Band of Gypsys
Band of Gypsys is a live album by Jimi Hendrix and the first without his original group, the Jimi Hendrix Experience. It was recorded on January 1, 1970, at the Fillmore East in New York City with Billy Cox on bass and Buddy Miles on drums referred to as the Band of Gypsys; the album mixes funk and rhythm and blues elements with hard rock and jamming, an approach which became the basis of funk rock. It contains unreleased songs and was the last full-length Hendrix album released before his death. After his appearance at Woodstock with an interim group that included Cox, Hendrix began developing new songs and recording demos; when Miles became involved, he and Cox agreed to record a live album with Hendrix to be used to settle a contract dispute with a former manager. The new material, influenced by Cox's and Miles' musical approaches, signals a new direction for Hendrix. Songs such as "Power of Soul" and "Message to Love" still maintain the dominant role of Hendrix's guitar, but show funk and R&B influences.
Lyrically, they explore new, more humanistic themes for Hendrix. The two numbers written and sung by Miles bear the stylings of soul music; the anti-riot/anti-war "Machine Gun", draws on Hendrix's earlier blues aspirations, but incorporates new approaches to guitar improvisation and tonal effects. As the album's producer, Hendrix had a difficult time completing the task. Presented with the sometimes problematic recordings and resigned to turning it over to a different record company, Hendrix expressed his dissatisfaction with the final product. Shortly after its release, Band of Gypsys reached the top ten of the album charts in the US and UK as well as appearing in charts in several other countries. Although it was as popular as his albums with the Experience, it received mixed reviews; some faulted the performances as underprepared. However, "Machine Gun" is regarded as the album's highlight and one of Hendrix's greatest achievements; the influence of Band of Gypsys is heard in the funk rock developments of the 1970s and has been cited as an inspiration by various rock musicians.
Reissues of the album on compact disc included three extra songs recorded during the Fillmore East shows, additional material has been released on albums. In 1969, Jimi Hendrix was under pressure from his manager and record company to record a follow-up to his hugely successful 1968 album Electric Ladyland, he was required to produce an album's worth of new material for Capitol Records in order to satisfy a contract dispute with former manager Ed Chalpin and PPX Enterprises. Capitol had released two misleading Chalpin-produced Curtis Knight albums with Hendrix on guitar, which competed directly with his own Experience albums. Additionally, Hendrix was becoming dissatisfied with the limitations of bassist Noel Redding and the Experience format. During the recording of Electric Ladyland, he and producer Chas Chandler parted ways and Hendrix explored recording with new musicians and different musical styles. By the middle of the year, he had not completed any promising new material and Reprise Records resorted to issuing his April 1968 UK compilation album, Smash Hits, with some new tracks for the North American market.
A concert film for which he had performed at the Royal Albert Hall in London in February 1969 was wrapped up in legal disputes and its release was uncertain. In May, while en route to a concert performance in Toronto, Hendrix was detained and charged with illegal possession of narcotics. If convicted of the felony, he faced as many as 20 years in prison. On June 28, 1969, Hendrix announced he planned to work with new musicians, including a new bass player; the next day, after a life-threatening riot following a concert in Denver, Redding left the group to return to London and the Jimi Hendrix Experience came to an end. Hendrix began experimenting with an expanded lineup for a limited number of American engagements. In addition to original Experience drummer Mitch Mitchell, he worked with bassist Billy Cox and second guitarist Larry Lee, as well as percussionists Juma Sultan and Gerardo "Jerry" Velez. Cox and Lee were two musicians with whom he had played in R&B bands in Tennessee in 1962, shortly after his stint in the US Army.
The aggregation referred to as "Gypsy Sun and Rainbows", performed as the final act at the Woodstock Festival on August 18, 1969. After a couple more appearances, including a September 8 episode of the late night American television The Dick Cavett Show without Lee and Velez, the ensemble disbanded. Lee returned to Tennessee and Velez left to pursue other opportunities, Mitchell joined Jack Bruce's touring group. In October 1969, Hendrix and Cox began recording demos with drummer Buddy Miles. Miles had played with various R&B and soul musicians, as a member of the Electric Flag and fronting the Buddy Miles Express, both blues rock-R&B fusion groups. Miles was a frequent jam partner of Hendrix and played the drums the year before on the two-part song "Rainy Day, Dream Away"/"Still Raining, Still Dreaming" for Electric Ladyland. Cox and Miles expressed an interest in recording a new album with Hendrix. Hendrix's manager, Michael Jeffery, saw the opportunity to record a live album during a New Year's performance at the Fillmore East and the trio began preparing for the upcoming concerts and new album.
