Vinyl: JIMI HENDRIX EXPERIENCE ELECTRIC LADYLAND *RARE BLUE TEXT* ORIG 1968 TRACK

JIMI HENDRIX EXPERIENCE

ELECTRIC LADYLAND

This is Very Rare and very Collectable

FIRST UK PRESS 1968

A1 B1 A1 B1

BLUE TEXT INSIDE SLEEVE

With TOP VINYL & COVER

Notes; this first pressing has been stored upright and has not been played very much in that time. The cover and vinyl are superb as it has had minimal use. It is in an overall near excellent condition.

DESCRIPTION;

Original 1968 FIRST UK ISSUE stereo pressing released on the Track Record label 613008 / 613009. With first pressing matrix numbers.

A first issue pressing of Electric Ladyland containing the BLUE LETTERING on the inside of the gatefold sleeve together with the larger photos of Mitch Mitchell and Noel Redding.

Sleeve:

This is the iconic BLUE TEXT E.J Day Nude women scene that was withdrawn, and is banned from showing on eBay. Overall this is a great sleeve the inside is still bright and clear, it retains all its colour, and only has minimal laminate lift in the centre spine, both the inside & outside of the cover are in near excellent condition with only the slightest of small creases (check photos). The spine is straight and in excellent condition NO splitting , very rare to find one this good. Please look at the photos as I have tried to capture all angles. There is NO unwanted writing anywhere or any bad creases.

I would also easily grade the cover at EXCELLENT MINUS

Vinyl:

This double album must be one of the greatest of all time; it has still retained that jet black new gloss look. This heavyweight vinyl’s always give out a great sound. This one especially as it is FANTASTIC, you can judge yourself as I have recorded all the quiet parts (CLICK HERE). There are only a couple of marks visible, these are not scratches but rub marks and do NOT affect the audio & when angled to a very strong light can you see light wispy sleeve removal lines. Side A/D has a couple of tiny nicks on the very edge this has NO EFFECT just visual (see photo). It sounds fantastic, no distortion or anything else that shouldn’t be there, just some static and some small clicks at the beginning of side A WITH THE REST being superb. (Please listen and judge yourself)

VINYL appearance: Easily grade at VERY GOOD PLUS

VINYL audio: Easily grade at EXCELLENT MINUS

Inscribed in the dead wax:

Below is the matrix numbers stamped in the dead wax.

Inner sleeves;

The original inner sleeves are kept separate and brand new poly lined sleeves house the vinyl.

The originals have ‘PLASTIC BAGS CAN BE DANGEROUS’ MADE IN ENGLAND with British Patent no 800513 & 973939 in a very good condition.

Labels:

Original first pressing Black Track labels such as this one have a slightly different texture to the paper, but the single most important difference between the first and later Track and Polydor pressings is the catalogue number on the label.

On the left side of the centre hole, the catalogue number is repeated above the bold silver print in small printing, inverted in a bracket, i.e. upside down. In other words it can be read regardless of which way up you see the record. Those bracketed catalogue numbers end with a capital "A" or "B" per side on both record labels and this is only found on the very first pressing and Electric Ladyland" overlapping the centre indent and there is a small gap between the words "Jimi Hendrix" & "A.Schroeder Music"..

All sides have very minimal signs of use & have a few light spindle trails from general use.

Side A; EXCELLENT

Side D; EXCELLENT

Side B; EXCELLENT

Side C; EXCELLENT

HOW IT WILL BE SENT

I always send out records very secure. The vinyl is taken out of the sleeve and then the cover and vinyl are placed in a plastic sleeve. It is then wrapped in bubble wrap and placed in a strong album mailer (DEFENDA MUSIC MAX) plus an extra cardboard stiffener. It will be secured with parcel and fragile tape.

RETURNS AND FEEDBACK

If I have missed something or the description is wrong in anyway and you’re not happy with your purchase please contact me first (before you leave feedback) I WILL sort it out and I WILL of course make a REFUND. I do try my best to be as accurate as possible and would never miss-lead you in anyway. In the unlikely event the record is far removed from the description I put, then I will give a refund, but I will expect it back within 10 days from you receiving it and in the same condition as I sent it.

(Please read all of my description) I will not make any refunds if you simply just changed your mind, I will always be fair and honest.

FEEDBACK

I will always leave 5 star feedback; for items I sell I will leave your feedback when you have paid, and for items I buy I will wait until I have received the item. I will never leave negative feedback, if there is a problem I will contact you first and I hope that you will do the same for me.

ALL WINNING BIDDERS TO PAY WITHIN 4 DAYS OF THE AUCTION ENDING. (if you require more time please contact me before bidding. THANKS)

GRADING

All my records are graded using the

Record Collector Magazine's Grading Guide

MINT:
The record itself is in brand new condition with no surface marks
or deterioration in sound quality.
The cover and any extra items are in perfect condition.
Records advertised as sealed or un-played should be mint.

EXCELLENT:
The record shows some signs of having been played,
but there is very little lessening in sound quality.
The cover and packaging might have slight wear and/or creasing.

VERY GOOD:
The record has obviously been played many times,
but displays no major deterioration in sound quality,
despite noticeable surface marks and the occasional light scratch.
Normal wear and tear on the cover or extra items,
without any major defects, is acceptable.

GOOD:
The record has been played so much
that the sound quality has noticeably deteriorated,
perhaps with some distortion and mild scratches.
The cover and contents suffer from folding,
scuffing of edges, spine splits, discoloration, etc.

FAIR:
The record is still just playable but it has not been cared for properly
and displays considerable surface noise; it may even jump.
The cover and contents will be torn, stained and/or defaced.

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Biography

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 catalogue 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 branding was also used for roll-outs in the European market. Polydor, of course, has its roots in Germany. 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 cataloguing 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 catalogue data. 'Side A' 1st press has "Electric Ladyland" overlapping the centre 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 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)".

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 Ladyland promotional album' was produced with 9 tracks, available by mail-order to Polydor Club members. Some 200 copies of this "Electric Jimi Hendrix" album (Cat#2095 001) 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".