Wednesday 04 February 1970 
New York City, Mike Jeffery's Apartment, New York, USA 
Interview by John Burks of Jimi, Mitch, Noel & Mike Jeffery (joins in occasionally, as well as setting off some napalm! as a prank at one point). Edited and published in ‘Rolling Stone’ Magazine on 19 March as ‘Hendrix: The End of a Beginning Maybe’ – ‘Hendrix raps on politics, dope and reuniting with the Experience‘:

WHICH BAND?

JB: Ah, so this is the band [JHE] that you’re gonna record with then? Not the, not, not the
JH: Uh, yeah…
JB: Billy Cox…
JH: Yeah 
JB: …and Buddy Miles? [BOGs] Will they [BOGs] be on the record [next LP: ‘Strate Ahead’/ ‘New Rising Sun’ or whatever] too? Or is it…?
JH: Yeah. There are some tracks when we [BOGs] did it, sometimes we did it then, you know, because they [JHE], that’s another thing though, it’s… It’s a, a three piece, or fo’-four piece type of thing, you know, you overdub a piano, or…
JB: With the other guys [BOGs]?
JH: Yeah
JB: And so, it’ll be partly…?
JH: Hah
JB: …ah, I guess you’d call this the ‘Experience’ and you’d call that a ‘Band of Gypsys’ 
or?
JH: Oh, I guess so-ha-ha-ha
JB: Well, what do you, what do you do, man, you know, what?
JH: I guess so, man
NR: More like fanny
MM: Anything, you know
JB: ‘Fat Gypsies’?
JHE: [Laugh]
JB: Bring those other cats along
JH: Sit on it you know, heh
NR: Yeah, singing nun, huh
JH: And all this fool spun, you know
JB: Uh, we had a, we had a story in November, or so, [Rolling Stone #46: “Jimi Hendrix: ‘I 
Don’t Want to be a Clown Any More.’” by Sheila Weller] about-uh. Something that ‘she’ [SW] had to get at your house, where you had a bunch of blues guitarists around, you had a bunch of avant-garde jazz players [Gypsy Sun & Rainbows, Mike Ephron etc.] and you were…
JH: Yeah
JB: …jamming with, with all those people, and evidently… Think you’ve got, putting 
something together like that is that-eh… is that on, or, or-eh, how does that, wh’-wh’, what did that come to? 
JH: Well, it was just like a jam, so, you know. To hear different types of music coming-ah, 
mixing up with different kinds of sounds and whatever happens.
JB: But that’s not something that you think you wanna do publicly, or perform-in-in private
JH: No, not right now
JB: 
JH: No, not right now. Maybe on… some spare time. Right now I’m just concentrating on, 
you know, for us [JHE] to get back together again, tch, yeah
JB: Will any of that-eh, go on to the record [ie next LP], ah, you’ve recorded some of that I 
think with, with [GS&R] eh…
JH: Yeah. We did some at Woodstock, recorded songs, was…
JB: With all of… people?
JH: Yeah, there was a guitar player Larry Lee, there’s Billy Cox and Juma…
NR: Fuckin’ hell
JH: …with Jerry Velez
JB: What kind of music, I, you know, I didn’t, I didn’t hear it? What kind of music is that? Is 
that?
JH: I don’ know
JB: Is that an extension of the thing? Is that totally different thing than…?
JH: All I can say is, it’s not permanent, y’know
JB: Yeah
JH: Huh. I don’t know really. It’s just like a jam, and, like, you’re gettin’ together for a gig or 
something, you know. That’s what I’ve been doing recently, just that. Most of the time 
we [I] used to jam in clubs, but after a while it get’s, you know

FORTHCOMING TOUR/ BAND NAME & NEW SONGS

JB: But this, this [JHE] is the group that you’re gonna take on the tour. You’re gonna d’-do 
basically-ah, the stuff that you’ve done with ‘The Experience’, or you’ve gotten new material-uh
JH: Well, I’m sure that we’ll…
JB: I read that you’ve got new…
JH: Yeah
JB: …stuff together, but…
JH: Yeah, we’re, we’re gonna take some time off, an’ go out somewhere in the hills, in the 
 ‘wood shed’ or whatever you call it, you know, to help get some new, new songs and new arrangements and so forth together. So we’d have something to offer, you know, something new, regardless if it’s different or not, look like something else.
JB: So you’re gonna be doing that for the next-uh, month, or two months?
MM: That’s gonna carry it up until, like, well, the end of this year at least
JB: Yeah
MM: And it’s gon’-going in places to play, playing at places you’ve never worked at before. 
Maybe
JB: Mhmm
NR: It’s gonna give us all the opportunity to…
JB: Yeah
NR: …we know exactly what date being worked, so we can do exactly what we want in 
between. So it never clashes
JB: Yeah. When, but when you talked of places you’ve never played, do you mean, like, 
smaller clubs, or…?
MM: No…
NR: Oh, no-no…
MM: Not necessarily, I’m doing that now [with ‘Jack Bruce & Friends’]…
JB: I mean…
MM: … you know
JB: Yeah
MM: I mean that’s… I mean the few years we worked with ‘The Experience’ – as it was – 
that we played to a great number of people, you know, maybe play places, like, I don’t see, Chekoslovakia
JB: Yeah
NR: I’d like to go there - Prague
MM: Yeah, and go, just get over to as many people as you can. That’s the whole thing. I 
mean there’s a lot of good bands around, really. But they’re all just playing the same circuit, you know…
JB: Yeah
MM: It’s never changing
JB: What kind of..? Have you made any-ah, contacts with people, or to do that kind of 
thing? I mean to, like, play Chekoslovakia, or to play…
MM: Yeah, sure
NR: Yeah… a long time…
JB: Have you been over there?
NR: [Starts talking over the top (again)]…long time…
MM: We were in Germany, y’know, we used to do broadcasts for like…
NR: [Talking over the top] All these broadcasts which are speaking… 
MM: …the ‘Voice of America’ and you could be…
NR: …Russian
MM: …saying anything, you know, disagree
NR: Yeah
JB: ‘Repeat this after me’-heh-heh…
NR: Heh-heh
NR: [Talking over the top] all right, the game’s up… Ah-huh, you might have said-um, I 
don’ know, “Kill all the Americans,” or somethin’-hah, or “Kill all the English,” I didn’t know,. But that, i’-it’d be…
JB: You see…
NR: …it’d be good to go there, you see, I think
JB: You’ve been and you want to go back, is that it? 
?  : I wanna go home actually
NR: See that, it’s all still beyond me
JB: Ben!
?  : Girlfriend can have one more 
?  : Karen
JB: All right we’ll move over
JH: How you doin’? You got him in the back? It’s easy life? 
?  : I like the ‘axe’
MM: I want to maybe change the… the style of con’-concerts, you know. ‘Cause, like, at 
moment just one group going on following another group the
JB: Right
MM: You know, there should be something other than that, the Road-manager’s spot in 
between…
NR: Heh-heh
MM: …at the moment
JB: How do you mean? 
MM: Tambourine
JB: What do you mean, what are you talking about?
JH: Tambourine solo
JB: All right
NR: [At the same time] Yeah-heh-heh
JB: It’s all right… I can hear that, yeah. Um…

JB: Have you given any thought to, like-eh, touring 
With, with ‘The Experience’ - the basic, the basic unit - but then you guys bring your bands along too, and you could, like, jam and eh-yeah, maybe it could be a, sort of, free-form thing…
NR: Groove group
JB: …or would that be too confusing? I don’t know
JH: No, it shouldn’t be, maybe I’m the ego, it might-heh-heh
JB: Yeah
JH: But there’s none for it, reason for it to be like that. So…
JB: One minute you’re the leader, and the next minute you’re just somebody’s bass player
JH: Well, some of these bass players…
MM: Well, it’s nothing like that anyway
NR: Well, you know…
JB: Yeah
NR: …that’ll do my head….
JH: I really wanted them to be experienced, anyway, you know, that’d be the thing. Instead 
of the, the ‘Smoosh-ball show our woosh-ball’
JB: Yeah
JHE: [Laugh]
?     : Maybe that’s just your whole life Jimi
JH: [Over the top] ‘Sensory Madam Flip-flop and her Calm Night Social Workers’
JHE: [Laugh]
JB: It’s a nice name
JHE: [Laughing]
JB: Now you-you…
JH: It’s a nice game
JB: You don’t know what you’re gonna call the band, then, at this point?
NR: Just be ‘Experience’
JB: ‘The Experience’?
JH: Yeah, that’s what it should be… y’know
NR: We’re generally called ‘The Experience’, how come…
JH: No, like, but puttin’ other groups on the tour, you know, like our friends and whatever. I 
don’t know about that, right now. Not at a stage like this, ‘cause we’re in the process of, you know, gettin’ our own thing together now, far as the group, far as the three piece group. But, like, eventually I guess, you know. Like, we, we have time on the side, that’s what, as you know, I was talkin’ about we have a scheduled time. You have time on the side to-ah, play with your friends, you know. That’s why I’ll always be, you know, I’ll probably be jammin’ with Buddy and Billy, we’ll probably be recording on the side too, you know
JB: Uhuh, I know
JH: And they’ll be doin’ the same, y’know
MM: That’s the way you can get your new music out anyway, you know. Like, Jimi might 
have, find something that was written with different people…
JB: [Clears throat]
MM: …you know…
JH: Yeah
MM: …and it’s gonna be completely different, the way that we’re gonna play it an’ chose to 
do it
JB: I get the impression that you’re gonna try, that you’re gonna do some of the old things 
that you’ve done, because you’ve…
JHE: [Together] All right
JB: …that you’re tryin’ to put together a…
MM: Well, haven’t they got a new manager or not
JB: Newcastle are between
NR: I love that singing there
JH: We’ll try it, we’re all trying to make up, northern up heh-heh
NR: You’ll…
MM: Heh-it’ll be strong 
NR: Gonna get you singing as well
MM: Heh-he-heh, get the rats…
NR: Get the old vocals out
JB: You’ll see something
JH: Dust ‘em off. For I’ve…
NR: No
JH: …raidled the chords, dear boy
MM: Anyway, look everybody’s wantin’ you to pick an expression, you know, an’ 
musician’s always have to talk
NR: And ‘Red House’ with two guitars again… I think
JH: Hmm? 
NR: ‘Red House’ with two guitars
JH: Oh, yeah-yeah you have to get your twelve, you have to get your twelve string from 
Woodstock

