Eddie Kramer

Jimi Hendrix in Words and Pictures (part 1)

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Over the years I have amassed plenty of Jimi Hendrix reading and listening material and I have decided to share it. (I also wanted to use this shade of blue in one more post) Jimi is easily one of the most important guitarists to have ever picked up an axe, and, like Django Reinhardt, Charlie Christian, Wes Montgomery, and Eddie Van Halen — there was pre-Jimi and then there was everything after. His influence lit up the music world, no doubt about that! So I’m gonna use a couple of posts to show some of the cool photography and say a little bit about the paraphernalia I have. (All of the pics that follow come from the following books: ‘Scuse Me While I Kiss the Sky by David Henderson, Jimi Hendrix • Electric Gypsy by Harry Shapiro and Caeser Glebeek, Black Gold by Steven Roby and Mitch Mitchell’s, The Hendrix Experience). While it is true that Prince, the recently departed (and may he rest in peace) Paisley Park hero was a great guitar player, Jimi was the original king of purple style and sound.

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Before the books though, let’s talk music …briefly. Here is how I would rate the Jimi Henrix material that I’ve heard or had or both over the years.

Are You Experienced? ***** Brilliant! My vote for his best. Never gets old even though I have probably played it well over 500 times in my life. Some albums like this one, Van Halen 1, Led Zeppelin 1, the Ramones first album, any package of Chuck Berry’s best hits, are so influential that literally a million people learn how to play guitar by listening to the brilliance contained within and with-on. There isn’t a tune on this album that isn’t a guitar-driven masterpiece and the best: Purple Haze, Manic Depression, Love or Confusion, I Don’t Live Today, Third Stone from the Sun, and the awesome title cut are still far and beyond what most people can hear, never mind play.

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Axis: Bold As Love ****1/2 A very close second to Are You Experienced? Jimi, drummer Mitch Mitchell and bass player Noel Redding expanded on the brilliant music that made them famous and redefined rock and guitar playing. There are a couple of numbers that are derivative (Ain’t No Telling, Little Miss Lover) but the best ones (If 6 Was 9, Little Wing, Spanish Castle Magic, Up From the Skies, Castles Made of Sand and the title cut) are amazing and Jimi’s use of the studio and new pioneering effects makes this as much of a groundbreaking record as the first.

Electric Ladyland **** While many people think this is Jimi’s magnum opus, I disagree. Side 4 is brilliant, Side 2 is very good and combined with Side 4 would’ve made a great (single) third disc. Side 3 is kind of boring; the sound painting tale of Mermanism is dated and Side 1’s 15-minute blues jam Voodoo Chile is too long and has likewise very dated lyrics. Is the album ambitious? Yes. Some great tunes? Absolutely! All Along the Watchtower, Voodoo Child (Slight Return), Crosstown Traffic, Have You Ever Been (to Electric Ladyland), Gypsy Eyes, Still Raining, Still Dreaming, and House Burning Down are all classic Jimi. But it’s just not the solid double album it could’ve been, unfortunately.

Band of Gypsys *** This disc is just so-so and the band was likewise. To me, anyone but Mitch Mitchell playing with Jimi was akin to anyone but John Bohnam or Keith Moon playing with Jimmy Page and Pete Townshend, respectively. Also, some of the “songs” are really just jams that are trying to be Sly and the Family Stone or something. This era is often heralded as Jimi searching for a new sound or a change in direction, but I think in many ways he was floundering. Machine Gun and Them Changes are great and if nothing else this disc shows that Jimi’s capabilities as a live guitarist were never in doubt even if everything else was.

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Everything released after Band of Gypsys is suspect because Jimi died in September of 1970. The studio product is especially crappy, except for a few bright spots. It’s important to remember that Jimi was a perfectionist in his writing, playing, and even his live sound. He would be totally bummed at some of the stuff released after 1970 that, of course, he had no control over.

The Cry of Love ***1/2 This a pretty good record and has some really great tunes: Freedom, Angel, Ezy Rider, In From the Storm, Drifting and Straight Ahead. Completed post-1970 by engineer Eddie Kramer and Mitch Mitchell it might not be exactly what Jimi would’ve done had he still been alive to complete it, but it is close. There are also no obvious acts of sabotage or douchebaggery that would appear on subsequent releases. An important thing about this disc is that it proves that Jimi didn’t lose his creative drive in 1968, but was playing some absolutely amazing guitar and bringing solid riffs and tunes into the studio up until his death.

