"Happy New Year first of all, I hope we'll have a million or two million more of them... if we can get over this summer.
Right, I'd like to dedicate this one to the dragging scene that's going on, all the soldiers that are fighting in Chicago,
Milwaukee and New York... oh yea, and all the soldiers fighting in Vietnam. Like to do a thing called "Machine Gun"."
Machine gun,tearing my body all apart,
Machine gun,tearing my body all apart,.
Evil man make me kill you,
Evil man make you kill me,
Evil man make me kill you,
Even though we're only families apart.
Well, I pick up my axe and fight like a farmer, (you know what I mean)
Hey, and your bullets keep knocking me down.
Hey, I pick up my axe and fight like a farmer now,
Yeah, but you still blast me down to the ground,
The same way you shoot me down baby,
You'll be going just the same, three times the pain,
And your own self to blame.
Hey, machine gun.
I ain't afraid of your mess no more, babe,
I ain't afraid no more,
After a while your cheap talk,
Don't even cause me pain,
So let your bullets fly like rain.
'Cause I know all the time you're wrong baby,
And you'll be going just the same,
Yeah, machine gun, tearing my family apart,
Yeah, yeah, alright, tearing my family apart.
Don't you shoot him down,
He's about to leave here,
Don't you shoot him down,
He's got to stay here,
He ain't going nowhere,
He's been shot down to the ground,
Oh, where he can't survive, No!....No!
Yeah, that's what we don't wanna hear any more,
Alright, no bullets, at least here,
No guns, no bombs, no nothing,
Just let's all live.... and live,
You know, instead of killing.
JIMI HENDRIX: "Hendrix /Band Of Gypsys" LP, FIRST UK PRESSING, 4th JULY 1970, Puppet Figures COVER.
Just to complicate matters, not only does this cover have 'Gypsys' spelt differently to the labels, even the album title differs on
the original artwork with four puppets on the front and just the Jimi Hendrix puppet on the back. On the front and back top rims
the album title is as above, "Hendrix /Band Of Gypsys," but the spine seperates them with "Band Of Gypsys" printed in the centre
and on the top section, "Jimi Hendrix." The labels are in the same format with the seemingly correctly spelt "Band Of Gipsies"
as the album title, which in reality was not how Jimi wanted it spelt, then under the track listing and like the spine, the full
"Jimi Hendrix" is printed. This is not the ideal position in the description to examine so many contradictions and the falicies
surrounding the last album issued while the great jimi Hendrix was still alive. I just felt I should explain why I had a choice
over which title to use in my main heading and from here on I will refer to the album as "Band Of Gypsys." I will also leave
describing the cover in great detail until after the basic details and gradings.
MATT BLACK TEXTURED TRACK LABEL: 'TRACK SUPER' 24O6 002.
Due to the disgusting sales on ebay of counterfeit UK 'Puppet Cover' "Band Of Gypsys" LP's, the sellers who openly con buyers by
stating 'repro' or 're-issue', wallow in lies and deceit. No way was this album ever re-issued officially on the UK black Track label
on black vinyl or just about every colour of the rainbow vinyl. The fake covers, vinyl and 'Track labels' are just pathetic, poor
copies when seen in person, but on a computer screen the naive are being ripped off. Yes, the 'Puppet Cover' is the rarest Jimi
Hendrix cover all right for both the condition of genuine 1970 first editions, as well as the artwork, it was an obvious target
for crooks who make counterfeit copies, but the ebay sellers who buy and sell them are even more guilty. The most obvious way
to distinguish the fakes, is the labels are not matt and textured, but made from 21st century sheen finished paper, the maitrixes
I will give directly below this, were machine stamped in the run-out grooves. They are the next obvious difference and close up
pictures are available to see, I included both side's maitrix on this authentic, 1970 very first pressing. I do resent having to
to start the description of such an historically major and exciting genuine item with negativity, such fantastic condition should
never become subject to suspicion and distrust. Most 'Puppet Covers' are so badly worn, the distinctive shape of the spine has
been worn and squashed out of all recognition, please see my other close up picture of the top end of the spine with the original
shape still with the original tapered and pointed endings. I only had space for one spine ending and chose the picture of the top
because that had the just discussed "Jimi Hendrix" printed and not "Hendrix," or the combined "Hendrix /Band Of Gypsys" title,
one of the 12 pictures is a close up of that central "Band Of Gypsys" album title. The counterfeit covers are not matt like these
originals and the spines are nothing at all like 'MacNeill Press Ltd., London' finished them in 1970, but their original printing
credit was photo copied. You name it, colour vinyl and picture discs exist of the 'Puppet Cover' "Band Of Gypsys" cover, none
of them were released officially and their value is zero, they are not the worthy bootlegs containing unique material I collect,
but utter junk, pirate/fake copies with atrocious sound.
