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Thread: 20. TOP GEAR 15 December

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    20. TOP GEAR 15 December

    Friday 15 December 1967
    BBC Playhouse Theatre, London, JHE

    Recording for BBC Radio ‘Top Gear’ Program. BBC Radio One broadcast some songs on 24 December.
    Producers: Bev Philips (see interview) & Bernie Andrews
    Engineer: Pete Ritzema (see interview)

    Radio One, Interview, Spanish Castle Magic (5), Wait Until Tomorrow (4), Day Tripper (3), Getting My Heart Back Together Again (1), Getting My Heart Back Together Again (2), Thaw Out (1), Thaw Out (2)

    Tony Visconti: “Being a guest at Tony Hall's flat had one particular downside; I had to help with feeding his two cats, a valuable Abyssinian and a common, fat, black cat. This was a nice arrangement for a couple of weeks, but I felt a growing familiarity with Tony, which made me feel uncomfortable. We would often chat late into the night over a few drinks, as I didn't know anybody and had no place to go. I began to feel a little trapped in this luxurious apartment with this well-spoken man in his 40s. I imagined that he had other interests in me than just friendship. I was wary of such attention because I was hit on by gay men throughout my teens. Tony never hit on me, I'm sure it was all in my imagination, but in this first month in London I didn't know how to read a social situation yet. Things were very different here. I felt more secure once Siegrid arrived from New York and came to live at the Hall residence.” [What a fukin poof, can’t accept male camaraderie]

    Jimi: Hey, we made a bit of a radio jingle for you, okay? We. Hey, is anybody back there?
    Bev: Yeah, hmm.
    Jimi: We got a radio jingle for you, okay?
    Bev: Right
    Jimi: Okay, here we go. It’s named ‘Radio ha-One You’re The One For Me’ kuh.
    Mitch: uh, One, two
    Jimi: Louie
    ? : One
    Jimi: Hey, watch the breaks now… One, two, three, four…


    RADIO ONE

    Radio One
    You’re the only one
    For me

    Just turn that dial
    Make your music worthwhile
    Radio One…you stole my gal
    But I love you just the same

    Jimi :You can fade it out before that part ha-ha.
    Mitch: Ha-ha
    Pete?: Ha-ha, now I’ve heard everything


