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Jimi Hendrix: Electric Ladyland

 A l b u m   D e t a i l s


Label: Reprise Records
Released: 1968.10.16
Time:
 75:47
Category: Pop/Rock
Producer(s): Jimi Hendrix
Rating:
Media type: CD
Web address: www.jimihendrix.com
Appears with:
Purchase date: 2012
Price in €: 1,00





 S o n g s ,   T r a c k s


[1] And the Gods Made Love (J.Hendrix) - 1:22
[2] Have You Ever Been (To Electric Ladyland) (J.Hendrix) - 2:11
[3] Crosstown Traffic (J.Hendrix) - 2:25
[4] Voodoo Chile (J.Hendrix) - 15:02
[5] Still Raining, Still Dreaming (J.Hendrix) - 4:25
[6] House Burning Down (J.Hendrix) - 4:33
[7] All Along the Watchtower (B.Dylan) - 4:00
[8] Voodoo Child [Slight Return] (J.Hendrix) - 5:13
[9] Little Miss Strange (N.Redding) - 2:51
[10] Long Hot Summer Night (J.Hendrix) - 3:27
[11] Come On (E.King) - 4:10
[12] Gipsy Eyes (J.Hendrix) - 3:43
[13] The Burning of the Midnight Lamp (J.Hendrix) - 3:40
[14] Rainy Day, Dream Away (J.Hendrix) - 3:42
[15] 1983...[A Merman I Should Turn to Be] (J.Hendrix) - 4:49
[16] Moon, Turn the Tides...Gently Gently Away (J.Hendrix) - 9:54

 A r t i s t s ,   P e r s o n n e l


Jimi Hendrix - Lead Vocals, Guitar, Piano, Percussion, Comb And Tissue Paper Kazoo, Electric Harpsichord, Bass on [2,6,7,10,12,15], Producer, Mixing, Arrangements Liner Notes

Noel Redding - Backing Vocals, Bass on [3,8,9,11,13], Acoustic Guitar & Lead Vocals on [9]
Mitch Mitchell - Backing Vocals, Drums on [1-4,6-13,15-16], Percussion, Lead Vocals on [9]

Jack Casady - Bass on [8]
Brian Jones - Percussion on [7]
Al Kooper - Piano on [10]
Dave Mason - Twelve String Guitar on [7], Backing Vocals on [3]
The Sweet Inspirations - Backing Vocals on [13]
Steve Winwood - Organ on [8]
Chris Wood - Flute on [15]
Larry Faucette - Congas on [5,14]
Mike Finnigan - Organ on [5,14]
Buddy Miles - Drums on [5,14]
Freddie Smith - Tenor Saxophone on [5,14]

Eddie Kramer - Engineer, Mixing
Gary Kellgren - Engineer, Mixing
Lee Herschberg - Remastering
Karl Ferris - US Cover Design
Linda Eastman - US Cover Inside Photos
David Sygall - US Cover Inside Photos
Ed Thrasher - US Art Direction
David King - UK Cover Design
Rob O'Connor - UK Cover Design
David Montgomery - UK Cover Inside Photos

 C o m m e n t s ,   N o t e s


1993 CD Reprise - MCA 6307-2

Recorded in July and December 1967; January and April–August 1968; at Olympic Studios, London and Record Plant Studios and Mayfair Studios, New York.



Being a bit fed up with music as "reactive noise" ("God man, the world's a drag, let's play loud and drown it out"), I was sort of set not to dig this LP, but I had to. Hendrix is a good musician and his science fiction concepts surmount noise. There isn't really a concept (no Sgt. Pepper trips here) — instead there's a unity, an energy flow. The LP opens with an electronic track using tape loops and phasing (think of "Itchy Coo Park" by the Small Faces for an example of phasing) called "And the Gods Made Love." Hendrix said in an interview, "We knew this was the track that most people will jump on to criticize, so I put it first to get it over with."

The "I" in that sentence is true — Hendrix produced and directed these sides himself. Following is "Electric Ladyland," a fairytale trip that serves as introduction to the rest on the LP; "I want to show you the angels spread their wings." Next is "Crosstown Traffic," a stomp under with a heavy beat. "90 miles an hour is the speed I drive, girl," sings Hendrix as he compares the woman with a traffic jam — "It's so hard to get through you."

