Jimi Hendrix with Curtis Knight & The Squires - Knock Yourself Out

Source: eMule
Original archive name: Jimi Hendrix with Curtis Knight & The Squires - Knock Yourself Out (1965).rar
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http://www.jungle-records.demon.co.uk/jungle/freudcd066.htm

Jimi Hendrix With Curtis Knight & the Squires - 'Knock Yourself Out'
Catalogue Numbers: FREUD CD066 | Format: CD
Release Date: October 2000

freudcd066.jpg
Jimi Hendrix CD cover Archive r&b studio sessions from 1965.

By September 1965, Jimi had completed stints as guitar-for-hire with the Isley Brothers, Little Richard and others. His next was with Curtis Knight, who gave the broke guitarist a guitar as a welcome incentive to play in his band, The Squires. Jimi remained with Curtis's band for nine months, until just before Chas Chandler discovered him.

Contained on this album are the two studio sessions that took place in October and December 1965. They spawned two singles, included here as the first four tracks. The band's fare of mid-sixties r&b, in a style with Stax and 60's pop leanings, has Jimi's guitar very much to the fore.

Curtis valued Jimi greatly; when he played live, he gave over much of the set to his prodigious new guitarist. In between Curtis numbers and 60's pop covers, showman Jimi would come forward and perform the blues (as heard on previous Jungle release 'Drivin' South'). Jimi and Curtis signed a recording contract with Ed Chalpin, who made these recordings.

This is the first time these 1965 studio tracks have been put together - previous exploitative releases have mixed them up with later recordings including many tracks where Jimi only played bass, gaining nothing but a poor reputation. This album redresses the balance, giving a fascinating and intriguing insight into the early Jimi Hendrix at work just months before his discovery.

With informed sleeve-notes by author and guitarist ex-Only Ones John Perry in a 12-page booklet, this mid-price CD package is very attractive to both fans of the Sixties and the many devoted connoisseurs of Jimi Hendrix's music.

Notes by John Perry.
Today, it's almost impossible to imagine the impact that Jimi Hendrix made when he first appeared in England. The sounds he created have been copied so extensively they’ve become an accepted part of the musical landscape and more or less taken for granted -- few people can remember a time when they weren't there.

Hendrix’s licks have been imitated, sampled, and endlessly recycled but never, as yet, improved upon. Nor are they likely to be unless somebody, born with the same natural skills, gets a chance to sharpen them playing R&B rhythm guitar on some C21st equivalent of the chitlin circuit. The roots of everything Hendrix went on to do with the Experience lie either in the discipline and timing he acquired touring and recording with bands such as the Isley Brothers, Little Richard, and the Kingpins (King Curtis’s combo, which included Cornell Dupree on guitar and Bernard Purdie on drums) or in his reaction against that discipline and timing.

But there was a time when both the man and the sound of his guitar were unknown. Hendrix was a natural star of such magnitude that those days didn't last long, although anyone lucky enough to see him play during that brief period before he became the Most Famous Guitarist in the World is unlikely to forget it.

Hendrix’s rise is usually dated from September 1966, when Chas Chandler brought him to England, but the natural stages by which his playing developed don’t fall quite as neatly into line. It’s clear from the descriptions of fellow American musicians like Mike Bloomfield and John Hammond that everything was already in place by Jimi’s last six months in Greenwich Village, where he worked under the name of Jimmy James & The Blue Flames. Mike Bloomfield was guitarist with the Paul Butterfield Blues Band and a session-player on various Dylan recordings including ‘Highway 61 Revisited’ and Like A Rolling Stone. He considered himself to be the top US guitar player, bar none, until he heard Hendrix.

Mike Bloomfield. I was the hot-shot guitarist on the block. I thought I was it. I’d never heard of Hendrix. Then someone said, ‘You gotta see the guitar player with John Hammond’. I went straight across the street and saw him. Hendrix knew who I was and that day, in front of me eyes, he burned me to death. I didn’t even get my guitar out. H-bombs were going off, guided missiles were flying – I can’t tell you the sounds he was getting out his instrument. He was getting every sound I was ever to hear him get, right there in that room with a Stratocaster, a (Fender) Twin, a Maestro fuzztone and that was all. He just got right up in my face and I didn’t want to pick up a guitar for the next year.

Hendrix arrived in England in September 1966, and started playing shows the following month. By December he was gigging regularly and between January and March 1967 the Experience played about 20 club dates per month. By April ’67, the second single Purple Haze was in the charts and Hendrix had moved on from small clubs into theatres. Bashing round the country on the bill of a (singularly ill-matched) package-tour, Hendrix was well on the way to becoming public property. The secret was out of the bag: he was a major star in waiting, about to be unleashed before the world at the Monterey festival in June.

Apart from the pleasure of being in on the secret, there was something very special about those early shows, when you could stand a few feet away and watch Jimi playing to a couple of hundred club-goers. Combining the last months in America and the early days in England, it looks as though this final stage in his apprenticeship ran from around April 1966 till the end of March 1967. His skills were all in place but his fame had not yet grown so large that it came between you and what you were seeing.

When I saw him first, in February ’67, he wasn’t really known outside London. I’d heard Hey Joe on the radio -- and that was it. I had no expectations, no preconceptions. A school friend asked if I wanted to “go down the Locarno and see this American guitarist who plays with his teeth.” I said no -- but I went anyway.

The set contained only a few originals: Stone Free, Foxy Lady, Can You See Me and a song you might not expect so early, Third Stone from the Sun. These were mixed in with the material he’d been playing back in Greenwich Village at The Café Wha? -- Hey Joe (a cowboy song that Jimi made his own) straightforward covers of Rock Me Baby, Wild Thing and even the odd soul standard like Midnight Hour.

The best thing about these shows was the amount of fun Hendrix had playing them. He could handle the material in his sleep. He knew he could murder any guitarist in England. The lack of pressure, and the sense that something big was just about to happen for him produced ideal conditions to take risks, to kick the material out of shape and -- in a big word of the day -- 'loon' around with it. I saw Hendrix half a dozen times after he became a big star but I never saw him so completely carefree, or having such fun.

At the other end of the spectrum was the miserable Isle of Wight show in the summer of 1970, just a couple of weeks before he died. Hendrix was such an open, unprotected performer you always got a sense of how he was feeling on any given night from the sound he produced. That may sound like a fundamental requirement of any performer but believe me, it isn't. Only the very best are capable of eliminating the barrier between themselves and their performance, and of them, only a few are willing to go out into the ring without the safety of a rehearsed, pre-planned show. And that’s just as well: few performers are interesting enough to hold your attention for an hour with little more than extemporization.

