The following first appeared in Jimpress #122. Note that this has been corrected and therefore slightly revised from that earlier published piece. The main difference / correction being that initially I had listed a third audio different Backtrack 10, that is not the case. There remains just two variants [from an audio content perspective] of Backtrack 10.
Why is it I feel a sense of trepidation whenever I take on any part of looking back on their history? In fairness, it’s not that they did things much, if anything differently than any other record label of the time. Maybe it’s simply that being [in relative terms] a short lived sub label at the fore of 60’s U.K. “rock / pop” history it simply has highlighted the less than organised aspect of record production, at least of the era!
The label, be it presented as the standard Track or Backtrack label is iconic, simple yet one that shouts a constant reminder of being the home to two of the 1960’s most enduring bands.
There is a lot to consider here, from source tapes through to choice of mix used per release. I’m unsure we will ever really have a full understanding of the how and whys of things but it is worth a look none the less, nothing better than a challenge!
The issue in question began a couple of decades ago with a ‘phone call [from Steve Elphick] that presented me with a variation to Backtrack 10 [Are You Experienced]. If only it had remained that simple with a single variation of that title. Fast track to 2019 and I decided to take a look at the full set of those Backtrack Records which meant ensuring I had copies of both the 1st and 2nd issues of the first run of the Backtrack series, volumes 1-5. Also I had to pick up a couple of the slightly later issued Allsorts series as they too carried material that would possibly impact on the outcome. I had to secure a copy of the Backtrack 10 variant without paying a king’s ransom! That chase and resultant outcome ended up presenting even more questions as well as more expense.
For this first part the focus is to present the differences between any pressings both visual and aural [though the aural difference for the moment will remain between simply the mono or stereo mixes]and ascertaining if there is any misleading information presented with any of the Backtrack series of records that involved Jimi Hendrix in any capacity. Of course this series of records also saw issue outside of the U.K. With different titles and under licence to different labels, one set of records [two different labels] are also presented here so as to give a broader perspective to the content of these records. This takes up part one, while part two [whenever that is completed] will focus more on what is in the grooves of these albums and by default will expand into a few of the Polydor [Germany and Japan] releases of Are You Experienced from the 1968-75 period along with Barclay Records 1st and 2nd pressing of this title. The thorny topic of source tape will be covered too.
As we will see only Backtrack 10 presents a mixed track mix selection across the three label variants but from listening, of all of the Backtrack series this threw up another interesting question as to the source master and that which would subsequently be utilised per release as it clearly varied for some of the mono mixes across the series. These listening sessions again presented me with another little conundrum, one that clearly does not sit well in some quarters. Questioning the stereo master and as to what was sent / taken to the USA for that bastardised release variation [on a theme] of Are You Experienced, certainly a query either unwelcomed or even not invited to the table, by some!
While on the topic of “unwelcome” aspects [whatever happened to keeping an open mind?] there will be comments in this article that many will disagree with, fine. The topic of what any given person hears does arise. If anyone not hearing things as I do, well that is more than acceptable but please, don’t deride what others do hear or indeed that other point that some folk apparently struggle with, that of what they have a preference to listen to. These issues though will mostly be of concern later as it is predominately confined to part 2 of this piece.
In for shilling, in for a pound!
Decimalisation, this happened on the 15thFebruary 1971 [just having passed the 50th anniversary]. In short, we dropped the shilling from our currency and shifted from 240 pennies to the pound to 100 pennies to the pound.
Tracks Backtrack series ideal was nothing more than budget albums, a way for fans to pick up familiar material sometimes as part of a two artist selection, a various artists album or in some cases a specific album from the very recent past. Track, Atlantic and Polydor Records all travelled this route and records can be found with that familiar “99” logo from each of these labels, see fig. 1 to 5 in the gallery below. . A logo presenting the cost of the LP in the new [yet to be] decimal currency. New “to be” for sure as these albums started to appear in 1970, close to a full year before the currency change occurred.
In 1967 when Are You Experienced made its bow into popular music a record would cost a hefty 32s/6p. Converted to the yet to come decimal value that would equate to £1.73. But records would cost more by 1970 and certainly by 1971 when decimalisation came into being, rising close to 40 shillings or £2 for a new LP. So these budget reissues were set at £1/10s or 99 pence in the upcoming “new” money of decimalisation.