Then a live cut, which sounds as though it was recorded late at night in a small club, at one of the jamming sessions Hendrix is known for. It features Stevie Winwood on organ and Jack Casady on bass, and is called "Voodoo Chile." It begins with a very John Lee Hooker-like guitar intro, and keeps a blues feeling all the way through, although Hendrix's lyrics ("My arrows are made of desire/From as far away as Jupiter's sulphur mines") are a far cry from "Rolling Stone" (the Muddy Waters song that's an ancestor to this track, as well as a lot of other things). After some feedback screech, a listener says "Turn that damn guitar down!" and the track ends with Hendrix and a chick discovering that the bar in the club is closed. "The bar is closed?" she says unbelievingly.

But yes it is. Side B opens with a song by bassist Noel Redding, "Little Miss Strange," probably the most commercial of the numbers included. Basically hard rock, the best thing about it is some nice unison guitar lines, probably an overdub, unless Hendrix has grown another couple of arms. "Long Hot Summer Night" is next, a song set in the "Visions Of Johanna" scene, although Hendrix has a way out — "my baby's coming to rescue me." An Earl King number, "Come On," follows. Mostly rock/soul, the guitar break in the middle is one of the nicest things Hendrix has done.

"Gypsy Eyes" begins with a drum thumping, a simple bass line and a compelling guitar line, it's a light groovy tune that really sticks to your synapses. (If it was possible to hum or whistle Hendrix, this would be the tune you'd most likely do.)

The side ends with "Burning of the Midnight Lamp," which was Hendrix's last single in England, released a year ago this summer. It's a freaky ballad, with particularly nothing lyrics and on the whole a drag . . . it goes nowhere. Side C is the sea or water side. It opens with "Rainy Day, Dream Away," using a small group that includes Buddy Miles from the Flag on drums. In it Hendrix does a lot to restore the grooviness of rainy days, previously much maligned in many songs.

This fades to "1983: A Merman I Should Be" (a merman is a mermaid's mate, of course). Hendrix's vision of the future shows a world torn by war, on the verge of destruction as he and his lady go for a walk by the sea, and dream of living in the water. With tape loops, melancholy guitar and the flute of Chris Wood (also from Traffic) Hendrix structures a beautiful undersea mood — only to destroy it with some heavy handed guitar. My first reaction was, why did he have to do that? Then I thought that he created a beautiful thing, but lost faith it, and so destroyed it before anybody else could — in several ways, a bummer.

Another electronic track, "Moon Turn the Tides Gently Gently Away," heals some of the rent in your head, and the side ends peacefully. Side D opens with a continuation of "Still Raining, Still Dreaming," only heavier and funkier — maybe just a bit too much so (iron raindrops hurt, man.) "House Burning Down" could be taken as Hendrix's first socially conscious statement, but it ends in typical Hendrix fashion; "an eerie man from space . . . come down and take the dead away."

Then comes the new single, Dylan's "All Along the Watchtower" — in many ways one of the most interesting cuts here. On Hendrix's original numbers, it's sometimes hard to see the structure at first; the rhythm starts and stops, the changes are a bit hard to follow sometimes. But here, if you listen to the rhythm guitar track, and keep the original song in your mind, you can see the way Hendrix overlays his beautifully freaky sound on the already established framework of the song. He is true to its mood and really illustrates the line "the wind began to howl." Last is "Voodoo Child (Slight Return)," done this time with his usual backup men in a studio cut, heavier and more driving.

In other words, an extended look into Hendrix's head, and mostly it seems to have some pretty good things in it (who among us is totally free of mental garbage?) A few random thoughts to sum up; Hendrix is the Robert Johnson of the Sixties, and really the first cat to ever totally play electric guitar. Remember, he used the wah-wah pedal before "Brave Ulysses," and he's still the boss. And it's nice to see that he is confident enough so he can play some blues again — I'd like to hear more.

Hendrix, psychedelic superspade??? Or just a damn good musician/producer? Depends on whether you want to believe the image or your ears. (And if you wanna flow, dig this on earphones, and watch the guitar swoop back and forth through your head.) Hendrix is amazing, and I hope he gets to the moon first. If he keeps up the way he's going here, he will.

Tony Glover - November 9, 1968
RollingStone.com



In November 1968, a handful of British record stores banned the Jimi Hendrix Experience‘s new album from their shelves due to its cover art. The unusual thing is, Hendrix probably hated the ‘Electric Ladyland‘ photograph in question even more than those retailers did.

Saying the unflattering image of 19 naked women, which you can see here in all its NSFW glory, had “nothing to do with him,” Hendrix immediately made it pretty clear that his U.K. label, Track Records, was behind the artwork:

    “Folks in Britain are kicking against the cover. Man, I don’t blame them. I wouldn’t have put this picture on the sleeve myself, but it wasn’t my decision. It’s mostly all bulls—.”

