have Yourself A Merry Little Christmas (Blane/Martin) 4.05
06. Jingle Bells (Pierpont) 3.27
07. White Christmas (Berlin) 2.22
08. Happy Xmas (War Is Over) (Lennon/Ono) 3.24
09. Feliz Navidad (Feliciano) 3.44
10. Adeste Fideles (Wade) 3.11
11. Oh Happy Day (Hawkins) 4.40
12. Astro del Ciel (Gruber/Mohr) 4.48
13. Blanca Navidad (Berlin) 2.22
14. Santa Claus Llegó A La Ciudad (Coots/Gillespie) 2.08
15. Va a Nevar (Cahn/styne) 3.01
16. Noel Blanc (Berlin) 2.22
17. Noche de Paz (Gruber/Mohr) 4.48




The Impossible Gentlemen – Live At The Funkhaus Studio (Munich/Germany) (2016)

FrontCover1This Anglo-American supergroup could be seen as a canny way of raising the international profile of two of Britain’s most inventive jazz musicians.

These gentlemen first assembled in 2009, with pianist Gwilym Simcock and guitarist Mike Walker backed by flashy US drummer Adam Nussbaum and veteran bass legend Steve Swallow. The latter has now been replaced by another American, Steve Rodby, and the lineup has been expanded to feature Iain Dixon, who multitasks on reeds and synth. But the focus remains on the guitar/piano pairing of Simcock and Walker.

The two write most of the material, which often suffers from the curse of so much contemporary jazz in that it is overwritten, packed with tricksy chord changes and byzantine, unnavigable melodies. Where this is sometimes a problem on record, it becomes less of an issue tonight, as so many songs become vehicles for melodic and textural improvisation. (by

Gwylim Simcock
And here´s a superb and excellent FM broadcast recording … The Impossible Gentlemen on tour through Germany to promote their third album called “Let’s Get Deluxe” from 2016.

A guitar and piano frontline is not the easiest line-up to manage. Those of us who saw the Pat Metheny/Brad Mehldau band in Symphony Hall a few years ago will know that even for two musicians of such standing, it is by no means plain sailing. There are icebergs lurking dangerously out there. Pat and Brad could learn a lot from Gwil and Mike. They never got in each other’s way, neither did they inhibit each others’ natural style.

And, in a world where some jazz musicians can still be a little too cool, what a joy to be witness to the clear warmth and mutual respect of all the musicians on the stage. (by

That´s what I call a supergroup !

In other words: Let´s hear Jazz deluxe !


Iain Dixon (saxophone, keyboards)
Adam Nussbaum (drums)
Steve Rodby (bass)
Gwylim Simcock (keyboards)
Mike Walker (guitar)

Mike Walker
01. Let´s Get Deluxe (Simcock/Walker) 5.52
02. You Won´t Be Around To See It (Simcock) 9.28
03. Announcement by Gwylim Simcock 0.26
04. It Could Have Been A Simple Goodbye (Simcock/Walker) 10.37
05. Clockmaker (Walker) 9.50
06. Dogtime (Simcock/Walker) 10.07


Iain Dixon

Joe Bonamassa – Kassel/Germany (2016)

FrontCover1Joseph Leonard Bonamassa (born May 8, 1977) is an American blues rock guitarist, singer and songwriter.

When he was only 12 years old, Bonamassa opened for B.B. King.[2] In the last 13 years Bonamassa has put out 15 solo albums through his independent record label J&R Adventures, of which 11 have reached number 1 on the Billboard Blues charts.

Bonamassa has played alongside such artists as Stephen Stills, Eric Clapton, Blondie Chaplin, Foreigner, Buddy Guy, Steve Winwood, Warren Haynes, and Derek Trucks among others. His career highlights include performances at the Royal Albert Hall and a Grammy Award nomination in 2013. In addition to his music career, Joe Bonamassa runs a nonprofit organization called the Keeping the Blues Alive Foundation, whose mission it is to further music education by funding scholarships and providing music education resources to schools in need.

Unlike many blues rock guitarists that came before him, Bonamassa’s influences are British and Irish blues acts rather than American artists. In an interview in Guitarist magazine he cited three albums that had the biggest influence on his playing: John Mayall & the Bluesbreakers with Eric Clapton (the Beano album), Rory Gallagher’s Irish Tour and Goodbye by Cream. He also noted that Stevie Ray Vaughan’s Texas Flood had a big influence when Bonamassa was young. Among other bands, he listed the early blues playing of Jethro Tull as an influence, and named both Martin Barre and Mick Abrahams as important musicians to him.


He elaborated on his influences in a 2007 interview:

“You know, my heroes were the Columbia guys – Paul Kossoff, Peter Green, Eric Clapton. There’s so many – there’s Gary Moore, Rory Gallagher – another Irish musician who played the same things, but don’t tell him that. But those guys were my guys – Jeff Beck, Jimmy Page. There’s a certain sophistication to their approach to the blues that I really like, more so than the American blues that I was listening to. B.B. King’s a big influence – he’s probably my biggest traditional influence. I love Muddy Waters, Robert Johnson and T-Bone Walker and stuff like that, but I couldn’t sit down. I was always forcing myself to listen to whole records by them, where I’d rather listen to Humble Pie do “I’m Ready” than Muddy Waters, you know? I think, the English interpretation of the blues just hit me a lot better, you know?”

In an October 2008 interview with Express & Star he said:

“When I heard Kossoff playing “Mr. Big” and when I heard Clapton playing “Crossroads” and when I heard Rory Gallagher playing “Cradle Rock”, I was like, ‘This is way cooler’…. “British blues are my thing. When I heard Rod Stewart and the Jeff Beck Group singing “Let Me Love You”, it changed my life. I knew exactly what I wanted to do. Those are my influences”. (by wikipedia)


And tis is a German digital broadcast from 2016. The sound is  great and Joe and his band were in great form !

Joe was on tour to promote his twelfth studio album called “Blues Of Desperation”.

What a great concert !

Recorded live at the Orangerie, Gartensaal, Kassel/Germany, March 07, 2016


Alternate frontcover

Joe Bonamassa (guitar, vocals)
Paulie Cerra (saxophone)
Anton Fig (drums)
Michael Rhodes (bass)
Lee Thorburg (trumpet)
Reese Wynans (keyboards)


01. Intro by Joe Bonamassa 3.42
02. Locomotive Breath (Anderson) 0.55
03. This Train (House/Bonamassa) 7.16
04. Mountain Climbing (Hambridge/Bonamassa) 5.52
05. Blues Of Desperation (House/Bonamassa) 8.48
06. No Good Place For The Lonely (Nicholson/Bonamassa) 8.13
07. See See Baby (King/Thompson) 3.46
08. Never Make Your Move Too Soon (Jennings/Hooper jr.) 7.09
09. Angel Of Mercy (*) (Banks/Jackson) 7.42
10. Love Ain’t A Love Song (Smokin Joe/Bonamassa) 10.51
11. Nobody Loves Me But My Mother (King) 10.14
12. I Gave Up Everything For You Except The Blues (Steele/Flowers/Bonamassa) 8.47
13. Going Down (Nix) 7.24
14. Spanish Boots (Wood/Beck/Stewart) 4.03
15. Are You Experienced (Hendrix) 7.13

(*) taken from FM broadcast by NDR 2, 26.09.2016