He saw it, he had the big picture vision. Chas is really the hero of the Hendrix story in a lot of ways. So, at this point in JimiвЂ™s career, had he really developed and matured as a songwriter? He wouldnвЂ™t play it upside down like Otis Rush or Albert King, so he would restring it, but I just think that he was somebody that was able to make things happen with it with a very simple setup. вЂќ Just take a Strat, turn it over, restring it, and play. He would go to MannyвЂ™s and get like a white Strat or black Strat and you know, do exactly that. He wasnвЂ™t somebody who was really precise. John: вЂњ Yeah but, you know, Jimi was kind of an off-the-rack guy. What did he do? He turned it over, did he restring it, how did he do it? So, for the crazy guitar freaks out there like myself вЂ“ when Jimi got a guitar to play, it was a right-handed guitar. Occasionally, heвЂ™ll get it in one or two takes, but most of the time вЂ“ вЂ Hey man, I got to do it again. I mean, he could sometimes get a vocal in a couple of takes, but he was very much of a perfectionist. вЂ™ вЂќД«ut he was notorious for taking like 20 takes, right?Д®ddie: вЂњ Well, that was part of the modus operandi for Jimi. So, Eddie, you were with them for this album, you had already worked with him a lot at this point, and knowing that he was breaking so many barriers musically, culturally, IвЂ™m just wondering as an engineer, how do you tell Jimi to take another take on a song? вЂHey Jimi, that was great but, you know, why donвЂ™t you try that again?вЂ™Д®ddie: вЂњ Jimi, would you mind taking that again? вЂ Yeah, yeah yeah, no problem man,вЂ™ ThatвЂ™s what it was like. So at what time would you get to the studio?Д®ddie: вЂњ WeвЂ™re there at seven, and weвЂ™re sitting until the next morning at seven. вЂњ Imagine him walking down the 8th Avenue stopping traffic вЂ“ thatвЂ™s a big scene вЂ“ comes in the studio, dragging in Steve Winwood, Jack Cassidy, whoever, couple rehearsals, one take, two takes, maybe, and thereвЂ™s вЂ Voodoo Child вЂ™ done, finished, thank you very much, live from the floor, there it is. вЂњ Jimi would be there from like 8-9 or 10, weвЂ™re sitting in the studio, everything all set up, weвЂ™re ready to go, all the mics are checked out, he comes strolling in at midnight dragging behind him 20 people. How did these guests appear at those sessions? Was it very informal, was it planned out, did you get a phone call? How does that work?Д®ddie: вЂњ Well, imagine that youвЂ™re on the 44th, and two blocks away is this famous nightclub that Jimi used to go jamming, called The Scene. Lots of special guests on this album, Steve Winwood, Dave Mason, Jack CassidyвЂ¦ Stephen Stills, I think, plays on it too. вЂњ It is still an existing studio, itвЂ™s still one of the greatest studios in the world and itвЂ™s been going almost 50 years now. listening party, and then the next night, like Mumford & Sons in there mastering their record or something. To this day, itвЂ™s an active studio, one night IвЂ™ve gone to like a Gary Clark Jr. He was jamming there for about six months and the club closed, and then it was for sale, and then Jimi and his manager brought it. вЂњ Jimi wanted to build a nightclub basically вЂ“ the old вЂ“ generation night club. Getting back to the вЂ Electric Ladyland вЂ™ вЂ“ the studio itself, what is the background of that studio? I always heard or read that the вЂ Electric Ladyland вЂ™ studio was a part of a record deal for Jimi with Warner Brothers Records. Jimi played bass on that song actually, right?Д®ddie: вЂњ He certainly did, because Noel went to the pub and got drunk, I think. вЂњ Some of the tracks for вЂ Electric Ladyland вЂ™ were actually cut at Olympic, like вЂ All Along the Watchtower вЂ™ for instance. вЂњ Gary has been in the studio with Jimi for like a month or so, and then I arrived in April and we continued working. I was invited by Gary Kellgren whoвЂ™d just built the Record Plant вЂ“ thatвЂ™s the studio 321, West 44th Street, and thatвЂ™s where I landed to continue working with Jimi. вЂњ I moved to America, I came in to specifically continue work with Jimi. This album was recorded вЂ“ it started in England actually, at Olympic Studios in London in late 1967 early вЂ68. This album was or was not recorded at what is now known as вЂElectric LadylandвЂ™ on West 8th Street in Manhattan.Д®ddie: вЂњ That is incorrect. I want to start up by clearing up some info for me. Kramer also mentions his meetings with The Beatles and Led Zeppelin.Д®ddie Kramer and John McDermott discuss the 50th anniversary of Jimi HendrixвЂ™s вЂElectric LadylandвЂ™. Producer Eddie Kramer along with filmmaker John McDermott held an interview with Q104.3 to discuss Jimi HendrixвЂ™s last studio album released in 1968 вЂњ Electric Ladyland вЂќ.

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