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ilovejimi
03-14-09, 06:10 PM
Page 138: Gold and Goldstein cobbled together a local crew that included a young German cinematographer, Michael Ballhaus, who later became famous for such films as Gangs of New York, and began filming. They documented one of the group's two performances in Strasbourg, France, as well as their stay in Wien, Austria, Gold and Goldstein dispached additional cameras and crew to film the group's exciting Berlin performace and subsequent return to London. :wave:. I wish EH would release this stuff.:wave:.

At first glance this looks like a great book- nice picutres as well.

MourningStar
03-14-09, 09:21 PM
... At first glance this looks like a great book- nice picutres as well.Cool! Let us know about the last glance.



thnx,

ilovejimi
03-17-09, 07:21 PM
book is not looking so good-- the back cover states every recording session,every performance, every song. Well i see that some venues show no set list whilst other dates show only a partial list. In one instance Jimi played at the IMA Auditorium, Flint, Michigan (24/03/1968)- there is no mention of the venue or a set list-- come on WTF. There is no mention of Jimi's recording the audio for Third Stone from the Sun at one of the concerts during January of 1969.http://i149.photobucket.com/albums/s52/gerryg_2007/JimiHendrix.jpg

okay- lets go with another excerpt from Page 95. Hendrix's Clark university performance was filmed in part by the BBC for the doumentary All my Loving. Only " Wild Thing" made the cut, and the remaining footage was subsequently lost or destroyed. thankfully a separte source of audio recordings survived and these coupled with backstage interviews with Hendrix, Mitchell and Redding were issued as the Dagger Records official bootleg live at clark University in 1999.

got a question on a specific date- let me know

dino77
03-18-09, 01:19 AM
Well, a lot of shows aren't documented. When it says "partial setlist" the info often comes from contemporary reviews or fan recollections. You can't ask the authors to travel back in time to get every setlist, can you.

dino77
03-18-09, 08:14 AM
Saturday, June 8, 1968
"Hendrix sat in with the Electric Flag and performed two songs, "South Saturn Delta" and "Hey Joe", recording the performance himself...the only known live performance of "South Saturn Delta" was an unusaul treat, poewered by the lively horn section."

ilovejimi
03-18-09, 06:17 PM
Well, a lot of shows aren't documented. When it says "partial setlist" the info often comes from contemporary reviews or fan recollections. You can't ask the authors to travel back in time to get every setlist, can you.:confused:
like i stated before and Ill state it again--the back cover states every recording session,every performance, every song. :confused:

ilovejimi
03-18-09, 06:30 PM
Excerpt page 248:Sept 1970--- after leaving Germany, Hendrix remained in London while considering whether to continue touring or return to New york to continue recording. While waiting for a decision he sat for an interview with journalist Keith Altham on September 11 and engaged in a jam session with Eric Burdon and War at Ronnie Scott's on September 16. He also reconnected with Chas Chandler opening a dialogue about Chandler becoming involved again in his music.
Hendrix contacted Kramer at Electric Lady and asked the enginner to bring the tapes they were working on to London. Kramer convinced the guitarist to wait until he returned so that they could take advantage of the new studio. Hendrix agreed and promised to return on Monday, September 21.------

(my comment)Wow- to bad Jimi listened to Eddie, ahh, hindsight is always 20/20. (Jimi died September 18th 1970).

ilovejimi
03-18-09, 07:17 PM
Page 12 except: Fall 1964---- Hendrix became a member of the Upsetters, Little Richards touring ensemble. Despite Little Richard's shameless claims to the contrary, Hendrix only recorded one single during his brief tenure as Richards guitarist. The Single, " I don't know what you got but its got me (part one)", backed with "I dont know what you got but its got me (part 2)" was written by Don Covay and issued by VeeJay records in November 1965. Indicative of Richards fading pop following the single reached number 92 on Billboards Top 100 chart, staying just a single week before dropping off. The song enjoyed far greater success on Billboards rhythum and blues chart where it ultimately peaked at number 12.

ilovejimi
03-18-09, 07:31 PM
excerpt page 135: Sunday January 12, 1969. Rheinhalle, dusseldorf, Germany Two Shows with Eire Apparent. Set list, Second show: Spanish castle Magic/ Foxey Lady/ Fire/Red House/Sunshine of your Love/Come on(let the good times roll)/ Purple Haze.

(my comment)-- not avail on Just Ask the Axis

ilovejimi
03-18-09, 07:44 PM
page 213 excerpt: Friday June 5th 1970 memorial Auditorium Dallas Texas--- Someone did make a sixty five minute open reel video recording of Hendrix appearance. Pat Pope a journlist who covered the performance for a local Dallas underground publication reported that a closed circuit color television camera projected Hendrix image live on a screen at the front of the stage. Such coverage commonplace at concerts today was unheard of at Jimi Hendrix Events.

On October 8, 1970 just two weeks after Hendrix's death a videotape of this performance was offered to Reprise. The label did not acquire the recording presumably certain that it had no immediate commercial value as a market for home video releases did not yet exist. Unortunately all traces of the video recording have since vanished making it one of the most highly sought after Hendrix treasures.

(my comment)-- I wish this would surface:(-- a Holy Grail for certain.:bang:

ilovejimi
03-18-09, 07:56 PM
Excerpt page 164. Friday June 20 1969 Newport Pop Festival Northridge California. The Experience were paid $100,000 to serve as the headline act for an ambitious three day festival in Northridge that featured such popular groups as Creedence Clearwater Revival and Love.:wave:

MourningStar
03-18-09, 09:01 PM
got a question on a specific date- let me knowHey! Are you trying to put 'Just Ask The Axis' out of a job? - ;)

OK - here's my question. What was the setlist for Jimi's performance on 22.06.1969?



peace,

MourningStar
03-18-09, 09:05 PM
Excerpt page 164. Friday June 20 1968 Newport Pop Festival Northridge California. The Experience were paid $100,000 to serve as the headline act for an ambitious three day festival in Northridge that featured such popular groups as Creedence Clearwater Revival and Love.:wave:Is the error here yours or the book's?

dino77
03-19-09, 12:39 AM
:confused:
like i stated before and Ill state it again--the back cover states every recording session,every performance, every song. :confused:

Haven't you heard of advertising?
Though I was disappointed they didn't include any club jams.
Not even the infamous Scene Club jam.
Another interesting point - in "Sessions" Leon Hendrix is described as "half-brother" and in this book he's described as "brother". Has McDermott left EXP Hendrix?

Chris M
03-19-09, 01:06 AM
Errors and omissions notwithstanding there is a wealth of *new info*. I'm really digging all of the session details for Axis. Almost all of that is new. I'm blown away that there are 2 unreleased and unbooted originals from the sessions (both instrumentals). Then there is a full band JHE version of Valleys from 2/69 Olympic, a JHE takes of Ships Passing Through The Night, unheard titles like Lonely Avenue (BOG) and All God's Children. They clearly have plenty of studio material left.

One thing I noticed is that it is obvious that lots of the AYE session tapes are long gone. Notice the lack of detail for the 12/66 CBS sessions.

stplsd
03-19-09, 06:08 AM
Looks like nearly all the original AYE LP mono masters are lost too. No sign, or even a mention of an original mono re-release.

stplsd
03-19-09, 06:15 AM
Kramer convinced the guitarist to wait until he returned so that they could take advantage of the new studio. hendrix agreed and promised to return on Monday, September 21.------

(my comment)Wow- to bad Jimi listened to Eddie, ahh, hindsight is always 20/20.

Why was it too bad Jimi listened to Eddie? Please clarify.

stplsd
03-19-09, 06:20 AM
Haven't you heard of advertising?


There's advertising and there's lying, there are laws to prevent misleading advertising.

stplsd
03-19-09, 06:23 AM
Is the error here yours or the book's?

the book's by J mcD so there will be plenty of errors

bbagm
03-19-09, 06:55 AM
Well, a lot of shows aren't documented. When it says "partial setlist" the info often comes from contemporary reviews or fan recollections. You can't ask the authors to travel back in time to get every setlist, can you.