According to John Perry’s ‘Electric Ladyland‘ book, while Hendrix was otherwise occupied overseas, label boss Chris Stamp sent a photographer to a local speakeasy and offered the girls five pounds to appear topless (or 10 to go fully nude) for the photo shoot.

Nobody involved seemed particularly impressed with the final results. As one of the models, Reine Sutcliffe, told Melody Maker, “It makes us look like a load of old tarts. It’s rotten. Everyone looked great, but the picture makes us look old and tired. We were trying to look too sexy, but it didn’t work out.”

The idea, of course, was to generate publicity, but as Perry points out, the ban was limited to “a few provincial record ships in York, Hull and Bristol,” and their decision sparked only minor coverage in the country’s tabloid papers. Besides, ‘Electric Ladyland’ was one of the most eagerly anticipated albums of the year and needed no help selling in large numbers.

The incident prompted Hendrix to write an extremely passionate and detailed letter — complete with sketches like the one below — to his American record label, explaining exactly how he wanted the ‘Electric Ladyland’ art to look when they released it. They rejected his request, instead choosing the now famous red and yellow close-up of the guitarist’s face for the cover, and relegating most of the photographs he sent them to the inside panels.

Matthew Wilkening - November 12, 2014
UltimateClassicRock.com



Bursting with ideas and energy, Jimi Hendrix's second album release of 1968 (following Axis: Bold as Love) was a double-LP set that showcased virtually everything the guitar genius had to offer: blistering blues ("Voodoo Chile"), galaxy-patrolling space jams ("1983... A Merman I Should Turn to Be"), psychedelic soul ("Crosstown Traffic"), and skyscraping rock ("Voodoo Child (Slight Return)"). In the midst of all this was even a hit song--Hendrix's remarkable reading of Bob Dylan's "All Along the Watchtower," featuring a series of baton-passing guitar solos, all distinct and brilliant. Seemingly diffuse when first released; in hindsight, kaleidoscopically eclectic.

Billy Altman - Amazon.com



Fast berstend vor Energie und Ideenreichtum fuhr Hendrix auf seiner Doppel-LP Electric Ladyland (Vorgänger war Axis: Bold As Love) fast alles auf, was er in seiner Genialität zu bieten hatte: kochendsten Blues ("Voodoo Chile"), intergalaktische Space-Jams ("And The Gods Made Love"), psychedelischen Soul ("Crosstown Traffic") und allerhärtesten Rock ("Come On"). Inmitten dieser Menge an Songs fand sich schließlich sogar ein Hit: Hendrix' bemerkenswerte Version des Dylan-Klassikers "All Along The Watchtower", auf dem eine Stafette feinster Gitarrensolos die andere jagte. Galt Electric Ladyland bei seiner Erstveröffentlichung 1968 noch als diffus und weitschweifig, erweist es sich in der Rückschau nach dreißig Jahren als erlesenes und vielfältiges Meisterwerk.

Billy Altman - Amazon.de



Experimente ohne Grenzen lotete der Gitarren-Gott, der 1968 bereits über die Experience hinausgewachsen war, auf diesem Klassiker mit Session-Gästen wie Steve Winwood aus. Die schiere Vielfalt an Ideen und Effekten läßt bis heute jeden Gitarristen vor Ehrfurcht erstarren - und das mit Recht.

© Audio



This 3rd and final album by "The Jimi Hendrix Experience" was first released in September 1968 in the USA on 'Reprise Records' and October 1968 on 'Track Record' in the UK. The US issue, mastered by Reprise, has the Warner7Arts/Reprise roundel logo & 'Stereo' on the cover. The 'red/yellow' cover image of Hendrix is a photo by Karl Ferris, subsequently adopted as an 'official cover image' since the acquisition of the catalog by the Hendrix Family Trust. The logo was removed on later releases and the label went through visual changes during the emergence of 'Warner Bros.' and the Kinney National deals. The early US mastering does not capture the same 'hi-fidelity' qualities found on the UK issue. When 'remastering' is referred to on any subsequent issues the source is worth noting.

