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The Jimi Hendrix Experience - Electric Ladyland Album

The Jimi Hendrix Experience - Electric Ladyland Album

  • Darsteller: The Jimi Hendrix Experience
  • Genre: Rock / Blues
  • Titel: Electric Ladyland
  • Freigegeben: 25 Oct 1968
  • Stil: Electric Blues, Psychedelic Rock, Blues Rock
  • Etikett: Track Record
  • Katalog: 613008/9
  • Land: UK
  • Größe der MP3-Version: 2756 mb
  • Größe der FLAC-Version: 1437 mb
  • Bewertung: 4.2
  • Abstimmungen: 323

Trackliste

1And The Gods Made Love
2Long Hot Summer Night
3House Burning Down
4Moon, Turn The Tides... Gently, Gently Away
5Rainy Day, Dream Away
6Cross Town Traffic
7Come On
8Gypsy Eyes
9All Along The Watchtower
101983... (A Merman I Should Turn To Be)
11Voodoo Chile
12Still Raining, Still Dreaming
13The Burning Of The Midnight Lamp
Backing Vocals [Uncredited] – Cissy Houston, The Sweet InspirationsHarpsichord [Uncredited] – Jimi Hendrix
14Have You Ever Been (To Electric Ladyland)
15Little Miss Strange
Lead Vocals [Uncredited] – Noel Redding
16Voodoo Chile (Slight Return)

Versionen

CategoryArtistTitle (Format)LabelCategoryCountryYear
613008/9The Jimi Hendrix Experience Electric Ladyland ‎(2xLP, Album, Whi)Track Record613008/9UK1968
184 183/84The Jimi Hendrix Experience Electric Ladyland ‎(2xLP, Album, Gat)Polydor184 183/84South Africa1968
624011The Jimi Hendrix Experience Electric Ladylan ‎(LP, Album)Polydor624011Uruguay1968
847 233-2The Jimi Hendrix Experience Electric Ladyland ‎(CD, Album, RE)Polydor847 233-2Europe1991
613008/9, 2657 001The Jimi Hendrix Experience Electric Ladyland ‎(2xLP, Album, Unofficial, Whi)Track Record , Polydor 613008/9, 2657 001UKUnknown

Credits

  • Art DirectionEd Thrasher
  • EngineerEddie Kramer, Gary Kellgren
  • Liner Notes, Producer, Directed By, Arranged ByJimi Hendrix
  • Photography By [Back Cover Photo]Karl Ferris
  • Photography By [Black-And-White Photos]Linda Eastman
  • Photography By [Liner Photography In Part]David Sygall
  • Written-ByJimi Hendrix (tracks: 1 to 4, 6, 8 to 14, 16)
  • Arranged ByJimi Hendrix (tracks: A1 to A4, B2, B4 to D4)
  • BassJack Cassady (tracks: A4)
  • CongasLarry Faucette (tracks: C1, D1)
  • CoverDavid King
  • DrumsBuddy Miles (tracks: C1, D1)
  • EngineerEddie Kramer, Gary Kellgren
  • FluteChris Wood (tracks: C2)
  • HornsFreddie Smith (tracks: C1, D1)
  • OrganMike Finnegan (tracks: C1, D1), Stevie Winwood (tracks: A4)
  • Photography By [Cover & Hendrix]David Montgomery
  • Photography By [Mitchell & Redding]Donald Silverstein
  • PianoAl Kooper (tracks: B2)
  • Producer, Directed ByJimi Hendrix
  • Written-ByDylan (tracks: D3), Earl King (tracks: B3), Hendrix (tracks: A1 to A4, B2, B4 to D2, D4), Noel Redding (tracks: B1)
  • Arranged ByJimi Hendrix (tracks: D3)
  • Engineer [Uncredited]Eddie Kramer, Gary Kellgren
  • Photography By [Cover]Alain Dister
  • Photography By [Inside]Jean-Pierre Leloir
  • Photography By [Mitch Mitchel And Noel Redding]Donald Silverstein
  • Producer, Directed ByJimi Hendrix
  • Written-ByBob Dylan (tracks: D3), Earl King (tracks: B3), Jimi Hendrix (tracks: A1 to A4, B2, B4 to D2, D4), Noel Redding (tracks: B1)
  • Arranged ByJimi Hendrix (tracks: A1 to A4, B2, B4 to D4)
  • BassJack Cassady (tracks: A4)
  • CongasLarry Faucette (tracks: C1, D1)
  • CoverDavid King
  • DrumsBuddy Miles (tracks: C1, D1)
  • EngineerEddie Kramer, Gary Kellgren
  • FluteChris Wood (tracks: C2)
  • HornsFreddie Smith (tracks: C1, D1)
  • OrganMike Finnegan (tracks: C1, D1), Stevie Winwood (tracks: A4)
  • Photography By [Cover & Hendrix]David Montgomery
  • Photography By [Mitchell & Redding]Donald Silverstein
  • PianoAl Kooper (tracks: B2)
  • Producer, Directed ByJimi Hendrix
  • Written-ByDylan (tracks: D3), Earl King (tracks: B3), Hendrix (tracks: A1 to A4, B2, B4 to D2, D4), Noel Redding (tracks: B1)

