Ultra High Quality Records Axis. Bold as Love 45rpm

Axis. Bold as Love. Stereo 198029892819 and  Mono 198029892918 Ultra High Quality Records. Released under license from Experience Hendrix. Limited editions.

A return to the title that kick started the Analogue Productions [AP] series of Ultra High Quality Records [UHQR]. These pair of mixes, both stereo and mono first appeared in 2019 cut at the standard speed of 331/3. While these latest pressings are again issued with the same numbers, 0001 and 0002, they display a bound morpheme, the speed of 45rpm. 

As per all of the UHQR line, these are limited numbered copies. Stereo is set at 4500 and mono max's out at 2500. The set release date of the Friday 6th February 2026 was jumped somewhat and orders began being processed for shipping on the 3rd. 

A title originally released November 24, 1967, the title remains as popular today demonstrating the draw of the Jimi Hendrix Experience and how there is a market for these reissues alongside of new official material.

While we do get genuinely innovative releases from Experience Hendrix, their tendency to be more reliant upon re-branding, re-packaging and occasional tweaking of material for re-issue is all too readily the norm for the company. There are those who feel this pair of releases are simply that, a money making re-issue. I'd disagree on that point, if only on the basis that this title along with Are You Experienced, Electric Ladyland and Band of Gypsys should always be to the fore of the catalogue and always be available. While I'd go further and say, the UHQR treatment arguably offers these titles the best platform for this record to be heard. For me, my disappointment is the fact that both Ladyland and the Gypsys  have yet to be given this treatment. You could argue the case for the Are You Experienced mono, that being the original long playing record released by the Jimi Hendrix Experience in the UK, May 12, 1967. 

Of course, the AP line of the UHQR only began in 2018/19 so it wouldn't do with a top heavy Hendrix theme. Though the excellent series has so far produced seven Steely Dan titles [all at 45rpm] and currently expanding the Bob Marley series from four to a total of 10 [five titles presented in both 33 and 45 rpm]. It's currently a healthy market for the more upmarket reissue's, one that should be taken advantage of. While noting a healthy sales market,there are a number of Hendrix recordings and filmed concerts that could be taking advantage of that bigger sales platform.

This is a title that has meant a lot to me over the years. I know it is so well loved and revered by so many I took time to garner a few comments from some of the more active fans of Jimi and the band. While I do enjoy the short sound-bite comments from the "stars", those who made it in the business and found influence etc. through Jimi's music, a lot of that felt little more than promotion of a product. For me it is all about how the man or woman on the street find this album. I've included some fan comments [credited] into the following review. These mean more somehow, without any disrespect toward anyone else, these comments feel more real, very visceral. 

For me, well as a mono household up to September 8, 1973, all of my music listening would have been exclusively mono, with some exceptions albeit outside of my home. One such exception and the early introduction to stereo would be the visits to Rushworth and Dreaper1 in the city center here in Liverpool. As with all of us younger generation in the 60's, as easily and quickly that stereo drew us in we were equally as quick to dismiss mono in an all too similar fashion.

It would be many years before I returned to the mono mix of this album and realized, even when shortcut, this mix had more positives than it had been given credit, resulting in my preference for that mono mix over that of the stereo(s). Expressing that as a preference has led to some disgruntled and disparaging comments on various forums, it seems some feel it's sin to have a preference that does not align with their own! 

Over a period of a decade or so, I played around with set ups, looking for the best option for mono playback, a lot of that thinking stemmed from that Classic Record mono reissue of ABAL. Indeed I had hoped to find that the  route back to mono fuss free and without expense. That would not be the case, the reality is, for mono playback you require the correct equipment, with that correct equipment being a true mono cartridge.  You can shortcut to mono with ease but that playback is very much compromised. Maybe that compromise is not heard until it's removed and removed fully2.  While there are fairly priced options with true mono cartridges, to avoid the hassle of swapping over from stereo to mono listening there comes the outlay for a second deck or arm board instillation on the deck in use. While off putting for some and clearly not an option for others, the benefits are certainly rewarding.

All said and done,  Axis. Bold as Love is no ordinary record, like a select few across the years, here we have an album of grouped songs that are idealized for stereo playback and I have to say, I love that stereo playback, I love the album, irrespective of mix.

Over many years I had been drawn to Are You Experienced and later Electric Ladyland as my personal favorite Hendrix studio release. As a youth and early adulthood, Axis was never my favorite Experience album. Initially preferring the more hard edge pop of AYE and then the spacey blues of Ladyland.  With age comes a little wisdom and so it was I realized just how good the the jazzy pop based Axis is, so it is that, for a good while now, Axis. Bold as Love has been the album for me, my Hendrix drop in album with one copy or another never far from the turntable. From the original line up and aligning with the period that had the band at their peak,  both individually and as that unit of the Jimi Hendrix Experience. Chas Chandler should be afforded the credit for this unity and also shaping and directing  Hendrix's creative output. Couple that with Mike Jeffery's business prowess and his forging of openings and contacts for the band and the unit of "team Hendrix" was a formidable one by late 1967. Conquering both the charts and the live circuit before the band took on America in earnest.

Mikkel Bach-Rasmussen: "Axis is the album I always end up picking out for play. It's my favorite Hendrix record. From start to finish, this album takes you away on a journey of raw power and gentle love."

Jim Hawthorn: "It [Axis. Bold as Love] means the world to me. Such a beautifully crafted album which instantly expanded Jimi's musical and lyrical universe."

Frank Moriarty: “Axis: Bold as Love: the album that captures the epitome of the Jimi Hendrix Experience as a band.

On Are You Experienced the foundation was still under construction, and by Electric Ladyland the studio itself had become the dominant instrument of the already-splintering group. Axis, however, presents a road-tested band, yet one still flush with the excitement of discovering their potential. By now Jimi, Noel, and Mitch knew their strengths and set about framing them in the most powerful way on this second album.

The most obvious characteristic of Axis is the full force of the band: the heavy crush of “Spanish Castle Magic,” the irresistible surge of “You Got Me Floatin’,” the bump and grind of “Little Miss Lover.” And don’t forget “She’s So Fine,” a trifle of a song that packs the full punch of The Who’s toughest material, Mitch Mitchell giving Keith Moon a run for his money in the realm of manic percussion.

But Mitchell’s approach on “Up from the Skies” – a greasy shuffle lifted straight from the organ-jazz movement of cats like Jimmy Smith, Shirley Scott, Dr. Lonnie Smith, and Jimmy McGriff – reveals another secret weapon of Axis: twists and turns that add potent spice throughout the album. The unexpected demise of the narrator in “Wait Until Tomorrow,” the wistfully beautiful yearning of “Little Wing,” the rising tide of “One Rainy Wish.” And in a pop music world often characterized by contrived happy endings, “Castles Made of Sand” offers up three tragedies in three minutes, a dramatic mood shift that emerged from the ascension of Jimi’s lyrical talents.

The album’s climax, “Bold as Love,” is solidly built on the imaginative visions Jimi shares, providing colors with vivid personalities – or is it the other way around? Soon focus shifts entirely to the magnificent instrumental passage that seems to find its conclusion – just before a sonic reincarnation leads to one more journey that does not end, the sounds simply fading over the horizon.

Each listen to Axis: Bold as Love becomes a remarkable encounter, vibrant and revealing, eternally exciting and enveloping.

You cannot ask more of a collection of music.”

David Summers: "I don't think Jimi ever produced a more concise distillation of his genius than Axis. Bold as Love. Maybe it doesn't have quite the visceral passion of his greatest concert performances or the relentless improvisation and experimentation of some of his later studio recordings, but for me, Axis is a near perfect encapsulation of the sheer range of his artistry. It is my go to album if I want to sit back, relax for 40 minutes and remind myself once again why I fell in love with Jimi and his music more than fifty years ago."

Larry Yelen: "Upon release, my recollection is that while I liked it immediately, I recognised what I would characterize as a mellowing of a number of the compositions while continuing to develop his overall “sound.” Whereas  Are You Experienced certainly mixed songs like “The wind cries Mary” and “Hey Joe” with extremely aggressive rock, blues and psychedelia, Axis wasn’t as “wild” nor nearly as transformative a musical statement as AYE and will forever feel to me like the perfect middle album by the original Experience line-up bridging AYE and Electric Ladyland."

Kees de Lange: I got hooked on Jimi on September 18, 1970. For my 17th birthday anniversary the next year, I asked for RUX and ABAL as presents. They had just appeared as cheap Dutch re-pressings. I liked RUX the most. For ABAL, I remember well the order in which I got warmed up. I immediately fell for Little Wing and Up From The Skies. For the latter, I could recite the lyrics from memory quite quickly. I especially liked Mitch's bass drum pattern at the end.

The next songs were Bold As Love, Spanish Castle Magic, Little Miss Lover, and You Got Me Floating. It didn't take me very long to appreciate the album as a whole, especially as a stereo record. RUX was only available in fake stereo, with the high end on the left and the bottom end on the right, for many years on Polydor. Mono was off the market at the time." 

Jeff Dorman: I received Axis in 1968.  I was in Oahu, Hawaii, where my father was stationed in the Air Force.  I was 12 years old and had recently picked up the first album at the base exchange.   I had first heard “Purple Haze” and “Fire” on KPOI Underground Radio, late-night on the weekends, and those tracks, coupled with the wild and colourful LP cover, had moved it to the top of my must-have LP list.  It was a real prize.

Then came Axis, and it was a beautiful departure from the first LP.  The fold-open cover and image of Jimi was a revelation and very entertaining.  “Little Wing”, “Castles Made of Sand”, and “One Rainy Wish” were so different from anything (except “The Wind Cried Mary”) on the first LP.  And the title track closer was a perfect mix of Jimi’s beautiful, poetic lyrics and his intense guitar mastery.  

The album remains, to this day, my ‘desert island pick’ LP.  And if there were only one song that I could ever listen to for eternity, it would be the title track, “Bold As Love”.  

My parents gave me Electric Ladyland (and The Beatles' White Album) that Christmas, a couple of months after their release.  It was the next chapter in Jimi’s evolution, with “1983... (A Merman I Should Turn to Be)" providing me the most poetic (and political, I soon would come to understand ) moment.  

To this day, Axis stands as Jimi’s most beautiful and revealing statement.   And the one album that has meant the most to me over the years."

Bob Elliott: "What can I say. Axis was the 4th LP that I ever bought. The first was Are You Experienced followed by Sgt. Peppers and Disraeli Gears. Not a bad way to start a record collection for a 12 year old :-) Axis is a great record and a great recording. I still get the same thrill listening to it today as I did when I first heard it almost 60 years ago."

Ken Voss:  "To fully comprehend the sonic integrity of Axis it was essential for me to listen to it on headphones to fully immerse myself into Jimi's music and production techniques."

Jeff Mason: "Regarding Axis, I did not have the benefit of hearing it when it was brand new. After hearing some of those transcription discs of full BBC broadcasts, I'm sure if I'd been around in late '67, I'd have been blown away by how different it was from some of the more "typical" pop music out at the time. Having come to it many years after the original release, I've recently come to appreciate its genius more thanks in particular to the Atmos mix. To me, it's all about growth and experimentation. The first album, which is incredible to me, sounds more like a collection of awesome singles at time, especially when it comes to the "hits" [Note. Jeff references the US iteration of AYE]. The song Are You Experienced, one of the last recordings made for that album, points the way to where Jimi was headed in terms of creativity in the studio.  That song, along with "Third Stone..." were the more experimental tunes for me. The lone "delicate" track was "The Wind Cries Mary".

With Axis, Jimi was settled into his new lifestyle in England and had a specific block of time booked at a single studio with which to work. The overall LP has a more consistent sound signature throughout as a result.  For me, it was a larger canvas on which Jimi was allowed to create, and I feel the individual songs on the album sound less piecemeal in design and more "cut from the same cloth" in relation to each other. Having Kramer there from day one probably helped with that and Chas' knack for getting tight, concise recordings of the band without doing endless takes was likely an essential component. 

What we get is a beautiful woven tapestry of sound.  Experimentation and science fiction (Exp - Up From The Skies) are masterfully juxtaposed next to the heaviness of Spanish Castle Magic and the dreaminess of "Little Wing" and "One Rainy Wish". To me, it's the sound of an artist who was finally able to be creative without some of the earlier constraints necessitated by time and money. To me, more than the other LP's released in his lifetime, it's a coherent sonic vision/story. The other 2 LP's may have higher highs, but Axis takes you on a journey full of emotional peaks and valleys, and you come out the other side in awe. 

The Experience themselves were perhaps at their tightest in the studio. Total frustration had not yet set in as it would during the making of EL. It's the sound of a band still on their way up, firing on all cylinders, before the relentless touring, partying and hangers on had fully gotten their claws into their everyday and creative lives. To me, Axis sounds lighter, tighter; full of energy and optimism as a result, while still showing they could rock hard (SCM in particular) if they wanted to."

Steve Elphick: "Sometimes this album is what I consider to be Jimi’s finest release, coming hard on the heels of AYE which is often seen as one of the finest debut albums of all time. A real diverse collection of very different styles of music, and one in which I consider Jimi further honed his songwriting skills - from the jazzy, bouncing, ‘Up From The Skies’, the pounding and mysterious ‘If 6 Was 9’, to the sublimely beautiful ‘Little Wing’.

Jimi’s wonderful development as an excellent lyricist is also evident on this album particularly on Castles Made Of Sand. - the line “…surprise attack killed him in his sleep that night”, is a fabulous (and funny to me) twist within the song.

Also Eddie Kramer’s production skills were truly allowed so much more freedom on Axis. For its time, nearly 60 years ago, with fairly limited equipment he created what I consider to be a very powerful sound….including great use of echo and reverb, masses of channel panning and phasing." 

Ken Sinyard: "Axis Bold as Love was the first album I bought of Jimi, from my Saturday job wages in the first week it came out, having heard 'Purple Haze' a month or so earlier, (which he worked on down in Folkestone, as it was much longer, or so I am told, at the same time as Fire'  at Noel's mothers house).

I played it on my 'Stereo', which was a record player with a separate speaker.

Little did I know I would play this album, to destruction...... or at least every night when doing my homework, along with Led zeppelin 1, and  Creams Wheels of Fire, throughout my early years, stacking the 3  LP's, which of course wrecked them! Only when Electric Ladyland came along, did it have only a weekly outing. For me, Axis sits second only to Jimi's masterpiece, Electric Ladyland"

While not every Hendrix fan comes to Axis with the same mind set.

Olaf Kockmeyer: “To me AYE was always more of a favourite to me than Axis, because I think it is a bit rougher and less polished than ABAL, and it has not so many favourite songs for me than AYE. But: the cool and jazzy Up From The Skies, the indescribable beauty of Little Wing, the finesse of CMOS and Bold As Love (incl. the outtake from the velvet box set) with it's great dramatic guitar work stand out for me. When I hear the Bold As Love outtake in my car (loud), I always hear it a second time again. To be honest I never really liked She's So Fine and You Got Me Floating or Little Miss Lover. I don't think it is a coincidence that only 2 songs made it into his live set list (LW and SCM). I hope this is not sounding too negative; it is a fantastic album. And I never really understood the India-related sleeve art, but: the French and the Japanese ABAL first issue sleeve art is to me among, let's say, the top five cover art works of Hendrix sleeves. 

Johan Van Wieren: "My initial exposure was through the adverts for Cornerstones. That led to Cry of Love. I Got ELL, AYE and Monterey before i ever was exposed to ABAL. 

To be totally honest when I then got ABAL i didn’t 'vibe' with it as much as any of the ones mentioned before, hard for me to give a clear reason for that now but that’s how it was. Later on when the tape trading days (and UV/JP) started for me my curiosity was mainly the Live audience material, no matter the sound quality they were gems to me

Now this year I’ll be 50 and appreciate ABAL and can somewhat see it in the timeline of Jimi's career, it still is my least favorite original album."

Could Hendrix have achieved quite what this album represents with any other pair of musicians other than Noel and Mitch? I have a strong hunch he wouldn't.

The album itself, made in Britain by a transatlantic trio with the support and input of a South African and a couple of English blokes. Yet fully immersed in the musical roots of American blues and Jimi's own lifetime experiences. While it remains impossible to understand the lack of live performance of material from this album, there is a degree of studio trickery in the making of Axis, that may well have influenced that call. The introduction of flanging and backward guitar, the latter never quite presented better than how it appears on both the UHQR stereo and mono pressings.

With Little Wing and Spanish Castle Magic being the only two tracks to become staples to a live set. While Little Miss Lover also made an outing at the Maple Leaf gig in Canada [as part of a medley] captured on tape, there are numerous fan reports of this song being part of a number of shows. Oddly, the recent Bold as Love box set omitted the BBC "live" recording from its running order. An odd call given the nature of that set. An even rarer to live performance would be Bold as Love. With just the single capture and no supported claims for any other gig, we have the single capture of the title track from The Scene Club, late February 1968.

This album is very much a heart on the sleeve collection of songs, some of that intimacy is dissolved through the stereo presentation, for me at least. Keep in mind, these  comments are presented prior to listening to either of the 45rpm pressings. The raw and full power of Hendrix the song writer, the musician is more accessible in the mono mix. Presented in mono we get behind the all too upfront smoke  screen of the moving image and the album is delivered in a far more powerful manner once that illusion is removed. Clearly, the album is created with the help of and heavily influenced through, the recreational drugs of the time. With the listener seemingly being encouraged to embrace that same state of conscience for stereo playback. All fits nicely with that illusion that stereo has to offer.

