Jimi and Eddie were so lucky to have found each other. Imagine what "First Rays" would have sounded like if all the tracks were as fully formed as this and the handful of others that were "finished". Imagine, then, how Eddie would have worked with Jimi on integrating orchestral elements and choirs, as the latter wanted for his next (?) project. Still, at least we have the legacy of what Jimi did record. Thanks, Jimi. And, thank you, too, Eddie.
I heard the album First rays of the new rising sun for the first time in 1998 traveling from Monaco to Barcelona by car and it was a perfect experience. That landscape and music made me think i was in 60s.
I can't believe it, I used to have a knackered old audio cassette with this breakdown of Dolly Dagger on, and would play it to anyone and everyone, listen to all that backing track work, foot stomping and vocals by his mates the Ghetto Fighters. I never thought I would hear it again, thanks a million to the uploader
we need more multitrack videos like this. I had to rewind it 3 different times because I kept going off into a daydream about how amazing it would be to be at these sessions! : )
A few years ago Eddie Kramer remastered all the songs from Axis Bold As Love. The much improved versions are here on RU-vid. Good headphones make it all the better.
What happened? The word "classic rock" was invented. And now every body just wants to sound like "the good o'l days" and are so busy remembering the past they forgot about both today and the future. One forgets that music like this was NOT "classic" back then. That stuff was the CUTTING EDGE at the time. People need to stop pointing their wrinkly old fingers at pop, hip hop or EDM because they have nothing to do with it. Pop has been around for just as long as rock and metal has. It's all just poorly made excuses and scapegoats for the fact that rock stopped pushing itself forward, started chasing its tail, and got left behind.
And btw was that really the first thing that popped into your head after you read my comment? You just insult a genre of music that you don't like then leave? A typical, childish, copy-and-paste response.
A great! Just amazing, I like how at 5:23 hes like "I'm just gonna rewind ⏪" 😱 We've come far via recording process and all. But All in all. Thank Mr. Kramer. Ur a great in ma book. 🙏👍🤓😃
holy shit i completely forgot eddie kramer wasnt 80 years old back in the day. i always thought engineers all styled themselves to look like eddie kramer but he never actually had a pony tail he just had pony tail vibes
Jimmy Page engineered almost everything and planned out all the production on his own, using his experience as a studio musician before Led Zeppelin. He had been at the controls before Hendrix got to them. Page must have been assisting with production, or producing uncredited, regularly for at least 6 to 9 months before Hendrix made his first single in 1966, Hey Joe. As a young man, working persistently at a skill makes you learn an extreme amount in a very short time, all the basic skills and requirements of the trade were permanently taught and learnt to Jimmy Page and that's why he had a somewhat better sound than Jimi's unreleased stuff. He simply was high experienced and his own notes, not just mentally, written down. As an example he'd instruct the engineers to place microphones 20 feet away from the instruments for a natural sound, he'd also do all these things himself. Things like that help to make a wall of sound with minimal instrumentation. Jimi Hendrix eventually built up his instrumentation to form his own wall of sound. Generally, Hendrix' more basic songs had more reverb/room than tracks like Dolly Dagger and Straight Ahead (Pass It On). If reverb is added then noise/distortion becomes a by-product of the production, there'd be extra sounds because of the addition of reverb. Jimmy Page was able to have a big sound because most of Led Zeppelin's songs until Houses of the Holy had basic/live band instrumentation tracking, combined with Page's mastered studio skills. Having said that, Jimi Hendrix learnt all those principles and philosophies of sound that Jimmy Page learnt, just executed them all differently since he possibly spent more time in the studio between 66 and 70 than Page.
So you are saying they played the song sharp in the studio? In this clip the key is in around B. The song is in Bflat, as evidenced by footage and audio recordings of him playing it in Maui (his hands are in the B position, tuned down a half step as usual). This was shot and recorded for the 1973 Hendrix documentary. The original tapes are fine, and Eddie Kramer is not at fault. The recorded audio from when Eddie was filmed is playing too fast. Also, just because you have the original recordings doesn't mean that you will be playing in the right pitch if you are playing analogue tape. The speed of the tape playback affects pitch. All that the recording consists of is patterns on magnetic film. What I am saying is that when they filmed the scene they didn't do the audio exactly right. Please. Think before you reply.
We do know. Watch the film of Hendrix in Maui. He plays it in Bflat, and it sounds exactly like the recording as mastered on the Cry of Love. Are you saying that they screwed up the tape speed on The Cry of Love and every compilation album which has this song? Come on, man.