Hinweise

A2 is Misspelled : "All Along The Wateh Tower" on the back cover.First press with V1 (Version 1) gatefold sleeve, featuring the controversial image (censored by some outlets at the time) of naked ladies on front/back.

Cover spread has 'unwrapped/floating' gloss laminate applied, matt print areas left exposed at the two cut edges where the albums insert.

Gatefold opens to view inner spread (glued to outer cover's inside tabs as separate element). Gloss laminate exposing matt areas on all four edges. (Effectively, the sleeve is a flattened 2-piece cardboard tube).

Hendrix portrait on right-hand side (Back cover behind it).
Large sepia images of Redding & Mitchell on left (Front cover behind it), with blue tracks/credit text below them. "Track Record" logo center, E.J.Day print data to left. Erratic use of upper & lower-case in titles.

Discs in poly-lined white paper punch-hole sleeves. "Patent no 800513 & 973939" "Made in England 108"

The vinyl: First release, 1st pressing 180 gram vinyl with original 'high-dynamic' mix. Produced in auto-coupled sequence;
Disc 1: 613008 Side A; Category (613008 A) [inverted over 613008]
Disc 1: 613008 Side D; Category (613008 B) [inverted over 613008]
Disc 2: 613009 Side B; Category (613009 A) [inverted over 613009]
Disc 2: 613009 Side C; Category (613008 B) [inverted over 613009]
Defect in matrix stamping on this early issue, altered by hand. This typical vinyl is:
Side A: 61300##8 A//1 12 10
Side D: 51 61300#8 B//1 1
Side B: 10 61300#9 A#//1 1 ("10" has the '1' backwards, or it's an oddly stamped "CJ" upside down)
Side C: 61300#9 #B#//1 12 10
[The #, #8 or #9 indicates scratch-out]

Matt texture 'Version 1' labels with additional inverted catalog in parenthesis.
[V1 & V2 label comparisons provided at foot in 'images']

Titles: This UK issue has no suffix to "Come On", "The" is prefixed to "Burning Of The Midnight Lamp" and "Cross Town" appears as two words.

Recorded: Initial tracks at Olympic Studios, London, January 1968. Completed at Record Plant Studios, Studio A, New York, June to August 1968.
Performers, additional to the band, and technical credits added retrospectively. Taken from the authorized Hendrix family trust releases on the Experience Hendrix label.Released between the end of 1971 and early 1972. When the right society become SACEM.

It seems to be a clumsy movement because the vinyls match with this version https://www.localhost/The-Jimi-Hendrix-Experience-Electric-Ladyland/release/6348386 but in the cover of this one https://www.localhost/Jimi-Hendrix-Electric-Ladyland/release/2413527This edition is pressed in the UK by PDO and has a different matrix and back inlay text to this similar 1991 European version.

℗ 1968 PolyGram International Music B.V.
© 1991 PolyGram International Music B.V.