TORONTO PEACE FESTIVAL

JB: Have you had any conversations with John Lennon, or any of his people on that peace 
fesival, are you gonna, are you gonna get involved with that thing?
JH: Oh, well…
MM: Hate to involved with that anyway
NR: Love, peace and break your arms, that’s… heh-heh
JH: A-huh
JB: An’ I mean it’s not that 
NR: Turning into a skinhead, hah-ha
JH: And it’s legal
JB: I mean the thing is that it’s in Toronto an’, an’ you had problems up there, an’ I don’ 
know if that-uh, scares you or not?
JH: Well, they almost had a piece of me, so, you know
NR: Ha-ha-ha
JH: This here’s the only ones that… [whispers something]
JB: But it looked, it look’-I mean, I-I don’ know, but it looked like a set-up just on the 
basic… 
JH: Ah, well
JB: …details that I could see, an’ I’m not asking you to say that, but…
JH: Oh, no
JB: …but it’s a crime up here… 
JH: My hang-up, is getting hung-up on the past, you know. And that’s what happened in 
the past
JB: So you don’t have any bad feelings about travelling?
JH: No
JB: Anything like that?
JH: No I don’t. It’s not the people
JB: Now they’re, they’re expecting, like a million people there, an’ which’d be, or they think 
they might get a million people. I don’t know
NR: What’s this?
MM: Crying round the town?
JB:  On at Toronto, a peace festival
NR: I’ve never heard of it
JB: John Lennon signed that he’s gonna do a thing there
NR: Oh, again, he did one last year, didn’t he?
JH: Who, wait, who’d
NR: Eh?
JH: You’re unusual accent
NR: I don’t comment, I’ll, I’ll go anywhere… hmph… Doesn’t bother me… Ha-ha
JH: When’s he gonna, where’s, what’s happening, he’s gonna give a um, it’s
JB: Instead of them it’s gonna be the 4th of July and they’re gonna get every group they 
can-eh, they think off
JH: Yeah
NR: It’ll be full of scab…
JB: Ah…
NR: Listen to me
JB: …and ah, the money is gonna go to, I don’t know how it’s gonna be, ah, parcelled out, 
but the money’s gonna go through peace one way or another. Ah, but you know, you’ve got me as to what that means. But the bottom to me is, playing to a million people, man. Whether you can. I don’-know, eh, that they got amps that big, or whatever. Feeling whether you can reach a million people is 
?   : He’s quite concerned
JB: … the thing that interests me, man… You know
NR: Ha-ha-ha
JB: At once, all in one place…
JH: Yeah
JB: …listening to you live, and there ‘bout-‘bout…
NR: Why
JB: …750,000 can’t see you, you know
MJ: It depends…
JH: Well…
MJ: …why they come in, because, why they’re coming you know. If it’s prime to hear 
music, that’s a problem. If it’s g’-if they’re just…
JH: Yah
MJ: If the musicians are visiting cards to…
JH: Some people come just to be together…
?  : Oh
JH: …you know, an’ then the, the music is, is the thing that brings them there, it’s the 
menu
MM: Some people go to an office just to be with other people
JB: So it’s not just like going to a concert?... Is that…
JH: It’s gonna wind up to be one of the fringe benefits, I guess. ‘Cause you get so many…
JB&NR: [Laugh]
JH: …you know. You get so many groups things
JB: Yeah…Ah, what I’d like to do is just launch into a whole thing here, if you g’-ha’. How 
much time we got? You got?
MM: As long as you want
NR: It’s very easy
JB: As mu’-as much time, huh?
JH: Mhmm

BLACK PANTHERS

JB: Ahm…One thing that’s been talked about a lot is that you maybe-eh, forming closer 
ties with black militant groups, possibly the [Black] Panthers an’ all that. I have…...
JH: Oh-h-ho-ho, I heard about that too in Rolling Stone
JB: …an’ I-an’-an’I, an’. Right. an’ I’m curious in a way that
All: [Laughter]
JH:  I’m curious too. So tell me all about it
JB: I don’t know
JH: Huh
JB: ‘Cause I didn’t, I didn’t write that story
NR: [Over the top] No… uh.. thing is…
JH: No
NR: …we’ve got the White Tigers
JH: I’m trying to work with myself… Buffalo
JB: The White Tigers?
JH: Aah-ha-ha
NR: We’ve… yeah, we got the White Tigers down a pub…
JH: Hah-ha
NR: … in Kent, correct
JH: Hah-and their stripes…
NR: Heh-heh-yeah
JH: …white on white
NR: Pwhooh
JB: But that’s not uh…
JH: Hah-huh
JB: That’s not so, or?
JH: No, man, listen, um, you know, uh. Everybody has wars within themselves. So that… 
They’re far more like, you know, equal and different things, and it comes out in a war against other people, and so forth and so on. But that’s where that part ought to. I, I don’t connect with those black or white militants-hah-ha
JB: Yeah
JH: Or Scottish for that matter. Let me say this a second, man…‘cause … 
JB: Och, any-any colours…
JH: ..it isn’t…
JB: …you want me to make one thing clear…
JH: Aah-yeah-ha-ha-ha…
JB: …perfectly, oh
JH: …ha-ha-ha
JB: No, d’… uh… But do you think-eh - I don’t really wanna put you up against the wall 
Or anything – but do you think the Panthers are into a good thing, or, or you don’t, you 
really 
don’t relate to ‘em at all?
JH: No, no. That’s not, not relating to ‘em
JB: Well, relating, but, you know, you can relate to anything, I suppose. But, I mean, you 
  don’t…
JH: I don’t know so…
JB: …you know, feel…
JH: All wet! [a drink spilled?] 
JB: …part of what they’re doing?
JH: Yeah. I qui’-I naturally feel part of what they’re doing, in certain respects, y’know. But, 
everybody has their own ways of saying things. They’re just…
[Ding-dong! - doorbell rings]
JH: …I just hope-uh…
NR: Ding-dong
JH: …they get justified as they justify others…
NR: [Grunts something]
JH: …you know, and their attempts to get personal freedom. That’s all it is
MM: [In silly ‘saucy’ voice] ‘Looking groovy’
NR: Let’s get smashed with all this
JB: And to the extent they do that, you’re with them?
JH: Yeah. They’re simply… But not to know, you know, agression or violence, whatever 
  you wanna call it. I'm not for guerrilla warfare.
JB: Ahm… Yeah
MM: Any gorillas?
JH: Mar-ha-ha-cus, uh. I got a pet monkey* called Charlie Chan*
NR: Ha-ha
JH: Chan actually…

*Joke reference to a smack habit, also an alias used by Charlie “Yardbird” Parker aka “Bird” (a notorious smackhead) on ‘off label’ recordings.

OTIS REDDING PLANE CRASH/PEACE FESTIVAL

JB: Yeah. One thing that-uh, one-one, one thing that Otis Redding was talking about just 
before he… his plane went into the lake – was setting up some sort of s’…
JHE: [Laughter] 
JH: That’s-that’s very encouraging…
JB: …delicately…
JH: Very encouraging
NR: No. It’s cool
MM: Yet
NR: Huh-remember we fly a lot
JB: Yeah
JH: An’ he was drivin’ his own plane too
MM: Cool
JB: He owned the plane, or at least to do something like that
JH: That’s mostly the case
JB: Yeah
NR: We played at the club around three weeks after he died [actualy seven months 
previously!], remember?
JH: Hmm, that’s right, that’s right
NR: A mess up…
JH: Noel, it was less than that, wasn’t it?
NR: …Madison in Wisconsin
JH: It was less than that
MM: Yeah
NR: And-eh, ooh… There was a car crash outside the house, outside the house, outside 
   the hotel. D’you remember? It was horrific
JH: It’s a message to the universe shoo-oo-oo-oo-oo heh-heh…. Don’t worry about it
JB: Hey, that’s one thing about the peace festival, they said masked men for John Lennon 
are going around saying that there gonna be extra-terrestrial visitors are gonna come see this thing. They’re gonna in their spaceships and they’re gonna be an integral part of the whole trip
NR: Oh!
JB: Is that incredible yet?
JH: Just, do you still have any pea-shooters heh-heh
MM: No-heh
JH: An’ we’ll blow their game
JB: Ha-ha-ha
NR: Very cute
JB: They rate I mean they had a, they had a meeting, like. Everybody in San Francisco’s in 
Jefferson Airplane house, and these cat’s came in from Toronto, and that’s really…
JH: Hmm
JB: …that’s an important part of their trip there
JH: That’s cool
JB: I wanna see it
MM: We shall see
JH: Oh, I’d love to see something like that
JB: Heh-heh
JH: Then my calls won’t be in vain