Between and the end of December, the trio rehearsed at Juggy Sound Studios and recorded several demos at the Record Plant Studios in New York
"Hey Joe" is an American popular song from the 1960s that has become a rock standard and has been performed in many musical styles by hundreds of different artists. "Hey Joe" tells the story of a man, on the run and planning to head to Mexico after shooting his unfaithful wife. The song was registered for copyright in the United States in 1962 by Billy Roberts. However, diverse credits and claims have led to confusion about the song's authorship; the earliest known commercial recording of the song is the late-1965 single by the Los Angeles garage band the Leaves. The best-known version is the Jimi Hendrix Experience's 1966 recording; the song title is sometimes given as "Hey Joe, Where You Gonna Go?" or similar variations. While claimed by singer Tim Rose to be a traditional song, or erroneously attributed to the pen of American musician Dino Valenti, "Hey Joe" was registered for copyright in the U. S. in 1962 by Billy Roberts. Scottish folk singer Len Partridge has claimed that he helped write the song with Roberts when they both performed in clubs in Edinburgh in 1956.
Other sources claim that Roberts assigned the rights to the song to his friend Valenti while Valenti was in jail, in order to give him some income upon release. Roberts was a obscure California-based folk singer and harmonica player who performed on the West Coast coffeehouse circuit, he recorded the country rock album Thoughts of California with the band Grits in San Francisco in 1975, produced by Hillel Resner. Roberts may have drawn inspiration for "Hey Joe" from three earlier works: his girlfriend Niela Miller's 1955 song "Baby, Please Don’t Go To Town"; the lyrics to "Little Sadie" locate the events in Thomasville, North Carolina, "down in" Jericho, South Carolina Roberts was himself born in South Carolina. Variations of "Little Sadie" have been recorded under various titles by many artists, including Clarence Ashley, Johnny Cash, Slim Dusty, Bob Dylan; some versions change the southbound location from Jericho to Mexico. No documentary evidence has been provided to support the assertion, by Tim Rose and others, that "Hey Joe" is a wholly traditional work.
Rights to the song were administered from 1966 into the 2000s by the music publisher Third Story Music. Roberts' song gained fans in the Los Angeles music scene of the mid-1960s, which led to fast-paced recordings in 1965 and 1966 by the Leaves, the Standells, the Surfaris, the Music Machine, the Byrds, swiftly making the song a garage rock classic. Both Dino Valenti and the Byrds' David Crosby have been reported as helping to popularize the song before it was recorded by the Leaves in December 1965; the Leaves, introduced to the song while attending live concerts by the Byrds at Ciro's on Sunset Boulevard and released three versions of "Hey Joe" between 1965 and 1966. Their first version was sold poorly; the band's third recorded version of the song became a hit in May/June 1966, reaching No. 31 on the Billboard Hot 100 chart and No. 29 on the Canadian RPM Magazine charts. The Leaves' version is notable for being the only recording of the song to reach the Top 40 of the Billboard chart; the Surfaris recording of the song, released on the B-side of their "So Get Out" single, is sometimes cited as being the first rock recording of the song, but a number of reliable sources contend that, in fact, the Surfaris' version dates from 1966, well after the Leaves' original 1965 version.
There is some dispute over when the Surfaris' recording of the song was released. Some sources list its release date as being late 1965 and other sources list it as being June 1966. However, the catalogue number of the Surfari's single is Decca 31954, which when cross-referenced with other contemporaneous Decca single releases, allows the release to be conclusively dated to a May – June 1966 time frame. A June 1966 release date is further corroborated by the discographical information on the website of the single's producer, Gary Usher; the Standells recorded a version of the song, titled "Hey Joe, Where You Gonna Go", included on their 1966 Dirty Water album. The garage rock band, the Music Machine, recorded a slow, fuzz-laden version of the song in late 1966 which bears a strong resemblance to Jimi Hendrix's version; the Los Angeles band Love included a version of "Hey Joe" on their debut album, recorded in January 1966 and released on Elektra Records in April. The song was brought to the band by guitarist and singer, Bryan MacLean, introduced to the song by David Crosby during 1965, while MacLean had been a roadie for the Byrds.
