After being referred to Chas Chandler , who was 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.
Are You Experienced and its preceding singles were recorded over a five-month period from late October through early April 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.
It altered the syntax of the music Shortly after, Hendrix relocated to the city's Greenwich Village and began a residency at the Cafe Wha? They failed to see Hendrix's musical potential, and rejected him. Chandler liked the Billy Roberts song "Hey Joe", and was convinced he could create a hit single with the right artist. Immediately following Hendrix's arrival in London, Chandler began recruiting members for a band, the Jimi Hendrix Experience , designed to showcase the guitarist's talents.
Mitchell, who had recently been 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 later that day to offer him the position, he readily accepted. Are You Experienced and its preceding singles were recorded over a five-month period from October 23, to April 4, 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. He later 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, and I'd seen everything end as a compromise.
Nobody ended up doing what they really wanted to do. I was not going to let that happen with Jimi. Chandler and the Experience found time to record between performances in Europe. Chandler commented: "Jimi threw a tantrum because I wouldn't let him play guitar loud enough He was playing a Marshall twin stack , and it was so loud in the studio that we were picking up various rattles and noises.
I'd never heard anything like it in my life. It'll sound great. On December 15, , finishing touches were made on the four rhythm tracks that were recorded the previous session. Chandler viewed this as an unreasonable expectation, and he vowed that he would never again do business with CBS. All the effort went into the mono. After a three-week break from recording while they played gigs in England, including a December 29 appearance on Top of the Pops , the Experience reconvened at De Lane Lea on January 11, The session was the first time that he and the group had experimented with guitar effects.
Do not correct. On January 11, , the Experience worked 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. The group managed to produce an acceptable live recording of the basic track for " Fire " after seven takes.
Chandler explained that financial considerations influenced the creative dynamic: "[They] were sort of fighting the fact that they had no say during recording sessions 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, , 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 He explained: "There was a bank above the 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. With his budget concerns alleviated, Chandler booked time at Olympic, where on February 3, , he and the Experience met sound engineer Eddie Kramer.
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. 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.
During the February 3, , 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.
They also recorded Mitchell and Redding's backing vocals. 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.
Chas was convinced that he was on to something. Not everyone was convinced that Chas was right. As a habit, Hendrix would indiscriminately tell people where they would be on any given day, which led to large groups of fans following him everywhere. Olympic employees were tasked with keeping them under control and at a safe distance so as to not unduly burden the recording process. I worked with the Stones. I worked with the Beatles. I worked with Led Zeppelin. I was not as jumpy; it was not as difficult as with Hendrix.
It was something of an open house. Hendrix was not difficult at all, but I personally would have preferred not to have loads of girls lurking in the woodwork.
In an effort to free up space for Hendrix's lead vocals, further reduction mixing was completed for "Are You Experienced? Friday 18 December Saturday 19 December Sunday 20 December Monday 21 December Tuesday 22 December Wednesday 23 December Thursday 24 December Friday 25 December Saturday 26 December Sunday 27 December Monday 28 December Tuesday 29 December Wednesday 30 December Thursday 31 December Friday 1 January Saturday 2 January Sunday 3 January Monday 4 January Tuesday 5 January Wednesday 6 January Thursday 7 January Friday 8 January Saturday 9 January Sunday 10 January Monday 11 January Tuesday 12 January Wednesday 13 January Thursday 14 January Friday 15 January Saturday 16 January Sunday 17 January Monday 18 January Tuesday 19 January Wednesday 20 January Thursday 21 January Friday 22 January Saturday 23 January Sunday 24 January Monday 25 January Tuesday 26 January Wednesday 27 January Thursday 28 January Tuesday 22 December Wednesday 23 December Thursday 24 December Friday 25 December Saturday 26 December Sunday 27 December Monday 28 December Tuesday 29 December Wednesday 30 December Thursday 31 December Friday 1 January Saturday 2 January Sunday 3 January Monday 4 January Tuesday 5 January Wednesday 6 January Thursday 7 January Friday 8 January Saturday 9 January Sunday 10 January Monday 11 January Tuesday 12 January Wednesday 13 January Thursday 14 January Friday 15 January Saturday 16 January Sunday 17 January Monday 18 January Tuesday 19 January Wednesday 20 January Thursday 21 January Friday 22 January Saturday 23 January Sunday 24 January Monday 25 January Tuesday 26 January Wednesday 27 January Thursday 28 January Friday 29 January Saturday 30 January Sunday 31 January Monday 1 February Jimi Hendrix.
Manic Depression. Hey Joe. Billy Roberts. Love or Confusion. May This Be Love. I Don't Live Today. The Wind Cries Mary. Foxey Lady. Are You Experienced? Hendrix biographer Keith Shadwick describes "Third Stone from the Sun" as "a structured group performance" composed of several identifiable passages or sections with further subdivisions. Several writers have noted the jazz influences in the first section.
They have their own musical identity. Around , Hendrix abruptly changes direction with a vibrato arm swoop, which sets the stage for the second section and his feedback -laden guitar improvisations.
It is more akin to a soundscape forged from his control of amplified feedback and the way he manipulates the Stratocaster's [guitar's] physical characteristics, including its switches and vibrato arm. Murray notes that he performs largely independent of rhythm, tonality, or notes and enters into pure sound, which he describes as: .
To wind down, Hendrix returns to the guitar melody line, although with more distortion and vibrato. Spoken sections, often slowed down and otherwise sonically manipulated, run intermittently throughout the piece.
Shadwick notes the joking nature,  although Hendrix described it matter-of-factly:. These guys come from another planet, you know The dialogue opens with a mock communication between alien space explorers slowed to half-speed, which makes it mostly unintelligible. The alien visitor, voiced by Hendrix at normal speed, makes some observations of the planet. So to you I shall put an end And you'll never hear surf music again Music journalist Peter Doggett notes the irony of the surf music reference.
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