In real terms these records remained expensive to buy, a similar story as to today with the so called “vinyl revival”! Of course, the more “popular” the artist the more this was reflected in the price. A various artist double LP from that year [1970], Island Records’ “Bumper” could be had for 29 shillings and 11 pence. And it was / is a cracking release! Featuring artists such as John and Beverley Martyn, Cat Stevens, Spooky Tooth, Blodwyn Pig, Mott The Hoople, Traffic, Free and Jethro Tull plus others of lesser stature.
The covers for the Backtrack series are budget and generic, with a difference between the initial first six volumes to those that would follow, taking the concept of “budget” to a new level. Also, those initial six volumes would have a variation as later issues of # 1-6 would drop the “99” [as in 99 pence] from the cover so as to allow retailers to price accordingly, considering inflation. The later Backtrack series [#7 onward] would carry “£1 pound” as part of its logo on the rear of the cover, as far as I am aware there are no variations to these covers as we see with the first six. Examples of front and rear logos and covers with and without the 99p image, fig:6 to 9.
Our focus here are the initial Backtrack volumes #1-5 as #6 has no Hendrix involvement and the slightly later issued Backtrack #7, #10 and #11. All of these released in 1970, while the Allsorts series, all saw release in 1974.
Rather than start with Backtrack #1 [as tempting as that is], Backtrack 10 Track Record 2407 010, [see fig: 10 and 11] has its own micro history that maybe should be considered as an opener. As per the mix content, we have two known variants and three variants that present an obvious visual indication [to the content]! Though for more visual clues we also need to inspect the labels closely.
Visually, the three variants appear as follows:
Mono rear cover / mono both labels
Mono rear cover / stereo both labels
Mono rear cover / mono [A side]-stereo [B side] labels
The latter listed visual variant is a real oddity and I have only come across one copy so far. The content of the record itself matches the all mono B side variant of the mono/stereo as will be seen. The odd label pairing shown fig. 12 and 13.
Regardless as to the tape source used per Backtrack 10 pressings the mix choice per record variant is a little confusing, not least in its reasoning. Presenting the same songs across the two variants yet selecting different mixes is a question indeed! This budget release appears to have been ultimately an attempt to put out a stereo version of the Are You Experienced LP in as close to stereo as was possible. Possible, now that is a question!? As we are aware, three of those original mixes only appear in mono so it was never going to be full on stereo regardless. Yet, how would you feel [pun intended] if you had bought this record on release in mono, only to find it now in complete stereo [as much as the mixes allow] for such a bargain price?
Just to note here, these mono only mixed tracks are the dropped three tracks from the U.S. iteration of this title.
The question arises as to why we get “Fire” appearing in stereo on one variation of the album and appearing in mono on another. That “Fire” had previously been made available in stereo as a 45r.p.m. issue in the U.K. on the Track Record label would suggest that there was little reason to exclude that as stereo from this release.
That 45 single of the stereo “Fire” from Track Record appeared on Friday 14th November 1969 b/w “The Burning Of The Midnight Lamp” [mono], see fig.14 and 15. It is obvious that Track had access to both this stereo mix and the mono mix. This 45r.p.m. appeared a full year before Backtrack 10 was released.
Likewise, the title track and “May This Be Love” also appear in different mixes across this group of records!
Despite the ultimate aim it very much looks like the initial idea was to have a complete mono B side, was that then re-thought on play back of a test pressing? There does appear to be a limited amount of this selection of mixes available. Adding “Fire” as stereo would not be considered an issue for release in the U.K. of course, so subsequently that mix selection appears to have been made and then was pressed up with the remaining B side as mono. There appears to be a few of these mono sides with “Fire” in stereo pressed up though limited in number against the mostly stereo copy. Clearly the thought process was changing as to how this BT10 release was to be ultimately presented as is clearly seen by these variant pressings.
What was the thinking going on here, maybe having an all [were possible] stereo record as a budget release was not something acceptable so close to that initial release of this title, what was after all just a little over three years earlier. In which case something had to give and if that is the case then that give being “3rd Stone From The Sun”. Here’s a track that never had a stereo release in the U.K. / Europe for many years. Clearly, Track executives had access to the AYE stereo mixes as seen with issued stereo tracks on this series of recordings from the outset from May, so it is very unlikely they never had access to “3rd Stone” as a stereo mix.