MAITRIX: 24O6 002 A ▼ 1 1 1 1 / 24O6 002 B = 1 1 1 1
The very first pressing made, the vertical ' = ' symbol on Side 2 was mistakenly used instead of '//' or Polydor's other symbol
to seperate letters from digits, the ' ▼ ' symbol was used on Side 1 for all the first prressings, including the "Isle Of Wight"
gatefold covers introduced to replace this withdrawn artwork. By 'withdrawn,' I am not refering to the first edition covers
being re-called because that never happened, but the puppets artwork was indeed withdrawn and replaced in the same 1970.
ORIGINAL 1970 TRACK / POLYDOR INNER SLEEVE, WELL, NOT JUST ORIGINAL TO 1970 BUT TO THE RELEASE DATE!
A huge question mark has been placed over the month of 1970 "Band Of Gypsys" was released in Britain, I will give the correct
date and details below but this particular inner sleeve is extremely important and verifies all I will discuss factually shortly.
Shame I had to delete the picture of the bottom right corner of the front with the date this inner sleeve was printed, but it will
hopefully still be legible in my picture of the full inner sleeve, located on the right side of "Made In England 29",
That translates as 'July 1970', the very month "Band Of Gypsys" was released in the UK, never before has an original inner sleeve
I have ever sold, revealed and confirmed the precise month and year a major album was released with such significance. Maybe if
the ebay sellers without morals who deal in conterfeit copies, were around in July 1970 and bought this amazing album, would have
respect for the artist who recorded it. I did buy "Band Of Gypsys" in the first week of July 1970 and from December 1966, every
previous single and album Jimi made, a significant date? Just eleven weeks later, Jimi tragically died around midnight.
I KNEW THIS WOULD BE A HARD DESCRIPTION TO WRITE BECAUSE EVERY ITEM HERE IS DRAPED IN HISTORY,
THE INNER SLEEVE WAS HARDLY USED, SO NO SPLITS OR TEARS AND THE POLY-LINING IS PERFECTLY SECURE.
THE GLUE USED TO STICK THAT TO ABSORBANT MATT PAPER, HAS ONLY SLIGHTLY DARKENED THE OUTSIDE EDGES
AND EVEN THE RECORD IMPRESSION IS LIGHT ENOUGH NOT TO CAUSE CREASES.
THE INNER SLEEVE IS IN NEAR MINT CONDITION.
FIRST 'MacNeill Press' PRINTED 'Puppet Figures' COVER, MADE FROM VERY THIN CARDBOARD AND HOLDING A
MASSIVELY THICK AND HEAVYWEIGHT RECORD, UNLESS ONLY LIGHTLY HANDLED AND PERFECTLY STORED, THEY
A really exceptional, beautifull condition first issue cover, I will not get into lengthy text in the headings and describe it in
precise detail below.
COMPLETELY UNAGED AND UNFADED WITH A STILL PURE WHITE SPINE BACKGROUND TO 100% PERFECT JET BLACK
LETTERING FOR THE LP TITLES AND CATALOGUE NUMBERS. THAT SENTENCE ALONE ACTS AS GRADING REFERENCE,
THE COVER IS IN NEAR MINT CONDITION.
THE FIRST PRESSING TEXTURED TRACK LABELS ARE IMMACULATE WITH UNTARNISHED ULTRA BRIGHT SILVER PRINT.
SPINDLE ALIGNMENT TRACES SHOW THE RECORD WAS ONLY PLAYED 4 / 5 TIMES AND THAT INCLUDES REMOVAL.
SO THE ACTUAL PLAYS ARE HALF THAT AND MADE WITH INCREDIBLE CARE, NO MARKS OR SCRATCHES AND ANY
FEATHER LIGHT HANDLING IS NEAR INVISIBLE TO INVISIBLE. THE RECORD IS IN NEAR MINT CONDITION.
"Who Knows" (Jimi Hendrix) (9:32)
"Machine Gun" (Jimi Hendrix) (12:32)
"Changes" (Buddy Miles) (5:10)
"Power To Love" (Jimi Hendrix) (6:53)
"Message To Love" (Jimi Hendrix) (5:22)
"We Gotta Live Together" (Buddy Miles) (5:46)
Jimi Hendrix - guitar & vocals
Billy Cox - bass guitar
Buddy Miles - drums & vocals
Recorded Live At The Filmore East, New York, On The 31st December 1969/1st January 1970.
Live Recording Engineer - Wally Heider
Studio Mixing Engineer, Mastering, Remastering & Remixing - Eddie Kramer
Produced By Jimi Hendrix (Heaven Research)
It is common enough knowledge that the first UK cover for "Band Of Gypsys" had artwork depicting puppet figures of Jimi Hendrix,
Brian Jones, Bob Dylan and the UK DJ, the late, great John Peel. Every copy made was sold and Not withdrawn from record shops,
but behind the scenes Track/Polydor were frantically preparing a replacement cover, the single cover was replaced with a gatefold
cover picturing Jimi Hendrix live at the Isle Of Wight Festival on the outside in colour, inside, black and white on film strips.