The band's lead vocalist, Arthur Lee, claimed in years that it was Love's version that turned Jimi Hendrix on to the song as well as most of the other Los Angeles acts who covered the song. Love's recording of "Hey Joe" features different lyrics to most versions of the song.
Fire (The Jimi Hendrix Experience song)
"Fire" is a song written by Jimi Hendrix and recorded by the Jimi Hendrix Experience in early 1967. It has been described as "an exercise in soul, psychedelic rock, polyrhythmic jazz-inspired drumming" by AllMusic critic Matthew Greenwald; the song was remixed in stereo for the American release of the album. In 1969, it was released as a stereo single in the UK with the title "Let Me Light Your Fire". One of Hendrix's most popular songs, he played it in concert. Several live recordings have been released and the original song is included on numerous Hendrix compilations, such as Smash Hits, Experience Hendrix: The Best of Jimi Hendrix, Voodoo Child: The Jimi Hendrix Collection, Fire: The Jimi Hendrix Collection. Despite its sexual overtones, the song had an innocuous origin. Noel Redding, bass player for the Experience, invited Hendrix to his mother's house on a cold New Year's Eve in Folkestone, after a performance. Hendrix asked Noel's mother, she agreed, but her Great Dane was in the way, so Hendrix let out with, "Aw, move over and let Jimi take over".
Hendrix joked with the lyric: "Old Mother Hubbard went to the cupboard to find her poor dog a bone, but when she bent over Rover took over,'cause Rover had a bone of his own! Shakespeare, page 35!" The Red Hot Chili Peppers began performing "Fire" in 1983 and recorded it as a B-side for their 1987 "Fight Like a Brave" single and a year released it on The Abbey Road E. P.. The song was included on their 1989 album, Mother's Milk as a tribute to the band's founding guitarist Hillel Slovak who died in 1988; the Chili Peppers version features lead singer Anthony Kiedis changing some of the lyrics such as "Move over and let Jimi take over" to "Move over and let Mr. Huckleberry take over" for Slovak. A 1968 rendition by Five by Five reached number 52 on the national Billboard singles chart. Kingston Wall covered it on their 1992 debut album I. In 1994, the accordion-based rock band Those Darn Accordions recorded a version for their 1994 album Squeeze This!, where it was sung by a 79-year-old Clyde Forsman, one of the group's accordionists.
Alice Cooper covered it on his 1995 compilation album Classicks. SSQ covered the song as a B-side to their single "Synthicide"
Christgau's Record Guide: Rock Albums of the Seventies
Christgau's Record Guide: Rock Albums of the Seventies is a music reference book by American music journalist and essayist Robert Christgau. It was first published in October 1981 by Fields; the book compiles 3,000 of Christgau's capsule album reviews, most of which were written for his "Consumer Guide" column in The Village Voice throughout the 1970s. The entries feature annotated details about each record's release and cover a variety of genres related to rock music. Many of the older reviews were rewritten for the guide to reflect his changed perspective and matured stylistic approach, informed by an interest in the aesthetic and political dimensions of popular music and a desire to communicate his ideas to readers in an entertaining, provocative way; the guide was critically well received, earning praise for its extensive discography, Christgau's judgment and colorful writing. Reviewers noted his opinionated tastes, analytical commentary, pithy language, critical quips; the book appeared on several expert lists of popular music literature.
A staple of rock-era reference works, Christgau's Record Guide became popular in libraries as a source for popular music studies and as an authoritative guide for fellow critics, record collectors, music shops. Christgau's Record Guide has been reprinted several times in book form and on Christgau's website in its entirety. Two more "Consumer Guide" collections have been published, compiling his capsule reviews from the 1980s and the 1990s, respectively. In 1969, Robert Christgau began reviewing contemporary album releases in his "Consumer Guide" column, published more-or-less monthly in The Village Voice, for brief periods in Newsday and Creem magazine during the 1970s, his method was to select about 20 albums to review in capsule format, averaging 50 words each, to assign each album a letter grade rating on a scale from A-plus to E-minus. The column was a product of The Village Voice's deal with Christgau—allotting him one 2,500-word piece per month—and his desire to provide prospective buyers with ratings of albums, including those that did not receive significant radio airplay.
