HAVE YOU EVER BEEN EXPERIENCED? Celebrating 55 Years. The Making of Are You Experienced

May 10 2022

By John McDermott and Steven C. Pesant.

Now 55 years after Are You Experienced’s debut, the lasting significance and impact of its explosive psychedelic intricacies and raunchy ambitious fundamentals are still being explored and only now beginning to be understood.  

In the 50+ years since Hendrix’s death, musicians and fans alike continue to comb through the musical repertoire of the late guitarist, further trying to comprehend the nearly impossible sacrificial sounds created back in the Sixties. As the most influential and enduring musical debut ever released, Are You Experienced continues to excite and captivate those that experience its infectious grooves. 

“The main thing about Jimi’s playing was the soul
behind it—it was like he was in touch with the cosmos.” 

~ Randy California

Jimi’s self composed debut pushed the audience’s ears into a new sonic frontier.  His power would make your spine tingle and your toes curl.  His ferocious grinding of the strings pushed his tunes further beyond the standard musical beliefs of his listeners.  “His tunes are still around because they’re good,” remarked Gil Evans.

Are You Experienced moved further and faster through musical dimensions than other concept albums such as The Beach Boys’ Pet Sounds or The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band. Although extremely powerful and impressionistic in their own right; Hendrix’s debut had the extra lasting mystique.

Armed with the foresight and drive to make the single “Hey Joe,” Chas Chandler developed Hendrix quickly.  His goal—make Hendrix a premier star throughout Britain and the rest of Europe.  Quickly forming a team of supporting musicians, Chandler and Hendrix added bassist, Noel Redding to the team. The arduous task of selecting the drummer came next with Mitch Mitchell receiving the nod … through the flip of a coin. With the musicians in place, Chandler coined the band name, The Jimi Hendrix Experience.

The teaming of Jimi Hendrix with bassist, Noel Redding and drummer, Mitch Mitchell was a standard grouping for what was later called a “power trio” Rehearsal sessions and subsequent studio recordings began almost immediately with Chandler itching to see the release of his project, “Hey Joe.” Upon completion of the group’s debut single, Chandler pushed the group through a whirlwind cycle of studio sessions, which resulted in what would become the hottest debut album ever created.

THE RECORDING PROCESS

What follows is a comprehensive breakdown of the production of The Jimi Hendrix Experience’s debut release, Are You Experienced.  (Featuring the original 1967 UK track listing including the six additional bonus songs incorporated on releases post 1997).

“FOXY LADY”
(“Foxey Lady” in North America)

Recorded: Tuesday, December 13, 1966
Studio: CBS Studios 
Producer: Chas Chandler
Engineer: Mike Ross

Recordings for “Foxey Lady” were the focus of the session on this evening.  Engineer, Mike Ross remembers Mitch Mitchell asking him to mic all of the tom-toms individually.  Mitchell said he had achieved a great sound with this setup at another session and would like to try this configuration here at CBS.  

Ross was blown away with the setup that Hendrix had when he arrived.  “Jimi came in with four Marshall cabinets, which I couldn’t believe,” admits Ross.  “How was I to mic this?  Jimi told me to stick a microphone eight feet away from the cabinets and it would sound great.  He actually showed me where to place the microphone, and I put a U-67 valve mike where he had instructed me to.”  

After completing a series of rehearsals, the band focused on cutting the basic tracks. “Jimi didn’t record a live vocal,” recalls Ross.  “I recorded Jimi’s lead vocal as an overdub, as well as backing vocals from Mitch, Noel, and Jimi.  Jimi also recorded a second guitar as an overdub.”

Thursday, December 15, 1966
Studio: CBS Studios
Producer: Chas Chandler
Engineer: Mike Ross

A rough mix of “Foxey Lady” was recorded this evening while Mitch Mitchell was absent. According to Mike Ross, Chas Chandler praised the studio, citing its clear advantage in sound quality over DeLane Lea. Despite the enthusiasm for the facility, The Experience never recorded there again after money squabbles between Chandler and the studio’s management team.

