The relocation to England where there was no blues, jazz, or R&B gate-keepers to be confronted with proved successful for his being heard. However this incident, a stroke of fate, has caused more misunderstanding and mis-interpretation (some deliberate) of Hendrix than one could imagine.

It is this misunderstanding and mis-information that Greg Tate tackles head-on - The Race Issue and Jimi Hendrix.

This is the first serious indept effort at this explosive subject. Tate makes it very clear that a plane ride to Europe did not transform Hendrix from that of an African American (a Black man), with American-made racial baggage, to something other. Interestingly, if not unwittingly, he demonstrates how it is that White people changed if only to let Hendrix in. These, would-be white fans, associates and lovers, are the sames Whites (speaking in general terms) from whom Black people were demanding civil rights, human rights, an end to colonization, oppression, racism, etc. (Remember the 1960's?). Tate shows that whites were/are willing to let Hendrix in because he 'appeared different' - different than their stereotypes and myths that defined Black people as dangerous and other-worldly (I'm being nice here.) - and, for what they could extract from him for themselves.

Tate exposes racism at work in the shaping of the Jimi Hendrix myth. How white people defined him for themselves ("He's abscent of race and politics"), and projected that image to themselves and to others - including Black people. Yet we get to see Hendrix for who he was, an artist, more concerned with his art than politics, though he did mature politically - 'Machine Gun', 'Earth Blues', 'Power Of Soul', 'Star Spangled Banner' ('nuf said). However he, Hendrix, comes to his own defense once back in the US as he reconnects with the community that birthed and nurtured him. This to became a matter of contention for those that wanted him to be something else. Hence, attacking the 'Gypsys Suns and Rainbows', and 'Band Or Gypsys'. (see my book on the subject - 2004)

The only short comming with this book is it's too brief where this subject deserves more indepth examination and explaination; and contrary to Tate's assertion that this is a "Primer For Blackfolks", this book it too advanced for most people unaware of Hendrix. The book is number 3 on my list of must read after 1). David Henderson's - Voodoo child of the Aquarian Age (Biography of Jimi Hendrix), 2). Charles Sharr Murray - Crosstown Traffic (biography of Jimi Hendrix.

Midnight Lighting is a must read for both honest and dishonest people; it is a must read for truth. It is a must read in getting to know a bit more about Jimi Hendrix the human being than the myth-makers would rather make of him.

Tate should be commended and commissioned to do a fuller treatment of this exciting and agitating subject.


why does it smell like something is burning?   September 27, 2003
5 out of 16 found this review helpful

lighter fluid + this book (saying its name is more than it deserves) + lighter = godsend

this is sadder than the Band of Gypsys movie. a complete waste of paper, ink, time, and not to mention oxygen pointlessly fueling this author. i can't get into how angry this makes me and how disrespectful it is to Jimi- am i alone in this?

yes he was African.

but gasp!

yes he was Irish.

yes he was Native American.

where are the ill-thought out shrines to the other pieces of His heritage? why are musicians of any other ethnicity scolded for playing "black" music but for some reason its another thing for Jimi to play rock n' roll music "in that way only Jimi could"?

songs like "Cherokee Mist," and "I Don't Live Today" feature Native American influences. where's the gossip mill spitting that fact up?

its just as bad as all the hoopla made over what The Beatles or who ever were talking about in their songs. in actuality they would just mix and match words with no metaphorical intent at all.

buddy miles was called in to play drums because Jimi had to honor a contractual obligation that was signed "Jimmy Hendrix." Mitch Mitchell, who played AFTER the band of gypsys shows (sorry Mitch, but you BUTCHERED machine gun as far as recorded evidence shows) was not in new york when the fillmore dates were played. Noel Redding LEFT the band causing Jimi to turn to help from an OLD FRIEND (they were in the army together, played in bands together, etc. etc.). Billy Cox was called in because he was an old friend- not because he was black. buddy miles had sat-in with Jimi in various studio sessions and was a friend from the chitlin circuit.

read the above and save yourself from the rubbish that is this book.

i suggest you read "Jimi Hendrix: Electric Gypsy" to get the full story.

Jimi Hendrix was beyond any color. He himself had his own perspective on color (purple with envy, red with passion, etc.)... so why would it be a big deal- the color of his skin? He was a member of the human race and he came from somewhere past outer-space.

THE COLOR OF HIS SKIN HAS/HAD NOTHING TO DO WITH IT.

an inquisition should be held to put people like this author on trial for blasphemous mutations of Jimi's life, music, and motives.


~ "Those poor trees" ~   September 18, 2003
Gayle Hansen (Seattle, WA USA)
2 out of 6 found this review helpful

That a few trees had to give their very all for this is a crying shame.

If the "Hendrix Family" are looking to sue someone, this "author" should be prime fodder for those lawyers to help buy their children braces.

A shame against the Hendrix name.


Interesting premise but ultimately fails   September 5, 2003
eclectictastes (Columbus, OH USA)
5 out of 9 found this review helpful

The chronicling of Jimi Hendrix's life and career has often been told from White writers who have failed to consider how his experiences on the chitlin circuit and in Harlem helped shape his style. Hendrix worked on the circuit for years but this period is often given short shift aside from swipes at Jimi's R&B colleagues for their apparent failure to appreciate his talent.

So I was hoping that Greg Tate's work would provide that perspective. Unfortunately, Tate's book reads like a hap hazard stream of consciousness with psuedo intellectual pretensions. I wasn't looking for a straight biography but I hoped that the author would present a clearer look of Hendrix's somewhat complex relationship with Black America during his lifetime and after death. He only touches briefly on how Black audiences seem to have a greater appreciation for Jimi's Band of Gypsies period than do White fans and writers. Why did Hendrix feel the need to hook up with Billy Cox and Buddy Miles? Why did he return to Harlem and re-establish contact with old friends? Was he trying to change his musical direction? The book doesn't go into these questions deeply enough.