Axis: Bold As Love:Jimi Hendrix

Axis: Bold as Love is the second studio album by the Jimi Hendrix Experience. It was released on Track Records in the UK in December 1967, as a follow-up to the successful debut of their May 1967 album Are You Experienced. It reached number five in the UK and number three in the US.

The album was recorded to fulfill the Experience's contract, which stated that they must produce two albums in 1967. Even so, it was not released in the US until 1968 due to fears that it might disturb the sales of the first album. Just before the album's completion, Hendrix left the master tapes of side one in a taxi. They were never found again, and thus the A-side had to be mixed again quickly.



Contents
[hide]  *1 Recording  ==Recording[ edit] == Following the completion of Are You Experienced at the end of April, 1967, the Jimi Hendrix Experience continued their schedule of regular recording sessions, returning to Olympic Studios in London on May 4, to begin composing material for a follow-up LP.[1]  With Chas Chandler as producer, Eddie Kramer as engineer, and George Chkiantz as second engineer, the band started the session by working on a Noel Redding original that he had written about hippies titled, "She's So Fine". It featured back-ground vocals that were performed by Jimi Hendrix and Mitch Mitchell; Redding later recalled that Hendrix was enthusiastic to record the song because it was written in A with an open G chord that he enjoyed playing.[2]  They achieved a working master on the 23rd take, over which Redding overdubbed his lead vocal.[2] [nb 1]  The band also made initial recordings of what would become "If Six was Nine", using the working titles of "Section A" and "Section B" to identify its two distinct segments.[2]  During a session that took place the following day, Hendrix and Mitchell improved "Section B", now titled "Symphony of Experience", by re-recording most of their guitar and drum parts. A reduction mix prepared by Kramer made room for additional overdubs, including Hendrix's lead vocal, backing vocals, and a percussion effect created by Chandler, Hendrix, and guests Graham Nash and Gary Leeds stomping their feet on a drum platform. As an additional oddity, Hendrix played a recorder on the track, achieving what they considered a satisfactory sound despite his complete lack of formal training with the instrument.[4] [nb 2]  Also recorded during these sessions was the experimental track "EXP".[6]  In the span of two days, the group recorded basic tracks for seven compositions, though only three of them were included on the album.<sup class="reference" id="cite_ref-FOOTNOTEShadwick2003112_8-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[6] <p style="margin-top:0.5em;line-height:inherit;">"I would fill the four basic tracks with stereo drums on two of the channels, the bass on the third, and Jimi's rhythm guitar on the fourth. From there, Chandler and I would mix this down to two tracks on anotherfour-track recorder, giving us two more tracks to put on whatever we wanted, which usually included Jimi's lead guitar and vocals as well as backing vocals and some additional percussion."<sup class="reference" id="cite_ref-FOOTNOTERoby200277.E2.80.9379_9-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10px;">[7]
 * 2 Release
 * 3 Music and lyrics
 * 4 Album cover
 * 5 Reception and legacy
 * 6 Track listing
 * 7 Personnel
 * 8 Notes
 * 9 Citations
 * 10 Sources
 * 11 Further reading
 * 12 External links

—Eddie Kramer<p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;">On May 9, the Experience reconvened at Olympic with Chandler, Kramer, and Chkiantz. Hendrix had been curious about a harpsichord that was stored in the facility's Studio A, so on this day he sat at the instrument and began writing "The Burning of the Midnight Lamp", a song that became the fourth UK single for the Experience. Hendrix attempted four takes before stopping for the day, producing a rough demo that was approximately a minute and a half in length.<sup class="reference" id="cite_ref-FOOTNOTEMcDermott200949_5-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[4]  On May 10, the band performed their latest single, "The Wind Cries Mary", on the BBC television program Top of the Pops.<sup class="reference" id="cite_ref-FOOTNOTEMcDermott200950_10-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[8]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;">After a month-long break from the studio while they played gigs in Europe, the Experience returned to Olympic on Jun 5.<sup class="reference" id="cite_ref-FOOTNOTEMcDermott200950.E2.80.9352_11-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[9]  They devoted the session to a new Hendrix song titled "Cat Talking to Me", recording 17 takes before deciding that the second was the superior version, to which they added guitar and percussion overdubs after Kramer prepared a reduction mix. Although the song showed promise, no further work was completed on the track, which remains unreleased.<sup class="reference" id="cite_ref-FOOTNOTEMcDermott200950.E2.80.9352_11-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[9]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;">On June 18, 1967, the Experience made their US debut at the Monterey Pop Festival.