The UK issue was mastered, produced & distributed for Track by Polydor, who subsequently branded the UK release after the demise of Track. Polydor, having it's roots in Germany, was used for roll-outs in the European market. Buyers and sellers should both be aware of the key differences which help identify early Track Record releases. All early UK (and some Euro) issues are auto-coupled, as Disc 1;Sides A/D & Disc 2;Sides B/C. On a few later vinyl & CDs this has resulted in the track order being wrongly presented, with A/D as A/B & B/C as C/D. (The quickest check for correct track-order is "Little Miss Strange" follows "Voodoo Chile"). The next check is the gatefold cover, 'hi-gloss' laminated inside & out, designed by David King. It is a one-piece front/back spread, with 'naked ladies' photo by David Montgomery, glued to a one-piece left/right inside spread. The lamination on Track issues is poor, leaving exposed print on the two opening edges and around all four edges of the inside spread. Bubbling, creasing & de-lamination also occurred and 'perfection' is an unlikely find - until the improved process on Polydor issues. The next and most important factor of the Track covers is the inside spread and its relationship to vinyl content.

First press Track issues have all-blue text in two versions. The Hendrix picture is either on the right when opened (most common), or on the left (rare). This is a result of the spread being rotated in production. This can go unnoticed, as the spread is viewed vertically for it to be read, rather than horizontally. First press Track issues can also have the same layout, Hendrix on right, but with a blue track list & white logo as a third version. On all three versions the 2 sepia images of Redding & Mitchell, by Donald Silverstein, are large, with the print credit grouped to the left. There is then a fourth Track version, with all white text and the print credit centered. On this the 2 sepia images are significantly reduced in size, surrounded by the black background. A fifth version is the same layout as the fourth, but the Track logo is replaced by the Polydor logo. This is the most common release.

The first 3 cover versions have 'greener' flesh tones on the cover girls than the 'warmer' later releases. These 3, with blue text content, were all effected prior to and during release. The fourth version after release date. The vinyl within has the significant 'hand-etched' changes to the wax matrix stamped ID that denotes first press. Disc 1 label is cat#613008, suffixed by A&B on sides marked A&D. Disc 2 label is cat#613009, suffixed by A&B on sides marked B&C. These suffixed cats are in parenthesis, inverted above the unsuffixed cat#. This cataloging decision to auto-couple resulted in the wax changes to the '8' & '9' and 'sides' order. The 'hi-dynamic' of the mix was found to cause needles to 'jump' on less expensive phonographs of the time. In simple terms, Polydor repressed a 'lower mix' for the Track releases, followed by a third press on Track and then into the Polydor issues. There is a subtle label change between 1st & 2nd press, both having inverted catalog data. 'Side A' 1st press has "Electric Ladyland" overlapping the center indent and there is a small gap between the words "Jimi Hendrix" & "A.Schroeder Music". 'Side A' 2nd press has "Electric Ladyland" clear of the indent. The unit of text has moved down, so that "Jimi Hendrix" is closer to "A.Schroeder Music"- which is now closer to the "Made in Britain" at the foot of the label. The final assurance of the earliest pressing is the white poly-lined inner sleeves with punched label holes, bearing the blue imprint "Made in England 108" in the bottom-right corner. The later pressings in the later covers do not have inverted cat# over the 613008 or 613009 and Track labels also have "Two Record Set (Set. No. 2657-001)". Later liners are printed "Made in England 1170".

Radical at the time, the UK cover caused controversy, with some outlets refusing to display it. Often, it was sold 'brown bagged', like Lennon's "Two Virgins" album of the same period. Hendrix wanted all issues to have the David Sygall & Linda Eastman (McCartney) images used for the cover. These photos, of the band & children posed on an Alice in Wonderland sculpture in Central Park, can be seen on the US inner and in the MCA CD booklet. Both Reprise and Track ignored the designs he sketched out. Initial work on tracks was begun by the band in January 1968, with manager and producer Chas Chandler at Olympic Studios, London, the 'residency' of engineering brothers Glyn & Andy Johns and staff engineer Eddie Kramer. It was here that Hendrix began to explore the production of his 'progressive' sound and the feasibility of creating tracks that went beyond the current concept of 'pop singles material'. He began to experiment with repeated takes and effects, with Chandler producing and Kramer engineering. Mixes from these sessions then became a new starting point for Hendrix when Chandler and the band entered Gary Kellgren & Chris Stone's newly-opened Record Plant Studios in New York in April & then June 1968 after a period of touring. During the months of recording Hendrix became somewhat fixated in achieving on tape exactly what was in his head, overdubbing, erasing and moving from 4 to 12 & 16-track layering - plus inviting in musicians he had been jamming with at clubs like The Scene. This drove the commercially-minded Chandler to financial distraction. He quit early in the proceedings, selling his shares and leaving Hendrix to complete production. Michael Jeffery became the manager. Kramer, the most prevalent engineer in the recordings, had been called in from the UK and joined forces with Kellgren. Hendrix also dubbed many of the bass parts in Redding's absence. This and many other factors no doubt prevailed in this finalé album of the "Jimi Hendrix Experience".