Wednesday, February 8, 1967
Olympic Studios
Producer: Chas Chandler
Engineer: Eddie Kramer & George Chkiantz

Nearing the completion point of Are You Experienced, the band returned to Olympic Studios to upgrade a series of the original master tapes originally recorded at DeLane Lea Studios in December 1966.  “We spent a lot of time trying to improve “Foxey Lady.”  It was such a great song, but I was unhappy with the overall sound.  The guitar sound at DeLane Lea sounded choked, while the bass and drums were very dark.”  A series of overdubbed lead and backing vocals were recorded and incorporated into the final mix.

“MANIC DEPRESSION”

Wednesday, March 29, 1967
DeLane Lea Studios
Producer: Chas Chandler
Engineer: Dave Siddle

Recordings for “Manic Depression” took place at DeLane Lea Studios as Olympic Studios were unavailable at the time. 

Hendrix insightful and manic work on the song resulted in the rapid creation of the title riffs. The vibrant tying of Mitch Mitchell’s drum work clearly represented the influences learned from the classic Jazz artist Elvin Jones.  Mitchell’s performances on “Manic Depression” clearly marked his finest studio work to date.  Although Chas Chandler prepared a rough mix of the recordings, the final results would be scrapped.  

Tuesday, April 25, 1967
Olympic Studios
Producer: Chas Chandler
Engineer: Eddie Kramer

After scrapping his original rough mixes of the recordings from March, Chandler returned to the studio with Eddie Kramer and Jimi Hendrix to mix the final released version of “Manic Depression.”

“RED HOUSE”

Tuesday, December 13, 1966
CBS Studios
Producer: Chas Chandler
Engineer: Mike Ross

The recording of “Red House” was not a spontaneous attempt to record a blues song.  Jimi developed the basic chord structure of “Red House” while he was living in New York City.  Lyrics, however, would go through an arduous process of trial-and-error before finalizing the rendition put to tape.

Wednesday, December 21, 1967
DeLane Lea Studios
Producer: Chas Chandler
Engineer: Dave Siddle

Sticking close to the arrangements featured on the December CBS recordings, each of Hendrix’s takes were cut live in the studio with the lyrics driving the moody rhythm section.  

April 1967
Olympic Studios
Producer: Chas Chandler
Engineer: Eddie Kramer & George Chkiantz

The original recordings from CBS Studios were mixed and included on the May 1967 Track Records release of Are You Experienced.  “’Red House’ came about during the last fifteen minutes of another session,” explains Chas Chandler. “Noel even played rhythm guitar on the track, playing the bass line.  Jimi just winger through one take for reference and we started rolling.  Later we were scrambling to put the album together … [and] remixed it at Olympic and added it to the album.”

The December DeLane Lea recording was also revisited during Olympic sessions and was remixed and included on the popular Reprise Records compilation in released in 1969.

“CAN YOU SEE ME”

Wednesday, November 2, 1966
DeLane Lea Studios
Producer: Chas Chandler
Engineer: Dave Siddle

In addition to the session work on “Stone Free,” a rough demo for “Can You See Me” was crafted.  A reel-to-reel demo version of “Can You See Me” was also spun for further review by Hendrix and Chandler.  Hendrix and Chandler began working closer with one another now that they were sharing the same flat in London.  With his Stratocaster and a small Vox amplifier, Hendrix developed a series of rhythm patterns for “Can You See Me.”

Tuesday, December 13, 1966
CBS Studios
Producer: Chas Chandler
Engineer: Mike Ross

In addition to completing “Foxey Lady,” numerous takes of “Can You See Me” were recorded during this session.

Thursday, December 15, 1966
CBS Studios
Producer: Chas Chandler
Engineer: Mike Ross

Once again, the lyrical formation of “Can You See Me” played much the same emotional slants as “51st Anniversary” and “Highway Chile.”  The poetic verses built upon the generic ‘relationship’ theme.

The finishing touches on Hendrix’s first true pop song were completed with “Can You See Me” marking a more mainstream approach in Jimi’s music.  The subsequent release of Are You Experienced included a ravishing collection of pop, blues and a few freak-out tunes.

“LOVE OR CONFUSION”

Tuesday, December 13, 1966
CBS Studios
Producer: Chas Chandler
Engineer: Mike Ross

“We went through quite a lot of tape,” recalls Mike Ross. “Chas was keen to keep everything because he felt he could always edit the good bits together.”  

Moving to CBS Studios came at the encouragement of Kit Lambert who had produced some sessions for The Who at the studio, including “I Can See For Miles.” 