OTIS REDDING/RECORDING STUDIO

JB: Heh-heh… Yet. Now the thing I was gonna say about Otis…
MM: Winding up [Goona?] that could be a-ha-ha ma’…
JH: Ha-ha-ha
JB: Like, Otis Redding, was talking about setting up some sort of a, basically Black 
recording and, and promotion outfit, um. And I would sa-ay since he’s gone, that you of all the Black guys …..? we have in the country would be in the best situation to do something like that. I don’t know if you’ve thought of that kind of thing, or whether that’s-uh, might be something you might wanna do lookin back
JH: Who was that? 
?  : Artists
JH: What does that mean?
MM: Hah-asshole man
JB: He wanted to set up… He was talking about setting up an all black ah, recording 
company and, sort of, promotion outfit
JH: Oh, yeah
NR: He wanted to own the world in other words-heh
JB: Well, you know he just-eh, to give greater exposure to…
JH: Ha-ha-heh-heh that’s ripe from you
MM: Old Bill Cosby and people like that are suppossedly doing that as well
JB: Yeah… But they-eh
JH: [Giggling]
MM: Yeah, that’s just giving exposure to one thing, so what?
JB: But they, but they sent, Cosby in particular seems to flopped at that, I mean…
MM: Yeah
JB: …their company just fell through, y’know. I know it isn’t. it is the idea of one…
JH: They should colour… Hang on. Well, they should have anything…
?  : Don’t listen to him
JH: …open for anybody though really. Once they get all technicolour. It’s the same 
thing as being Catholic, or, you know, it’s the same thing as gettin’ to that scene
MJ: Jimi’s into a recording studio, he owns a recording stereo [studio] in, in New York now 
and it’s open to anyone
JH: Yeah
JB: That’s what, you know, I just. That’s-uh…
JH: But I see what they mean though, as they’re just tryin’ to get some black people that 
now, you know, probably s’-show there is a chance for them, you know.  Just as much as anybody else that helps them
JB: That’s u’…O’-one thing that Otis had in mind was evidently was to get people like that, 
someone who at that point had not, wasn’t doin’ much, you know, an’-an’, Chuck Berry an’ really produce good records, an’ really get ‘em on, you know, try an’ get ‘em good dates, an’ shit like that…
JH: Hah
JB: Which ah…
JH: Amateur
JB: …might have it’s points
JH: yeah

TORONTO DOPE BUST

JB: Ahm… yeah you told the, you told the court in Toronto that you’d, in your own term,  
“Outgrown dope,”
?   : Chemist?
JH: Please stop me I’m growing ha-ha-ha
?   : Cannabis
JHE: [Laughter]
NR: He is not being honest
NR: It is healthy, I’m growing heh-heh
JHE: [Laughter]
JH: Well, right ha-ha
NR: I-I smoke
MM: Smokes our dope
JB: There’s a saw in there
JH: Please help me I’m falling, yeah
JB: You can sell that to Donovan
JH: Hah-hah drooler
JB: Is it… There’s no truth there’s, it’s true? It’s, eh…
JH: What is that?
JB: About, about acting like dope… I mean after it’s a…
MM: Dope?
JH: Hmm…I don’t know, I was just…I’m too wrecked right now heh-heh
JHE: [Laughter]
JH: I, have to check into it. Oh, yes it’s true, yes it is. I don’t…
JB: Whatever you told the court
JH: I don’t take as much, that was what I was tryin’ to tell ‘em
JB: Yeah
JHE: [Laughter] 
JB: Rice, man… Ehm… Yeah. If they were all legal, would you eh, do you suppose you’d, 
if all drugs were legal do you suppose you’d be into them more? or, or do you, do the laws make any difference in..?
JH: Well, it’s
JB: In that scheme of your’s
NR: O-o-oh
JH: Always around people
JB: Now, listen, I, the-the reason for the question is, there’s a lot of interest because of the 
trial, you know, I mean it’s a…
NR: Mmm
JB:  …for better or for worse, like, a lot of people wanna know
NR: It’s the risk. When you’re a kid, your mother says. “Don’t smoke,” so you smoke
JB: Yeah
NR: It’s the same thing. Mmm after all, I suppose if-eh, if it was legal you’d just buy a 
packet of twenty a day and smoke ‘em, you’d just be, just as smashed, an’ a bit    
hungry say
?  : Heh-heh, yeah
MM: I can’t see it makes any difference, specially, maybe here it would do, but not in 
places like England it doesn’t. It’s like they have-eh, like heavy, like heroin, ‘cause, like, they have it legal right, an’ they make, like, something like pot illegal, ‘cause it sort of protects the country, just stops the, a ‘black market’ coming in, there can’t be any ‘black market’ as long as, you know, tch. I don’ know, I don’t think it’s gonna make any difference at all
JB: It’s not something you’re, you’re eh, dying…
MM: No… 
JB: …and waiting for?
MM: ..ei’-either you…
JB: It’s not
MM: …you’re gonna go out your way an’ get it, you’re gonna do it
JB: Ahm… Eh, I was…This story that we had about the, about this house of yours, with all 
  these cats. I mean the house full of musicians an’ all that
JH: Oh, right
JB: Ah, is that how you’re livin’ now, do you still have all these guys-eh, around you?
JH: No. Not around me, at all. No
JB: Has it gotten simpler or what?
JH: Yeah
JB: I mean, I, I’m-uh. What, what I’m, what I’m fishing for is whether, whether you’re eh, 
  whether you’ve eh, g’-whether that’s a phase that you’ve outgrown, or something, and   
  whether you, where you-uh…?
JH: Oh, no-no, “Whether I’ve outgrown.” That’s somethin’ I had to say very quickly ‘cause 
the people’s askin’ questions at me
JB: No. I’ve kind of. I don’t mean…
JH: You walk on
JB: …I don’t mean about the dope thing. I’m talkin’ ‘bout…
JH: I know-ha-ha, I know
JB: now, I’m talkin’ about your house
JH: ...bu’we keep comin’ back there
JB: Yeah
JH: It’s the same thing. You know
JB: Yeah. No, I know, I know

NEW SONGS

JH: I just try to, you know. I was tryin’ to have some time to myself, you know. So I could 
really write some, you know. Write some things, or somethin’. ‘Cause I. I wanted to do more writing
JB: What kind o’ writing?
JH: I don’t know, just. Mostly it’s cart’-cartoon material
?   : A magnet
JH: Middle of it’s one-uh, cat who’s, is funny. He goes through these strange scenes, you 
know [clears throat] It’s all funny though, it’s. I can’t explain it now or else it’ll… You know-heh-heh 
JB: You’re talkin’ about writing music?
JH: Yeah, yeah. You put it in music like this. Just like how you can put blues into music, 
you know, important
JB: Where it’s not formally blues. Are you, are you talkin’ about long extended pieces, that 
you’d write the whole thing, or are you talking about songs basically?
JH: Oh, yeah, I want to get into, sort of ah, what d’you, what you would probably call just… 
pieces, yeah, pieces that behind each other. Like movements or whatever you call it 
JB: Yeah, oh..
JH: As I’ve, you know, I’ve been writing some of those. But, like-ah, I was into, like, writing 
cartoons mostly, yeah
JB: I don’t follow what you mean
JH: I don’t know, cartoons, music cartoons
JB: You mean music that would go well with a cartoon…
JH: Yeah, there’s one…
JB: …kind of thing?
JH: Yeah, there’s this one about… I don’ know, it’s, it’s, it’s a good way…
JB: Cigar?
JH: …is this a way, I don’ know
JB: Have…
JH: Got some…
JB:… you got somebody to draw the cartoon, or are, the cartoon is in your head…
JH: Yeah, it’s in your head…
JB: …and you put the music to it?
JH: Yeah, right, hey. Some of them… You’re listenin’ to it and you’ll get some... Such 
funny flashbacks, you know-hah-ha
JB: But it’s, like, not ah, improvised? Music? I mean it’s like, you’ve-you play it…
JH: Oh, yeah music was goin’ along with the story, yeah
JB: Yeah… ahm…
JH: Just like Foxy Lady
JB: Just like Foxy Lady?
JH: Yeah, I mean something like that, how the music…
JB: You mean the way the music an’ the…
JH: Music and the words go together
JB: When you put together a song, do you ah, like, do you ah, y-you-you’re talkin’ about 
takin’ some time out to, ah, get at some new music, but does it basically, sort of, come to you, or is it a process where you, where you get into your guitar, you sit at the piano an’ really work at it, like, starting from 10 o’clock in the morning, so for sessions eh…
JH: Most of the time I can’t hear it, I can’t get it on a guitar, you know. It’s, most of the time you’re layin’ around daydreamin’ or something, you know, an’ you’re hearin’ all this music an’ you just can’t. The guitar matter of fact, if you try to pick up the guitar and play, it just spoils the whole, you know, the whole…
JB: It’s not definite enough you mean?
JH: I don’ know, I just can’t play guitar that well, you know. So as to get all this music 
together. So I just lay around. I wish I could have learned to write [music] so I could write different instruments. I’m gonna ge tinto that, next place
JB: But then, so you, so like, first you hear the music, then you, you arrive at a song and 
then you find words for it, or does it all come at the same time?
JH: Well, all depends, yeah, it all depends sometimes
JB: But, like, Foxy Lady in particular, how did that, how did that come around?
JH : Well we can’t ah… We just started playing actually an’ then there’s’…
MM: Yeah
JH : …an’ instead of a microphone there’s…
NR: [Over the top of Jimi] Personally it’s never shut up…
JH : […]?
NR: …it goes, boom-boom, tsh, the boom-boom, tsh. That’s how we did it
JH : And I had these words
MM: An’ we was working around the riff
JH : These words-ha-ha-ha-uh
JB : So it’s like a group thing, that you all…?
JH : What you do is just…
MM: Yeah, but it’s no group therapy, it can work, maybe, you know. One person can put 
the music together an’ that wants, other person’s got the lyrics
NR: Yeah, it’s a conversion that
MM: Just see how the-it works out. Well, up to now we always used to, sort of, rehearse in 
 studios, a-actually everything was worked out in the studio. So you’d get rid of   
 everything so there’s live an’ as natural as possible. It wasn’t something tthat you’d 
 been doing for a long time… 
JB : Yeah
MM: …and suddenly you had to record it
JB : Yeah… So it’s all…
MM: It’s all put down like you’re doing…
JB : It’s all brand new as you were doing…
MM: Right, as you’re doing it
NR: Yes
JH: Just like with Voodoo Child, the-the Slight Return. Somebody was filming when we 
      started doin’ that. We did that about three times. 
MM: Yeah, that’s right
JH: Remember that?
NR: Yeah
MM: That night we were just doing it as a, as a riff 
JH: Yeah…
MM: Actually for the film thing
JH : …‘cause they wanted to film us in the studio, to make us, you know, “Lower your 
recording, boys!”
MM: And had us, as soon as we had gone
JH : One of them things, you know, it’s all figured, ”Let’s play this on the air. Four an’ a 
two, and a three an’, you know, an’ then we want them to do the shot
MM: Yeah… An’ actually when they’d gone…
JH: You’re right now
MM: …then we actually went on an’ recorded it
JH: Hmm
MM: …but… [noise?]