In which case the cover should state "Every known recording session,every known performance, every known song".

stplsd
03-19-09, 12:02 PM
Oh, horseshit. There isn't a *single* band from the 60's where the complete setlist of every show is known. Your expectations are completely unreasonable.

less of the abuse please. I never said I expected anything. There's no excuse for false advertising.

stplsd
03-19-09, 12:06 PM
WTF? McDermott is by far the most accurate Hendrix author by a wide margin. Sure, there are a few puzzeling errors but the large amount of brand new info, info that hasn't been in Jimpress and Univibes, far outweighs that. If you aren't excited about details on dozens of unbooted Jimi studio recordings then I have to wonder if you are a fan.

You should calm down sonny, before you burst. No, he's not. What's exciiting about these recordings when they're lying in a vault, it's just a wind-up. Now if there were plans to release them that would be exciting

stplsd
03-19-09, 12:09 PM
In which case the cover should state "Every known recording session,every known performance, every known song".

That would still take some backing up.

stplsd
03-19-09, 01:15 PM
I never questioned that he had more accurate info on recording sessions. He's the only writer who has or had got access to the EH inc. info, so we have to accept most of what he's allowing us to have on faith. But he's not the most accurate writer, he's made many factual errors in the past and leaves out much important detail in favour of waffling. Never the less I am still looking forward to the book when it is eventually released in the UK.

stplsd
03-19-09, 01:19 PM
What's he got down for the Hollywood Bowl 1967?

manfree
03-19-09, 01:19 PM
The way I see it, It`s cool to have another source for info about Jimi, sure ,he could of held off going to print because of Fact X or Y: <FACT Y or X>but we would never have got the book (or the info). There wil never be a true document of what occurred untill we invent a Time Machine! untill then, there will always be Flaws, Mistakes and inaccuriacies {Spelling?}

ilovejimi
03-19-09, 05:23 PM
Is the error here yours or the book's?

I just checked the book again-- I typed it correctly- is the amount the Experience was paid the perceived error?

ilovejimi
03-19-09, 05:27 PM
Why was it too bad Jimi listened to Eddie? Please clarify.
He might not of died on Sept 18, 1970

ilovejimi
03-19-09, 05:40 PM
Hey! Are you trying to put 'Just Ask The Axis' out of a job? - ;)

OK - here's my question. What was the setlist for Jimi's performance on 22.06.1969?



peace,

The set list is not even given. Heres what it says about 22.06.1969. Hendrix redeemed himself later on in the festival delighting the audience by returning alone and unannounced for the Sunday-afternoon performance. Following the Experience's disappointing June 20 show, his guest appearance incldued an extended free-wheeling jam session featuring Miles, Eric Burdon of the Animals, and Tracy Nelson of Mother Earth, among others. Hendrix's enthusiasm was visible throughout the segment and while the rhythm section was wobbly in parts, the crowd loved the interplay between the army of musicians who filled the stage. passages of "Voodoo Child (Slight Return)," Guitar Slim's "Things That I Used To Do," and an early version of "We Gotta Live Together" were among the songs featured in this two-hour set. (from Page 164).

My comment: :confused: Every Recording Session, Every Performance, Every Song:confused:

ilovejimi
03-19-09, 05:45 PM
Oh, horseshit. There isn't a *single* band from the 60's where the complete setlist of every show is known. Your expectations are completely unreasonable.
Easy Janie

ilovejimi
03-19-09, 05:53 PM
What's he got down for the Hollywood Bowl 1967?
Please give me a complete date--- off the top of my head I think you may mean 1969- either way I need a full date to help you :wave:

ilovejimi
03-19-09, 06:13 PM
Excerpt from page 110: Saturday, July 6, 1968. Woburn Music Festival, Woburn Abbey, Bedfordshire, England. Set List: "Sgt. Pepper's Lonely Hearts Club Band"/ "Fire"/"Tax Free"/"Red House"/"Foxey Lady"/"Voodoo Child (Slight Return)"/"Purple Haze". The group flew to London on July 4 in advance of this outdoor festival performance in the English country-side. Such acts as Geno Washington, Pentangle, and Family opened for the Experience. This concert, remarkably, represented the only U.K. performance by the Experience in all of 1968.

my comment- no mention of an existing film or who now owns the audio.

Olvator
03-19-09, 06:31 PM
:confused:
like i stated before and Ill state it again--the back cover states every recording session,every performance, every song. :confused:

yeas, but come on now. If you really did believe the slogan "every recording, every......" you were just a victim of advertising, and might I add, just a little bit naive. That would be an impossible task, and you should know that...we only have eyewitness reports for many shows (if at all) and those could never be 100% accurate.

stplsd
03-19-09, 06:47 PM
Excerpt from page 110: Saturday, July 6, 1968. Woburn Music Festival, Woburn Abbey, Bedfordshire, England. , remarkably, represented the only U.K. performance by the Experience in all of 1968.

Yeah, that is if you don't count the three songs they played live on the UKs 'It Must Be Dusty' TV show a month earlier on 4th May 1968.

stplsd
03-19-09, 06:50 PM
Please give me a complete date--- off the top of my head I think you may mean 1969- either way I need a full date to help you :wave:

Hollywood Bowl, Los Angeles, 8th August 1967

ilovejimi
03-19-09, 07:07 PM
Excerpt page 142: Tuesday February 18, 1969 Royal Albert Hall, London England. Engineer: Glyn Johns, Assistant Engineer: Vic Maile, wtih Mason, Capaldi, Wood & Frog, and Soft Machine. Set List Tax Free/ Fire/ Hear My Train A Comin/ Foxey Lady/ Red House/Sunshine of Your Love/ Spanish Castle Magic/Star Spangled Banner/ Purple Haze/ Voodoo Child (Slight Return)". This sold -out performance was filmed and professionally recorded, as it was intended to be one of the centerpieces of the proposed theatrical film by Gold and Goldstein. The group's uneven performance, brilliant in spots while ragged in others, coupled with concert lighting that compromised the film crew's ability to cover the entire concert as planned, forced the production to revise their approach and schedule additional filming at the group's seconds Albert Hall performance on February 24

stplsd
03-19-09, 07:12 PM
He might not of died on Sept 18, 1970



A Tale From The East:<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /><o:p></o:p>
<o:p></o:p>
A servant encounters a woman in the market place at Baghdad, and recognizes her as Death. The ominous figure looks into the face of the servant and makes what seems to him a threatening gesture. Trembling with fear, the servant runs home, borrows his master's horse, and rides like the wind all the way to Samarkand so that Death will not be able to find him. Later, the master sees Death and asks her why the threatening gesture. And Death says, "There was no threat. I was merely startled to see your servant in Baghdad, for I have an appointment with him tonight in Samarkand.”

ilovejimi
03-19-09, 07:18 PM
Hollywood Bowl, Los Angeles, 8th August 1967 Hummm, page 58 says Tuesday August 8, 1967 Salvation New York, New York (not Hollywood Bowl). The group scrambled to fill their itinerary once they had extricated themselves from the Monkees tour, but still enjoyed solid crowds at hastily booked club dates at the Salvation and Hendrix's old Blue Flames haunt the Cafe Au Go Go. "I was completely unknown in America until the word got back that the British dug my kind of music," Hendrix explained in 1967. "Now its sellout business here. At the clubs in Greenwich Village we were welcomed like gods."
:fnd2022:(my comments) (which one is it?) If its Aug 18, 1967- the McDermott book does not have any set list and neither does the website Just ask the Axis- (click on the dates below and you'll be linked to said justasktheaxis website)<TABLE cellPadding=3 width="100%" border=0><TBODY><TR><TD vAlign=top align=middle>18 Aug 1967 (http://www.digitalhighway.co.uk/axis/axislist.asp?gigref=2153) </TD><TD vAlign=top>The Experience
Hollywood Bowl Hollywood California USA
</TD></TR><TR><TD vAlign=top align=middle>14 Sep 1968 (http://www.digitalhighway.co.uk/axis/axislist.asp?gigref=1072) </TD><TD vAlign=top>The Experience
Hollywood Bowl Hollywood California USA


</TD></TR></TBODY></TABLE>

MourningStar
03-19-09, 07:51 PM
There isn't a *single* band from the 60's where the complete setlist of every show is known.Hi Chris, I totally agree.