The copyright in this sound recording is owned by
PolyGram International Music B.V. and is exclusively
licensed in the United Kingdom to Polydor Ltd (UK)

Titles appearing differently on the disc:
Track 1: And The Gods Made Love
Track 2: Electric Ladyland
Track 7: Come On (Part One)
Track 11: Nineteen Eighty Three
Tack 12: Moon, Turn The Tides
Track 16: Voodoo Chile (Slight Return)

Publishers, disc
1 to 6, 8 to 14, 16 - Intersong Music Ltd.
7 - United Partnership Ltd
15 - B. Feldman & Co Ltd/EMI Music

Publishers, booklet
1 to 4, 6 to 8, 10 to 14, 16 - Bella Godiva Music
5 - Joint Music
9 - Yameta Co. Ltd.
15 - Dwarf Music

Issued in a standard jewel case with four-page booklet.A correction run of erroneous covers, featuring the controversial image (censored by some outlets at the time) of naked ladies on front/back. Made at the same time ('pre-release') as the 'white text' covers. Like the 'pre-release' white text covers, they will have '098' (September 1968) or '108' (October 1968) printed on the inner sleeves.

Cover is fully laminated inside and out.

Gatefold opens to view inner spread (glued to outer cover's inside tabs as separate element). Gloss laminate exposing matt areas on all four edges. (Effectively, the sleeve is a flattened 2-piece cardboard tube).

Hendrix portrait on right-hand side (Back cover behind it).
Large sepia images of Redding & Mitchell on left (Front cover behind it), with blue tracks/credit text below them. "Track Record" logo center, E.J.Day print data to left. Erratic use of upper & lower-case in titles.

Discs in poly-lined white paper punch-hole sleeves. "Patent no 800513 & 973939" "Made in England 108"

The vinyl: First release, 1st pressing 180 gram vinyl with original 'high-dynamic' mix. Produced in auto-coupled sequence;
Disc 1: 613008 Side A; Category (613008 A) [inverted over 613008]
Disc 1: 613008 Side D; Category (613008 B) [inverted over 613008]
Disc 2: 613009 Side B; Category (613009 A) [inverted over 613009]
Disc 2: 613009 Side C; Category (613008 B) [inverted over 613009]
Defect in matrix stamping on this early issue, altered by hand. This typical vinyl is:
Side A: 61300##8 A//1 12 10
Side D: 51 61300#8 B//1 1 (Note the '51' prefix NOT suffix)
Side B: 10 61300#9 A#//1 1 ("10" has the '1' backwards, or it's an oddly stamped "CJ" upside down. Note the '10' prefix NOT suffix))
Side C: 61300#9 #B#//1 12 10
[The #, #8 or #9 indicates scratch-out]

Matt texture 'Version 1' labels with additional inverted catalog in parenthesis.
[V1 & V2 label comparisons provided at foot in 'images']

Titles: This UK issue has no suffix to "Come On", "The" is prefixed to "Burning Of The Midnight Lamp" and "Cross Town" appears as two words.

Recorded: Initial tracks at Olympic Studios, London, January 1968. Completed at Record Plant Studios, Studio A, New York, June to August 1968.
Performers, additional to the band, and technical credits added retrospectively. Taken from the authorized Hendrix family trust releases on the Experience Hendrix label.Unofficial release; sleeve has unaligned printing
Plain green labels

Barcodes

  • Matrix / Runout (Side A: # denotes scratch-out (See Notes)): 61300#8
  • Matrix / Runout (Side D: # denotes scratch-out (See Notes)): 61300##8
  • Matrix / Runout (Side B: # denotes scratch-out (See Notes)): 61300#9
  • Matrix / Runout (Side C: # denotes scratch-out (See Notes)): 61300#9
  • Other: Auto-coupled release
  • Matrix / Runout (Side A stamped): A C ℗ 1968 E70 (diamond character)Z 00 184182=2A
  • Matrix / Runout (Side B stamped): F A 2 184 183 B=4 N10 320
  • Rights Society: SACEM SDRM SACD SGDL
  • Matrix / Runout (Side A): YBARCX 69447 1 920060 A M6 282436
  • Matrix / Runout (Side B): YBARCX 69448 1 920060 B M6 282436
  • Matrix / Runout (Side C): YBARCX 69449 1 920061 A M6 282507
  • Matrix / Runout (Side D): YBARCX 69450 1 920061 B M6 282508
  • Other: (Cat. nr. disc 1): 0920 060
  • Other: (Cat. nr. disc 2): 0920 061
  • Price Code: Ⓤx2
  • Barcode: 0 42284 72332 9
  • Matrix / Runout: 847 233 2 10152671 01 % MADE IN U.K.
  • Rights Society: BIEM/STEMRA
  • Label Code: LC 0309
  • Price Code: POL 900
  • SPARS Code: AAD

