Jimi Hendrix Hosts a Jam Session Where Jim Morrison Sings Drunkenly; Jimi Records the Moment for Posterity (1968)

Two psych rock superstars at the height of their fame, both notorious for epic drug and alcohol consumption, and neither particularly suited to the other’s sensibility, Jim Morrison and Jimmy Hendrix might have been an oddly consonant musical pairing, or not. Morrison, the egomaniac, looked inward, mining his dark fantasies for material. Hendrix, the introvert, ventured into the reaches of outer space in his expansive imagination.

What might come of a musical meeting? We know only what transpired one night at Manhattan’s Scene Club in 1968, and let’s just say it didn’t go particularly well. It seems unfair to lob criticism at a bootlegged, one-off, improvised performance. But that hasn’t stopped critics from doing so. The recording has appeared under several names, including Sky High, Bleeding Heart, Morrison/Hendrix/Winter (under the assumption Johnny Winter played on it), and as the very resonantly titled Woke up this morning and found myself dead.

Eventually, some anonymous distributer settled on Morrison’s Lament, “an apt title,” Ron Kretsch writes at Dangerous Minds, “if by ‘lament’ one means ‘drunken, formless discharge of inane profanities.” Morrison, it seems, invited himself onstage, and Hendrix, who made the tape himself, seems not to mind the intrusion. At one point, you can hear him tell the Doors’ singer to “use the recording mic.” Some bootlegs credit Morrison for the harmonica playing, while others credit Lester Chambers.

Hendrix starts with his go-to blues jam, “Red House.” He’s backed—depending on which liner notes you read—by either Band of Gypsys’ drummer Buddy Miles or McCoy’s drummer Randy Zehringer. Rick Derringer may have played rhythm guitar. Johnny Winter reportedly denied having been there, but the Scene Club was owned by his manager, Steve Paul. “Jimi was a frequent visitor here,” writes Hendrix biographer Tony Brown in the notes for a 1980 copy of the session. “He loved he atmosphere and also loved to jam and as he always had a tape machine on hand, that night was captured forever.”

That’s a very mixed blessing. “Some of the tracks kinda kick ass,” writes Kretsch, including the effortlessly brilliant “Red House” Hendrix and band play in the first six minutes or so at the top. Then Morrison steps onstage and begins to howl—sounding like a random inebriated audience member who’s lost all inhibition, instead of the eerily cool singer of “Riders on the Storm.” Maybe there’s good reason to hear Morrison bellowing “save me, woman!” as a serious cry for help.

But there’s little reason to take this performance seriously. If that still leaves you wondering—what might have resulted from a sober, well-rehearsed session between these two?—you’ll have to make-do with the mashup above, which convincingly combines Morrison’s “Riders on the Storm” vocals with Hendrix’s “Hey Joe” playing. Listen at least until the solo at around 1:20 to hear Ray Manzarek’s organ trickle in. Now that would have been a great collaboration. If you every come across any bootlegged Manzarek and Hendrix jams, send them our way….

Related Content:

Jimi Hendrix Arrives in London in 1966, Asks to Get Onstage with Cream, and Blows Eric Clapton Away: “You Never Told Me He Was That F-ing Good”

Hear the Last Time the Jimi Hendrix Experience Ever Played Together: The Riotous Denver Pop Festival of 1969

The Doors’ Ray Manzarek Walks You Through the Writing of the Band’s Iconic Song, “Riders on the Storm”

Jimi Hendrix Plays the Beatles: “Sgt. Pepper’s,” “Day Tripper,” and “Tomorrow Never Knows”

Josh Jones is a writer and musician based in Washington, DC. Follow him @jdmagness.

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  • Alison says:

    Morrison, counter to the narrative set by Oliver Stone and Hopkins/Sugarman, was not an egomaniac, but an introvert like Hendrix. Tragically, he did have a serious dependency on alcohol, probably, in part, to overcome this natural tendency in himself. This episode, which you felt the need to dredge up, is terribly sad. There is nothing edifying in recounting one of Morrison’s lowest public moments. Morrison was troubled and self-destructive and has paid for this by having his reputation raked over the coals relentlessly for more than 50 years by people creating a caricature of his life and using it to sell stories. I find it disheartening to see this once again in Open Culture as I think of this as a place of serious intellectual inquiry and resourcefulness, not a place for mocking the dead.

  • Juan F. Carpio says:

    Great defense of our dark poet, our visionary, our troubled late beatnik. Thanks.

  • Bryant says:

    I agree a 100% with you✌.thanks for the Defense

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