<sup class="reference" id="cite_ref-FOOTNOTEMcDermott200952_12-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[10]  Immediately after the festival, Bill Graham's booked them for a series of five concerts at the Fillmore.<sup class="reference" id="cite_ref-FOOTNOTEShadwick2003116_13-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[11] <sup class="reference" id="cite_ref-15" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[nb 3]  While they were in California, Chandler booked session time for June 28, 29, and 30th at Houston Studios in Los Angeles. Although they worked on "Burning of the Midnight Lamp" and a new Hendrix composition, "The Stars That Play with Laughing Sam's Dice", they abandoned the inferior recordings. Chandler commented: "I booked three days there because I was told it was a state-of-the-art studio, but it was dire. The place was like a rehearsal studio compared to Olympic. Los Angeles was so far behind at that time."<sup class="reference" id="cite_ref-FOOTNOTEMcDermott200954_16-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[13]  After a week of performances in Los Angeles and New York, time was booked at Mayfair Studios for July 6 and 7.<sup class="reference" id="cite_ref-FOOTNOTEMcDermott200954.E2.80.9355_17-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[14]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;">Axis: Bold As Love ' s scheduled release date was almost delayed when Hendrix lost the master tape of side one of the LP, leaving it in the back seat of a London taxi.<sup class="reference" id="cite_ref-FOOTNOTEShadwick2003130_18-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[15]  With the deadline looming, Hendrix,Chas Chandler, and engineer Eddie Kramer remixed most of side one in a single overnight session, but they could not match the quality of the lost mix of "If 6 Was 9". Bassist Noel Redding had a tape recording of this mix, which had to be smoothed out with an iron as it had gotten wrinkled.<sup class="reference" id="cite_ref-19" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[16]  During the verses, Hendrix doubled his singing with a guitar line which he played one octave lower than his vocals.<sup class="reference" id="cite_ref-FOOTNOTEWhitehill198952_20-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[17]  Hendrix voiced his disappointment about having re-mixed the album so quickly, and he felt that it could have been better had they been given more time.<sup class="reference" id="cite_ref-FOOTNOTEShadwick2003130_18-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[15]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;">Although Kramer was always patient with Hendrix, who often demanded numerous re-takes, by October 1967, Chandler had grown weary of the guitarist's perfectionism.<sup class="reference" id="cite_ref-FOOTNOTEHendrixMcDermott200729_21-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[18]  Noel Redding was also frustrated by Hendrix's repeated demands for re-takes, and he began to resent Hendrix's explicit instructions regarding what he played in the studio.<sup class="reference" id="cite_ref-FOOTNOTEShapiroGlebbeek1995218_22-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[19]  Hendrix and Mitchell had begun to express their opinions regarding creative choices that had been left up to Chandler during the recording of Are You Experienced.<sup class="reference" id="cite_ref-FOOTNOTEMcDermott199260_23-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[20]  Mitchell commented: "Axis was the first time that it became apparent that Jimi was pretty good working behind the mixing board, as well as playing, and had some positive ideas of how he wanted things recorded. It could have been the start of any potential conflict between him and Chas in the studio."<sup class="reference" id="cite_ref-24" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[21] ==Release<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">]  == <p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;">Track released Axis: Bold as Love in the UK on December 1, 1967, where it peaked at number five, spending 16 weeks on the charts.<sup class="reference" id="cite_ref-25" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[22]  In February 1968, it reached number three in the US.<sup class="reference" id="cite_ref-FOOTNOTEHeatley200999_26-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[23] ==Music and lyrics<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == <p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;">Many of the songs on Axis: Bold as Love were composed with studio recording techniques in mind and as a result were rarely performed live. Only "Spanish Castle Magic" and "Little Wing" were performed regularly. Hendrix utilizes many colors of the spectrum in his lyrics as well as guitar to give a unique perspective to the world and his ultimate interpretations of human emotions, most critically, love. The lyrics of "Spanish Castle Magic" were inspired by The Spanish Castle, a dance hall in what is now Des Moines, Washington near Seattle where Hendrix jammed with local rock groups during his high school years. On "Little Wing" Hendrix plays his guitar through a Leslie speaker for the first time (a revolving speaker which creates a wavering effect, that is typically used with electric organs). According to Colin Larkin,Axis focused less on guitar playing then the previous Experience album, and more on Hendrix's "gifts as a songwriter".