    INTERVIEW BY TONY HALL

    Bev : Tony it’ll be on the other mic’
    Tony: A minutes worth of chat and a-ha-ha away we go
    Jimi : Uh-ha-ha yeah oh
    Noel : Can we shout in the background
    Tony: Yeah...Let the boys shout in the background
    Mitch: I know that
    Jimi : Ha-ha-ha
    Noel : Nyah
    Bev : Tony it’ll be the other mic’, I’ve fixed the other mic’ for the chap
    Mitch: Oh we’ve got two of these things on now ‘ave we
    Tony: Yeah
    Jimi : Okay, okay we’re ready
    Tony: Jim could we, go on this one, or do you want me on this one and Jimi
    Jimi : What?
    Bev : No both on the same one
    Tony: Nuh. On the same one Jim can we use this one -
    Jimi : Oh yeah-ah, ow, ooh.
    Tony: - heh This w’ heh, ha-ha-ha together, ha-ha-ha, huh-huh oh boy ha-ha-ha huh
    Jimi : I can hear you comin’ ha-ha-ha
    Noel : It is a bit early isn’t it
    Tony: Yeah uh
    Noel : I haven’t woke up yet
    Jimi : I’m tryin’ to figure out if it’s early in the morning that’s, that’s got me like this,
    Or, honest, I hope it’s earlyness, hah
    Noel : It’s not earl-hah-ness
    Jimi : Okay
    Tony: How you doing Bev?
    Jimi : Hmm
    ? : Get in there and do it ha-ha...There she is
    Tony: Pete? What’s happening? hmm, what’s happening...yuh
    Jimi : Testing. One, two eh-whaaa...No doubt, hit it
    Tony: Ha-ha-ha-ha
    Noel : Mitch...full fare hey which stop did you get off at
    Jimi : I can’t remember. Oh, yeah, I stayed over at-uh Julian mum’s house ha-ha-
    ha. Don’t steal that paper uh ah Leroy or there, kuh. I don’t - ha-ha – know.
    Little things, see in-uh, all around his drum kit, ha-ha
    Bev : Tony, bear in mind that we might want to cut your questions out
    Tony: Yeah, yeah
    Jimi : What happened we, we don’t say bad words, just in case. Is that what he said?
    Tony: Yeah. No. He said that they might want to cut the questions out to use them
    again a hundred times
    Jimi : Oh, that’s right on
    Tony: With a million different voices chipped in to...
    Jimi : I don’t care, shoot away there, heh-heh-heh
    Tony: Ha-ha-ha-ha, are you ready Bev?
    Bev : All right then. Look out then, here’s the light, yeah
    Tony: Jimi, all the songs you’re doing on this program today they’re all from the new LP.
    Tell me, how did the album title come about, Bo-Axis Bold As Love?
    Jimi : Ha-ha-ha
    Tony: Ha-ha-ha
    Jimi : Oh, yeah, well, Axis, like, you know, that, that’s a change you know of the scene,
    you know, so that new civilisation comes every time it changes, you know
    and so-uh Axis can change the whole scene for us, just like love can, you know,
    so, blah, blah, woof, woof
    Tony: Ha-ha-ha-ha-huh-ha
    Jimi : Ha-Axis Bold As Love and all, some corny idea-a
    Tony: Yeah, ha-uh
    Jimi : But, but all the songs we’re gonna play are not all of them from there, we jus’
    gonna throw in something else you know ‘cause, we’re tryin’ to remember the
    other songs
    Tony: Ha-ha-ha
    Jimi : We didn’t bring our pre-recorded tapes
    Tony: A-ha-a-huh-uh, well, that lot’ll be edited out but, ha-ha, we’ll carry on
    Jimi : Ha-ha-ha
    Tony: Anyway have you got enough on that one Bev? Right. uh-Jimi one thing I’ve always wanted to ask you. Listen, you’ve virtually made the wah-wah guitar pedal sound your own. Wa’, dis’, was this actually your own invention, or did you hear somebody else -
    Jimi : No, no
    Tony: - doing it and adapt it ?
    Jimi : No. Here’s what happened, this is the truth, you know, like, uh, on the first LP
    ‘Are You Experienced’, you know, well, uh, on this track ‘I Don’t Live Today’?
    There’s a guitar take, a solo on it and it’s wah-wah, like, but see, we’re doing it by, with hand then, you know
    Tony: Hmm, hmm
    Jimi : So then Vox and this other company in the States, in California they made this scene. The first record I heard with the wah-wah is, like, wha’ was that ‘Tales Of Brave Ulysses’ by ‘The uh-Cream’.
    Tony: Oh, ‘The Cream’
    Jimi : Yeah, which is one of my favourite records.
    Tony: Ah
    Jimi : Yeah
    Tony: Nice compliment
    Jimi : More of that later on, but uh-before hand, you know, like, we used to use a hand wah-wah then, you know.
    Tony: Yuh
    Jimi : You know, which sounds very good, I think we’ll use it some more on records yuh. It’s a very groovy sound, it’s different than this same ol’, you know
    Tony: And you’re developing it all the time, right?
    Jimi : Oh yeah we mess around with it a lot of times t’ yeah. We’ve-uh, we, we mostly
    y’, working with-uh high octaves scene though-uh, so is, boost-uh the guitar a octave higher, hmm.
    Tony: Superb?
    Bev : Yeah, splendid, thank you