At the Isle of Wight everything was wrong. Hendrix’s tone sounded edgy and brittle: his timing, usually so tight you never thought about it, was off. But the surest sign that something was wrong could be heard in his feedback. Instead of the usual rich, harmonically-pleasing notes an octave or an octave-and-a-half above the played note, his amps were producing discordant shrieks at random pitches -- more like a microphone feeding-back than a guitar. At most other times, Hendrix's use and control of feedback was supremely musical. He used discord and atonality but he never let them use him. At the Isle of Wight however, it slipped away from him -- and worse, you could feel it slipping away. Staying up four nights on Methedrine can really ruin your timing.

* * *

Hendrix had fairly relaxed ideas about contractual law -- though that was nothing new. In the musicbiz of the 50’s and early-60’s, songwriters would traditionally sell a song to 3 or 4 different publishers on the same day if they thought they had a winner. The trick was to get it sold quick. In the days when he had nothing to lose, Jimi treated contracts more like receipts than binding agreements. If somebody offered you $20 for a signature, you signed. Course you did. And signed an identical document promising everything to someone else the next day, if they offered money, too.

One such contract was offered by producer Ed Chalpin, whom Hendrix met through a Kansas-born singer/guitarist named Curtis Knight. Hendrix spent the summer of 1965 scuffling for gigs and sessions around New York and bumped into Curtis Knight at a time when he was short of a guitar. (Jimi was always losing or pawning instruments.) Knight saw Hendrix’s potential, lent him a guitar and immediately added him to his band, The Squires, who played regular dates around the bars and clubs of New York and Jersey. Curtis Knight was ambitious. A better hustler than he was singer, he figured that the new guitarist would also make an impression in the studio, so he approached Ed Chalpin who ran Studio 76, on Broadway and 51st.

Chalpin quickly spotted Hendrix’s potential and signed him up to his production company, PPX. This agreement contracted Hendrix to produce and play exclusively for PPX for 3 years, in return for one dollar. Chalpin seems to have seen this as a pretty good break for the young Jimmy Hendrix …

Ed Chalpin. In almost 40 years of my career as a producer and manager I have, at most, taken eight acts under contract. They had to be something special. One of them was Jimmy Hendrix. Jimmy was to sing play and arrange for me exclusively. The contract was signed in the Hotel America on the night of 15th October 1965. At that time it was usual to insert the clause ‘For one dollar and other good and valuable consideration’ in contracts.

Tracks 1-10 of this album come from two studio sessions in late 1965, recorded soon after Jimmy signed to Chalpin. They’re mostly originals, written by Curtis Knight or other players on the sessions -- though some originals are more ‘original’ than others, as you’ll see when you play the ‘protest’ song, How Would You Feel. Hendrix’s guitar line shows that he was familiar with Mike Bloomfield’s work on Like A Rolling Stone.

Both How Would You Feel b/w Welcome Home and Hornets Nest b/w Knock Yourself Out were released as US singles in early 1966; the former was an attempt to crack the topical protest market, while Welcome Home bears more than a trace of Marvin Gaye's Can I Get A Witness.

Knock Yourself Out is a solid instrumental built over the same chord progression as Lee Dorsey's Get Out My Life Woman, and owes something to the sort of guitar showcase written by Earl King or Freddy King. If the Experience had ever organized the much talked-about session with Keith Emerson, it might have sounded like this. Hendrix’s guitar playing is tasty. He starts off in Booker T territory but moves along briskly: Steve Cropper never played that many notes. The ease with which Hendrix mixes set pieces from the instrumental blues guitar repertoire with stunts borrowed from surf-instrumentals makes it easy to understand why Third Stone From The Sun was one of his earliest compositions for the Experience.

Guitar players, and serious Hendrix enthusiasts will be interested in the rhythm guitar parts. We all know Jimi's lead lines backwards, but the key to his musical personality – and the reason he was such an effective songwriter -- is his strength as an accompanying guitarist. Where most guitarists are chiefly concerned with laying decorative lines on top of a song, Hendrix’s thinking is structural: his guitar parts work away inside a song, creating countermelodies and gospel-styled call and responses. Gotta Have A New Dress is a case in point. The solo is more or less what one would expect from 1965 Jimi, but the intro, and the guitar responses to the title line are a model of crisp R&B phrasing: tight, compact and melodic.

So here’s the 22 year-old Jimi Hendrix, working his first sessions as a ‘signed’ musician and arranger. Play the album and marvel at how much guitar-player you could get for $1 in the New York City of 1965!

John Perry © 2000

John Perry is a guitarist and author. He formed the Only Ones with Peter Perrett and has recently published 2 books for Simon & Schuster, “Meaty Beaty Big & Bouncy - The Who’s Singles” and “Exile on Main Street.”
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http://www.amazon.com/Knock-Yourself-Vinyl-Jimi-Hendrix/dp/B00004YTZC

Vinyl (September 19, 2000)
Number of Discs: 1
Label: Freud-Jungle Full
ASIN: B00004YTZC

1. Knock Yourself Out
2. Hornet's Nest
3. How Would You Feel
4. Welcome Home
5. Don't Accuse Me
6. Simon Says
7. Gotta Have a New Dress
8. Strange Things
9. Fool for You Baby
10. You Don't Want Me
11. I Can't Help Myself (Sugar Pie, Honey Bunch)
12. (I Can't Get No) Satisfaction
13. I Got You (I Feel Good)
14. Mr. Pitiful
15. Money (That's What I Want)

Jimi Hendrix with Curtis Knight & The Squires 'Knock Yourself Out' (The 1965 Studio Sessions). The r&b roots of the guitar legend revealed. Jimi playing guitar in Curtis Knight's Stax-influenced r&b pop group, The Squires, recorded in October and December 1965. 10 studio tracks of his early years...plus five bonus live tracks, 'I Can't Help Myself', 'Satisfaction', 'I Got You (I Feel Good)', 'Mr. Pitiful' and 'Money'. Extensive, informative notes in a 12-page booklet by guitarist and writer, John Perry of the Only Ones'. 2000 release. Standard jewel case.
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P152 KNOCK YOURSELF OUT

Recorded: 1965 70 Released: 2000

1. Knock Yourself Out (3) 2. Gotta Have a New Dress (3)
Hornet's Nest (4) Strange Things (3)
How Would You Feel (2) Fool for You Baby (2)
Welcome Home (1) You Don't Want Me (3)
Don't Accuse Me (2) * Sugar Pie, Honey Bunch (2)
Simon Says (4) * Satisfaction (4)
* I Got You (I Feel Good) (1)
* Mr. Pitiful (2)
* Money (3)

Released by: Jungle (England) Freud-066; Jungle/CD (England) Freud CD-066

Recorded: studio, late 1965, except:
* live, NY or NJ, late 1965 - early 1966

Note: The vinyl release omits the last 2 tracks
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http://www.earlyhendrix.com/knight-1965-studio

1965 Studio Recordings
These recordings and an additional one probably done during 1966 were recorded at Studio 76 in New York City for PPX and were produced by Ed Chalpin. It's hard to give exact dates for these tracks, and the exact number of the sessions is also unknown. The only reliable information comes from Jimi's PPX courtcase deposition from 7 March 1968 (partly reproduced in Univibes #35), based on the questions that Jimi was asked it can be deducted that there was a session on the 6th of October 1965 when "How Would You Feel" was cut and a few more sessions in October & December, but these aren't necessarily all of the sessions that took place. The personnel & date information listed below is mainly based on the above court transcription, and everything with a "?" is just speculation based on the court transcription & other info. It's pretty sure that Jimi didn't take part in any PPX sessions during November 1965 as he spent most or all of the month on tour with Joey Dee & the Starlighters.