(and pay no mind to adolescent overtures)


peace,

MourningStar
03-19-09, 07:54 PM
I just checked the book again-- I typed it correctly- is the amount the Experience was paid the perceived error?No - the date is in error. Jimi did not perform at Newport 68.

ilovejimi
03-19-09, 08:16 PM
excerpt Page 144- Monday February 24, 1969 (RAH) -- the film crew extensively documented this day. Camera teams followed each group member throughout the day, tracing Mitchell's arrival from home, Redding's sound check with Fat Mattress, one of the evenings opening acts, and an impromptu jam session at Hendrix's London apartment. The crew even documented the after-show jam and party at the Speakeasy. Unfortunately, the entire footage remains unreleased due to three decades of legal wrangling.

my comment (the Speakeasy party/jam is news to me-- hopefully the legal wrangling is winding down).

ilovejimi
03-19-09, 08:29 PM
A Tale From The East:ffice:office" /><O:p></O:p>
<O:p></O:p>
A servant encounters a woman in the market place at Baghdad, and recognizes her as Death. The ominous figure looks into the face of the servant and makes what seems to him a threatening gesture. Trembling with fear, the servant runs home, borrows his master's horse, and rides like the wind all the way to Samarkand so that Death will not be able to find him. Later, the master sees Death and asks her why the threatening gesture. And Death says, "There was no threat. I was merely startled to see your servant in Baghdad, for I have an appointment with him tonight in Samarkand.”
thank you for sharing:wave:

MourningStar
03-19-09, 09:19 PM
Unfortunately, the entire footage remains unreleased due to three decades of legal wrangling.I have doubts, afterall, 'legal wrangling' did not prevent us having what we have. Most likely scenario is the footage is purposely witheld, lost or destroyed. My feelings are that what we have is all there is. When did the 'latest new Jimi' surface (decades ago?), and what was it? While I, as 'the 4th source' for '70 LA Forum, brought this recording to circulation recently, it does not qualify as 'new' in my book

Chris M
03-19-09, 09:38 PM
I have doubts, afterall, 'legal wrangling' did not prevent us having what we have. Most likely scenario is the footage is purposely witheld, lost or destroyed. My feelings are that what we have is all there is. When did the 'latest new Jimi' surface (decades ago?), and what was it? While I, as 'the 4th source' for '70 LA Forum, brought this recording to circulation recently, it does not qualify as 'new' in my book

It definitely exists. No doubt about that. The reason it hasn't come out yet is because of Goldstien. EH would *love* to put that stuff out but Goldstien is very difficult to work with. Notice how there is no extra material from Sly Stone on the upcoming Woodstock DVD? It is because Jerry Goldstein wouldn't let them use anything. Same thing those Sly Fillmore shows didn't come out.

If you think about it there isn't any other Jimi material that has been held up for legal issues. I don't agree with everything they have done and I don't understand why some stuff hasn't come out but EH has done a fantastic job of tracking down and purchasing new material. No way Douglas buys the b&w Woodstock footage or the Scorpio Woman tape. Douglas didn't even *want* the fucking Chandler tapes!

MourningStar
03-19-09, 10:00 PM
It definitely exists. No doubt about that. The reason it hasn't come out yet is because of Goldstien. EH would *love* to put that stuff out but Goldstien is very difficult to work with.So, the RAH audio & video we do have is not Goldstein product?

Chris M
03-19-09, 10:10 PM
So, the RAH audio & video we do have is not Goldstein product?

The RAH video we have is just an nth generation dub of a edited rough cut that leaked decades ago. There hasn't been any official release of any RAH footage. Of course, 2 tracks from RAH were used on In the West and 2 more on Concerts. Douglas used a poor quality video source for the 2 RAH tracks on Concerts.

MourningStar
03-19-09, 10:23 PM
... that leaked decades ago.That is my point-of-view. What 'empirical data' is available that confirms that - everything that is 'claimed' to exist does in fact exist?

Chris M
03-19-09, 10:37 PM
That is my point-of-view. What 'empirical data' is available that confirms that - everything that is 'claimed' to exist does in fact exist?

I'm pretty sure Jimpress and Univibes have mentioned all of the Gold & Goldstein material exists but I can't point you to a specific issue or anything. I remember reading a description of some of the offstage footage. Jimi was doing fake coca-cola commercials or something along those lines. I think EH has possession of that stuff but legal issues keep getting in the way. Kramer was working on RAH at least a few years ago.

stplsd
03-20-09, 01:17 AM
) If its Aug 18, 1967- the McDermott book does not have any set list and neither does the website Just ask the Axis- (click on the dates below and you'll be linked to said justasktheaxis website)


<TABLE cellPadding=3 width="100%" border=0><TBODY><TR><TD vAlign=top align=middle>18 Aug 1967 (http://www.digitalhighway.co.uk/axis/axislist.asp?gigref=2153) </TD><TD vAlign=top>The Experience
Hollywood Bowl Hollywood California USA


</TD></TR><TR><TD vAlign=top align=middle>14 Sep 1968 (http://www.digitalhighway.co.uk/axis/axislist.asp?gigref=1072) </TD><TD vAlign=top>The Experience
Hollywood Bowl Hollywood California USA




</TD></TR></TBODY></TABLE>


Sorry bout the missing 1 [typo], but it was 67 as I mentioned twice. Thanks to scoutship he has provided us with a setlist & the only known review (so far) for the 67 gig in his 'Hendrix in the news' thread via a contemporary review: 'Listen Hear' by Richard Drew paper is dated 26 August 67.

ilovejimi
03-20-09, 09:10 AM
EH has done a fantastic job of tracking down and purchasing new material. No way Douglas buys the b&w Woodstock footage or the Scorpio Woman tape. Douglas didn't even *want* the fucking Chandler tapes!

I agree with you. On another issue-- what is Goldstein waiting for-- hes going to be dead at some point- he'll never have gotten to enjoy the money--- seems really stuborn

MourningStar
03-20-09, 09:26 AM
Oh well - the bottomline for me is, it don't exist until I see it, iow, 'out of sight, out of mind' ('ignorance is bliss' for others).


peace out,

ilovejimi
03-20-09, 03:05 PM
page 252 excerpt: I am (McDermott) grateful for the friendship and support of many Hendrix archivists who were always eager to answer questions and volunteer information to help improve this project. Barry Gruber deserves special mention. For nearly three decades he has uncovered a host of previoulsly unknown Hendrix ephemera. Bill Nitopi has uncovered many unique Hendrix photographers over the years. Steve Rodham and Gary Geldeart at Jimpress keep us all on our toes and are always willing to share research. Steve and Gary helped connect me with Niko Bauer, who has done fine work unraveling Jimi pre-Experience sessions with Lonnie Youngblood and others.:wave:

ilovejimi
03-20-09, 03:23 PM
Thanks to scoutship he has provided us with a setlist & the only known review (so far) for the 67 gig in his 'Hendrix in the news' thread via a contemporary review: 'Listen Hear' by Richard Drew paper is dated 26 August 67. Please share it with us. :wave:

MourningStar
03-20-09, 06:05 PM
... For nearly three decades he has uncovered a host of previoulsly unknown Hendrix ephemera. ...


Main Entry : ephem·era

Pronunciation : \i-ˈfe-mər-ə, -ˈfem-rə\

Function : noun

Inflected Form(s) : plural ephemera also ephem·er·ae \-mər-ē, -rē\ or ephemeras

Etymology : New Latin, from Greek ephēmera, neuter plural of ephēmeros

Date :1650

1: something of no lasting significance —usually used in plural

2 ephemera plural : paper items (as posters, broadsides, and tickets) that were originally meant to be discarded after use but have since become collectibles.



oh yeah,

stplsd
03-20-09, 06:29 PM
Please share it with us. :wave:
the address in my post it's on this site, look it up, have a read, enjoy.