    Tony: Any more chat? ‘Cause Jimi’s, you know, Jimi’s coming on good here
    Jimi : Hmm, I just feel like talking to air now, I just feel like rockin’ it out there
    Tony: A-huh
    Bev : Yeah, that’s fine
    Jimi : I have a way with words, “Something old, something new, something borrowed, something blue,” ha-ha-ha
    Noel: Ha-ha-ha.
    Bev : Yes, thanks Tony.
    Noel: Hold on Tony, ha-ha-ha.
    Jimi : Get away.
    Tony:Jimi one qui’
    Bev : Hang about.
    Tony: Jimi one qui’
    Bev : Hang about.
    Tony: What?
    Bev : Hang about.
    Jimi : A-ha
    Tony: Hang about?
    Jimi : Pull.
    Bev : D’you want to do another one? All right here we go, recording, in a minute, okay.
    Tony: Jimi, one very quick question. Out of all the songs on the new album, which is your own particular favourite?
    Jimi : Well, I’m not sure, it’s very hard to say ‘cau’, since we have ‘Queen Bee’ featured on some of them, which is ah Mitch Mitchell, as we all know.
    Tony: Ha-ha-ha.
    Jimi : Then we have ‘Bob Dylan’s Grandmother’, God, preachin’ out to us, Noel Redding, but I like, I like, uh, ‘Little Wing’ and, uh. Let’s see. What else do we have on there? Oh I-I can’t remember the n’. What was that? ‘Little Wing’ and ‘You Got Me Floating’ I like that fo’.
    Tony: And ‘Wait ‘Til Tomorrow’, that’s our producer Bev Philips favourite.
    Jimi : Oh, yeah, yeah, yeah tha-that’s a commercial song that, that, you know doo-de-de- doodle-oodle-uh [plays riff] something like that, I don’t know kuh-huh.
    Tony: A-huh-uh, Bev can you edit any of that out?
    Jimi : kuh-What happened, what’d we say wrong?
    Bev : Yeah, that’s fine.
    Tony: Yeah.
    Jimi : What’s it we all say?
    Tony: No, it’s only just for little, they’ll be snipped up for little links between various things uh-ha-ha
    Jimi : Kah-huh-huh, that’ll do.
    Tony: Uh-huh-hah, okay.
    Bev : Yup, thank you very much.
    Tony: Well, they can start playing now. Thanks Jim.
    Jimi : Okay, pleased to, fine, thanks a lot, okay.
    Tony: Beautiful, thanks, man, anyway, nice.
    Jimi : We didn’t say any bad words did we?
    Tony: Oh, listen I know. What about the-uh? On this particular show that it’s gonna be used on, the ‘Fairport Convention’*’ll be on and I saw you sitting in with them the other night.
    Jimi : ‘Fairport Convention’, whoogh, we’ll get in trouble if you say that.
    Tony: Why’s that.
    Jimi : Just tell ‘em we went down there and seen ‘em.
    Tony: Ha-ha-ha-ha
    Jimi : Just tell ‘em we seen, that we were there
    Tony: Ah-ha-ha-ha-oh
    Bev : D’you wanna say that, that’s not a bad one actually
    Mitch: Don’t forget we’re only in the pop game, we’re not supposed to be ‘musicians’, if you want, we’re not supposed to.
    Jimi : Yeah, you know how that is.
    Tony: Uh-huh-hah, this’ll be a better interview
    Jimi : Can I throw a little feedback on the mic’ there
    Bev : Yeah
    Tony: Bev, you got enough?
    Jimi : Yeah, okay, here, ha, we go, ha-ha
    Bev : Yeah, okay
    Jimi : A little back feed
    Tony: ‘Cause Jimi wasn’t meant to be sitting in with them that night, you know there’s only Kit Lambert and Chas Chandler and everybody sitting there, a-ha.
    Jimi : Yes, some of us went down and we liked them too. Can you, can’t we just say we went down there and liked them?
    Tony: Yeah, well you.
    Bev : Yeah, why not.
    Tony: You know say it’s ni’, yeah
    Bev : Yeah, let’s say that. Shall we? Um, here it is then
    Jimi : Yeah, uh-huh
    Tony: uh-You say something, “Hey it’s nice to be on a show with the ‘Fairport Convention’ ‘cause we went down.”
    Jimi : Oh, they doin’ it down the show too?
    Tony: Yeah.
    Jimi : Oh great.
    Tony: Yeah.
    Jimi : Yeah, ‘cause we seen ‘em.
    Tony: ‘Ronnie’? Right
    Jimi : Yeah, it was really nice to be on a show, a-ha with a. What’s the? Ha-ha ‘Fairport Convention’, ha-ha.
    Tony: Ha-ha-ha-ha, let’s start all over.
    Jimi : Because we, hah, was at the ‘Speakeasy’ with them, okay heh-heh
    Tony: Ha-ha-ha
    Jimi : One more time. Oh, man, is this me or what?
    Tony: Can you make that one more time Jimi?
    Jimi : Yes...Yes. It’s really nice to be at the show with the ‘Fairport Convention’, you know, ‘cause we was at the ‘Speakeasy’ with them, you know.
    Tony: Yeah, I saw you there. Yeah.
    Jimi : We was messin’ arou’ha-ha-ha-ha
    ? : Yeah, you’re fucked
    Bev : Yeah, you were a bit near for that and we got a some pops.
    Jimi : Okay, ha-ha-ha
    Tony: Okay, we can use that as a jingle, that last bit, okay, ha-ha-ha-ha
    ? : Let me do something with it...yeah
    Bev : All right, forget it
    Tony: Okay, thanks Jimi, thanks Bev.
    ? : Don’t mention it.
    Jimi : Okay, thank you.