It very much appears that Polydor Records never had access to the stereo mixes, at least in the 60’s and into the first half of the following decade. It is difficult to be sure to any degree regard such a claim for Polydor as they did operate in a global market with critical mastering facility at a number of locations. It is easier to make the call that Polydor Germany did not have access to the stereo mixes at this juncture. It still leaves the question as to Polydor in London having these or knowledge of these tapes at Track Records.
What is patently obvious, Track Records seemingly were cutting this BT 10 “on the fly”; why else do we have these variations? So clearly Track is not drawing on previously mastered material for whatever tape source that was being utilised. This very much was a case of access to tapes at that specific point in time, as can be seen.
“Are You Experienced” had seen a stereo release on one of the May ’70 issued records, Backtrack #2 to be precise. Clearly more than limited access for Track Records regards the stereo mixes. But hey, was not the stereo mix, produced by Hendrix, Chandler and Kramer at Olympic, 23/ 24 April 1967 shipped to the USA, as we are led to believe that this was “their” tape! None of this material was exclusive to Warner / Reprise at any time, Polydor Records paid for all of the recording sessions at Olympic Studios and I’d hazard a guess they also covered costs at other studios for material included on this original released album once the Polydor account at Olympic was created. What did Reprise get to chop and change for their 1967 stereo release? A question to masticate on till part two of this article appears, not for the faint hearted of course.
Backtrack 10 Track Record 2407 010 [Sleeves carry MONO in all instances
Label logo MONO [BOTH] *STEREO [BOTH] V1 STEREO [BOTH] V2
FOXY LADY STEREO STEREO STEREO
MANIC DEPRESSION STEREO STEREO STEREO
RED HOUSE MONO MONO MONO
CAN YOU SEE ME MONO MONO MONO
LOVE OR CONFUSION STEREO STEREO STEREO
I DON'T LIVE TODAY STEREO STEREO STEREO
MAY THIS BE LOVE STEREO MONO STEREO
FIRE STEREO MONO STEREO
3RD STONE FROM THE SUN MONO MONO MONO
REMEMBER MONO MONO MONO
ARE YOU EXPERIENCED STEREO MONO STEREO
While the copy that carries the different labels per side has a mix selection that matches the stereo V1 listing, column two.
* As supplied to me.
As can be seen, there are just two mix variations for this album. Though those [two] variations are across three label variations. Whilst the third [mixed] variation is more of an anomaly we do show that the all stereo label version of this album can have one or two of the mix selection on the B side.
As we are fully aware, well you would be if you read the Track Electric Ladyland shenanigans of the labelling / printers in Jimpress #119, communication between the printers and Track was maybe a little wayward or maybe that was simply Track being unsure of what they were really issuing at any given point of contact with the printers! In this case, that all of the covers carry “MONO” would suggest the stereo thinking was really an afterthought rather than the idea from the outset or was it that they realised after that initial idea to bring this title to a budget release that they had access to more than just the mono mixes? For sure, Track Records would not have gone to the trouble or expense as to have stereo copies supplied to them from the USA for this budget release.
One thing I’m sure of, Track ran a program of waste not want not. Nothing was going to be scrapped so issuing these oddities, be they pressing differences or printer differences was not an option, again as can be seen with the Electric Ladyland sleeves. They had it therefore it was not going to waste, as any waste simply drove up release /production costs.
There is a visual clue on the stereo labels that indicates the mix selection between the all mono and mixed B side. That is noted in the type lay out, examples are shown in Fig. 16 and 17.
As can be seen the line layout between those pair of labels differs somewhat, with Fig.16 showing the side indication text lower and the credit spacing more compressed between lines. This being the label with the all mono B side.
I bought all of my Backtrack copies as second hand records so it is to be expected that the inner sleeves may not /do not match with the known dates for the series. We have three dates to consider, May 1970, November 1970 and of course the date for the issue of the none “99” sleeves. With having fixed release months for two helps of course, so we should be able to match inner dates with these two. Of course, those shown here may well not be the original inners but they do carry the correct date so at least indicate what you should be looking for.
The first round of the series from May show inners with dates as 0470 as seen with the BT 3 [“99”] example and for from the later November 1970 issued records, those of #7 onward. These should read as 1170, as seen with the BT #10 and #11 examples.