Some of Christgau's early columns were reprinted in his first book, Any Old Way You Choose It, a 1973 anthology of essays published in the Voice and Newsday. Among the most revered and influential of the earliest rock critics, Christgau wrote the "Consumer Guide" with confidence in his tastes, conviction that popular music could be consumed intelligently, interest in finding new understandings of the aesthetic and political dimensions in popular culture's intersection with the avant-garde; as a journalist, he wanted to convey his findings in a way that would provoke readers. In the late 1970s, Christgau conceived of a book that would collect reviews from his columns through that decade, he began to pitch Christgau's Record Guide to publishers in early 1979 and received a publishing deal shortly thereafter. He soon realized that the proposed book would not adequately represent the decade unless he revised and expanded his existing columns, he believed his existing body of reviews overlooked important musical artists and would comprise less than two-thirds of the needed material for the book.
In July of that year, he took a vacation from The Village Voice and left New York City for Maine with his wife, fellow writer Carola Dibbell, to work on the book. They brought with them a stereo system and numerous LP records; as Christgau recalled in his memoir Going Into the City, "I had hundreds of records to find out about, hundreds to find, hundreds to re-review, hundreds to touch up." Christgau continued working on the book after his return to New York. He was aided by access to the record library of his neighbor, fellow journalist Vince Aletti, who owned all of James Brown's scarcely catalogued Polydor LPs from the 1970s. Beginning with Brown, Christgau re-examined the discographies of major artists in a chronological manner to curtail a sense of hindsight in the writing. "When possible", he said, "I piled on the changer artists I felt like hearing that day in a ploy intended to scare up the excited little feeling in the pit of my stomach without which I am loath to give any album an A."
The work intensified in 1980. Recounting in his memoir, he said he worked 14 hours daily while "in book mode", which "was so grueling that for most of 1980 I was aware of the music of the moment, the only such hiatus in what is now fifty years."Christgau's intense immersion into preparing the book put a strain on his marriage to Dibbell, as did their efforts to overcome infertility. In his words, the guide ruined his personal life: "We postponed further parenthood strategization. We hardly went out; the apartment sank to new depths of disarray as paper migrated into the dining room. And since I was home every minute with the stereo on, my life partner could never be alone, with herself or with her work." Dibbell's admission of an affair at the time led to a brief separation before she and Christgau reunited with a stronger commitment to each other, reflected in the book's dedication: "TO CAROLA – NEVER AGAIN." As they mended their relationship, Christgau slowed down his work pace in August 1980 while allowing Dibbell to "provide the tough edits I needed".
In his memoir, he paid tribute to her influence on his work: "Her aesthetic responsiveness was unending... no one affected my writing like Carola". Christgau finished the guide in mid-September, submitting the manuscript a few weeks late of his publisher's deadline. Christgau's Record Guide collects 3,000 "Consumer Guide
David Noel Redding was an English rock musician, best known as the bass player and occasional lead singer for the Jimi Hendrix Experience and guitarist/singer for Fat Mattress. Following his departure from the Experience in 1969 and split of Fat Mattress in 1970, Redding formed the short lived Road in the United States who released one eponymous album before he re-located to Clonakilty, Ireland, in 1972. There he formed the Noel Redding Band with former Thin Lizzy guitarist Eric Bell with whom he released two albums. Although by the 1980s Redding had removed himself from the music business, he would perform around his new hometown with wife Carol Appleby. Redding was born at Royal Victoria Hospital in Folkestone, Kent to Bromley-born Margaret and Horace Albert Redding, he grew up on Cliff Road, where his mother ran a guest house, with his mother, his Swedish-born grandmother, brother Anthony and sister Vicki. He attended Harvey Grammar School in Folkestone. At age nine, he played violin at school and mandolin and guitar.