NOTE: A full rundown of all the different edits and mixes of these tracks will follow later.

How Would You Feel
Composer: Curtis Knight
Producer: Ed Chalpin
Arranged by: Jimi Hendrix
Recorded at: Studio 76, New York City
Engineer: unknown
Date: 6 October 1965
Vocals: Curtis Knight
Harmony vocals: Jimi Hendrix & 2-3 unknown persons
Tambourine: Curtis Knight?
Guitar: Jimi Hendrix
Fuzz bass: Jimi Hendrix
Drums: unknown

Don't Accuse Me
Composer(s): Curtis Knight?
Producer: Ed Chalpin
Recorded at: Studio 76, New York City
Engineer: unknown
Date: October? 1965
Vocals: Curtis Knight
Harmony vocals: unknown
Guitar: Jimi Hendrix
Fuzz bass: Jimi Hendrix
Bass: unknown
Drums: unknown

Two guitar parts by Jimi and one fuzz bass part. The fuzzbox Jimi is using could be the one that Ken Pine of the Fugs build for him.

You Don't Want Me
Composer(s): Curtis Knight?
Producer: Ed Chalpin
Recorded at: Studio 76, New York City
Engineer: unknown
Date: October? 1965
Vocals: Curtis Knight
Harmony vocals: unknown
Guitar: Jimi Hendrix
Fuzz bass: Jimi Hendrix
Bass: unknown
Drums: unknown

Welcome Home
Composer: Oliver Sain, Curtis Knight & Dick Glass
Producer: Ed Chalpin
Arranged by: Jimi Hendrix
Recorded at: Studio 76, New York City
Engineer: unknown
Date: October? December? 1965
Vocals: Curtis Knight
"Audience": Jimi Hendrix & unknown others
Tambourine: Curtis Knight?
Guitars: Jimi Hendrix
Bass: unknown
Drums: unknown

The original RSVP single label gives composer credit for "Welcome Home" solely to Curtis Knight, but the bmi.com database gives co-credit to Dick Glass. Who actually wrote this track is open to discussion, the track is musically a practically direct copy of a song called "You Messed up a Good Thing".

"You Messed up a Good Thing" was composed by Oliver Sain, the original recording by Fontella Bass and Bobby McClure was released in January 1965 on Checker 1097 coupled with "Baby What You Want Me to Do" (the same Jimmy Reed song that the Squires played live). The 45 was advertised in the 23 January 1965 issue of Billboard and reviewed in the "Singles Reviews" -section in the category "Rhythm & Blues Spotlights". The exact recording date of the Curtis Knight version is unknown but the RSVP single "How Would You Feel" (with "Welcome Home" on the b-side) was released in April 1966, circa 15 months later.

Listen to "You Messed up a Good Thing" on YouTube.

Exactly what role Dick Glass played in the making of "Welcome Home" is unclear but it probably would have been merely assisting Curtis Knight with the putting together of the song, it's probable that most of the musical & lyrical content came from Knight. It doesn't seem very likely that Dick Glass, a folk artist, would have first recycled "You Messed up a Good Thing" and then given the writing credit for the track to Curtis Knight. But as Dick Glass passed away in 1992 we'll unfortunately probably never find out what his exact involvement with "Welcome Home" was.

Simon Says
Composer(s): Curtis Knight?
Producer: Ed Chalpin
Recorded at: Studio 76, New York City
Engineer: unknown
Date: December? 1965
Vocals: Curtis Knight
Guitars: Jimi Hendrix
Bass: unknown
Drums: unknown
Sax: Unknown

This track has a very nice rhythm track with three guitar parts by Jimi. The horn part could have been done by Lonnie Youngblood but it's unlikely as he probably didn't join the Squires until 1966 and doesn't seem to have participated in any studio sessions, this track is the only Squires recording that features horns. Note that most mixes of this track have the sax part removed.
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http://www.earlyhendrix.com/knight-1966-studio

1966 Studio Recordings
The 1965 recordings were recorded & produced by Ed Chalpin for PPX. Chalpin then licenced the tracks "How Would You Feel" & "Welcome Home" for RSVP / Jerry Simon for release as a 45. By the time of the release of the next RSVP single "Hornet's Nest / Knock Yourself Out" in 1966 the situation had however changed. PPX gets no mention on the label, instead the production (and co-composing) credit goes to Jerry Simon.

Apparently Curtis Knight had left PPX and signed a production contract with RSVP instead. Further proof for this is the fact that when Ed Chalpin started to put together the first Knight-Hendrix albums in 1967 he had to first buy some of the master recordings from Jerry Simon. This clearly indicates that Chalpin neither owned nor recorded those tracks.

(autocrop.jpg)
AN LP AUTOGRAPHED BY CURTIS KNIGHT.
COURTESY OF LASSE ALEXANDERSSON

The Squires signed a contract with RSVP records on 10 June 1966. The signing members included Napoleon Anderson, Nathaniel Edmonds, Marion Booker and Jimmy Hendrix. Curtis Knight had already signed a (second?) contract with RSVP on 19 February 1966. The fact that the rest of the Squires were signed 5 months later might explain why the first single featuring Hendrix released on RSVP was credited to Curtis Knight alone, and the second one to Curtis Knight & the Squires.

The RSVP sessions were recorded at Allegro Sound Studios located downstairs in the building of the RSVP office, and were produced by Jerry Simon. According to the book "Setting the record straight" on or around 27 July 1967 PPX bought the masters for the following tracks from RSVP records:

The U.F.O., I'm a Fool for You Baby, Ballad of Jimmy, Gotta Have a New Dress, Hornet's Nest, Knock Yourself Out, Your Love

I have yet to see facsimile copies of any of these contracts, the information about them comes from the book "Setting the Record Straight" and Univibes issue #35. If anybody has copies of the actual papers I'd be more than happy to see them...