Despite claims to the contrary, this album was not "rush released" in the UK. There was always a dead line being worked to and the Christmas market was a planned aim, at least from Polydor's perspective. That Jimi claims to have lost part of the recording in a taxi is more than questionable, see https://jmhvinyl.co.uk/articles-and-comment for the questioning of that claim and oft repeated and a various array of takes of the story. If anything was rushed that would be the final mix of the whole album [not a single side as would be expected if only one reel was lost]. That other stereo mix, the first one undertaken by Hendrix, Chandler and Kramer appears to have been utilized by Polydor Records. Track Records and Warner / Reprise would use the remixed stereo and the Polydor group would use the initial stereo mix globally with exception to North America.

It's sad that there is a lack of recognition for that initial stereo mix, a point that seems to be side stepped far too often. More of a concern is an understanding as to if Experience Hendrix have yet to acquire that master mix tape. The lack of comment may suggest not, though the lack of comment may be for a consideration otherwise. In a world of ownership, license and litigation it may well be that it is too problematic to bother with any consideration of or for this alternate stereo mix. 

That initial stereo mix is stated as being undertaken on October 31, 1967. The following night, 1st November the second stereo mix was undertaken. With Thursday November 2nd, 1967 seeing Hendrix, Chandler and Kramer convened at Olympic to "craft discrete mono mixes of the entire album".

For some, it seems the wait from announcement of these 45rpm UHQR's to actual release date, a little over 20 weeks, was somewhat too long. That wait seems to have impacted pre-orders with a few folk claiming to have canceled their order during that period. Was that the best call? 

During that period of announcement to release we got some blurb in terms of what was to come. I'm not sure as to why  somebody with an understanding of proceedings didn't at least give the claims a little bit more time and attention.

Experience Hendrix: 

“Experience Hendrix in association with Legacy Recordings, Analogue Productions and Quality Record Pressings is set to release Axis: Bold As Love as a limited edition, UHQR, definitive 45 RPM Stereo and Mono edition. Both versions have been recently remixed and cut by noted mastering engineer Bernie Grundman from the original analog master tapes.

Stepping over to the AP site, we get this as their opening comments: 

Double LP cut at 45 RPM

The pinnacle of high-quality vinyl — the Ultra High Quality Record (UHQR™)

Definitive handmade limited run reissue of Jimi Hendrix Axis: Bold As Love

Newly remastered by Bernie Grundman from the original master tapes

Stereo release limited to 4,500 copies

Pressed at Quality Record Pressings using Clarity Vinyl®

Purest possible pressing and most visually stunning presentation and packaging!

Includes 16-page booklet with recording session info and an essay written by Brad Tolinski, former editor of Guitar World Magazine

Given Experience Hendrix predisposition of presenting either inadequate or inaccurate information, either pre or with their releases, it's likely that the remixed claim is once again from an over enthusiastic promotions person within Sony or Experience Hendrix but that does not excuse the lack of proof reading. While these inaccuracies do not help with those who may be less informed.

Both mono and stereo mixes have been serious contenders for the 45rpm treatment since the Ultra High Quality Record release of the 33rpm's in 2019, they do feel like a long time coming, more so for some.

I do have a number of pressings from across the globe to compare against for both mixes. I took time out before release to whittle down these pressings to a more manageable number, and yet on listen to the 45rpm's I felt that was unnecessary, for the most part. 

If you can't get past "vintage sound", these are not for you nor are any of the other reissues, though you will be missing something special with the mastering, notably with the stereo cut. Outside of these UHQR's, the only other place to find Grundman's mastering is through the Bold as Love vinyl box set. That should and does give a great insight into the mastering found here on the 45rpm and that of the earlier 33rpm UHQR.

Presentation: The boxes are the new model design, not to my taste. Not that I have issue with changing the housing for these UHQR's, rather the type now incorporated. Bland and standard, even if one didn't like the previous design, it did make a statement and was far more functional. 

The boxes contain the usual inserts, a pamphlet presenting technical specifications plus the certificates, statement and the Quality Record Pressing Team. We also have the all important booklet. Information wise, essay wise it replicates the booklet from the earlier UHQR's from 2019, though here we have an extra 10 shots included, all from live performance settings except the familiar Monterey shot of Jimi in the crowd. It would have been far more appropriate and informing had there been studio shots included rather than simply dropping in what feels like random live pictures.

While very nicely laid out and presented, as per usual for Experience Hendrix, it lacks detailed information. Even the photographs don't carry the venue and or date, seemingly it is more important to display ownership and license along with the photographers name. While I have no problem locating and dating all of the photographs, that may not be the case for everyone who buys this product.

Clarity Vinyl: While there are complaints regard to the vinyl formula, Clarity vinyl has as yet not presented me with such issues as has been reported by a few. Bar non-fill issue and one instance of distortion my Clarity pressings have played out very well. There is one point to highlight [again], these issued 45rpm ABAL's appear on slightly tweaked clarity vinyl  than that of the first UHQR's, a minor tweak to the formula. The idea behind this "special" vinyl formula is to present a "blacker" back ground. From spinning the mono 45rpm I can say this played absolutely perfectly and demonstrates the improvement over the standard vinyl in use at QRP.

Weight and Speed [45RPM]: Weight is as arguable as to any benefit return as the rest of the differences involved with pressing records. For me it is often the least of interest, especially as most plants output is set for 180 gram, unless contacts dictates otherwise. Used as a promotional point, 200 gram [or even 180gram] is a weight not often attained, though the UHQR's at 200 gram are specified as the minimum weight.

Speed, well I find this unarguable, it makes a considerable difference to my ears. These ABAL releases demonstrate quite clearly the difference to be had and as with most titles that have both a 33 and a 45rpm release. Generally speaking and is the case here, direct A/B'ing is not a requirement to hear that difference. 

It has been argued, with this and other 45rpm cuts, that splitting a single side across two sides of vinyl is disruptive to the flow and not what the artist intended. Rather a weak argument I feel, in both instances. With these 45rpm pressings, the flow does not alter as the sequencing is not altered from the original. While to argue that this is not what the artist intended clearly is  misguided somewhat. It may well be more correct to argue that this is not what was intended by the industry through its standards at the time of original release, with the artist working to the commercial boundaries set at the time.

Flat Profile: Again, there is a short overview as to what is a clear benefit from this process contained in the box of each pressing. The benefit is quite distinct, especially highlighted with the 45rpm cuts.

Both boxes carry the 2009 and 2025 dates, maybe someone can better understand this but it appears to be the licensing date for the first Sony contract and the manufacture year.

It may be a good idea to think about what you want from a record before spending on an expensive pressing or even the latest "newly remastered" outing. Outside of collecting, be that for its own sake or for the opportunity of comparison / review reason, it is often best to simply stick with what you are happy with. Then again, systems change, preference can sit elsewhere, especially when we factor in five decades and worn copies of records and we don't hang on doggedly to the idea of the romance of vintage for the sake of it. Do we simply cater for that nostalgia and hunt a great copy of our old favorite? Or do we look to get something as similar but more modern, or indeed arguably an improvement on not just the original but on everything that has gone before?

Mono Axis. Bold as Love Analogue Productions  / Experience Hendrix / Sony  198029892918

Without beating about the bush, the following comments regard to the mono mix release is taken from the perspective of true mono playback. That is simply the use of the correct equipment, that of a monaural cartridge. 

Being brutal, if you don't have a dedicated mono cartridge or no plans to go that route, there is little if any requirement past collecting [or flipping], to buy this mono UHQR at $150 plus shipping.  This is a comment written pre hearing the UHQR 45rpm, though I don't foresee any change in that perspective any time soon. Why? Well I don't get the point of spending big to get [possibly] the best pressing of the mono mix, a pressing designed to remove as much extraneous noise as possible from a record. To then reintroduce crosstalk etc. back into playback, simply comes across as two steps forward and three back. Isn't the whole idea of clarity vinyl, flat profile, speed of cut and vinyl weight [factors that add to the cost of the product] purposed for a clear and cleaner playback? The fact remains, short-cutting to mono can never fully remove what has been introduced through the use of a stereo cartridge.

The best advise I can give on the matter, buy the easily available repress of the 2013 mono ABAL, cut by Bernie Grundman, for $15. Though I'd buy from the US [Analogue Productions], that to ensure you get what is advertised.  While the likes of Denon, Audio-Technica are your friend.

What is fascinating with Axis. Bold as Love in mono is not that we do have some wonderful options, that happens with many titles being reissued, but that all of the modern options each have something to offer and all of the reissues from 2010 onward [all Bernie Grundman cut] excel and are worth owning as they each offer something of a different merit. Yet what merits they hold can only really be accessed via a true mono cartridge.

It cannot be over emphasized just how important a true mono cartridge is for mono playback, don't kid yourself otherwise. Though if paying an entry level fee for a true mono cartridge is a little bit too much the best advice I can give is to playback your mono records with a low end MM cartridge with an elliptical stylus. Just shortcut it as you would and right there is likely the best results and return within the constraint of  simulated mono as you will get, regardless as to how much you invested on your system chain. 

It pains to think just how many will invest in this 45rpm and will not look to get the best out of it. Would you buy the most expensive single malt and dilute it with water? Would you buy a top end sports car and feed it cheap fuel? So why buy this UHQR of a dedicated mono mix and play it back with the wrong equipment?  The benefit is all to clear and obvious for correct playback.3

My take on short-cutting to mono is simple, it delivers simulated mono. Something to my mind and ears that is fake. Sure, you get to hear the differences in the mix but that's were it ends, the listening experience can only be evaluated through true mono playback. Absolute focus, that's what you get in return for investing into even an entry level true mono cartridge and that is something that cannot be replicated through any shortcut.

Stripped of the freak flag flying trippy regalia, the mono cut clearly demonstrates just how good an album this is on every level. For mono lovers and those who take that playback serious, even those who don't "do" Hendrix, this 2026 mono UHQR is a must have.

2010 saw Mike Hobson release, through Classic Records, his licensed ABAL that he had collaborated on with Bernie Grundman. While all of what was to come from Grundman presented considerable improvement, this cut presents something quite different and distinct from what was to come. Presented as some sort of quasi Track Record replica, it did indeed mirror the ambiance of that '67 pressing, yet went on to surpass it in many ways. 

Anyone looking to replace that vintage '67 cut cannot go far wrong with this Classic pressing, even if it does carry a little bit of an after market premium, it is readily available and copies are usually well looked after. Against the original, this Classic pressing delivers improved resolution on that earlier record and builds on that by delivering air and space between instruments and vocal. That presents a bigger imaged return than any vintage cut of this record can get close to. 

For me it's a pressing that has a place in the collection due to the uniqueness and exploring Hendrix in mono remains an essential addition. While that is something that can be achieved through shortcutting.

While the key to the success of this cut sits in it being run through a tube cutting system. To get the full benefit of that you do really need that true mono cartridge, this record is breath taking when played back correctly. There are times when this will be the only playback that satiates that mono mood as it satisfies with the vintage feel.

While it took 40 years for anyone to bother with a mono re-cut of this title, now we appear spoilt for choice, thanks to Experience Hendrix.

2013 saw the mono title cropping up again, this time under the  Sony umbrella. While this would be pressed in both the US and EU from original lacquers, the latter would simply become a digitally sourced pressing for either one or both sides of the record due to Record Industries in the Netherlands requiring fresh plates and subsequently cutting from a digital file, as supplied. In 2013, sales appeared more of a novelty than a serious consideration and the inimitable draw of the stereo mix remained.

In 2015, Newbury Comics secured a license to have a short run of 2000 mono copies issued on transparent orange vinyl. It took four years for those to sell out, while at the same time [2015] QRP repressed and reissued this as a standard black vinyl copy, that remains in print. That limited Newbury pressing only sold out after the Analogue Productions UHQR mono 33 had made the title popular and had itself sold out pre issue.

The 2013 pressing sounded considerably different to anything that had come before. Tone, well here this is clearly not an all tube cut from Bernie Grundman. Yet, despite being a more polite mastering we got a fair degree more detail. It was as open and airy as the Classic but different in visual presentation. How much that extra detail was apparent didn't become clear until it was treated to the mono cartridge. Yet while subject to short-cutting playback, this 2013 could easily take more volume than the Classic could under the similar constraint of "false" mono playback. With the 2013 cut at a lower volume over all, they both have similar peak values.

It is odd, but I felt this 2013 was cut with short-cutting in mind. Though that is likely far from an accurate claim. What is beyond challenge, this sounded so much different and it took me a while to get used to it. In fact it wasn't until I heard this 2013 cut through bigger speakers and class A/B power did I start to really appreciate just what was on offer here. It remains a bargain at its current price of $15 at AP. Though, once swapping in the Cadenza mono and as with all mono records, this thing is a different animal altogether. The detail in this cut is greater than both the 2010 and the UHQR 33. That's the mastering at play, Grundman worked something differently here once free of the client request for a "more vintage sounding" mono Axis.

The 2013 highlights Mitch's cymbal work through that extra detail, they ride on a little more and have a very natural sound. This mastering does bring forward Noel's slight vocal sibilance, while noticeable on all of the mono cuts, here it sort of jumps out a little more, a little more jarring. While on that sibilance note, it is interesting to hear/ see this sibilance differently across the differing mono cuts.

Bringing the UHQR cut at 33rpm into the comparison, the 33 UHQR appears to have been cut very similar to the 2013, certainly lower than the 2000 from Classic. That UHQR indeed has lower peaks than either of the classic or 2013 on the B side. I only mention the differences I hear so as to inform that I was volume matching if required, yet it remains an important point when mono is incorrectly played back. While the highest peak values never seemed to match across these cuts.

That UHQR from 2019 did give me my mono fix when shortcut. At least from a comparative perspective it was my "go to" if you prefer, under simulated replay. Though the Cadenza mono brought me back to the more vintage sounding 2010, if for little reason other than the Classic was like comfort food. While again with correct playback of the three I felt happier with the extra detail delivered from the 2013, which also had a little more bass extension. Considering this, I always pulled the UHQR 2019 off of the shelf for listening, there is something just right with this pressing, maybe the over all balance. How that impacts could easily be the vinyl formula and the flat profile at play. This cut didn't have to try to be something, it just was. That something was what I hoped for with the 45rpm but delivered "better", more resolution at least.

So far, it was fascinating to see just how each of the modern cuts played out between the speakers. While clearly mono, they all had space and air and very much each delivered a cohesive sound that also clearly had each instrument or vocal in its place. In comparison to the real vintage pressings, this was a huge improvement. those early pressings never got close to space and air being delivered  asin the more modern cuts. If real vintage is your thing then the Track Pressing from 1967 is highly recommended over any other true vintage pressing I have heard.

While the 45rpm cut has had little time on the TT it sure was noticeable as to what it delivered and differently. Think big, and I mean big .... that was the presentation. All of the bass that is so obvious in this mono mix sits across this 45rpm, controlled and deep, underpinning Jimi and Mitch's playing and decidedly in your face. You wont be able to ignore Noels part in this creation, mixed in here like you never get with the stereo.

 Jimi's guitar on Castles has never sounded so good as it does when fixed and suspended between the speakers as it is here. There is just something about this mix that delivers, seemingly defying its creators intent.

Eddie Kramer mentions [see his comments in the liner notes of the Classic 2000] how drier the mono mix is, that is easily discernible on this cut, that though is not to its detriment in any way. Being mono, maybe this is a better "fit", regardless it works.

 Again volume matching was required but as this is across four sides that became a little more involved. With sides A and B there appeared no difference between them, likewise sides 3 and 4 would match each other, yet there is a little difference between A/B and C/D. The latter pairing being a touch louder, though given the final side peaks as loud as I've heard across any of these mono albums that maybe accounts for the difference I hear.

I was and continue to be impressed by this 45rpm mono. Beside big, throwing a sound-stage out that was wider and deeper than any of its competitors, here we got detail in spades. Bass in spades. The separation was clearer and more defined without loss of any coherence. Usually after playing the mono mix I'm left with the feeling that Little Wing and Bold as Love are to be heard only in stereo, not here, not with this 45rpm. The album, the mix is glorious be it as a near field listen or when I'm five meters away. Forced to select just one of the mono copies to live with, this would be it. I'm just pleased to have such a great selection of Grundman mastered mono records at my disposal.

What's best from the mono's? Again and I make no apology for repeating this, if playback is simulated then there is no reason for anything past the 2013, be it the stand alone pressing or the re-cut of the 2013 that comes with the Bold as Love box set. For those going the whole hog on mono it is a little more difficult for recommendation as I feel the tube cut Classic 2000 and this 45rpm cut need be part of your listening experience, then again so do the 2013 and 2019!

The final word of course is for the 45rpm. I like it, it is very impressive and worth the extra exercise with turning sides. There is nothing to dislike about this 45rpm for me, I'm sure I'll enjoy it even more once it's had further playback.

Stereo Axis. Bold as Love Experience Hendrix / Sony / Analogue Productions

I pulled out many vinyl stereo copies for a run through in the lead up to this release. As with the mono, I spent months spinning titles from across the decades in preparation of this release on 45rpm. I settled on the Track Record pressing from '67 along with an all tan label copy of the Reprise for the vintage touch. I also settled on the popular and easy to find George Marino 2010, all of which clearly are AAA. Of course, the biggest challenge to this 45rpm would be the 2019 33rpm UHQR. As it turned out, there was no contest, for me at least. There seemed little reason to sit and A/B, that was how noticeable the differences are. Yet somehow I forced myself to sit with all five pressings of this majestic recording.

Jimi himself is on record as saying he was disappointed with the final outcome of this release, clearly referencing the stereo pressing. On hearing the 33 rpm in 2019 mastered by Bernie Grundman it was patently clear  as so to what was missing from the presentation of this stereo mix. 