Rainbow Bridge **1/2 A mix of studio and live stuff that sounded maybe ok in 1971. Much better stuff would emerge later. Dolly Dagger, Room Full of Mirrors, and Hey Baby (New Rising Sun) are good rips but I don’t think they were completely finished. Some great guitar, but aimless and the movie of the same name, which was seen by every Hendrix fanatic at a stoned-out midnight movie showing circa 1975-1985, was one of the dumbest things ever put to celluloid.

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War Heroes ** A friend had this album but we didn’t play it much. More for the outtakes pile.

Hendrix in the West ** Live album. Weak set list but the performances aren’t bad. It was obviously getting to the point where anything that could be milked was. Does anyone need to hear Jimi playing Blue Suede Shoes given the wealth of live material that was obviously available and would be released later? I think not.

Crash Landing * The first of the Allan Douglas-produced albums. Totally worthless and criminal considering Douglas brought in session musicians to fill out what was already substandard material and then claimed co-writer credit on 5 songs. Without Jimi on the cover, no one would’ve bought this pile of shit.

Midnight Lightning * See above. Douglas hacks his way to another shitty Hendrix album, this time aided by Jon Bon Jovi’s cousin Tony Bongiovi. I never bought either of these albums, but a roommate had them, so I’ve heard them and then promptly never listened to them again.

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The Essential Jimi Hendrix Volume Two *** I bought this because it had the Experience playing a cover of Them’s Gloria in the studio on an inserted 33 1/3 single with the album. It was actually pretty genius packaging. The song was a bit of a disappointment though and the rest of the album had already been released.

Jimi Hendrix: High, Live and Dirty *1/2 Also known as Bleeding Heart, or Woke Up This Morning and Found Myself Dead or…any of the other 14 names it was released under throughout the years. Basically Jimi’s private jam tapes from The Scene in 1968 that were stolen when he died. Or not…These jams included many rumored people but one person definitely there is a very drunk Jim Morrison yelling various obscenities. Supposedly, Janis Joplin was also in the audience that night. Talk about the planets aligning. Johnny Winter was long alleged to be the second guitarist but he swore to his dying day that he never met Jim Morrison. So it might’ve been Rick Derringer. The thing is…for a boot…some of this stuff is pretty good. I had the record while I was in college. The version of Red House and Tomorrow Never Knows have a lot of great guitar goin’ on. Interesting, but ultimately exploitative.

Kiss the Sky **** A fairly good compilation. I bought it on cassette for my car. Has some of my favorite Jimi songs including Third Stone from the Sun, All Along the Watchtower, Are You Experienced?, and Purple Haze. Also contains the b-side Steppin’ Stone from the Izabella single, the live Killing Floor from Monterey and a slammin’ live version of I Don’t Live Today from San Diego 1969.

Jimi Plays Monterey ****1/2 Yes! This is what I’m talking about. Jimi and the Experience taking the US by storm at the Monterey Pop Festival. Great versions of Killing Floor, Hey Joe, Can You See Me?, Like a Rolling Stone, Wild Thing, Foxy Lady, Purple Haze, and Rock Me Baby. Then and now a totally live wake-up call to anyone who plays guitar.

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Radio One/BBC Sessions ***** Two things: The best Jimi stuff post-1970 was previously unreleased live stuff because 1) he was dead so he wasn’t making any new material and 2) it is really Jimi and the Experience (mostly) at the height of their creative powers, not a bunch of disco musicians hired by Alan Douglas to fill out Jimi’s studio sketches. Also, pretty much all of the stuff released by artists who appeared on some program associated with the BBC (The Beatles, The Stones, Zeppelin, Yardbirds) has been great and the Jimi Hendrix Experience is no exception. Fantastic versions of many songs, including never before released stuff like the supremo guitar workout, Driving South. I have both of these discs and they are phenomenal.