We now have conmen selling counterfeit 'puppet covers' on ebay and I made sure to give definitive methods to expose fakes, but it
requires buyers to demand label textures and machine stamped maitrixes in the run-out grooves. Hopefully when they find out the
true nature of the 're-issues/repro's, they will report the sellers to ebay and even to the police, criminals must not prosper on
a so called 'secure site'. Amazon would have dealt with crooks by now, why are ebay ignoring a trickle that has become a flood?
I have plenty to cover and will voice one further condemnation of those deliberately ripping off naive, inexperienced buyers, but
'every dog has his day.' The general concensus has mistakenly become, the 'puppet cover' was released almost six months prior
to the 'Isle Of Wight' cover, fuelled by 'Record Collector' crazily naming it as a 'second pressing.' However, when an album like
"Band Of Gypsys" is continuously in the charts for as long as thirty weeks / over four months, the actual pressing cycle that had
began before the release date, simply never stopped until the demand ceased and an album slipped down and clean out the charts.
The same confusion exists among Beatles collectors because of how long their albums remained in the charts, so the key word for
"Band Of Gypsys" is indeed 'release date.' It has been incorrectly assumed the album was released on the 25th March 1970, then
taking the date of Jimi Hendrix appearance at the Isle Of Wight on the 30th August 1970, an approximate timing of that picture
replacing the 'puppet cover' artwork, that clocks in at 6 months....... or does it?
In reality, the 25th March release date was for the American Reprise label pressing, in England Track Records held back because
it made more sense to release the album closer to Jimi Hendrix making what would be, only his second live appearance in England
for three long years. The UK release date was the 4th July 1970, I could just say I personally bought the album on that day and not
bother with facts and figures, so how did I know to go into my record shop on the day of distribution? Reading all three UK music
papers told me when every new release was available to buy, the music press was a weekly affair and so record companies placed
promo adverts and notification on the very week they were delivering new titles. I still have the full page 'Melody Maker' press
promo release, chart books confirm that week the sales were so heavy,"Band Of Gypsys" shot to No.6 and a peak position at that.
We did not need Jimi Hendrix playing a concert to want to buy his first new album since the 1968, "Electric Ladyland," facts and
figures areeasily checked, assumptions about the replaced picture on the gatefold cover originating from 30th August, therefore
created the six month gap, but that was now how it happened and was completely wrong, it was down to around only 10 weeks of
the puppet cover being sold in record shops in the initial stages. Innocent enough artwork, but it was still causing concern due
to the figure of Brian Jones, who died in the previous year and was a very close friend of Jimi's. Track could have, and should
have at that point, easily used the picture that replaced the Isle Of Wight Festival, with one actually from 31st December 1969,
Filmore East, New York, but 'Track''s owners Stamp and Lambert were sharp enough to wait for the current Isle Of Wight Festival
picture, that would only work to further boost the album's sales in September 1970. Tragedy of tragedies struck in that month as
it was, Jimi Hendrix died and the picture on the cover was no longer part of Track's marketing ploys, but became the last shot of
him performing live in Britain. I guess people do not want to hear the truth, all written here is available to check, only ten
weeks into the sale of a huge selling album only represented a third of the total, which is in fact, no time at all, plus you can
now see exactly how long this 'puppet cover' was sold and bought. Often I am 'swimming against the tide' because the internet
has become the fastest way to communicate fiction as well as fact, once accepted as being correct, nobody is prepared to argue
and demand the truth is heard. When the ratity of of such a major album attracts conuterfeiting, there is an even more drastic
need to get the facts right, this inner sleeve proves a very first pressed record was not made in March but placed inside a just
printed sleeve, printed four months later, it confirms all written here. With every printed item, like original music papers and
chart books from before the internet existed, contained the actual release date and that also means there should be a re-newed
respect for both the initial first edition 'puppet covers and the quckly following 'Isle Of Wight' gatefold cover. The really close
connection between the two covers and the records inside them, was in fact such a short period, it explains why both covers and
the records are generally in such worn out and battered condition! 'Falicy No. 1' has been taken care of, now for an even more
complex subject! At least there is not not a 'chicken and the egg' scenario, because nobody is disputing the puppet cover came
first and the eggs were indeed interlinked with common genes inherited.
Falicy No.2 was the puppet cover's title on the top edge of the front, was 'mis-spelt,' "Band Of Gypsys", but it was Jimi Hendrix
who chose to name them, 'Gypsys' and not the accepted spelling of, ''Gypsies." If you check the label LP title spelling, that was
where the 'mistake' actually happened, because they have "Band Of Gypsies" and that was a printer's error, this record's labels
have the same "Band Of Gypsies" credit as found in the 'Isle Of Wight' covers. The outside gatefold cover did not have a title,
a catalogue number or the tracks, even the spine was blank and only contained the continuation of the artwork from the back onto
the front. All titles, credits & Track logo's appeared inside and once again, the same LP title as the puppet cover was in this
format, "Hendrix/Band Of Gypsys", the precise text and credits format was used because this was still current and only one
third at the most into hectic pressing and printing activities. There was only the one change," Dolls By Saskia De Boer" was no
longer necessary. The same 'MacNeill Press Ltd. London" printer of the 'puppet' cover also made these 'Isle Of Wight' gatefold
covers, the close relationship between two completely different covers is there to see and that includes their common problem.
