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Thread: 1967-01-11 De Lane Lea Studios

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    1967-01-11 De Lane Lea Studios

    Purple Haze
    51st Anniversary
    Third Stone From The Sun
    Love Or Confusion
    The Wind Cries Mary
    Fire
    .....


    Musicians


    Jimi Hendrix
    Noel Redding
    Mitch Mitchell

    Notes
    Last edited by Lord Summerisle; 03-07-11 at 08:01 PM.

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    Re: 1967-01-11 De Lane Lea Studios

    Dave Siddle was the engineer for this session.
    Note that "Mary" was recorded AFTER Fire. TWCM, is recored as being completed with guitar OD's in one 20 min session at the end of the booked recording time.
    "That's the best news I ever heard" Bob Dylan

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    Re: 1967-01-11 De Lane Lea Studios

    01. 51st Anniversary Take 1
    02. 51st Anniversary Take 2
    03. 51st Anniversary Take 3
    04. 51st Anniversary
    05. 51st Anniversary Take 1
    06. Fire Take 1
    07. Fire Take 2
    08. Fire Take 3
    09. Fire Take 4
    10. Fire Take 5
    11. Fire
    12. Fire
    13. Purple Haze
    14. Purple Haze
    15. Purple Haze
    16. Purple Haze
    17. Purple Haze
    18. Third Stone From The Sun
    19. The Wind Cries Mary
    20. The Wind Cries Mary
    http://crosstowntorrents.org/showthr...ight=studio+67

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    Re: 1967-01-11 De Lane Lea Studios

    Wednesday 11 January 1967
    London W1, New Action Productions Ltd, Caroline House, 6 Chesterfield Gardens

    Jimi signed a three year contact to Kit Lambert and Chris Stamp’s new record label, Track Records.

    Wednesday 11 January 1967,
    De Lane Lea Music Ltd, 129 Kingsway, London. JHE

    John Mayall visited the session.
    Noel probably used Chas’ four-string Gibson EB2 bass.
    Producer : Chas Chandler
    Engineer : Dave Siddle

    Purple Haze (several takes) - unreleased
    Purple Haze (basic track) (1,2,3,4,5,119,120,121,126)
    51st Anniversary # 1 (2)
    51st Anniversary # 2 (3)
    51st Anniversary # 3 (4)
    51st Anniversary # 4 (basic track & overdubs) (1,5)
    3rd Stone From The Sun (several takes) - unreleased
    3rd Stone From The Sun (basic track) (1,2,4,5)
    Fire # 1 (unreleased)
    Fire # 2 (86)
    Fire # 3 (87)
    Fire # 4 (88)
    Fire # 5 (89)
    Fire # 6 (90)
    Fire # 7 (basic track) (1,2,3,101,106)
    The Wind Cries Mary (1,2,25)*
    Love Or Confusion (1,2,4,5)

    *See 3 February session for alternate takes. There is some confusion over the actual
    recording date of these, see Mitch’s comment.

    Jimi (on ‘Wind Cries Mary’): “We did that number in about two takes.”

    Jimi: “Mary is a girlfriend of mine. She is a girl who is slightly taken to talking about me to her friends, you know. One moment she will talk about me like I was a dog, and the next moment she says the complete opposite. . . we did that number in about two takes, we
    never do more than four or five takes in a recording studio, it’s too expensive.”

    Disc and Music Echo (17 June): “The idea for ‘The Wind Cries Mary’ came when they were on Stage, tuning up. Mary herself is a friend of Jimi’s.”

    Chas: “We were recording the ‘B’ side of Purple Haze and there was twenty minutes left in the studio, and Jimi had written ‘The Wind Cries Mary’ the night before at home... It was recorded including five guitar overdubs in twenty minutes, and that was all part of the session for ‘Purple Haze’ and we had the third single there and then. So as soon as ‘Purple Haze’ started fading from the charts, we brought ‘The Wind Cries Mary’ out.“

    "That was written about Kathy [Etchingham] - her middle name was Mary. For sheer fun, The Wind Cries Mary' is my favorite track. Neither Mitchell, Redding nor I had ever heard the song before but we finished recording it in twenty minutes!"

