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Thread: Corrections and Updates per FTBFS 2014

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    Corrections and Updates per FTBFS 2014

    From the Benjamin Franklin Studios: fourth incantation volume 3 The Chronology.

    Corrections and updates to the publication, 12-12-2014. These corrections/updates deal with the Live section of this publication only and they are not “official” as per Gary Geldeart & Steve Rodham but if they are also noted in upcoming and future Jimpress editions that will be noted here.

    Page 315 – 317 Baltimore Maryland 13 June 1970
    Correction to source 5 [audience source 5]
    Omit tracks Straight Ahead (4) and Lover Man (33)
    These two tracks do not form part of this recording source.

    Page 336 – 339 K B Hallen Kobenhavn 3 September 1970
    Correction to the full entry and all sources. The following replaces all other information to date.
    Dismiss this entry and replace with the following:
    Every publication that has listed the sources of this show (PYE, UV, FTBFS) uses a different numbering of the sources and the publication that lists most actually lists a source which doesn’t exist.
    Originally, in Plug Your Ears (the online version) we had the five sources listed as thus:
    Source 1. Complete 90 min’
    Source 2. Complete 92 min'
    Source 3. Incomplete 50 min’, tracks 1-6
    Source 4. Incomplete 65 min’, tracks 1-10
    Source 5. Incomplete 50 min’, Tracks 1-9

    PLEASE NOTE THAT THE SOURCES ARE NOW (RE-)NUMBERED BY THEIR DATE OF DISCOVERY

    1. Source 1 is the oldest known source. It captures the complete show but does suffer from speed variations. (tt93.06)

    2. Source 2 is the so-called 'Old Short Source' which runs until Freedom. Formerly known as Source 5. (tt50.16)

    3. Source 3 is the 'cassette' source, which also captures the complete show but does so in slightly worse sound than Source 1. Formerly known as Source 2. (tt91.33)

    4. Source 4 has been in circulation as a incomplete tape ending with Red House. In this set we have a new version of this tape, which now is the complete show. (tt95.49)

    5. Source 5 has been in limited circulation with very poor sound as 'source 6'. The taper was probably furthest from the stage out of all known sources.(tt69.10)

    6. Source 6 has never been circulated before. Unfortunately the batteries of the Uher recorder went dead so the pitch increases nearer the end of the tape. (tt45.25)

    Old Source 1 = New Source 1
    Old Source 2 = New Source 3
    Old Source 3 never existed
    Old Source 4 = New Source 4 but now complete
    Old Source 5 = New Source 2
    Old Source 6 = New Source 5
    New Source 6 = New Source 6
    (OLD SOURCES=as in PLUG YOUR EARS)
    (NEW SOURCES= per date of discovery)
    Last edited by Fenders Fingers; 02-18-15 at 12:08 PM.
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    Re: Corrections and Updates per FTBFS 2014

    It has to be said, a mammoth task and, on the whole, done excelently, there is no substitute.
    But, unfortunately the publishers seem too attached to some old errors to correct them, using very poor excuses like 'it was called that on an album release', 'collectors know it as this', 'not enough space' or some such.
    They shouldn’t be adding dodgy ‘info’ like the spurious name “Crown Jewels” (a joke term for male genitals, aka 'family jewels') as the name of Richard’s band when this was clearly someone taking the piss out of Roby & co. (the sole souce for this, their source is not given) The actual name ‘Little Richard’s Royal Company’ is well attested in photographs, news text and testimony.
    Glad to see that they finally got round to including my observation that "Experiencing The Blues" (Jimi never referred to it by this title, but he did call it, "Catfish Blues", and "a little Muddy Waters") is made up from TWO different songs recorded by Muddy Waters, 1st two verses from his “Rollin’ Stone”, last verse from his “ Still A Fool”.
    On one version only, recorded for the BBC on 6 Oct 67 he tacked on yet another line, this time from his “Rollin’ & Tumblin”. All these songs are heavily derivitive of other songs, some having “Catfish” in the title.

    Unfortunately what is actually a 3 song medley of Bo Diddley’s: ‘Bo Diddley’, ‘Hey Bo Diddley’ and ‘Hush Your Mouth’ is still listed here only as “Bo Diddley”. The greater part of it is actually “Hush Your Mouth”, not “Bo Diddley.”

    “You Got Me Running” is just wrong, it is “Baby What You Want Me To Do”.

    “Win Your Love” is wrong, it is a 70’s title by Brantley for a fraudulent release. It is “(I Wonder) What It Takes”, as noted lower down. Why are they giving any creedence to a fraudster who damaged tapes of Jimi and sowed confusion?

    “(MY Girl) She’s A Fox” is the correct title, again why give...etc. above

    The correct title of the song is “(I Can’t Get No) Satisfaction”

    It is not “Sugar Pie Honey Bunch”, or “aka I Can’t Help Myself (Sugar Pie Honey Bunch)”
    It IS just, “I Can’t Help Myself” [aka whatever]

    It is not “Drivin’ South’ that is a bogus title by Knight to claim royalties on his annoying ad-lib which spoils this otherwise excellent instrumental, it IS “Thaw Out” (by Albert Collins). Again why give credence to a title that was used to cheat an artist out of his royalties?