Video

Album

Rock 1968. Формируйте собственную коллекцию. It is the only Hendrix studio album professionally produced under his supervision. Often regarded as Hendrixs best work, the critical response to Electric Ladyland has increased significantly over time. Electric Ladyland. Jimi Hendrix's third and final album with the original Experience found him taking his funk and psychedelic sounds to the absolute limit. Electric Ladyland is the third and final studio album by the Jimi Hendrix Experience and the final studio album released in Hendrix's lifetime before his death in 1970. Electric Ladyland album newly remastered. Electric Ladyland is the third and final album of new material by the Jimi Hendrix Experience, released in October 1968 on Reprise Records. By mid-November, it had charted at number one in the US, where it spent two weeks at the top spot. Electric Ladyland was the Experience's most commercially successful release. Ищете треки из альбома Electric Ladyland исполнителя The Jimi Hendrix Experience Тогда заходите на наш сайт - слушайте музыку онлайн и скачивайте бесплатно. Он включает образцы каждого жанра музыки от психоделии Burning of the Midnight Lamp до блюзового гитарного джема Voodoo Chile , рок-н-ролл в стиле 50-х Little Miss Strange и эпическую A Merman I Should Turn To Be , которую можно рассматривать как ранний пример прогрессивного рока. As the Jimi Hendrix Experiences most commercially successful release, Electric Ladyland represents their third and final studio album. Theres the intense hard-rock punch of Crosstown Traffic the two masterful, very different versions of Voodoo Chile the radical, rollicking interpretation of Bob Dylans All Along the Watchtower and the dreamy, multilayered beauty of 1983A Merman I Should Turn to Be. The Jimi Hendrix Experience. Am I correct Anyway, this was the followup to Axis:Bold as Love. It topped the Billboard 200 album chart for two weeks in November 1968. Live At The Hollywood Bowl 91468 unreleased concert. Reprise Records, Reprise Records. 2 2xCass, Album, Sna. an aural utopia that accommodates both ingrained conflict and sweet, vague spiritual yearnings, held together by a master musician. It includes examples of several genres and styles of music: the psychedelic Burning of the Midnight Lamp, previously a U. When revisionist rock critics refer to him as the maker of a generation's mightiest dope music, this is the album they're referring to. Electric Ladyland Vol. The result was not only one of the best rock albums of the era, but also Hendrix's original musical vision at its absolute apex. I do believe that this was the last Jimi Hendrix Experience album as he went on to working with other musicians as a solo artist. CRX 1107, CR 1107. But Electric Ladyland is so much more than just background music for chemical intake. Jimi Hendrix - Electric Ladyland 1968. Electric Ladyland - The Jimi Hendrix Experience. Лента с персональными рекомендациями и музыкальными новинками, радио, подборки на любой вкус, удобное управление своей коллекцией. Released by Reprise Records in North America and Track Records in the UK in October 1968, the double album was the only record from the band produced by Hendrix. Available as either a 3CD1 Blu-ray set or a 6LP1 Blu-ray set, both packages. CRX 1107, CR Ladyland is the third and final studio album by the Jimi Hendrix Experience and the final studio album released in Hendrix's lifetime before his death in 1970. Electric Ladyland раскрыл всю ширину музыкального таланта Хендрикса. Ships from and sold by LV'S. 1 surround sound mix of Electric Ladyland album. And the Gods Made Love The Jimi Hendrix Experience. When revisionist rock critics refer to him as the maker of a generation's mightiest dope music, this is the album they're referring to. Released as a double album, Electric Ladyland is a cross-section of Hendrix's wide range of musical talent. Songs in album Jimi Hendrix - Electric Ladyland 1968. Electric Ladyland: The Early Takes unreleased demos. In celebration of the 50th anniversary of the release of the Jimi Hendrix Experience masterpiece Electric Ladyland, Experience Hendrix, . Jimi Hendrix's third and final album with the original Experience found him taking his funk and psychedelic sounds to the absolute limit. Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin. This item:Electric Ladyland by Jimi Hendrix Audio CD . Формируйте собственную коллекцию записей The Jimi Hendrix Experience. Electric Ladyland is the third and final studio album by the Jimi Hendrix Experience and the final studio album released in Hendrix's lifetime before his death in 1970. The result was not only one of the best rock albums of the era, but also Hendrix's original musical vision at its absolute apex. Only 18 left in stock - order soon. Ships from and sold by LV'S. At Last The Beginning film 40 minutes of new footage. Every aspect of Hendrixs genius comes to life on his third and final studio album. Electric Ladyland was the Experience's most commercially successful release. single in the summer of 1967 the extended bl read more