JAZZ

JB: There are a lot of things that you do ah, particularly if it’s, if it’s ah,, Voodoo Child is not 
an example, but there are a number of things that you do that, that sound an awful lot like avant-garde jazz, particularly your drumming, when-when you’re really churning it up, and then you’re really blowing on top of it and the bass line gets really free, it sounds a lot like avant-garde jazz 
MM: […?]
JH: Well, that’s where it comes from, is the drumming
MM: There’s just no, there’s just no actual bar lines anymore, you know, everything’s 
broken down, everyone’s got complete freedom to move
JB: Well, but, do you, is that something you arrived at, like, kind of playing rock & roll, or 
out of listening to people like Elvin Jones and ‘Trane an’…
MM: It’s not about listening to anyone really…
JB: …Albert Ayler…
JH: That’s why you have a respect… 
MM: …just the other musicians that you’re playing with
JB: Yeah
MM: You know, basically. I mean you go into a change… In this group the ba’-the 
drummer and the bass player’s roles are very much reversed, really because I’m-I don’t have to be there as an anchor, because Noel’s always gonna be there…
JB: He’s the time keeper…
MM: …if his timing’s good
JB: …and you make the comments
MM: Yeah
JB: Yeah
MM: But, you know, that role could be switched around any, any particular time, at any 
particular moment an’ it should be able to switch around in-in any part of the song, you know
JB: That’s a lot like the avant-garde jazz players play…
MM: Well, it’s real, it’s basic freedom
JB: …I just wonder whether you, you dig what some of those guys…
MM: This is freedom for you, you know
JB: …are playing…
JH: Yeah, you need to sleep…Like Ornette and those people
JH: Yeah, I think it’s groovy to hear some of the cat’s that we never heard before. These 
cat’s were actally in little country clubs an’ little caves, playin’ some sounds that, you know, you’d barely imagine, ‘specially if you’re in Sweden, or Copenhagen, or… Amsterdam…
MM: The whole load of people involved in that are rather…
JH: …Stockholm
MM: …like mathematicians, you know, really. It’s-uh, it’s like having football [American] 
numbers, you know, you have a certain the-‘usic [in silly football coach voice] “Five seven, nine bleh-bleh-bleh”
JB: Yeah, a lesson
MM: Well, the theory worked out behind that and the, it’s to use it…
JB: That, that kind of music…
MM: …to read music, you know, it’s…
JB:  …doesn’t come…
JH: You know, isn’t it
JB: …alive some ways, somehow
JH: Not, no, I’m talkin’ about complete free-form…
MM: Oh, Hansson & Karlsson…
JH: …I’m talkin’ about…
MM: …Yeah
JH: Yeah, well, Hansson & Karlsson. No, I’m talkin’ about the free-form of it…
MM: Too serious
NR: Any of that beer? 
JH: [Sings:] ‘Is there more bee-eer’
NR: It’s sold out has it?
?   : Run out of Scotch, beer
JH: Come here, doo-doo-doo-doo-doo bah-dee-da-leedle-ee an’ all this kind o’ silly stuff
NR: Yes
JH: You know, that’s why they start doin’ like a wave. They get into each other just every 
once in a while. But then their personalities and the uh, party last night, or the 
hangover
JB: Ha-ha-ha
JH: Then their ego’s start pullin’ them away again. See you can hear it go away an’ then it 
starts gettin’ together again, you know. Just like a wave that goes… comin’ in and out, it won’t stay.
JB: When you gotta move places like that, do you often jam with them, or basically listen, 
or… huh?
NR: Depends on how drunk you are really ha-ha-ha
JH: Just think and you feel… Ha-ha-you will see, listen, listen
?  : Just can’t stop it
JH: Itself hasn’t a foxy…
?   : If you haven’t got you an axe there …
MM: Yeah
?    :… I suppose
JB: Yeah that’s one thing
JH: Except Hansson & Karlsson and we jam with them anytime we get a chance to
?   : Hell, Yeah
JB: Hansson & Karlsson?
JH: Yeah
MM: Yeah, these two people in Sweden. Really
JB: Who-who are they?
MM: They’re really good
NR: They’re bitches –heh
JB: Is that, that bass player?
JH: No. no. Organ and drummer
NR: Aah hah
JB: Oh, yeah
NR: You see
JH: Two Swedish cat’s…
NR: [talking over the top of Jimi] If we’re in cubs I’m usually too drunk to reckon a 
rectangle 
JH: …that’s been workin’ about four, or five years. [to Noel:] ‘Could we, you know?’
NR: Heh-heh-heh I know
JH: I think they could be really big in America, far as, you know, really layin’ out some 
good music
?  : All these hippies…
JB: I think two fits in. I mean it’s, it’s like, fits with what you do. I mean you can you can you 
can play with them. I mean if it fits it…
MM: Or you could
NR: I-I’ve never played with them
MM: Well, I mean it’s like, any nights what you say about a show, you know, they ain’t 
friends of the show. But a couple of people maybe, if they could work 
JH: Oh, recently…
NR: Eh?
JH: I’ve got loads of them
NR: Oh, good though
MM: Ah, I kind of..
NR: I meant Hansson & Karlsson
MM: …felt maybe it’s too serious,…
JH: They didn’t play that…
MM: or that we play guitar, or whatever
NR: Hah?
JB: Mhmm
MM: And maybe you could work with them at certain times
NR&JH: Heh-heh-heh
MM: …for records. I’ve got friends like that
JB: Yeah, if you’ve, you’ve checked one thing, you wanna do
MM: Well. Yeah-ah-ha…
JP: Yeah, yeah
MM: ...sure
JP: Yeah, yeah
MM: There’s always those people around though… [in a strange nasal tone:] ‘perfect’
JP: Ah, let’s see what I got here
NR: Destroyed with a pipe. Oh. It’s a bit early innit.

WOMEN

JB: You’ve got this incredible reputation eh, with the women, man
JH: Oh, yeah, cannon ball
NR: And having tha-at
JB: No. You do, you do. It’s-it’s so true and the thing that, an’ the thing is, like, I’ve heard these stories where Jimi Hendrix balled every chick at a party and there were ….
JH: No, no, no that’s…
JB: …nearly  a hundred chicks there…
JH: No
JB: it defies the imagination, how…
JH: Maybe there was no girls there then, was there though
JB: …uh, how can that be?
NR: Only had…
JH: Ha-ha-ha you’re rotten
NR: …thirtyfive, Mitch had thirtyfive and I had thirtyfive heh
Jh: heh-he
JB: Well, that’s true
NR: Ha-ha
JB; The first four is this one over here, real
NR: Tonight, no. It just depends
MM: Really it’s…
JB: I mean there’s…
MM: …he’s an old spinster
JB: …I mean there are, you know, use the web…
JH: It isn’t…
 JB: …to put all these stories out. In a way…
JH: It wasn’t
JB: … they’re good for the image I suppose
JH: Well, I guess. Well, you know
?  : Dig tha-at, hah
JH: There’s…
[Laughter]
JB: There’s no point in this…
JH: I just want to ball the aliens
NR: List of all the scenes have you
MM: [funny old voice:] ‘It happens’… an’ it’s very true we’re lonely
JH: Ha-ha-ha-he seems to find out-ha-ha
MM: It’s really just a dyke wall
JH: Ha-ha-ha a lesbians wall, mind you
NR: And we like watching
JH: Heh-heh
MM: It’s better than being a retired spinster anyway, you know, hmm
JH: Ho-ho-ha-ha
JB: No. that reputation is, it’s so incredible, because, like uh, I hear one story an’ then I hear it, I hear it three weeks later an’ I hear twice as many chicks then an’ it’s ah…
JH: [Operatic voice:] ‘Ba-all-ll’
?  : Doctor, I’ve ripped that…
JB: Fortyfive chicks in two hours
MM: Counted totally insane here
NR: We, we carry..
JH: We got fogged in, you know
NR: We carry a case full of vibrators with us heh-heh
JH: Oh, yeah
MM: Banana douche powder
NR: Yeah
JH: Oh, right, great joy jelly of course
NR: Yeah
JH: Slippery as…
MM: Pineapple
JH: Ha-ha-ha
NR: Oh, sugar. Strawberry is best
JB: Pineapple?
MM: Yeah
NR: Strawberry’s boy jellies
JH: We rely on the different flavours heh-heh
NR: Strawberry is best though
JH: Yeah
NR: Oh, cheers
MM: He’s really just a form of French tipper
JH: Heh-heh
NR: [coughing:] Thank you
?   : My booze
NR: Cheers
JH: Ha-ha-ha
NR: Arthur
JH: That’s very good remember
?  : Gotta remember we’re all virgins
JB: Yeah
?  : What’s this line? Plug it in?  : Listen, well, I know what it is, right
JB: All right. Thank you Pete
MM: That reminds me. Have you done your table tongue exercises
JH: Heh-he
NR: Done your what? okay-heh-yeah