    The 11 Aug. show was at the Col Ballroom (an abbrevation of Coloseum), the ballroom was originally titled Coliseum which still has this spelt out over the frontage. It has never been known as the Colonial. Where this error crept in is anyones’s guess, I plump for the 1st edition of FTBFS where we have: Col ballroom; colonial ballroom; [just] “Davenport”; colonial ballroom, and (again) colonial ballroom listed for the various songs (got it right 1st time!). This muddle has just been duplicated, uncorrected for subsequent editions.

    “Red House” (59) is clearly not the song we love so well. It should have another title, maybe taken from the first line, such as, “There’s A War Goin’ On,” (there are hand written lyrics with this line) or some such, or even, if you must, “Goin’ Down The Red House”. But definitely NOT “Red House”. The only similarity is the sole use of the words “red house” which are used in a different manner, non of the other lyrics or the music are similar in any way.

    It is the HemisFair Arena not Hemisphere.

    Why continue with the clearly wrong “Back On The Desert” when the line is “Dance On The Desert”.

    “Aware Of Love” should have been given it’s own listing as other medley songs have, there is no valid reason for not having done this.

    Same applies to Peter Gunn – which isn’t even a medley – it’s a separate song as noted!
    Catastrophe should therefore also be separate.

    There was no “Rainbow Ridge” and anyway the concert was clearly not held on any ridge. It was held just a couple of hundred yards away from Seabury Hall (which can be glimpsed in the background), in a gently sloping meadow with large trees. This field is just off a nearby road, the gate to which can be seen, as well as several parked vehicles, behind the stage, to stage left – ie it was played a very long way from the crater.
    It is Rainbow Bridge a type of, so called, “meditation” based on “communicating” with the planet, which is seen as a living being - or some such twaddle – ie not a geographical feature.

    Also, as I'm sure you know, there is actually no difference between what is listed separately as I'm A Man and Manish Boy (it is not a spelling mistake as ‘manish’ is a made up word for this title) by Jimi, because all Jimi's versions are just Bo's I'm a Man with a small part (eg his "Manish boy" line) of Muddy's (near identical) version tagged on.
    The one version that is different, similarly to Catfish Blues, has three extra verses, this time by Jimi (I presume. Partly crude/smutty - boys will be boys ), one of which is, what I think would be better titled “Two Old Maids” (‘composed’ I presume after him hearing various older songs which contain that line/theme, eg by Billy Mitchell, Lightnin' Hopkins etc. etc. Possibly it's also influenced by the joke of that name on 'blue' comedian Redd Foxx' 1956 LP Laff Of The Party Vol 4 ) Instead of just the 3 versions they have listed, there are in fact 6 by Jimi, this, the 1st one recorded by Jimi over 6 years prior to Willis' "Stoop Down Baby". If you ask me Chick Willis is a closet fan of Jimi (1st heard it on a Curtis Knight LP? And followed it up later as well) and pinched Jimi's Two Old Maids for his "Stoop Down Baby", 1st version of which he only recorded in 1972, and which was missing one of Jimi's verses, that verse only released in 1974 on Willis' part 2 version.

    Also "California Night" (no evidence this made up title came from Jimi) is a near verbatim & note for note rendition by Jimi of “Travellin' To California” (2 versions by King, the later Big Blues LP version has slightly different lyrics from the single) by Albert King (whose music he admired - the feeling was mutual), Jimi did not "add extra lyrics" in any significant way, he was clearly only ad-libbing where he forgot the exact words in a couple of lines, even making a nonsense of it with his "in the Gulf of” Mexico – wha?, and a very short ad-lib at the end which is very close to King's lyric anyway. Every song on the "live" (not!) Squires recordings have ad-libs, none are anywhere near word perfect.
    Just because King used a line from Memphis Slim's song 'Nobody Loves Me' does not make it "Every Day I Have The Blues". Albert King himself recorded a version of what has become to be known as 'Every Day I Have The Blues', it is clearly a different song, which is in fact Memphis Slim's original song 'Nobody Loves Me'. The confusion (although there is no confusion with Travellin' to California anywhere, except in FTBFS ) began when Slim used the 'Every Day' verse from Pine Top's much earlier song. Slim's song was a little regarded 'B' side, until it was picked up the following year by Lowell Fulson and re-named 'Every Day etc.' which became a huge hit.
    Travellin' To California by Albert King, Nobody Loves Me by Memphis Slim and Everyday I Have The Blues by Pine Top are all substantially different, original songs, by 'blues composition' standards (ie it's often mix and match, words were misheard when they played other peoples hits, verses were exchanged, mixed up and became new songs) these 3 songs only share a single "verse" of lyrics between them and not even the same verse! Both verses, different to each song, are only a refrain anyway.
    The title 'California Night' is, I think, clear to anyone who knows the score, smart arse word play by Chalpin or Knight - Knight/Night - geddit? - to claim royalties. This “Night” addition to a title bollocks is used on another song too, can’t remember off hand which.