His first public appearances were at the Hythe Youth Club at his school. His first local bands, in which he played lead guitar, were: The Strangers: with John "Andy" Andrews The Lonely Ones: 1961 - John Andrews, Bob Hiscocks, Mick Wibley, Pete Kircher; the Lonely Ones made a pressed EP at the Hayton Manor Studio in Stanford, Kent, in 1963, with Derek Knight on vocals, Trevor Sutton on drums, Noel Redding on lead guitar and John Andrews on bass. First recordings: "Some Other Guy"; the Loving Kind: 1966 with Pete Carter. At 17 Redding went professional and toured clubs in Scotland and Germany with Neil Landon and the Burnettes and The Loving Kind. In addition, The Lonely Ones reunited in September 1964, Redding remained with them a year before taking his leave. Redding switched from guitar to bass on joining the Jimi Hendrix Experience, he was the first person to join the Experience. With the band, he helped create the three landmark albums Are You Experienced, Axis: Bold as Love, Electric Ladyland, as well as performing in some of Hendrix's most celebrated concerts.
His playing style was distinguished by the use of a pick, a mid-range "trebly" sound, in years the use of fuzz and distortion effects through overdriven Sunn amps. His role in the band was that of a time-keeper; this was evident in the Experience's version of "Come On" and "Drivin' South" from the BBC Sessions. He would lay down a bass groove over which Hendrix and drummer Mitch Mitchell would loosely play. Redding wrote and sang lead on two album tracks, "Little Miss Strange" and "She's So Fine." He played the bass line on "Red House" using the bass strings on a normal six-string guitar. In 1968, Redding formed the group Fat Mattress with Neil Landon, on vocals; the band included Jim Leverton on bass and keyboards and Eric Dillon on drums. Redding played guitar and vocals, a key part of the Fat Mattress sound was the vocal harmonies between him and Leverton; the band toured in support of the Jimi Hendrix Experience, requiring Redding to play two full sets each night. He left Fat Mattress after only one album with them, though some of his compositions would appear on their second album.
Hendrix's manager, Michael Jeffery, attempted to reunite the Jimi Hendrix Experience months after the Woodstock event. The three were interviewed by Rolling Stone magazine. Redding soon went on to other projects. While living in Los Angeles he formed Road, a three-piece in the same psychedelic hard rock vein as the Experience, with Rod Richards on guitar and Les Sampson on drums, Redding himself switching back to bass, they released one album, with the three members taking turns on lead vocals. Noel Redding moved to Ireland in 1972, he formed The Noel Redding Band with Eric Bell from Thin Lizzy, Dave Clarke, Les Sampson, Robbie Walsh. Despite the band's name, Redding shared songwriting and lead vocal duties with Clarke, they released two albums for RCA, three tours of the Netherlands, two tours of England, one tour of Ireland, a 10-week tour in the US. The band dissolved after a dispute with their management company. Tracks recorded for a third unreleased album were released as The Missing Album on Mouse Records.
In his book Are You Experienced?, co-authored with his long term wife Carol Appleby, he spoke about his disappointment in his being cut off from the profits of the continued sale of the Hendrix recordings. He signed away his royalties in 1974 and in 1980 sold the bass guitar he used with the Experience to a collector. Redding had received $100,000 as a one-off payment after he had been told that there would be no more releases of Jimi Hendrix Experience material; this was before the advent of DVDs. In 1990, Redding and Appleby were involved in a car crash returning home from a concert in Glounthaune. Appleby was left brain dead by the accident, with Redding stating that "she was in intensive care on life support and after four days I had to make the terrible decision of shutting down the machine", they had been together for seventeen years and, just two days prior to the accident, Appleby had finished helping Redding co-write his autobiography. In 1997, Fender produced the Noel Redding Signature Jazz bass in a signed limited edition of 1000.
Axis: Bold as Love
Axis: Bold as Love is the second studio album by English-American rock band the Jimi Hendrix Experience. It was recorded to fulfill the Experience's contract, which stated that they had to produce two records in 1967. Axis: Bold as Love was first released in the United Kingdom by Track Records in December 1967, as the follow-up to the band's successful debut Are You Experienced, released in May. Reprise Records chose not to release it in the United States until 1968, because of fears that it might interfere with the sales of the first album. Axis: Bold as Love charted at number five in the UK and number three in the US; the album peaked at number six on the Billboard R&B chart. Following the completion of Are You Experienced at the end of April 1967, the Jimi Hendrix Experience continued their schedule of regular recording sessions, returning to Olympic Studios in London on May 4, to begin composing material for a follow-up LP. With Chas Chandler as producer, Eddie Kramer as engineer, George Chkiantz as second engineer, the band started the session by working on a Noel Redding original that he had written about hippies titled, "She's So Fine".