Live at Woodstock **** Iconic and pretty good, even though I think the band at this performance was lacking and it’s not terribly well recorded. It was a great Jimi performance, however and obviously this version of The Star Spangled Banner is one of the most defining 5 minutes of the whole 1960s decade. Other bright notes are Izabella, Spanish Castle Magic, Hear My Train A Comin’, and Villanova Junction, which I always liked for its jazzy, minor key overtones. Overall, not of the caliber of Monterey or BBC for sheer guitar awesomeness, but important nonetheless.

The Ultimate Experience **** An interesting, if slightly flawed compilation. The track listing was the result of a poll of his most popular recordings in Europe. My girlfriend has this disc and it has some of Jimi’s classics mixed in with lesser known songs like Wait Until Tomorrow, Angel, Highway Chile, Long Hot Summer Night, and Gypsy Eyes. It also includes Wild Thing from Monterey and The Star Spangled Banner from Woodstock. I think the disc flawed only because it omits some better material from all of the studio albums in favor of some of what I just listed (minus Angel and Gypsy Eyes) and also includes Burning of the Midnight Lamp, which is my absolute least favorite song Jimi recorded.

Blues ** I wanted to like this, but unfortunately I didn’t find it that enjoyable and it contains more Douglas hackery (splicing various takes together, pulling out stuff Jimi probably never would have released, etc, etc). Anyone who has spent more than a month listening to Jimi Hendrix knows he could play the f*ck out of the blues and that many of his songs were based around very bluesy motifs. Guitarists especially know this. That’s what makes all of the popular acclaim for this album stupid. It doesn’t deal with the fact that it was just another cynical ploy to extract money out of people for Hendrix material that was average at best.

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Jimi Hendrix ***1/2 — Another Midnight Movie Treat for many years and I’ve also had it as a DVD for a long time. It’s a pretty good movie and features a compilation of performances from throughout Jimi’s career and interviews with interesting people: Jimi, Eric Clapton, Pete Townshend, Fayne Pridgon and The Ghetto Fighters and not interesting people like Lou Reed (did he and Jimi even meet ever?). All of the time Jimi appears onscreen playing guitar is movie gold though and for many years it was all that was available.

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Woodstock and Live at Berkeley *** — I have both of these DVDs. From a guitarist standpoint, there is something educational in watching any performance Jimi gave, of course. There is some blistering guitar work to be found but there is a spark missing from these later-year performances that was definitely there in 1967, early 1968. Jimi seemed very tired, physically and spiritually. Both movies are very instructive for how they illustrate the messy backdrop of the times that Jimi is immersed in and one can only imagine how that affected his mood and the performances. The Live at Berkeley movie especially has a lot of the political stuff that had completely overtaken any and all counterculture conversations (especially in Berkeley) by early 1970. Definitely worth viewing as an education, but not necessarily the best music Jimi ever played.

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So that’s it for Part 1…hope you enjoyed it. There will always be new Jimi Hendrix releases and I’ve heard some here and there, but I’m not fanatic about hearing every version of Hear My Train A-Comin’ that he recorded or played. The early stuff is what I return to again and again, although I did recently get some enjoyment out of listening to Cry of Love for the first time in a long time. Part 2 in this “series” will deal with the books I have and two others I had at one time and Part 3 will be very guitar specific. Stay tuned!

Here is Part 2 and Part 3 in this series.

LED ZEPPELIN in Guitar World 1993

Iwas looking for something in my closet the other day and came across this magazine. Always loved the cover art. Brilliant! It’s hard to believe this almost 21 years old already (it was the 12/93 issue). How time flies. But the Song Remains the Same doesn’t it? The mystique, magic and music of Led Zeppelin continues to hold up to the present day. A quick glance at the other names on the cover yields some nods of recognition and maybe even a few “oh yeahs”, but it’s not like the legacy of Smashing Pumpkins or White Zombie is setting the world on fire. I guess people still buy magazines (do they?). I’m so out of touch since I found this here internet thing. Like much of the print world, I do believe most printed publications are also available to be viewed online or people just don’t bother anymore since there are exactly zero musicians in the western hemisphere who can’t be found online in some form or another. The other attraction, at least back in 1993, was that songs were tabbed out with painstaking detail, which, in the case of a song like Zep’s Ten Years Gone, was a bit of an undertaking best left to the professionals. However, even this feature, along with gear and music reviews has been usurped by advances in computer applications and the mighty online community. It is a nice little reminder of what used to be and inside were other reminders of things that used to be.