Kommentare

Thorgahuginn Thorgahuginn
Saw this as an unofficial picture disc relese, still sealed. Anyone know about this?
Irostamore Irostamore
Can somebody help me identify my version? It is gatefold 2RS6307 with tan labels and memorial inner sleeves (Big picture of Hendrix with birth and death dates). Printed in USA. Looks like it's from early 70s but I can't find a match in these listings.
Gom Gom
The brighter the sound,the more difficult for someone to catch the spirit of the late 60's.The early Track record versions sound the best in my ears despite the very serious effort from the experts to whom i respect to the highest.The 2010 legacy version sounds amazing full of analysis and it has high quality vinyl but lacks the depth and the relaxing sound.Just my opinion.
Atineda Atineda
Can someone please help me work out which version of the album I have?The matrix numbers are:61300##8 A//1 1E5613008 BV2 420 123613009 AV2 420 11 6613009 B//2 420 116The trailing numbers are a bit hard to read, but did my best to get them right.The cover has the white text.Thanks, Robert
Gardagar Gardagar
There seems to be a few different etching variations between the hand-corrected matrix numbers for this release. Does anyone know if these can be used to calculate a records pressing history? Or are they just pretty random? I'm guessing it's the later but any info would be great.Thanks PS Another strange thing about the correcting of matrix numbers on this is why the 'A' side was corrected..? There was no need, as the matrix would remain the same even when auto-coupled- yet I've seen variations of these etchings too- signifying that it must of been done several times..odd.
Akinozuru Akinozuru
on Ebay right now is a strictly limited 6 album box set version of this great lp. the albums are multi-coloured, gold etcetera, there is a 1 out of 10 sticker on the box, a poster and a 7inch ep-I think- with it. current price is 111, it ends this Friday, don't know anything about it........could be pure gold, or just another box set, either way, if interested, have a looksee........
Cerar Cerar
I have the version with all blue text,including the Track logo..and,Jimi on the left,.It has exactly the same details as shown,except for the inside cover..Is there a separate entry for this version?...Something else,I have one 098 inner,but the other has the same patent numbers,but uses a darker blue print colour,and typeface..and is marked 44 109...so not correct(108),but pretty close..I'm surprised that even one of them is correct..yet the photo shows a variation from the release note.."Discs in poly-lined white paper punch-hole sleeves. "Patent no 800513 & 973939" "Made in England 108" I've been thinking about the blue text,and the fact that it's not solid..On further inspection, with the aid of a magnifier,it's clear that there is lettering underneath,that has been overprinted..please also consider that white,in the context of litho-printing,is not actually printed..it is,if you like, the base layer,the other colours added,and combined,with varying transparency,to produce the final,correct colours..so,a mystery?..If it had been intended for that area to be blue,it would have been..I can't believe they would have added another layer (print run)of the cyan..with random lettering on..and the small areas that it is possible to make out bits of letters(through the final text),there seems to be a similarity in both typefaces..hmm?..This could be something to do with labelling being changed, after the decision to decouple/alter the tracklisting..the cyan would have been printed,leaving white lettering,as per the lighter areas,including the track logo..then subsequent printing has added a further layer of cyan(blue),but only one layer over the paler sections through the main text..so it suggests to me,that Jimi would have been on the left..as obviously,"both" sets of text are on the right...all a bit of a theory..if you have copy,blue,mottled text..check it out..one more thing,referring to the track-listing changes...Side A.is a single colour..not mottled..it would have been the only side that would have been unaffected by the changes?While all the other text is mottled on the subsequent listing...where the text had been altered?...Nah..thinking about it,the tracklisting is the same..it's just the order on the discs etc...and peering at it again,I'm now not at all sure about the typefaces etc..again....the paler lines aren't always straight,whereas text usually is?..I think its overprinted the cyan part of a picture...After posting the above,I have found this article which..explains, far better than my rather convoluted guesswork..a great deal, regarding the "myths" etc...http://recordmecca.com/news/jimi-hendrixs-electric-ladyland-exposing-the-blue-type-hype/