    Jimi : How blows the wind now?
    Mitch : What are you doin’ Jimi?
    Jimi : I think I’ll do ‘Spanish Castle Magic’ next ha-ha
    Mitch : Oh, day-dreamin’ again
    Jimi : No bother to me
    Mitch : Go on tell us about it

    [Everyone sounds stoned apart from the engineer]

    *Fairport Convention were fellow Track Records artists at this time


    SPANISH CASTLE MAGIC1 [backing vocals Noel & Mitch]

    It’s very far awa-ay
    It takes about a half a day to get there2
    If we travel by my-ah, (dragonfly)
    No it’s not i-in Spai-ain
    But all the same you know it’s a groovy name
    And the wind's just right, look out, baby

    (Hey!)

    Hang on my darlin’,
    Hang on, hang on if you wanna go
    Takes a little bit of Spanish Castle magic, man
    That’s all right ha-ha
    Said-uh (Spanish Castle magi-ic)

    So-uh
    The clouds are really lo-ow
    And they overflow
    With cotton-candy
    And battle grounds
    Red and brown
    But it’s all in your mind
    And don’t waste your time thinkin’ about bad things3
    Just float your little mind around
    Look out, (let me say, hey. Hey)

    Hang on my darlin’
    uh-Hang o-on, if you wanna go, right now
    Little bit of day-dream here and there, babe, if you’re uptight
    Takes a little bit of (Spanish Castle magi-ic), yeah
    Here we go now…yeah

    [Solo]

    (Mitch: Yeah, go on Jimi)
    Get into it

    Are you gonna jump out then

    Here we come (And go)

    That’s all right

    Yeah…ooh

    Hey!
    Hang on my darlin’, what’d I say
    Hang on, if you wanna go, right now
    Oh, It leaves everything else on the shelf4
    [This is the only recorded time that Jimi ever sang this line]
    Fuckin’ Hell
    It takes’s (Spanish Castle magi-ic) yeah
    A little bit of (Spanish Castle magi-ic) take it
    Yeah, yea-eah
    (Spanish Castle magi-ic)
    Oh, hear we go, all the way up
    (Spanish Castle magi-ic)
    Hey! (Eark regh! So good)
    (Spanish Castle magi-ic)
    A little bit of day-dream here and there, ye-ah
    (Yeah)
    (Spanish Castle magi-ic)
    Oh, get into it
    Yeah
    (Yeah)
    (Yeah, all right, there you go, ooh hoo, oh ho)

    1The title is fom the Spanish Castle night-club in nearby Tacoma, that Jimi visited occasionally when a
    teenager. Apart from ‘Little Wing’ this is the only other song from ‘Axis’ that Jimi performed regularly.
    2 ‘It takes about a half a day to get there’ appears to be a reference to the beat-up cars Jimi & co. used,
    apparently sometimes “borrowed”, but in the rest of the song it’s a euphemism for an LSD trip.
    3 It's obviously a tip about tripping (using the euphemism of a fantasised trip (ie visit) to the Spanish Castle
    Nightclub) as per Alduous Huxley's Heaven and Hell. By the nature of acid, a trip can go both ways (hence
    Laughing Sam’s Dice’, ie it’s a gamble), Jimi's advice: Don't spend you're time thinking about bad things
    (eg the battle ground's blood & mud, ie Vietnam - bum trip) just float your mind (think about nice things
    - the 'cotton candy' - good trip) It's all in your mind (Heaven or Hell - it's up to you)
    4Jimi’s ad-lib here on the LP release can be clearly heard on the vocal track released on various “Rock” ‘box’
    games. It’s definitely not the official line: “It puts everything else on the shelf.” (This line was only used this
    one time). Jimi’s vocal ad-libs from here to the end of the song from then on differ wildly from the lyric
    sheet, and he used a variety of different ad-libbed lyrics here in concert

    Jimi: Who wrote the other song? I don’t like it.