My personal experience has always been, that these genuine July 1970 'puppet cover' and the September 1970 first issues of the
'Isle Of Wight covers' are about 50/50. That common feature was both covers wore terribly, because in those two years since
"Electric Ladyland" had been laminated on the outside and inside, with such fantastic quality printing, by 1970 Track had issued
both issues of "Hendrix /Band Of Gypsys" in matt covers with the cardbord's thinness creating instant vulnerability to wear.
The withdrawn puppet artwork on UK first issue only "Band Of Gypsys"covers, is extremely rare if still in anything approaching
half decent condition. This original cover has puppet figures of Jimi Hendrix, Brian Jones, Bob Dylan & UK's late DJ, John Peel.
It's quite astounding to think the only survivour depicted on the the cover as puppets, is now Bob Dylan, I cannot say why only
after it was just distributed to record shops, it was considered to be in bad taste and disrespectful to Brian Jones, a very close
friend of Jimi Hendrix. I suspect it was not a coinidence or an oversight, because Stamp and Lambert were manipulative to the
extreme of not informing or consulting Jimi about the nude cover on "Electric Ladyland", Jimi Hendrix was furious when he found
out about the UK cover. Then there was Arthur Brown's debut album on Track, after recording the album they sent the band on
tour to America, while they were away, Stamp and Lambert overdubbed instruments onto the Master's and had the records pressed
without even asking Arthur Brown's permission. Anyway, whether it was by sheer accident or design, the album's release date had
coincided with the first anniversary of Brian Jones death on the 3rd July 1969. A coincidence? To have fallen almost on the day
"Band Of Gypsys" was issued, has to raise the question about who planned such inappropritae taste in the first place, publicity
sells records, but an artist of the status and genius of Jimi Hendrix did not need naked women or dead friends to sell his music.
I know many believe it was Jimi Hendrix's own death that caused the cover's withdrawl, but he was still very much alive and still
performing live and in the studio in July 1970, it was September 1970 when Jimi, died not July. Track immediately planned the
replacement cover and withdrew the 'puppet' artwork, this is all a personal opinion but once again, facts speak for themselves.
Unlaminated and made from very thin cardboard, with average plays, which meant excessively played records, an often used and
handled cover combined with holding the heavyweight 1960's quality first pressing record, they were always prone to severe wear
and damage in 1970 alone. I know, I watched my original cover becoming frail, weak and ultimately a shade of it's former self,
most of the worst wear happened tin the second half of 1970, over the decades further detioration was inevitable. This cover is
an exception, due to partially the record's low usage use, the storage inside a plastic outer sleeve from day one, was something
I was not doing yet this early in the 1970's decade. Any very minor storage/light handling traits are so few they incorperate in
the 'Mint' of Near Mint because those few traits happened when the albums were first packaged and distributed to record shops.
Once again, I'm not speculating but directly relaying a personal experience, the front and back's artwork have the original 1970
ultra bright vivid colours without any fading at all or very common severe ring wear from the circular shape of the heavy record.
The record impression is so gentle, there are no creases or even any paper ripples around the circular shape., I must refer to my
pictures becuse amazingly the same applies to the entire back cover as well. One of my most reliable methods I always use when
when assessing a 'puppet cover's' condition, is checking the top paper surface of the cardboard, they were not originally totally
matt, there was a slight thin sheen on the artwork and most covers had that worn away, this still has that protective sheen and
it can be seen as well as felt. Grading covers is a serious business with a rarity such as this, even the minutest detail becomes
a factor to help tell the history of how they have survived the decades. The heavy vinyl was also cause of the spine splitting,
this is a very compact small cover with the record barely fitting,with frequent use it wore through the spine due to the constant
replacement. Writing all this is yet another reminder about how few plays the record had for a 42 year old first issue Hendrix LP.
The spine has a centralaLP title, 'Jimi Hendrix' is on the top and 'Track Super 2406' on the bottom section, all three have the
the black print still in place and they are all 100% perfectly clear and unfaded, which is extremely rare for this spine. So is
not having virtually any ageing to the original white background colour and beyond a few ripples and minor rubbbing to the
extreme tips that is all to say. The shape of the spine contributed to that and the top corner is near perfect, only the bottom
standing left corner/spine tip has top surface rubbing. The spine was folded and assembled at a slight angle, but even that did
make any difference to such amazing preservation, 'amazing' is a true reaction to seeing the original shape, the top and bottom
are still tapered and pointed. Considering most spines are so worn away, they are in real danger of splitting, this is perfectly
strong and sound. For the ridged design there are only a couple of the usual tiny paper lines alongside the spine on the front
and running over, they naturally form on most covers even when laminated. I will happily give very comprehensive details
for this very special Jimi Hendrix cover, but I am struggling to find anything to describe as wear!
