If Jimi Hendrix set the rock scene on fire with his performance at the 1967 Monterey Pop Festival where, among other things, he set his guitar ablaze, filmmaker D. A. Pennebaker did something similar for the music documentary with his cinema verité Don't Look Back (1967) and Monterey Pop (1969). A decade later Pennebaker used unreleased footage from Hendrix's performance at Monterey as a basis for the 50-minute documentary Jimi Plays Monterey, which also features footage of Hendrix's roots in the London pop scene, Beatles and all, reminiscences by the Mamas and the Papas' John Philips, and shots of a not-yet-famous Hendrix performing in Greenwich Village dives. Examiner critic David Armstrong writes, "(As) this film...makes clear, Hendrix's reputation as a sonic poet of the electric guitar is well-earned...Unlike his legions of bad imitators...Hendrix could play. Hendrix's underrated vocals-blues-tinged, slurred singing and his sci-fi lyrics-are also nicely showcased..." Pennebaker has similarly reprised Otis Redding's heart-stopping performance at Monterey for the 20-minute film Shake. "Redding's chunky body never stops churning and his smokey voice emanates from places in the heart that few singers could locate with a map" (Armstrong). Pennebaker's newly released films have a new and eerie resonance of time stopped; as Robert Christgau writes in the Village Voice, "...no where else will you witness a Hendrix still uncertain of his divinity. Dead at 27, he was never not young, but he didn't stay this innocent for long. Redding, who would die sooner and younger, was always a little naive, and never so innocent. Maybe that's the difference between soul and rock." Pennebaker's 1957 Daybreak Express is a semi-abstract cityscape collage of color and movement, shot along New York's elevated tracks at dawn and set to the music of Duke Ellington.