    WAIT UNTIL TOMORROW*

    Well, I’m standin’ here freezin’, inside your golden garden
    Got my ladder leaned up against your wall
    Tonight’s the nigh-ight we planned to run away together
    Come on Dolly Mae there’s no time to stall
    And now you’re tellin’ me that-uh…

    I think I’d better wait till tomorrow
    (Think we’d better wait till tomorrow) What you sayin’?
    (Think we’d better wait till tomorrow) Ain’t gonna wait that long
    (Think we’d better wait till tomorrow) Oh no
    Got to make sure it’s right, so until tomorrow goodnight
    Oh, what you talkin’ ‘bout

    Hey! Dolly Mae how can you hang me up this way
    oh-On the phone you said you’re gonna run off with me today
    Now I’m standin’ here like some turned down serenadin’ fool
    Hearin’ strange words stutter from the mixed up mind of you
    And you keep tellin’ me that-uh…

    Think we’d better wait till tomorrow
    (Think we’d better wait till tomorrow) What you say?
    (Think we’d better wait till tomorrow) Oh, ain’t gonna wait that long
    (Think we’d better wait till tomorrow)
    You say “I got to make sure it’s right, so until tomorrow goodnight
    Oh you must be joking

    See if I can talk to this girl a little bit here
    Hey! Dolly Mae, girl, you must be insane
    So unsure of yourself leaning from your unsure windowpane
    Do I see a silhouette of somebody pointin’ somethin’ from a tree?
    Click bang! Oh, what a hang, your daddy just shot poor me
    An’ I hear you say, as I fade away

    (Think we better wait till tomorrow) Well, I guess we don’t have to wait, heh
    (Think we better wait till tomorrow) Well, that really is a drag on my part, baby
    (Think we better wait till tomorrow) I can hear you say
    It must not have been right, so forever goodnight, hey
    (We don’t have to wait till tomorrow) We don’t don’t have to wai-ait
    (We don’t have to wait till tomorrow) Don’t have to wait, don’t have to wait
    (We don’t have to wait till tomorrow)
    Oh, I ain’t gonna be around tomorrow
    (We don’t have to wait till tomorrow) Don’t have to wait, don’t have to wait
    (We don’t have to wait till tomorrow) Don’t have to wait, baby
    (We don’t have to wait till tomorrow) So here I am forever layin’ in a cold grave
    Hey, man, what’s goin’ on around here?
    (Ha-ha)
    (Tell me)
    No. I bought them for…

    *Jimi’s second tribute to his days as an ‘R&B’ sideman? After ‘Remember’ on AYE, his next was his cover of
    ‘Come On’, on ELL?


    DAY TRIPPER* (Lennon & McCartney) [1st 3 verses voc.: Mitch & Noel, backing voc.: Jimi]

    Here we go
    (Yeah...ooh, ah, ooh)
    Got a good reason
    For takin’ the easy way out
    Got a good reason
    For takin’ the easy way out, now
    She was a da-a-ay tripper (She was a day tripper, yeah)
    One way ticket, yeah (One way ticket, too)
    It took so-o-o long to find out (I found out)
    I found out

    (Go ahead brother)
    She’s a ‘big’ teaser, she led me half the way there
    She’s a ‘big’ teaser, she led me half the way there, now
    She was a da-a-ay tripper (Day tripper right now)
    Sunday driver yeah (Sunday driver)
    It took me so-o-o long to find out (To find out)
    I found out (I found out)

    Listen Owsley
    (Oh Owsley1 can you hear me now?)
    We’re on BBC next
    (Yeah)
    Where’s your public school now

    (That’s part of all the raves)...Eeow
    Tried to please her, she only played one night stands
    Tried to please her, she only played one night stands
    She was a da-a-ay tripper (Day tripper, yeah)
    One way ticket, yeah (One way ticket, right now)
    So-o-o-o long to find out (But I found out) I found out
    (Yeah, I found out now...I found out, I found out...)
    Found out
    Yeah...sleepin’ all by yourself
    (Da-a-ay tripper)
    Nobody to protect you when you got hurt
    (Da-a-ay tripper)
    You’re out of your mind
    (Day)
    Yeah...hey! day tripper
    Day tripper, yeah...yeah (Day tripper)
    Day tripper, yeah (Day tripper)
    I got a good reason (Day tripper)
    Cure a disease-uh (Day tripper)
    I got a good reason (Day tripper)
    Yeah

    Baby, you just go to my head

    *Paul McCartney is on record as saying this song was about acid, for those ‘in the know’
    1Owsley Stanely (aka ‘Bear’): Famous underground LSD manufacturer & Grateful Dead sound
    engineer


    GETTING MY HEART BACK TOGETHER AGAIN [posthumously aka “Hear My Train A Comin’”* etc.]