A short-lived 'Electric Jim Hendix' was produced with 9 tracks, available by mail-order to Polydor Club members in 1971. Some 200 copies of this "Electric Jimi Hendrix" album (Cat#2856 002) on the Track label were in circulation before it was withdrawn. The double album was later released as two single LP's under the same title, suffixed "Part 1" & "Part 2".

Discogs.com



Electric Ladyland is the third and final studio album by English-American rock band the Jimi Hendrix Experience, released in October 1968 by Reprise Records. The double album was the only record from the band produced by Jimi Hendrix. By mid-November, it had charted at number one in the United States, where it spent two weeks at the top spot. Electric Ladyland was the Experience's most commercially successful release and their only number one album. It peaked at number six in the UK, where it spent 12 weeks on the chart. Electric Ladyland included a cover of the Bob Dylan song, "All Along the Watchtower," which became the Experience's highest-selling single and their only top 40 hit in the US, peaking at number 20; the single reached number five in the UK. Although it confounded critics upon its release, Electric Ladyland has since been viewed as Hendrix's best work and one of the greatest rock albums of all time. It has been featured on many greatest-album lists, including Q magazine's 2003 list of the 100 greatest albums and Rolling Stone '​s list of the 500 greatest albums of all time, on which it was ranked 54th.

Electric Ladyland was released in the US on October 16, 1968. By mid-November, it had reached number one in the US, spending two weeks at the top spot. The double LP was the Experience's most commercially successful release and his only number one album. It peaked at number six in the UK, spending 12 weeks on the chart. Electric Ladyland confounded contemporary music critics, who praised some of its songs, but felt that the album lacked structure and sounded too dense. Melody Maker found the album "mixed-up and muddled", with the exception of "All Along the Watchtower", which the magazine called a masterpiece. In a negative review for Rolling Stone, Tony Glover preferred the less difficult "Little Miss Strange" to songs such as "Voodoo Chile" and "1983", which he felt were marred by reactively harsh playing. Music journalist Robert Christgau, on the other hand, ranked it as the fifth best album of the year in his ballot for Jazz & Pop magazine's annual critics poll.

Over time, opinion of the album has significantly improved among critics, who have since viewed it as Hendrix's best work. According to author Michael Heatley, "most critics agree" that Electric Ladyland is "the fullest realization of Jimi's far-reaching ambitions"; Guitar World editor Noe Goldwasser called it his greatest work. Christgau viewed the album as the definitive work of psychedelic music, describing it as "an aural utopia that accommodates both ingrained conflict and sweet, vague spiritual yearnings, held together by a master musician".

Electric Ladyland has been featured on many greatest album lists including a number 10 ranking on Classic Rock UK's list of 100 Greatest Rock Albums Ever and number 37 on The Times '​ 100 Best Albums of All Time. Music journalist and author Peter Doggett argued that it is very likely the greatest rock album of all time because of its exceptional concept, artful melodies, experimentation, and skilled musicianship, which he felt remains unparalleled by any other rock artist. In 2003, Q magazine included it on its list of the 100 greatest albums ever, while Rolling Stone ranked it 54th on its list of the 500 greatest albums of all time. Tom Larson identified Electric Ladyland as an essential hard rock album in his 2004 book History of Rock and Roll.

Wikipedia.org
 

 L y r i c s


HAVE YOU EVER BEEN (TO ELECTRIC LADYLAND)

Have you ever been (have you ever been) to Electric Ladyland?
The magic carpet waits, for you.
So don't you be late
Oh, (I wanna show you), the different emotions
(I wanna run to) the sounds and motions
Electric woman waits for you and me
So it's time we take a ride,
we can cast all of your hang-ups over
the seaside.
While we fly right over the love filled sea
Look up ahead, I see the loveland, soon you'll understand.

Make love, make love, make love, make love.

