Electric Lady Studios officially opens with a grand celebration with Jimi in attendance. Reprise Records issues the LP Historic Performances Recorded At The Monterey International Pop Festival (MS 2029), which features the unique pairing of Jimi Hendrix and Otis Redding from the 1967 event.
Returning to Electric Lady, Jimi continues to work on rough mixes for “Night Bird Flying,” “Straight Ahead,” “Drifter’s Escape,” “Ezy Rider,” “Come Down Hard On Me,” “Beginnings,” “Cherokee Mist,” “In From The Storm,” “Valleys Of Neptune,” “Astro Man,” and “Belly Button Window” overdubs.
The session kicks off with a short, slow blues jam but is cut short due to a malfunctioning tape machine. When the system is repaired Hendrix begins to work on a series of rough mixes for “Straight Ahead,” “Room Full Of Mirrors,” “Ezy Rider,” “In From The Storm,” “Drifting,” “Angel,” “Belly Button Window,” “Dolly Dagger,” and “Freedom.”
With more overdubs required on “Dolly Dagger”, Jimi returned to Electric Lady with Eddie Kramer and Dave Palmer where additional parts for the track were put to tape.
Having returned from Hawaii, Jimi quickly jumped back into the studio where further progress could be made on the recordings from July. Tonight’s session included work on overdubs for “Dolly Dagger” and “Freedom.”
With the band headed back on the road in 24 hours, Hendrix wanted to leave the studio with the reassurance that progress was being made. Tonight’s sessions included work on “Drifting,” “Angel,” and “Belly Button Window.”
Back at Electric Lady Studios Hendrix revisited “In From The Storm” before working on “Come Down Hard On Me” and “Just Came In,” with the latter being remixed into “In From The Storm” on the posthumous Cry Of Love.
Tonight’s session at Electric Lady maintained focus on “In From The Storm,” a recording that Jimi had previously titled “Tune X – Just Came In.” Although no master was created on this night, thirty takes of the song were put to tape as the trio continually reworked it and polished the composition through each subsequent retake.
Trying to lay claim to a definitive master of “Lover Man,” Hendrix returned to Electric Lady to try and revitalize the recordings, unfortunately, with little success on this evening. Although a rough mix would be prepared, it too would be quickly shelved.
