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Jimi Hendrix the Collector’S 1964-1966: Studio, Related & Remixed Recordings

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Jimi Hendrix the Collector’S 1964-1966: Studio, Related & Remixed Recordings Jimi Hendrix The Collector’s 1964-1966: Studio, Related & Remixed Recordings Studio Recordings pg. 3 – 100 Related & Remixed pg. 101 – 108 Cover Sources pg. 108 – 113 Brief CD Track List pg. 114 – 118 Song Index pg. 119 – 122 Flac Fingerprints pg. 123 – 126 The intention of this set is to bring together all 1964-1966 Hendrix-related recordings in the best available sound quality and the most complete versions. Unconfirmed possibly Hendrix-involved recordings are not included; these will be incorporated into a future set of fakes, frauds and unconfirmed recordings. Information about these recordings is often scant, so what is presented here should be considered with that in mind. As with all reference works of this magnitude there are likely unintended errors in spite of diligent efforts to be error free; corrections are encouraged. If you are aware of any upgrades, especially cleaner copies of vinyl-sourced tracks, know of additional tracks that should be included, or have comments about the information presented here please contact me or JPIO. This collection was assembled based on information contained at Doug Bell's website, which is compiled from several reference sources. Further details were obtained from From The Benjamin Franklin Studios, 4th Edition by Gary Geldeart and Steve Rodham (2014-15, Jimpress), EarlyHendrix, Ultimate Hendrix by John McDermott, Billy Cox, and Eddie Kramer (2009, Backbeat Books), Becoming Jimi Hendrix by Steven Roby and Brad Schreiber (2010, Da Capo Press), Eyewitness Hendrix by Johnny Black (2004 Carlton Books Ltd), In From The Storm, Discogs, 45cat, Billboard, Cash Box, U.S. copyright records (1, 2), BMI, and additional sources. Detailed information about vinyl releases can also be found at the excellent JMHVinyl website. The Jimpress numbers (numbers assigned by Jimpress to variations of a song) are listed at the beginning of the track title. I’ve attempted to arrange the tracks in order by what may be closest to the original studio take followed by alternate mixes and altered versions; complete versions precede incomplete versions, and generally stereo mixes precede mono mixes. The brief track summary descriptions following the track titles are subjective and may be worded differently from the reference sources. The date format is determined by the recording location, i.e. US dates are month-day-year and UK dates are day-month-year. The track times given are Bell’s timing of the music “from first note to last” (the time listed here is the most common time amongst the various sources noted in Bell), followed by the Jimpress timing (in parentheses), followed by the actual timing [in brackets] which often includes studio chatter, track silence, etc.; n/a means not available. Some of the discrepancies between track times are due to differences in mastering speeds between the various sources. There are likely numerous additional Official Release sources for many of the pre-Experience tracks as this material seems to be endlessly recycled and released. The Alternate Sources listings are commercial bootlegs or collectors discs or tapes that are known to contain the track. Five tracks, (115) Foxy Lady and four Cover Sources, are MPEG/MP3/lossy and so noted. Some, but not all, of the Rock Band multi-tracks test as MPEG/MP3/lossy. There are five different groups of songs in this compilation that utilize the same backing track: Help Me, Instant Groove, and Save Me; You’re Only Hurting Yourself, and Two In One Goes; That Little Old Groovemaker, and Groove; (I Wonder) What It Takes, and Win Your Love; and Wipe The Sweat, Sweet Thang, and Keep The Faith Baby. These are usually noted by Jimpress as having “the original” version’s vocals “wiped”, and then 1 overdubs added by a different artist to create a new version or song. With the possible exception of Wipe The Sweat, I suspect that in most instances rather than having anything “wiped”, an instrumental backing track was first created, which was then later utilized by different artists recording overdubs on top of it to create their version or song. EarlyHendrix also seems to agree with this, “It seems to have been a quite common practice for many a 60s soul record producer to recycle a backing track for use by different vocalists”. I am aware of other non- Hendrix related ‘60s soul records that have done the same, specifically several instances by producer Jerry “Swamp Dogg” Williams. The placement of instruments and vocals in mixes was verified by first checking a specific track where an instrument was noticeably mixed far to one channel, for example (5) Hornet’s Nest where the organ is mixed to the right channel, as also verified by EarlyHendrix. The track was pulled up in Audacity, the stereo track was split