Fantastic condition and so good to see and hold such a really beutiful first edition of Jimi Hendrix's rarest cover for artwork
and the vulnerability to horrific wear. The bottom standing edge only has fractional rubbing and too minimal to take seriously,
the opening edges are both crisp and sharp edged from non usage, without the usual badly fraying card caused by over use.
The top edge is surprisingly lacking in the usual major damage and including the bottom edge, the central positions do not have
the common alarming bulge from the LP's edges, like the spine they are not even remotely in danger of splitting, I cannot stress
enough how outstanding the normally weakest positions are. The two right side corners are in as perfect condition as I know to
be possible, only the left side's / spine tips have the mentioned very light rubbing.
The light background pastel green colour of the back is ultra clean and unscuffed on the entire back, I was delighted to see the
top and bottom of the record's placement inside, do not have the slightest rubbing, I must re-emphasise there is no ring wear at
all even on the back. The colours are once again totally unfaded, the rich colours on the Hendrix puppet look superb. The titles
and the text are unscuffed and in their original deep pink colour. Well, a rather long description for a cover but this is after
all a rare 42 years old cover for Hendrix's last album released in hiw lifetime. I suppose I could have been spared writing all
that and simply said, 'please look at the pictures,' but no way can even a digital camera pick up really tiny details I included.
The pictures were taken in natural sunlight and they are a perfect representation of the cover and this is a beautiful one I am
very proud to be able to offer. My Near Mint grading was arrived at within seconds of first seeing and holding the still starchy
and solidly upright, perfect flat cover....at last, music!
In 1970, "Band Of Gypsys" was fated to become the last album released in Jimi Hendrix's much too short lifetime, after only four
years of recording some of the most original and inspired albums and singles, since coming over to England in 1966. His potential
was still limitless when he died aged only 27, the music he would most certainly have gone on to create can only be speculated
about today. After three years together, in July 1969 'The Experience' were officially disbanded and for the August Woodstock,
Jimi recruited Mitch Mitchell, Billy Cox on bass, percussionist's Juma Sultan & Jerry Velez and rhythm guitarist Larry Leeds.
In December 1969, Jimi Hendrix formed a new band, 'The Band Of Gypsys,' with Billy Cox and Buddy Miles, finally severing the
Mitch Mitchell drumming connection. Their debut concert was recorded at the Filmore East, New York, the 31st December 1969,
it was a confident move for a new band performing live for the first time, then Jimi Hendrix was not exactly an ordinary artist.
Billy Cox and Buddy Miles had joined Jimi in September 1969, the trio had been working in a recording studio for months before
the Filmore concert, new was material being performed live it had been worked on in the studio. They more than knew Jimi's latest
compositions well enough to manage playing brand new material on stage, I can only think of two other artists who aired a whole
LP's worth of all new songs in concert and specifically recorded the set with the intention to issue them without studio versions
being available. It is common enough to take a new LP on tour but normally only after the studio album was recorded, first the
Strawbs in 1970 and Neil Young in 1973. One of the new songs was the most sensational and meaningful Jimi had ever written,
"Machine Gun," had been recorded as a full studio take but Jimi was still unconvinced they had nailed the track yet. They most
certainly had, that can be found on the rare "Midnight Lightning" LP issued in 1975, hearing "Machine Gun" from this album very
clearly shows how it took them a live performance to create such astonishing dynamics, but the same intensity was there in the
studio, plus as ever, Jimi drew on his audience for extra inspiration. I rate this awesome version as the greatest Jimi Hendrix
live performance ever recorded.
Two sets were played at the Filmore, the first acted as more of a warm up and the second show was the one issued on this album,
because this second set ran past midnight, it ran into the New Year and overlapped the beginning of that fateful year of 1970.
This was such a prolific and productive time for Jimi Hendrix because the recording sessions were well underway for what turned
out to be his final studio LP, "The Cry Of Love." As firmly established before, "Band Of Gypsys" was issued in the UK 4th July,
1970, two months before his date with destiny. Jimi Hendrix was without question the greatest ever rock, blues and psychedelic
visionary musician to ever step onto a stage and perform live, only two years earlier he was playing on UK package tours that had
placed him on bills with 'pop' artists light years apart from his colossal talent. Jimi Hendrix's gimicks like pretending to play
a guitar with his teeth and setting fire to it on stage had been long abandoned, the concert was only about amazing musicianship.
It was only fitting tthe last album issued while Jimi Hendrix was still alive was his first full live album, the USA only Reprise
LP, "Live In Monterey 1967", was shared with another immense talent, one side of that album had the great Otis Redding's set.
Playing live Jimi Hendrix has still never been equalled, even if it's over 40 years since his tragical death robbed us of untold
volumes of unbelievable music, imagine Jimi recording in a modern recording studio with limitless tracks!