    Yeah, I see we got a few friends layin’ around here in the studio hmm.
    (Hi boys. Hi Jimi)
    Yeah, okay, Mitch and Noel and I’d like to do a little number for you right here. Let’s see if we can get it together (Wotcha ) You all together now? You all together?
    (Yeah, man. Yes we’re all together. Hiya Uncle Flower)
    We’d like to throw a little bit of blues on you here (Keep on talkin’) yeah. Okay then, here we go. Little thing called ‘Gettin’ My Heart Together Again’, or somethin’, I don’ know.
    (Oo-ooh, oo-ooh)
    Well I-uh wait around the train station
    (Oo-ooh, oo-ooh)
    Waitin’ for that train, waitin’ for that train, to take me
    From this lonesome to-own, happens (Oh yeah, how can you say that huh?)
    (Oo-ooh, oo-ooh)
    Yeah, well, now this city put me through some changes
    (Oo-ooh, oo-ooh)
    Lord, my girl she put me dow-own, she put me down
    (Oo-ooh, oo-ooh)
    Around Christmas time too, it’s such a shame
    (Oo-ooh, oo-ooh)
    Now I can feel the tears, I feel the tears
    (Oo-ooh, oo-ooh)
    Burning me, a burning me, a burning me
    The tears have burned me, burned me in my hea-eart, have mercy
    (Oo-ooh, oo-ooh)
    Lord, it’s too bad, it’s too bad, it’s too bad
    (Oo-ooh, oo-ooh)
    Too ba-ad my girl and me had to part-uh.
    Oh, have mercy, yeah, yeah
    (Oo-ooh)

    (Ch-ch-ch-oh) ooh-ooh-yeah
    (Hey yeah)
    (Oh, whose drunk? Get drunk. Right, I don’t even want to get drunk
    (All right, all right and groovy man)
    Feel so good it’s makin’ me cold inside my head (uh)
    Let’s play this guitar
    Let me fill the breach over there for a second
    Yeah, yeah (yeah, yeah)
    Yeah, yeah, yeah, yeah, yeah, yeah
    (Hut, hut, hut, oh, yeah, get down, hut, hut)
    Hey yeah (he-e-ey!)
    (Hey! whoa! Oh!)
    (Here we go, over the top aaaah-ooooh!)
    Yeah! hey! yeah!

    Well, can you dig that, can you dig that?
    ([Noel:] “No. It was rubbish”)
    (Too hot, yeah. Too much)
    (Oo-ooh, oo-ooh)
    Well, okay then, let’s see if we can get it together
    (Oo-ooh, oo-ooh)
    Just trying to get my heart together, that’s all
    (Oo-ooh, oo-ooh)
    Well, I said-uh, I’m gonna leave this town
    (Oo-ooh, oo-ooh)
    Gonna leave this town (Where are you goin’ Jimi?)
    (Oo-ooh, oo-ooh)
    I’m gonna be big, yeah (Oo-ooh, oo-ooh)
    I’m gonna make a whole lot o’ money, baby (How much)
    (Bye, bye) Just uh-wait and see (Bye, bye)

    And then I’m gonna come back to this town, yeah, yeah (Okay) comeback
    (Woo-oo-ooh)
    And buy this town, now, might even give a piece to you
    (Oo-oo-ooh, woo-ooh)
    I’m gonna, give a piece to you too, baby
    (Woo-ooh)
    (A piece to me?) Yes, indeed, baby (Oh great Jimi)
    (Woo-ooh)
    I’m just tryin’ to get my heart together again
    (Woo-ooh)
    Back together again (woo-ooh)
    Back together again (woo-ooh)
    Back together again yea-eah (woo-ooh)
    Back together (woo-ooh, woo-ooh) again (yea-eah)
    Yea-eah, yeah (woo-ooh)
    Yea-eah, yeah (woo-ooh)
    Yeah, yeah, baby
    Aa-ooh, hey, gettin’ my heart together for me
    It’s all right, it’s only a mountain
    Yeah, yeah, yeah, yeah (Sing the blues yeah)
    Sing the blues, sing the blues
    It’s all over (Goodbye) Thank you very much
    Thanks (Oh I always liked you) yeah, okay, man
    (Thank you, good feelin’. Yeah, top ballad. How about a big hand. Great)
    Yeah, okay then, yeah
    Well, I got my heart back together again
    Everybody all right? (Oh w’at a surprise) It’s all right, yeah, okay
    Thanks a lot, anyway. I don’-know (Bye take care). Take it easy then
    I’ll see you all later. Merry Christmas. Yeah, same to you, bye-bye (You wouldn’t go)
    I guess it’s nothing but me and my guitar now
    (Did you hear that one there?)