VENUES

JB: What size, eh. What size places do you really like, is it just-just for your own musical 
kicks. Is it better to play a smaller place and, like, jam with friends, or do you, do you prefer that whole thing panic, like all those people out there
JH: Oh, no. Of course. I like, I like afer hour jams, like in a small place, like in a club, or 
something… Then you get another feeling, you get off in another way, you know, with all those people there, you know. You get another feeling then you mix it on with something else that you get-heh. Ultimate fears, at least…
JB: You’re a star, spotlights an’ all
NR: …old guy
JH: No. It’s not the spotlights. It’s the people, you know
JB: Yeah… How-how are those, how are those two experiences different though. I mean, 
how is it, what the, this thing you get from the audience, you know, how-what is it?
JH: Remember, I get more of a dreamier thing from the audience, you know, it’s more of a 
thing you go off into, you know, you, you get into such a pitch sometimes that you go off into another thing an’ you don’t forget about the audience…
JB: Hmm
JH: …but you forget about all appearin’ none-eh of it, you know, and sayin’, “Oh, gosh, 
we’re on stage. What are we gonna do now!” an’ then you go off into this other thing, then it turns out to be a, like a, almost like a play. Only in ce’-certain ways though, you know. You have to look at it in-hah different ways so it’s…
NR: Fuck, I couldn’t meditate, ‘cause it hurts, it hurts me knees
JB: Did she have to?
MM: Yes
JH: Ha-ha-ha
NR: Duh, I can’t see how people can sit down [on the floor] Oh!... Ooh!
JB: But just the, just the, like, jamming after hours, it’s like you don’t have to be so 
concerned with visual, I don’t know if you’re so concerned with those things when you’re on stage anyway, really
JH: Anyway we don’t turn on slick…
JB: You don’t kick in many amps anymore, or, or light guitars on fire, any of that stuff, so…
JH: Hmm. Yeah, I just, maybe I was just noticin’ the guitar for a change, maybe…
JB: You seem to have, just to have come to a point where that stopped. Ah, was that like a 
concious decision, or you just lost interest in, are you just…?

MADISON SQUARE GARDEN DEBACLE:

JH: I don’ know, it’s, it’s like it’s the end of a beginning maybe, or something. I figured that 
Madison S’-Square Garden is like the end of a big, long fairytale, you know. Which is great, you know. It was the best ending-ha-ha I could possibly have come up with
JB: Well, the thing is about that, about that performance there, you played New Year, a 
New Year’s Eve set that Bill Graham said was the best, maybe the best set that he’d ever heard from the hoose and so did my-the band must have..
JH: The band is out of sight, far as I’m concerned
JB: But then what happened at this point in time Jimi?
JH: It was just this other way the head changes, going through changes
JB: [Over the top of Jimi] I mean, it wasn’t that the band wasn’t…
JH: It just happened to catch me at that particular time
JB: Was the band playing badly, you mean?
JH: I don’t, I couldn’t, I really couldn’t tell
JB: So that had nothin’ to do with it?
JH: I really couldn’t tell, to tell the truth. I just couldn’t, tch. I don’t know. I was very tired. 
You know sometimes there’s a lot of things that add up into your head about this and that and they might hit you at a very peculiar time, which happened to be at that peace-heh rally, you know, and here I am fightin’ the biggest war I’ve ever fought in my life, inside, you know, an’, an’ like-uh, that wasn’t the place to do it. So I just kind o’ asked the police’s…
NR: Heh-heh
JB: Will that band-eh, perform together [again]?
JH: Well, I hope so, yeah
JB: I mean that’s not, you haven’t like disbanded…
JH: No. Not at all
JB: …those guys?
JH: Just so we, you know. [whispers] ‘It’s all over, okay, heh’
JB: Hah?
JH: Mhmm
JB: I mean it, yeah. It’s-eh, this is the band [JHE] you’re gonna tour with, but you’ll play 
some dates with them [BOGs] too? I mean it’s gonna be…
JH: It’s just like jamming, it’s just like, you know, we have a schedule, this band [JHE] will 
be…
JB: Yeah
JH: …like, the main concern, because this is, you know. Far as I’m concerned it’s what’s 
happening, you know
JB: This is the number one band, but…
JH: Yeah
MM: The other do is a personal anyway, you know, you’re always gonna play with loads of 
people…
JH: Yeah, but…
MM: …but they’re your friends
JH?: Wrong

FAT MATTRESS

JB: And Fat-uh…
JH: Oh, Jesus, fuck
MM: Heh-heh
JB: and, like, Fat Mattress will…
JH: Hope he’s gone
JB: …will stay together, or what will they be doing…
NR: Fat Mattress-heh I don’ wanna talk about them. No.
JB: That’s, that’s done with?
NR: Finished a second album, an’…
JH: You have a shovel, then you have a spoon
NR: Well, you got an album… 
JH: Mmm
NR: …with-we did two albums in there, that’s one thing. But I think we might record 
together
JB: And that’s it
NR: But I won’t be playing with ‘em
JB: As a performing, thing
NR: I won’t be playing again

JACK BRUCE AND FRIENDS

JB: And do you have a group o’ your own, I don’t, I don’t know whether you…
MM: No. Well, kind of, yeah
JB: …whether you actually formed, what’s it…
MM: It’s just an amalgamation of friends
MM: Is this the, the thing with [Larry] Coryell
MM: Yeah, right
JB: And [Jack] Bruce
MM: Yeah
JB: And Mandell
MM: It’s just people that you’ve known over the last few years, since you’ve been playing, 
you know
JB: But that is an informal thing anyway an’ then, I mean you, you are…
MM: Of course, so it’s a thing that could be put together any time. I mean we’d always play 
together if we found the time. Well, I’d played with Larry before an’-uh, Jack had, but none of us actually played in a band at one time together
JB: Mhmm
MM: But, I mean that could put together any day of the week, if you weren’t working
JB: You mean it happens that easily that, like, you can’t, like, you don’t have to ah 
rehearse, or inputs and stuff, you just jam basically. That’s okay
MM: Yeah, right, but, I mean there’s a certain structure behind it, you know. You know 
what you’re doing, so you have to go and get so many songs to get over to people
JP: Sure
MM: What you’re actually doing on stage is an extension of that
JB: Ah, but it’s not like… But that’s, that’s just an occasional thing?
MM: I know, yeah, but it’s-‘ll-it,  I mean we-it’ll be put together for recording for certain 
times, with other people coming in an’ dropping in an’ out

NEW TOUR

JB: Do you have the schedule that you’re gonna play, worked out right now, for the next 
year?
NR: Yeah
JH: Yeah, but identical
MM: It is, yeah
MJ: Yeah, we have. We’re pretty certain about being at eh, eh, in Los Angeles, right now 
the plum figures we’re gonna play the Forum, or another big hall which is coming, you know, put together for it by Bill Graham 
JB: In LA?
MJ: Mm-yes
JB: How s’-how soon?
MJ: Eh, I would say m’-mid April [actually 25th]. In the four weeks prior to that the boys are 
gonna disappear in the hills somewhere an’, like, get it together…
JB: Which hills?
MJ: …and be together
JB: So you tell everybody…
MJ: Ehm…
JB: …I mean they can all see people count people
MJ: Well they’ll-they’ll be warming hills, I know that now
NR: Across the water
?   : How much, to go
?   : Well, we don’t know.
MJ: We don’t want to hear what’s his name
?  : Mainly bull and footloose
JH: Hee-hee-hee
NR: South Africa

ROLLING STONE

JB: The Mali government just eh… 
MM: Sent into another line
JB: …just sent in for a subscription to Rolling Stone
JH: Mmm. That’s good, that’s really good
?   : [someone talking at the same time]
JB: I don’t understand you, man
JH: I dig Rolling Stone. I think it’s cool
JB: Thank you, man. I just write so I don’t know
MM: What happened with all that nothing in England
JB: Pardon?
MM: What happened with-with all that thing in England, sort of
JB: Well, we had that, some people doing it there who didn’t do it as well as we thought
MM: Oh, yeah
JB: They were, they were doing some separate pages…
MM: Oh, well
JB: …for the British editions, so
MM: Yeah, but wasn’t that a subscriptions…
NR: No. I noticed that
MM: ‘Cause a lot of people seemed to be getting a magazine with… now it’s fine
JB: Ahm. The way it is now they just print the same, the same edition that you get in the 
United States is printed in England minus some of the ads and plus some British ads, but it’s eh, it’s the same thing you get here. I think that, I think the record reviews might be a little different later on now, you know, like records that are released there an’
?  : Obviously, why make it new?
JB: It is… I’m given to understand
?  : Felt like knifing him too
MM: Mickey Mouse