<sup class="reference" id="cite_ref-FOOTNOTELarkin1998112_27-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[24]  Author Charles Shaar Murray described Axis as "lighter, looser and more melodic" than its predecessor.<sup class="reference" id="cite_ref-FOOTNOTEMurray1989218_28-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[25]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;">Axis: Bold as Love, opens with the track "EXP", which innovatively utilized microphonic and harmonic feedback.<sup class="reference" id="cite_ref-FOOTNOTEWhitehill19896_29-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[26]  It also showcased an experimental stereo panning effect in which sounds emanating from Hendrix's guitar move through the stereo image, revolving around the listener.<sup class="reference" id="cite_ref-FOOTNOTEMcDermott200976_30-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[27]  The piece reflected his growing interest in science fiction and outer space.<sup class="reference" id="cite_ref-FOOTNOTEMoskowitz201028_31-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[28]  Author Keith Shadwick described the track as "some of the wildest music Hendrix ever released."<sup class="reference" id="cite_ref-FOOTNOTEShadwick2003112_8-2" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[6]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;">"Wait Until Tomorrow" is a pop song with an R&B guitar riff with Mitchell and Redding singing backing vocals. The fifth track, "Ain't No Telling", is a rock song with a complex structure despite its short length. "Little Wing", as Hendrix himself said, was his impression of the Monterey Pop Festival put into the form of a girl.<sup class="reference" id="cite_ref-FOOTNOTEStubbs200348_32-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[29]  "If 6 Was 9", the last song on side one, is the album's longest track and arguably the most psychedelic; Gary Leeds (from The Walker Brothers) and Graham Nash use their feet during the outro to make some stomping. The song features prominently on the soundtrack for the 1969 counterculturefilm, Easy Rider.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;">"You Got Me Floatin'", a rock song opening with a swirling backwards guitar solo (which is absent on the mysterious, differently mixed Polydor version of this LP [only available in stereo], which outside of France and the UK was the only one available in Europe), opens the second side of the album. Roy Wood and Trevor Burton from The Move, who toured with Hendrix on a package tour through Britain during winter 1967, supplied backing vocals. The following track, "Castles Made of Sand", is a ballad also making use of a backwards guitar solo. "She's so Fine", Redding's contribution to the album as a composer, a very British pop/rock Who-influenced affair features Redding on lead vocals with help from Mitchell. "One Rainy Wish" begins as a ballad but develops a rock feel during the chorus that is in a different time signature than the verses.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;">The song "Little Miss Lover" was the first to feature a percussive muted wah-wah effect (with the fretboard hand "killing" notes) - a technique that was later adopted by many guitarists. The final song of the album, "Bold as Love", opens very abruptly. With a psychedelic chorus and an extended solo at the end it fades out the album. An early Mellotron instrument can be heard in the outro to the title track as well. In 2005, Rolling Stone ranked "Little Wing" number 366 in their list of the 500 Greatest Songs of All Time.<sup class="reference" id="cite_ref-FOOTNOTEWenner2010120_33-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[30]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;">Hendrix composed the album's title track and finale around two verses and two choruses, during which he pairs emotions with personas, comparing them to colors.<sup class="reference" id="cite_ref-FOOTNOTEMoskowitz201033_34-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[31]  The song's coda features the first recording of stereo phasing.<sup class="reference" id="cite_ref-35" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[32] <sup class="reference" id="cite_ref-37" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[nb 4]  Numerous attempts at a basic rhythm track were undertaken before a satisfactory one was achieved on the 27th take.<sup class="reference" id="cite_ref-FOOTNOTEGuitar_World201176_38-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[34]  Shadwick described the composition as "possibly the most ambitious piece on Axis, the extravagant metaphors of the lyrics suggesting a growing confidence" in Hendrix's songwriting.