It featured background vocals by Mitch Mitchell. They achieved a working master on the 23rd take; the band made initial recordings of what would become "If 6 Was 9", using the working titles of "Section A" and "Section B" to identify its two distinct segments. During a session the following day and Mitchell improved "Section B", now titled "Symphony of Experience", by re-recording most of their guitar and drum parts. A reduction mix prepared by Kramer made room for additional overdubs, including Hendrix's lead vocal, backing vocals, a percussion effect created by Chandler and guests Graham Nash and Gary Leeds stomping their feet on a drum platform; as an additional oddity, Hendrix played a recorder on the track, achieving what they considered a satisfactory sound despite his complete lack of formal training with the instrument. Recorded during these sessions was the experimental track "EXP". In the span of two days, the group recorded basic tracks for seven compositions, though only three of them were included on the album.
On May 9, the Experience reconvened at Olympic with Chandler and Chkiantz. Hendrix had been curious about a harpsichord, stored in the facility's Studio A, so on this day he sat at the instrument and began writing "The Burning of the Midnight Lamp", a song that became the fourth UK single for the Experience. Hendrix attempted four takes before stopping for the day, producing a rough demo, a minute and a half in length. On May 10, the band performed their latest single, "The Wind Cries Mary", on the BBC television program Top of the Pops. After a month-long break from the studio while they played gigs in Europe, the Experience returned to Olympic on Jun 5, they devoted the session to a new Hendrix song titled "Cat Talking to Me", recording 17 takes before deciding that the second was the superior version, to which they added guitar and percussion overdubs after Kramer prepared a reduction mix. Although the song showed promise, no further work was completed on the track, which remains unreleased.
On June 18, 1967, the Experience made their US debut at the Monterey Pop Festival. After the festival, Bill Graham booked them for a series of five concerts at the Fillmore. While they were in California, Chandler booked session time for June 28, 29, 30th at Houston Studios in Los Angeles. Although they worked on "Burning of the Midnight Lamp" and a new Hendrix composition, "The Stars That Play with Laughing Sam's Dice", they abandoned the inferior recordings. Chandler commented: "I booked three days there because I was told it was a state-of-the-art studio, but it was dire; the place was like a rehearsal studio compared to Olympic. Los Angeles was so far behind at that time." After a week of performances in Los Angeles and New York, time was booked at Mayfair Studios in London for July 6 and 7. Axis: Bold As Love's scheduled release date was delayed when Hendrix lost the master tape of side one of the LP, leaving it in the back seat of a London taxi. With the deadline looming, Chas Chandler, engineer Eddie Kramer remixed most of side one in a single overnight session, but they could not match the quality of the lost mix of "If 6 Was 9".
Bassist Noel Redding had a tape recording of this mix, which had to be smoothed out with an iron as it had gotten wrinkled. During the verses, Hendrix doubled his singing with a guitar line which he played one octave lower than his vocals. Hendrix voiced his disappointment about having re-mixed the album so and he felt that it could have been better had they been given more time. Kramer was patient with Hendrix, who demanded numerous re-takes. Noel Redding was frustrated by Hendrix's repeated demands for re-takes, began to resent Hendrix's explicit instructions regarding what he played in the studio. Hendrix and Mitchell had begun to express their opinions regarding creative choices, left up to Chandler during the recording of Are You Experienced. Mitchell commented: "Axis was the first time that it became apparent that Jimi was pretty good working behind the mixing board, as well as playing, had some positive ideas of how he wanted things recorded, it could have been the start of any potential conflict between him and Chas in the studio."
Many of the songs on Axis: Bold as Love were performed live. Only "Spanish Castle Magic" and "Little Wing" were
Are You Experienced
Are You Experienced is the debut studio album by English-American rock band the Jimi Hendrix Experience. Released in 1967, the LP was an immediate critical and commercial success, it is regarded as one of the greatest debuts in the history of rock music; the album features Jimi Hendrix's innovative approach to songwriting and electric guitar playing which soon established a new direction in psychedelic and hard rock music. By mid-1966, Hendrix was struggling to earn a living playing the R&B circuit as a backing guitarist. After being referred to Chas Chandler, leaving the Animals and interested in managing and producing artists, Hendrix was signed to a management and production contract with Chandler and ex-Animals manager Michael Jeffery. Chandler brought Hendrix to London and began recruiting members for a band, the Jimi Hendrix Experience, designed to showcase the guitarist's talents. In late October, after having been rejected by Decca Records, the Experience signed with Track, a new label formed by the Who's managers Kit Lambert and Chris Stamp.