Varshav Varshav
Hi, not been around a while since my ‘1st press post’ - I’m not entirely convinced regarding the UK blue sleeve print scenario, as outlined here: BLUE TEXT HYPE: http://recordmecca.com/news/jimi-hendrixs-electric-ladyland-final-word-first-pressings-blue-type-hype/ My ‘your’ herewith is response to statements made within linked Blog. The ‘blue text issue’ (I bought on week one of UK release) has hand-altered matrices on both sides of the 2 discs. Indeed, the suffixes to D & B sides are simply ‘1 1’, suggesting an early press. e.g. Side D: 51 61300#8 B//1 1 and Side B: 10 61300#9 A#//1 1 (where # denotes a scratch-out). One would assume that ‘if they had got the pressing-order correct on the white ones’ then the purported ‘later blue one’ would be correct, with no need for alteration? White version D & B Sides on Discogs is: Side D: 61300#8 B//1 1 5 4 and Side B: 61300#9 A//1 1 6 0. Incidentally, the silver-on-black centre label print is also different between the 2 versions regarding text-spacing (In what is a one-pass print process). Compare the label images!In my humble opinion, not only was the UK blue print pressing corrected - possibly for auto coupling, but the envisaged and printed (white) track order was thus also wrong… so, the printer corrected and overprinted black (aka ‘key’) onto the cyan working (which has text knocked out to white). Hence fragments of a prior white tracklist can be seen slightly higher up under the now blue text. The 2 large photos also align & justify themselves to the track text, much as any self-respecting art director would envisage.It is therefore odd that ‘the majority of copies’ you refer to have 2 ‘cranked down’ sepia [not orange] images of Mitchell & Redding, photographed by Donald Silverstein? This results in a large black ‘nothingness’ with an odd design relationship to the footer tracklist. It is also odd that if the demand was for larger images, then the integrity of such Artist demands would be ignored in later reprints? I would suggest that, as Hendrix had now reached a stage of ‘autonomy’ in his life - with a future as a solo artist and near-purchase in ’68 of what would become the Electric Lady studio of his own, that the 2 artists were more likely to have been reduced in size? I seem to recall that Redding ‘failed to appear’ for a number of tracks / overdubs and Hendrix did the bass work himself…? Band relationships were certainly strained.I further suggest the ‘blue copies’ were short-run early print (also testing lamination techniques) and used to fulfil early demand until the white version correction - of which, as you say, there are many, many more. As Hendrix was not in UK upon its release, as you mention, it’s also likely he got a CORRECT copy upon arrival (or in USA) and was blissfully unaware of the print fubar that ‘went public’, as he may only have seen ‘UK proofs’ when in USA… if he ever did, or whoever instigated the corrections. (i.e. Stamp/Track Label? Or even UK manager Mike Jeffery?). Either way, genuine ‘blue text issues’ are IMHO still a rarity.
Clandratha Clandratha
great record
ladushka ladushka