In February 2005 Jerry Simon placed a listing for two reels of RSVP recordings on eBay (with a starting price of $3 million). The listing pictured two reels (although the description only mentioned one), copyright registrations for "No Such Animal" parts 1 & 2 and multiple copies of the sleeve for the Audio Fidelity 45 "No Such Animal". One of the reels is noted on the box as "No Such Animal 7 1/2", this probably is a 7.5 ips reel of that track alone, maybe a back-up reel or a test mix of the 45 master. The other reel comes with a studio log listing the following tracks (my comments in brackets):

Kato's Special (aka Hornet's Nest), Station Break (unreleased), No Such Animal, Flying On Instruments (aka Knock Yourself Out?), I'm A Fool For You Baby, U.F.O

The total time for this reel is given as 17.48 which indicates that these are not complete tracks but rather edited mixes of the multitracks prepared in 1966, as even excluding "Station Break" the complete versions of these tracks give a much longer playing time when put together .

The Allegro Sound Studios, Inc. log for the 6 song reel (or 7 as the listing says, probably counting the 2 parts of "No Such Animal" as two separate songs as it was split in half for the 45 release) seems to list tracks for 3 possible singles. Allegro Sound Studios was located at the same address as the RSVP offices, 1650 Broadway, this is the studio that Jimi referred to in his PPX court hearing as being located "downstairs" in the RSVP building. This was confirmed by Mike Rashkow (engineer at Studio 76 in 1966), there were only two studios in the building, Studio 76 and Allegro Sound Studios.

It's unclear exactly what this tape is: the tape log has the following boxes ticked: "master", "re-record" & "4T". This can't be the original multitrack as the timings don't match, the tracks are not complete, and "re-record" sounds like this would be a copy of something rather than a master tape. The most logical explanation that I can think of is that this is a tape of edited mixes of the multitracks made when they were considered for release as 45s. This 4-track tape could then have been used to make a mono master from which the actual 45s would have been cut.

The tracks are coupled in pairs with the mysterious notation "1DF" after each pair. The pairings are as follows, and probably indicate the suggested couplings for the single releases considered at the time:

Kato's Special
Station Break

No Such Animal
Flying On Instruments

I'm A Fool For You Baby
U.F.O

A date of 20 June 1966 appears twice on the tape log, under "date" and "due date". Based on the speculation above and the "due date" notation I believe this is the date when this particular reel of mixes was prepared, not the actual recording date of these tracks.

Eventually only two of these tracks were released by RSVP, and Jerry Simon sold some of the multitrack masters to Ed Chalpin in 1967. Based on the info that we have Jerry Simon probably still has the original multitracks for the following songs in his posession (unless they have been destroyed of course): Station Break (unreleased) & No Such Animal (and possibly "I'm A Fool For You Baby" since only one mix apart from mixes created by repeating sections of the track has ever appered which suggests that Ed Chalpin was unable to remix it).

The eBay auction description says that "we do have a copy of the entire reel to reel on a DAT and cassette, done by Jerry about 20 years ago, also included. Besides these two copies, no others had been made." So the whereabouts of the 3 multitracks listed above remain a bit of a mystery.

NOTE: A full rundown of all the different edits and mixes of these tracks will follow later.

PPX Session
Recorded and produced by Ed Chalpin for PPX. Unlike the 1965 tracks "Strange Things" has an organ part. It seems that Nate Edmonds joined the Squires on keyboards during 1966, the "live" Squires recordings that date from late 65 / early 66 don't have a keyboard player present, and the older concert pics don't show one either, whereas the 1966 RSVP recordings do have an organ player present and the May 1966 Cheetah live pictures show Nate Edmonds playing with the Squires. So this suggests that "Strange Things" dates from 1966, but the possibility that it's a 1965 recording of course still remains.

Strange Things
Composer(s): ?
Producer: Ed Chalpin
Recorded at: Studio 76, New York City
Engineer: unknown
Date: March? 1966?
Vocals - Curtis Knight
Drums - Marion Booker?
Guitars - Jimi Hendrix
Bass - Napoleon Anderson?
Organ - Nathaniel Edmonds Sr. (aka Nate Edmonds)?

I Ain't Taking Care Of No Business
Composers: Jimi Hendrix
Producer: ?
Recorded at: ?
Engineer: ?
Date: March? 1966?

Jimi signed a publishing contract with R.S.V.P. MUSIC, INC for the track "I Ain't Taking Care of No Business" on 30 March 1966. The contract was offered for sale by Lelands.com in 2002 He's credited as the sole composer for the song. If there was a recording of the song made as the publishing contract suggests it has never surfaced. The track was recorded by the Jimi Hendrix Experience during sessions for Axis: Bold As Love in May 1967, and again recorded during the July / August 1967 Curtis Knight sessions (released as "No Business"). The RSVP publishing contract could mean that this was a RSVP session, but "Welcome Home" is also solely credited to RSVP on the single label even though it was a PPX produced track, so the publishing contract doesn't necessarily mean that this couldn't just as well have been a PPX recording.

RSVP Sessions
The last Squires tracks recorded before Jimi left for England, this time produced and recorded by Jerry Simon for RSVP. There seems to have been at least 3 separate sessions based on the instrumentation & style of the various tracks and the publishing contracts that have surfaced so far.

Session 1

I'm A Fool For You Baby
Composer(s): ?
Producer: Jerry Simon
Recorded at: Allegro Sound Studios, New York City
Engineer: Bruce Staple?
Date: June? 1966
Vocals - Curtis Knight
Drums - Marion Booker
Guitars - Jimi Hendrix
Bass - Napoleon Anderson
Organ - Nathaniel Edmonds Sr. (aka Nate Edmonds)

Features two guitar parts by Hendrix, the second one played through a fuzzbox with Jimi cleverly imitating a trumpet.

Gotta Have A New Dress
Composers: Sampson Horton, Curtis Knight
Producer: Jerry Simon
Recorded at: Allegro Sound Studios, New York City
Engineer: Bruce Staple?
Date: June? 1966
Vocals - Curtis Knight
Drums - Marion Booker
Guitar - Jimi Hendrix
Bass - Napoleon Anderson
Organ - Nathaniel Edmonds Sr. (aka Nate Edmonds)

This track is a re-recording of a Curtis Knight solo 45 A-side released in 1963 on the single "Gotta have a new dress / When you've got love" (shell 45-312). The original 45 had no Hendrix involvement.