It is all too easy to feel comfortable with vintage mastering, to the point we do set these as being  the correct sound, a sound we get all too settled with and simply use as our measure as to how the recording "should" sound. We can, as we all too often have to do, speculate on what Jimi would have thought of this more modern mastering approach to his work. Given the level of insight and presentation that the 2019 and this 2026 brings to the listener it would be quite something if he was left feeling as displeased as he was in 1967/68.

As with the mono, its nice to be able to draw upon pressings of this title from across the ages, what ever fits my mood. I've never been overly keen on the Track stereo from '67. My favourite stereo pressing for Axis always sat with the Carlos Olms pressing on the Polydor label, though as you all know, that is the other stereo mix. That Olms mix has a digital step too so may well be off putting for some. With a bottom line for me being the stereo mix never engaged me as the mono mix did, musically or emotionally. 

Straight out of the box, I played the stereo 45rpm and now I have to reconfigure all of my thinking regard to this LP, something I'm more than happy to do. I'm open to wiping away decades of memories of listening to this album. I thought the 2019 UHQR was fresh, this release on 45 is something else. 

What should be clear, I'm using studio standard monitors by way of Harbeth 30.1. Very much an uncoloured return and detailed, very detailed. First play was astounding, had I really heard this recording before? Unlike the 2019 first playback that was fresh, this felt new. I sat with the whole recording with both a large grin on my face and tears in my eyes, engagement was off the scale as was the emotion felt. Indeed, I could best espouse this revelation of the recording as of biblical proportion, yes it is that unveiling!

This record presents something of a rainbow of emotions from Jimi, delivered in his own inimitable manner and driven by Noel and Mitch like no other rhythm section would likely be able to match. We all of course know this album all too well, then again do we? I have and remain shocked at how this recording comes across here and how I hear the recording. Bernie Grundman opens up the stereo mix so much there is a genuine freshness and newness to the album I've not experienced before.

Does size matter? Well this pressing delivers a huge sound stage in all dimensions. It's the first thing that hits you. Followed by my quizzical expression of hearing Jimi from inside of the right speaker. It's not so much the placement of inside of the cabinet, rather just how he sounds and how much the timbre, the very colour alters as speed is adjusted. The Harbeth brand of speaker has a deserved reputation of delivering an as accurate representation of the human voice as possible, here I am sitting with Jimi in my living room, so wild, so unreal, so strange beautiful. I could leave it here and say this was £135 well spent but you deserve more.

Just how the opening notes in Spanish Castle magic are projected to a point behind the near field listening position.  Or how the clean tone of Jimi's guitar is presented across this album. While discussion continues as to how Hendrix attained this clean tone, was it Direct Input, Kramer's work or as I now have a leaning to, the use of a Sound City amplifier. That clean tone comes across with the 33rpm UHQR, here on the 45 cut it is so distinctive, it's a little strange given the predisposition Jimi had for distortion.

It became increasingly difficult to make comparison between this stereo 45rpm and all that came before for little reason that over all, nothing comes close to this pressing. Here, and I say without fear of contradiction, we get to hear this recording as close as to what is on that master tape as we are ever likely to. It's more insightful and certainly more precise than the 33rpm UHQR, it's bigger than that offered by the 33rpm UHQR too. Detail is greater, did I hear anything new with this pressing, anything missed from the previous UHQR? Yes, not much but that detail is wonderful to hear as is the fact some of the detail that showed up for the first time on that 2019 UHQR is even more distinct here.

Not to be overlooked, Mitch and Noel are present throughout without overpowering. While the mono mix delivers Noel's bass more prominently this stereo mix presentation is no slouch. The precision of Mitch's playing is highlighted throughout, you can't help but revel in his playing.

While with the mono, Jimi's reverse guitar that is fixed so beautifully between the speakers, playing out in an ethereal manner, here on Castles Made of Sand its positioned to the left and is delivered in a silky smooth manner within its space as the volume ebbed and flowed , it simply draws the ear in.

Not once did I ever think I'd be saying this, here on Noel's She's so Fine we have Mitch's backing vocal sounding almost heavenly, as it soar above everything else, in a literal manner too as it rises upward in the image, from a central point arching back into the speaker cabinet! Jimi's playing is so well highlighted too with a delivery of over driven tone. While I've disliked this track, we get to hear it now like never before.

I need that short break of side flipping to catch my breath before I'm hit with THE most wonderful delivery of One Rainy Wish. A standout track in both mono and stereo from these AP 45rpm pressings.  While the final and  title track leaves me speechless. Close your eyes on this one and you may never return to this universe ...... and if you do, at least not the same as you left it.

Yeah, as mentioned, this stereo cut delivers on every level and has to be heard to be believed. Not everyone can afford to set their system up for ideal playback given our constrain of modern day living but it truly is worth the effort just on occasion to do that. This is an album, a mastering, a pressing that deserves that effort. After spending as much as you did already, the extra effort is the least you owe yourself.

Yes, I realised I've not made a direct comparison with any of the other stereo pressings past a cursory comment, there is no need. It feels sort of irrelevant and made more so with each listen to this 45rpm, a "just what is the point" perception hammered home with each flip of the record. Without doubt the best pressing of this recording you will likely hear and regardless of any shortcomings inherent to the recording etc. this sits as one if not the best records I own. I very much doubt I'll be pulling any of the other pressings off the shelf for a listen any time soon with this 45 stereo cut being hands down the go to.

If you want vintage, sure I get it, then go for an early Reprise. The tan label copy I have here delivers better than any other early pressing from outside of the US. George Marino did his thing in 2010 and that is a record I thoroughly enjoy, yet it is the mastering from Bernie Grundman that makes both the 33 and 45 rpm pressings stand out. Even saying that I may well do the 45rpm a disservice through simply pairing them in such a manner, as the 45 exceeds everything the Clarity 33 brought to the (turn)table. It is the 45rpm that delivers with more presence, the in the moment right there at the recording feel . It is this which brings you, the listener, deeper into the emotion of the record. 

As for my preference between mixes, well I'm firmly in the stereo camp now, even if it's only when I play this pressing from Analogue Productions from 2026. If there is a down side to this 45rpm, well that sits with the fact we had to wait 59 years to hear it, seemingly as it was recorded and mixed by Jimi, Chas and Eddie and possibly how it was meant to be heard originally. 

How would I rate these, even though I rarely if ever place such simplified values up. I'll make an exception, just this once.

Mono, 10/10  in every aspect. From presentation, as the medium was flawless to delivering everything it was meant to do on every level. 

Stereo, mind blown. It is way too churlish to simply add a numerical value here. Go and buy it [while you can], sit with it, revel in it and enjoy the satisfaction it gives you.

With thanks to those who highlighted and/or entered discussion regard a couple of topics and those who offered a service and help that went above and beyond, you know who you are. 

Thanks once again for those who presented me with their thoughts on what is one of the true masterpieces from an age when musicians where musicians and top class composition where the norm.

1 Rushworth and Dreaper was a store based on organ manufacture and supply, though pianos and other musical intstuments would also be sold later along with radio's and radiograms and sheetmusic. The store we had here in Liverpool, located in Whitechapel Street would go on to sell records. In the 1960's as a pre teen, I would often make use of the listening booths through which the latest records could be sampled via a pair of headphones. Made all the more fun when there are three or four of you all trying to listen through a single pair of 'phones! The store would be one who supplied both John and Paul with their Gibson J-160E guitars.

While the Beatles link is of interest, it remains that the store itself is viewed just as  iconically as any of its many famous customers. Here, wrapped up in the shortened name of Rushworth's, is a social and cultural history of the city.

2 The following is a copy/paste from the Steve Hoffman forum, a post from Jonathan Carr from mid 2025, possibly the most straight forward comment I have read on the topic.

When assessing whether a cartridge is "true mono" or not, the number of coils is an untrustworthy guide.

For example, taking a stereo cartridge and amplifying the output of one coil only will not result in a useful mono cartridge.

This is because in the vast majority of phono cartridges, whether MM, MI or MC, the polepiece sensing points (MM and MI) or coils (MC) for both the left and right channels are oriented at 45º vs. the LP groove, thereby generating signal output from lateral as well as vertical groove modulations.

When the coil orientation is such that signal output is generated from both lateral and vertical groove modulations, enabling pure mono operation requires that the vertical output be cancelled.

All phono cartridges are made on the understanding that LPs are cut with the vertical groove modulations of one channel out of phase with the other channel; therefore summing the two channel outputs of the cartridge results in continued sensitivity to lateral groove modulations but cancelled sensitivity to vertical modulations.

This is what is commonly referred to as "strapping" or "bridging" the outputs. If a manufacturer's descriptions for a mono cartridge contain words like "bridging", "strapping" or "summing", the cartridge almost certainly has coils that are sensitive to both lateral and vertical groove modulations, with the mono operation being derived subsequently via summing.

FWIW, this is how most MM or MI-type mono cartridges are made. If an MM or MI were built with polepiece sensing points that are oriented parallel to the LP groove, the result would be a pure mono cartridge, but implementing this would require expensive changes to the tooling used to make the internal polepiece and coil armature structures, which is why it has seldom been done with MM / MI / MF / IM cartridges introduced after stereo became the dominant LP format.

OTOH, the Decca Londons replace the typical two stereo coils (oriented at 45º-45º to the LP groove) with a three coil system consisting of one coil sensitive to lateral groove modulations and two coils sensitive to vertical groove modulations. Extracting the output of the laterally sensitive coil only should therefore give pure mono operation.

You can see this V-H mechanism in the second figure here

https://www.stereophile.com/content/decca-mark-v-phono-cartridge

which shows the relationship of the perpendicular cantilever / armature to the single lateral coil and separate vertical coils.

Reverting to the main topic, it is essential to note is that in practice, bridging / strapping / summing the channel outputs of a stereo cartridge gives only partial cancellation of vertical sensitivity. This occurs because adding the vertical output of one channel to the other, which happens to be out-of-phase, results in subtraction.

Ideally A + (-B) = 0, but a 0 vertical output is only true when A (vertical output of channel one) and B (vertical output of channel two) are identical in all respects, including amplitude, frequency response both within and beyond the audible spectrum, phase response, crosstalk, tracking ability, temperature dependency and more.

In practice such tight matching is very seldom achieved.

And even if the two channels start out with identical vertical characteristics when the cartridge is new, should the anti-skate setting apply unequal pressure to the left and right contact edges of the stylus, should the stylus wear asymmetrically, or the LP groove have a particle of dirt on one channel but not the other, A + (-B) ≠ 0 and the vertical signal cancellation will be incomplete.

The key to a successful "pure mono" cartridge is orienting the polepiece sensing points (MM and MI) or coils (MC) to be parallel to the LP groove, so that the coils are incapable of generating signal output when encountering vertical groove modulations, along with any dirt or groove damage that causes vertical motion of the stylus.

As long as this is done, the performance measurements and sound of the cartridge will be pure mono, uncontaminated by any vertical sensitivity, whether the number of coils is one, two, or ten.

Finally, the occasional argument that mono LPs cut with a pre mid-1960s mono cutterhead are "more mono" than mono LPs cut with a post mid-1960s stereo cutterhead (with both inputs fed with the same mono signal) is just as vacuous as quibbling over the number of coils on a mono cartridge.

3 I say this from the position of having and using a mono cartridge. The fact remains that those who bought this mono set and are playing it back using a stereo cartridge are informing me of just how good they are finding this mix pressed to 45rpm. I have been mailed some glowing testaments for the pressings from those who I recommended these pressings to.

Angel [Take 7] / Message To Love RSD 2022 19439966477 Experience Hendrix / Sony Legacy - Music

This 45 promotional record pressed to white vinyl is now available for pre-order at Experience Hendrix

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It has been a long time, hasn’t it? The wait on this and the box set has been over two years and despite a lot of recent activity around retail outlets allowing pre-orders, there remains no official announcement from either Experience Hendrix or Sony, International, Legacy or any other branded dept.!  UPDATE .... EH made the official announcement 26/7/24 for the box set.

As the long wait continued for the official announcement from Sony regard to the Electric Lady Studios – A Jimi Hendrix Vision 5LP + Blu-ray / 3CD + Blu-ray box set along with the companion promotional vinyl 45rpm it was inevitable that bits and pieces would drip out over such a long period. Yes, the vinyl and digital box set had been manufactured and left in storage, as was the RSD 45. While there were a couple of the digital box sets appear in the US, most of what leaked appears to have been from European origins, or at least from what I could gather!

Following a small influx of leaked sets in early 2024, it was inevitable that someone would buy up a set and pirate it. That set first had the documentary from the Blu-ray circulate followed quickly by a rough needledrop of the vinyl. Possibly the real surprise was just how long this all took to hit the streets, a little over two years from when the news of the box set was first imparted our way through the rogue Amazon sale announcement.  

In many ways it was a sad end to all of the expectation as the set is so good it really did deserve to be made officially available before this sort of thing occurred. Possibly the saddest aspect is just how some fans were placing a judgment based on watching the documentary alone. Some [fans?!?] even complaining about the lack of audio in the documentary, seemingly unable to grasp the basic of the documentary was but a part of the set.  

Why the delay? Well, I'm leaving that for continued speculation as I have no intent of putting up any informed [or adding to the uninformed] comment in respect to that.

Yes, I have heard the content of the full box set and watched the documentary and find the whole set to be insightful and entertaining. With some of the moans about the documentary ringing in my ears I was astounded at just how limited these views appeared to be. While I’m sure there is a full breakdown and review of the set as a whole elsewhere or at least will be soon enough, I have just the one comment to make on the documentary.  

It was a stark reminder at just how creative Hendrix was through 1970, especially working alongside Cox and Mitchell, and brought home with an almost hammer blow at just what we lost in September 1970. For this alone the documentary is deserving of an award.

RSD April 2022

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In early 2023 I obtained a copy of a sealed RSD 45, apparently one of less than a handful to appear at that point, more would leak in early 2024.  

This 45rpm release which shows that RSD release date for 2022, brings just one track from the box set, Angel [Take 7]. While take 7 was the basis for what was to be officially released on a number of officially sanctioned titles as well as appearing in some edit or other on a number of bootlegs. Here it is as recorded by Jimi, Billy and Mitch on the 23rdJuly, 1970 at Electric Lady Studios, sounding very much without edit.  This take excludes edits as well as the later additional percussive elements from Mitch which he undertook at the studio post Jimi’s death. Looking at the notes in the box set, these are supportive of the excluded Mitchell drums and the title itself says it all, take 7.

This is a fresh mix from Eddie Kramer, undertaken at Capitol Studios, Hollywood April 2021.

Angel, the A side of the 45rpm single is accompanied with a none box set live track, this from New York Pop. Message To Love appears to have been included to support the point of the work that the band where undertaking at this point in time to help fund the building costs of the studio. This track, Message To Love appears on vinyl for the first time here while it did make an appearance as part of the documentary DVD, Hear My Train A Comin previously. This outing has the audio presented central to a/the two-channel set up and appears as mono. Running to a little over 5 minutes and with the short audience piece at the end, tops out at 5:07.

Side A is presented as a first time release, something we have heard on a number of occasions previously and been [previously] disappointed in finding the comment misleading. Not here with Angel, as this was indeed new and not really an edit but a straight take.

Of course, some may cry foul, based on the point that Take 7 is the basic track used for all of those official releases stretching back to the Cry Of Love posthumous vinyl release and on through various compilations and various producers’ “visions” of the take, Angel(1). While the Voodoo Soup edit of this take is similar there are notable differences, some of those differences can and will be found on the bootleg appearances of this take but not as the same edit.

Angel (12) runs to 4:21 and as is pitched correctly unlike many of the unofficial releases, though this timing does include the three seconds of Jimi’s question at the end of the take and engineers reply. Note that this timing is approximate and lifted from playing the vinyl record and simply roughly timed.

Stepping in to that boot’ world we find Multicoloured Blues [plus a myriad of other bootleg titles], has an edit of Ange ltake 7, a slight variation on (1) and listed as (2) and Notes In Colour also has Take 7, albeit a truncated presentation as it ends early. Notes In Colour also presented us with an instrumental which lists as (4) from the same session as this Take 7.

There is also, circulating within the collector’s world [not sure if the bootleggers have picked up on this yet and sold it to the gullible on vinyl or CD], is a slightly incomplete version of Take 7 (9) with low vocal.

Here, Angel sounds and is presented wonderfully. By far the most complete vocally and musically as is possible to present Angel from the July 23, 1970 Electric Lady Studio session. While it is clear as to why this Take 7 had been edited for official release, that in no way takes away from what this is.

While it is easy to cry foul for putting up what may be considered an unrelated live track for promotional use of the studio set, it is clear that Jimi had to tour to help fund the building of the studios. This at least relates to that tour as the performance from NYP comes from July 17th, mid recording at the Electric Lady Studio. All said and done, I’d have preferred something from the studio set or maybe a recording from the studio that didn’t make the final cut for the box.

While the rear of the 45 sleeve carries a nice Carl Dunn shot that I’ve previously not seen and think it is the first time published, from June 5th, ’70 Dallas, Texas.  

Numbers in () relate to From The Benjamin Franklin Studios reference series, from the Jimpress series of [unmissable] publications.

Jimi Hendrix Experience: BBC Sessions Experience Hendrix / Sony Legacy / Target 19439996231

From the opening growling guitar of Hey Joe, this sampler disc provides a perfect introduction for anyone looking to dip their toes into some if not the most unique recordings from the Jimi Hendrix Experience. 

The selection of material presented here will maybe not on first consideration be to everyone’s liking, especially those of us who are more experienced, as we will all have our own considered opinion of what should have been included. Yet, it all works on playback; it’s far from an ill-conceived or random dip into this material. Maybe it could have benefitted from including the Radio One Jingle but there’s the rub, the BBC recordings are so unique that it would be difficult to trim this down to just this single disc and please everyone.