(I wanna show you)
The angels will spread their wings, spread their wings
(I wanna show you)
Good and evil lay side by side while electric love penetrates the sky
(I wanna show you)
Lord, Lord I wanna show you
(I wanna show you)
Hmm, hmmm, hmmm
(I wanna show you)
Show you
(I wanna show you)


CROSSTOWN TRAFFIC

You jump in front of my car when you,
you know all the time
Ninty miles an hour, girl, is the speed I drive
You tell me it's alright, you don't mind a little pain
You say you just want me to take you for a drive

You're just like crosstown traffic
So hard to get through to you
Crosstown traffic
I don't need to run over you
Crosstown traffic
All you do is slow me down
And I'm tryin' to get on the other side of town

I'm not the only soul who's accused of hit and run
Tire tracks all across your back
I can, I can see you had your fun
But, darlin' can't you see my signals turn from green to red
And with you I can see a traffic jam straight up ahead

You're just like crosstown traffic
So hard to get through to you
Crosstown traffic
I don't need to run over you
Crosstown traffic
All you do is slow me down
And I got better things on the other side of town


VOODOO CHILE

Well, I'm a voodoo chile
Lord I'm a voodoo chile

Well, the night I was born
Lord I swear the moon turned a fire red
The night I was born
I swear the moon turned a fire red
Well my poor mother cried out "lord, the gypsy was right!"
And I seen her, fell down right dead
(Have mercy)

Well, mountain lions found me there waitin'
And set me on a eagles back
Well, mountain lions found me there,
And set me on a eagles wing
(Its' the eagles wing, baby, what did I say)
He took me past to the outskirts of infinity,
And when he brought me back,
He gave me a venus witch's ring
Hey!
And he said "Fly on, fly on"
Because I'm a voodoo chile, yeah, voodoo chile
Hey!

Well, I make love to you,
And lord knows you'll feel no pain
Say, I make love to you in your sleep,
And lord knows you felt no pain
(Have mercy)
'Cause I'm a million miles away
And at the same time I'm right here in your picture frame
(Yeah! What did I say now)
'Cause I'm a voodoo chile
Lord knows, I'm a voodoo chile
(yeah!)

Well my arrows are made of desire
From far away as Jupiter's sulphur mines
Say my arrows are made of desire, desire
From far away as Jupiter's sulphur mines
(Way down by the Methane Sea, yeah)
I have a humming bird and it hums so loud,
You think you were losing your mind, hmmm...

Well I float in liquid gardens
And Arizona new red sand
(Yeah)
I float in liquid gardens
Way down in Arizona red sand

Well, I taste the honey from a flower named Blue,
Way down in California
And the in New York drowns as we hold hands

'Cause I'm a voodoo chile
Lord knows I'm a voodoo chile


LITTLE MISS STRANGE

No one knows where she comes from
Maybe she's a devil in disguise
I can tell by looking in her eyes.

Little miss strange
Little miss strange.

Little miss strange came into my parlor
I don't know just what to ask her
I don't remember what we did after.

Little miss strange
Little miss strange.

Little miss strange came out of the darkness
Walked across my head, I stood beneath the light
I'm talkin' 'bout the dream I had the other night.

Little miss strange
Little miss strange


LONG HOT SUMMER NIGHT

It sure was a long long long hot summer night
As far as my eyes could see
Well my heart was way down
In a cold cold winter storm.

Well my darlin' where can you be?
Where can you be baby?
Where can you be?

There were three sugar walls and a two candy cane windows
But the serious mood melted ah all those insight
Everybody's on fire but I'm uh snowin' in a cold blizzard.

Where are you on this ah hot cold summer?
Where are you on this ah hot cold summer?
Where are you on this ah hot cold summer night?

Around about this time the telephone blew it's horn across the room
Scared little Annie clean out of her mind and I tell ya
Roman the Candle he peeps out of his peekaboo hide and seek
And grabbed little Annie from the ceiling just in time
And the telephone keeps on screamin'.
Yeah yeah yeah!

Yeah, yeah, yeah, yeah!

Hello said my shakey voice, well how you doin'
I start to stutter
Ah can't cha tell I'm ah doin' fine
Do was my baby talkin' she's way down 'cross the border.

She says I'm gonna hurry to ya I've been a fool
And I'm tired of cryin'
Said I'm tired of cryin'.

Yeah a long long hot summer night
As far as my eyes could see
But I can ah feel the heat comin' on as my baby's gettin' closer.

I'm so glad that my baby's comin' to rescue me
So glad that my baby's comin' to rescue me
So glad my baby's comin' to rescue me
Rescue, rescue, rescue
Rescue, rescue
Rescue, rescue, What'd I say
Rescue me, rescue me
Rescue, rescue me, rescue me
Rescue


COME ON (PART ONE)

People talkin' but they just don't know,
What's in my heart, and why I love you so.
I love you baby like a miner loves gold.
Come on sugar, let the good times roll. hey!