into left and right channels, and the organ was verified as indeed being mixed in the right channel. Using that track as a guide, earphones where then labeled accordingly as right and left to test all tracks in this compilation for the placement of instruments and vocals in a mix. There are four tracks in this compilation noted by Jimpress and/or Bell as being narrow or narrower stereo mixes. After locating what seemed to be an undocumented narrower stereo mix of (1) Fool For You Baby, I began to check other Curtis Knight stereo mixes to see if there were any others. While doing so I checked two copies of (2) Knock Yourself Out from the same vinyl source (In Memoriam; see tracks 139 and 191), each sent to me by different collectors from different vinyl-to-digital transfers they had done. Astonishingly, one copy seemed to be a wider stereo mix and the other copy seemed to be a narrower stereo mix. Unless we’re looking at different mixes on different pressings of the same vinyl source, which doesn’t seem likely, this leads me to think that in some instances a “wider” or “narrower” stereo mix may be unwittingly introduced depending on the digital transfer equipment and method. I have noted these possible “wider” or “narrower” stereo mixes where applicable. Some of these were also found on different factory-pressed CD titles (see track 042 for example), which would seem to indicate a greater likelihood that the mixes are actually different; these are included in the Related & Remixed Recordings section. Some tracks in this compilation have stereo opposite versions on various CD sources, though generally these have been excluded as they are not different mixes but rather mastering anomalies, i.e. the channels have been flipped to create a reverse stereo image. In other words, what is heard in the right channel of one source is heard in the left channel of a stereo opposite version, and vice versa. There are two examples of this included here: (2) Foxy Lady and (1) Good Feeling. While initially checking for these stereo opposite versions on all source copies (including vinyl), I found two different copies of a track from the same exact vinyl source sent to me by different collectors, but with one copy being a “stereo opposite” version. Again, this leads me to think that this may be due to the digital transfer equipment and method, and not that the recording is a true stereo opposite. With that in mind, tracks in this compilation that are sourced from vinyl, and which I had few if any other source copies to test, may indicate the placement of an instrument in one or the other channel, though the actual placement may be flipped. In other words, if a vinyl-sourced track indicates the guitar is mixed in the left channel, it is possible that the actual recording has the guitar mixed in the right channel, and that the copy presented here has it in the left only as a result of the digital transfer equipment and method. Enormous thanks to Emil Vukov, FendersFingers, and Thomas Chapman for their invaluable assistance. Special thanks to Hermon Hitson, Niela Miller, EarlyHendrix, Billie Rae Bates, Doug Bell, Steve Rodham, Hopboy, George Kanakaris, Stan Johnstone, Mark J, Pete Harker, Phil Harwood, Hervé Champion, Steve Elphick, Dowling, Big Time Bob Smith, Mick Coyne, Paul Fitzpatrick, and all the collectors at Crosstown Torrents and JimiPassItOn (JPIO) who have generously shared their recordings and information. – David Chance, December 2017 “I believe you live and live again until you have got all the evil and hatred out of the soul.” – Jimi Hendrix 4 January 1969 Top Of The Pops interview with Tony Norman, London (1992, Electric Gypsy by Shapiro & Glebbeek, pg. 329) 2 DISC 1 – STUDIO RECORDINGS ====================================================================================== possibly March 1964 unknown studio, New York, New York, USA ====================================================================================== Special Notes: Ultimate Hendrix notes the T-Neck single was issued in June 1964. The single was reviewed in the June 13, 1964 issue of Cash Box (page 12). EarlyHendrix notes, “Testify is usually listed as either being recorded in March 1964 or May 21, 1964 at Atlantic Studios. Neither of these dates (or the location) is correct. The tape log listings have been published in Atlantic Records: A Discography by Michel Ruppli [1979, Greenwood Press]. The master tape is listed as being "purchased" by Atlantic, so they bought the master tape when it had already been recorded. The master tape numbers allocated for Testify (7920 and 7921) suggest May 20 or 21 as the date when it was added to the library when compared to numbers assigned to masters recorded on those dates. "March?" is listed as a speculative recording date in the logs, so the actual recording date is unknown.” Roby and Schreiber note the following personnel: Jimmy Hendrix (guitar), Ronald Isley (vocals), O’Kelly Isley Jr.
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