These 2 track mono recordings are presented in stereo, sourced from the DAT masters supplied to Experience Hendrix from the BBC. While the playback is a little off in terms of stereo balance that is readily rectified by switching to mono, it retains size and depth when done so.

All of the material is from the various Radio sessions that in itself is what makes this a more coherent listen. The liner notes do show two track 4’s for side A and lists the opening track on the second side as from Top Of The Pops despite it also stating [correctly] this track was part of the [Radio] Saturday Club session for 28th March 1967. While the inference that this was a recording for Television broadcast it should be pointed out that the BBC ran a programme for radio also called Top Of The Pops via its Transcription Service1. This track did make it to that programme via transcription disc #127. Listed as week 18 [30th April – 6thMay 1967] with an expiry date of 4th November 1967.

Hendrix’s tone throughout is a joy, with a little bit of variety in sound as these recordings span the course of 11 months, February ’67 to December ’67.

The groove and drive on Driving South is an absolute joy with the rougher 2 track recording adding an earthier ambiance to the sound.

This single disc selection of some the JHE’s BBC material is a wonderful opportunity to sample a few of the bands more unique takes of very familiar material and coupled with a little bit of the more of the unusual.

An outing for Love Or Confusion is more than welcome here, while it fails to carry the depth of the stereo mix from the Are You Experienced album it is a track that doubles down on the term unique.

Maybe the band struggled with the early starts and long days spent at the BBC, that though does not come across in the performance. As with so much of the 66/67 performances, there is a lot of fun being had here and it shows.

Stevie Wonder appears on drums on this slightly edited take of Jam/I Was Made To Love Her which was captured to tape during a break in the bands recording for Top Gear, October 6th 1967. While to conclude side B is The Burning Of The Midnight Lamp which is like the cream for this sampler album, get into it baby!

Frustratingly for some, this is only been made available through Target stores in the USA which makes it difficult to get if your “overseas” though well worth the effort [and extra expense] as it’s not something that will just sit on the rack. I find this single disc “works” better than the 3LP /2CD set which, due to sequencing fails to deliver an overall coherent listening experience.

Pressed at QRP in Kansas, this [very] orange vinyl record is faultless. I’m reminded of the comment from Chad Kassem when we were in contact about the UHQR Are You Experienced2 [quite surprisingly, there are a few left of this pressing]  and the switch from the Finebilt press to the customised automated press, with Chad stating the aim was for a more consistent product across the board. Considering that the plant is pressing in the region of 30 thousand titles per week this standard is testament both of the aim and the workforce at QRP. It does leave the customer with a confidence to buy that is rarely available elsewhere in this industry.

Side A:

1. Hey Joe 

2. Foxy Lady 

3. Alexis Korner Introduction

4. Can You Please [Come] Crawl Out Your Window? 

5. Little Miss Lover 

6. Driving South 

7. Love Or Confusion 

Side B:

1. Purple Haze 

2. Day Tripper 

3. Spanish Castle Magic 

4. Jammin’

5. I Was Made To Love Her

6. Introducing The Experience

7. The Burning Of The Midnight Lamp 

Included with this orange vinyl is a four sided pamphlet and available from 21st October 2022. 

Jimpress #127 also runs a review of this release.

1 See the review on this page for that release.

2 See Jimpress #123 for a Transcription Disc review covering the JHE involvement 1967 - 1968.

Are You Experienced Ultra High Quality Record 005: Analogue Productions / Experience Hendrix 19075812421 

 The Jimi Hendrix Experience debut album, well for North America at least! Putting aside for the moment the debate behind reasoning for the changes and which works “best”, this album track listing suits the market of 1967 if for no other reason it had fully embraced that new fad of stereo. Gone are the three mono only tracks, “Red House”, “Remember” and “Can You See Me”. Two of which were part of the JHE’s live performances at that time and with Red House being retained throughout Hendrix’s career in his live repertoire . Hendrix is said to have been disappointed that “Red House” at least was lost from this reconstructed album. 

Often debated as to why the changes were made, simply Reprise wanted a stereo “rock/pop” album and interest was solely on sales, artist bent was not a concern. Well, they sure called that correct even if the album released was not quite Jimi’s initial ideal. There have been a number of attempts to reason these changes, past and present but it sits solely with bringing a more of a commercial feel to the record. Stereo and a more commercial feel suited the suits and the promise of a greater revenue stream would have no doubt suited the Hendrix management. 

 Is it an improvement on the original? Over all, no but it sure was a better mix to the one presented to Europe. If only the original mono tapes could be sourced for a companion to this UHQR comprising of the original as intended album! As it stands, there are no plans to release this or any other track listing of this title in mono as a Clarity UHQR. Rightly so, given the original mono tapes have not been sought out thus far. 

 Let’s get into it. The problem for me was time, I would have liked to have put up the Reprise 1st and 2nd pressing from 1967/’68 along with George Marino mastered 2010 /14 reissues. With of course a dip into the European stereo attempts at this album, by European I do mean the UK from 1970 and ’73, Track and Polydor respectively. As it is, I ended up glossing over the Reprise ’67 and the UK copies and I stuck with a comparison of the most easily available and frankly most apt pressing, that of the QRP Are You Experienced George Marino pressings from 2014. Though before I reached the decision to use the 2014 ……… 

 I spent the waiting time for the much delayed FedEx delivery of the UHQR’s with Marino’s 2010 and 2014. I had never played the 2010 on my current set up and was a little surprised to find it wasn’t quite as bright as I recalled it being. Much of that appears to be the SME 309 in the play back chain. Also, the LFD interconnect cables will suitably kill off a little brightness here. I also dropped back to having the age old spiroflex speaker cable hooked in, again helping to tame any brightness in this 2010 pressing. 

With the Marino pressings, the differences I heard in 2014 when I matched these records up for a play remained and with the current set up possibly highlighted. There is deftness to the 2014 that the 2010 does not possess. That can be heard through the movement of the image, to Jimi’s vocal, to some engineering choices. There is a little more depth to the image too with the ’14. Why this is a different “experience” is unknown, is it the new plating done for the 2014 pressing at QRP [I’d assume Gary Salstrom would have done this], is it down to a different press? Maybe a combination but whatever it is the difference is clear and obvious to my ears and has been for the last eight years. There is less difference between these two pressings over on side B. Marino’s work here comes across as a tad loud, noticeable when putting volume through the record but there is a lot of detail to be had, more noticeable on that later repressing. I did play my Reprise 1st pressing and it does highlight the fact that this is a better album served with a more considered mastering in terms of volume. Jimi did apply all the volume you need at the recording stage, just a pity it was difficult to capture. That 1967 release does present a more considered approach from that perspective. 

 Hendrix was keen to find someone who was capable of presenting his work in the best possible way, with Electric Ladyland being the final straw he and Kramer set out to find a mastering engineer who could help realise just what Hendrix had in mind. To that end, Robert Ludwig took charge of mastering for the Band Of Gypsys and subsequent posthumous Cry Of Love and Rainbow Bridge releases.  

 “Waterfall”, on side one or as it became known “May This Be Love” has Marino present it wonderfully, with a delicacy that does not appear anywhere else, at least to date. The ’14 pressing magnifies that delicacy. “Love Or Confusion” meanwhile is alive with dimension and depth which is not present on any other pressing I had heard [to date] and again there is significant and noticeable difference between the pair, with the 2014 having a more dynamic feel. When I flip to side B I get a different feel in this comparison. While the slight brightness is again tamed the differences between the pressings appears less or that could just be me as I’m more settled into the album!

 It is fair to say, for me the George Marino copy I own [Newbury Comics] from 2014 has been my go to for this record, it possesses so much more than the early releases regardless as to the country of origin. As with the Ultra High Quality Recording we have, this 2014 repress was undertaken at QRP. Another reason if any needed as to why this is a more fitting comparison LP. For me, this was going to be a challenge for Bernie Grundman as I honestly could not see where the differences, the “improvements” could be made. Boy was I surprised and it has to be said delighted. 

 To begin with, there is the matter of “hand pressing” and cost aspects to consider: 

 Here in March 2022, Analogue Productions bring us the stereo mix of the US iteration of the JHE’s Are You Experienced with the caveat that this is not a cheap pressing and that the UHQR line has taken a 25% increase in cost since its last single disc release, Kind Of Blue UHQR 003 from the first quarter 2021. Clearly costs are rising across the board; we already saw price increases at AP for their other pressings so it came as no surprise here. There was also a drop in vinyl weight across AP’s vinyl with only these Ultra High Quality Records retaining the 200 gram weight with the 180 gram weight being the preference for Analogue Productions records. 

 Pressed at their own in house plant QRP, this UHQR retains that 200gram weight and a flat profile. Unlike the previous UHQR’s this time there has been a change in the press used. Gone is the Finebilt press, a “hand” press in favour of a modified SMT press. 

 Why the change you may ask? Well I asked Chad Kassem about this so there would be no confusion and he was kind enough to share this with me: 

“The press utilised [the SMT] is modified, some of that is proprietary so that information remains with AP”. Chad did mention that the press in question, the one allocated the UHQRs has had the hydraulics disconnected and placed on industrial isolation pucks, removing as much unwanted vibration as possible. This appears in line with how the Finebilt was also isolated as much as was possible.  

 While the reasoning behind the change was not presented it was made clear to me that AP/QRP is looking to ensure a consistency to their product. When it comes to the UHQR line, is that down to the fact that given the increase in numbers, from a total of 6500 for the initial Axis mixes through 5000 for the Tull UHQR and up again to a whopping 25,000 for the Kind Of Blue @33 and now 20,000 for this stereo Are You Experience, the more manual press could simply not meet that consistency level due to demand and time constraint? A little bit of speculation on my part there, though losing the Finebilt press is the least of my concerns given the attention and investment made elsewhere. I’d also speculate that the pressing rate will not be the same as other SMT hourly targets as I believe the extra quality assurance still holds. 

Chad;” The key to making great records is consistency and they all need to be great. There was a lot of testing and comparing [during the process of swapping presses]. The flat profile is retained as we continue to use the flat profile die for the UHQRs, the heavier vinyl has been retained, the press is isolated from vibration and we continue to use the best vinyl with the aim to deliver the highest care and packaging to these limited edition records. We invested everything to make these the absolute best sounding LPs available and we stand by the product. ” 

 As will be seen, the copies that arrived with me were as perfect vinyl pressings as possible. 

The box, accompanied booklet and other ephemera:  

The cover of the album was changed along with track content and sequencing for the US market. A much more eye catching cover which does have a greater feel for the moment as well as the band! Yet, I think the rather duller looking European cover has a more representative approach of both the band and the album. Ditching the name of the band from the sleeve there was that “well if you don’t know who we are, you are not experienced” feel to this. We in the UK in 1967certainly were experienced enough to know, to the tune of number 2 in the charts. Again an instance were a little subtlety may have been missed! But a bright, trippy and groovy sleeve is cool too and that’s what we have here. 

 The incorporated booklet housed in the wooden doweled spine box is the same as that included in the earlier release of Are You Experienced on SACD, as with George Marino’s mastering of the album the SACD remains available from Analogue Productions. That booklet began life in 1997’s MCA releases and was altered to suit the Legacy repress. This booklet is simply an expanded one from that 2010 Legacy. Note that the current standard pressing of Are You Experience from QRP is a single sleeve and does not come with a booklet. 

 There are those who feel the presentation is over the top and hold a preference for simply dropping the box and going with a straight Stoughton sleeve. Not me, I’m with Chad. I have plenty oversized material on my record and book shelves. This not only looks good but the box is a lot more functional and user friendly than many. If space is an issue, then I would suggest placing one or two more related LP’s into the box. It’s all a little late in the day to look for change with the presentation; it’s likely here to stay. Space is an issue with me though that is a small price to pay for presentation and having paid for something different I’m happy to look at something different on the rack as well as enjoy the music. 

 The UHQR box includes a revised information sheet, usual certificates that previous buyers will be familiar with and staff information. The booklet is now expanded to 20 pages.  

 Here as with the SACD, this expanded booklet now includes a number of extra photographs along with addition essays from Brad Tolinski and John McDermott to sit with the original Dave Marsh essay. Some colouration has been removed from one photograph that is familiar to us, while other previously included shots are improved in their presentation. Lay out is of course revised and relative notes amended to suit. While the amended notes exclude any real detail for the photographs of the additional to the 2010 booklet which is rather odd! Venues and dates seemingly are unimportant as is crediting the photographer. These appear with just the Authentic Hendrix LCC credit. 

 If it helps and I would imagine it does …… 

We have two Dezo Hoffman [likely] shots, pages 10 and 15 from 1966. 

Fiona Adams, page 11 from London January 6 1967. 

A Top Of The Pops shot across pages 12 and 13. Barrie Wentzell possibly! 

A series of very nice and well-known shots from Gunter Zint, Star Club Hamburg 17 – 19 March 1967 found on pages 2 – 3, 13, 14, 16. 17 and 18. 

 The additional essay from Brad Tolinski is a great read once past the reasoning for the albums content change. John McDermott presents more detail in a factual manner of the behind the scenes goings on with Reprise and both its acceptance at the label and the sales promotion. 

 All of the records played, even if just a couple of tracks from the Reprise and Track copies had the same pre-treatment as all records including the UHQR were or have been wet washed. Each played side had a light brush of the vinyl. The stylus was cleaned with a carbon brush and a little AT607 solution. Importantly, for each side I degaussed the stylus. I also sat with the UHQR for two days prior to writing anything. This enabled I checked the albums from a physical pressing perspective and if there were any faults just as much as to take away any of those gut reaction comments that can slip in with something that is as different as this. 

 What was apparent from the off, once the needle hit the clarity vinyl, this vinyl pressing was dead silent. Over all, unquestionably a pressing to the highest standard; as quiet as a physical pressing you could wish for which in turn allowed the vinyl formulas black background to deliver on its part, flat and centred. These points allowing the record to shine in its own right, while the flat profile was noticeable once again with no deviation from delivery from start to end of each side. This pressing out does my 45rpm Dave Brubeck from a vinyl experience perspective if for no other reason than the use of Clarity vinyl. Anyone with doubts regard the vinyl formulas potential going into this line of records will be both pleased and come out convinced of the benefits to be had. I can only imagine just how good that 45rpm Brubeck Time Out would sound on Clarity! While I hasten to add, that title is highly recommended even on standard black vinyl. 

 With very limited image movement on this stereo recording, what is present is highlighted in Marino’s mastering is again present here. Both engineers bring out a depth in the dimension presented in front of me. One difference most noticeable from the start is the instrument separation, which brings leaves the listener hearing the finer detail so much more easily. It is important to retain coherence and Grundman does that. You don’t get any more detail between the two but with Grundman we get to hear those small details so much more readily. 

 Against the couple of tracks I played on the Reprise and Track copies, I found there was a little more sparkle here on the Clarity; in comparison these early pressings come across as a little dull despite being from fresh tapes. 

 Clearly the UQHR is cut at a lower volume, that at least allows me the luxury of what volume I choose to put into this record without that little bit of distortion creeping in as found with the more recent pressings since 2010. Not only does this new pressing handle that volume I’d say it needs it. Here with the UHQR we get that deeper look into the tape with Grundman, possibly not to the same degree as with Axis. Bold As Love on Clarity. Also on offer are deft touches on tracks such as “Waterfall” [“May This Be Love”] with that delicacy applied across the track and not just to the movement in the image, turn it up! 

 One of the standout aspects of Marino’s mastering was the imaging as he brought it out of 2D, again Grundman attains this aspect. The image no longer sits between the speakers or the movement simply left / right we get a wider image as well as a deeper image. “The Wind Cries Mary”, as with the version on the SACD, well it’s stunning. “Love Or Confusion” is alive with dimension. The delicacy on “May This Be Love” demonstrates deftness from Grundman that I find hard to find from any other mastering engineer. It reinforces the work he did on the stereo mix of Axis found on that earlier UHQR. Something more than his cutting chain, here’s an experience of a lifetime brought to the mastering. I doubt what we have here could be attained from anyone else regardless to what they cut it on. 

 As constricted as this recording / tape is, Grundman manages to shrug a lot of that off. An album, whose essence was if not crafted with a clear head, written and performed with true heart. Regardless of the collection of tracks these songs began a change in popular music, one of a number we can pin throughout history. The difference with Hendrix against any other musician before or since, this was the start of two monumental shifts he was at the fore of and the direction that music was to head in. All undertaken across three LP’s and just 18 months, life would never be the same again!  

 Grundman’s part in bringing this to us as is, well it’s been a long time coming but worth the wait. 20,000 copies, not many really, this is unlikely to be presented any better any time soon if ever. 

 I did almost forget to comment on the vocal. The Harbeth’s used in the listening session “do” vocal really well [stunningly well to be accurate]. Grundman adds to that in a way no other engineer has ever attained. If you listen through monitors, listen out for that Jimi vocal that sits around the left speaker like the fur of a Parka hood pulled up against the weather! 

 And all of this with that “extra” detail too. After 50 plus years, the tapes have stood the test of time as demonstrated in this AAA cut. 

 Is this my go to pressing here on in? Most likely but I’d say that George Marino Newbury Comics pressing will not be a stranger to my Turntable that’s for sure. I do have to mention that Mr Grundman deserves some sort of recognition for his “service to the ears”, if he was a British national I’m sure I’d be addressing him here as a Sir! Now, if only Electric Ladyland and Band Of Gypsys made the Ultra High Quality Record line as 006 and 007 respectively, I’d be in heaven.  

