October 23: The Jimi Hendrix Experience Recorded “Hey Joe” In London 1966

On October 23rd, 1966, Hendrix, Redding and Mitchell entered London’s De Lane Lea studios to record a soulful cover of Billy Roberts’ folk-rock standard “Hey Joe” with manager Chas Chandler producing. Released seven weeks later as a single, the recording – which would be included on the U.S. version of Are You Experienced – climbed all the way to Number Six on the U.K. charts, establishing Hendrix as a rising star in Britain and Europe. Incredibly, Hendrix had only just arrived in London on September 24th, hooked up with Redding on the 29th, and auditioned Mitchell on October 4th.
rollingstone.com

Folk rock singer Tim Rose’s slower version of the song (recorded in 1966 and claimed to be Rose’s arrangement of a wholly traditional song) inspired the first single by The Jimi Hendrix Experience.

The ex-bassist for The Animals, Chas Chandler, who was now focusing on managing other acts, had also seen Rose performing the song at the Cafe Wha? in New York City and was looking for an artist to record a rock version of “Hey Joe”. Chandler discovered Jimi Hendrix, who had also been playing at the Cafe Wha? in 1966 and performing an arrangement of “Hey Joe” inspired by Rose’s rendition. Chandler decided to take Hendrix with him to England in September 1966, where he would subsequently turn the guitarist into a star. Tim Rose re-recorded “Hey Joe” in the 1990s, re-titling it “Blue Steel .44” and again claimed the song as his own arrangement of a traditional song.

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October 20: David Bowie @ Santa Monica Civic Auditorium in 1972 (audio)

david-bowie-santa-monica-1972

Steve Martin here, backstage at the Santa Monica Civic Auditorium. It’s a cool night in Los Angeles, and as you may know or not know, the Santa Monica Civic is about a hundred yards from the beach so we have a cool breeze blowing off the ocean through the stage at our backs. The auditorium is packed, as a matter of fact, for the first David Bowie concert in the Los Angeles area. There will be one more tomorrow night, this is the concert tonight which will be recorded by RCA for the next David Bowie album and we expect to hear some new material by this British superstar. David and his group, the Spiders From Mars will enter from the other side of the stage. The auditorium is completely blacked out except for flashing strobe lights. Now the entrance music will be the Ode, or should I say the Ode To Joy which is featured in the movie Clockwork Orange and the house lights are starting to dim… here’s David Bowie.

Intro & Hang On To Yourself:

Ziggy played guitar, jamming good with weird and gilly
And the spiders from mars. he played it left hand
But made it too far
Became the special man, then we were ziggy’s band

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Classic Bootleg: The Offender Meets the Pretender (Warren Zevon with Jackson Browne)

The Offender Meets the Pretender is a widely-bootlegged Dutch radio program featuring songs by, and interviews with, Warren Zevon alongside his friend and colleague Jackson Browne. The recordings are from Zevon’s first tour in 1976/77, shortly after the release of his self-titled second album, which included guest appearances in the middle of Jackson Browne’s concerts.
Warren Zevon Wiki

  • Live at the VPRO Studios, Hilversum, the Netherlands; December 8, 1976
  • Live at RAI Congrescentrum, Amsterdam, the Netherlands; December 9, 1976

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October 18: The late great Chuck Berry was born in 1926

chuck berry

 “Roll over, Beethoven, and tell Tchaikovsky the news.”

Keith Richards Inducts Chuck Berry into the Rock and Roll Hall of Fame (1986):

“Chuck was my man. He was the one who made me say ‘I want to play guitar, Jesus Christ!’…Suddenly I knew what I wanted to do.”
~Keith Richards (1992)

 

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October 17: The Rolling Stones recorded the Brussels Affair in 1973

Brussels-Affair

The Rolling Stones have finally begun to assemble and release their vast archives.  Setting up The Official Rolling Stones Archive online, their first release was The Brussels Affair ’73.