ELECTRIC LADYLAND PRODUCTION

JB: Now you’ve, you’ve produced ah, your own records. I don’t, did you produce the first 
one?
JH: No-oh. It was all Chas Chandler
JB: So just-just the last one? An’ I’m so poor…
JH: Anything with Chas Chandler, or somethin’ mostly working myself, you know. Eddie Kramer is the eh, engineer [coughing] he knows what he’s like. He was ex-producer kept 
things together , huh
NR: And George [Chkiantze] 
JH: huh 
NR: Walnut George
JB: Oh, uh
JH: George, oh, yeah George too
NR: Irish George
MM: Yeah
NR: He’s funny
JB: On the last record though, I think it said that, I think it listed you as producer didn’t it, or 
did it?
JH: Yeah, well, you know
JB: What’s that, what’s that mean…
JH: Heh-heh
JB: …what are you, what are you giggling at?
JH: I don’t know really, I haven’t found that out yet. ‘Cause I heard it an’ I think it’s 
cloudy…
JB: The record?
JH: It sounded, the sound is very, you know, nasty. It’s, you know, it’s nothing but goin’ 
through changes, that’s what happens
JB: But you did produce that. I mean you, you were…
JH: Yeah
JB: …you did the whole thing on that record 
JH: No. Well, like, Eddie Kramer and myself. All I did is, w’-was just there an’, you know, 
make sure it was, the right songs were there, whatever, an’ the sound was there, or not there but look, you know, we want a particular sound
JB: Yeah
JH: It got lost in the cutting because we were on tour, you know, right before we finished, 
you know, in the actual cutting
MM: Yeah, it was so low
JB: You mean that cloudy, hazy kind of effect that’s throughout the whole thing was not 
intentional [what!? I think I smell bullshit!], you didn’t mean to do that
JH: We didn’t
JB: You’d rather have a lot more clarity then, I’m sayin’?
JH: [Jimi sounds annoyed at this] Ye-hah
JB: I mean most people, I think, are under the impression that was what you had in mind, 
you know. ‘Cause there it is, you know
[The lads seem pissed off at this]
JH: Yeah, well, maybe he’s got good hearing
MM: Well I don’ know what you were hearing from it, you know
JB: No I. I know what you mean about the, there’s a general sort of…
JH: Yeah
JB: …it’s a little mushed together, or somethin’. Ahm, are you gonna do it that way in the 
future, or are you gonna…?
JH: We want to work, work jointly with ah, just
?   ; Huh, huh
JH: …Eddie Kramer and whoever else comes along
MM: Someone that’ll be much more articulate
NR: What does that mean, heh-he
MM: Like, it sounded really nice, especially for this time of night
NR: Ha-ha-ha
MM: As soon as our peanuts, you know
JB: When you get out in the studio, what do you, what do you, you basically eh, like, you-
you put together most of the arrangements there. I mean you don’t come in with, in the past you’ve not come in with things really worked out ahead of time…
MM: You have ideas in your head, but it’s, you know…
JB: Yeah
MM: …can you get it over to those people there
JB: But you really put it together in the studio
MM: Yeah, right
JB: And then once you put it together in the studio, that’s the way you’ll perform it, pretty 
much from then on
NR: Not really
JB: It’s a basic structure, for the way you’re doin’ it
JH: Hmm
JB: Somethin’ like that?
NR: I always write the whole thing down, personally, before I go in
JB: You do? 
NR: Hmm
JB: Based, based on, based on just some ideas, or
NR: Mhmm
JB: You’re not, you don’t have the whole thing together
NR: Mattress song, mhmm, Mattress song, I’d know the whole lot
JB: Your own songs, you mean?
NR: Yeah
JB: I mean not one of Jimi’s if you haven’t heard it
NR: Well, if you gave me some lyrics I could write some music to it, a bit
JB: Yeah
NR: ‘Cause that’s the way I work with Fat Mattress you see an’ it’s good. We get a lot done 
that way
JB: Well, does it pretty much work that you all have a hand, like, o’-on almost every song 
you, you’re all in on what the arrangement’s gonna be?
MM: Well, of course, you know, I don’t, like, if he comes to me, he can come and say, “I’ve 
an idea for a, maybe, a certain pattern,”…
JB: Right…
MM: but I might not be getting around his so I wanna hear it
JB: [Talking over Mitch] but I mean there might be one, like, a so’-one of your songs, you 
know, one of your songs, you might want the arrangements to be just like this, no other way, you know. Does it ever work that way?
MM: No, it doesn’t
MM: N’-no, huh
NR: Plus, you think that one person telling you what to do. I always say to people, “This is 
in so and so key, there’s a break there, you can go wo’-do what we want in that part an’ it comes back into the song there and finishes. But I never say to a drummer, “Play –diddle-uh, diddle-uh-duh,” or something, you know
JB: Do it my way
NR: No-no. No I never, I just say, “Krrrrghrrgh,” play it loud ha-ha
[Laughter]
JB: Slam, slam
JH: Oh, that’s good
NR: Ha-heh-heh

DYLAN & COUNTRY

JB: You did eh, ‘All Along The Watchtower’ on the, on the last one, is there anything in 
‘Nashville Skyline’ that you’d like to record, you know
JH: Oh, yeah. I liked that-uh, what’s that one that-uh…
JB: ‘Lay Lady Lay’?
JH: Says help, no. ‘Help me in my a-ah’, what’s that, about a drifter, or somethin’ like that. 
Can’t even remember the name of it
?   : Fuck me, man, it’s a thousand years
JH: Yeah… 
JB: Oh, yeah, yeah, yeah. Yeah
JH: Yeah that was groovy. I wanna do that one
MM: Real skinhead photographer
NR: I-hah know, I just knackered him
?   : Then in other words we’ll be kicked around
JH: You know, I had the lyrics up an it’s always just a ground.
MM: Take his jewellery
JH: So I guess that was, you know, we have to lead the mob-ha-ha
NR: I noticed their women
JB: But you, but you’re, you’re gonna do that. Do you like, do you like Dylan’s ah, country [Laughter] thing. The Nashville phase did you…
JH: I liked, I like jokers. His ‘Blonde On Blonde’ an’ his ‘61 Revisited’ 
JB: Right
JH: His country stuff is nice too, has certain talents, you know, little more, you know,  
distant
JB: It’s, it’s more distant than, it’s not as similar…
JH: It’s quieter, you know
JB: It has less to do with your kind of music then, I would say. 
JH: Why?
JB: You’re not what I’d call a country guitar player
JH: Ah-hah. Thank you
NR: I like country
JB: You consider that a compliment?
JH: Oh, yeah, it would be if I was a country guitar player
JB: Yeah
JH: That’d be a, you know, another step
JB: Yeah
NR: It’s good to play country uh-whuh… heard that record? ‘Area Code 612’
JB: Yeah, it’s nice
NR: It’s incredible init
JB: Yeah
NR: I like it, that’s, that’s what I call ‘rock and roll country’
JB: Yeah, that’s a, that’s-that’s a nice record
NR: It’s really good
JB: But, like, that’s not a thing that you guys are gonna get into
NR: That’s what I like personally, a lot of my songs are like that, hmm. It’s a good record 
anyway
JB: Are you listening to a lot of bands like that, that are doin’ a country, that are into the 
‘Burrito Brothers’ an’ the, an’ people
NR: No. I don’t like ‘The Byrds’ anyway
JH: Who’s the guitar player for the ‘Burrito Brothers’? that cat he plays, oh
JB: That guy’s a bitch
JH: I dig him
JB: He is good, yeah
MM: I like his soloing
JH: Listen to him any time bitch
JH: He’s, he’s really marvelous with a guitar, that’s, sometimes we listen to that, it’s the 
music ah
JB: It’s sweet, it’s got that thing to it…
JH: Yeah
JB: …you know, it’s always got that
JH: [In silly voice:] ‘Hello Waltons’ heh-heh. Remember that one? Hello Walls?
JB: Hillbilly have your eye out
JH: Heh-heh
JB: Remember ‘Bob Wills and the Texas Playboys’?
JH: Wa-hah-ow-ha-ha-ha!
JB: Yeah, they used to be on television when I was growing up in Cincinatti, man
JH: Yeah they’re right
JB: Television five nights a week
JH: I dig them myself
MM: I still have that
NR: Do you like the ‘Hot Rats’?
JB: Hot Rats? It’s, yeah
NR: That’s very good, isn’t it?
JB: The Zappa title?
NR: Yeah
MM: Remember those TV shows in Texas?
[Everyone starts speaking]
JB: Right below the eye
MM: You remember Big Time?
?   : Cigars
JH: Yeah. Granma Lofty used to come on, I used to watch that.  Used to ask him if he’d 
play the heavy hits, heavy guitar players o’ somethin’
MM: Well those people, the people that follow that, like, the real country music, sitting 
down in Texas, goes all night through the whole of Saturday
NR: Ah, that’s nice
MM: And they’ve, they’ve really, they follow these people from the time they’re born, like, 
they were kids of [musical] families, maybe, like the Everly Brothers, you know, sort of, brought up by their parents [to play].  
JB: Thing that’s so fine in Texas is they got so much variety. I mean, you’ve got Cajun 
music going, you’ve got a lot of blues players an’ you’ve got the and it all merges someway you know
?   : Yeah
MM: I’ve thought a lot o’ really fine musicians coming out the mid-west as well, you know
JB: Which, whi’-what musicians do you guys go out of your way to hear, other-other, any 
particular people, or is it just depend on your mood?
NR: Ray Charles. I’ve never seen him, I’d like to see him
JB: You’ve never seen him/
NR: No
JH: Nina Simone and Mountain
NR: Yeah, I would
JB: Mount? Mountain?
NR: I’d like to see Mountain
JH: Yea-eh
JB: Mountain, ah, needed somebody
JH: Russian expert
[Laughter]
JH: I dig him, it’s very juicy or somethin’:
NR: An’ I like ‘The McCoys’ heh
JB: The McCoys?
JH: Bom-doo-doo [‘Hang On Soopy’?]. Yeah that guitar player is great
NR: He’s a good player, only young
JB: I mean these are, these are people that you, like you would go out of your way to, that 
you’d go out of your way to hear? When you, when you’re listenin’ to em, is it…
MM: You’re biased if, if people who, you know, if you kind o’ know people
JB: Yeah
MM: Saw a few people I really, I, I just go according to a mood really. Who am I gonna see 
then? Maybe someone like Tony Williams, but that’s as we’ve…heh-heh, to add some biased opinion
JB: Too watch Tony Williams?
MM: No. it’s to listen, to listen to John McLaughlin, or something 
JH: Amen
JB: What do you think of Tony Williams as a, as a drummer, ah it’s, it’s ah, different?
MM: I don’t think about him too much as a drummer, you know. I’m not all that influenced 
by other drummers, usually bass players, or guitarists, whatever, well out of, you know, whatever happens to be there. He plays really strange, because when-once you can play-eh, your instrument to some extent. You know you can play things that other people might hear…
JB: Mhmm
MM: …you know, other-other people might play, so you hear them, you can play ‘em, but 
he plays things that I never think of playing, you know.
JB: It wouldn’t fit what, what you do, now?
MM: I’m not sayin’ it wouldn’t fit, but you see…
JB: They have nothin’ to do with you?
MM: …he didn’t. No. He just pays it completely removed from any, from any other 
drummer
JB: Mhmm
JB: Not that he’s any better, or any worse, actually. Just that he plays, an’ the instruments 
play off his snare drum. You know, like, what he was, he just played so harmonically.
JB: Are there, are there other kinds of-eh music, I mean outside rock and roll, outside uh, 
you know, all this music that we’ve been talking about, that you go to for inspiration? Do you listen to eh…
MM: That’s what music is
JB: I hesitate to say Indian music, but I mean other, other kinds of eh, you know, like 
classical music and baroque an’ all that, are you..?
MM: But of course. Wel, that’s music for your mood, you know
JB: Yeah
MM: It’s like building up a library, like fairness to people, like only I listen to maybe 
Tchaikovsky at a certain time if I really feel like that and some of the music, maybe, John Coltrane was doing, before he died, Some of that, but I couldn’t listen to that all the time. You know , it’s like having, people build up collections-hah then say, “Now,”  like, they’ll be gonin’, “Bend your ear to this” an’ that’s really kind of dull. I think they’re wrong
JB: Well, then, I mean, like, your tastes are broader than, probably, the typical rock and roll 
for roll fan who are listenin’, who have taken to write home…
MM: There’s only, there’s only this music, good and bad, you know
JB: Yeah
MM: Remember there are really bum classical players as well, you know heh
JH: Least of all I can play is for my friend. But I’d, I’d like to get somethin’ together with-uh 
like ah, Handel, Bach, Muddy Waters, flamenco type of thing together
[laughter] If I could get that sou-ound ha-ha-ha [laughter] If I could get that sound, I’d be happy. 
JB: Somebody could, you know. The way Vivaldi wrote a lot of his music, somebody could 
just blow, just improvise over the, take the, take the bassoon out an’ you could just blow off the instrument thing
JH: Hmm
MM: Some of the development, those Bolero things as well
JB: Mmm
MM; Which is strictly a rhythmic thing inside 
JB: Yeah
NR: Make it real buddy
MM: You could take really, a lot of Ravel’s stuff is very African, cause there…[tape cut]
NR: I play Eddie Cochrane…[tape cut] 