    “‘The Wind Cries Mary’ was written right after Jimi had had a big row with Kathy. That was recorded at the tail end of the session for ‘Fire.’ We had about twenty minutes or so left, be cause in them days, I would book two hours and that was it. There would be someone else waiting to get in. I suggested that we cut a demo of ‘The Wind Cries Mary.’ Mitch and Noel hadn’t heard it, so they were going at it without a rehearsal. They played it through once, and I remember saying that I really liked the feel of the song. Jimi came in and said, ‘I have a good idea for an overdub.’ So he went back in and played ‘between,’ as he called it, the notes he had already recorded. He didn’t even come back into the control room after he had put the second guitar on. He said, ‘I have another idea. Can I put it on?’ I said, ‘Yeah!’ In all, he put on four or five more overdubs, but the whole thing was done in twenty minutes. That was our third single.”

    “When he did ‘Wind Cries Mary’, he had the idea for the song the night before when we were in to do ‘Purple Haze’. I think we were recording at the end of the day and found we had about 20 minutes left, and in those days if you had 20 minutes you used it. I said, ‘What about going over ‘Wind Cries Mary’ with Mitch and Noel, just make a demo of it for the next time we come in. We ended up recording that song in those twenty minutes.. and he’d never played the song before.”

    “By the time of ‘The Wind Cries Mary,’ Mitch and Noel were sort of fighting the fact that they had no say during recording sessions. They were starting to come up with suggestions, but Jimi and I had already done as much work as we could before we got together with them and went into the studio. Up to that point, the most studio time I had booked had been four hours, for ‘Purple Haze.’ Even then, I had to scrape money together to finish it off at Olympic. ‘Hey Joe’ might have been in the charts, but we weren’t going to be paid for ages. ‘Purple Haze’ was in the can and soon to be released, and now we had ‘The Wind Cries Mary’ recorded. We just had to see some more money before we could do anything else.
    Sessions were always scheduled one day at a time. I can’t remember spending two days on one song. We would scrape enough money together and book time in De Lane Lea to record. If De Lane Lea wasn’t available, as it hadn’t been when I was doing vocal overdubs for ‘Hey Joe,’ we just went somewhere else. On those early overdub sessions that we did, we just didn’t bring Mitch and Noel in. It wasn’t anything against them, it was just pragmatism. There was no point in bringing in anyone else if they weren’t going to be doing any thing. They would have just been in the way. We didn’t say it as such, but we knew that’s how it was. Jimi would play me an idea for an overdub, and if I thought it worked, it was, ‘Let’s go get this bloody thing done.’ We didn’t need to be arguing with Noel for ten minutes and Mitch for five. We knew what we wanted to do. We just couldn’t afford the time.”

    Mitch: “I’m sure we did ‘Wind Cries Mary’ twice. That was at Kingsway again. We did a demo version on a Friday night and it was ragged, to put it mildly. We went off over the weekend, did some gigs, went back the following Tuesday and got it right, but the initial feeling wasn’t there. So the original was released, warts and all. Thank goodness - it’s one of my favourites.”

    Chas: "'Purple Haze,' was written December 26, 1966, at the Upper Cut Club. The Upper Cut was owned by Phil Walker, his first venture after retiring as a boxer, hence the club name. It was actually written in the dressing room of the club that afternoon. The gig was at 4 p.m., a press function for the club. He started playing the riff and I said, 'Write the rest of that!,' so he did.
    Jimi was not under the influence of LSD at the time.”
    'Purple Haze' probably took longer to record than any of the earlier records. With 'Hey Joe’ I didn't know how to run the place. I was just a dumb bass player trying to become a producer. With 'Purple Haze’ Hendrix and I were striving for a sound and just kept going back in, two hours at a time, trying to achieve it. A lot of the background sound on 'Purple Haze' is actually a recording being fed back into the studio through the earphones held around the microphone, moving them in and out to create a weird echo. It wasn't like we were in there for days on end. We recorded it and then Hendrix and I would be sitting at home saying, 'Let's try that.' Then we would go in for an hour or two. That's how it was in those days. However long it took to record that one specific idea, that's how long we would book. We kept going in and out."

