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View Full Version : 1969-11-17 Record Plant, New York. "BOG". Billy persuaded to come back.



stplsd
08-31-17, 01:09 PM
Monday 17 November 1969, Record Plant, New York City. BOG
BILLY COX IS PERSUADED TO COME BACK AGAIN
Billy: “. . .And-ah, soon after [he left]* recieved a telephone call from Michael Jefferys. And Jimi said to come back da-da-da-da, da-da. And so I made some demands and they adhered [sic, ‘agreed’?] to these demands and I came back.”
*Judging by the recordings it was about two weeks;)
Producers: Alan Douglas & Stephan Bright
Engineer: Tony Bongiovi
2nd engineer: Tom Erdelyi (aka “Tommy Ramone”)

Room Full Of Mirrors (early takes) – unreleased
Room Full Of Mirrors (2, 3, 4, 5) with the Ghetto Fighters (Albert & Arthur Allen, 'The Twins') on backing vocals.
Jam with Leslie West? – unrecorded

Stephan Bright: “Jimi had definitely come into the studio with a plan, because ‘Izabella’ and ‘Room Full Of Mirrors’ were planned songs which took very little time to do. ‘Machine Gun’ was something he had been working on for quite some time. He jammed on songs like ‘Dolly Dagger’, but the basic tracks for ‘Izabella’, ‘Stepping Stone’, Message To Love’, and ‘Room Full Of Mirrors’ were already arranged and were recorded in a very short time period.
Jimi hated his voice, I guess the other people who had worked with him knew this, but we didn’t. When it came time to record his vocals, he instructed the engineer and the assistant engineer to set up baffles around him and turn all of the lights in the studio out. I said, ‘What the fuck are you talking about your voice for? Your voice is unique and it is a part of your whole sound.’ He said, ‘I don’t care what you say. This is the way I feel and this is what we are going to do.”

Tom Erdelyi: “Jimi was a perfectionist. He would record many different lead solos, with each just as good as the other, but none to his satisfaction. It seemed to me that Jimi was looking for a sound that was in his head, and he was doing all kinds of things to try and capture that. He would do weird things like line a wall with stacks of Marshalls and crank them up to get this huge sustain. On ‘Room Full Of Mirrors’, he was trying to get a particular slide sound. He tried all kinds of slides—glass slides, metal slides, steel pedal slides—but non of them sounded like what he was hearing in his head.”

AD: “He slipped off his ring and used it’s stone to get the effect.
Remixing something fifteen times is not meticulous, that’s over-indulgence… [Hendrix] was fascinated by the studio and he was a perfectionist, and the results were he over-indulged there.”

Arthur Allen: “ [Hendrix took us to the studio and showed us our parts]. Leslie West was recording ‘Mississippi Queen’ in Studio B, and Hendrix was so knocked out by the riff that he invited him over for a jam.”

Leslie West: “I first saw Jimi play at Woodstock. I missed meeting him there, but when we were recording Mountain Climbing at the Record Plant, he heard the riff to ‘Mississippi Queen’ and just walked into the control room. He sat down next to Felix Pappalardi [Mountain bassist & producer of Cream] and I, and we played him the mix to ‘Never In My Life.’ He was the first guy outside of the band to ever hear it. When he heard the lick I was playing, he just turned and looked at me. For some reason the riff sounded like a horn line and it got a rise out of him. Seeing him like that made me think, ‘Wow!’ He must think I have a little something in me. In fact, he even came to see us play at the Fillmore East. He was sitting in one of those opera seats next to Corky Laing’s [their drummer] mother. She didn’t know who the hell he was, but when we saw him there watching us play, that was a big deal.”

Shaggy Dog studio notes: ‘Lonely Avenue’ and ‘Look Over Yonder’ are listed for this date.