Oil Well - 120 RSC CD
1. 1983... (A Merman I Should Turn To Be) 7:33
2. Angel 3:21
3. Cherokee Mist 3:17
4. Hear My Train A Comin' 1:10
5. Voodoo Chile #1 6:19
6. Cherokee Mist 3:36
7. Gypsy Eyes 6:38
8. Long Hot Summer Night 4:27
9. Have You Ever Been To Electric Ladyland) #1 5:29
10. All Along The Watchtower 3:46
11. Voodoo Chile #2 9:20
12. Rainy Day, Dream Away 1:47
13. 1983... (A Merman I Should Turn To Be) 4:24
14. Have You Ever Been (To Electric Ladyland) #2 4:45
15. Little Miss Strange 3:38
16. Somewhere 3:47
17. 1983... (A Merman I Should Turn To Be) 1:02
Total duration: 74:19
Note:
All songs by Jimi Hendrix unless noted.
Tracks 1 to 8 Drake Hotel, New York (NY), April 8, 1968
Track 9 Record Plant, New York, NY, June 14, 1968
Track 10 Olympic Sound Studios, London, UK, January 21 1968
Tracks 11 Record Plant, New York (NY), United States. 2nd May 1968
Track 12 Record Plant, New York, NY, June 10, 1968
Track 13 Sound Center Studios (247 West 46th Street) in New York City - March 13, 1968
Track 14 Record Plant, New York, NY, May-June 1968, mixed at Record Plant on July 7 1968
Track 15 Record Plant, New York, NY, April 20 1968
Track 16 Sound Center Studios, New York (NY), United States. 13th March 1968:
Track 17 Record Plant, New York, NY, April 20 1968
Lineup:
Jimi Hendrix: vocals and guitar, bass on tracks 10,14
Noel Redding: bass, backing vocals
Mitch Mitchell: drums, backing vocals
Jack Casady – bass on "Voodoo Chile #2"
Brian Jones – percussion on "All Along the Watchtower"
Dave Mason – twelve-string guitar on "All Along the Watchtower",
Steve Winwood – Hammond organ on "Voodoo Chile #2"
Chris Wood – flute on "1983... (A Merman I Should Turn to Be)"
Larry Faucette – congas on "Rainy Day, Dream Away"
Mike Finnigan – organ on "Rainy Day, Dream Away"
Buddy Miles – drums on "Have You Ever Been To Electric Ladyland) #1","Rainy Day, Dream Away"
Freddie Smith – tenor saxophone on "Rainy Day, Dream Away"
This album is a digital clone of: "1968 AD Part two" - Whoopy Cat C WKP-0013
This Oil Well version has a fine cover, fine quality and limited to 200 copies only.
Due to its rarity and good quality, this disc is recommended.
All songs by Jimi Hendrix unless track 10 written by Bob Dylan and track 15 written by Noel Redding.
Please note that track 6 is the outro of Voodoo Chile credited as Cherokee Mist in the tracklist.
The first seven tracks are original demos from Drake Hotel in March of 1968 (credits of the official album) but some sources say that Hendrix recorded 36-minutes of demos in his room on April 8th 1968. On the front cover Jimi Hendrix photographed by Terence Donovan for the Observer Magazine at his flat in London, August 1967 - other pics from the set here.
This rare bootleg is an interesting compilation of Electric Ladyland's outtakes, basic tracks and demos in which you can find two versions of Have You Ever Been To Electric Ladyland as track 9 and 14.
Track 9 has been released also on the bootleg Sotheby's Private Reels CD1 and it is listed as "Electric Ladyland #2". This complete take is from 14th June 1968 with Jimi Hendrix on guitar, Buddy Miles on drums and an unknown bass player.
An alternative instrumental version of Have You Ever Been To Electric Ladyland) #1 dubbed as "Electric Lady Land" was also recorded (one of seven takes of the song) at the Record Plant on 14 June 1968 by Hendrix and Band of Gypsys drummer Buddy Miles (although his track was later removed from the recording). This rendition was released by Polydor Records in 1974 as part of the posthumous studio album Loose Ends, produced by John Jansen and released also on: The Jimi Hendrix Experience Box in 2000.
Track 13 is released as Angel Caterina
Track 14 has been released also on the bootleg Sotheby's Private Reels CD1 and it is listed as "Electric Ladyland #1". This last take is maybe the master recording produced at the Record Plant studio in New York City in May or June 1968, with Hendrix providing the guitar, bass and vocal tracks. Mitch Mitchell is on drums and tambourine. The song was mixed at the Record Plant on July 7th 1968.