The U.F.O.
Composer(s):?
Producer: Jerry Simon
Recorded at: Allegro Sound Studios, New York City
Engineer: Bruce Staple?
Date: June? 1966
Vocals - Curtis Knight
Drums - Marion Booker
Guitar - Jimi Hendrix
Bass - Napoleon Anderson
Organ - Nathaniel Edmonds Sr. (aka Nate Edmonds)

Session 2

Three (or possibly four) instrumentals, although the band is called "Curtis Knight & the Squires" Curtis himself is nowhere to be heard. Hendrix is here pretty much in the leading role taking composing credits for the songs that are all basically guitar instrumentals showcasing his playing. Stylistically all 3 available tracks are almost exactly alike, and publishing contracts for three tracks from these sessions were signed on the 21st of June, all of which points to them having been recorded sometime in June 1966.

Hornet's Nest (aka Kato's Special)
Composers: Jimi Hendrix, Jerry Simon
Producer: Jerry Simon
Recorded at: Allegro Sound Studios, New York City
Engineer: Bruce Staple
Date: June 1966
Drums - Marion Booker
Guitar - Jimi Hendrix
Bass - Napoleon Anderson
Organ - Nathaniel Edmonds Sr. (aka Nate Edmonds)
Vocals (screaming) - unknown (all players?)

This instrumental was released in an edited form as the A-side of the RSVP 1124 single. The eBay RSVP reel auction in February 2005 listed this track with what was it's original working title "Kato's Special". One of the available mixes of this track includes the engineer Bruce Staples intro (he confirmed that it's his voice by listening to a sample) "Rolling - Kato's Special take 10 (or 2, hard to make this out)". Kato was a character in the radio (and later film & tv) series The Green Hornet which was first aired in 1936. The theme music of the show was an adaptation of "The Flight Of The Bumble-Bee" by Nikolai Rimsky-Korsakov. "Hornet's Nest" is not a straight cover of this, but certainly has been strongly influenced by the song. Jimi regularily included "The Flight Of The Bumble-Bee" as part of the guitar solo in "Lover Man" during his 1970 concerts, the inclusion might have more to do with The Green Hornet than Jimi's taste in classical music.

And finally some Bruce Lee trivia, courtesy of Andre Ellis:
1) Aretha Franklin also included a reference to the Green Hornet in "Save Me", the lyrics include the line
" Calling Kato, Green Hornet too...".
2) Bruce Lee who played "Kato" in the 1966 tv series shares the same birthday with Jimi - November 27, 1940 (but 1942 for Jimi)
3) Both died in (almost) the same place/street name: Cumberland Road (Hong Kong) / Cumberland Hotel (London) (Jimi was booked to stay at the Cumberland but he actually died at the Samarkand Hotel)
4) They also, amazingly both ended up being buried in Seattle

Knock Yourself Out
Composers: Jimi Hendrix, Jerry Simon
Producer: Jerry Simon
Recorded at: Allegro Sound Studios, New York City
Engineer: Bruce Staple
Date: June 1966
Drums - Marion Booker
Guitar - Jimi Hendrix
Bass - Napoleon Anderson
Organ - Nathaniel Edmonds Sr. (aka Nate Edmonds)

This instrumental was released in an edited form as the B-side of the RSVP 1124 single. Hendrix signed a publishing contract with RSVP for the tracks "Station Break" and "Flying On Instruments" on the 21st of June 1966 . The contract credits the composers for both tracks as Jimmy Hendrix and Jerry Simon. The eBay RSVP reel auction in February 2005 listed "Station Break" as an unreleased song, meaning that "Flying On Instruments" is probably an alternate (working) title for "Knock Yourself Out".

No Such Animal
Composer: Jimi Hendrix
Producer: Jerry Simon
Recorded at: Allegro Sound Studios, New York City
Engineer: Bruce Staple
Date: June 1966
Drums - Marion Booker
Guitar - Jimi Hendrix
Bass - Napoleon Anderson
Organ - Nathaniel Edmonds Sr. (aka Nate Edmonds)
Vocals (shouting) - unknown (all players?)

Hendrix signed a publishing contract with RSVP for this instrumental on 21 June 1966. This track is not included in the list of RSVP masters sold to Ed Chalpin, and has never appeared on any compilation of "PPX" material. Instead it's first issue was on a 45 by Audiofidelity records, Ed Chalpin later sued Audifidelity for releasing fake Hendrix recordings, so very likely for one reason or another Jerry Simon did not sell the master tape of this track to Chalpin in 1967 but instead leased / sold the master to Audiofidelity during the 70s.

Station Break
Composers: Jimi Hendrix, Jerry Simon
Producer: Jerry Simon
Recorded at: Allegro Sound Studios, New York City
Engineer: Bruce Staple?
Date: June 1966

Hendrix signed a publishing contract with RSVP for the tracks "Station Break" and "Flying On Instruments" on the 21st of June 1966 . The contract credits the composers for both tracks as Jimmy Hendrix and Jerry Simon. The eBay RSVP reel auction in February 2005 listed "Station Break" as an unreleased song, this has been confirmed by John McDermott of Experience Hendrix.

Session 3

It's doubtful that Hendrix actually plays on this session. The guitar parts are very simple and low in the mix unlike the other PPX / RSVP studio recordings, and neither of these tracks has appeared on that many releases, which considering the way that Chalpin has been exploiting the other Knight recordings makes these two instantly suspect. One possibility could be that these tracks were recorded after Hendrix left the group, the style is very different to the other recordings, so the Squires might have been attempting to continue without Hendrix before the band fizzled out. Furthermore, "My Best Friend" was redone during the 1967 sessions which would make this song the only Curtis Knight studio recording that was cut twice with Hendrix on guitar.

My Love (aka My Heart Is Higher)
Composer: Tony Hatch
Producer: Jerry Simon
Recorded at: Allegro Sound Studios, New York City?
Engineer: Bruce Staple?
Date: 1966
Drums - Marion Booker
Guitar - Jimi Hendrix?
Bass - Napoleon Anderson?
Organ - Nathaniel Edmonds Sr. (aka Nate Edmonds)?

This instrumental most likely is the track listed as "Your Love" on the list of RSVP masters sold to PPX. It is a version of the Petula Clark song "My Love", released in the USA on a 7" single "My Love / Where Am I Going?" (Warner Bros. 5684) in December 1965. It's most of the time credited on Curtis Knight lp's as "My Heart Is Higher", but I've seen at least one release list it as "My Love (My Heart Is Higher)". Wether Hendrix plays guitar on this is very hard to say, as the guitar part is very sparse and low in the mix.

Ballad Of Jimmy (aka My Best Friend)
Composer(s): ?
Producer: Jerry Simon
Recorded at: Allegro Sound Studios, New York City?
Engineer: Bruce Staple?
Date: 1966
Vocals - Curtis Knight
Drums - Marion Booker?
Guitar - Jimi Hendrix?
Bass - Napoleon Anderson?
Piano - Nathaniel Edmonds Sr. (aka Nate Edmonds)?