The first or original issue matt Track labels, are in unblemished condition with ultra bright silver printing,spindle use traces
are showing only 4/5 plays per individual side. I do feel records of this age and from this era, particularly for Jimi Hendrix's
Track label original pressings, it is unreasonable to expect someone between 1967 & 1970 to buy them as they were issued and
not have such a comparitively few plays. I had more plays than that in the first week of buying it alone! The meticulous care
taken is there to see as well as hear, plus as this is the very first pressing made, by definition of maitrix digits alone, the
vinyl is to the 1960's standard, heavyweight with very deep grooves. The record is gleaming with that very special sheen of
Mint vinyl and there are no marks on either side, ultra faint surface handling signs fall under being near invisible / invisible.
Combining a visually beautiful looking record with just stunning sound quality, that is the one and only way I personally will
grade records. Near Mint- is actually over harsh! The first UK stereo mix is extremely powerful, the sound is equivilent to
that of a studio recording but without losing an electrified atmosphere of the historic Filmore concert. Playing with absolute
minimum of any static, like all first pressings there was only low level, this record also happens to be an exceptionally clear
pressing. Put another way, the acute sharpness from the music is the direct result of coming from unworn grooves, I have now
been playing "Band Of Gypsys" as the first pressings for 42 years, the best way I can describe this record's sound is by saying
it plays exactly as pressed in 1970. That means those precious music signals are undulled or worn by excessive playing or even
one play with a blunt needle, both scenario's are common to any of Hendrix's original Track albums. As a lifetime Jimi Hendrix
collector I am very eager to hear any of his previously unreleased material issued after Jimi's death. However, the four albums
that were issued in his lifetime do take on a much deeper significance, because they were the only recordings released Jimi gave
his full seal of approval to. To have issued "Band Of Gypsys" says it all about his feelings about the standard of the inspired
music created on that historic night, Hendrix was a perfectionist and he had every reason to be proud of this staggering set.
The 1960's decade became the 1970's while Jimi played this second set, who better to be playing in the next decade and welcome
the New Year, than the artist who revolutionised the very concept of music.
Like all top condition first pressings, Side 1's run-in groove only have lowest possible level of the faintest static, which is
not even worthy of mentioning before and during the the stage introduction to the "Band Of Gypsys." I write exactly the same for
the 'Isle Of Wight' records I have described and sold on ebay over ten years, this is only the second 'puppet cover', confirming
earlier opinions. Jimi's lone guitar is gently, but extremely powerfully projected, now playing the intro to "Who Knows" without
any more that low level natural static, then Buddy Miles drums hit the rhythm with a crispness and impact that is emphatic and
astonishingly life like. Billy Cox joins in with the throbbing loud bass, the volume now increases,this is some record all right!
My policy of including vinyl's natural playing sound examines the actual pressing of an individual record, but I have no wish to
to imply there was something wrong with them, not when that was how they were bought in 1970. As I said before, how many of
the regular ebay sellers can honestly state they bought the records they sell when first issued in the 60's and 70's? I was into
Jimi's music from buying "Hey Joe" in1966 and I know every second of every single and album inside out. This happens to be a
staggering playing "Band Of Gypsys", the sonic properties of the record are massive, they tend to lend themselves to the worst
form of distortion, not on this record where the sound quality is simply stunning. Billy bass guitar is heard at first pressing's
extremely high volume as set by Eddie Kramer in 1970, but it has maximum audio clarity, the drums in particular are amazingly
sharp edged and perfectly defined sound. Plus the very tone of Jimi Hendrix's guitar has a natural cutting edge and does it cut
through! An unworn Track first pressing from this period has the ultimate sound, especially after that multitude of re-mastered
digital releases. In such incredible condition this is absolute perfection! "Who Knows" was an ideal song to play live and this
loose structure gave the musicians plenty of space and scope to improvise where they felt it. In sections of this new Hendrix
composition they certainly did, such a tightly together trio, you would never know it was their debut live performance, I have in
the past commented how the Experience did not possess the awesome togertherness or consumate musicianship Cream enjoyed,
I do believe Jimi had found that and as time moved on this was going to be The Band of the 1970's, Led Zeppelin or not. The sound
is awesome, my volume is at the customary extremely loud setting and however hard I push it there is still no form of distortion.