<sup class="reference" id="cite_ref-FOOTNOTEShadwick2003125_39-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[35]  His guitar playing throughout the song is marked by chordalarpeggios and contrapuntal motion, with tremolo-picked partial chords providing the musical foundation for the chorus, which culminates in what musicologist Andy Aledort described as "simply one of the greatest electric guitar solos ever played".<sup class="reference" id="cite_ref-FOOTNOTEAledort199668.E2.80.9376.3B_71:_.22one_of_the_greatest_electric_guitar_solos_ever.22_40-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[36]  The track fades out on tremolo-picked thirty-second note double stops.<sup class="reference" id="cite_ref-41" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[37]  In 2011, Guitar World ranked the track number 24 in a list of Hendrix's 100 greatest performances.<sup class="reference" id="cite_ref-FOOTNOTEGuitar_World201176_38-1" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[34] ==Album cover<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == <p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;">Hendrix expressed dismay regarding the album cover art, which depicts him and the Experience as various forms of Vishnu, incorporating a painting of them by Roger Law, from a photo-portrait by Karl Ferris.<sup class="reference" id="cite_ref-FOOTNOTEUnterberger2009146.E2.80.93147_42-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[38]  Hendrix stated that the cover would have been more appropriate had it highlighted his American Indian heritage.<sup class="reference" id="cite_ref-FOOTNOTECross2005205_43-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[39]  The painted image of the Experience was then superimposed on top of a copy of a mass-produced religious poster.<sup class="reference" id="cite_ref-FOOTNOTEHeatley200987_44-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[40]  Hendrix commented: "The three of us have nothing to do with what's on the Axis cover."<sup class="reference" id="cite_ref-FOOTNOTEBlack1999121_45-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[41]  Unlike the previous album's cover art, both the UK and US editions featured the same image.<sup class="reference" id="cite_ref-FOOTNOTEShapiroGlebbeek1995231_46-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[42]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;">In November a giant B&W blow up of the fantastic day-glo pink, orange & blue offset litho print over gold foil, Hapshash/Osiris poster featuring Hendrix dressed as a Native American, wearing a feathered War Bonnet, was used as a background to his appearance on Hoepla, a controversial Dutch TV show. This poster, although produced later in London, and supposedly commissioned by Hendrix has text along the top to make it appear as if it was an original poster, advertising his (post Monterey) 1967 Fillmore concerts, this design was possibly what he had in mind. The original prints of this poster are probably all in collections, and later copies which have surfaced fetch high prices at auction.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;">The original Track UK issue came in a gatefold sleeve with a large B&W portrait photo of the group by Donald Silverstein spread over the inside and an orange sheet insert with overprinted lyrics in red; the allegedly high cost of this packaging was a topic of note in the music press. The US issue had no insert and instead of the group photo inside, had the lyrics. In Europe, the Polydor issue had no lyrics and stuck a 1-inch-wide (25 mm) white border round the inside portrait, while the French dispensed with the original cover entirely and put it in a single sleeve with a photo of the group taken from a recent French TV show on the front. ==Reception and legacy<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == <p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;">According to author Steven Roby, "critics loved Axis: Bold as Love for its wonderful blend of R&B, hard rock, and ... jazz."<sup class="reference" id="cite_ref-FOOTNOTERoby200277_53-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[49]  Writing a contemporary review for Rolling Stone, Jim Miller described the LP as "the refinement of white noise into psychedelia" and "the finest voodoo album that any rock group has produced to date."<sup class="reference" id="cite_ref-54" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[50]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;">While author and journalist Richie Unterberger described Axis as the least impressive Experience album, according to author Peter Doggett, the release "heralded a new subtlety in Hendrix's work".<sup class="reference" id="cite_ref-55" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[51]  Allmusic's Cub Koda considers the album a demonstration of Hendrix's "remarkable growth and depth" as a songwriter, utilizing Curtis Mayfield style soul guitar arrangements, "Dylanesque lyrical imagery, and Fuzz Face hyperactivity to produce yet another side to his grand psychedelic musical vision."