Lista de Títulos
| A1 | She Went To Bed With My Guitar | 5:01 | |
| A2 | Lift Off | 6:38 | |
| A3 | Down Mean Blues | 3:27 | |
| B1 | Madagaskar | 6:17 | |
| B2 | Monday Morning Blues | 3:22 | |
| B3 | Giraffe | 1:58 | |
| B4 | Jimi Is Tender Too | 4:02 |
Compañías, etc.
- Copyright © – Art & Sound Ltd.
- Publicado por – New Town Sound Ltd.
- Prensado por – Allied Records Ltd.
Créditos
- Electric Guitar – Jimi Hendrix
- Electric Piano – Mike Ephron
- Percussion [Uncredited] – Jerry Velez, Juma Sultan
- Written-By – Hendrix*
Notas
Jimi Hendrix ’64 was very different from the Jimi who was found dead in his bed in his mid-twenties in 1972.
The music on this record is nothing you can compare with the music made and played by Jimi in the years when he was the «Greatest musical lown» in Show Biz.
The truth is that there were allways two Jimi’s – the one the world knew and loved (or scoffed at) ; and the «secret» private jimi who hated what he had become.
On his way up to the so-called heights he had become hooked on hard drugs.
The end was tragic.
Who was the other Jimi Hendrix whom the world at large was not allowed to meet ?
Two weeks before his death in London he was in New York where he met and spent a lot of time with an old friend from his teenage years. Mike Ephron who plays Electric Piano had long talks with Jimi about these recordings they had made together in the Autumn of 1964 in New York’s Greenwich village. «They’d make better records» Jimi told Mike, «than some of the —— that’s made me so rich & famous».
When Mike told him that he still had the tapes of the all-night sessions they had played in New York all those long years before,Jimi told Mike «Man,put ‘em out. They’d make great albums and I would be proud of them».
Critics might easily disagree with Jimi. The young Jimi of 1964 was a ghetto born black slum kid in search of a musical soul – his own. This was his private quest for his private Holy Grail.
Both he and Ephron in those days were «cocktail saloon»musicians earning their bread from nightly performances.
Historically,this record is of great interest to the extent that it could be called a recording of a Musician’s Music for Musicians.
It’s genre is called avant garde. It is a performance of experimental music, none of which is a performance for paying fans orgiastically waiting for the crucial moment when he smashed his instrument to the thundering applause of the slavish herds.
It is a unique recording-a collector’s item.
© Art & Sound Ltd., 1973
(Note ; no tracktimings appear on the release).