This is the original version of the song, the track was re-done during the 1967 sessions, and later after Hendrix's death a new vocal part was recorded with new lyrics on which Hendrix supposedly foresees his death. See the "1967 studio" -section for details. This sales gimmick would have worked better if the 1967 version of the song featuring the original lyrics hadn't already been released in 1968.

This 1966 version is so far only known to appear on the "Music for Pleasure"-label lp "Strange Things" MFP 2M046-95397, released in France in 1974. Again it's hard to tell if it actually has Hendrix playing on it as the guitar part is very basic which really isn't typical for Jimi.
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http://www.earlyhendrix.com/knight-live

Live recordings

The live recordings of Curtis Knight & the Squires (aka the Lovelights) are quite confusing, beginning with the question if they really are live recordings at all. Two tracks, "Last night" and "Killing floor" are available in versions with crowd noise, and versions without, which would seem to suggest that they actually were originally studio takes which were later disguised as live recordings by adding a crowd noise overdub. This leads to the question if the same trick was also performed on other songs.

The presence of introductions to songs that would suggest a live recording has been explained by these tapes actually being rehearsals for the flow and structure of the Squires live set done in a studio and recorded for reviewing purposes. The fact that several songs exist in 2 different versions with different instrumentation would suggest that there were one or more actual live recordings, and a rehearsal tape later worked into sounding like a live recording. Bass and drum overdubs were also added to several of the songs, with versions both with and with the overdubs appearing on various releases.

These live / rehearsal recordings were done between late 1965 - January 1966. The George's Club, Hackensack, New Jersey, 26 December 1965 date often given for these tracks is not correct. The location was taken from a song introduction, but it happens to belong to one of the tracks that was definately recorded in the studio. The date might be correct for some of these songs.

NOTE: A full rundown of all the different edits and mixes of these tracks will follow later.

Ain't That Peculiar
composers: William "Smokey" Robinson, Marvin Tarplin, Robert Rogers, Warren Moore
vocals: Curtis Knight
harmony vocals: unknown
tambourine: Curtis Knight?
lead guitar: Jimi Hendrix
bass: unknown
drums: unknown

intro
JH?: "???"
CK: "Ain't That Pe-CU-liar. This is for you, baby, Carol."
no outro

Released by Marvin Gaye on the 45 "Ain't That Peculiar / She's Got To Be Real" (Tamla 54122) on the 14 september 1965. Made #1 on the R&B and #8 on the Hot 100 Billboard charts.

Band Outro
composer(s): unknown
vocals: Curtis Knight
rhythm guitar: Jimi Hendrix
lead guitar: Harry Jensen
bass: Ace Hall
drums: Ditto Edwards

Bleeding Heart
composer: Elmore James
vocals: Jimi Hendrix
tambourine: Curtis Knight?
lead guitar: Jimi Hendrix
rhythm guitar: unknown
bass: unknown
drums: unknown

intro
JH: "Two, Three..."
no outro

Also known as "(My) Bleeding Heart". First released on the Elmore James 45 "It Hurts Me Too / (My) Bleeding Heart" (Enjoy 2015) in 1964. Withdrawn shortly after release and issued again as "Bleeding Heart / Mean Mistreatin' Mama" (Enjoy 2020) in 196?.

Bo Diddley
composer: Ellas McDaniel aka Bo Diddley
vocals: Jimi Hendrix
tambourine: Curtis Knight?
harmony vocals: Curtis Knight?
lead guitar: Jimi Hendrix
bass: unknown
drums: unknown

A-side of Bo Diddley's first single, "Bo Diddley / I'm A Man" (Checker 814) released in 1955 and re-issued as Checker 997 in 1961.

Bright Lights, Big City
composer: Jimmy Reed
vocals: Jimi Hendrix
lead guitar: Jimi Hendrix
rhythm guitar: unknown overdub?
bass: overdub?
drums: overdub?

intro
CK: "Bright Lights, and Big Cities, ya'll."
no outro

The Jimmy Reed single "Bright Lights, Big City / I’m Mr. Luck" (Vee-Jay 398) was released in August 1961 and made #3 on the R&B and #58 on the Hot 100 Billboard charts.

Come On (Part 1)
composer: Earl King
vocals: Jimi Hendrix & unknown
tambourine: Ace Hall
lead guitar: Jimi Hendrix
rhythm guitar: Curtis Knight?
bass: Harry Jensen
drums: George (surname?)

intro
JH?: "Baby let's do this... Baby let's do this [mumble] . Two, one."
no outro

Original version by Earl King was released on the 45 "Come On (Part 1) / Come On (Part 2)" (Imperial 5713) in 1960.

Day Tripper
composers: John Lennon, Paul McCartney
vocals: Curtis Knight & Jimi Hendrix
tambourine: Curtis Knight?
lead guitar: Jimi Hendrix
bass: unknown
drums: unknown

The single "We can work it out / Day tripper" (Capitol 5555) by the Beatles was released in the USA on 6th of December 1965.

Driving South
composer: Jimi Hendrix
vocals: Curtis Knight
tambourine: Curtis Knight?
lead guitar: Jimi Hendrix
rhythm guitar: unknown
bass: unknown
drums: unknown

intro [riffs]
CK: "Yeah! Right now we're gonna feature Jimmy James. Jimmy's gonna do a little tune for you, of his own selection. You're gonna like it. Gonna feature Jimmy here. What're you gonna do for the people, Jimmy, on Christmas plus one?"
JH: "Little thing called Drivin' South."
CK: "A little thing called Driving South."
JH: "In D, ya'll know ."
CK: "In D."
JH: "One."
CK: "If you ain't never been there, you're gonna take a trip with us now, baby. If you ain't got no car, put on some skates."
JH: "Get 99 pairs of shoes and walk the rest of the way! Lawd have mercy, ya'll ready? One, two..."
outro
CK: "How bout it, ladies and gentlemen? Take a bow, Jimmy! That's an original tune wrote by Jimmy, a little thing entitled - written, i should say, wrote, written, written, wrote... called Drivin' South, going home where they got sweet potatoes, fatback, and ?. Down there where all the soul food and all the swingin' people come from. Can i get a witness to that? Is anybody from down there besides me?"