Long hailed by die-hard Stones fans as one of the band’s greatest live performances, The Brussels Affair has been a mainstay in the underground music world for years. The album is pulled from the two gigs that took place at the Forest National arena in Brussels, and was originally recorded by Andy Johns on the Rolling Stones Mobile Studio. Bob Clearmountain applied the final mix in 2011.

Buy it here

Keith talking about the two shows:

As i said it is compiled from two shows recorded in Brussels on 17 October 1973 in the Forest National Arena, during their European Tour. The album was released exclusively as a digital download through Google Music on 18 October 2011 in the US and through The Rolling Stones Archive website for the rest of the world in both lossy mp3 and lossless FLAC format. The 2011 digital edition has been bootlegged on physical CD.

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October 17: Johnny Cash – American III: Solitary Man was released in 2000

In the liner notes, Johnny Cash writes:

“The song is the thing that matters. Before I can record, I have to hear it, sing it, and know that I can make it feel like my own, or it won’t work. I worked on these songs until I felt like they were my own.”

Released October 17, 2000
Genre Country, americana
Length 42:15
Label American Recordings
Producer John Carter Cash, Rick Rubin

American III: Solitary Man is the third album in the American series by Johnny Cash released in 2000 (and his 85th overall album). The album was notable for being Cash’s highest charting (#11 Country) solo studio LP since his 1976 One Piece at a Time, an album that reached No. 2 Country based on the title cut. To the present day, Cash’s studio albums for American have continued to sell & chart extremely well, as evidenced by the platinum #22 POP, #2 C&W American IV: The Man Comes Around (released one year before his death) and the gold, #1 on both charts, American V: A Hundred Highways.

I see a darkness (with guest Will Oldham, the composer of the song):

Between Unchained and Solitary Man, Cash’s health declined due to various ailments, and he was even hospitalized for pneumonia. His illness forced Cash to curtail his touring. The album American III: Solitary Man contained Cash’s response to his illness, typified by a version of Tom Petty’s “I Won’t Back Down”, as well as a version of U2’s “One”.

One (so much better than any other versions!):

American III: Solitary Man, just like Cash’s two previous albums produced by Rick Rubin, was a Grammy winner, taking home the award for Best Male Country Vocal Performance for Cash’s version of the Neil Diamond classic “Solitary Man”. Cash continued to receive critical appreciation for his American series of albums—on aggregate review site Metacritic.com the third album in Cash’s American series received a score of 80 (despite middling reviews from publications such as L.A. Weekly and Rolling Stone magazine) (from Wikipedia)

Track listing:

  1. I Wont Back Down
  2. Solitary Man
  3. That Lucky Old Sun
  4. One
  5. Nobody
  6. I See A Darkness
  7. The Mercy Seat
  8. Would You Lay With Me (In A Field Of Stone)
  9. Field Of Diamonds
  10. Before My Time
  11. Country Trash
  12. Mary Of The Wild Moor
  13. I’m Leavin’ Now
  14. Wayfaring Stranger

“You can stand me up at the gates of hell/ But I won’t back down”

Pitchfork:

Ryan Kearney

But American III‘s high point is its two-song centerpiece. The first is Will Oldham’s “I See a Darkness”, on which it becomes clear that, perhaps because of his neurological disorder, Cash’s voice isn’t as sure and strong as it once was. When he quavers, with Oldham singing backup, “Is there hope that somehow you can save me from this darkness?” the effect is absolutely devastating. You won’t listen to the song the same after this. The shivers will eventually leave your spine, but the residue remains.

The Mercy Seat:

That song’s transcendent power also stems from its production, which, although still sparse, is relatively lush. The organ and piano that rise to match the guitar remain in use for Nick Cave’s “The Mercy Seat”. Chronicling the first-person thoughts of a man being executed, this song, more than any other on the album, was written for Cash. Building to a rumbling crescendo, he belts out, “And the mercy seat is smokin’/ And I think my head is meltin’.” This would’ve brought even Gary Gilmore to tears.

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