 While the differences between this pressing and the Marino 2014, in fact the difference against every pressing I managed to squeeze in, is chalk and cheese [or if a different analogy is required, night and day] it remains a personal choice as to if it is your own preference. Only putting this on your own turntable, through your own set up, in your own environment and using your own ears will you be able to conclude.  

 I did hear that this pressing had sold something in the region of 12,000 within the first three or so days. As of writing we are eight days into sales and rumour has it 15,000 sold, don’t be left crying.  

My thanks go to; Ben Valkhoff for shortening my journey. Chad Kassem and Amos Vega at Analogue Productions. Of course, thanks go to Experience Hendrix for keeping faith with vinyl, a faith from the start. 

Gordon Johnson April 9th, 2022. 

ELECTRIC LADYLAND 50th ANNIVERSARY VINYL BOX SET

Maybe a little about the set up and what was brought to the listen sessions is my best starting point here. While the speakers may not be everyone’s preference for review purpose I personally find them my go to, I’d be lost without them!  Harbeth 30.1s and driven in this instance by the LFD Mkv integrated amp’ through LFD spiroflex speaker cable.
 

This, from the Michell Gyro SE, never connected power supply, SME 309 / Lyra Delos. An older model Dino Trichord phonostage into LFD silver reference interconnects cables.
 

A precursor to this piece.
 

I sourced the vinyl set from the USA as opposed to picking up an EU copy. The latter would have been much quicker to obtain as I’m based in the UK and of course slightly cheaper. But that route was never an option to me as the EU pressing presents too many questions about the actual records linage. Would it be an analogue master, a [direct] Grundman master? For sure, it would not be a QRP pressing. For me, the big deal lay with the, “who and from what”, when it came to the mastering.
 

Would the EU pressing, retain the all analogue and direct Bernie Grundman master status? Given past experiences and having the same titles from Sony Legacy / Music of other Hendrix releases at hand to reference, the doubts are more than real. I have little doubt that the EU pressing in this instance is not All Analogue for the main album.
 

To be clear, this piece deals with the US pressing only.
 

So, after a VERY long wait [sourced from ebay to help keep costs down, that didn’t work out as well as expected either as it took five weeks from issue to actually sit on the TT!] the set finally arrived and not without a hiccup to the content!
 

A nice looking box that utilises an overly dark cover shot, the one Jimi had requested for the front cover back in 1968. Plenty of related studio shots from Eddie Kramer plus as we have a live set included here, some wonderful Hollywood Bowl shots with credits to Cal Bernstein and Chuck Boyd for those Bowl photographs.
 

I was surprised to find that some shots in the vinyl set booklet had been cropped a little more than those self-same shots contained in the CD set. Only one page suffers for it to any degree, page 28. Overall, nicely presented but I do wonder about the inclusion of a shot from the Municipal Auditorium, Shreveport. The only association I can fathom would be the year, 1968, as it has no relation to the studio album or the live set outside of that year date.
 

There are some similarities to the booklet that is presented here to the one that we got back in the 1990’s from Experience Hendrix, with a similar approach being applied. There are some key differences, as in replacing the essay from Derek Taylor for an updated over view from David Fricke, plus added comments on the included Making Of documentary and 5.1 surround mix. I am though at odds with some detail contained in the new essay. A minor point as the overall presentation is very good.
 

We also get information contained within the gatefold sleeves of the live and demo LP sets. John McDermott presents the individual track detailing, thought invaluable it barely covers the detail behind a lot of this material. In defence to that, it would take a book or at least a detailed magazine article to do so!
 

The live set included here, well I’m simply at a loss as to why it was included in this set in the first instance. The options of course, leave this out and reduce the set size and price point or utilise the vinyl for more appropriate and related material while maintaining the price point.
 

More comment on the live set points later of course.
 

Electric Ladyland.
 

The first of the three double albums presented in this Electric Ladyland 50th Anniversary set is of course the album itself. So against that I was able to pull out the following records. Note, none of the pre 2010 pressings had full plays, simply one track as a “reminder” to me. I used the Newbury Comics Ladyland pressing as the main counter listen, for the following reasons.
 

The Newbury Comics [blue] vinyl is the closest to this 50th set as both this set and the Newbury are from pre EQ’d master and both are QRP pressings. Originally the 2010 pre EQ’d release was pressed at RTI. I have noted in previous reviews just how good a move, from RTI to QRP was back in 2011, was and has proven to be for Experience Hendrix. It’s just a shame this isn’t rolled out globally given that would not be overly difficult I fail to understand why it hasn’t as yet!
 

So, along with this Newbury Comics pressing I also pulled my Track Records double, both Track single releases of Electric Ladyland, a Reprise Records, a Barclay and some UK Polydor pressings. Again in the case of the latter I was able to pull both the double and single issues of the album. There are more Polydor’s available to me but there was little reason to stretch this out even further with the pre EQ’s.
 

The condensed single track listen on all of these was “Voodoo Chile (Slight Return)”. All of these pre 2010 All Analogue pressings are fundamentally the same in that they suffer the limitations of the applied EQ. None of them really match what is presented from 2010 onwards. The Reprise, an early pressing, is about as poor as you can imagine. No wonder Hendrix struggled with this and as documented by John McDermott, sought out a mastering engineer shortly after this release! Track Records fares a little better with at least some degree of character to the vocal, while Barclay appear to have simply boosted the treble to gain some detail, though that still remained a struggle.
 

Of all of these early pressings, the UK Polydor fared the best, for me at least. That said, all appear behind a veil, with Polydor managing to bring the best balance to the overall sound. So in essence, there was little that any changes in the mastering would ever likely improve upon from this source master. Dull would be an apt blanket description I can apply here to the pre 2010’s.
 

Of course, what we prefer is very much a personal thing and having “that” sound in your head for forty years is going to be difficult to get past for many. We saw this with the 2010’s and subsequent re-issues. With some listeners sticking with the “muddy” sounding early pressings and steering clear of what was initially termed a “bright” sounding cut, I’ll go as far as saying; on that basis, those same listeners will struggle with the 50th release.
 

I like the fact that taking the step back to a pre EQ’d tape source and allowing the mastering engineers a much fairer crack at this album was nothing other than a positive. I’d advocate patients and a few listens with any of the 2010’s and re-issues regardless of the mastering engineer, be it George Marino or Bernie Grundman.
 

The Bernie Grundman cut is quite radical in its presentation even against that of the George Marino master. Marino appears to have been a little more conservative with his mastering, attempting to present the same “flow” and overall feel to the album as to what preceded it down the years.
 

My first listens to the 50th cut confirmed my preference for the Marino master while further listening presents me an interesting change of perspective. Now I have the “problem” of which I’m going to sit with for pleasure. That said, each listen moves me into a more “comfortable” appreciation in a listening sense to this box set press.
 

The highlights for me from the Grundman mastered set are “Voodoo Chile (Slight Return)”, “Gypsy Eyes”, “1983 (A Merman I Should Turn To Be)” / “Moon, turn the tides … gently gently away” and “Burning Of The Midnight Lamp”. The counter to that and what makes me think I have a “problem” in what to pull from the rack for a play are “Voodoo Chile” and “Little Miss Strange”. Both are a struggle to listen to, at least for me at this moment in time. Also, there is a flow and balance that I’m used to on the previous cuts that I don’t, as yet, find here.
 

Grundman has this knack of getting inside the tape, to draw out the detail. At times that can detract from the recording in ways that only repeated listens will get past. Also, that appearance of some disruption to the flow of the album gives it a more disjointed feel, something that really will take a little time getting used to for those of us who have been brought up on this album.
 

I find I had to adjust volume between sides for this set; overall it is cut quieter than the Marino pressing.
 

When some Hendrix music is as “dry” as this it can detract from the essence of the music. “Voodoo Chile” or at least the beginning of the track misses the dirty bluesy feel present on the Marino master. I did hear some level changes in Marino’s work not present on the later pressing from Grundman. Regardless, the earlier mastering works a lot better [for me] on this track as it draws the listener in immediately, not so with the 50th! Given the weight of this title it may be a deal breaker for some.
 

“Little Miss Strange”, Noel’s addition that works so well on this album, lacks some energy here. It is presented in a narrower and shallower sound stage and with these points combined it feels washed out to me in comparison to what I hear on the Newbury.
 

It’ll be interesting as to how I feel about these tracks when I finally sit and listen for the final run through of the double LP.
 

The overall differences across these albums are both simple and noticeable from first listen. Bernie Grundman has narrowed the stereo field, by default rather than anything else as he tightened and focused the bass. In achieving this we lose a little of the “creeping around the sides” at certain points of the album. We also have some slight movement in placement of instruments and vocal. The vocal movement is very noticeable on “Gypsy Eyes”, which caught me by surprise. None of this is a bad thing of course, as set against the earlier George Marino cut, we have moved away from a wetter bass with a loser feel across everything. Here focus reigns and we have a deeper insight into this tape.
 

Those couple of negatives aside, the rest, for me at least improves on the Marino cut. The improvement is how we get instruments sounding more like how they sounded at the recording, the separation between instruments and again from vocal without the music losing any cohesion. Marino was able to bring up detail in his mastering, no doubt due to the availability of the pre EQ’d tapes, Grundman goes even further and deeper.
 

Simple and small detail that still sat on the fringe of hearing with the Marino outing are now more noticeable and it is important that they have not become obtrusive and distracting, they haven’t. With the added focus of the individual instruments we now get to hear some playing like never before. The bass line in “Gypsy Eyes”, Jimi’s bass playing no less, is picked out at one point and Grundman dances it across the rest of and in front of the track. Visually, it’s a little unreal while aurally beautiful, that’s the entry fee right there!
 

The nylon string bass Jimi uses on “1983” / “Moon” has the most glorious detail and sound. This whole piece is Grundman’s tour de force on this album. Here and elsewhere on the album, Grundman appears to have added a little delicate feel to this aspect of imaging. Panning comes across a lot more relaxed, clearly that comes from the detailing. It is this small detailing that go a long way to make this a must listen.
 

The studio effects applied on Electric Ladyland were more considered and a lot more restrained than what had been applied on Axis. Bold As Love. Now I find them presented in a way that brings a whole new experience to the listen, a freshness even.
 

What Grundman also manages to bring out with the deeper insight into the tape is a tonality that is not present on any other pressing I have heard. The full richness of Jimi’s vocal is present throughout the album; check out the resonance, the timbre of the guitar strings in part of “Voodoo Chile (Slight Return)” just before the second vocal verse. I’m feeling that I’m at that point in time and space, sitting in the control booth at the Record Plant [alongside Kramer and Chandler], not only hearing it as it undoubtedly sounded at the recording that very day but also seemingly like the first time I’ve heard this song. Pretty hard to achieve given I have been listening to the album from close to release back in 1968.
 

As for the physical pressing it’s not quite flat over the two disc's, it is centred and overall very quiet. The first noise of any real note is a pair of minor pops on “Voodoo Chile” a couple of crackles running out of the end of “Moon turn the tides gently, gently away”, followed by the pop on the tail of “House Burning Down”, that’s about it. A lot has been said regard the pop on side four so it’s important to not gloss over it here. For me it is not in any way an issue or impacts playback. The more I play the album the less noticeable it has become, a single pop on a record is not really a big deal, in fact not a deal at all. Of course the reason, the over reaction towards this pop is down to the fact the fault can be seen, maybe [clearly!] why it drew as much attention as it did. Can’t say it makes for any difference to me when the records on the platter, though QRP may well be concerned as it seemingly would have an impacted on them through all of that social media comment.
 

Along with that social media / music forum comment there has also been remark regard some reported “distortion” on “House Burning Down”, heard from the 3:40 mark! Not on my copy or set up, this could simply be due to a dirty or worn stylus rather than anything else. This part of the album maybe is maybe a little difficult to track so something as simple and small as this may be the reason why some have heard this! Or even simply that the vinyl is not cleaned before playing rather than the likelihood of any misalignment of the set up.
 

Regardless, nothing here is of any real concern especially when put up against that issue found on the 2007 Monterey [Experience Hendrix / UMe] pressing. That gave us a click and a pop from the run in through to and including the first vocal verse of “Killing Floor”. Audible and visual on every EU pressing due to a damaged lacquer.
 

Once I removed myself from the switching of the A/B listen, this album is a joy to behold with its “new” found nuances, through the multitude of differing musical shades on offer for the first time. There has been nothing like this before in relation to this pressing, it now has me wondering what I’m going to experience with the stereo and mono re-mastering’s from Bernie Grundman with the upcoming UHQR Axis. Bold As Love.
 

Electric Ladyland; The demos and outtakes.
 

Quite a mixed bag of material presented across these two LP’s, with all of it fitting the box set vibe perfectly.
 

Not all of the material on this double LP is new to us, a number of these tracks have seen release previously. Both on CD, pre Experience Hendrix and on release from Experience Hendrix compilations! We do though have some new material along with that more familiar material and of that familiar material we get a huge upgrade in quality. For finer detail and an understanding of the history behind the “hotel” tape sources, that can be found in Jimpress* #114, which I referenced here for a couple of points.
 

Side A, along with the opening two tracks on side B are from late March 1968, Drake Hotel. All of this material can be found elsewhere [“Jimi By Himself. The Home Recordings” which came with the book “The Illustrated Legend of Jimi Hendrix”], though here it is presented “dry”, as no reverb has been added. I find that this makes for an improvement and, simply put stunningly presented on these QRP pressings. This is the first time to vinyl, official vinyl for this material and the pressings are extremely quiet
 

Despite best efforts and as found with the main album set, this pressing is not quite flat. Personally I struggle with the option to go to 180 or even 200 gram pressings. This option brings very little benefit to an album [as a stand-alone “audiophile” option / upgrade] but will, I’m sure, add to the pressing plants work when attempting to meet deadlines.
 

“Angel”, from the first source apartment tape has seen release on the West Coast Seattle Boy set and Lifelines. The apartment takes make up sides A and B on this set.
 

The second tape sourced here is from circa early to mid-1968 with the Drake Hotel again being credited as the recording location. Starting with the tenuously titled “Somewhere” on side B Jimi takes the draft lyrics down a different route. Again an insight into how Jimi was thinking and how he was crafting his music, despite this track not making the album it is invaluable here.
 

All of these demo’s demand repeat listening, even though a number of these demos never made the album it is such an insight into how Jimi was working at the point of recording the album they can’t be overlooked, invaluable as well as entertaining.
 

The liner notes states Bernie Grundman as mastering engineer though that is not supported in the dead wax run out as his initials are missing. Unlike the original album here, these along with the studio out takes that are included, are not all analogue. I sought clarity on who mastered this pair of records and have been assured that it would have been Bernie Grundman. If for some reason the album required a “recut” [after Bernie had cut this pair of records initially] it would have been recut utilising Bernie’s notes. Possibly why we do not see BG in the dead wax?
 

Before moving onto the studio out takes I feel the need to return to the opening track on this out takes album. “1983 … (A Merman I should turn to be)” shows just how complete this piece had been crafted pre studio recording by Jimi, later simply utilising Mitch and Chris Woods [and a bass guitar] along with the studio facilities to embellish the song. Complimenting all of this are Kramer’s extra hands at the mixing of the track of course.
 

“1983” is used to bookend this apartment / studio demos set, an approach we previously saw with :Blues, as on that release utilising an acoustic and electric rendition of “Hear My Train A Comin’” as the intro’ / outro’ to the album. It works just as well here with “1983”.
 

Ever since the beginning of commercial digital media in the form of CD, I have wondered about the designation of track indexing points on this piece of music. Not just simply where those index points should sit but even if indeed these two titles are separate tracks at all and should be as such designated individual tracks in the digital domain. It never was the case with vinyl! A point Frank Moriarty brought back to my focus while he was writing his Modern Listener Guide: Jimi Hendrix.*
 

Back in 1997 Experience Hendrix designated “Moon, Turn the Tides … gently, gently away” to a solitary one minute on their CD issues, that from 5 minutes plus on the digital issues from previous “custodians” of the Hendrix catalogue. That one minute “Moon” would subsequently appear on the re-issued cloned CD’s from Experience Hendrix.
 

It’s tough to find detail for the recording of “Moon…..” and I find that odd, especially as it has indeed been designated as a separate piece in the digital domain. As heard on the vinyl, there are no fades or cross fades between these titles. It simply is a single entity despite having those two titles originally presented to us by Jimi. A close study of this material suggests [albeit arguably] that the piece is structured and presented as four sections, “1983” moving into “Moon”, returning to the main theme and lyric of “1983”, so becoming “1983 …. Reprise” and then back to “Moon …. Reprise”, for that final minute.
 

Placing any index mark on a CD is a tough call to make, given Hendrix never envisioned CD let alone index points! Attempting to second guess Jimi is never a good move but the music speaks for itself. When playing a CD on random selection or through a machine that tracks the index points then it is very disconcerting to either have “1983” disembodied from “Moon” or worse still a single minute of meaningless audio or even a stuttered playback. Two titles for sure but unarguably and without a doubt a single piece of music. Thankfully this is not an issue on good old fashioned vinyl!
 

The studio out takes that are included here are few and far between, disappointingly so in fact. From side C to the end of side D all the material is studio, either recorded at the Record Plant or Sound Centre studios. Here’s where it gets exciting on this set as most of this is new to us, presented either more complete [There is always an exception!] and / or in superior quality.
 

Right from the off, with the alternate take of “And The Gods Made Love”, you get to “see” the inside of the music! As with the Ladyland set, the alt’ studio material is as revealing but not as “deep” revealing as the previous set from this box.
 