Get Out Of My Life, Woman
composer: Allen Toussaint
vocals: Jimi Hendrix
lead guitar: Jimi Hendrix
rhythm guitar: unknown
bass: unknown
drums: unknown

First relesed by Lee Dorsey on the 45 "Get Out Of My Life, Woman / So Long" (Amy 945) in late december 1965 / early january 1966 (it makes it's first entry on the Cash Box Top 100 singles chart on the week ending January 8, 1966)

Hang On Sloopy
composer: Bert Russell (Bert Berns), Wes Farrell
vocals: Curtis Knight
tambourine: Curtis Knight?
harmony vocals: unknown
lead guitar: Jimi Hendrix
bass: unknown
drums: unknown

intro
CK: "Gonna do a tune for ya. Hang On..."
JH: "Say something else in there."
CK: "Sloopy."
no outro

The McCoys single "Hang on Sloopy / I Can't Explain it" (Bang 506)
debuts on the Cash Box Top 100 singles chart week ending August 14, 1965 and makes number 1 on the week ending October 2, 1965 .

Hold What You've Got
composer: Joe Tex
vocals: Curtis Knight
lead guitar: Jimi Hendrix
bass: unknown
drums: unknown

intro
CK: "All right, we're gonna do a little Joe Tex tune here... You'd better Hold on to What You Got, baby. If you got anything to hold on to, that is."
no outro

The Joe Tex 45 "Hold What You've Got / Fresh Out of Tears" (Dial 45-4001)
first appears on the Cash Box Top 100 singles chart week ending December 19, 1964.

I Can't Help Myself (Sugar Pie, Honey Bunch)
composers: Brian Holland, Lamont Dozier, Edward Holland
vocals: Curtis Knight
harmony vocals: Jimi Hendrix
lead guitar: Jimi Hendrix
rhythm guitar: unknown
bass: unknown
drums: unknown

intro
CK: "All right, a tune made popular by the ever-popular Four Tops. It was Number One in the nation, not too far back. We'd like to give you our rendition of..."
JH: "One, two, one two three four."
no outro

The original single by the Four Tops, "I Can't Help Myself / Sad Souvenirs" (Motown 1076) was released in May 1965. It made number 1 on the Cash Box Top 100 singles chart week ending June 19, 1965.

I Got You (I Feel Good)
composer: James Brown
vocals: Lonnie Youngblood
lead guitar: Jimi Hendrix
rhythm guitar: unknown
bass: unknown
drums: unknown
sax: Lonnie Youngblood

The James Brown & Famous Flames 45 "I Got You (I Feel Good) / I Can't Help It (I Just Do-Do-Do)" (King 6015) makes it's first entry on the Cash Box Top 100 singles chart week ending ending November 6, 1965.

I Got You (I Feel Good)
composer: James Brown
vocals: Lonnie Youngblood
lead guitar: Jimi Hendrix
rhythm guitar: unknown
bass: unknown
drums: unknown
sax: Lonnie Youngblood

The James Brown & Famous Flames 45 "I Got You (I Feel Good) / I Can't Help It (I Just Do-Do-Do)" (King 6015) makes it's first entry on the Cash Box Top 100 singles chart week ending ending November 6, 1965.

I'll Be Doggone
composer(s):
vocals: Curtis Knight
tambourine: Curtis Knight?
harmony vocals: unknown
lead guitar: Jimi Hendrix
bass: unknown
drums: unknown

intro
CK: "Gonna do a Marvin Gaye tune, ladies and gentlemen. I'll Be Doggone!"
no outro

Single by Marvin Gaye "I'll Be Doggone / You've Been A Long Time Coming" (Tamla 54112), released 26 February 1965. #1 on the R&B and #8 on the Hot 100 Billboard chart.

I'll Be Doggone
composer(s):
vocals: Curtis Knight
tambourine: Curtis Knight?
harmony vocals: Jimi Hendrix
lead guitar: Jimi Hendrix
rhythm guitar: unknown
bass: unknown
drums: unknown
overdubbed drums: unknown
sax: Lonnie Youngblood

Single by Marvin Gaye "I'll Be Doggone / You've Been A Long Time Coming" (Tamla 54112), released 26 February 1965. #1 on the R&B and #8 on the Hot 100 Billboard chart.

I'm A Man
composer: Ellas McDaniel aka Bo Diddley
vocals: Jimi Hendrix
lead guitar: Jimi Hendrix
rhythm guitar: unknown
bass: unknown
drums: unknown

intro
JH: "Ok then, ya'll, here we go"
no outro

B-side of Bo Diddley's first single, "Bo Diddley / I'm A Man" (Checker 814) released in 1955 and re-issued as Checker 997 in 1961.

I'm A Man
composer: Ellas McDaniel aka Bo Diddley
vocals: Jimi Hendrix
lead guitar: Jimi Hendrix
rhythm guitar: unknown
bass: unknown
drums: unknown
sax: Lonnie Youngblood

B-side of Bo Diddley's first single, "Bo Diddley / I'm A Man" (Checker 814) released in 1955 and re-issued as Checker 997 in 1961.

Just A Little Bit
composer:
vocals: Curtis Knight
lead guitar: Jimi Hendrix
rhythm guitar: unknown
bass: unknown
drums: unknown

Killing Floor
composer:
vocals: Jimi Hendrix
lead guitar: Jimi Hendrix
rhythm guitar: unknown
bass: unknown
drums: unknown
sax: Lonnie Youngblood

Killing Floor (studio)
composer:
vocals: Jimi Hendrix
lead guitar: Jimi Hendrix
rhythm guitar: unknown
bass: unknown
drums: unknown

Land Of A Thousand dances
composer:
vocals: Jimi Hendrix
tambourine: Curtis Knight?
harmony vocals: unknown
lead guitar: Jimi Hendrix
bass: unknown
drums: unknown

intro
JH: "The drums! One, two, rock and roll, one two three."
no outro

Last Night (studio)
composer:
lead guitar: Jimi Hendrix
rhythm guitar: unknown
bass: unknown
drums: unknown

Let's go, Let's go, Let's go
composer:

intro
CK: "All right, wake up."
no outro

Mercy, Mercy
composer: Don Covay, Horace Ott or Ronald Miller
vocals: Curtis Knight
harmony vocals: Jimi Hendrix
tambourine: Curtis Knight?
lead guitar: Jimi Hendrix
rhythm guitar: unknown
bass: unknown
drums: unknown

intro
?: "What's the number on there, the number is wrong here. (???)"
outro
JH?: "Yeah!"

Don Covay & the Goodtimers release the single "Mercy, Mercy / Can't Stay Away" (Rosemart 45-801) in August 1964.See the "Don Covay" -section of this site.

Money
composer:
vocals: Curtis Knight
tambourine: Curtis Knight?
harmony vocals: unknown
lead guitar: Jimi Hendrix
rhythm guitar: unknown
bass: unknown
drums: unknown

intro
CK: "Continuing on, we're gonna do a song that's a subject that everybody is... it's a controversial subject, as a matter of fact. It's something everybody needs. Money."
no outro

Money
composer:
vocals: Curtis Knight
harmony vocals: unknown
lead guitar: Jimi Hendrix
rhythm guitar: unknown
bass: unknown
drums: unknown

intro
CK: "All right, we're gonna continue on. We're gonna do a tune I think you might remember and enjoy. It's a tune that's pretty appropriate, entitled Money."
JH: "Lawd have mercy, we're gonna do a thing, Money, and one, two, one two three four."
outro
CK: "Oh yeah, a little thing called Money."

