Jimi Hendrix Both Sides of the Sky - new album coming March 9, 2018

As it should be!!
Beave

 

Well if it weren’t for McCartney , Jimi wouldn’t have played Monterey ........... and .........

 

..... and he would still be a legend, it may have taken longer to hit his home country, interestingly Hendrix did not see big success with singles in the USA and was more a concert draw there, unfortunately his death made him more famous and he did not really experience the 'top tier' recognition from his homeland

 

I am not convinced that much thought went into it circa 1969. Hendrix and a host of musicians from the era jammed with each other and recorded with each other because they were friends and colleagues. For example, it did not stop George Harrison from playing on Badge, which was a significant collaboration at the time (a Beatle playing on a Cream recording). The artists of that era often were not concerned with a paycheck (Miles Davis being the exception in this instance). That said, your point is certainly valid because clearly a label would not have funded a session it could not release, but in the case of an artist like Hendrix, he recorded when he wanted and with who he wanted and Jeffery simply sent the studio bill to Reprise.

 

Of course he would have made it. Just couldn’t resist.

 

You mean 'L'Angelo Misterioso'? Because that's the name he was credited under on the 'Goodbye Cream' album for contractual reasons (as well as for his guest spot on Jack Bruce's 'Songs For A Tailor' album IIRC). Also Clapton's appearance on the White Album wasn't even credited with a pseudonym - rather it wasn't credited at all!

It wasn't a free for all where anyone could appear on anyone else's album just because it was "a different era". That's nonsense. The record companies would never have allowed that in ANY era. Guest appearances were always either uncredited, pseudonymously credited or "<Artist Name> appears courtesy of <record company name>"

Anyway that's kind of irrelevant to the Hendrix/Davis/Williams situation where all three would have been featured (and obviously credited) players (bringing three original compositions each to the table according to Douglas's story in the 'Setting The Record Straight' book). So where/how does Paul fit into that? Uncredited/no original compositions? Basically just an anonymous sideman to the "three stars"? If that was Douglas's intention when sending that telegram, then he was kind of a m0r0n, because I can't see Paul accepting THAT deal even if he had been given adequate notice ahead of time.

 

I never said the labels allowed it then or now -- and that was the point, it did not stop artists from collaborating, like in the case of Harrison and Clapton. Again, that was my point, there is no way EMI would have allowed a Beatle to play on a Cream recording, so the artists did it regardless and went uncredited or under pseudonyms.

As far as Douglas is concerned, he may very well have been a *****, but he was simply trying to facilitate a session for Hendrix. He allegedly took a shot at McCartney. Interestingly enough, Hendrix probably could have coordinated working with McCartney on his own had he personally placed call -- but probably not with such short notice.

 

Can we please get back to talking about The Beatles?

 

Actually it strikes me as kinda like saying someone with a natural gift (lets say for example) an untrained - didn't do an apprenticeship to get his certification - carpenter/furniture maker, has a thriving business through word of mouth with a long and growing list of very satisfied customers, one day decides to put it all aside (temporarily shutting down his business) to do his years-long apprenticeship under a "real" carpenter/furniture maker for no other reason than because "that's the proper way to do it"

 

I'm guessing you don't know Alan Douglas' history of
releasing albums without neither the artist's or their
record label's permission.

Unlike the pseudonyms and missing credits of your
examples, Douglas would credit anyone he liked
without fear or shame. The lawsuits would come
later. Although, the only material he would admit
he didn't have the right to release was by Lenny Bruce.

Alan Douglas had also claimed producer (and
publishing) credit for a part of the Hendrix-Stills
jam. He featured a part of it on the Timothy Leary
album he released in 1970. I don't know of any
evidence he was even in the studio when it was
recorded. The Leary album also had music by
the Beatles and Rolling Stones.

There's a reason Miles wanted to get paid upfront.

 

No - I didn't know any of that.

WOW!

But given that record of behavior, it certainly puts the contents of that telegram into perspective - making it seem less clueless on Douglas's part, and more calculated/conniving/opportunistic.

 

Vic Briggs on meeting Jimi in September 1966:
"I went back on stage and we finished our set. Jimi came up and said how much he dug my playing. I asked him why he played a right handed Strat when I knew there were left handed ones available. “Those left handed Strats are ****, man,” was his reply."

Source: Vic_Briggs

 

Had the Hendrix/Miles thing happened I doubt it would've yielded much more than other meandering jams Jimi had with other artists just due to the fact there would've been little groundwork, rehearsal etc.. I still wish it had happened but the reality wouldn't befit the fantasy

 

???
Don't follow yr logic, it's just as easy to think the opposite would be true, we'll never know. Jimi died and the 1st guitarist Miles used was John McLaughlin. I can easily picture Jimi instead of John playing on Jack Johnson, Bitches Brew, the Fillmore records, and Live-Evil. IMO ain't nothing happening on those records that Jimi couldn't handle. If you think those records are 'meandering jams' than I might understand your POV.

 

For whatever reason I was not aware of this. I just assumed any great musician would be able to read and write music. Now that I research it I see you’re right. (The Beatles, Elvis, Michael Jackson, Jimi Hendrix, Eric Clapton, Lionel Richie, David Grohl, Eddie Van Halen, Eric Clapton, Slash and David Johnson to name a few). Most of them do seem to feel that not reading music makes them more creative and innovative. I can totally see how that would be true.

 

I don't it's not something you can throw a blanket over one way or the other

 

Well, Miles used McLaughlin from February 1969, long before Jimi passed. Miles didn't really need Jimi in the capacity of a band member, plus McLaughlin reads music.

 

Exactly. The guitarists that Miles chose from 1969 to the mid 70s (yes, including McLaughlin) all tended to just piddle and twiddle about, without taking the music any higher. They filled in their spot with some googly-woogly, waka-waka until their time was up. Very dull.
As we can hear from Jimi's extensive jazzy/bluesy jamming, he had the greater ability to take hold of the thing and just take off, tear it apart, bring it down, transform it, transcend it!

 

I don't agree at all.
Anyway, it would have been nice to have Miles and Jimi playing together.

 

Miles: Jimi...you read music?
Jimi: er...not really
M: ???? er, maybe you can do some of that googly-woogly
J: ?????
M: ya' know a bit of waka-waka
J: Hmmmmm (picks a sublime blues riff)
M: See..this is why I wanted 50-g's up front!!!

George Clinton: We want the funk!
Jimi: Let's play all night!
GC: Groovy. I'm callin' Bootsy
<spliffyspliffyspliffy>

 

Linda & Jimi @Miami Pop:



Hair by Linda:

 

It was an exceptional track for me as I listened to the bootlegged disc of the same song the night before. There is no comparison between the two. The BSOTS has high end, no tape hiss, and separation between the guitar and sitar in each channel. Mitch's drums sound much cleaner and crisp on the new release.

 

Kind of see what you mean, but disagree about it being worse than Jimi, just different. The emphasis in Miles' 70s bands was not on individual solos broken up by ensemble passages (which is how most jazz/rock is structured). In the bands from Bitches Brew onwards the emphasis was on open-ended continuous improvisation over vamps, often with several band members soloing at the same time. It was a conscious musical decision.

 

I'm pretty sure that Clapton still has the guitar. It wasn't long ago, maybe 10 years ago, max, where he mentioned it still in his possession.

I always thought that the first solo licks in "Freedom," after the run, when the band comes in, sounded like Clapton. Otherwise, Hendrix wipes the floor with Slow Hand.

Eric was stoned to the gills in that interview. Has to have been!