    It would have been nice to include the other songs that Jimi quoted lyrics and/or melodies from, eg the Rolling Stones’ “What A Shame” - at Scene club 18? March 68 & Toronto ’68 jam; Howlin Wolf’s “Tail Dragger” - at Scene club 18? March 68; Blue Moon; Strangers In The Night; Bonanza theme, etc.

    “Bolero” is not a correct title. It is even noted in the entry! that Jimi himself titled it “Here Comes The Sun”, there are also hand written lyrics for this. What is the problem with giving it it’s correct title? He described it as a “Bolero type thing” ie a style of music, not a title.

    Regarding the Albert Hall film, the comment, “most of which was Jeffery’s doing” is totally innacurate, and also ignores the fact that Jimi himself was involved too. Anyone who has studied the case in any depth will clearly see that it is Gold & Goldstein who were the guity party and Goldstein continues to be so. This is not the only example of their/his vile behaviour, you only have to look at what they/he did to War, and the Animals (reformed) tour film.

    Newport ’69 jam: “some of the female singers get impromtu piggy backs” is innacurate, it is only (i.d. unknown) “Sunshine” who sang lead on a couple of songs (not a member of Mother Earth as the others were) who is piggybacked off stage by Burdon - after they have ‘performed’ some impromtu ‘gymnastics’ which ended with them falling to the floor, Jimi then playing astride them with “his his guitar between the legs pose”.

    21 jul 69 Dick Cavett, Jimi is only backed by bass & drums not the whole orchestra as the wording may imply. It should read, “Here Jimi is backed by Bobby Rosengarden drums and George Duvivier bass, from the 'Bob Rosengarden Orchestra'.”

    18 Aug 69 Woodstock “Here My Train A Comin’ which was missed completely by the official film crew.” Is innacurate, it was at least partly filmed by the crew and there are parts of this mixed in with the B&W footage.

    28 January BOG. It was not Jimi who said, “Sorry we are not getting it together,” it was in fact Buddy Miles. What Jimi said was, “That’s What happens when Earth fucks with Space.”
    According to others who were there, inc. Alan Douglas, he was not “led from the stage,” but staggered off himself.
    "That's the best news I ever heard" Bob Dylan

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    Re: Corrections and Updates per FTBFS 2014

    Technically "Drivin' South" is a hybrid of both "Thaw Out" and "Kool Aide", both found on the Albert Collins LP "Truckin' With Albert Collins". The bass riff in "Thaw Out" and "Kool Aide" are nearly identical, "Kool Aide" is just played at the more familiar tempo also heard in "Drivin' South".
    "That's the best news I ever heard" Bob Dylan

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    Re: Corrections and Updates per FTBFS 2014

    Thanks to Ren and Jeff for the new additions here.
    "That's the best news I ever heard" Bob Dylan

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    Re: Corrections and Updates per FTBFS 2014

    Part 3, Page 340, Berlin, 04.09.70:

    source two is source three, source three is source two.
    In the description of the sources: "A very short third recording..." and not "A very short second recording..."

    Thanks to okla70homa
    "That's the best news I ever heard" Bob Dylan

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    Re: Corrections and Updates per FTBFS 2014

    Quote Originally Posted by Fenders Fingers View Post
    Technically "Drivin' South" is a hybrid of both "Thaw Out" and "Kool Aide", both found on the Albert Collins LP "Truckin' With Albert Collins". The bass riff in "Thaw Out" and "Kool Aide" are nearly identical, "Kool Aide" is just played at the more familiar tempo also heard in "Drivin' South".
    ie This has all the appearance of yet another bogus attempt (a la Glebeek/Chalpin!) to make Jimi appear to be original when he was just actually paying tribute by playing his interpretation of a tune he enjoyed. So what if he quoted a near identical line from 'Kool Aide' it changes nothing, all versions are still 'Thaw Out' to anyone's ears, it's a tribute, eg like 'I'm A Man' and 'Manish Boy' ie Manish Boy is just I'm A Man with a couple of ad-libs by Muddy. SO GIVE THE MAN THE CREDIT FFSAKE!!! ie Collins. And note it has f'all to do with Curtis Knight/Chalpin or, even - JH!!! Apart from JH's wonderful interpretation of the tune!
    Last edited by stplsd; 04-02-16 at 07:47 AM.
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    Re: Corrections and Updates per FTBFS 2014

    Plenty of updates in Jimpress 106.
    The Baltimore points are noted but the KB Hallen detail appears to be missing!
    "That's the best news I ever heard" Bob Dylan

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    Re: Corrections and Updates per FTBFS 2014

    Remember is down as being recorded at de lane lea 'DL' on 8 feb instead of Olympic 'OL'
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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