UK record companies like Polydor who pressed Track's records, mastered the volume at such massive volumes, wear and heavy
plays drastically affects the sound reproduction on the average condition first issues/originals. Without labouring over earlier
comments about having over hardly graded the record, I am not only being blown away by a record playing as only Mint vinyl can,
going way beyond even that by having a perfect pressing. Fortunately Track/Polydor records have easily followed clues to the
pressing order once you have examined the double se of extra digits after the main maitrix, or at least one I could find, so I
can be positive this was the very first pressed and not from the end of the production, ears do not need stamping codes! Such a
staggering pressing like this is a massive find for me and a real joy to hear and describe. The fantastic performance here does
leave you wondering how far this trio would have gone during the rest of the 1970's decade, their future looked to have unlimited
potential if fate hadn't intervened only a few weeks after their debut album release here. I mentioned before in my introduction
I personally regard "Machine Gun" as the ultimate Jimi Hendrix live recording, the sound quality from this unworn record is just
unbelievable! After "Who Knows" ends there's about a minute of near silence and you can hear Jimi talking very quietly in the
background. I gave the best interptetation before attempting the full lyrics, which I'm sure others will disagree with, but fair
enough, I am only doing my best. He wishes the audience "A Happy New Year" and dedicates "Machine Gun" to the 'soldiers'
fighting in the streets, they were riots, of great importance in 1970,the actual soldiers fighting Vietnam. During the quietest
part of the whole album there is virtualy no static, the beginning of "Machine Gun" is exceptionally smooth and clean without
the usual very irritating needle noise of crackles and clicks, caused by this track of tracks being singled out to be played over
and over again. This was only played thrre times in 1970 and then never again until I bought it, I was just as guilty and ruined
my original record doing that! The first Eddie Kramer stereo mix creates waves of sound movement and live or not, this is still
very much the Jimi Hendrix record that followed "Electric Ladyland"! The acute sharpness of the definition for the bass and
drums is sensational, as for the guitar's sound, it's just astounding! Hendrix's anti-war song has great lyrics but they might be
stripped of the emotions expressed while sung in cold text, his guitar is on fire, a genius right at the height of inspiration is
devastating to hear and experience. This is blues based throughout, but in the final section he creates incredible battlefield
sounds, wrenched from his guitar. This is not just about Jimi Hendrix's guitar genius, the bass is superb, with the drumming
performed to the pattern or rhythm of machine gun fire. At the end of the song there is a stunned silence from the audience,
lasting for about 20 seconds of disbelief at what they had just experienced, before they all errupt in unison. In those seconds
this remarkable vinyl has such low level surface sound there, I had to concentrate deliberately because I felt just as stunned as
them at those breathtaking sounds. Jimi Hendrix says, "Yeah," almost to himself, as if he knew they had just performed the
awesome version he felt eluded him while trying to record "Machine Gun" in the studio. As I mentioned in my introduction, the
only studio version of "Machine Gun" was issued on the 1975 "Midnight Lightning" album, a fantastic track and LP, essential to
hear for everything else, but even by Jimi's standards,"Machine Gun" was something else.
Side 2 barely even has any static in the initial run-in grooves, then into the Buddy Miles composition "Changes," there are not
the expected crackles and clicks during the actual start of the track. That is heard as crystal clear here, in fact, on most of
the 1970 originals "Changes" can be painfull listening, I will always honestly describe those non musical bands, but also make
sure to equally praise the actual sound quality of the important music. Jimi takes a break from the lead vocals and concentrates
instead on his guitar playing, the true stereo is just incredible, as there are only three instruments and vocals the impact from
the individual sounds was given a dramatic projection from both channels. All the album's songs were not restricted by rigid
structures, freedom was given over to ad-libbing. In the the finishing section the instruments stop to involve the audience in
clapping along, these were not selfish musicians by any means, both Buddy Miles and Jimi Hendrix sing out their encouragement
to them for participating, then "Changes" is given a grand slam finish. The Filmore crowd roar out there approval and the ever
humble Hendrix passes the credit over to Buddy Miles. The sound quality is just as razor sharp as Side 1 was, I do not want to
continuously keep mentioning any fractional strictly background only, natural static, no need to when thoroughly enjoying such
fantastic audio clarity. I am the first to say if anything does not belong there, then by knowing this album so intimately since
the day it arrived in my local record shop, this record goes way way beyond what I normally expect to hear. Now a Jimi Hendrix
composition, "Power Of Soul," produces some really explosive guitar playing, blues gets taken to the extreme limits any electric
guitar could possibly venture into, you are hearng a genius fully extending himself and inspiring Miles and Cox into going there
with him. The understanding between the musicians is very evident, Buddy Miles hits a really solid rock rhythm, Billy Cox plays
brilliant bass guitar and Hendrix delivers a simply stunning lead. As the song is about to take off, it's brought back down again
for another verse, the chorus has backing vocals sung soulfully, the vocal section works superbly. The audio remains awesome
and I still find it unbelievable that any original Jimi Hendrix record could survive for 42 years playing exactly like brand new.
The song ends on guitar notes that Jimi Hendrix alone was able to create, Buddy Miles invites the audience to join in with them
on "Message Of Love" and the very quiet moment just before"Message Of Love" begins is free of noise with virtually no pressing
surface sound at all, continuing to play with the consistantly highest audio clarity. Gone were his earlier days of gimmicks and
showmanship, this was the real Hendrix, just playing his guitar and singing brilliant lyrics with the deepest passion, even in
his most overtly psychedelic times, Jimi's vocals were never to be underestimated, "Voodoo Chile" of the previous year is the
finest example of that passion. "Message Of Love" is a very different song, his voice is almost at a conversational level, that
was how he emphasised his message of love during the last few minutes of the 1960's and the violence in the world was being
anything but loving and peaceful. Imagine seeing out the decade by watching Jimi Hendrix in such elecrifying form! I doubt if
anyone was looking at their watches and worrying about the time, there's near enough silence from the grooves before the crowd
are invited to join in with, "We Gotta Live Together", the perfect way to end by fully involving such an appreciative audience.
