Oil Well RSC 119 CD
1 Purple Haze 2:39
2 Red House 10:45
3 Ma Pouppee Qui Fait No 3:35
4 I Don't Live Today 16:10
5 Fire 2:35
6 Wind Cries Mary 3:30
Note:
All songs written by Jimi Hendrix unless noted
Track 1: Olympic Sound Studios, London, UK, feb 3-8 1967
Track 2,3: De Lane Lea Music Recording Studios, London, UK, mar 29 1967
Track 4: De Lane Lea Music Recording Studios, London, UK, feb 20, 1967
Track 5: Olympic Sound Studios, London, UK, feb 3 1967
Track 6: De Lane Lea Music Recording Studios, London, UK, jan 11 1967
Lineup:
Jimi Hendrix – guitar, lead vocals, bass on "Ma Pouppee Qui Fait No"
Noel Redding – bass guitar; backing vocals on "Fire," and "Purple Haze", guitar on "Ma Pouppee Qui Fait No".
Mitch Mitchell – drums; backing vocals on "I Don't Live Today"
This album is a clone of: Demos 1968 - World Productions Of Compact Music – WPOCM 071.
This album contains outtakes, basic tracks and demos of the first LP from 1967 Are You Experienced.
All songs written by Jimi Hendrix unless track 3 written by Franck Gérald and Michel Polnareff.
Red Hourse: Various takes (take-1~4) of this numbers with fuzz guitars. On March 29 Hendrix overdubbed at the Olympic Studios a backing track of Red Hourse recorded at De Lane Lea Studios on December 21, 1966. This recording is from this overdubbing session.
Ma Pouppee Qui Fait No: Thisi s an unheard of coversion from the top hit of M. Polnareef.
I Don't Live Today: Takes-1~4 where Hendrix really showed what he was able at that time.
Fire - This is an unreleased instrumental version. This is mix 3 of the backing track of the final version.
Wind Cries Mary: This is an unreleased instrumental version. This is mix 1 of the instrumental take 1 recorded on January 11 1967 at De Lane Lea Music Recording Studios.
Audio quality:
Quality content:
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Experience recording in JanuaryAfter a three-week break from recording while the Experience played gigs in England, including a December 29 appearance on Top of the Pops, the Experience reconvened at De Lane Lea on January 11, 1967. As "Hey Joe" was gaining chart momentum in the UK, they began working on their second single, which featured Hendrix's second songwriting effort, "Purple Haze", as its A-side.
According to drummer Mitch Mitchell, he and bassist Noel Redding learned the song in the studio: "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, 'OK, let's do it.' We got it on the third take as I recall."The basic track was recorded in four hours, according to Chandler. Multitrack recording technology allowed engineers to record and complete additional parts on the final master. After the basic track was finished, Chandler explained that he and Hendrix developed the song:"With 'Purple Haze', Hendrix and I were striving for a sound and just kept going back in [to the studio], two hours at a time, trying to achieve it. It wasn't like we were 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 one specific idea, that's how long we would book. We kept going in and out".
Redding and Mitchell were not included in the process because Chandler felt that it was more efficient for him and Hendrix to do it alone. To get a better quality recording, Chandler took the four-track tape recorded at De Lane Lea to Olympic Studios for overdubbing (although Hendrix had worked with eight-track recording in the US, it was not yet available in the UK). At Olympic, they were assigned Eddie Kramer, who, as a sound engineer, played an important role in subsequent Hendrix recordings. Hendrix added new vocals and guitar parts between February 3 and 8, 1967. Unlike the conventional techniques used by the Experience to record previous songs, Chandler decided to try out new effects and sounds for "Purple Haze". He enhanced background sounds (some contributed by Redding) by playing them back through headphones, which were moved around the recording microphone, creating "a weird echo". Chandler also used sped-up guitar parts recorded at half-speed (which also raises the pitch) and panning to create novel effects. The guitar solo features the first use of the Octavia guitar effects unit. Acoustical and electronics engineer Roger Mayer developed the unit with input from Hendrix. The Octavia doubles the frequency of the sound it is fed, essentially adding an upper octave.
On January 11, 1967, the Experience worked also on their third A-side, "The Wind Cries Mary", a song that marked their first use of overdubbing in lieu of retakes as a method of achieving a satisfactory track. Chandler explained: "There were five guitar overdubs all linking in together to sound like one guitar." The song, which Redding and Mitchell had not yet heard before that day, was completed during the session. Chandler had decided that they should discard the rough version of "Third Stone from the Sun" from December 13 and re-record the song; they completed a basic track for the piece, but were unable to achieve a finished master.
The group managed to produce an acceptable live recording of the basic track for "Fire" after seven takes. Next, they attempted Hendrix's newly written ballad, "The Wind Cries Mary".Without the benefit of rehearsals, the band recorded the song in one take, to which Hendrix added several guitar overdubs; Chandler estimated that they spent approximately 20 minutes on the completed rhythm track. Hendrix producer Chas Chandler commented on the recording: "That was recorded at the tail end of the session for "Fire". We had about twenty minutes or so left. I suggested we cut a demo of "The Wind Cries Mary". Mitch Mitchell [drummer] and Noel Redding [bassist] hadn't heard it, so they were going about it without a rehearsal. They played it once through [and Hendrix then suggested overdubs]. In all he put on four or five more overdubs, but the whole things was done in twenty minutes. That was our third single".