My favourite album of all time, easily the best from Hendrix, this album is a beautifully constructed masterpiece. Whilst credited to the Experience, there are some other important collaborators, notably Stevie Winwood and Jack Cassidy (Jefferson Airplane) playing on "Voodoo Chile", the amazing climax to the A-Side, which is one of Jimi's greatest works. The B-Side is a more familiar format, with five shorter tunes that would not have been out of place on either of the first two albums; the production is amazing, there are no filler tunes (He even turns Noel Redding's psychedelic poptune, Little Miss Strange, into a classic). Again, you can't pigeon hole Hendrix; there's elements of psychedelia, soul, blues, funk, rock and roll, and jazz. Side C was his most experimental work. I spent many an hour in my friend's, parent's, dark, smoky basement listening to this - what a trip. How can you categorise this? This side of vinyl is far more beautiful than any other experimental, psychedelic music and way before it's time (Parts of this would appeal to modern fans of contemporary down-tempo electronica). The final side opens with a reprise of "Rainy Day" before returning to the more familiar format of "House Burning Down" and ending with two of his most powerful, enduring tunes. Hendrix was a genius, not just for what he could do with a guitar, but for the music in his mind. Who knows what he would have gone on to achieve in the studio, had his life not been so tragically cut short.
Pedar Pedar
Description of the history of UK covers is wrong, according to Jeff Gold http://recordmecca.com/news/jimi-hendrixs-electric-ladyland-final-word-first-pressings-blue-type-hype/His evidence includes Hendrix's own copy, which Gold possesses, and the original proofs owned by the sleeve designer... Pretty compelling. The small photos and white print came first ("version 4" here), then large with blue text, then back to white text. For what it's worth, my copy of "version 4" comes in 108 inner sleeves
Djang Djang
Hi, not been around a while since my ‘1st press post’ - I’m not entirely convinced regarding the UK blue sleeve print scenario, as outlined here: BLUE TEXT HYPE: http://recordmecca.com/news/jimi-hendrixs-electric-ladyland-final-word-first-pressings-blue-type-hype/ My ‘your’ herewith is response to statements made within linked Blog. The ‘blue text issue’ (I bought on week one of UK release) has hand-altered matrices on both sides of the 2 discs. Indeed, the suffixes to D & B sides are simply ‘1 1’, suggesting an early press. e.g. Side D: 51 61300#8 B//1 1 and Side B: 10 61300#9 A#//1 1 (where # denotes a scratch-out). One would assume that ‘if they had got the pressing-order correct on the white ones’ then the purported ‘later blue one’ would be correct, with no need for alteration? White version D & B Sides on Discogs is: Side D: 61300#8 B//1 1 5 4 and Side B: 61300#9 A//1 1 6 0. Incidentally, the silver-on-black centre label print is also different between the 2 versions regarding text-spacing (In what is a one-pass print process). Compare the label images!In my humble opinion, not only was the UK blue print pressing corrected - possibly for auto coupling, but the envisaged and printed (white) track order was thus also wrong… so, the printer corrected and overprinted black (aka ‘key’) onto the cyan working (which has text knocked out to white). Hence fragments of a prior white tracklist can be seen slightly higher up under the now blue text. The 2 large photos also align & justify themselves to the track text, much as any self-respecting art director would envisage.It is therefore odd that ‘the majority of copies’ you refer to have 2 ‘cranked down’ sepia [not orange] images of Mitchell & Redding, photographed by Donald Silverstein? This results in a large black ‘nothingness’ with an odd design relationship to the footer tracklist. It is also odd that if the demand was for larger images, then the integrity of such Artist demands would be ignored in later reprints? I would suggest that, as Hendrix had now reached a stage of ‘autonomy’ in his life - with a future as a solo artist and near-purchase in ’68 of what would become the Electric Lady studio of his own, that the 2 artists were more likely to have been reduced in size? I seem to recall that Redding ‘failed to appear’ for a number of tracks / overdubs and Hendrix did the bass work himself…? Band relationships were certainly strained.I further suggest the ‘blue copies’ were short-run early print (also testing lamination techniques) and used to fulfil early demand until the white version correction - of which, as you say, there are many, many more. As Hendrix was not in UK upon its release, as you mention, it’s also likely he got a CORRECT copy upon arrival (or in USA) and was blissfully unaware of the print fubar that ‘went public’, as he may only have seen ‘UK proofs’ when in USA… if he ever did, or whoever instigated the corrections. (i.e. Stamp/Track Label? Or even UK manager Mike Jeffery?). Either way, genuine ‘blue text issues’ are IMHO still a rarity.