MourningStar
03-20-09, 07:53 PM
Excerpt page 164. Friday June 20 1968 Newport Pop Festival Northridge California. The Experience were paid $100,000 to serve as the headline act for an ambitious three day festival in Northridge that featured such popular groups as Creedence Clearwater Revival and Love.:wave:Correction-1 : The year should be 1969.

Correction-2 : Hendrix was not the headline act for the 'ambitious three day festival'. He was the headline act only for Friday. The Chambers Bros were the 3-day event's headliners and performed on the final night (Sunday).

ilovejimi
03-20-09, 08:00 PM
Excerpt page 164. Friday June 20 1969 Newport Pop Festival Northridge California. The Experience were paid $100,000 to serve as the headline act for an ambitious three day festival in Northridge that featured such popular groups as Creedence Clearwater Revival and Love.:wave:
I corrected my post 24 hours ago. Who gives a shit if he headlined or not- take it up with EH if you got a problem:bartmoon:

MourningStar
03-20-09, 08:32 PM
I corrected my post 24 hours ago.Meaning that the book had it right and you fucked up the transcript. Good to know that's one less error in the book.



Who gives a shit if he headlined or not- take it up with EH if you got a problem oooooouuu .... it's plain for all to see that it's not me with the problem. - ;)

Chris M
03-20-09, 08:42 PM
I agree with you. On another issue-- what is Goldstein waiting for-- hes going to be dead at some point- he'll never have gotten to enjoy the money--- seems really stuborn

Good question. Lots of Sly fans are pissed as he wouldn't let them use any Sly footage on the upcoming Woodstock Blu-Ray box. I can't imagine what else he would do with that footage. It was a short set and I don't think the entire set was filmed but for some reason he wouldn't let them use it. Everyone assumes EH is the reason why RAH hasn't come out but I don't think that is the case. I don't want to sound like an EH apologist. I've been very critical of several things they have done but I don't think RAH is their fault.

dino77
03-21-09, 04:33 AM
yeas, but come on now. If you really did believe the slogan "every recording, every......" you were just a victim of advertising, and might I add, just a little bit naive. That would be an impossible task, and you should know that...we only have eyewitness reports for many shows (if at all) and those could never be 100% accurate.


Yeah, besides a Hendrix fan is raised to be sceptical! Ever bought "Historic Hendrix", "20 greatest performances", "At his best"? :).

manfree
03-21-09, 06:43 AM
Yeah, besides a Hendrix fan is raised to be sceptical! Ever bought "Historic Hendrix", "20 greatest performances", "At his best"? :).
Yeah I did, and I was actually excited on the way home - Doh!!

enemal
03-22-09, 05:38 AM
Eyewitness 1966-1967, page77:

18 August Hollywood Bowl:

Program: Scott McKenzie; Jimi
Hendrix; The Mamas And The
Papas
1 show • 17,800 people
Sergeant Pepper’s Lonely Hearts Club
Band • Foxy Lady • Catfish Blues •
• Like A Rolling Stone • The Wind
Cries Mary • Purple Haze • Wild
Thing • plus two other songs

enemal
03-22-09, 05:56 AM
I was told by my Deep Throat in a dark garage that this book contains much information derived from the Eyewitness books. I wouldn't know: I don't own a copy of the Ultimate book.

That the 67 Bowl info isn't in the UH book is very simple: it wasn't out yet.

;-)

stplsd
03-22-09, 07:04 AM
Eyewitness 1966-1967, page77:18 August Hollywood Bowl:


Yes, and eyewitness obviously got this from the above mentioned review in the same paper as scoutship's post, where you can read the whole thing.

ilovejimi
03-23-09, 05:57 PM
Excerpt from page 82: December 22, 1967. " Christmas on Earth Continued" Grand and National Halls, Kensington, London, England. Set List: Sgt. Pepper's Lonely Hearts Club Band/Foxey Lady/Wild Thing. The massive holiday festival also featured Pink Floyd, Eric Burdon and the New Animals, The Move, and a host of top British acts. The concert was filmed for a proposed movie about the event itself, but this never materialized. "I saw the first cut of that," remembers Chandler. "It was lousy. The crew was plastered and the cameras were all jumping around."

ilovejimi
04-03-09, 08:43 PM
Wednesday November 6, 1968 Page 130
of the many sessions staged for Cat Mothers The Street Giveth... and the Street Taketh Away in November, only three reels dating from November 6 are known to exist. A few golden moments shine amid some lackluster jamming by an unknown second guitarist accompanied by Hendrix. As these were Cat Moter sessions and not legendary Experience jams, jam sessions such as this were not pursued further and these tapes were simply put away.
The remaining multitrack tapes recorded for this album have seemingly disappeared, so more actual session dates are not available.

stplsd
04-04-09, 08:58 AM
^
Ouch!

As for the vine, I remember. Recall that at the time, that forum was deleted. However, the invitation was mentioned in the shoutbox, if I recall correctly, and I recieved no PM's for it. Since that forum is there now I'll go ahead and put it up. Better late than never.



What are you on about now?

MourningStar
04-04-09, 10:34 AM
What are you on about now?Relax kid, I understand your confusion. The usage of the keyboard character "^" refers to the prior post. It has been deleted. Therefore, my response post is now irrelevant so I shall delete it.


peace,

ilovejimi
04-04-09, 12:47 PM
Page 194 (Monday January 19th, 1970)
Juggy Sound Studions, New York, New York, Engineer Eddie Kramer. A work pattern had begun to develop that saw Hendrix beginning his evening with Kramer at Juggy Sound before ventruing to the Record Plant to meet up with COx and Miles. Neither Cox nor Miles played any role in the mixing or song selection decisions for the Band Of Gypsys live album. As Hendrix was the producer, such decisions were reserved entirely for him.

stplsd
04-04-09, 01:10 PM
"I saw the first cut of that," remembers Chandler. "It was lousy. The crew was plastered and the cameras were all jumping around."

I think he must be talking about another as yet unseen part of the film, as what we have - although missing some footage and Foxy Lady being in crap quality - doesn't jump around particularly, or he's getting mixed up with another film...

ElectricWing
04-21-09, 12:36 PM
Singled Out Classics: Jimi Hendrix's Room Full of Mirrors

04/21/2009

(antiMusic) It was 40 years ago today that Jimi Hendrix entered the studio to record one of his most famous songs: "Room Full of Mirrors" Obviously we couldn't ask Jimi to tell us the story of this song but we are lucky enough to hear from Hendrix expert John McDermott, bassist Billy Cox, and legendary producer Eddie Kramer who was the sound engineer for Hendrix. They recently teamed up for pen "Ultimate Hendrix: An Illustrated Encyclopedia of Live Concerts and Sessions," a new book that is a wet dream for any Hendrix fan looking for the inside story to their favorite songs and Hendrix performances. Backbeat Books was kind enough to send us an excerpt of the book which deals with this historic date and the recording of iconic "Room Full of Mirrors". Here it is!

Record Plant, New York, New York. Engineer: Gary Kellgren.: When Cox arrived in New York to meet Hendrix, he realized that Hendrix's problems were not entirely musical. "Jimi had told me all of these fabulous stories about how a limousine would pick me up at the airport, and I believed all this of course," Cox explains. "Nobody from the office, however, was there to pick me up. That's when I started to realize that Jimi wanted me here, but the office didn't seem so sure. At that point, I knew it was going to be a battle from there on."

Following Cox's arrival, Hendrix revealed some troubling news to his friend. "When I arrived in New York, Jimi sat me down and admitted that his creativity had drawn dry," Cox recalls. "He just felt that he couldn't think of anything new."

By reaching out to Cox, Hendrix may have been trying to find his musical compass, someone who might allow him—privately—to examine just where and how he had veered off the track. "With me, Jimi knew that I had a direct link to him musically," says Cox. "He knew that I was familiar with his style, sound, and creativity. I hadn't played with him in a long while, but when I first heard 'Foxey Lady,' I knew that to be an old song of his we used to call 'Stomp Driver' in Nashville. Jimi's creativity had been stifled, and I guess he thought of me because even in the early days we had always been able to make up stuff. We enjoyed doing that, but we could never use any of it because our living depended upon playing cover tunes or behind an artist who had already recorded his own songs. Jimi must have felt that I could help him pull all of the pieces of ideas that he had together into something as good as those three albums he had released."