That leaves the third date, while I caution against simply applying inner sleeve dates to release date as the only method for an accurate month and year of issue indicator, it can of course help. With these the two examples while displaying two different types of inner they do show what I believe is the release month for the none “99” logo Backtrack #1-#6. That issue date was just after decimalisation and these inners should carry the April 1971 date as 0471.
Backtrack volumes #1-6 saw release on 15 May 1970 and the second round of releases including Backtrack #7, #10 and #11 appearing in shops in November of that year. We do get a clear distinction with these releases too, by way of cover design. The initial May releases all had the same graphics, see picture right, simply with a differing colour hue applied. While from Backtrack #7 onward things got rather dull with plain sleeves front and rear, again each carried its own colour shade.
Some of the following releases present misleading information on the rear cover when it comes to indicating mix, stereo or mono, per given track. Where we get that mix indication information on the label for any of the content it does appear to be correct. It does appear to be a question of italics on the rear covers!
Backtrack volume 1: Track Record 2407 001
See fig 1 - 4
Here we start the series with a solid compilation of Track artists, included with Hendrix are The Who, these pair would go onto become the backbone of this series one way or another. Along with this pair we also have Marsha Hunt, Arthur Brown, John’s Children, Eire Apparent and the lesser known [at least these days] Andy Ellison.
The Hendrix content here includes; Side A “Hey Joe” and ”All Along The Watchtower”, Side B “The Wind Cries Mary”.
As noted, the italic notation indicating the type of mix is somewhat off on some of these records, factor in that it really is not that clear even when correctly applied.
For this volume the claim is correct in that only “Hey Joe” is presented in mono. “Hey Joe” and “The Wind Cries Mary” would feature on the U.S iterations of the Are You Experienced album.
Backtrack volume 2: Track Record 2407 002
See fig. 5 - 9
Again a various artist collection with just two [very perennial] Hendrix tracks included. Here with Jimi and Co. and the Who they are joined by Marsha Hunt, John’s Children and Arthur Brown once again with the addition of Fairport Convention, Thunderclap Newmanand Cherry Smash.
Both “Purple Haze” from side A and “Let Me Light Your Fire” on the B side are correctly called as stereo and mono respectively.
Backtrack volume 3: Track Record 2407 003
See fig. 10 - 13
This is the first of the two artist paired sides as opposed to the multi artist releases. Here we have The Who as side A and The Jimi Hendrix Experience making up the B side. Six tracks with our first repeated song title in “Hey Joe” and our first incorrect mix claim on the rear sleeve.
The entire album is claimed to be stereo, which in the case of side B, the Hendrix side there are three tracks clearly presented in mono. While “Hey Joe” is correctly called as stereo [as opposed to the earlier mono mix on Backtrack 1] the following track “I Don’t Live Today” is in mono. With “Purple Haze” in stereo, “Can You See Me” is mono and “The Wind Cries Mary” again stereo we also conclude here with a mono “Stone Free”.
Backtrack volume 4: Track Record 2407 004
See fig. 14 - 17
Following on from 3 with Volume 4 we again get The Who / The Jimi Hendrix Experience pairing and as with the previous volume, Hendrix appears across side B. The entire side is claimed to be stereo, again an incorrect call on one of the half dozen JHE tracks!
“(The) Burning Of The Midnight Lamp”, “Are You Experienced” and “If Six Was Nine” are presented in stereo, the following “Remember” is of course mono. “Gypsy Eyes” and “All Along The Watchtower” which conclude the side are both stereo.
Backtrack volume 5: Track Record 2407 005
See fig. 18 - 21
The third and final The Who/ The Jimi Hendrix Experience pairing brings us another half dozen tracks to side B. With the sleeve calling all stereo again we find this to be incorrect with two of the selection presenting mono mixes. “Rainy Day, Dream Away” opens with the obvious stereo mix followed by a mono mixes of “Manic Depression” and “Love Or Confusion”. The remaining three tracks that conclude the side are all presented in stereo, “Come On”, “Spanish Castle Magic” and “Voodoo Chile (Slight Return)”.
Enter the even more boring sleeves and yet they are in their own way quite iconic! As with the smoking child sleeves these can be spotted from a million miles away, as if they were right here in your picture frame, very distinctive when shopping in one of those old fashioned things, a record store!