Are You Experienced and its preceding singles were recorded over a five-month period from late October 1966 through early April 1967. The album was completed in 16 recording sessions at three London locations, including De Lane Lea Studios, CBS Studios, Olympic Studios. Released in the UK on May 12, 1967, Are You Experienced spent 33 weeks on the charts, peaking at number two; the album was issued in the US on August 23 by Reprise Records, where it reached number five on the US Billboard Top LPs, remaining on the chart for 106 weeks, 27 of those in the Top 40. The album spent 70 weeks on the US Billboard Hot R&B LPs chart, where it peaked at number 10; the US version contained some of Hendrix's best known songs, including the Experience's first three singles, though omitted from the British edition of the LP, were top ten hits in the UK: "Purple Haze", "Hey Joe", "The Wind Cries Mary". In 2005, Rolling Stone ranked Are You Experienced 15th on its list of the 500 Greatest Albums of All Time; the magazine placed four songs from the album on their list of the 500 Greatest Songs of All Time: "Purple Haze", "Foxy Lady", "Hey Joe", "The Wind Cries Mary".
That same year, the record was one of 50 recordings chosen by the Library of Congress in recognition of its cultural significance to be added to the National Recording Registry. Writer and archivist Reuben Jackson of the Smithsonian Institution wrote: "it's still a landmark recording because it is of the rock, R&B, blues... musical tradition. It altered the syntax of the music... in a way I compare to James Joyce's Ulysses." By May 1966, Jimi Hendrix was struggling to earn a living playing the R&B circuit as a back-up guitarist. During a performance at one of New York City's most popular nightspots, the Cheetah Club, he was noticed by Linda Keith, the girlfriend of Rolling Stones guitarist Keith Richards. Shortly after, Hendrix relocated to the city's Greenwich Village and began a residency at the Cafe Wha? Fronting his own band, Jimmy James and the Blue Flames. Keith recommended Hendrix to producer Seymour Stein, they failed to see Hendrix's musical potential, rejected him. She referred him to Chas Chandler, leaving the Animals and interested in managing and producing artists.
Chandler liked the Billy Roberts song "Hey Joe", was convinced he could create a hit single with the right artist. Impressed with Hendrix's live version of the song with his band, he brought him to London on September 24, 1966, signed him to a management and production contract with himself and ex-Animals manager Michael Jeffery. Following Hendrix's arrival in London, Chandler began recruiting members for a band, the Jimi Hendrix Experience, designed to showcase the guitarist's talents. Hendrix met the guitarist Noel Redding at an audition for the New Animals, where Redding's knowledge of blues progressions impressed Hendrix. Chandler asked Redding. Chandler began looking for a drummer and soon after, he contacted Mitch Mitchell through a mutual friend. Mitchell, fired from Georgie Fame and the Blue Flames, participated in a rehearsal with Redding and Hendrix where they bonded over their shared interest in rhythm and blues; when Chandler phoned Mitchell that day to offer him the position, he accepted.
In late October, after having been rejected by Decca Records, the Experience signed with Track, a new label formed by the Who's managers Kit Lambert and Chris Stamp. Are You Experienced and its preceding singles were recorded over a five-month period from late October 1966 through early April 1967; the album was completed in 16 recording sessions at three London locations, including De Lane Lea Studios, CBS, Olympic. Chandler booked many of the sessions at Olympic because the facility was acoustically superior and equipped with most of the latest technology, though it was still using four-track recorders, whereas American studios were using eight-track. Chandler's budget was limited, so in an effort to reduce expenditures he and Hendrix completed much of the album's pre-production work at their shared apartment. From the start, Chandler intentionally minimized the creative input of Redding, he explained: "I wasn't concerned that Mitch or Noel might feel that they weren't having enough—or any—say...
I had been touring and recording in a band for years, I'd seen everything end as a compromise. Nobody ended up doing what they wanted to do. I was not going to let that happen with Jimi." When the Experience began studio rehearsals, Hendrix had the chord sequences and tempos worked out for Mitchell, Chandler would direct Redding's bass parts