Three days after the backstage meeting in Memphis, Cox joined Hendrix at the Record Plant recording studio in New York. "The first session I did was at the Record Plant," says Cox. "Jimi was basically trying to see how well we played together. After we started, I looked up and saw the smile on his face and I was smiling, too. We had just fell right into it, and we jammed for two or three hours. His playing was just as I remembered, but now there was much more freedom. Finally, we went into the patterns for "Hello My Friend" (which would later be developed as "Straight Ahead") and "Earth Blues." Even today, all these years later, I still cannot hear 'Straight Ahead' without it taking me back to that moment."

After their jam session, Hendrix escorted the bassist to the nearby Scene Club, one of the guitarist's favorite local haunts. While there, Hendrix encountered Al Marks, the manager for the Maryland-based rock group the Cherry People. "We heard that there was going to be a jam for guitar players at Steve Paul's Scene Club that night," remembered Marks. "All of a sudden Jimi Hendrix walked in with two people. He sat down in the corner and no one was bothering him. Everybody at my table was going, 'Wow! That's Jimi Hendrix!'" Marks approached Hendrix to see if he remembered their meeting backstage at the Monterey Pop Festival. "He did not, but told me it was cool to sit and talk with him," says Marks. "He asked what I was doing in New York, and I told him that our band was trying to get out of its contract with the record company. He laughed and said, 'Yeah, record companies . . .' Then he said, 'So you got a band here? Do you have a drummer?' I said, 'Yes. He is sitting right over there.' He then asked if we were doing anything at three or four o'clock that morning. I said no and asked him why. He was going to cut some things in the studio and wondered whether our drummer would like to sit in. I immediately said he would. Jimi then said, 'Well, you didn't ask him.' I didn't have to ask him. He's gonna do it. He wanted to know if the guy was any good and I told him that Rocky [Isaac] was a great drummer. He introduced me to Billy Cox, who was sitting with him. Billy mentioned that he was a bass player. I asked about Noel Redding, but Jimi told me that Noel would not be sitting in. He described Billy as his buddy and said that the session would be with him. We agreed to meet later at the Record Plant. I walked to my table and told the band, 'You are not going to believe this, but Jimi Hendrix just asked Rocky to sit in.' Everybody at the table told me I was full of shit. I asked the guys to trust me and waved over to Jimi's table. Jimi waved back and gave us the peace sign. [Cherry People guitarist] Chris Grimes, Rocky Isaac, and I made plans to go while the other guys went back to this hostel we were staying at.

"We were alone in the studio for about forty-five minutes before Gary Kellgren showed up with an assistant engineer and a tall, beautiful black woman [Devon Wilson] whom we were told was Jimi's girlfriend. Gary reassured us that while Jimi was always late, he had phoned about the session and was on his way over. Twenty minutes later, Jimi and Billy Cox walked in with a friend who was a photographer [Willis Hogans Jr.]. Jimi was really cool and wanted to know if we were OK. Rocky saw him and said, 'You're Jimi Hendrix.' Jimi laughed and said, 'Man, I know who I am. Don't you think I know who I am?' We all just about fell on the floor laughing. Rocky admitted to him that he was really nervous. Jimi laughed and said, 'Just relax. It will all be cool.'

"Jimi was playing through an old acoustic amplifier and not a Marshall. It had one big cabinet with a small head. Billy was playing through an Ampeg rig, and a set of drums had been set up for Rocky. Jimi then started to move his amp and I told him that I would do that for him. He said that if I really wanted to move something for him, his car was out front and if he didn't move it across the street it was going to be towed. I asked for the keys and told him I would do it. He owned a silver Corvette, and by the time I was outside I thought, 'Shit, I don't know how to drive a stick shift. I am going to ruin Jimi's Corvette.' I opened the door and it was automatic. I thought, 'My God everything is working for me tonight!' I got in the car and there were all of these tapes on the passenger seat. His car had a cassette player built into the dashboard, and I had never seen anything like that before. Sitting on the seat were these tapes that were marked, 'Me, Steve Winwood' and 'Me, Buddy Miles.' I parked the car, came back in, and he told me that he wanted a percussion section. Jimi asked me to play maracas—which I had never played before in my life—and Chris Grimes to play tambourine.

"We recorded 'Room Full Of Mirrors' and it took forever because Rocky couldn't keep the beat on drums. Midway through the session, Jimi turned to him and said something to the effect of, 'Man, do you know how to play drums? What's going on?' I had been banging one of the maracas against my leg for three and a half hours, and my leg was black and blue. I told Rocky quietly that he'd better get things right because I couldn't walk! I had a knot on my leg that seemed four inches big. I was afraid that we were going to screw up the chance of a lifetime."

Hendrix directed Cox, Isaac, Grimes, and Marks through thirty-one takes of the song. The first take featured a blistering solo from Hendrix, but this effort came apart when technical problems with his headphones mix broke his concentration. "The guitar disappeared all of sudden," remarked Hendrix to Kellgren. "We were getting into something nice." Hendrix then asked Kellgren if they could come and listen to a playback of the take. Kellgren agreed, and the group retreated to the control room to listen to their work.

When recording resumed, Isaac struggled to establish the drum pattern Hendrix was seeking. The group struggled to grasp Hendrix's vision, and none of the twenty-one takes that filled this first reel was complete. Hendrix's patience began to grow thin as he tried to instruct Isaac between takes as to what he was seeking.

Kellgren loaded a second reel of tape, and the group attempted ten more takes. It wasn't until the thirty-first and final take of the evening that they were able to complete a basic track. "By eight that morning, Jimi said that we were going to give it one last try and if we didn't get it we would have to come back the next morning," Marks explains. "Jimi then just started wailing on the guitar and singing live on top of it. Rocky finally delivered what he believed was a good take and Gary Kellgren yelled 'Yeah' over the talkback microphone when we had finished. Jimi let us know that we were done for the night. Before we left, he told us that he had a couple more tracks that he wanted to cut on Thursday at the same time. We thought he meant after midnight Wednesday evening. As he was walking out, he gave each of us $100 cash and said to Rocky, 'Man, I would practice a bit if I was you.' Billy laughed and shook his head, and they walked out together. Gary Kellgren then came over and asked us our names and if we were in the Musicians' Union. We were, but Gary told us not to declare the work because Jimi had paid us more than union scale for the session. Union scale at that time for a session was $35. We were strutting. Jimi Hendrix had paid us $100 to play with him.

"We told the guys back at the hostel about the session and they didn't believe us until we showed them the $100 bill Jimi had given each of us. We then drove back to Washington and made a plan to bring Mike Burke and Richard Harrington, a critic for the Washington Post who also wrote for a paper called the Unicorn Times, to prove that we actually were going to record again with Jimi Hendrix."

Never issued during Hendrix's lifetime, take 31 of "Room Full Of Mirrors" was issued posthumously as part of the Jimi Hendrix Experience box set.

Roland Stone
04-21-09, 07:40 PM
Yeah I did, and I was actually excited on the way home - Doh!!

LOL! I've been there too brother!

stplsd
04-21-09, 08:08 PM
Been there too, it's a hard lesson

stplsd
04-24-09, 01:51 PM
The good news: There's a few nice photos I've not seen before, some in colour!

John McDermott- the 'Ultimate'?