<sup class="reference" id="cite_ref-56" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[52]  In 2005, Rolling Stone ranked the album number 82 on their list of the 500 greatest albums of all time,<sup class="reference" id="cite_ref-FOOTNOTELevy200590_57-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[53]  and the top spot on their list of the 40 greatest stoner albums in 2013. Guitarist magazine named the album number 7 on their list of "the most influential guitar albums of all time".<sup class="reference" id="cite_ref-58" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10.909090995788574px;">[54] ==Track listing<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == <p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;">All songs written and composed by Jimi Hendrix, except where noted. <p style="margin-top:0.5em;line-height:20.363636016845703px;color:rgb(37,37,37);font-family:sans-serif;">The last recording by Hendrix to have a dedicated mono mix, which was only released in the UK and US. The album was released in stereo in the rest of the world. The Polydor (Europe and Japan only) release mysteriously had a different stereo mix from that originally released in the UK, France, the US and the rest of the world. It later appeared on a Backtrack budget LP release but before long replaced the original mix on all Polydor reissues and re-pressings, outside of French Barclay territory and US/Canada Reprise, including the first UK CD. This may have been a simple confusion over which tape in Polydor's library was sent to the mastering facility. Later CD reissues have reverted to the original mix. The 'Backtrack' mix can be found on Polydor CD 813 572-2, manufactured in West Germany. ==Personnel<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == ==Notes<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[ edit<span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] ==
 * The Jimi Hendrix Experience
 * Jimi Hendrix – vocals, electric guitar, piano, recorder, voice of "Mr. Paul Caruso" on "EXP"
 * Mitch Mitchell – drums, glockenspiel on "Little Wing", backing vocals, "interviewer" on "EXP"
 * Noel Redding – backing vocals, bass guitars (four and eight-string), foot stamping on "If 6 Was 9", lead vocals on "She's So Fine"
 * Additional
 * Gary Leeds – foot stamping on "If 6 Was 9"
 * Graham Nash – foot stamping on "If 6 Was 9"
 * Trevor Burton – backing vocals on "You Got Me Floatin'"
 * Roy Wood – backing vocals on "You Got Me Floatin'"
 * Production
 * Chas Chandler – producer, foot stamping on "If 6 Was 9"
 * Eddie Kramer – chief engineer
 * Engineers – George Chkiantz, Andy Johns and Terry Brown
 * Recorded at: Olympic Studios, London, England
 * Cover design – David King, Roger Law, painted heads based on a Karl Ferris group portrait (front)
 * Photography – Donald Silverstein (UK inner portrait)
 * 1) <span class="cite-accessibility-label" style="top:-99999px;clip:rect(1px1px1px1px);overflow:hidden;-webkit-user-select:none;position:absolute!important;height:1px!important;width:1px!important;">Jump up ^  Also recorded on May 4 was "Taking Care of No Business", a track that Hendrix had written in 1965 while playing with Curtis Knight. The recording featured overdubbed background noises and vocal chatter that mimicked the sounds of a busy tavern. On May 5, Kramer prepared a reduction mix and Mitchell added a tambourine part.<sup class="reference" id="cite_ref-FOOTNOTEMcDermott200948.E2.80.9349_3-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10px;">[3]
 * 2) <span class="cite-accessibility-label" style="top:-99999px;clip:rect(1px1px1px1px);overflow:hidden;-webkit-user-select:none;position:absolute!important;height:1px!important;width:1px!important;">Jump up ^  On May 5, after working on "If Six was Nine", the group shifted their focus to "Mr. Bad Luck", a medium tempo blues song that Hendrix had written during his time with Jimmy James and the Blue Flames. They quickly achieved a working master to which they added overdubs, including Hendrix's lead vocals, and although they thought the track showed promise it was not included on Axis: Bold as Love.<sup class="reference" id="cite_ref-6" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10px;">[5]
 * 3) <span class="cite-accessibility-label" style="top:-99999px;clip:rect(1px1px1px1px);overflow:hidden;-webkit-user-select:none;position:absolute!important;height:1px!important;width:1px!important;">Jump up ^  Following their successful West Coast introduction, which included a free open air concert at Golden Gate Park and a concert at the Whisky a Go Go, the Experience were booked as the opening act for the first American tour of the Monkees.<sup class="reference" id="cite_ref-FOOTNOTEMcDermott200954.E2.80.9356_14-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10px;">[12]
 * 4) <span class="cite-accessibility-label" style="top:-99999px;clip:rect(1px1px1px1px);overflow:hidden;-webkit-user-select:none;position:absolute!important;height:1px!important;width:1px!important;">Jump up ^  As with their previous LP, the band had to schedule recording sessions in between performances.<sup class="reference" id="cite_ref-FOOTNOTEMitchellPlatt199076_36-0" style="line-height:1;unicode-bidi:-webkit-isolate;font-size:10px;">[33]