So many people live in make believe,
They keep a lot a going up their sleeves.
But my love baby is no kind that folds.
Come On Baby, let the good times roll.
(Let the good times roll).

ah baby, come on and let daddy fill your soul.
baby, let the good times roll.
hey!

A love is nice if it's understood
It's even nicer when you're feelin' good
You got me flippin' like flag on a pole
Come on sugar, let the good times roll

Hey! Yeah! Let the good times roll!
feel me baby! Come on, good times roll!
come on and let me fill your soul,
hey, let the good times roll


GYPSY EYES

Well I realize that I've been hypnotized,
I love your gypsy eyes
I love your gypsy eyes
Alright!

Hey!
Gypsy.

Way up in my tree I'm sitting by my fire
Wond'rin' where in this world might you be
And knowin' all the time you're still roamin' in the country side
Do you still think about me?
Oh my gypsy.

Well I walked right on to your rebel roadside
The one that rambles on for a million miles
Yes I walk down this road searchin' for your love and ah my soul too
But when I find ya I ain't gonna let go.

I remember the first time I saw you
The tears in your eyes look like they're tryin' to say
Oh little boy you know I could love you
But first I must make my get away
Two strange men fightin' to the death over me today
I'll try to meet cha by the old highway.
Hey!

Well I realize that I've been hypnotized, I love your gypsy eyes
I love your gypsy eyes
I love your gypsy eyes
I love your gypsy eyes
Alright!

I've been searchin' so long my feet have made me lose the battle
Down against the road my weary knees they got me
Off to the side I fall but I hear a sweet call
My gypsy eyes is comin' and I've been saved.

Oh I've been saved
That's why I love you uh
Said I love you
Hey!
Love you uh
Lord I love you
Hey!


BURNING OF THE MIDNIGHT LAMP

The morning is dead
And the day is, too
There's nothing left here to meet me
But the velvet moon
All my loneliness I have felt today
It's like a little more than enough
To make a man throw himself away

And I continue
To burn the midnight lamp
Alone

Now the smiling portrait of you
Is still hangin' on my frowning wall
But It really doesn't, really doesn't bother me
Too much at all
It's just the ever falling dust
That makes it so hard for me to see
That forgotten earring layin' on the floor
Facing coldly towards the door

And I continue
To burn the midnight lamp
Lord, alone
Burn
Lonely, Lonely, Lonely

Loneliness is such a drag

So here I sit and pace
That same old fireplace
Gives rise to the same old explosion
Goin' through my mind
And soon enough time me tell,
About the circus and the wishing well
And someone who will buy and sell for me
Someone who will toll my bell

And I continue
To burn the same old lamp
Lone

Yeah
Lightnin', can ya hear me callin' you?
So lonely
Gonna blow my mind
Yeah, yeah
Lonely lonely
My my


RAINY DAY, DREAM AWAY

Hey man, take a look out the window 'n' see what's happenin'
Hey man, it's rainin'
It's rainin' outside man
Aw, don't worry 'bout that
Everything's gonna be everything
We'll get into somethin' real nice you know
Sit back and groove on a rainy day
Yeah
Yeah I see what you mean brother, lay back and groove.

Rainy day, dream away
Ah let the sun take a holiday
Flowers bathe an' ah see the children play
Lay back and groove on a rainy day.

Well I can see a bunch of wet creatures, look at them on the run
The carnival traffic noise it sings the tune splashing up 'n'
Even the ducks can groove rain bathin' in the park side pool
And I'm leanin' out my window sill diggin' ev'rything
And ah and you too.

Rainy day, rain all day
Ain't no use in gettin' uptight
Just let it groove its own way
Let it drain your worries away yeah
Lay back and groove on a rainy day hey
Lay back and dream on a rainy day


1983 (A MERMAN I SHOULD TURN TO BE)

Hurrah i awake from yesterday
alive but the war is here to stay
so my love catherina and me
decide to take our last walk
through the noise to the sea
not to die but to be re-born
away from a life so battered and torn....
forever...
oh say can you see its really such a mess
every inch of earth is a fighting nest
giant pencil and lip-stick tube shaped things
continue to rain and cause screaming pain
and the arctic stains
from silver blue to bloody red
as our feet find the sand
and the sea is strait ahead..
strait ahead.....
well its too bad
that our friends
cant be with us today
well thats too bad
"the machine
that we built
would never save us"
thats what they say
(thats why they aint coming with us today)
and they also said
"its impossible for man
to live and breath underwater..
forever" was their main complaint
(yeah)
and they also threw this in my face:
they said
anyway
you know good well
it would be beyond the will of God
and the grace of the King
(grace of the King yeah yeah)

so my darling and I
make love in the sand
to salute the last moment
ever on dry land
our machine has done its work
played its part well
without a scratch on our bodies
and we bid it farewell

starfish and giant foams
greet us with a smile
before our heads go under
we take a last look
at the killing noise
of the out of style...
the out of style, out of style


MOON, TURN THE TIDES... GENTLY, GENTLY AWAY

Moon, Turn The Tides... Gently Gently Away
So down and down and down and down
And down and down we go
Hurry my darling we mustn't be late
For the show
Neptune champion games to an aqua
World is so very dear
Right this way smiles a mermaid
I can hear and man is full of cheer.