Track 11 is Voodoo Chile (Take 2) recorded at Record Plant, New York (NY), United States. 2nd May 1968. Please note that a song called "Voodoo Chile Blues" released on the collection "Blues"in 1994 is an interesting creation of Alan Douglas, recorded during the sessions that produced the finished track, "Voodoo Chile". This "creation" is made up of two different takes of the song that were edited and joined together in order to come up with one consistent track.
Audio quality:
Quality content:
© Official released material:
Tracks 1 to 7, 12,13 have been released officially in 2018 on: "Electric Ladyland 50th Edition".
Track 10 has been released officially on: South Saturn Delta
Track 16 has been released officially and with a different mix on: The Jimi Hendrix Experience Box
‘Electric Ladyland’ Gets Massive Reissue for 50th AnniversaryHalf a century ago, when Jimi Hendrix began work on what would become his the final album to come out in his lifetime, Electric Ladyland, he was finding inspiration everywhere. “Jimi was very much in the realm of experimentation,” says one of the album’s recording engineers, Eddie Kramer. Kramer is seated in the control room of Electric Lady Studios, the New York studio Hendrix opened shortly before his death in 1970. “When I first started working with him, [Hendrix manager] Chas Chandler told me, ‘The rules are, “There are no rules.’ We could just kick down the doors to convention and experiment with wild things and Jimi’s sound.”
The results of their experimentation are all over Electric Ladyland, from an otherworldly phasing sound effect (“We were all freaked out by it,” Kramer recalls) to the different combos of musicians he brought in to jam with, such as members of Traffic and the Rolling Stones’ Brian Jones.
The volume of outtakes, Electric Ladyland: The Early Takes, contains audio pulled from reel-to-reel tapes Hendrix recorded himself on his personal Teac machine in March 1968 while staying at Manhattan’s Drake Hotel. These include early versions of “Voodoo Chile” and “Gypsy Eyes” as well as two songs that didn’t make the Ladyland track list – “Angel” and “My Friend”– and an early version of “… And the Gods Made Love” titled “At Last … the Beginning.” “He did these incredibly quietly,” Kramer says with a laugh. “You can hear the atmosphere of the hotel room. He’s almost whispering. Why? He doesn’t want to wake up the neighbors. He’d go, ‘Here’s “Electric Ladyland”‘ and he’d whisper, ‘Have you ever been? … ‘ It’s so warm and so intimate, and all of a sudden you hear a phone ringing and that’s the front desk calling and you can just hear in his voice he’s getting really pissed off. It’s great.”
Recording Voodoo Chile"Voodoo Chile" was recorded at the Record Plant in New York City, after a late night jam session with Hendrix, Experience drummer Mitch Mitchell, organist Steve Winwood, and bassist Jack Casady. The song became the basis for "Voodoo Child (Slight Return)", recorded by the Experience the next day and one of Hendrix's best-known songs.
"Voodoo Chile" evolved from "Catfish Blues", a song which Hendrix performed regularly during 1967 and early 1968. "Catfish Blues" was a homage to Muddy Waters, made up of a medley of verses based on Waters' songs, including "Rollin' Stone", "Still a Fool", and "Rollin' and Tumblin'".In April 1968, Hendrix recorded a number of solo demos in a New York hotel, including an early "Voodoo Chile", which he had been developing for some time. It used elements of "Catfish Blues" with new lyrics by Hendrix and included a vocal and guitar unison line.
Music critic Charles Shaar Murray describes "Voodoo Chile" as "virtually a chronological guided tour of blues styles" ranging from early Delta blues, through the electric blues of Muddy Waters and John Lee Hooker, to the more sophisticated style of B.B. King, and the "cosmic blurt" of John Coltrane. Lyrically, he adds, the song is "part of a long, long line of supernatural brag songs"
During the Electric Ladyland recording sessions at the Record Plant, Hendrix and the band often explored the New York City club scene and frequently jammed with the performers. After one such jam at the nearby the Scene club, Hendrix brought a group of twenty or so back to the studio (his practice of inviting large groups to the studio led Noel Redding to storm out of the Record Plant earlier that evening and he was not present during the recording of "Voodoo Chile"). Organist Steve Winwood from Traffic, bassist Jack Casady from Jefferson Airplane, and jazz guitarist Larry Coryell were among those present. Although Coryell was invited to play, he declined and Hendrix proceeded to record "Voodoo Chile" with Mitchell, Winwood, and Casady. The remainder were on hand to provide the ambient crowd noise.