Quite a lot of focus has been placed on “Long Hot Summer Night” in this 50th set, with apartment takes and now with two studio outtakes. I’d have liked more of this type of focus on “Voodoo Chile” and / or “Voodoo Chile (slight Return)”, “Watchtower” and “House Burning Down”, just some solid candidates for a “deeper” look into this body of work. An option that would have made the set a lot stronger and supported the releases claim from the title!
 

The stripped back rhythm guitar and piano take of “Summer Night” is sublime. Al Kooper’s piano sounds wonderful and I get that feel of being privy to a private run through of the song right here at home. Both this and the following run through of the track, now with Mitch on drums are from the same date as the basic track that appears on the Ladyland album, demonstrating the rapid progress this song took.
 

From the first play onwards of side D from this set I keep returning to a single word question, why? Here’s our notable and noticeable exception cropping up here. Why is Rainy Day Shuffle presented in such a truncated manner? Clipped of the start and robbed of the ending two minutes or so. It is not that there is something to hide here, poor or out of tune playing for example as we get great organ and guitar running right through to the end were the track does fall apart. Here it runs to a dead stop! The abrupt end feels as out of place as it actually is.
 

I can only think it was cut short to make space for the final studio demo of the run through of “1983” on the vinyl. If that is the case it is another reason as to why adding a live set to this box over two albums is misguided.
 

That the biggest downside to this set is that lack of studio out take content, some of which mentioned here already; as such we have a substandard recording of a tenuously connected live double LP from the Hollywood Bowl. Even if this were a multi-track soundboard recording I’d argue against it being included here. Here, it fails to achieve minimum sound quality for a main stream release as it also fails in regards to association of the “celebration” of “Electric Ladyland”.
 

With a wealth of outtake material to draw upon this has to be considered an odd route to take. Foisting the purchase of such a live set, of dubious sound quality on the customer is a strange way to treat such a release as Electric Ladyland I must say, but we have it and so a few lines about it.
 

Hollywood Bowl.
 

Tenuously linked? For sure it is, with simply a 1968 date close to the release date of the album, a mention of its release during the performance and one track performed from the then upcoming release. Yes, very tenuously linked and far from able to justify being a part of this set regardless of SQ.
 

I had the second disc duplicated in my set. I contacted QRP and not only was the reply swift; they also corrected the problem with supplying me with the missing sides A/B as promptly as was possible. I do know this set was the last to be pressed up and it was close to the release deadline date set. Not ideal for anyone to pack up a set so it is an understandable error.
 

Again these albums are not perfectly flat but they are centred and all four sides being dead quiet. Nothing, not even a static tick to be heard, ironically these four sides that make up the live set are the best pressed. Nothing other than silence even in the run in and out, dead quiet!
 

Given the limitations here, Grundman works a small wonder. Keeping the imaging central presents what we have as best possible return for the listener. The deterioration of sound quality from the recording is noticeable as the recording progressed, none the less an easy listenable show as long as you have tuned your “bootleg ears” in for the ride! And there you have it in a nutshell as to why this set is so misplaced, mainstream releases should not require “bootleg ears”, ever!
 

In essence, a must hear mastering for the “main” event. I do advise a few listens for those who have the older pressing so well ingrained from over those many years of playing this record. The more I play this, even from a critical perspective, the more I seem to be enjoying it as a whole. Yes, the first few listens did take some getting used to, that’s how radically different this sounds but I certainly wouldn’t be without it now.
 

The other positive to this box are the outtakes and demo set, unarguably presented here in superior quality. The mastering again is quite significant in respect to the studio material while the home demos are as they were recorded with no added reverb. That alone allows for the improvement we hear.
 

Both QRP and the mastering engineer have worked wonders to present this live recording as well as they have. The limitations of choice of content aside, as a vinyl release this is more than a welcome edition. It’s exciting and pleasing to have a fresh insight into such a very familiar mix.
 

So, removing my listening from all comparisons and sitting with Electric Ladyland double LP [start to finish] just how does it really shape up?
 

It becomes a more coherent listen for a start but I did find myself getting out of my seat to notch the volume up 30 seconds into “Voodoo Chile”, looking for that immersive feel I guess! I’m thinking that it will be difficult to return to the other pressings after this. On this last run through, “(Slight Return)” presented some weird [in a good way] feel in the imaging; it almost felt that the panning at one point came across as rotation, an arc of 180 degree. Something I’d not heard in the comparisons or on any other mastering.
 

As a stand-alone listen, lost were the slightly narrower soundstage and the dryer sound, just a momentous album playing out before me. This QRP is a must, whether it goes on to float your boat is another question, for me it does and improves with each listen. It’s really got me for sure.
 

*Jimpress
http://www.jimpress.co.uk/
 

**Modern Listener Guide: Jimi Hendrix https://www.modernlistenerpublishing.com/?fbclid=IwAR3dkXTRdnrA2fExi2zZ_csF1b18O2jVQvWSAT_CY6tjeYFXzj60B4kV9zk
 

QRP
https://store.acousticsounds.com/s/312/Quality_Record_Pressings_-_All_Titles

Electric Ladyland 50th Anniversary Box set picture run through:

Front and rear of box, front and rear of digital media included and the wrapper sticker. Individual sleeves per each double album and a label e3xample3 from one side per double set, Electric Ladyland, At Last The Beginning and Live At The Hollywood Bowl.

And the booklet. 

Having had both of these records since issue back in April / May 2019 I have had plenty of opportunity to play them and that opportunity has been grasped with both hands! It’s not often I feel we get so much from such a familiar record as we have done with this pair of pressings, from both mixes.

I have been floored by just how good they both sound and impressed at just how much the most recent Bernie Grundman mono cut sounds on this Clarity vinyl. Unfortunately [if you missed them] both records are sold out, with the mono having achieved that status within months of the initial announcement of these pressings. Oddly, it is the mono cut that has received the most critical comments of these issues since release. Most of that critical comment is based on a simple consideration of the mastering by Bernie Grundman across this and the Classic Records cut! And that is something I find very odd indeed, to reduce consideration to the single reasoning of mastering preferences!!

At home I utilise the following for playback for the most part, Michell Gyro, never connected power supply, SME 309 / Lyra Delos, Trichord Dino. LFD Silver Reference interconnect cable, LFD MkV integrated amp’, LFD Spiroflex speaker cable and the Harbeth 30’1s. With the same set up for the mono except I utilise Michell’s Techno Arm coupled with the Ortofon 2M mono cartridge.

Both of the records give what I can only describe as a stunningly good base as they are exceptionally quiet vinyl pressings, even on my modest set up the physical pressing quality is exceptional. With just a single pop between tracks on the mono pressing and a couple of barely noticeable tic’s on the stereo, well that amounts to well pressed vinyl.

The choice of Clarity Vinyl works well, bringing an absolute “black” to the records. An impressive start, yet coupled with the flat profile and we really do start to get, well something else for a base to hear these recordings. Analogue Productions and Experience Hendrix appear to have made all the right calls here and have avoided over cooking were needs be. Not cutting at 45rpm has worked. So we get to hear the records as they originally appeared rather than over four sides of vinyl.

Are we missing anything from not having a 45rpm cut, I don’t feel we are. Clearly the detail, resolution and even the [apparent] space we get with 45rpm vinyl all still appears here at 33.

Retrieval of detail: It is what it is per set up and what the investment [and matching] is of course but the question, for me at least is do any of these calls by Analogue Productions and Experience Hendrix make for improved/ greater retrieval? Yes and no, in short. The limits are set by what you play the record on and with, yet the flat profile does give an improved return across the whole record and the Clarity vinyl does give you more opportunity for that improvement to be heard, both in terms of accuracy and detail. 

But limitations are still apparent, or at least would still be apparent if the mastering was not as good as it is. That is something clearly highlighted when we get to the mono cut.

I’ve enjoyed the mono since I first heard this record [1960’s] and finally when I heard this specific stereo mix years later have sat and enjoyed that too. Of course I have a preference and that is for the mono. Sure I get to “miss” out on some applied studio effects but I’m more interested in the music more often than not. Unlike Electric Ladyland which is certainly, unquestionably a stereo listen only [for the most part!] as it has its base, its very ideal in fact, rooted in the concept of stereo and of course with that in mind, was “written” for stereo. Here with Axis. Bold As Love the stereo effects are much more for decoration. I often liken Kramer, Hendrix and Co. as simply being “kid’s in a sweet shop” when they mixed this album. There has always been a slight distraction for me in that stereo mix in the way effects were applied. That distraction is away from the very music it presented. 

I do enjoy the “newness” in the stereo cut, that feeling of musical ideas being pushed further. Yet that highlights the feeling of most of the console trickery being an afterthought to this album, to the composed pieces, something that does not enter into the concept of Electric Ladyland.

That Grundman came along and managed to “tame” that stereo presentation without removing any of the magic was somewhat of a surprise to me and I love this stereo mix like never before! There I said it! Yet I remain a firm lover of that mono mix, I don’t see that changing any time soon now we have this UHQR to satisfy my listening desires, as I don’t see any reason as to why I cannot enjoy both, much to some peoples chagrin! 

The stereo mix is a sheer joy played back on the monitors; the way Grundman presents the panning on “Up From The Skies” is sublime as it gently rotates in front of my feet, floating just above floor level. Never do the effects appear disjointed or harsh as I found previously on all other pressings I own and have listened to. What we get from Grundman here is throughout the entire stereo LP.

Hendrix’s vocal is a joy here and I love the way his backing vocal lines are clearly defined as that, recorded and added as overdub’s. Grundman refuses to force a square peg into a round hole here. Both recorded mixes are presented in an honest manner and I love it! Yet the magic for me is how he does all of this and still leaves the recording a whole piece, in no way disjointed or distracting.

In part that is why we get the room and the tape presented so clearly, Grundman magic coupled with the profile and vinyl formula! This is the only stereo ABAL record I have ever been able to fully engage in and that is not me saying I never enjoyed the stereo mix prior to this issue record!! 

Apply all of this to say Electric Ladyland and I’ll be a happy man. Let’s hope that is not left too late as none of us are getting any younger and I’d truly enjoy the opportunity to sit with Ladyland as a Grundman master on an Ultra High Quality Record.

While the mono does remain a different beast of course, it seems it is considered a little like marmite in that it divides opinion so widely and readily. Which, while that is fine I struggle with the endless “this was made for stereo” comment that appears to be trotted out by those who fail to either deliberately or subconsciously understand the mono mix or fail to acknowledge that others may well have their own and just as valid opinion!

I wasn’t disappointed with this mono pressing at all. It delivered all that the stereo pressing delivered by way of vinyl formula and profile, in short the best possible base for any record playback with again no need to look for a 45rpm cut.

The UHQR was able to open up the texture of the sound. How much that was vinyl and profile choices from Analogue Productions and Experience Hendrix and/or Bernie Grundman’s mastering I’ll leave the listener to conclude. We do have the two previous shots from Grundman at the mono mix for consideration, Classic Records in 2000 along with the 2013 Experience Hendrix / Sony issue. This is the base of all contention regard this mono record from Analogue Productions it would seem, in that it divides personal preference between these cuts.

It is difficult to move past our own preferred listen of any given record, something quite understandable once we have “that” sound embedded, yet this bias has to be parked up if we enter into a listening shoot out of any sort. I never felt this was a fair or reasonable shoot out in the first instance, given the differences in vinyl and profile between the UHQR and the other two pressings. So condensing the mastering differences into a shootout only tells part of the tale! A tale with a pre disposed bias for some, maybe?

Based solely on mastering, any consideration between pressings is always going to result in a misleading outcome, straight down to a personal preference. I fail to see how that helps understand any of the records in question!

In a conversation with Chad Kassem, he questioned my choice of Harbeth speaker’s for review. A question I fully understood yet as I said at the time, I just wouldn’t be without them. They suit my listening and just as importantly, my room. But his questioning did play at the back of my mind so I decided to act on that and throw my mercy on Doug Brady, HiFi dealer’s extraordinaire! Having been a customer of theirs for two or three decades and knowing just how accommodating they are I approached them for a listening session with “some sort of floor standing speaker please”! Booked and ready to go [I had no idea of what the set up would be outside of seeing what was in the listening room, big opportunity for a mix and match] I returned a week or two later to sit with the following records: Marvin Gaye, “What’s Going On” MoFi one step, the pair of AP’s UHQR’s ABAL’s and I included in the bundle a George Marino stereo cut and both of Bernie Grundman’s previous mono cuts of Axis. Bold As Love.

At Doug Brady HiFi I turned up to find they had set the following up:

Michell Orb, FunkFirm FX3 / Ortofon Cadenza Blue, Luxman E250, Audio Mica interconnect cable, Luxman L-509X, Audio Mica speaker cable and a pair of ProAc K3’s. Before I forget, this set up also took the benefit of some power conditioners by way of IsoTec’s Titan and Sigmas and cableing.

I was to go on to find the pairing of the Luxman and ProAc speakers was simply a marriage made in heaven, different of course but similarly comparable with the LFD / Harbeth pairing in that they work together like a dream.

Before I get to this dealer session I have to say that the outcome in this listening room simply supported what I had been hearing at home in respect to the mastering differences for the mono cut, just presented differently of course. Those presentation differences not simply from the ProAc floor standing speakers and that typical presence of a floor standing speaker but also those power conditioners from IsoTec.

The combination of the 120 wpc Luxman L-509X and ProAc K3’s handles the stereo mix very nicely indeed yet I felt there was something missing from the imagery here, or at least the presentation of the stereo panning. Not quite how the monitors do things and I felt a little disappointed in not finding that imagery played out before me quite how I’d recently come to enjoy at home. 

Despite that, the set up was delivering elsewhere and the contribution of the power conditioners was certainly noticeable. Seemingly heightening the “black” and engaging the listener to even a more involving level.

The mono was though what I had personally come to hear, on floor standing speakers but here we only had the stereo cartridge [Ortofon’s Cadenza Blue] to handle this cut. I have played this mono on my own stereo cartridge, the Lyra Delos and I know it sounds good on that as it tracks very well. Similarly, expectations are about the same with the Ortofon tracking this mono album, I wasn’t disappointed. 

I didn’t miss the mono cartridge as much as anticipated, here the floor standing speakers brought enough to offset that for me. Or was it the combination of speaker and amplifier? Probably the latter as I was left with a feeling, that this combination is something very special.

Here at Doug Brady’s I was able to relax and enjoy the session and importantly was able to think about pushing the volume into the mono recording in a way I cannot really do at home, for the most part. Never one for volume for volume sake, I do enjoy a good mono recording at higher volume levels than I would normally sit with.

So I knew from experience of 19 years with the Classic Records cut that it does struggle with volume. It is a little harsh at volume and for me unlistenable at serious volume. That appears to be the mastering choices and added compression to give it a 1960’s feel, which was certainly achieved when I compared this Classic Record to say a Reprise and especially a Track Records pressing.

Here on the dealer’s set up through the excellent pairing of amp’ / speakers I was finding myself pushing the volume higher and higher throughout the listening of the mono UHQR. Handled with consummate ease this speaker was rising to the challenge and delivering what was an absolute joy of a return, now I wish I had arranged for a mono cartridge to be trialled here too!

This is mono playback at its best, huge sound delivered with a sort of ease only a matched set up can offer, none fatiguing even when the volume knob passed the halfway point! Everything remained tight and focused, clear and balanced regardless as to volume. A natural recorded sound, rather, THE natural recorded sound remained at what I’d normally term excessive volume. So good was it, it just didn’t sound (overly) loud at any point, clearly good sign of set up and recording / mastering. 

I swapped out the UHQR for the 2013 mono and dropped the volume before pushing it back up to the higher levels; here too is a mastering that will happily take volume. But the record was not comparable; the standard cut 2013 could not match what was brought to and delivered on the UHQR of improved quality control, choice of vinyl formula and very noticeable profile difference.

That said I played side B through fully and possibly enjoyed this 2013 record for its mastering choices like I never did before. Back to side B on the UHQR and back to pushing volume just a little more than before! This record, as with the stereo pressing is seriously unreal as a pressing, it was getting addictive to just want to play these Analogue Productions cuts.

Ending on the title track with the UHQR I left everything as is on the set up and switched to the Classic Records pressing from 2000, knowing that the record had been cut [a little] louder I fully expected to have to drop the volume just a little in any case for a rough match with the UHQR. Straight to Bold As Love as that was as fresh in my mind as possible.

All comparison went out the window as I swiftly had to drop the volume by quite a bit and then a lot more! From about 1:00 on the dial to about 9:00 and then tweak it down a little more, that’s simply how harsh this record is at volume. Unlistenable (for me at least) at those higher volume levels, it was a lot like an overly loud CD mastering, AC/DC’s Black Ice, which I never can play, came to mind!

Both of the Classic and 2013 pressings suffered (in comparison) noticeably with both feeling dirty, in that they didn’t deliver the black backdrop. With the 2013 certainly highlighting the fractional distortion that occurs with a standard record against the flat profile. More reason for me to sway toward these UHQR’s being on the turntable more often than any other copies I own. 

At least with the Classic cut I get to drop the volume and can enjoy the record for what it is, that edginess that seemed to fit the record. Despite never being able to deliver a loud return the Classic Records issue was always a favourite on my set up at home, pre the UHQR it was my preference for this mono in fact. It’ll only make it out of the sleeve as and when I want to listen to this record at very low volume as of now.

That low volume listening is another reason these Harbeth’s suit me, they have the real ability to deliver all the fine detail of a recording for those quiet moments when you neither want headphones or to disturb the rest of the house.

Now I have a new mono favourite in the UHQR and the stereo, one of the limited 5000 issued. That latter mix with Grundman’s mastering is easily my go to. I didn’t even once feel the need to play the Marino mastered stereo at any point during the four hour listening at Doug Brady HiFi. That being the only record I took that didn’t make it to the turntable at least once. Not a slight on Marino’s work in anyway as I felt his was the benchmark for this stereo before I got to hear the Grundman / UHQR.