Monday, April 3, 1967
Olympic Studios
Producer: Chas Chandler
Engineer: Eddie Kramer & George Chkiantz

A significant amount of planning went into the recording of “Love or Confusion.”  “It involved the linking of the panning effect to Jimi’s rhythm guitar.  The panning was then timed to the bending of the guitar note,” explains Kramer. “Love or Confusion” provides that perfect blend of insistent logic and emotion.  The strength of the guitar rhythm plays perfectly through the lyrical pattern of the song.

Hendrix insisted on the mix of the song keep his voice in the distance giving greater emotion and presence to the natural sound of the music.  The resulting song attacks the basic question of mental balance of relationships.  Each additional verse adds a continued ghostly perspective of this emotional game.

“I DON’T LIVE TODAY”

February 20, 1967
DeLane Lea Studios
Producer: Chas Chandler
Engineer: Dave Siddle

The creative genius of Hendrix moved forward in a big way as work on “I Don’t Live Today” in early February 1967.  Once the basic track was laid down and the underlying tempo defined, Hendrix began to refine his guitar parts.  Hendrix utilized an early version of the wah-wah effects unit—at this point used by hand and later replaced with the foot pedal model—the resulting effects provided the additional grit and tonal ranges Hendrix desired.   As the session came to a close, Chas Chandler managed to create a working master.  

Monday, April 3, 1967
Olympic Studios
Producer: Chas Chandler
Engineer: Eddie Kramer & George Chkiantz

Monday, April 25, 1967
Olympic Studios
Producer: Chas Chandler
Engineer: Eddie Kramer & George Chkiantz

With some additional improvements such as a revised lead vocal from Hendrix recorded at Olympic Studios, the final mix “I Don’t Live Today” was quickly finalized by the team of Hendrix, Chandler and Kramer during the final April session at Olympic.

“MAY THIS BE LOVE”

Monday, April 3, 1967
Olympic Studios
Producer: Chas Chandler
Engineer: Eddie Kramer & George Chkiantz

In response to the request of Polydor’s head of A&R, Horst Schmaltze to hear some recordings, a lacquer consisting of “May This Be Love” and “Third Stone From the Sun,” both completed during the first week of April 1967 was prepared. 

With an original working title of “Waterfall,” Hendrix was in real style on this day and the song eventually was retitled “May This Be Love.”  A marvel at guitar effects, Hendrix managed to create a backward sounding guitar effect that was in fact played forward.  The mystique of the musical innocence is captured brilliantly on tape.  A close listen to the track will reveal the sound of Jimi turning the pages of his lyric sheet while he recorded his lead vocals.  

Upon listening to the recordings, Horst was suitably impressed and became a great supporter of The Experience.  Together with Kit Lambert and Chris Stamp at Track Records, The Experience had a crusader working on their side that would help plug the new musical creations to Polydor, resulting in increased marketing and distribution of the completed album.

Monday, April 25, 1967
Olympic Studios
Producer: Chas Chandler
Engineer: Eddie Kramer & George Chkiantz

Final mixes for “May This Be Love” were completed.

“FIRE”

Wednesday, January 11, 1967
DeLane Lea Studios
Producer: Chas Chandler
Engineer: Dave Siddle

An easy track to record, particularly compared to the recent recordings of “Purple Haze.”  The basic song track was recorded in the studio after seven takes, with Hendrix experimenting with the tempo during the early takes before settling on the desired groove.

February 8, 1967
DeLane Lea Studios
Producer: Chas Chandler
Engineer: Dave Siddle

Two lead guitar tracks were recorded, “double-tracked,” one playing higher up on the fretboard than the other.  Once Chandler was suitably satisfied with the basic song structure, Jimi recorded the lead vocals.

As a finishing touch, Redding and Mitchell completed the song’s backing vocals in the harmony sections.

Monday, April 25, 1967
Olympic Studios
Producer: Chas Chandler
Engineer: Eddie Kramer & George Chkiantz

Final mix for “Fire” was completed.

“THIRD STONE FROM THE SUN”

December 1966 
Chandler and Hendrix’s Apartment
34 Montagu Square, London W1

With the recording contract in place, Hendrix moved in with Chas Chandler at the flat they shared in Montagu Square in London.  Hendrix quickly accustomed himself to the various influences that Chandler was having on him at that time.  