There was no let up in the band's energy levels though, Buddy Miles wrote another song that served to reinforce Jimi Hendrix's
own lyrics on the last performance, the vocals are sung with the the audience providing the rhythm for several minutes. Jimi's
is he only instrument now, playing fluid blues runs until an injection in the tempo of the song dramatically increases and as the
rhythm accelerates, Jimi fires out the notes at lightning speed, the sound quality on here and on the whole record has been just
stunning! A truly magnificent and storming ending to one of, if not the most staggering live album's ever issued.
R & M RECORDS.
My lifetime's love of music and records began at a very young age, the arrival of the Beatles and the 1960's decade
in general had a very profound effect. It was only natural to bring all my first hand experience of collecting vinyl
into becoming a professional record seller. Over twenty years ago now we entered into the wonderful atmosphere
of record fairs with the highest possible standards set. When the Internet became the world's new market place for
vinyl, in 2001 it was time to join ebay. Those standards were rigidly adhered to as they will always continue to be,
the basics of honesty and integrity were very much part of the era the music I love originated in, so here is our friendly
and very efficient service we are proud to provide;
EVERY RECORD IS FULLY PLAYED AND COMES WITH A 'NO ARGUMENT' MONEY BACK GUARANTEE.
I USE GOOD OLD COMMON SENSE AS WELL AS A GLOBALLY ACCEPTED GRADING TERMINOLOGY
FROM THE U.K. "RECORD COLLECTOR PRICE GUIDE" BOOK.
THERE IT CLEARLY STATES "Sound Quality" AFFECTS EVERY GRADING LEVEL AND THAT IS THE ONE
AND ONLY POSSIBLE WAY TO ACCURATELY GRADE RECORDS. i.e. COMBINING A STRICT VISUAL
INSPECTION WITH VERY CLOSELY LISTENING TO EVERY SECOND, UNLESS PERHAPS IN THE CASE
OF GENUINELY UNPLAYED VINYL. EVEN THEN WE STILL TAKE FULL RESPONSIBITY FOR A RECORD
WHEN A CUSTOMER RECEIVES EITHER A SEALED OR AN UNPLAYED RECORD.
MY DESCRIPTIONS WILL ALWAYS BE 100% HONEST AND TOTALLY ACCURATE ON ALL GRADINGS
FROM 'V.G.' ( VERY GOOD), TO THE ULTIMATE 'MINT' CONDITION.
ANY QUESTIONS ON OUR ITEMS ARE WELCOMED AND WILL BE PROMPTLY REPLIED TO.
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RECORDS AND COVERS ETC. WE WELCOME BIDDERS FROM ANY COUNTRY IN THE WORLD.
ALL RECORDS ARE REMOVED FROM THEIR SLEEVES AND PLACED INTO NEW PROTECTIVE CARD
SLEEVES AND THEN PLACED INTO NEW, HEAVYWEIGHT PLASTIC OUTER SLEEVES.
THE GREATEST ATTENTION IS PAID TO MAKING THE PACKAGING EXTREMELY STRONG & SECURE.
EVERY POSSIBLE EFFORT IS MADE TO ENSURE A SAFE DELIVERY AND WE ONLY USE THE VERY BEST
QUALITY PACKAGING MATERIALS, THE COST OF THE ITEM IS IMMATERIAL, EVERY RECORD IS
TREATED EXACTLY THE SAME.
WE DO NOT TREAT POSTAGE AS A MONEY MAKING PROJECT, POSTAGE IS LESS THAN COST, USING
ONLY PROFESSIONALLY PACKED BOXES WITH SUBSTANTIAL PROTECTIVE PACKAGING THAT DOES
WEIGH A LITTLE EXTRA.
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IN THE UK RECORDS UP TO THE VALUE OF £41 WILL BE SENT RECORDED DELIVERY, OVER £41 WILL BE
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FOR THE REST OF THE WORLD ALL RECORDS WILL BE SENT VIA 'INTERNATIONAL SIGNED FOR.'
POSTAGE COST FOR LP's
UK: UP TO VALUE OF £41, FIRST CLASS RECORDED DELIVERY £5.00
UK: OVER VALUE OF £41, FULLY INSURED SPECIAL DELIVERY £8.00
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POSTAGE COST FOR EP's & 7"
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FOR UK BUYERS;
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AS MUCH AS WE SYMPATHISE WITH THE WAY SOME COUNTRIES CHARGE SUCH HEAVY IMPORT
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