Can you believe this image? Have you ever seen anything like that? No, not Robert Plant playing guitar, although I don’t think there are many pics of him out there playing an axe at what looks to be a LZ session (maybe the “outdoor” recording of Black Country Woman). (Both pics are courtesy of Eddie Kramer) I mean the very crappy text/image spacing between Robert’s picture and the text at left. I didn’t manipulate, that’s how it is in the magazine. What’s really funny is a guy named Michael Chatham is given a “typography” credit at the beginning of the article. There’s something you don’t see very often, but maybe it wasn’t his fault. Blame the temp who was doing paste-up or whatever. Anyhow, this interview with Andy Johns and Eddie Kramer details recording the band at various times during their career; Kramer on II and then Johns taking over for III and IV before Kramer came back for Houses of the Holy. Interestingly enough, according to Kramer, III started out at Electric Ladyland in New York but a roadie affiliated with the band spilled Indian food on one of the studio carpets and refused to clean it up. This led to a row between Kramer, who had a major role with Jimi Hendrix in planning and getting Electric Lady built and the band who backed the roadie. So long-story-short, they told each other to piss off for a few years. Another interesting tidbit involving Kramer and Page is that the middle section of Whole Lotta Love was mixed basically the same way as the “sound paintings” (1983) on Hendrix’s Electric Ladyland record. “…we just flayed, around the console twiddling every knob we could. While the Altec console might have limited our options, especially the panning effects, we somehow managed to stretch our limitations and create a very effective mix.” (The Altec console used to mix Whole Lotta Love had exactly 2, count ’em, 2 pan pots. Wow!) Both engineers gave Page high marks as a producer and as a band, Zeppelin were very quick in the studio once the arrangement was set and the tricky bits of timing had been worked out. Neither Bonham on the basic tracks or Plant on the vocals took more than a few takes to get what everyone hears and has heard over the past 40+ years. Jones and Page would overdub as much as was necessary to fill the song out and because the band, especially Bonham were so easy to record, the mixing was almost never a laborious process either. Johns recollections of IV include Stairway coming in as a finished piece, placing mics on a stairway landing and then adding heavy compression and a bit of reverb to the drums for the very awesome When the Levee Breaks, which Bonham was very happy about and not getting Four Sticks right even after 3-4 tries at the mix. Although they found something they could live with, he blamed too much initial compression during the recording and this was the one regret of an otherwise perfect set of sessions.

In one way I think I’m the typical Zep head when it comes to their albums — I through Physical Graffiti are as close to perfect as a band can get. Presence is ok, In Through the Out Door was less than ok and a harbinger of THE END. Overall, my favorite album is probably Houses of the Holy, not so much because of the songs, even though they are all good and several are fantastic. No it’s that shimmering brightness combined with CRUNCH that wasn’t really captured as well on any other album. Houses of the Holy was recorded at Mick Jagger’s mansion, Stargroves, in the English countryside and maybe it was the mood the locale created or maybe because it was the band approaching the pinnacle of their career or the sounds they were able to get from the rooms that were used. While Kramer didn’t have much to say in this issue about the recording of Houses of the Holy, he recalled in the infamous book Hammer of the Gods that all four members of the group were dancing in a line on the lawn as they listened to the Dancing Days playback. As others have said, “the album sounds orange” (a reflection of the color of the cover art) and I agree. Those who go more for the Zeppelin blooze riff-fests don’t like this record as much and I like those albums too, but sometimes the sound, especially on Physical Graffiti has a very muddy quality to it. Some of the tracks for Graffiti had been recorded at the Houses of the Holy sessions which is why they sound a bit different, but the tracks recorded specifically for the record (Kashmir!) suffer from a lack of clarity. Just my opinion.