So despite the big pricing of these records and the overly priced shipping, tax and import charges I’m left feeling they are worth every penny and all the hassle it took to get these into my record collection. Not for everybody of course, hence the limited numbers. Though the mono would have benefited by another 500 to the limit of the 1500 total, they would have sold. 

Well I’m more than happy for others to disagree with my opinion on preference as to what gets played on their set up and what floats the favourite side of listening,  yet I’ll caution against unsupportive counter comment as to my findings regard the volume issues with the Classic Records pressing. It is something that can be trialled on any set up if you happen to own both a Classic 2000 and a UHQR 2019, you have full control of the volume! I do “care for my ears”.

The feeling of satisfaction after playing these records is immense; it really is a good experience. Just left with some questions, as in: When are we getting Electric Ladyland as an UHQR, will we be getting a standard issue Grundman mastered ABAL any time soon, how would a Lyra Delos sound on this Funk arm? And just when can we expect to be able to pre-order the next in line of the Ultra High Quality Record pressings from Analogue Production?

Doug Brady HiFi can be found in Warrington, the North West of the U.K. https://dougbradyhifi.com/

Did I mention just how well the Luxman and the ProAc’s did as a pairing? http://www.luxman.com/

and https://www.proac-loudspeakers.com/html_files/Speakers.php?Range=K&Speaker=K3

Not one to have ventured into the realm of power conditioner’s I could not fail notice just how they operated in the dealers session, to the point I may well dip my toe in to this with some simple power cords. https://www.isoteksystems.com/

Lastly Acoustic Sounds, or if you prefer Analogue Productions, call it what you will it remains a place that should be book marked and visited regularly. While bank managers and wallets may not thank you for it, your ears will! https://store.acousticsounds.com/s/448/Analogue_Productions

The following first appeared in Jimpress 2020.

By far and away, the best live set we have had from Experience Hendrix / Sony, to date. Possibly, probably the best box set of material since the “purple” set was originally released a couple of decades ago, during Experience Hendrix’s affiliation with MCA / Universal. And yes, for me at least, one of the best “rock” based sets to be issued, period!

It wasn’t that long ago [September 2016] when I was as impressed too such a degree with the release of live material, that in the shape of “Machine Gun. The Fillmore East First Show, 12/31/1969”, which, as we all know makes up the first two LP’s, first CD of this wonderful set.

“Machine Gun”, well that was a master stroke of self-promotion and sales. Anyone new to Hendrix or live Hendrix when buying that double LP or CD would be easily drawn into investing in this recent release, as a precursor to this new set it was genius marketing.

Art, for art’s sake; if so it works!  The presentation of half century old performances against the trials of a producer(s).

John McDermott’s commented when in contact with Jimpress; ”Our goal for this release was to present the best performances from the four shows as opposed to a 'warts and all’ approach”.

As such there can be little if any argument regards the omitted material, at least the material we can reference that is. I for one always feel a little let down when we have a less than genuinely complete live release presented to us, which is, let’s face it more often than not! The omissions here, as with say “Atlanta Pop” are clearly obvious yet that still leaves me feeling uneasy about certain performed material apparently simply being written out of history, completely! A sort of polished Hendrix musical history for the masses, not something that sits well with me at all yet the commercial side of the business will always win out for mainstream releases, yes we all understand that.

Yet there remains that artistic aesthetic to consider from the producers which needs to hold its place against the commercially driven aspect of a release. That then begs a question, who’s art are we buying? One way to avoid the appearance of an overly polished artist would be to, at the very least comment on omitted material for this or any set, within the liner notes. I don’t see how mentioning omitted material is in anyway a slight on Hendrix, the band or a given performance. Leaving us, the listener with an accurate and historical perspective to muse over while we listen; listening to what is an extraordinary well compiled box set in this instance.

A 21stcentury release for a target audience that is dominated by 20thcentury children be they groovy or not!

Of course this is a far improved release due to the edits and omissions that Kramer, in conjunction with and direction of his co-producers delivered. Anyone reading this here at Jimpress has heard all of the available material from these shows, from soundboard clips, audience recordings etc., so we all know just how improved this set really is, even when putting aside consideration to and of the mix presented to us in this recent “complete” set. 

As I sit and listen to the vinyl [and CD] set I can’t help but feel that the call [overall] for and the applied edits and omissions to, was not only the correct one but has been undertaken with the utmost consideration to both the end [commercial] product and the listener. 

A little mind boggling then to consider the difference between this and its immediate predecessor, that of Electric Ladyland, the 50th Anniversary set! Placing aside any personal questions and those of the “hard core” group of fans, this Fillmore set is as good as it gets, outstanding in fact.

Performance art will always have its warts even if the warts are self-inflicted [in this instance, maybe too much between show partying?], as we have both late shows feeling a hell of a lot looser! Yet it is that very looseness that brings out the real performer with Hendrix. Arguably the very appeal, the essence in and of performance art lies in the opportunity of spontaneity [and improvisational skills], even when fuelled by drugs and/or alcohol.  Hendrix was not the only musician who refused to perform the same piece the same way, always adapting, ever changing, as much through lifestyle demands as well as any other reason. That alone could and often did promise to deliver a less than tight and polished performance, be it a single song or a whole show …… a number of warts!

Back in 1970, Hendrix did sit with Eddie Kramer and turn part of the recorded material into an album, that performance art of the four live performances condensed and packaged into creative art. That’s fine; this was the idea behind the four shows after all, simply to deliver “an album” to Ed Chalpin. While Hendrix never really presented any argument that this was the future of his band vision, even as a three piece he sure was going to make the most of it! So from [brilliant] performance art to that of creative art with Capitols’ late March release of the “Jimi Hendrix –Band Of Gypsys” record1, and what a record that turned out to be.

Introducing “Songs For Groovy Children” to the market;

An expanded creative set.

It’s not unreasonable to say it is near impossible to present 50 year old recordings as out and out “performance” art but we were presented with just such a suggestion [pre-release] that this was in fact likely to be the case!

We have waited a long time for such a release of this material! The “master” tapes* having being secured at the tail end of the last century and so easily accessible to Experience Hendrix that it got a lot boring waiting on this “complete” set to see the light of day. Well the wait was worth it, at least for those of us who made it through! 

*When John McDermott was in contacted with Jimpress he kindly shared a “shorthand” account of the securing of these tapes and how he felt some theories as to the content of the master tapes may have been confused down the years. John’s comment is attached, in full at the end of the piece as it is of historical importants.2

Kramer is recently quoted in “Goldmine” as jokingly saying, “Patience is a virtue”, in respect to this release. Joking aside, given the time in which Experience Hendrix have had access to this set of recordings [two decades], well I say patience has been pushed past its limit for anyone other than the “casual” fan.

This was never going to be close to that undiluted presentation of the four shows as may well have been promised or indicated, listening to the collector’s material that is available simply shows just how poor some of the individual [song and personnel] performances are, through a lack of focus from Jimi to the overzealous Buddy backing vocal!

So when we got to read the set lists and the pre-release blurb things didn’t add up. On the one hand promises [of a complete unedited four show release in performed order] and on the other an understanding that some material had been culled from these performances as was seen from the published track lists! On release, we also got to hear a number of edits, again fine as it tightened up some of the songs performed over the two dates yet even that was “hidden” behind those “complete” claims being made in some quarters! In fact, some release statements actually claimed that the shows would be presented “without edits” long after the release!

John McDermott; “I have to think that Sony's claim on some initial press messaging that the box set was 'complete' stoked some of these theories you mention.  Nonetheless, the shadow of that error falls on us as well.”

Clearly nothing other than a loose promotional campaign in this instance rather than what some have claimed, that of cynical disregard. Over the following months all would be corrected of course. But it was not just Sony who made this error of claim, it sort of rolled out across a number of outlets, from Acoustic Sounds through to Amazon, Experience Hendrix’s own web pages and of course those music “papers”, both physical and the ones that sit in the ether.

John was to continue, “We did not include some performances from the 2nd shows on both days [i.e. "Stepping Stone," "PH, VC (SR), "Stop," etc.] for various tuning or performance issues.”  

The claims of omission “for various tuning or performance issues “, at least for the five songs from Wednesday 31st, second set can be validated as we have the missing material of Stepping Stone (14), Burning Desire (4), Power Of Soul (42), Voodoo Chile (SR) (63) and Purple Haze (83) available to us already, albeit some in rather rough form.

“Stepping Stone” starts in a rather funky but loose fashion and soon after progressively falls apart before being pulled back in line for what is an uninspired band interpretation of the piece. “Burning Desire”, well this outing never got past the flicker of a spark! What is at best a “lumpy” start the band then fails to gel and the attempt is curtailed after a couple of minutes or so.

“Power Of Soul”, we have to look to Jimi here. He struggled with the vocal and he lacked a degree of focus. Jimi lacks any passion and fails miserably here, a lacklustre performance from him. 

Voodoo Chile (SR), I do wonder why this was not included, albeit a shorter than normal rendition, there is nothing overtly obvious to suggest this was a performance issue, or tuning come to that! It may simply have been an editing issue.

“Purple Haze”, while the song does fall apart (briefly), why oh why does Buddy decide to add his scatting over the outro guitar section? For that alone this was worth leaving off of the set!

Clearly, simplified here and of course considerations made by one who has no input to the final release or in fact to the readers own consideration, each to their own!

While it is easy to understand the cull of this material I do retain that desire to hear the omitted material, mixed / mastered to this level. Maybe a Dagger Records release could cover this omitted material along with the tune up’s and any as yet unreleased Baggies material included? Some of the “warts and all” for the patient fans!

BOOKLET: In general terms, there is nothing either format presents that is not found in its counter issue. There is some minor cropping to most of the shots for the CD booklet and in all but one instance, more text applied to/ over the pictures contained in the CD.

While the CD does present three shots that do not appear in the vinyl set booklet, these “Au naturel” presented CD booklet shots of Jimi [found on pages 24/25, 28/29 and 32/33] can be found photoshopped on the individual record sleeves of vinyl disc 5 [cropped], vinyl disc 7 and vinyl disc 6, respectively.

For the most part the shots are better presented in the larger format booklet but not all, I have noticed one that has a little more grain due to the size! Where the CD booklet falls down from a picture perspective is the huge cropping of the shot that appears on page 39. 

John; “……..Marc Franklin, whose photos are among those featured in the accompanying booklet, was a US representative for Marshall Amps.  That is how he was welcomed by Jimi to the group's dressing room was able to take those cool shots.” Cool shots indeed and beautifully presented in the vinyl set.

Beside the photographs from Franklin the booklet carries shots from Amalie Rothschild, Jan Blom and Gary Legon.

While we fail to have mention of the missing audio from those two sets in the liner notes we do get a pair of essays. The opening essay from Nelson George, while being well penned and a fine read, it holds little other than a tentative relevance to the shows we are presented with. What is clear, Nelson [unfortunately for us] did not attend either of the performance dates, I would have truly enjoyed what he may have had to say if he had been in attendance for at least one of these Gypsys performances! 

George’s comment while “of the times” and welcome as it is here does feel a little removed from the actual events and I feel does not compensate for what should have been a performance comment included here, be it from an attendee of a show or from someone related to the band or venue.

The second essay is from the living legend, Mr Billy Cox. Fascinating comment from someone not only there but so deeply involved in the making of the music, great music.

The vinyl is contained in a well presented box while the US pressed vinyl initially came in numbered boxes, a gold stamped number on the rear running to four digits. In theory running to 9999 but I have no knowledge if this was the case!

Before consideration of the vinyl itself there remains one question outstanding, that of Burning Desire (5). While this is presented to us as the final song from the first set from Thursday, 1st January ’70 for this “Groovy Children” set, the available listing for material recorded allows us to see that the song in question was in fact recorded later that day / night, at least that’s how I read the notes! Or was it?

Here’s a an arranged listing [for the 1st Jan] to help show how both recordings was undertaken, running two recorders offset so as to capture all of the full performances, Machine A and Machine B, as and when the reel changes occurred. Note how Burning Desire falls mid tape on both 9A and 9B! 

                                                                JANUARY 01, 1970

FROM REEL 6A                                                  FROM REEL 6B

SOUNDCHECK? LISTED AS 16:10                  SOUNDCHECK? LISTED AS 22:10

Intros                                                                        Intros

Who Knows                                                            Who Knows

Machine Gun                                                          Machine Gun

Changes                                                                 Changes

Crash Landing /Paper Airplanes [POS]           Crash Landing /Paper Airplanes [POS]

Stepping Stone [Trying To Be]

End show #1 beginning of show #2 1/1/70

FROM REEL 7A                                                  FROM REEL 7B                                                                                                                                                              

                                                                                 Stepping Stone [in progress]

Foxy Lady                                                               Foxy Lady

Stop                                                                         Stop

Earth Blues                                                            Earth Blues

END OF SHOW                                                   END OF SHOW

SECOND SHOW                                              SECOND SHOW

Intros                                                                        Intros

Stone Free                                                              Stone Free [run out- see TAPE 7[which is end of 4B]

Paper Airplanes / Crash Landing [run out] [POS]

FROM REEL 8A                                                   FROM REEL 8B

JANUARY 01, 1970 MIDDLE OF SHOW #2

Paper Airplanes/Crash Landing/P Of S          Paper Airplanes …

Changes                                                                 Changes

Message To Love                                                 Message To Love

Machine Gun                                                         Machine Gun

Lover Man                                                              Lover Man

Stop Stop

Earth Blues

FROM REEL 9A                                                  FROM REEL 9B

                                                                                 Earth Blues [in progress]

Foxy Lady [just @ intro]                                        Foxy Lady

Steal Away                                                            Steal Away

Burning Desire                                                      Burning Desire

Voodoo Child [We Gotta Live Together]         Voodoo Child [We Gotta Live Together] [run out]

Wild Thing [run out]

                                                                               HEY JOE [2 TRACK MIXES FROM ¼”] inc

                                                                               HEY JOE—2 TRACK MIX

                                                                               PURPLE HAZE—2 TRACK MIX

                                                                               END

FROM REEL 10A

Hey Joe

Purple Haze

END OF SHOW

Burning Desire (5) is listed in “From the Benjamin Franklin Studios 4th edition. Part 3: The Chronology 2019 edition” as being part of the in circulation soundboard recording. That we have no sign of this on the EMP list is telling! It shows clearly End of Show after Earth Blues (14). 

Clearly the track in question (5) is correctly placed within this new release; you only need to review the tapes that exist in collectors circles to have that confirmed.

Is it a double mistake in the listings or just the singular? That is something that at this moment in time only Experience Hendrix can really answer for us. John McDermott does briefly comment [see 2] about the confusion but does not appear to specifically address the query as to the fact that Burning Desire was performed for a fourth time during the second set from the 1st January.

Speculation as to the listed Burning Desire having been “moved” from the later reel [9A] to fill out the earlier set [reel7A] appears to be incorrect. Yet it remains a conundrum as the incorrect listing impacts the same song across two performances!

So for me at least, unless something other comes to light [actually circulated] like a complete audience recording of the second set from New Year’s Day I’m clear that the performance order as claimed on the wrapper sticker [both vinyl and CD] along with that from the pre-release blurb is correct.

As noted, the wrapper sticker for both the vinyl and digital set clearly show the claim of “original sequence”. First image below.

VINYL: While I once again sourced my vinyl from the USA, manufactured at QRP, John McDermott had this to say about the manufacture of vinyl from the US and the EU.

John; “On another note, I thought I would clarify the vinyl process for this release as I am sure that will be a part of your next issue. Bernie Grundman handles both the mastering and the vinyl cutting for us on all of our new releases since the death of George Marino.  These are attended sessions by us.  We require that Bernie cut parts for both the US and ex-US manufacturing.  This is all done at the same session.  Those metal parts are then shipped to QRP here in the US and the Sony manufacturer outside the US (such as MPO).  We do not send a digital file for overseas pressings.  We feel that this process keeps the quality level we are shooting for as equally balanced as we can make it.”

While that is the official take I personally have a couple of doubts as there is outstanding support to throw some of this claim into question, I’ll leave it for you to decide for yourselves on such matters! I’d like to think that in this instance [“Groovy Children”] that the process of shipping the metal parts to the EU is accurate, I do not own [or have yet seen the matrix details of] an EU pressed set to be able to make any comparison or to have an understanding as to where this EU set was pressed. 

As is the case, QRP undertook their own plating [Mastered by Grammy-winning engineer Bernie Grundman, plated & pressed on 180-gram LPs at Quality Record Pressings] for this set.

It is disappointing to say that the first five records are not flat, yet nothing the Orb clamp could not handle. While playing the records without the clamp there is no real apparent issue, yet you do hear a “tighter and more focused” record when the clamp is used on this less than flat vinyl.

The run out on side 8 of this US pressed set did have a little bit of what is most likely paper splash noise otherwise everything that came before [on every side] was genuinely total silence allowing the audio to shine. Side 9 gave that same paper splash sound, unfortunately it started on the vocal outro’ to “Machine Gun” and boy was it loud and distracting! Probably amplified due to the side again playing so quietly but that’s the deal with records I guess, still disappointing.

Side 10 presented a similar noisy outro’ to the “Thank You’s”. After that we appear to have returned to the beautiful quiet vinyl. The remaining three records of the set do sit flat.

Of course this is a sample section of one, of a number of thousand sets produced so such comments have to be given a degree of perspective. 