COMEDY

?   : Hello, holding ‘Masked Marauders’*
?  : [Silly voice:] ‘Yes mama’
JB: Yes, he knows, yeah
MM: Oh
?   : Did you like our little record?
?   : What is that?
MM: Would you mark him with this hand
JH: Ha-ha-ha
NR: What’s the ‘Masked Marauders’
JH: Ha-ha-ha
JB: ‘Masked Marauders’ is a varied…
MJ: I never heard it before Jimi
JH: I heard about it
JB:… Satire record, released on Warners
NR: I’ve never heard of it before, cheers Vic
JB: There’s, there’s one good thing, ‘Can’t Get No Nookie’ which is an imitation of Mick 
Jagger an’ it sounds a lot like ‘Sastisfaction’ …
JH: And ‘The Fugs’
JB: …and a couple of other things, you know
JH: And ‘The Fugs’
JB: An’ it’s a thing that’s a n’-but it’s a nice…
JH: Very good though
MJ: Needed congratulations, thank you
MM: The cruelest man actually…
MJ: What is this absent space that you have below?
MM: …I’m gonna add to them
JB: That’s all a fake
JH: Yeah
JB: This the guy who’s seen ‘em
?   : …funny
?   : This guy getting’ high
JB: Tired of crouch
JH: Oh, you haven’t seen Dylan
JB: Our critic got tired of all the super-groups
MM: I admit, I admit I’d seen ‘em
MJ : See who, who’s that? ‘The Fugs’? 
MM: Yeah
NR: They sing all dirty things though don’t they? Heh-heh
JB: …all the bullshit about these groups…
JH: Fuck me, I’m right next door-heh in the café though, ooh 
JB: …and decided he’d do a fake review, the album was supposed, supposed to have 
Dylan, Jagger, Lennon, all these people on the same LP
?   : Produced by Al Kooper
JB: Produced by Al Kooper, yeah
MM: Ah, mm
JB: But it’s just got that one good track. It’s got, it’s got a Dylan sounding thing called ‘Cow 
Pie’ it’s kind o’ nice, where he ah, comes on at the end, instead of the start and says. “Are we rolling yet,” you know
JH: Only is
MJ: It looks like a musical ‘first family’ album [as in The Kennedy’s, Bush’s etc.]
JB: Yeah
JH: Ha-ha-ha!
JB: It’s, yeah, that’s what’s happenin’ yeah
NR: I just listen to ‘The Goons’ everytime
?   : I was first in the musical ‘first family’ album – Monterey it happens
NR: Yeah- tchoo
?  : Heh-thinking-heh-over it
MJ: Ha-ha-oh that’s right –heh-heh
NR: You ever heard ‘The Goons’?
JB: ‘The Goons’? 
NR: Yeah
JB: You mean the, the radio show an’ all, in England?
NR: Yeah
JB: I’ve heard of it an’ I’ve heard a few tapes
JH: Oh, they have, they don’t have those over here? Remember those old albums?
JB: I have…
NR: I’ve got their six albums
JB: Are they, are they still doin’ it?
NR; No, no 
JB: That was Peter Sellers and those people, I know
NR: Nineteens fifty two
MJ: Spike Milligan
?   : Spike Milligan, Ye-es, I know it
JH: Those are classics
NR: Lasted six albums, you know an’ you can’t get them. You just can’t get ‘em. I play that 
all the times
JH: One of the funniest things I’ve ever heard
NR: It’s incredible
MJ: You really think that is?
JB: We have Spike Jones?
JH: Pinky Lee1, besides Pinky Lee
?   : …? We ain’t even listened to that
JH: Remember pinky Lee?
JB: Peggy Lee?
JH: Cut. No. Pinky Lee
JB: Pinky Lee
JH: It was, like, a classical Pinky Lee. A whole lot off Pinky Lees together and just driven 
out completely
JB: You a Pinky Lee fan now?
JH: Used to be. I used to be able to write stuff
JB: Man, that guy was so, but he had a speech defect or something didn’t he, I mean…
JH: He was a test-tube, baby
MM: Bonfire tonight
NR: [In silly nasal voice:} ‘That was awful Mitch’ 
MJ: They always make money, the village idiots
NR: ‘Shut the door properly’
JB: He was a faggot, but he also had a thing
?   : He had a joke up, didn’t he
NR: [In ‘fag’ voice] Heh-heh, well, mmm: 
JH: He was a frisky freak really. Mary…
NR: [In ‘fag’ voice] ‘Hello dear, how are you’ heh-heh-ooh
?   : Final Pinky Lee story they were talking over it good. Dick Cavett show…
?   : The Pinky Lee?
?   : I think it’s someone in here 
?   : He was about to go away, he had him on a Sunday time program and they’ve made 
him wait ‘til the last minute of the program and he’s back to, “I won’t go on, I-I just won’t go on, I will not go on,” an’ then they say. “Pinky, you’re on, well, after this, “Dick! How great to see you,” he just was to stupid to get out.
?    : Ha-ha-ha
NR: Bloody Hell
JH: Huh. [In ‘announcer’ voice:] ‘That was Michael Wilson’
MW: No. That was Pinky Lee
JH: [Strange voice:] ‘That waas!”
NR: I don’t think I’ve ever heard it
MM: Yeah
JH: Heh-he-yeah
JB: What-what else do I need to know then?

JB: Well, one thing it’s, like, you…
NR: [Over the top of JB:] ‘Mitch wears a pair of socks’
JB: According to one, according to one story you were rehearsing, like, twelve and 
eighteen hours, with Band of Gypsys, is that true?
JH: Yeah, we just used to go up there an’-uh, jam actually. We’d say ‘rehearsing’, just to   
make it sound, you know, official you see. We was just getting’ off, that’s all.
JB: Eighteen hours is a long time, in a rut?
JH: I, I don’ know, it’s in a room. You know, you can rent a place. Not really eighteen 
hours, say, about twelve or fourteen, maybe, you know if you’re talkin’. 
JB: I mean you’re not gonna do that with this band?
[Nervous laughter]
JH: I don’ know, we’re house broken
MM: Oh, yes
JB: Except in, except in anybody excepting fjords you could do an eighteen hour 
performance when you fly
JH: Whatever you… yeah
NR: I can’t, fall over
JH: But, long as we all play together, somewhere on stage. We played about two and a 
half hours, three hours one time, almost three hours one time [no, they didn’t, maybe the whole show including the support act!]
NR: Yeh
MM: Yeah
JH: Ideas
MM: Means anything
NR: At the Forum
JH; Mmm?
NR: Forum
JB: At the Forum?
MM: Yeah
NR: We did two and a half hours
JB: What’d you do for that long?
MM: Oooh what’d we do!
NR: Okay now…
MM; We got there and played
NR: We played
[Laughter]
MM; What would you do for all that time? You knit?
JH: You make sounds
JB: Well, yeah
NR: That really is a lovely shirt there
GS: Use your loaf and sit down
MM: It is great if people wanna, come and sit down and listen to it, fine
JH: people make sounds when they clap, some of them make sounds with. I make sounds 
with. I have electric sounds, feedback and so forth…
JB: Three hours
JH: …static. ‘Aggro’2
NR: Yea-eh-heh. 
JH: The ‘bovver boys’2
NR: He goes [In a crazy US accent] ‘Crashed my motor mac!’ All that ‘bovver’2 ha-ha-ey.
JB: How soon is your next ah, LP gonna come out?
JH: I don’ know. Wait a second…