Mr Pitiful
composer:
vocals: Lonnie Youngblood
lead guitar: Jimi Hendrix
rhythm guitar: unknown
bass: unknown
drums: unknown
sax: Lonnie Youngblood

One Night With You
composer:
vocals: Curtis Knight
lead guitar: Jimi Hendrix
bass: unknown
drums: unknown

Satisfaction
composer:
vocals: Curtis Knight
harmony vocals: Jimi Hendrix
lead guitar: Jimi Hendrix
rhythm guitar???: unknown
bass: unknown
drums: unknown

intro
CK: "Continuing on, we're gonna do a tune made popular by the Rolling Stones. A very fabulous British group. We're British, also."
JH: "West Indies."
CK: "West British, South British."
JH: "British West Indies."
CK: (laughs)
JH: "That's down there close to Georgia, isn't it? Isn't it down there close to - "
CK: "That's pretty close to Georgia. A little tune entitled I Can't Get None."
outro
CK: "Oh yeah, a little bit of I Can't Get None."

Shotgun
composer: Autry DeWalt
vocals: Curtis Knight
harmony vocals: unknown
rhythm guitar: Jimi Hendrix
lead guitar: Harry Jensen
bass: Ace Hall
drums: Ditto Edwards

intro
CK?: "Ditto you got it"
no outro

Something You Got
composer: Chris Kenner
vocals: Curtis Knight
harmony vocals: unknown
lead guitar: Jimi Hendrix
rhythm guitar: unknown
bass: unknown
drums: unknown

intro
JH: "Right now we're gonna do one of them little Alvin Robinson tunes, a little thing called Something You Got, in D-flat."
no outro

Originally recorded by Chris Kenner, the version Hendrix is referring to in his introduction was released by Alvin Robinson in May 1964 as a 45 "Something you got / Searchin' " (Tiger 104).

Stand By Me
composer:
vocals: Curtis Knight
lead guitar: Jimi Hendrix
bass: unknown
drums: unknown

Sweet Little Angel
composer:
vocals: Curtis Knight
lead guitar: Jimi Hendrix
rhythm guitar: unknown
bass: unknown
drums: unknown

intro
CK: "We're gonna slow things down a bit for all the lovers. I'm gonna dedicate this to my lady. A little tune entitled I Got a Sweet Little Angel. This is for you, Carol."
JH: "One, two, three."
no outro

There Is Something On Your Mind
composer: ("Big Jay" Cecil James McNeely)
vocals: Curtis Knight
lead guitar: Jimi Hendrix
rhythm guitar: unknown
bass: unknown
drums: unknown
sax: Lonnie Youngblood

Original version released by Big Jay McNeely as a single "There is something on your mind / Back" (Swingin' 614) in 1959. McNeely was a pioneering sax player in the 50s music scene, so the inclusion if this song into the Squires live set might well have been partly Lonnie Youngblood's initiative, in addition to the fact that it had been a big hit. King Curtis also performed the song, a live recording from 1966 appears on the lp "Live at Small's Paradise", recorded the same year that Hendrix was a member of Curtis's backing band the Kingpins, so Jimi might well have played this song also with King Curtis.

Travelin' To California (aka California Night)
composer: Albert King
vocals: Jimi Hendrix
lead guitar: Jimi Hendrix
rhythm guitar: unknown
bass: unknown
drums: unknown

Hendrix's adaptation of an Albert King track. Originally (?) released on the 45 “Traveling To California / Dyna Flow” (King 5588).

Travelin' To California (aka California Night)
composer: Albert King
vocals: Jimi Hendrix
lead guitar: Jimi Hendrix
rhythm guitar: unknown
bass: unknown
drums: unknown
sax: Lonnie Youngblood

Hendrix's adaptation of an Albert King track. Originally (?) released on the 45 “Traveling To California / Dyna Flow” (King 5588).

Twist And Shout
composer:
vocals: Curtis Knight
harmony vocals: unknown
lead guitar: Jimi Hendrix
rhythm guitar: unknown
bass: unknown
drums: unknown
sax: Lonnie Youngblood

Baby, What You Want Me To Do
composer: Jimmy Reed
vocals: Curtis Knight
harmony vocals: Jimi Hendrix?
tambourine: Curtis Knight?
lead guitar: Jimi Hendrix
rhythm guitar: unknown
bass: unknown
drums: unknown

intro
CK: "Well all right! We're gonna do a little thing, a little Jimmy Reed thing, talkin' about... you know what I'm sayin', here we go, Jimmy Reed."
no outro

Also known as "You Got Me Running". Jimmy Reed*s original 45 "Baby, What You Want Me To Do / Caress Me" (Vee-Jay 333) was released in November 1959 (R&B #10, Pop #37)

You Got What It Takes
composer:
vocals: Curtis Knight
tambourine: Curtis Knight?
harmony vocals: Jimi Hendrix
lead guitar: Jimi Hendrix
rhythm guitar: unknown
bass: unknown
drums: unknown

intro
CK: "You're being recorded live, we're making an album right here... fabulous Club 20 in Hackensack, New Jersey. We'd like to continue on if we may, and do a tune entitled, Some Boys Say."
no outro

Walkin' The Dog
composer:
vocals: Jimi Hendrix
lead guitar: Jimi Hendrix
bass: unknown
drums: unknown
sax: Lonnie Youngblood

What I'd Say
composer:
vocals: Jimi Hendrix
harmony vocals: Curtis Knight?
lead guitar: Jimi Hendrix
bass: unknown
drums: unknown

intro
JH: "Right now we're gonna do a little thing by Ray Charles called What'd I Say, goes like something like this here..."
no outro

Wooly Bully
composer: Domingo Samudio
vocals: Curtis Knight
harmony vocals: unknown
lead guitar: Jimi Hendrix
2nd guitar: unknown
bass: unknown
drums: unknown

intro [riffs]
JH?: "Oh."
CK: "All right, here we go."
?: "Hey!"
CK: "Gonna get things underway by a tune that goes like this in the key of G."
?: "Hey."
?: "Quattro!"
outro
JH?: "Yeah!"

Original version released by Sam The Sham And The Pharaohs in march 1965 on the single "Wooly Bully / Ain't Gonna Move" (MGM K13322). Lonnie Youngblood cut his own solo version of Wooly Bully.