Instead buy Ben Valkhoff's 'Eyewitness 1966 to 1970' trilogy (beautiful & comprehensive) especially the 1966-67 book (many colour photos! )
Jimpress' 'The Studio Log' (ok admit much crucial info provided by J-Mc-D)
And, for timings etc. http://osiris.cs.kun.nl/~tvdw/pye/index.html
For the early stuff the amazing (and free!) http://www.earlyhendrix.com/
For film: Jimpress' 'Look Over Yonder'
On the Hendrix organisation: J-McD (& others) 'Setting the Record Straight' (it just raises more questions, really)
(and of course the many issues of the fanzines 'Jimpress' & Caesar Glebeek's 'Univibes' have much extra info)

For information unavailable in the above: J-McD's 'Sessions' (most of the the contents were available in the above items anyway)
His updates & new info in 'Sessions' & 'Ultimate Hendrix' could easily have been contained in a copy of a small fanzine like Univibes or Jimpress

J-Mc-D could in no way be described as a "Hendrix expert". A person who (mysteriously) had an undeserved amount of access to Janie's stash of Hendrix recordings, and records - yes. Although he used his position to further our knowledge of Hendrix' music greatly, he essentially continued the pattern of "Hendrix Experts" in talking a load of personal 'sound-bite' waffle, not doing basic research and accepting unquestioningly just about every piece of patently obvious nonsense that was thrown his way. 99% of the "Ultimate Hendrix" (*** me how many times is this title going to be used!?) can be found in the above books & sites, the obvious source of much of his information, although mainly badly garbled by the time it hits his pages.
Where is his independant research into all the info he had access to, all the people, records he could have accessed in his position?
F*** me, a very few people mostly stranded in Europe did far more - with no access! (and with a lot less bullshit)

You could write another book just correcting this one!

(Or just take out all the bullshit & put it in a small magazine.)

stplsd
04-24-09, 03:07 PM
"Ultimate Hendrix": Friday 14 October 1966
Unknown venue, Nancy, France
With The Blackbirds, Long Chris and Johnny Hallyday

Johnny's band was called the "Blackburds"

It's well known that he played the Cinéma Le Rio and that he was a 'support act to', not 'with' Johnny Hallyday:Nancy, Cinéma Le Rio, Lorraine, France.Concert by JHE (~ 15 minutes)Songs probably from this list: ‘Midnight Hour,’ ‘Land Of A Thousand Dances,’ ‘Everbody Needs Someone To Love’ and ‘Respect and/or including ‘Hey Joe’, ‘Killing Floor’ and ‘Wild Thing.’Supporting: Johnny HallydayWith ‘The Blackburds’ [Hallyday’s backing group] and ‘Long Chris’ [Christian Blondiau, friend of and songwriter for Johnny Hallyday. He had previously recorded as Long Chris et Les Daltons.]<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /><o:p></o:p>

Noel: “In <?xml:namespace prefix = st1 ns = "urn:schemas-microsoft-com:office:smarttags" /><st1:City><st1:place>Nancy</st1:place></st1:City> we extended our pre gig brain modifications. I introduced the band to the uppers ‘Captogan’ and ‘Preludin’ I knew so well by now. I rationed everyone to half a tablet, knowing that a whole one would keep us up all night. After that, before gigs, it was ‘Hey, Noel, got any of those tablets.’ And because I’d finished my course of clap pills and could drink again, it was up, down and sideways.”<o:p></o:p>

[Unknown paper?]: "’A Lightning Visit With Johnny Hallyday’ by Alain Ganassi: A respirator. Behind it, two blue, piercing eyes, bloodshot from fatigue: that’s ‘Johnny’. It is <st1:time Minute="0" Hour="10">10 o’clock</st1:time>. His new agent (he started two days earlier) and his new ‘crew’ (they came with a tour bus: 28 people) are starting to get restless. Why the respirator? A cold, a terrible cold, but yesterday in <st1:City><st1:place>Evreux</st1:place></st1:City> at his first show since his rest cure he almost lost his voice. Why the delay? First his 9,500,000 French francs Aston Martin which broke down… So he contents himself with the Bentley of Jean-Pierre Bloch, his secretary. And then it was a difficult road was a difficult road: lots of traffic, it rained, and to top it all, the windscreens of the Bentley broke down. Anyway, Johnny came to play in Nancy before Paris, where he will play in a 'Musicorama' at the Olympia with Brian Auger and Julie Driscoll, with the seven latest songs which he recorded last week in London, and of which most were written during his stay at the clinic after his suicide attempt. This man is difficult to approach. There is a lot of talking, perhaps too much. His blue eyes are fixed at one point, somewhere out in infinity. He needs time. He needs a rest. "Your turn in five minutes," his agent urges him. The door shuts with a slam, we need to give Johnny time to get dressed. A lightning visit which leaves us with a bitter sad after taste. In just a few minutes time Johnny will sing on stage "Noir, c'est noir."‘He Ends His Show Bare Chested!‘<o:p></o:p>

The button of his shirt jumps off, the white necktie is already in Johnny's hands. The theatre roars. Sweat is carving the face of the blonde young man as if it needs to be sculptured. He throws the necktie in the audience. Within fifteen minutes his shirt is soaking wet. The next twenty minutes he finishes his set of songs bare chested, using his muscles to mark the last bars. Johnny has the place turned upside down. He has told his 1,500 fans in <st1:City><st1:place>Nancy</st1:place></st1:City> who are packed in the large hall: "I haven't been in <st1:City><st1:place>Nancy</st1:place></st1:City> for three years. I have such good memories so here I am." They have applauded. He has played his major hits: "Les Coups", "Le Penitencier", etcetera: they have given him a standing ovation. "La Fille A Laquelle Je Pense", he almost cried the song, the song he wrote in the clinic after his suicide attempt, for Sylvie [Vartan]. The crying has died, the cheers have exploded. Fifteen hundred people (only young people were in the theatre) said to him: "We are here". He drops to the floor as if to say: I loved her, one can make a mistake. When he gets up again, he snapped at the microphone... "Our love has left us". A young girl jumps up, and throws a bouquet of roses on the stage. Johnny picks up one rose. He ends his show with it. The microphone gets broken. He doesn't need a microphone. He doesn't even need to sing. His body serves as a voice. The sweat is pouring. Half of the audience has stood up. Hands are waving, they are deaf because of the noise, by the shouting, by the drums. The spectacle is complete: the girl with the long hair who, sitting in her chair literally is getting into a trance, the old lady who greedily makes picture after picture with her small camera with flash until "gorilla's" put a stop to it! And then, see the police sergeant. He is exhausted, like Johnny and the audience. Nobody knows how many songs he has played, they have forgotten that he has a band of nine musicians, that they have seen "Chris" (a poor imitation of Antoine) in the first part of the programme, and Jimi Hendrix heading his own band.<o:p></o:p>

They have forgotten that the storm is over.<o:p></o:p>

<o:p></o:p>

stplsd
04-24-09, 03:40 PM
‘La Salle Des Fêtes’ [it's not a 'venue' it's just the French for 'village hall' of Villerupt], <?xml:namespace prefix = st1 ns = "urn:schemas-microsoft-com:office:smarttags" /><st1:State><st1:place>Villerupt, Lorraine</st1:place></st1:State>, <st1:country-region><st1:place>France</st1:place></st1:country-region>. <?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /><o:p></o:p>
<o:p>With ‘The Blackbirds’, ‘Long Chris’ and Johnny Hallyday.
</o:p>
He was a 'support act to', not 'with' Johnny Hallyday:

Johnny's band was called the "Blackburds"

Concert by JHE (25 minutes) Jimi breaks a string after the fourth song<o:p></o:p>
Songs: six songs from this list: ‘Midnight Hour,’ ‘Land Of A Thousand Dances,’ ‘Everyone Needs Someone To Love’ and ‘Respect and/or including ‘Hey Joe’, ‘Killing Floor’ and ‘Wild Thing.’<o:p></o:p>
Supporting: Johnny Hallyday<o:p></o:p>
With ‘The Blackburds’ [Hallyday’s backing group] and ‘Long Chris’ [Christian Blondiau, friend of and songwriter for Johnny Hallyday. He had previously recorded as Long Chris et Les Daltons.]