Malaris Malaris
this is not the first version of the sleeve, according to Jeff Gold, and his evidence is very compelling: http://recordmecca.com/news/jimi-hendrixs-electric-ladyland-final-word-first-pressings-blue-type-hype/The first is the one being described here as the 4th press.
Dordred Dordred
I have: The Sleeve has the inside Matt Edges, Large Hendrix Picture to the Left, Small Sepia Tone Pictures of Noel, and Mitch to the right. White Lettering. Track Logo in white below the white text with a rectangular loop around the Track Logo. Polydor Records LTD Below that in small print.Two Record Set is on the Label. (Set No. 2657-001) A,D, B,C is the side order per record.Matrix #'s Side A: 613008#8//A1 12 8 (The second 8 is etched by hand small, and the number symbol I used is something scratched out). Side B: 613009 A Upside Down Triangle 420 1 1 1 2. Side C: 613009 B# 2 420 1 1 3 Side D: 613008 B Upside Down Triangle 2 420 1 2 11.Cross Town is two words. The Vinyl is not heavy weight. I paid $20 for this copy which is in sweet shape (Some center seam wear) in October 2010. There were many UK Presses that it was in with that I also purchased (Some Floyd). So according to the above I may not have a first sleeve, or first press labels the Matrix #'s Match. So I have a very early press, just not technically a first press.Anyway that is it for now. Any questions just ask.
Ydely Ydely
Yes, indeed. I runned it with a brand new needle. After cleaning the Vinyl from some plastic pieces, it works to my Satisfaction. But attention the label is reacting sensible to moisture!Best regards, ~Listeningparty~
Yramede Yramede
My is not a boot, or pirate copy. I acquired it from a local shop that had purchased about 100 UK Pressings all from the same time period (1970ish) and all had a small X-Ray Technician Label with a Collection Catalog # that the original owner used. UK Pink Floyd Ummagumma Gigi Cover, UK Floyd Meddle, UK Floyd Atom Heart Mother, and UK Harvey Mandel Cristo Redentor were some of the standouts I purchased from the shop that day.Many copies have the hiss on playback. I really enjoy my copy.Best -JE-
Whiteflame Whiteflame
I have got this one, too. The sleeve is glossy and mint, nevertheless I´m very disapointed about the quality of sound, although the vinyl is mint and unplayed. So I wonder if it is a pirate pressing. In any case we should install this release (Set No. 2657-001) on discogs. I would downrate it, because of the knick and knacks it has while playing. OR doesn´t you have the same problems like me, JazzElectronicus??Attention: Some of these copy are listed under a false release number, and offered for 30.-Label:Polydor – 2612 037, Polydor – SDLP 3Format:2 × Vinyl, LP, Reissue, Translucent BlueCountry:UK
Ka Ka
Hands down my favorite album of all-time. Something like Electric Ladyland comes around once every 1000 years... Ridiculous production, amazing song writing, every emotion imaginable is induced when immersing yourself into this piece of art. I now know why Jimi had to die...
Keth Keth
Mine's weird too. Runout numbers match. Flotting Glossy cover's there . . . weird. Polydor 2657 012 Deluxe Double
Lahorns Gods Lahorns Gods
I think I might have a 4th pressing (mine has the set no. 2657-001). I'm kind of confused because etched on each vinyl in the wax matrix is "ELECTRIC 2657 001 A-1" then " " " " B-1" etc. Was the fourth pressing actually out in 1968?
Zyniam Zyniam
Hello, I'm confused too ! I have the same colored (red/blue) version with Matrix 2657 001 A-1 B1 C-1 D-1. I thinks it's a Re-Release with newer date, isn't it. Please give feedback !
Drelajurus Drelajurus
DAMNED !!!!I got this one ! with large sepia pictures and blue script !