That man is full of cheer
I could hear that man is full of cheer
Lord thank you


STILL RAINING, STILL DREAMING

Rainy day, rain all day
Ain't no use in gettin' uptight
Just let it groove its own way
Let it drain your worries away yeah
Lay back and groove on a rainy day hey
Lay back and dream on a rainy day
Lay back and groove on a rainy day
Lay back
Oh yeah !

Lay back and groove on a rainy day
Lay back and groove on a rainy day
Lay back and dream on a rainy day
Lay back and groove on a rainy day
Lay back and dream on a rainy day
Lay back and, lay back, lay back, lay back and groove.

Ooh
Aaaah !

Lay back and groove on a rainy day
Lay back and groove on a rainy day
Lay back and groove on a rainy day
Lay back and groove on a rainy day
Lay back and dream on a rainy day.

Still rainin' still dreamin'


HOUSE BURNING DOWN

Hey! Hey! Hey! Hey

Look at the sky turn a hell fire red
Somebody's house is burnin' down down, down down
Down, down, down.

Well I asked my friend where is that black smoke comin' from ?
He just coughed and changed the subject and
said oh wa I think it might snow some
So I left him sippin' his tea an' I jumped in my chariot
And rode off to see just why and who could it be this time.

Sisters and brothers daddys mothers standin' 'round cryin'
When I reached the scene the flames were makin' a ghostly whine
So I stood on my horse's back an' I screamed without a crack
I say oh baby why'd you burn your brother's house down ?

Hey ! Hey ! Hey ! Hey !

Look out the sky turn a hell fire red Lord
Somebody's house is burnin' down down, down down
Look out the sky turn a hell fire red Lord
Somebody's house is burnin' down down, down down down.

Well someone stepped from the crowd he was nineteen miles high
He shouts retired and disgusted so we paint red through the sky
I said the truth is straight ahead so don't burn yourself instead
Try to learn instead of burn, hear what I say, yeah, yeah.

So I fin'ly rode away but I'll never forget that day
'Cause when I reached the valley I looked way down cross the way
A giant boat from space landed with eerie grace
And came and taken all the dead away.

Hey ! Hey ! Hey ! Hey !

What'd I say.
Look at the sky turn a hell fire red Lord
Somebody's house is burning down down, down down
Look at the sky turn a hell fire red Lord
Somebody's house is burning down down, down down
Look at the sky, look at the sky.

Ooh, ooh, ooh
Ooh, ooh, ooh
Oh baby


ALL ALONG THE WATCHTOWER

"There must be some kind of way out of here, "
Said the joker to the thief,
"There's too much confusion, I can't get no relief.
Business men – they drink my wine
Plowmen dig my earth
None will level on the line
Nobody of it is worth."

"No reason to get excited, "
The thief – he kindly spoke,
"There are many here among us
Who feel that life is but a joke
But you and I we've been through that
And this is not our fate
So let us not talk falsely now
The hour's getting late."

All along the watchtower
Princess kept the view
While all the women came
And went bare-foot servants too
Outside in the cold distance
A wild cat did growl
Two riders were approaching
And the wind began to howl, hey.


VOODOO CHILD (SLIGHT RETURN)

Well, I stand up next to a mountain
And I chop it down with the edge of my hand
Well, I stand up next to a mountain
Chop it down with the edge of my hand
Well, I pick up all the pieces and make an island
Might even raise just a little sand
'Cause I'm a voodoo child
Lord knows I'm a voodoo child

I didn't mean to take you up all your sweet time
I'll give it right back to you one of these days
I said, I didn't mean to take you up all your sweet time
I'll give it right back to you one of these days
And if I don't meet you no more in this world
Then I'll, I'll meet you in the next one
And don't be late, don't be late
'Cause I'm a voodoo child
Lord knows I'm a voodoo child
I'm a voodoo child

 M P 3   S a m p l e s


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