We also have a change here with the manner and style of the call on the stereo or mono mix choice. The sleeves omit any mention or claim. That detail is now on the label with * denoting if a track is mono. It is pleasing to report that both of the Hendrix mono tracks do have the * denoted on the following release.
Backtrack volume 7: Track Record 2407 007
See fig. 1 - 4
A return to a various artist selection with three Hendrix tracks albeit one with Curtis Knight! Marsha Hunt, Bent Frame, The Who, Thunderclap Newman and the Crazy World Of Arthur Brown make up the rest of the artists on this release.
Side A presents the Curtis Knight / Jimi Hendrix “How Would You Feel” in mono. Side B brings us two “real” Jimi tracks by way of “Long Hot Summer Night” in stereo and “The Stars That Play With Laughing Sam’s Dice” here being the mono mix.
Backtrack volume 11: Track Record 2407 011
See fig. 5 - 8
Axis. Bold As Love by any other name, this is the version that Experience Hendrix appear to shovel under the carpet, I’m unsure as to why there never seems to have been any real comment from them regard this set of officially released stereo mixes, though it does open up the door to a room full of speculation! Jimpress #113 [Taxis. Bold As Love] covered the alternate tapes, as much my opinion as factual as to where these alternate mixes originate from. Nothing has changed from my perspective; nothing has been brought forward to offer a reasonable counter to my thinking.
These alternate mixes “most likely” are the so called lost mixes. Some of them in fact seemingly work better than those that went on to replace them. “Up From The Skies” on Backtrack 11 does not pan Jimi’s vocal [to the left] as much, that plays out so much easier for the listener. While it’s all open to preference it should be noted that there is a hell of a lot more by way of differences in these mixes than that presented in “From The Ben Franklin Studios” publications. From minor to major differences between the officially released mixes, it is worthy spending the time exploring these differences.
Why Experience Hendrix appear to shy away from these “alternate” stereo “Axis. Bold As Love” mixes may well lay with the fact that, at least as far as we are aware, they have never managed to turn up what Polydor hold / held tape wise. In fact by the same token, maybe this is why we seem to be stuck with the mono “Are You Experienced” mixes that we were dealt with via Analogue Productions recent first time to digital release of the album in that specific mix!
There appears to be no alternate track selection involved with this [BT11 / ABAL] record on Backtrack from Track unlike that of the Backtrack 10, at least none has ever surfaced to date. Should we be surprised or not with this, for me it is a little bit of a conundrum! It opens questions regard both Axis. Bold As Love and Are You Experienced in that, did Track have access to the same tapes as used in 1967, be it mono or stereo for these 1970 pressings? Or in fact did Track have to access different tapes altogether and if they did, is it likely they [Track] accessed the ’70 tapes from Polydor Records for both titles. The fact is Track Record’s original stereo release of Axis, from 1967 had the more openly recognised mixes, so why are we now [in 1970] getting a whole new set from that label, a set of stereo mixes that only Polydor put out at the time!
Was it that the “master” tapes for the original STEREO Track Record release was now in the USA? If so then access to the stereo mixes for Axis would be easier [and quicker] through Polydor than Warner / Reprise. While the mixes for Backtrack 10, Are You Experienced, was both more complicated and convoluted in its construction, here with BT #11 it was straight forward. Well as straight forward as anything Track Records undertook from a Hendrix perspective!
As can be seen, there appears to have been little problem in sourcing stereo mixes for Backtrack 10 [AYE] a little over three years after the titles public bow in the U.K. Likewise, within that same timespan up cropped the mono mixes in improved sound, magic or design? My money is on neither, simply a lot of shenanigans on the part of the management. Yet I doubt these shenanigans were deliberate. Something to consider in part 2 along with a number of other outstanding questions, plus let’s not shy away from questioning what we already “know”, again not for the faint hearted or the closed mind come to that!
What is clear, this mix and match approach had a large pallet to draw from, not just in mono or stereo but also from tape source. Here in 1970 these records re-issue [BT 10 and 11] was likely free of Chandler and Jeffries controlling hand, that in its self may be part of the lack of clear direction being shown with this pair of 1970 records as well as across the whole series and what was to follow a little later in the decade.