Winwood recalled, "There were no chord sheets, no nothing. He [Hendrix] just started playing. It was a one-take job, with him singing and playing at the same time. He just had such mastery of the instrument and he knew what he was and knew his abilities". Despite the appearance of spontaneity, engineer Eddie Kramer notes: "The idea that these jam sessions were informal is something that I completely disagree with. They may have seemed casual to the outside observer, but Jimi plotted and planned out nearly all of them. He'd reason that if he had his songs together, if he really wanted to pull out what he heard in his head, he needed the right people ... and that's what he did".During the recording session, Hendrix is heard advising Winwood on his organ part.
Recording began about 7:30 am and three takes were recorded, according to biographer John McDermott and Kramer. During the first take, Hendrix showed the others the song while the recording equipment was adjusted. During the second take, Hendrix broke a string (these two takes were later edited together and released as "Voodoo Chile Blues" on the posthumous Hendrix compilation album Blues). The third take provided the master that was used on Electric Ladyland. Music writer John Perry claims there were at least six takes recorded, but several were incomplete.
"Voodoo Chile" opens with a series of hammer-on notes, similar to Albert Collins' intro to his "Collins Shuffle". Hendrix played through a Fender Bassman top, providing a "very warm" amp sound with his guitar tuned down a whole tone. Although Hendrix's vocal and guitar are featured, the other musicians make contributions, taking it beyond the blues. McDermott describes Winwood's mid-song organ part as "a very English, hornpipe-like dance that was very Traffic-like".
However, Perry calls it a "modal, raga-like phrase", which Hendrix responds to by "improvising a mixed blues/eastern scale". Mitchell anticipates changes in direction and Casady provides a pulsing, solid foundation.
Hendrix wanted to create the atmosphere of an informal club jam, but the recording did not capture sufficient background noise. So the onlookers provided additional crowd sounds, which were recorded from 9:00 am to 9:45 am. Hendrix and Eddie Kramer later mixed the track, adding tape delay and other treatments.
Although many live recordings of "Voodoo Child (Slight Return)" have been issued, only the three takes of the original studio jam, "Voodoo Chile", are known to exist. A composite of the first two takes is included on the 1994 Blues album
Recording All Along the WatchtowerThe Jimi Hendrix Experience began to record their version of Dylan's "All Along the Watchtower" on January 21, 1968, at Olympic Studios in London. According to engineer Andy Johns, Jimi Hendrix had been given a tape of Dylan’s recording by publicist Michael Goldstein, who worked for Dylan’s manager Albert Grossman. "(Hendrix) came in with these Dylan tapes and we all heard them for the first time in the studio", recalled Johns.
According to Hendrix’s regular engineer Eddie Kramer, the guitarist cut a large number of takes on the first day, shouting chord changes at Dave Mason who had appeared at the session and played twelve-string guitar. Halfway through the session, bass player Noel Redding became dissatisfied with the proceedings and left. Mason then took over on bass. According to Kramer, the final bass part was played by Hendrix himself.[19] Hendrix's friend and Rolling Stones multi-instrumentalist Brian Jones played the various percussion instruments on the track. "That’s him playing the thwack you hear at the end of each bar in the intro, on an instrument called a vibraslap."
Jones originally recorded a piano part that was later mixed out in place of the percussion instruments.
Kramer and Chas Chandler mixed the first version of "All Along the Watchtower" on January 26, but Hendrix was quickly dissatisfied with the result and went on re-recording and overdubbing guitar parts during June, July, and August at the Record Plant studio in New York.
Engineer Tony Bongiovi has described Hendrix becoming increasingly dissatisfied as the song progressed, overdubbing more and more guitar parts, moving the master tape from a four-track to a twelve-track to a sixteen-track machine. Bongiovi recalled, "Recording these new ideas meant he would have to erase something. In the weeks prior to the mixing, we had already recorded a number of overdubs, wiping track after track. [Hendrix] kept saying, 'I think I hear it a little bit differently.
Dylan has described his reaction to hearing Hendrix's version: "It overwhelmed me, really. He had such talent, he could find things inside a song and vigorously develop them. He found things that other people wouldn't think of finding in there. He probably improved upon it by the spaces he was using. I took license with the song from his version, actually, and continue to do it to this day."
In the booklet accompanying his Biograph album, Dylan said: "I liked Jimi Hendrix's record of this and ever since he died I've been doing it that way... Strange how when I sing it, I always feel it's a tribute to him in some kind of way."
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