Mitch: “We did actually go over time one night [Villerupt] and got our wrists slapped.”<o:p></o:p>
Noel: “After our <st1:country-region><st1:place>Luxembourg</st1:place></st1:country-region> [actually Villerupt] gig we had a day off to look forward to. We got drunk together after the show and at half twelve we crawled into the coach, set off and promptly ran out of petrol. Was it cold! Mitch grabbed Chas’ raincoat for himself and went to sleep. Chas, Jimi and I huddled together and tried to keep from freezing through the long, long night.”<o:p></o:p>

stplsd
04-26-09, 03:30 AM
This book just repeats all the usual bollocks about Jeffery forcing Hendrix to tour record etc. The spring 1970 Experience tour was talked about as going to happen by Hendrix before, during and after the BOGs. He had been planning and talking about the live BOGs "jam" album to give to Chalpin from early 69. It wasn't Jeffery's or Alan Douglas' idea to record it at the Fillmore East it was obviously Jimi's. He was on good terms with Bill Graham and where else was he going to record a live album in New York anyway?

stplsd
04-27-09, 04:01 AM
The chapters 1963 to 65 appear to be just a muddled cherry picking from the http://www.earlyhendrix.com/ site. He also uncritically repeats Rosa Brooks blatantly self-serving stories. And the old and subsequently discredited Hoss Allan story. etc. By the time Hendrix joined Richard The Upsetters had left little Richard and had their own independant recording and touring career. Hendrix was a member of his new touring review 'The Royal Company' at this time as were Buddy & Stacy. He also fails to mention much of the excellent research into Hendrix' early sessions on this site.

stplsd
04-27-09, 04:34 AM
The Hallyday show in Paris was not - I believe - called 'Musicorama', it would be nice to see some evidence that the show was called this. 'Musicarama' was the pop music show on French radio that recorded shows at the Olympia and later sometimes broadcast excerpts. This was Hallyday's big 'comeback' show to be broadcast to the nation. I don't believe there would have been a broadcast of Jimi's show until much later, at least the one[?] broadcast that's going around, as they speak of him as if he's already famous, when at that time he was unknown.

Chandler almost continually talks as though he was entirely responsible for Jimi and totally financed him. What about Jeffery, I though he was brought in at the very start to help fund the poject, deal with the business side etc., he also had much to do with marketing him and, by all accounts, even the group's title "Jimi Hendrix Experience" was his creation etc. All this bollocks about selling his bass guitars (how many bass guitars would a bass player - not a very keen one at that - own in those days?). Any photos I've seen show him playing the same bass as the one he lent at the beginning to Noel, who used it until 7 February 1967.

stplsd
04-27-09, 05:03 AM
He fails to mention a recording of Hey Joe that doesn't appear to be from the above session:

October 1966, Pye Studios? London. EXP
With unknown backing vocalists
Producer: Chas Chandler
Hey Joe (4)

stplsd
04-27-09, 05:09 AM
What happened to this one?:

24 November 1966, De Lane Lea Music Ltd, London. EXP
Producer : Chas Chandler
Engineer : Dave Siddle

Was anything recorded?

This is not a mime it's live!:

29 December 1966, ‘Top Of The Pops’, BBC Lime Grove Studio, London. EXP
BBC 1 TV live broadcast with the Breakaways on backing vocals. No film exists just two [or three?] home recordings of the broadcast.
Hey Joe (7)

The British Musicians Union, 'regulations' at this time were that singers were not allowed to mime on TV, but musicians could if they must, but that's immaterial here as they performed this live.

stplsd
04-27-09, 05:46 AM
Interesting new info that Red House (Smash Hits) was recorded on 21 Dec 1966, De Lane Lea, when it had been previously thought to be March 67. Instead of waffling it might have been more informative if we were let in on where he got this and much of the other info from.

scoutship
04-27-09, 06:46 AM
Chandler almost continually talks as though he was entirely responsible for Jimi and totally financed him. What about Jeffery

In 1973 he told Chris Welch, among other things: "I was dead against Buddy Miles coming into the band. He was a fine rock drummer but he certainly wasn't good enough for Jimi, or Billy Cox."

stplsd
04-27-09, 07:09 AM
25 feb 67 Corn exchange was not an "unlikely venue" it was typical of the several small clubs and even pubs he played at this time.

stplsd
04-27-09, 07:12 AM
It would be interesting to know when "Jeffery & Chandler Inc." stopped trading?

stplsd
04-27-09, 08:07 AM
18 jan 67 top of the pops: a small note that there is no known recording of this would have been nice. Again the misleading comment about the British musicians union.

stplsd
04-27-09, 08:19 AM
Errata:

18 March 67 hamburg radio show was "Twenclub"
29 March 1967, De Lane Lea Music french pop hit was: "La Poupée Qui Fait Non" (aka No, No, No) the singer/sogwriter was Michel Polnaref


<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /><o:p></o:p>
<?xml:namespace prefix = st1 ns = "urn:schemas-microsoft-com:office:smarttags" /><st1:date Month="11" Day="25" Year="1966">Set list (part) for 25 Nov 66, </st1:date>Bag O’ Nails
Wild Thing

Set list for 21 Dec 66, Blaises:
Rock Me Baby
3rd Stone From The Sun <o:p></o:p>
Like A Rolling Stone
Hey Joe
Wild Thing

stplsd
04-27-09, 12:43 PM
7 July 67 Mayfair

Interesting how Hendrix at the time said that the female backing vocals were actually created with a mellotron. But years later Chas tells us it was the Inspirations, who, I believe it was in Univibes mag interview, couldn't recall singing on it?

stplsd
04-27-09, 01:23 PM
All this fuss about the Monkees tour. At the time The Experience appear to have quite enjoyed a lot of it. Jimi claiming they went down well sometimes. Just as they repeated the same idea of setting his guitar on fire on the Walkers tour 1st night, and at Monterey . This was a perfect bit of publicity to get in the press, just a re-run of the Walkers tour (which was a "a bit like the Monkees tour" said Mitch) again really, where they were (allegedly) told to "clean" their act up or they'd thrown off the tour, acording to press headlines. Getting thrown off by the DAR for being obscene, was just a bit more dramatic. Not sure if the press in America picked up on it much, all you ever see are British papers articles about it strangely enough. Sounds like Chas had started to believe his own hype over the years! There's so much bull talked by so many people about this it's almost impossible to work out what went on and who did what, regarding the DAR story etc.

stplsd
04-27-09, 06:56 PM
Wow, there is a fantastic wealth of new knowledge here about the Axis recordings, there is obviously a pile of it - in Janie's hands unfortunately - which means we'll likely never hear it unless some enterprising person has copies and gets it out. Lot's of nice studio chat detail and memories from those concerned. Starting to look much better! Pity there's no attempt to source his quotes from the press etc. though. Man, Mr Mc-D is the luckiest Hendrix fan on the planet.

stplsd
04-28-09, 05:05 AM
Missed this one too:

<?xml:namespace prefix = st1 ns = "urn:schemas-microsoft-com:office:smarttags" /><st1:date Year="1968" Day="20" Month="1">20 January 1968</st1:date>, Olympic Sound Studios, <st1:City><st1:place>London</st1:place></st1:City>. <?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /><o:p></o:p>
Jimi - guitar, Roger McGough – vocal, Mike McGear – vocal, Other musicians who participated in these recordings include the following, though individual track details are uncertain; Dave Mason – guitar & sitar, Barry Fantoni – sax, Mitch Mitchell or Gary Leeds – drums, Noel Redding or Jack Bruce - bass. Graham Nash, John Mayall<o:p></o:p>
Producer: Paul McCartney<o:p></o:p>
<o:p></o:p>
So Much<o:p></o:p>
Ex-Art Student<o:p></o:p>
Oh, To Be A Child (Toy Symphony) *<o:p></o:p>
<o:p></o:p>
* Jimi (toy drum) with Jane Asher, Graham Nash, Mitch Mitchell, Noel <st1:City><st1:place>Redding</st1:place></st1:City>, John Mayall and Dave Mason on toy instruments. The original may be lost and this may be a 1969 remake without the JHE<o:p></o:p>

stplsd
04-28-09, 08:29 AM
The stage in Vienna was not "pelted with debris" - misleadingly implying that there was some danger, but was showered with paper plates used as frisbees, which annoyed Hendrix to the point that he stopped playing, briefly, this was really just a bit of high spirits from the audience.