Chandler’s strong interest in Science Fiction strongly influenced Hendrix’s poetic and lyric creations.  Chandler recalled, “I had dozens of science fiction books at home.  The first one Jimi read was Earth Abides.  It wasn’t a Flash Gordon type – it’s an end-of-the-world, new-beginning, disaster-type story.  He started reading through them all.  That’s where “Third Stone From the Sun” and “Up From the Skies” (Axis: Bold As Love) came from.

Tuesday, December 13, 1966
CBS Studios
Producer: Chas Chandler
Engineer: Mike Ross

At the end of this evening of sessions at CBS, The Experience recorded a basic version of “Third Stone from the Sun.”

Thursday, December 15, 1966
CBS Studios
Producer: Chas Chandler
Engineer: Mike Ross

According the Noel Redding, with the absence of Mitch Mitchell, a rough mix of the song was completed. 

Wednesday, January 11, 1967
DeLane Lea Studios
Producer: Chas Chandler
Engineer: Dave Siddle

Work began once again on “Third Stone from the Sun” with the original December 13, 1966 recording session now declared abandoned.  Focus in this session was on the song’s basic track.  Although Hendrix’s own vision of the track was very clear in his mind, a final master arrangement was unable to be completed on this night.  

Monday, April 4, 1967
Olympic Studios
Producer: Chas Chandler
Engineer: Eddie Kramer & George Chkiantz

In revisiting the January 11, 1967 “Third Stone from the Sun” session Chandler basically scrubbed the original recordings in favor of new overdubs completed on this night.  “We barely kept anything from the original session,” remembered Kramer.  Kramer would spend considerable time and attention to the mixing of the track’s guitar and drum tracks.  “Each track was composed of four fairly dense composite images.  With four-track recording, you were restricted to panning these multiple layers of sound, whereas now, with 24 and 48-track recording, what you can pan is unlimited,” explains Kramer.

Monday, April 10, 1967
Olympic Studios
Producer: Chas Chandler
Engineer: Eddie Kramer & George Chkiantz

Chandler revisited the four-track master that the group updated on April 4 and slowing added in the “Wild Chat” and “Noises” segments to the track. Featuring brief dialogue elements spoken by Hendrix and Chandler.

The session appears to have been great fun with Chandler’s inability to complete his lines correctly left Hendrix in hysterics. Stammering himself at times, Hendrix would break-up Chandler and Kramer during the session. 

“And you’ll never hear surf music again … sounds like a lie to me.” 

Monday, April 25, 1967
Olympic Studios
Producer: Chas Chandler
Engineer: Eddie Kramer & George Chkiantz

Final mixes complete.

“REMEMBER”

Wednesday, November 2, 1966
DeLane Lea Studios
Producer: Chas Chandler
Engineer: Dave Siddle

While in their new flat in London, Chandler’s influences on Jimi continued to spur his creativity.  Early demos of “Remember” included the creation of rhythmic patterns and riffs while at home.  

Wednesday, December 21, 1966
DeLane Lea Studios
Producer: Chas Chandler
Engineer: Dave Siddle

Initial studio work began at DeLane Lea and later revamped at Olympic.  Chandler later explained the nature of “Remember,” “it was an end-of-the session demo first recorded at DeLane Lea.  We made a quarter-inch, seven-and-a-half i.p.s. reel to listen to and work on the song at home.  This was something we did often.  The DeLane Lea recording was much too raggedy.  Jimi tightened it up later at Olympic Studios, before it became part of the album.  In fact, I don’t think we kept much of anything on the final record from that original DeLane Lea recording.”

Tuesday, April 25, 1967
Olympic Studios
Producer: Chas Chandler
Engineer: Eddie Kramer & George Chkiantz

Final mixes for “Remember” are completed on April 25 at Olympic.

“ARE YOU EXPERIENCED?”

Monday, April 3, 1967
Olympic Studios
Producer: Chas Chandler
Engineer: Eddie Kramer & George Chkiantz

Starting with the working title of “Title #4,” today’s session provided significant gains for the group toward the completion of their debut album.  The brilliant title track, “Are You Experienced?” was recorded from start-to-finish during this single session.  Kramer later recalled, “the distinctive introduction came from Jimi’s penchant for discovering new sounds.”  

The ease of this session was undoubtedly a clear result from the countless hours of private study that Hendrix completed.  Fascinated with sounds, Hendrix would listen to songs backwards just to study the various techniques possible.