The mix is superb across the entire set. A master class from Kramer and maybe a “flipped bird” to any dissenting voices towards his recent work! The only thing that threw me a little, something I noticed on the CD set and subsequently also heard on the vinyl was a little change in the dynamic on one of the songs from the final show. Albeit small, yet clearly a very noticeable increase in loudness is apparent. I’m sure you have noticed that too!

I genuinely did not expect to be as engaged with these four consecutive shows as I am; this is no mean achievement especially when faced with some repeated material and with some of the content. Tight, flowing and thoroughly engaging from first to the last, something I never envisioned these four shows could be presented as. Listening to the unedited material available, well sometimes I feel I need a little bit of a distraction! Testament of course to the art of production in this instance.

A final consideration, all of the material is likely to have been edited in the digital domain. What the actual master source used for Grundman’s mastering is we are not informed, in either the liner notes or on the wrapper sticker! Regardless, I fail to see how or why such reticence of “disclosure” on the part of Experience Hendrix is so prevalent with releases on vinyl. As is often the case, with or without any digital step in the chain the recordings that we are presented with nowadays on vinyl is / are unquestionably exceptionally good. 

Then I read this, which appeared in “Record Collector News” http://recordcollectornews.com/2019/12/hendrix/ 

An interview with Eddie Kramer by Harvey Kubernik had Kramer once again speak of his mixing technique, “: Fortunately we have the original one inch eight tracks and had them transferred using my favorite transfer system [The Burl Audio B2 Bomber DAC analog-to-digital converter] and it sounds bloody marvelous.

“Once we’re into Pro Tools now we have a beautifully duplicate and you can’t tell the difference between the original and the duplicate, thank God. Mix away.

“There’s a wonderful aura about the Fillmore East. The sound in that room was magnificent. Acoustically I wish to think of it as a mini version of Carnegie Hall. Because the stage is suspended, floated and the bottom end is just fabulous.

“We were able to bring out because in the advances in modern technology the way I mix is this hybrid of the best of analog and the best of digital I use plug ins judiciously. I’m like a surgeon because I’m able to do so and I can bring out the best of what’s there, because sometimes there’s a vocal part where Jimi is off mike or whatever. I can now take that smaller signal and amplify it and work with it and make Jimi’s voice sound fuller and the whole band sounds fuller, the bass and the snare and everything. It’s just a bigger audio picture.

“I think this was a grand opportunity that Jimi seized. I’m guessing here, but it seemed to me, that right after Woodstock and going forward and into the rehearsals and the conception of putting this band together, and then culminating with these four performances, Jimi enjoyed the hell out of it. I think it played an essential role as to what was going to happen thereafter. It shifted the direction. It showed the world that ‘Hey. I can play as funky and as cool as the next guy and beyond,’ and showed another part of his whole musical career that lasts to this day and beyond.”

While there are other points that remain a little less than clear when we take a look at the vinyl run out matrix. Of course the first four sides match those of the earlier “Machine Gun” set and were also originally plated at QRP; all US pressed sides carry BG in the run out both on the original “Machine Gun” release and this “Groovy” box set as they would indeed be as they are all from the same plates.

Things change when we take a look at the remaining sides of the set, we do not have BG appear in any of the remaining sides! The line is, they were most likely cut utilising Bernie Grundman’s notes. Here’s what we have from the US pressed set;

A: 88985354171 A BG

Sides B to D are sequentially [B,C and D]the same.

E: 19075982761-E-RE1 [SYMBOL OF LINE WITH HALF CIRCLE AT THE MID POINT, TO THE LEFT]

F: 19075982761-F-RE1 [SYMBOL OF LINE WITH HALF CIRCLE AT THE MID POINT, TO THE LEFT]

G: 19075982761-G-RE1 [SYMBOL OF LINE WITH HALF CIRCLE AT THE MID POINT, TO THE LEFT]

H: 19075982761-H

I: 19075982761-I [SYMBOL OF LINE WITH HALF CIRCLE AT THE MID POINT, TO THE LEFT]

J: 19075982761-J [SYMBOL OF LINE WITH HALF CIRCLE AT THE MID POINT, TO THE LEFT]

K: 19075982761-K [SYMBOL OF LINE WITH HALF CIRCLE AT THE MID POINT, TO THE LEFT]

L: 19075982761-L RE1 [SYMBOL OF LINE WITH HALF CIRCLE AT THE MID POINT, TO THE LEFT]

M: 19075982761-M RE1 [SYMBOL OF LINE WITH HALF CIRCLE AT THE MID POINT, TO THE LEFT]

N: 19075982761-N RE[2 OR Z] "!"

O: 19075982[6 OVER WRITTEN BY THE FOLLOWING 7]761-O RE1 [SYMBOL OF LINE WITH HALF CIRCLE AT THE MID POINT, TO THE LEFT]

P: 19075982761-P RE1 [SYMBOL OF LINE WITH HALF CIRCLE AT THE MID POINT, TO THE LEFT]

A picture of the symbol that appears in the run out is a little more explanatory: 2nd image below.

While the following [3rd] image below is from the B side of the same LP and while showing the same symbol also shows what “paper splash” looks like!

A lot of visual noise in the run out! 

With such a release as we have here, this puts Experience Hendrix at the acme. Yet and as with sport this is often very transient, us fans are very fickle. It wasn’t that long ago we were berating [quite rightly too] the Ladyland 50th collection.

I would surmise that should the Royal Albert Hall 1969 performances [and related], in whatever form / format be released [not in any way overlooking how and what is included] on the tail of this set, then indeed that very apogee would without doubt be secured for quite some time. Well, until the usual calls for the “Black Gold” cassette material to be issued arose, all of half an hour knowing some fans!!

When the first set of this box was issued as “Machine Gun” it also saw release in Super Audio Compact Disc [SACD] format. It will be interesting to see if [eventually] this whole “Groovy Children” set is also presented to us similarly. It certainly does warrant that attention and while vinyl listeners may not feel any real need to venture down that route I do believe the digital listener will be more than well catered for. How much do we need the first show repeating in this format?  Cost to produce a hybrid set is a little inhibiting so maybe something to be considered! 

Also, the European market does need to be addressed for this format as it is more than a little naïve to consider that there is only an U.S market for the format! The irony in this has not gone unnoticed, that these discs are manufactured in the EU yet not readily available to European customers, import only and again with that premium shipping cost!

Of course it has a lot to do with licencing, yet why should this be an issue for buyers or to sales figures for that matter?

The whole SACD market for Hendrix has dipped a little below the radar, already we have “People Hell and Angels”, the previously mentioned “Machine Gun”, “Axis. Bold As Love” and the long planned and awaited “Are You Experienced“ [the US track listing with the stereo mix only on the CD layer, due any time soon, I have been assured]. The remainder of these 69/70 performances in this format would be indeed a welcome addition to that cannon for listeners.

Let us just hope we don’t have to wait as long as we did for the equality in/to purchasing this material as we did with the Dagger series for customers outside of the USA!

My thanks to; Doug Bell, Bob Elliott, Chad Kassem, John McDermott, Steve Rodham.

1 It was, indeed is fabulous to see that the original Band Of Gypsys title saw re-issue recently. It is available from QRP as an Anniversary release on black vinyl along with EU pressed vinyl. Also and again pressed at QRP is the same title pressed to coloured vinyl which appears to be available through Authentic Hendrix! Novelty or otherwise, this is a title that I’m pleased to see not being buried by this recent box set release. More detail in the following article.. Due for release March 25th 2020. 

2 Some of the theories you mentioned may have roots in claims made by Tony Brown some years ago.  Tony was a UK based Hendrix collector who consulted with the person who was 'selling' the original tapes [which were stolen--Jimi had paid for them originally and they were to have been returned as part of the 1995 Douglas/Branton legal settlement].  Tony did a spot check of the reels so that the seller [who was acting for the party which held them] would know exactly what they had.  Tony was later present at a London recording studio session organized by the seller to play me excerpts of the tapes.  The Hendrix family wanted confirmation that these tapes were indeed the missing multi-tracks.  Tony had made some brief notes in his descriptions but I believe he ultimately confused some of the performances because of the A and B sets that were originally made [staggering the recording time of the second machine to avoid missing the recording of any performance before the spool emptied].  He had only time to spot check the tapes with the seller prior to the later session I attended and referenced above.   This is what I believe led to claims about other songs being part of the various sets.  This new 1/1/70 audience tape that you reference should confirm what I am saying. [Ed. The “new” audience recording is reference to comment made on Amazon regard the recording by an audience member who attended the final show of four, as yet that recording remains unsecured and thus uncirculated.]
Our efforts to resolve the dispute pivoted significantly once Paul Allen acquired the reels from the seller. Experience Hendrix has a longstanding relationship with EMP [now rebranded as MoPop] and have had full access to them for various projects we have issued such as WCSB, Machine Gun, this box, and the BOG DVD. 

With more photographs of this set shown here,  https://jmhvinyl.co.uk/band-of-gypsys 

  The following is adapted from what was presented in Jimpress #119.

Experience Hendrix – UMe – Capitol B0031673-01 for the US pair or Experience Hendrix – Ume- Capitol 88697623991 for the EU copy.

Band Of Gypsys, the original vision! 

Well, the end product of a set of four performances from Jimi Hendrix, Billy Cox and Buddy Miles. What an album to deliver in settlement with Ed Chalpin, not only has it endured the last half century it sees re-issue yet again in 2020. This is what Hendrix envisioned from those Wally Heider recordings and presented in the very familiar Victor Kahn sleeve. All very comfortable and issue free, quite satisfying to buy in truth despite the fact I have a number of copies on vinyl already!

From QRP, we have the album issued on both black or as a splatter platter coloured vinyl, though the coloured vinyl pressing is / was only available from Authentic Hendrix. Both US pressings are  accompanied with a reproduction of the Capitol poster that promoted the album in the US in 1970 and including a booklet too. Release date set at 27 March 2020 for the US. 

The coloured vinyl from the US was claimed, by Experience Hendrix to be pressed to 180 gram, it is in fact a planned 150gram pressing, that appears to be the standard weight [give or take] for these [rumoured to be 1000*] pressings.

*I have noted that orders for these pressings surpassed the expected number and these orders were subsequently fulfilled. A delay may have been due to the global issues faced by us all at this time. 

Both US pressings come housed in unbranded QRP inners’, an unusual choice to my mind.

Once again we do get a little bit of incorrect pre-release promotion of a vinyl weight, that said most likely a typo’ rather than anything else. Unfortunately an error that will no doubt be echoed around the internet for ever more!  Though we do have this minor error coupled with the following claim, “Available for the first time on 180 gram vinyl in the US”. Not so, this very title appeared in such a vinyl weight from Classic Records many years ago, Classic did a series of varying weights [and vinyl formulas, some unissued] along the years. 

This re-issue is being produced from the same master plates produced in 1997 from the Eddie Kramer / George Marino cut. The AAA [“All Analogue”] claim being made for this reissue was something I had questioned as I was under the impression that Sterling [New York] at that time [1996/97] did not have facility to master/cut all analogue vinyl. Chris Muth who was Chief of maintenance had two spells with Sterling Sound when they were located in New York, 1990 – 1993 and 1998 – 2003 was able to inform us that he “retired” the Digital Delay at New York facility in his first spell with Sterling Sound. An important point, as we can now feel more than confident that Sterling Sound did have that capacity to produce AAA vinyl earlier than I [for one] had an understanding of.

Despite the lighter weight there are no real differences between this pressing and the earlier standard 180 black from Classic Records. I never sat with these for an A/B as there is little reason to do so. The record stands by itself. Nearly flat, side A impressively quiet [I only heard one click and that was because I was listening intently], a little paper splash in the run out. Side B presented a little bit more by way of click noise but nothing distracting. Issues, as minor as they were, that have seemingly disappeared on repeated play.

A little lack of real attention from Experience Hendrix here, this is presented as the 50th Anniversary issue yet the essay from John McDermott is simply a straight reproduction of the one from 20 years ago. Opening the essay, “Nearly three decades after his untimely death …..” 

That lack of detail could have so easily been avoided and in reality should have! The runout groove information presents us with that same detail that can be found etched into the wax in the Classic Records pressings: 

A: ST-472-A1 EK[STERLING STAMPED]GM [HAND SCRATCHED TO METAL PLATE, B0031672-01]

B: ST-472-B1 EK[STERLING STAMPED]GM [HAND SCRATCHED TO METAL PLATE, B0031672-01]

This pressing shows us the addition of B0031672-01 in the run out grooves, that being added to the metal plate of course as no new lacquer was cut for this. Paying attention to detail, yes this runout code does include a “2” despite the catalogue number clearly saying “3”.

Maybe viewed simply as a tired reissue, this remains an ideal opportunity to invest in some AAA at a reasonable price, a title that some may have missed on issue. Or even missed much later in 1997 and 2005 from the repressing’s issued by Experience Hendrix in conjunction with either MCA [Universal / UMe] or Classic Records. Or dare I say for those who are strange, the folk who buy and actually play vinyl, an ideal opportunity to replace [retire the copy to the rack!] a tired and worn copy! A first rate plated and pressed stone cold classic album.

I also added the standard black vinyl from QRP to the ever growing number's of this title. Hands down, worth every penny as this cannot be faulted in any way. Oddly, I was able to obtain this copy from the USA cheaper here in the UK than it was to secure a copy of the [following] red vinyl pressing! 

More importantly, this was the last record Jimi was to work on and sign off, there is no change to these reissues than was found in the original grooves of the Capitol pressings from 1970.

The red, black and white "translucent"  [requires a strong light behind it to show the just how translucent it is] vinyl from the EU has a number of differences and not just the licencing credit!

No poster but the same rather dated booklet.

Again a minor issue, yet of more “concern” are the sticker claims for this EU pressing being AAA. Given that the run out detail is different to that of the US pressings [all sourced from the Classic Records plates from 1997] we get run out detail that matched the record issued by Sony / Experience Hendrix in 2010. So there are serious doubts here as to the origins of this record and none of the concerns are addressed by a closer look or listen!

Run out detail for the EU pressed record:

A. 20792 1A 88697623991 

B. 20792 1B 88697623991

From 2010 we have this record issued in the EU by Sony / Experience Hendrix as two different pressings, that as shown above and also by Music On Vinyl [MOV]. The MOV is clearly not AAA and I have little doubt that the 2010 or this copy of that 2010 record pressed to red marble vinyl attains that status either. Despite the clear and obvious claims on the wrapper sticker of “Remastered from the original 2 track master tapes” and “All-Analogue ……..”. While I have no idea as to where this was cut and plated originally just as I have no idea as to where this EU 50th Anniversary edition was pressed I’d be very surprised if this was in fact something mastered in the USA.

Unsurprisingly the lack of run out detail also omits the cutting engineer detail, something I doubt anyone would want to put their name to I guess! 

So what’s the listening issues then? First play I was not engaged and ended up cutting the listening session short, unusual for me with this album. The following session I also pulled the US coloured pressing as a base and played the first two minutes of side one before swapping to the first two minutes of the EU copy. Boy it was chalk and cheese, the listen confirmed my thinking that Hendrix’s vocal sounded forced on the EU copy. Also the high end was weird with Buddy Miles’s cymbal work simply washing over everything in a very distracting way. Sure, I’m listening to this record through a pair of very detailed Harbeth monitors but that is no excuse for such shortcoming with mastering.

While these points make listening to a record difficult it sure clouds as to the origins of the cut, yet over all there seems enough going on to support the suggestion it is not AAA. Yet it could be of course and that fact is masked by the mastering and / or plating.

What I have no doubt about is the fact that whoever mastered this record has presented us with a poor sounding record. Not for the first time do I find an EU Hendrix pressing that struggles to be listenable. I found that a 2015 pressing of the 2LP AYE from MOV also struggled in this respect.

Beside the re- issues, as listed in Jimpress #117 [also now available as a PDF of "The Musical Output Of Experience Hendrix"] which show issue dates of April 1997 and 2005, we have the unissued Classic Records 200grm Clarity vinyl. These have been drip fed out on eBay over the last decade. Some are test pressings, some from a limited run of numbered [of 25] pressings, with both versions coming with cover. There is also an unknown amount of these Clarity pressings that have been made available without covers or numbering but do have the Classic Records labels on both sides of the vinyl. Not forgetting the 5 copies from Mr Hobson's personal collection.  Whilst not cheap, the Classic Clarity pressings are at least in my opinion the way to listen to this timeless title. These Clarity pressings remain as close to an UHQR of this title as we have right now. 

My thanks to; Bill Johnson, Chad Kassem, Chris Muth and Amos Vega.

 Picture run through: First US sticker followed by EU sticker. Generic cover that is used across all three pressings, see here for more detail and pictures; https://jmhvinyl.co.uk/band-of-gypsysand black vinyl label. US colour sticker and vinyl followed by the red EU vinyl. 

Are You Experienced SACD 190758197821. Hybrid release: containing stereo redbook on one layer and both the stereo and mono mix on the “super” layer. 

"Highlights for me at HiRez sit with 'The Wind Cries Mary,' and while it may have taken a couple of plays, '3rd Stone From The Sun' is incredibly detailed in a way I never heard or experienced before ... As per usual again with Grundman, Jimi's vocal is detailed and rich in tone and so real. Probably why I like Grundman's mastering on the Harbeth speakers so much as I know just how close to being real they reproduce vocal. If it is on the recording it will be delivered ... critical listening will always find fault especially with this recording. I'm just so pleased that those issues were not enough to prevent this Super Audio Compact Disc release. ... $35 for this set is a bargain and I cannot find any reason not to have this available to play for anyone interested in this record." The Jimi Hendrix Experience-Are You Experienced-Hybrid Stereo SACD|Acoustic Sounds

For further comment on this release, please visit:  Analogue-Productions (pagesperso-orange.fr)