According to Chandler, by this time Redding and Mitchell had begun to complain about their limited input. Chandler explained that financial considerations influenced the creative dynamic: "[They] were sort of fighting the fact that they had no say during recording sessions ... they were starting to come up with suggestions, but ... We didn't need to be arguing with Noel for ten minutes and Mitch for five ... We just couldn't afford the time."
Between January 12 and February 2, 1967, the Experience took a break from recording while they played 20 dates in England, including a second appearance on Top of the Pops, on January 18. Chandler was dissatisfied with the sound quality of the January 11 recordings and frustrated by the large number of noise complaints that they had received from people living and working near De Lane Lea. He explained: "There was a bank above the studio ... and it was at the time when computers were just coming in ... we would play so loud that it would foul up the computers upstairs." Brian Jones and Bill Wyman of the Rolling Stones encouraged Chandler to try Olympic Studios, which was considered the top independent London studio. Despite the growing chart success of their first single, Chandler's money problems persisted. Olympic required advance payment for studio time, but Polydor had not yet released any funds to Track for disbursement. When Chandler went to Polydor asking for relief they responded by guaranteeing him a line of credit at Olympic.
Experience recording in FebruaryWith his budget concerns alleviated, Chandler booked time at Olympic, where on February 3, 1967, he and the Experience met sound engineer Eddie Kramer. During Kramer's first session with the group, he deviated from the standard recording method that they had been using at CBS and De Lane Lea, which was to record bass and drums in mono on two tracks. He instead recorded Mitchell's drums on two tracks in stereo, leaving the remaining two tracks available for Redding's bass and rhythm guitar parts played by Hendrix. Kramer's unorthodox approach, which was inspired by Hendrix's complaints regarding the limitations of four-track recordings, captured the live sound of the band using all four available tracks. Kramer and Chandler then pre-mixed and reduced the first four tracks down to two, making two more tracks available for lead guitar overdubs and vocals. This method satisfied both Hendrix's perfectionism and Chandler's desire to reduce the number of takes required for a satisfactory rhythm track, thus minimizing their expenses. Another change instigated by Kramer was the use of a mixture of close and distant microphone placements when recording Hendrix's guitar parts whereas, during previous sessions, the microphones had been placed about twelve feet away from Hendrix's amplifiers. In addition to the usual choices, Kramer used Beyer M1 60 ribbon microphones, which were typically not used to record loud music.
During the February 3, 1967, session at Olympic, the Experience improved the January 11 master tape of "Purple Haze" by re-recording the vocal and lead guitar parts, and adding another Octavia guitar overdub, which was sped-up and panned at the end of the song. The group reconvened at Olympic on February 7, continuing their work on "Purple Haze" by recording Hendrix's rhythm guitar and vocal parts, as well as Redding's background vocals They spent time overdubbing ambient background sounds by playing tapes through a set of headphones that were held near a microphone, creating an echo effect as the headphones were moved closer; they completed a final mix of "Purple Haze" the following day. During the session, they worked on the De Lane Lea master tape of "Fire", replacing everything except Redding's bass line, which he double-tracked in an effort to accentuate the recording's lower frequencies. Kramer placed the second bass line on a dedicated track and blended Redding's original bass line with Mitchell's newly recorded drum part. They also recorded Mitchell and Redding's backing vocals."Foxy Lady" was also reworked on February 8; Redding recorded a new bass line and Hendrix and Mitchell added overdubs to their existing parts. After recording backing vocals by Redding and lead vocals from Hendrix, Kramer prepared the song's final mix.
Hendrix was not as confident a singer as he was a guitarist, and because he strongly disliked anyone watching him sing he asked the engineers at Olympic to construct a privacy barrier between him and the control room. This created problems when the studio lights were low, and the engineers were unable to see him, making his visual cues and prompts difficult to communicate. As was the case at De Lane Lea, Hendrix's penchant for using multiple amplifiers at extreme volume drew criticism and complaints from the people living and working near to the studio.
On February 20, 1967, the Experience continued working on Are You Experienced, but scheduling conflicts at Olympic led Chandler to book time at De Lane Lea. During the session they recorded "I Don't Live Today", which featured a manual wah effect that predated the pedal unit. They managed to complete a working master by the end of the day, though Hendrix eventually recorded a new lead vocal at Olympic.
On March 29, 1967 The Experience returned to De Lane Lea Studios in London to focus attention on “Manic Depression.” In between takes of “Manic Depression,” Hendrix lead the band through an instrumental take of Michel Polnareff’s popular 1966 single, “La Poupée qui Fait Non.”
"Red House" was one of the earliest songs recorded by the Experience. The group first attempted it at the CBS Studios in London on Tuesday, December 13, 1966, following their performance of "Hey Joe" for the Ready Steady Go! music television program. Basic tracks for several songs were recorded during the three-hour session. Producer Chas Chandler recalled: "The 'Red House' on the album [Are You Experienced] came about during the last fifteen minutes of [the December 13] session. Noel even played rhythm guitar on the track, playing the bass line. Jimi just winged through one take for reference and we started rolling".
Additional takes of the song were recorded at De Lane Lea Studios on December 21, 1966, which closely followed the earlier arrangement. However, both Hendrix and Redding had problems with missed notes and the takes were not used, except for a backing track that Hendrix later overdubbed at the Olympic Studios on March 29 or early April 1967.
When preparing the final mixes for the Experience's debut album, Chandler chose to use the December 13, 1966, track recorded at CBS: "Later when we were scrambling to put the album together, we carted that [December 13 track] out and gave it a listen. We remixed it at Olympic and added it to the album"
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