While Backtrack 10 and 11 saw release just a few short weeks after Jimi’s passing they were clearly planned and constructed during his lifetime. Again, these re-issues had no involvement from Hendrix, these records reissue were clearly the idea of and opportunity taken on by the record label(s), Track and Polydor.
That about covers the releases on the Backtrack label that have a Hendrix link, at least for the U.K. It should be noted that these titles appeared outside of “Great Britain”, from Greece [for BT #3-5] to New Zealand / Australia who put out all five of the Backtrack series [BT #1-5] either via the Polydor or Music For Leisure labels. I do not have any of the Greek pressings to reference but those from New Zealand do turn up some interesting similarities as well as at least one oddity.
The five Backtrack records [#1-5] appear as Backtrack 1 SP 137 and Backtrack 2 167 [Music For Leisure] in New Zealand [Australia has the catalogue numbers as K130 and K142 respectively and saw distributed from Phonogram] and the Backtrack #3-5 [inclusive] had new titles [now Who/ Hendrix #1-3] and appeared on Polydor Records as the “Pyramid Series”.
These first two records issued in New Zealand with distribution by Music For Leisure have both records clearly displaying “A “Track” recording” on the rear sleeve. These pair of records display front and rear a cropped shot of Hendrix found more commonly in the Track and Polydor “Electric Ladyland” releases inner gatefold. With the Who / Hendrix #s 1-3 these appeared in New Zealand, there is no reference to Australia on these three records. All are generally touted as being released in 1970 but there is nothing to indicate year of release on any of these records.
Fig. 9 to 28 are images of the New Zealand pressings, BT 1 and 2 / BT 3to 5 Who/ Hendrix series equivalents.
The Allsorts series brought us to an end of these Backtrack issued records, at least from the perspective of any Hendrix content.
In 1973, the Backtrack label appeared again with a series of compilation albums gathered under the heading “Allsorts”. Basically that summed the releases up quite succinctly; garnering the name from a popular sweet of the time in the U.K. With this series of four records we get repeated artist content from earlier in the Backtrack series plus artists that apparently were not part of the Track Record stable!
Golden Earring and Thunderclap Newman [Track] appear with The Move, Procol Harem, Speedy Keen and Joe Cocker across the three Allsorts titles that concern us.
Liquorice Allsorts by the manufacturer Bassett was the odd inspiration for the series title. Founded in 1899 the company utilised slogans such as “All sorts love Allsorts” and “Bassett’s make ‘em best” during the 1970’s, this the decade in which Track Record utilised the Backtrack logo. So of the four candy based named releases, Liquorice Allsorts, Aniseed Allsorts, Peppermint Allsorts and Coconut Allsortswe need to concern ourselves with the last three as Liquorice had no Hendrix content. These records all came with braille on the rear sleeve; in fact unless you could read braille you would be unaware of the Peppermint title as it does not appear on the cover in text, that title only apparent when checking the label.
The braille extended past the album title to include the track listing on the rear cover of each release.
These “allsorts” selection was compiled by Mike Shaw and the cover concept art based on the popular sweet of the day by Butch & Wally, each rear cover presents us with that information.
Aniseed Allsorts Track Record 2409 205
See fig 1 - 4
We have one track per side from the Jimi Hendrix Experience with side A opening with “Gypsy Eyes” and the flip side closing with “Voodoo Chile (Slight Return)”. The title is presented a little oddly on the rear sleeve as (Slight Return) comes after the artist credit rather than as part of the track title! Of course, these are the stereo mixes and presented as such.
Peppermint Allsorts Track Record 2409 206
See fig. 5 - 8
Again just the two Hendrix tracks on this title, side A presents the stereo “Purple Haze” and side B ends with “All Along The Watchtower”, obviously in stereo.
Coconut Allsorts Track Record 2409 207 See fig 9 - 12
Keeping to the two tracks balance, here we have “Remember” in mono. This is the only Hendrix title of this series to appear in a mono mix. With both the label and rear cover indicating [via the *] mix selection it is then odd to find that both label and sleeve are erroneous with the indication in that they both omit to inform us of this mono selection for “Remember”. Side B brings us the stereo “Hey Joe”.
Please keep in mind, as this site does not allow certain symbols, the inverted triangle found in the dead wax is represented by >
Backtrack #’s 10 and 11 I have yet to see appear as direct pressings outside of the U.K. or indeed even being repressed within the U.K.