    “‘Purple Haze’ took four hours to record, which, at that time, represented a long time in the studio. Recording ‘Hey Joe’ had been very conventional, but with ‘Purple Haze,’ we began experimenting with different sounds and effects. With ‘Hey Joe,’ I didn’t know how to run the place. I was just a dumb bass player trying to become a producer.”

    “It was done exactly as it was recorded, no edits or anything.”

    “With Purple Haze, the only thing we added in the studio was some effects on the voices and how we got them, we didn’t have machines in them days, we put the voices back into the studio through headphones and had the headphones around the mic’ and twisted the headphones in and out, like being played back through a microphone and back into the desk again.”

    Noel: “John Mayall at session, sound bad."

    "Up to this time, Jimi’s sound had been a combination of impeccable playing of the Stratocaster and volume. He had this inimitable ability to incorporate even the minutest sound coming from his guitar into the tune. He used no electrical effects besides feedback, nor was he pushed to adopt any. It had been ‘Satisfaction’, in 1965, that had prompted my experimentation with my home-made fuzz unit, but Purple Haze was The Experience’s first recording to use the effect. There are no effects at all other than basic distortions on our first recordings.”

    Mitch: “In the early days, particularly, we recorded very quickly. ‘Purple Haze’, for example. Hendrix came in and kind of hummed us the riff and showed Noel the chords and the changes. I listened to it and we went, ‘Okay, let’s do it.’ We got it on the third take as I recall.”

    Chas (On ‘51st Anniversary’): “We worked on that over the course of one evening. That song is a good example of Jimi just sitting around the apartment singing and playing his guitar. I would sit across from him and say, ‘That’s good’ or ‘No, change that to something like this.’ These were pre studio edits, if you like. Then we would get together with the band and rehearse the song. We were still rehearsing quite a bit then, because we were still trying to refine the act. As it was, we didn’t have that many numbers to play, and we were always trying to push new songs in all the time. We rehearsed the song with the band, then went into the studio to record. That was the first song where guitar overdubs played an important role. There was quite a bit of over dubbing on that track, and it was the first time where we consciously thought of approaching the production that way. There were five guitar overdubs all linking in together to sound like one guitar.”

    Mike Ross: "[Everything apart from the ‘Star Fleet’/’ Scout Ship’ overdubs for ‘3rd Stone From The Sun’ was recorded by me at CBS Studios] This exchange message is new to me. I did not record this...This exchange could have been overdubbed on to the mixed master tape after the session in another studio.”

    12. London W1, 7 ½ Club, 5 Whitehorse Street, Mayfair, England.
    JHE concert (60minutes) at 01:00
    13. London W1, 7 ½ Club, 5 Whitehorse Street, Mayfair, England.
    JHE concert (60minutes) at 01:00
    14. Nottingham, Beachcomber Club, Lace Market, Nottinghamshire, England.
    JHE concert (60 minutes)
    15. Kirklevington Country Club, A19, Stokesly, Yorkshire, England. JHE concert (2 x 30 minutes spots), between 20:00 & 24:00.
    16. London W1, 7 ½ Club, 5 Whitehorse Street, Mayfair, England.
    JHE concert (75 minutes)
    Last edited by stplsd; 09-21-17 at 07:50 AM.
    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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    Re: 1967-01-11 De Lane Lea Studios

    "fire" takes belongs date 3 february

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    Re: 1967-01-11 De Lane Lea Studios

    Quote Originally Posted by Paul Johnson View Post
    "fire" takes belongs date 3 february
    Not according to JMcD & Kramer They only said the previous master was reworked and overdubbed etc. on 3-Feb-67
    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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