The basic song structure filled three of the four tracks, with the fourth dedicated to a backward rhythm track, featuring backward guitar, bass and percussion.  These backing tracks were first recorded forward and then the tape would be flipped and played backwards, while a second machine recorded the output.  A four-track-to-four-track transfer was made, reducing the original four tracks to two, creation two open tracks to accommodate Jimi’s lead vocal and additional guitar parts.  

Tuesday, April 4, 1967
Olympic Studios
Producer: Chas Chandler
Engineer: Eddie Kramer & George Chkiantz

Although the recordings were very experimental, they were performed to exacting requirements, which allowed Hendrix’s own creativity to flourish within the boundaries Chandler set.    The final master recording includes an additional piano overdub that provided a reminiscent bell tolling sound to the rhythm track.

“HEY JOE”

Sunday, October 23, 1966
DeLane Lea Studios
Producer: Chas Chandler
Engineer: Dave Siddle

After a series of mid-October rehearsal dates, Chandler was ready to put his newly formed group on record.  With his savings quickly dwindling, Chandler focused the initial recording session on his quest to complete his project, “Hey Joe.”  

Chandler later explained how Jimi became very unsure of his own voice as the initial session approached.  Unsure of his inner-ability Hendrix was nervous of damaging the initial sessions.  “Jimi was paranoid about his voice from the very first day I met him,” remembered Chandler.  “From my first day in the studio with him to my last, he would always want his voice buried, and I would want to place it more forward in the mix.”

During the recording sessions, Chandler and Hendrix got into an argument over the volume of Hendrix’s guitar playing.  At the time, Hendrix was playing through a Marshall twin stack with the volume so loud, the microphones would pick up rattles and knocks in the studio.  Chandler first major test as Manager/Producer entailed a fiery response.  Hendrix said, “If I can’t play as loud as I want, I might as well go back to New York.”  Chandler pulled out Jimi’s passport and immigration papers and threw them on the console, and said, “Well, here you go.  Piss off!” Jimi looked at them, started laughing and said, “All right, you called my bluff!” and that was it.

In only a mere two hours of recording, Chandler was suitably pleased with the resulting backing track, which was used on the final release.  

Noel Redding later recalled Chandler had The Experience record nearly 30 takes of “Hey Joe” in order to create the final mix.  The final backing vocals were completed by The Breakaways a short time later and the final mix was generated.

“STONE FREE”

Wednesday, November 2, 1966
DeLane Lea Studios
Producer: Chas Chandler
Engineer: Dave Siddle

As the recording of “Hey Joe” neared completion, Chandler needed a second song for the B-side of the single.  Although Hendrix had a number of cover songs well established there was no original material in his current repertoire.  During various discussions Hendrix indicated interest in recording “Land of 1000 Dances,” for which Chandler, immediately dismissed.  Chandler pressured Hendrix to sit down and write a new song, and that’s how “Stone Free” originated – the first Experience song he ever wrote.

With funds at a minimum after the recording of “Hey Joe,” Chandler managed to get Hendrix’s recording of “Stone Free” completed in one day.  The master recording consisted of a live session in the studio under the guidance of a contagious rhythm guitar heralded by Hendrix.  The single was cut in a matter of an hour.  Overdubs were simple, especially Mitchell’s percussion sequence and Jimi’s vocal harmony section.

“PURPLE HAZE”

Wednesday, January 11, 1967
DeLane Lea Studios
Producer: Chas Chandler
Engineer: Dave Siddle

With the debut single “Hey Joe” rapidly climbing the U.K. singles chart, Chas Chandler moved the group to return to the studio to record their second single, “Purple Haze.”  The Experience’s sophomore single was originally written backstage at Billy Walker’s Upper Cut Club on December 26, 1966.  For several weeks prior to the session, Chandler worked with Hendrix refining the lyrics to the song, which would serve as the follow-up single to the already successful debut, “Hey Joe.”  

“Purple Haze” marked a significant change in the style of both lyrical formation and musical style.  Swaying Jimi to move towards a more conventional pop structure, “Purple Haze” represented a new experimentation of different sounds and effects.  The four-hour studio session resulted in a basic rhythm track.  “With ‘Purple Haze,’ Hendrix and I were striving for a sound and just kept going back in, two hours at a time, trying to achieve it.  It wasn’t like we were in there for days on end.  We recorded it, and then Hendrix and I would be sitting at home saying, ‘Let’s try that.’  Then we would go in for an hour or two.  That’s how it was in those days.  However long it took to record that one specific idea then that’s how long we would book.  We kept going in and out,” explained Chandler.