The matrix details are all similar, even across to the New Zealand pressings with one notable exception. They are all stamped marks, again with that one exception. It does appear that the Backtrack 1 from New Zealand had metal work made elsewhere, begging the questions as to what was the source and where was it cut?
Track Records Backtrack One 2407 001
A: 2407001 A// 1>420 11 1
B: 2407001 B// 1>420 11 [part stamped 8]
The exception is this initial New Zealand release as it has the matrix hand etched rather than that of the “regular” stamped detail:
Music for Leisure Backtrack 1 SP137
A: SP 137 A 418 700 [squiggle line]
B: SP 137 B 419 700
Track Records Backtrack Two 2407 002
A: 2407002 A// 2>420 1 1 1
B: 2407002 B// 2>420 1 1 [part stamped 2]
A: 2407002 A// 2>420 1 1 1
B: 2407002 B// 2>420 1 1 [part stamped 8]
Music For Leisure Backtrack 2 167
A: 2407002 A// 2 >420 12 04
B: 2407002 B// 3 >420 11 04
Track Records Backtrack Three 2407 003
A: 2407003 A//1>420 11 1
B: 2407003 B//1>420 11 3
A: 2407003 A//1>420 11 1
B: 2407003 B//1>420 11 2
A: 2407003 A//1>420 1 1 1 [PART STAMPED 3 or 5]
B: 2407003 B//1>420 13 7[0?] 2 1
A: 2407003 A//1>420 1 1 12
B: 2407003 B//1>420 11 1 4
Polydor 2484 008 Who/ Hendrix #1
A: 2407003 A//1> 420 11
B: 2407003 B//1> 420 12
Track Records Backtrack Four 2407 004
A: 2407004 A//1>420 11 9
B: 2407004 B//1>420 119
A: 2407004 A//1>420 1.1 1 0
B: 2407004 B//1>420 11 7
Polydor 2484 009 Who/ Hendrix #2
A: 2407004 A//1>420 1[part stamped 2]
B: 2407004 B//1>420 1[part stamped 2]
Track Records Backtrack Five 2407 005
A: 2407005 A//1>420 1 [reversed 2] [part stamped 8]
B: 2407005 B//1>420 11 11
A: 2407005 A//1>420 1 [inverted 5]] 5
B: 2407005 B//1>420 11 6
A: 2407005 A//1>420 1 [inverted 5] 7
B: 2407005 B//1>420 11 9
Polydor 2484 010 Who/Hendrix #3
A: 2407005 A//1>420 13
B: 2407005 B//1>420 1[possibly 9]
Track Records Backtrack Seven 2407 007
A: 2407007 A1 11 5
B: 2407007 B >1 11
A: 2407007 A1 11 7
B: 2407007 B >1 111
Track Records Backtrack Ten 2407 010
The third shown here is the mono/stereo label copy [an all mono B side] and is the one that shows a slight variant in the run out.
A: [2407010 hand etched] 612001 A//2>420 11 3
B: 2407010 B//2>420 11 5
A: [2407010hand etched] 612001 A//2 >420 11 11
B: 2407010 B//2 >420 11 1
A: [2407010 hand etched] 612001 A2// > 420 11 9
B: [2407010 hand etched] 612001 B [crossed out A] > 11 11 1
Track Records Backtrack Eleven 2407 011
A: 2407011 A>1 11 5
B: 2407011 B>1 11 6
A: 2407011 A>1 11 5
B: 2407011 B>1 11 6
The 6 was much further round the run out, almost at the start of the matrix detail on one copy!
For further reading and interest, I’ll point out that Tim Greenhall penned an article for Record Collector, “The House That Track Built” in which he explores the releases covered here as part of an over view of the Track Record label, Record Collector #429 July 2014.
I’d like to extend my thanks to Ad Bastiaanssen, Steve Elphick, Bill Johnson, Steve Rodham.
A note: Thinking ahead to part 2, here is something to consider. Presented here in a very concise manner of course are some interesting points and notable dates.
Barclay Records was bought by Seagram in 1978.
1995 Seagram acquired most of MCA, 80%.
MCA renamed as Universal Studios and its music division named, Universal Music Group. Seagram bought Polygram and merged it with UMG in 1999.
Polygram of course covers the Polydor label.
1996 Experience Hendrix began life.
