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The original motion picture soundtrack for Easy Rider hits the shelves in 8-Track format, featuring the classic Hendrix recording “If 6 Was 9.”
Jimi Hendrix moves into an apartment at 59 West 12th Street in New York City.
Mitch Mitchell attends the wedding ceremony of ex-Experience bassist, Noel Redding and Susan Fowsby in Kent, England while Hendrix remains present in New York City.
In a lively session with Hendrix on guitar and Buddy Miles on drums, the two musicians run through a number of takes of “Izabella” plus lay the foundations for “Room Full Of Mirrors.” As John McDermott explains in Jimi Hendrix: Sessions, “Shortly after reel two began, technical problems slowed the pair’s progress. Hendrix, in particular, was bothered by the volume and general quality of the recording being supplied to his headphones. [Engineers] Jack Adams and Dave Ragno feverishly attempted to remedy the situation, but when recording resumed, Jimi’s amplifier started to malfunction, causing his guitar sound to drop out intermittently. This again caused a scramble in the control room. To help salvage the session, engineer Tony Bongiovi was sent for, and, thought he was not listed on the tape box, his distinctive voice can be plainly heard from this point forward.” As the session regrouped and recordings continued, a series of takes of “Room Full Of Mirrors” was laid to tape as was a couple of interesting takes of “Shame, Shame, Shame” (a song which eluded to the strained relationship with his step-brother Leon), plus a gritty rendition of “Ezy Ryder.” It was during these sessions that Alan Douglas deepened his involvement with Hendrix. Although his exact role in the sessions of the 7th is unknown, the tape marked simply marked as being for client, Douglas Records. As Stefan Bright and Douglas increased their control and influence over Hendrix in the studio, their exact involvement and reason for being there seemed puzzling. Tom Erdelyi (second engineer for several Record Plant sessions) explained the changes in the studio in McDermott’s Jimi Hendrix: Sessions. “Douglas and Bright just sort of came in and took over. They were running the show. I was surprised, because I was a fan of the Jimi Hendrix Experience, and no one seemed to understand what Jimi was trying to accomplish. Jimi was such a perfectionist. It seemed as if he was just taking his time, because no tracks were being completed. We thought that Douglas was being patient. “I don’t know whether they had specific titles or not,” continues Erdelyi. “But Stefan Bridge was supposed to be the producer and Alan Douglas the executive producer. There were times when just Stefan Bright was there, but Jimi just played what he wanted, and those guys made comments from the control room.”
Jimi fails to appear at a previous scheduled meeting with his attorney Henry Steingarten where an update of Hendrix’s broadening financial burdens were to be discussed. In a letter, dated November 11, 1969, Steingarten sent an outline of Jimi’s mounting debt and unfulfilled commitments to him.
Track Records in the United Kingdom release The Experience’s latest single, “Fire” b/w “The Burning Of The Midnight Lamp” (Track Records, 604 033). Although intended as a re-entry into the singles market by carrying the title along the coattails of success found in Are You Experienced, the latest offering sparked little public interest. In West Germany, Polydor releases an eastern counterpart of the same pairing (Polydor, 59375).
Joined by Billy Cox, Hendrix and Miles returned to the Record Plant studios in New York City to continue work on several new tracks including “Room Full Of Mirrors,” “Stepping Stone,” and “Ezy Rider.” Second engineer Tom Erdelyi recalls additional recordings being worked on including “Izabella,” “Machine Gun,” “Dolly Dagger,” and “Message To Love.” During this session, Hendrix brought in Albert and Arthur Allen (the Ghetto Fighters) to provide backing vocals for “Room Full Of Mirrors.” The basic track of “Room Full Of Mirrors” is the foundation for the recording heard on 1997’s First Ray s Of The New Rising Sun (Experience Hendrix/ MCA, 11599). Afterwards, Hendrix and the Allen twins visited Studio B where Mountain was recording their latest hit, “Mississippi Queen.” Thrilled by the chance meeting, Hendrix invited Leslie West back to his studio for a jam.
Back at the Record Plant several spirited recordings were put to tape this evening, including six takes of Buddy Miles signature track, “Them Changes” plus a dozen meandering takes of “Burning Desire.” Hendrix was troubled by the tone of his guitar, resulting in few memorable highlights from the night’s session. Despite some technical problems the group continued recording, pressing through two takes of “Lover Man,” described here as “Here Comes Your Lover Man,” plus three lack-luster renditions of “Hear My Train A Comin’.” Prior to the session collapsing, Hendrix returned the group to “Burning Desire” and “Them Changes,” both of which were met with genuine disinterest.
Overcoming the lagging spirits of the previous night, Alan Douglas and Stefan Bright brought Tony Bongiovi back into the control room as engineer to help spur on Hendrix’s musical style. As intended, Hendrix lead the group through a high-spirited session of recordings including nineteen takes of “Izabella” of which takes 1, 2, 4, 10, 12, 16, and 19 were tagged ‘complete.’ After a quick change of tape reels, one final take the 20th of “Izabella” was put to tape and flagged as the basic track. With the success of “Izabella” filling the studio air, the group turned to “Burning Desire” although none of the 24 takes featured the emotional intensity of the later. The marathon session continued with additional recordings of “Machine Gun” the fourth and final take was marked complete. Afterwards Hendrix guided the session through 24 takes (without vocals) of “Power Of Soul” which he then described as “Paper Airplanes.”
Jimi Hendrix celebrates his 27th birthday backstage with The Rolling Stones as they perform at Madison Square Garden in New York City. While backstage, Hendrix jams with Mick Taylor of The Stones, a jam that is caught on 16mm film. Afterwards, Hendrix joins The Stones at Mont Key’s home where they continue Jimi’s birthday celebrations.
It is unknown to what nature a session took place on this evening. However, a single quarter-inch, two-track recording was made, likely the source from a session as Baggy’s rehearsal studios. The only reference point is that of a notation of the tape box “Buddy Miles/Billy Cox.”