JH: Compensatin’ ways, you know
MM: Yeah
JH: In the main ways, really
MM: I know, but you don’t understand, that’s why thy’re wives
JH: I-hah know, I know ha-ha-ha
JB: Well, can you, can you just write down a, sure, but, just, can you just write down an’ 
address in a sentence
JH: Ha-ha
MM: Well, listen, I’m really just, I’m in a shit-hole
JB: You come to my place?
NR: Yeah, fine
MM: Yeah
JB: An’ then I 
JH: Ah-huh
JB: …come in my room with me
?  : Well, okay, yeah

*[‘B’ side of ‘Cow Pie’ a ‘Deity’ records single release by ‘The Masked Marauders’. The LP was Robert 
  Christgau’s album of the year (1969) the hoax was started ‘in house’ by Rolling Stone mag‘s Greil Marcus] 
1Pinky Lee – children’s TV comedian, had a lisp and dressed like a clown
2English ‘Skinhead’ talk: ‘Aggro’ & ‘bovver boys’ (Agression, ‘Bovver’ boots, ie ‘Bother – trouble, heavy boots 
 for sorting it out)

JEFFERY’S NAPALM CRACKER

MJ : Here you
[Bang]
?   : Christ!
MJ: Ha-ha-ha sorry about that
NR: Ha-ha-ha
JB: Wow, what was that napalm?
MJ: Absolutely! It’s out of service napalm, right
NR: Love that
JB: Wow
MJ: It cost a dollar seventy five, you know, it was…
JB: It was great, I’ve never heard.
MJ: Instant Molotov cocktails
NR: Ed, where are the cocktails in the bar?
?   : Red hatch in the corner
?   : Did you do that to me?
?   : Noel, so how couldn’t you play for very long? [some game appears to be playing]
NR: I just can’t even play at all
MM: Cheers
MJ: Got it, okay?
?   : I think I won that
MM: I didn’ take anything there
?   : I didn’t
JB: Yeah, yeah, send away for that
MM: So did I. here are you sleeping tonight?
JB: Laval, it’s Central Park south and almost central, it’s just a little west of central. Some 
place out there
?   : Okay I’ll see you around
JB: Yes
?   : That’s a, that’s a strange walk
JB: Great, right, right. How soon you gonna be back?
?   : Early in the week

BOGs SINGLE

JB: Well, so you’re not, you’re not thinkin’ much abouts. You think, you’re thinkin’ about 
singles, but you’re thinkin’ of different away from him
JH: Then they’re no, not-uh, nothing’s set, you know. He’s askin’ do we have one
?   : Charles? Either…
JH: Uh, where will we have one, or somethin’
JB: Yeah
JH: We might have one from the other ’thing’ [BOGs] coming up soon, right
JB: Where? Here?
?   : No. I’ll give you the, I’ll call you at the hotel an’ funk
?   : Let’s wait now
JB: what?
JH: I was goin’ with Buddy and them, it’s called ‘Izabella’ and the other side is ‘Sky Blues 
Today’ that’s one. I don’t know about the ‘Experience’ fellahs, you know. All depends, you know. I’d like to come and save my singles anyway
?   : Yes, baby
JH: Really do. You know, you don’t sit there  and say, “Let’s make a, a three minute track.” 
“Let’s make a single,” or something, we never, we never go into that.
JB: Like, Credence Clearwater do, do that. They can say they think just about doing 
singles, you know, and then eventually they got enough singles to, they put ‘em out on an album, or it’s like the old days how they do it.
JH: Well, that’s the old days, right
JB: Ah…
JH: I-I, I consider us more musicians. More in the minds of musicians, you know
JB: Yeah, well, those guys think of themselves, Fogerty thinks of himself as a songwriter, 
basically. So I guess it’s a diff’-so it is totally different, totally different thing
?   : I’m not into single stuff
MJ: Understate the political comment. You know, it’s the record company trip, it’s the rock 
and roll thing
JH: Yeah, they always tasted the money
JB: A single can make you some bread, can’t it. I mean that’s, that’s a …
JH: Yeah, well, that’s why they do it,that’s why they do it.
MM: Listen, let’s be, yeah, hide behind it
JB: They can make use of that news
MM: Well give, what-what’s the reason for us actually getting together..
JH: They were taken off though. You have a whole planned out Lp an’ all of a sudden 
they’re say- the make ‘Crosstown Traffic’, for instance, a single an’ that’s coming out of no’-I mean, that’s comin’ out of a formula set. See that LP was, you know, you’ve certain ways of thinkin’ besides before, in order for a certain wisdom’s case, but then it’s, it’s  almost like a sin for them to take off something in the middle of all that, you know, one two, three. Take out number three and make that a single and represent us at that particular time, you know, cause they pick all the green off
NR: Nintey pub
JB: Sorry. In other words you’re taking it out of context, you’re taking it out of seque…
JH: They always take out the wrong ones
JB: It doesn’t have the meaning, that it has when it’s in the same thing, yeah
JH: Right
MM: Right
JH: True
JB: Yeah
MM:  It’s not just like recording, like, ‘A’-maybe, like ‘All Along The Watchtower’ Just 
because it happen’s to be someone else’s song. Maybe you’ve got things in mind, certain thoughts, make it up
JH: Yeah, right
MM: That’s me writing…
JH: Well, that’s Mitchell has got an album
MM: …you know, but in an album context in can be okay, but…
JH: That’s why I’m tryin’ to get into songwriting with him some more…
MM: People just take me to the taste of it, you know, you know
JH: …’cause he writes good songs, he writes very good lyrics, Noel does. That’s what I’d 
like to do
JB: Who? Noel?
JH: Yeah. I like to get into really good lyrics, you know. ‘Cause after recording ‘In The 
Watchtower’ and so forth and then listening to it, then you hear exactly, you know, only through somebody else’s words, what you wanted to say at that particular time.
JB: Your-your, recording of that turned me onto Dylan’s recording of that, because that 
was one of the few things on ‘John Wesley Harding’ that I hadn’t, it just didn’-it didn’t reach me, you know 
JH: Mhmm
JB: An’ you heard it, you know, that an’ that’s-uh
JH: Well, it’s, you know. That’s the reflections of your mirror [in strange wobbly voice:] 
‘When I broke up mirrors an’ all-uh’
NR: Where was that?
JH: Ah-i-is tha-hah-t for the easy
NR: In LA wa’n’it?
MM: Are you talking ‘bout the old house, you know the one?
NR: Remember that?
JH: That was the song. No. it was the, it was the recording of it John boy. Don’t think we’ll 
ever finish that. I hope not. Ah-huh, huh
JB: You have a song that you’re still workin’ on?
JH: Oh, yeah, we’ve been working on it heh-heh
MM: We’ve been speaking words
JH: It’s called ‘A Room Full Of Mirrors’ heh
NR: I could write some lyrics for you
JH: Been tryin’ to get out of this, you know, so it’s all about, tryin’ to get out of this room full 
of mirrors, you know. It’s-it’s either type of mixed ‘Mountain’, or something.

JB: How come you can’t I-I don’t understand why you can’t finish it. Wh’-what’s the..
JH: Ahm-it’s…
JB: …i-it’s just that you just never quite come true to your…
MM: He’s serious, look and see his frown
JH: [In one of his silly voices:] ‘Well, see, I’m going through this health kick you see that 
I’m ah-hah…
JB: [Not amused] Yeah
JH: …I’m heavy on wheat-germ
JB: Right
JH: YouknowwhatImean. You know what I mean? I mean far out …
?   : Sounds good then
JH: …mud on her what?
?   : oh, shit
MJ; Two people could
NR: Would like to get up and write and get together and that they can help things, you 
know, ‘cause somebody’s got one section, they could sing to somebody and somebody else could finish it off, you know
JB: Find the right way to
JH: Yes
JB: Got a pencil?
?   : Yup
?   : Yeah
?   : I don’ know
JB: Somewhere… Get along with Paul
NR: You come with your partner Jimi?
MM: Dressed in black
?   : I wish we had
JB: Yeah, somewhere
?   : Where would I come from/
JB: Now, here you go
?   : Here
?   : A truck
NR: All remember you that night
JB: Yes
NR: Is it ‘after clock’ booze George got me?

FUTURE JHE SINGLE

JB: But you’ave, but you, you are thinking about singles as a separate thing from LPs, is 
that it?
JH: No. This isn’t anything
JB: Too fat
JH: Yeah. Now if they do…
JB: I mean you may, you may…
JH: …the singles we will make it. We’ll, w’-we will, Artie, we’d hate for them to d’-you 
know, to do the same thing they wouldn’t do any for instance. If we’re gonna do a single then we’ll, then we’ll ahm…
JB: Make it as a single, right?
NR: Yeah
JH: That’s in-ah, eventual to that next LP probably comin’ up, you know. You might evn 
have the same version on the L’, I mean not the same version, but the same song on the LP, only in a different version
MM: Different version, yeah
?   : I can see you look hysterical
JB: And if you look at the three parts of the whole twelve bars of that
MM: …every single part of the album, you know
NR: I owe Clapton a strat hah-hah
MM: …and maybe only one track leading in to it
?   : Will, the Rolling single be hard
JB: In other words you can make the single
MM: We’ve a song lea’-it’ll be a song coming off it
JB: Yeah
JH: That’s-that single, that makes, that makes the album. This won’t be something 
dropped off this song here
NR: I hate sitting on a stool
MM: Sorry, I’ve hated that sort o’ thing
JB: Yeah. Don’t do yourself pain my man
NR: It really hurts
MJ: Cool , the man, won’t give us , come quickly Noel
NR: That’s all right there init. Oh-ah whew!