'Mocking Bird' is not a "pop chestnut" but a 1963 R&B hit by Charlie & Inez Foxx, also covered by one of his long term 'lovers' Jeannette Jacobs of the girl group 'The Cake'. She later married Chris Wood.

stplsd
04-28-09, 09:14 AM
Velvert says Jimi told him House Burning Down was influenced by the "Watts riots" (this does not sound reliable, as this is the name of the infamous 1965 riots. The riots following King's death in Los Angeles although very serious were not as devastating, or as [National] news-worthy as others). It is far more likely it was the Washington DC riots following the murder of Martin Luther King on April 4 1968, with 16 deaths most due to burning homes- “Why do you burn your brother’s house down?” and great destruction, some 1,200 buildings were burned, including over 900 stores. This was on television and would have been fresh on his mind - and he'd only played there less than a month ago on 10 March. The army's occupation of Washington was the largest of any American city since the Civil War.

stplsd
04-28-09, 10:29 AM
Page 111 about neither of his record companies honouring his wishes for the ELL LP cover, should of course include Janie Co.

stplsd
04-28-09, 11:07 AM
Page 113 should read "Reprise opted to substitute a blurred yellow & red blob - Hendrix' head, although you would never know - which anyone else would have chucked in the trash, with no text, instead of Hendrix' interesting choice of a carefully taken Linda Eastman group photo & his text layout. This travesty was later crassly repeated by Janie Co."

RobWats67
04-30-09, 07:44 AM
I'm glad I didn't buy the book.

stplsd
04-30-09, 08:40 AM
I'm glad I didn't buy the book.

Well, you'll miss out on a lot of new and updated info from the only man who's had the interest and opportunity to study the archives in a thorough manner and give us the info then. There's no gain without pain sometimes.

RobWats67
05-02-09, 06:33 AM
Right?

stplsd
05-05-09, 05:46 AM
Sigh. EL is one of the most famous rock albums ever. Are you suggesting they change the artwork 40 years later? There is no Hendrix EL artwork other than the hotel room sketch which EH has reproduced many times. EH is certainly not without mistakes but they try and get shit historically accurate. That IS the EL cover like it or not. The amateur historian in me thinks they should keep the album cover as is and explain, as they have, that it isn't what Jimi wanted.

We're talking about the cover, and in that case you mean infamous, surely. Yes, of course, replace it, there is nothing sacred about this rubbish cover. After all the rest of the world didn't use any of the US artwork for many years, and if the alternative hadn't been covered in naked women, would most likely have never used any of it. It's not Jimi's wish and it's crap. It's the naked ladies cover that sells for extremely high prices, not the 'Blob' - not suggesting that this is used. Hendrix' artwork sketches are very clear and comprehensive, it's even possible to discern which of the photos in the park he wanted on the front! ie the one belatedly used (in poor quality) on the recent 40th package [or one very close to it, not 'the other one' (surely there's more than two) used on the earlier booklet] although 'they' got the text wrong, and still missed the opportunity to include some of the small photos in colour as Jimi requested. As for sepia tinting of B&W photos, come on? I mean, really... tut-tut

stplsd
05-05-09, 05:59 AM
Right?

Right. The book has - apart from it's many faults - lot's of new info and interviews, some nice rare, or rarish photos, printed in wonderfull quality. although, yet again, (how long!) some photos are entirely ruined by printing them across two pages.

Makkinen
05-07-09, 04:37 AM
I bought the book but had to order it from USA because it hasn't been published anywhere else which is scandalous but EH can't very much surprise me anymore with their 'consideration' for all Jimi's fans around the world..
I always welcome all books about Jimi and buy them (as well as all official and bootleg audio and video stuff I can get my hands on) because I think it's important to support all the efforts on all fronts that keep Jimi's 'flame' alive. To call it 'encyclopedia' is slightly pretentious. I have many encyclopedias on various subjects and this book simply isn't that. There's no hardbound edition which is also essential for an encyclopedia and the way such book is used. Format is too small and majority of the photos aren't large enough (dates and venues of the photos are also printed the way that you must turn the book around to be able to read them which is stupid). The cover photo is terrible (Jimi looks bad and this or similar photos have been used 1000 times before) and the title (Ultimate Experience) has already been given to another book as well as CD dedicated to Jimi Hendrix (imagination obviouasly isn't author's 'forte').
When I started to read it from the beginning (never tried something like that with any other encyclopedia) I was bored after 10th page. Simply couldn't read it anymore. So I just checked the photos (there's maybe 10 interesting ones) and put it on the shelve.
I'll try again this Summer when I'll have more spare time.
At least, the book is not too expensive (45 Dollars including shipping from USA to Europe).

Makkinen
05-07-09, 07:34 AM
Regarding Electric Ladyland cover and how they shouldn't change it but keep it historically accurate etc... This is my comment...

Makkinen
05-07-09, 07:36 AM
Sorry, duplicate post....

scoutship
05-07-09, 12:13 PM
Regarding Electric Ladyland cover...This is my comment..LOL that is exactly what I would've said as I own 6 different versions, along with--

One of the most famous rock albums ever (http://991.com/newgallery/Jimi-Hendrix-Electric-Ladyland-375813.jpg)



imagination obviouasly isn't author's 'forte'Spot on.

So ironic that one of the most creative, imaginative artistic forces in history, or at least the past century, has been "caretaken" by people who have shown such a dearth, almost a complete absence, of same, whether it be Glebbeek or Janie or Douglas or Kramer & McDermott or Paul Allen or whomever, I for one am not singling any of those out except that it is curious and one wonders who someone like Janie is really "consulting" for advice. Caesar prints clearly mistaken information and even when provided with contrary documentation refuses to budge from his erroneous statements, Janie puts out JH Air Freshener and misappropriated trust funds and even went so far as to lie about being a blood daughter of Al's, Douglas who knows why he really made some of the curious choices he did, Allen threw millions wastefully at a project that could've been so much more....in spite of all the good any or all of these people have done.

There are so many resources etc available at present day it certainly IS possible to come very very close to "pleasing" fans and collectors alike (far more so than anyone has dreamed of in the If You Were EH CEO thread) and still make quite probably even more money than EH is. Hard based on the abundant evidence not to think there are petty personal reasons at play on certain peoples' parts in preventing this from coming to fruition.

Very curious, very disappointing. Que sera.

stplsd
05-07-09, 02:13 PM
Regarding Electric Ladyland cover and how they shouldn't change it but keep it historically accurate etc... This is my comment...

Exactly!

stplsd
05-07-09, 02:19 PM
There are so many resources etc available at present day it certainly IS possible to come very very close to "pleasing" fans and collectors alike (far more so than anyone has dreamed of in the If You Were EH CEO thread) and still make quite probably even more money than EH is. .

I quite agree - more is better, and not a problem, more of an asset in these digital days, and both could be easily catered for, in the digital area, at the same time. It doesn't have to be either, or (as I feel I did try to make a point of in the if you were CEO thread)

Ayler
06-19-09, 01:43 PM
Page 197. At the end of "MLK", Hendrix plays "Cherokee Mist", not "Tax Free". The same mistake is on the "Burning Desire" liner notes.
He changes of key, from E to A ("Tax Free" is in the key of E) Quite strange as the next title of the Dagger IS "Cherokee Mist" (played in A too).

Doron
06-30-09, 04:16 PM
So ironic that one of the most creative, imaginative artistic forces in history, or at least the past century, has been "caretaken" by people who have shown such a dearth, almost a complete absence, of same, whether it be Glebbeek or Janie or Douglas or Kramer & McDermott or Paul Allen or whomever, I for one am not singling any of those out except that it is curious and one wonders who someone like Janie is really "consulting" for advice. Caesar prints clearly mistaken information and even when provided with contrary documentation refuses to budge from his erroneous statements, Janie puts out JH Air Freshener and misappropriated trust funds and even went so far as to lie about being a blood daughter of Al's, Douglas who knows why he really made some of the curious choices he did, Allen threw millions wastefully at a project that could've been so much more....in spite of all the good any or all of these people have done.
.

Yeah, I agree, though I slowly come to appreciate the work Douglas has done. he had the best sounding releases.
What was the Paul Allen project?