Friday, February 3, 1967
Olympic Studios
Producer: Chas Chandler
Engineer: Eddie Kramer

Chandler was troubled with the sound quality of the recordings made during the first “Purple Haze” session at DeLane Lea.  With the support of friends, Bill Wyman and Brian Jones of The Rolling Stones, Chandler was able to move Hendrix, Mitchell and Redding to The Stones favorite site.  Olympic Studios were known as London’s leading independent recording studio. 

Although The Experience were enjoying much success with “Hey Joe,” Chandler couldn’t book them into Olympic at his attempt.  “They won’t ****ing accept me because I have no credit history.  They wouldn’t even let me in without payment in advance!” remembered Chandler.  Polydor stepped into the picture and provided enough backing that would allow The Experience to continue recording.  

Tuesday, February 7, 1967
Olympic Studios
Producer: Chas Chandler
Engineer: Eddie Kramer

Worked resumed on “Purple Haze” with a four-to-four mix reduction made by Kramer to free up space on the multitrack master for new rhythm guitar and vocals to be added by Hendrix. 

Chandler described, “a lot of the background sound on ‘Purple Haze,’ is actually a recording being fed back into he studio through the headphones around a microphone, moving them in and out to create a weird echo.”

Wednesday, February 8, 1967
Olympic Studios
Producer: Chas Chandler
Engineer: Eddie Kramer

It was at Olympic Studios that Chandler and the group were introduced to Eddie Kramer. Kramer engineered the session that began with Chandler revisiting the master tapes created on January 11 at DeLane Lea and overdubbing began.  During the session both the lead guitar and vocals from the original recordings were replaced with new takes.  Noel Redding provided additional backing vocal sequences and general musical ambiance. With the final overdubs in place, a final mix of “Purple Haze” was prepared and readied for release before the session concluded.

“51st ANNIVERSARY”

Wednesday, January 11, 1967
DeLane Lea Studios
Producer: Chas Chandler
Engineer: Dave Siddle

“51st Anniversary” was the first Experience composition to feature overdubbing rather retakes as a recording strategy. Chandler recalls, “There was quite a bit of overdubbing on the track, and it was the first time where we consciously thought of approaching the production that way.  There were five guitar overdubs all linking in together to sound like one guitar.”  

A lyrical coup for Chandler was accomplished on “51st Anniversary” as Hendrix’s own voice finally prominently on display.  This track noticeably featured a raw injection of attitude and classy lyrical statements.

“THE WIND CRIES MARY”

Wednesday, January 11, 1967
DeLane Lea Studios
Producer: Chas Chandler
Engineer: Dave Siddle

Chas Chandler explains the lyrical formation of “The Wind Cries Mary,” “it was written right after Jimi had had a big row with Kathy (his girlfriend).  It was recorded at the tail end of the session for “Fire”.  We had about 20 minutes or so left, so I suggested that we cut a demo of “The Wind Cries Mary”.  Mitch and Noel hadn’t heard it yet, so they were going at it without a rehearsal.  They played it through once, and I remember saying that I really liked the feel of the song.  Jimi came in and said, ‘I have a good idea for an overdub.’  So he went back in and played.” 

Again and again, Hendrix would lay additional overdubs done – a total of about four or five.  “The whole thing was done in 20 minutes.  That was our third single,” recalls Chandler.

“HIGHWAY CHILE”

Monday, April 3, 1967
Olympic Studios
Producer: Chas Chandler
Engineer: Eddie Kramer & George Chkiantz

“Highway Chile” is among a flurry of creations, which featured intricate tempo modifications and determined chord structures.  Hendrix’s creative push lead to the development of “Highway Chile” which is continues with the similar lyrical structure of “51st Anniversary.”  

As the final mixing sessions for Are You Experienced were completed in April, it was decided that “Highway Chile” would be released as the B-side for the single “The Wind Cries Mary” and subsequently omitted from the release of the full album.

ORIGINAL ALBUM AND SINGLES RELEASE SCHEDULE

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