The final interesting bits of the magazine’s profile of LZ are thus: An interview with Robert Plant that sounds like it could have been done yesterday, or in 1984 and some quick musical tabs of some of Jimmy’s best riffs. At the time it was great to see the latter. I literally smacked myself on the side of the head when I realized how overcomplicated I had been trying to make the outro to What is and What Should Never Be. It really is dead easy and any of the footage now available shows how completely simple it is. The Albert Hall 1970 is a good place to start. The interview with Robert is funny in that he pokes a bit of fun at Jimmy Page and the idea of “going to prison to go around the world playing Black Dog”. Of course around the time he was giving this interview plans were being made for the big Page/Plant reunion that would commence recording during the following year. The project was acoustic and very different than a straight-up reunion, including a limited long-term commitment, which was probably part of the attraction. Plant says as far back as 1993, “I don’t think of myself as a rock singer anymore”, and part of the reason is he can’t. All of the wild screaming that many associate with Zeppelin (from hearing the records, especially the early ones) is no longer doable. The guy is closing in on 70, so he deserves some slack. In the 20 plus years since this interview he has been a very successful solo artist and collaborator and has earned much respect outside of the Led Zeppelin milieu. While there is definitely some attraction to playing great music with top-notch musicians like Page, Jones and Jason Bonham, he’s a guy who can pretty much call anyone he wants to a session, so the avoidance of a big reunion (then or now) is completely understandable, even though it’s still a hot topic.

One of the strangest most far-out rumors that dogged Led Zeppelin throughout their career was the one that alleged they (minus John Paul Jones) had made a pact with Satan, dark master of all things heavy. This surfaced in the mainstream in books like Hammer of the Gods and most people, including the band, wrote this off as silly legende right out of the realms of Anton LaVey and the Manson Family. When I wrote about Gimme Shelter I explored some of the very strange connections between famous rock stars and people who maybe felt a little too comfortable on the dark side of the street. These “satanic” rumors also dogged the Stones for years and having a very popular song titled Sympathy For the Devil can lead to a whole lot of misunderstandings. Some (referencing Hammer of the Gods again) believe that by Presence and specifically Nobody’s Fault but Mine, Robert was looking for a way out from what he saw as the intensely negative vibe that was starting to surround the band and his life. Statements he made after the 1977 tour (notable for it’s junkie overindulgence, sub-par performances and ultra-violence) and the death of his son Karac hint that these feelings had only increased. Childhood friend John Bonham’s death was supposedly the final nail and ever since then Led Zeppelin as it was has ceased to exist for Robert Plant. Or so the story goes. Personally, I don’t believe that Robert and the rest of the band signed anything in blood to Satan, but maybe there is a case for a more nuanced reading of “dark forces”. I found out a couple days ago that during the period Peter Grant was negotiating Robert’s first solo record deal in the early 1980s, Robert sold all of his rights to the first 10 Led Zeppelin albums away to an unknown buyer. He retains creative control and the whole issue of what he gets from reissues and new product like the 2003 DVD is not so clear, but think about that! You want to talk about cutting the cord! Was it a financial decision? Was it about wanting to make it completely on his own post 1980? I dunno, maybe. The figure he got for his rights (and you can read an informative thread on the official Led Zeppelin forum) was $7 million. Obviously he would’ve made much more than that had he hung on to them; this was before compact discs came into existence. But Robert is quite wealthy and has succeeded in his quest to be a respected bona-fide artist outside of the realms of Led Zeppelin. Perhaps that was his only consideration. Perhaps, he wasn’t (and isn’t) entirely comfortable with Led Zeppelin’s legacy, especially outside the music. While the Zeppelin Devil Pact is silly and unsubstantiated, the band’s image as egocentric, intoxicated barbarians was earned and well-deserved. Some of it was all it good fun and one would be hard-pressed to find a band in the 70s that didn’t indulge in mindless hooliganism from time to time. But since the better half of Robert has always cultivated an intelligent and spiritual vibe, it is possible that he made a decision in the early 80s to close the door, let go and move on…permanently, as in “I’m not that guy anymore”. If nothing else, there was probably an intense desire to not let those crazy days be the complete Robert Plant legacy and he has certainly spent the last 30+ years ensuring that Led Zeppelin would not be his whole story. But it will forever be a huge part of his history and legend and as he says in the following clip, The Song Remains the Same!