    *Interestingly Jimi doesn’t use the (later) ‘Hear My Train A Comin’’ chorus


    GETTING MY HEART BACK TOGETHER AGAIN [posthumously aka “Hear My Train A Comin’”* etc.]

    [Broadcast version]

    A little thing for the BBC people here. We got a little, few friends here in the studio sittin’ around in front of us.
    You all together now? You all got your thing together. (Yeah, we’re with you Jimi, yes)
    Yeah, we get it now, hurrum
    (Mitch: “Sing your song now”)

    Sittin’ around the train station waitin’ for that train
    (Oo-ooh, oo-ooh)
    To take me awa-ay, take me away
    (Oo-ooh, oo-ooh)
    Take me away, take me away
    (Oo-ooh, oo-ooh)
    From this lonesome to-own
    (If you’re goin’ don’t come to me, that’s just so bad)

    Well, now the whole city put me, a whole lot o’ cha-ange-es
    (Oo-oo-ooh)
    My girl done put me down, put me down
    (Oo-ooh, oo-ooh)
    I kinda, I feel the tears comin’, the tears comin’ to me-e
    (Ooh-ooh, ooh-ooh)
    Burnin’ me, burnin’ me, the tears
    (Oo-ooh, oo-ooh, oo-ooh)
    Burnin’ me in my hea-eart
    We-ell, it’s too bad, too bad, baby
    (Oo-ooh, oo-ooh)
    You and me had to pa-art, too bad we had to part
    (Oo-ooh, oo-ooh)
    Yea-eah, come on, mama, give it to me, we’ve been six weeks apart
    (Oo-ooh, oo-ooh, oo-ooh, oo-oo-ooh, oo-ooh)
    (Doo-doo-oo-oo-oo-oo-oo-ooh)
    Come on clap, come on clap Jimi
    Boom chik-a-boom, right on (Oo-ooh)
    Boom chik-a-boom, chik-a-boom, boom come on
    Comin’, yeah goin’ home, come on! yeah! rise! Yeah
    Boom, boom, boom, boom
    Diddle iddle, iddle, iddle wow!
    (Woo-oo-oo-oo-oo-ooh, woo-oo-oo-ooh, oo-oo-ooh)
    Yeah now (Take it easy now) heh-heh
    (Oo-ooh, oo-ooh)
    Now I’m gonna catch this train, leave this town
    (Oo-ooh, oo-ooh)
    I’m gonna make it big, yeah. I’m gonna make it big
    .(Oo-ooh, oo-ooh)
    Show this town just what I can do, yeah
    (Oo-ooh, oo-ooh)
    And then I’m gonna come back here
    Come back, yeah and buy this town
    (Oo-oooooooo-oo-oo-ooh)
    Put it all in my shoe, put it all in my shoe-oe
    (Bye, bye)

    Put it all in my shoe, might even give a piece to you
    (Bye-bye, thank you, bye-bye)
    I might even, might even give a piece to you, all right, yeah
    (Bye, bye)
    Might even give a (Right on) piece to you. Hey, gonna give a piece to you
    (Bye, bye, woo)
    Might give a piece to you
    (Bye, bye, woo-oo-woo)
    Hey, wo-oa yeah (Oh sock it to me)
    (Hey! ho! Hey!)
    Do you hear me (Message mess’…)
    (Wow! Yeah!)
    (Woh-oh-oh-oh-oh-oh-oh-ooh-oh-ah)
    Can you hear me scream to you now
    (Aa-ow!)

    Have mercy, have mercy (Oo-ooh) It’s all right. It’s all right. Yeah, it’s quite safe now
    (You’re all right, all right. You’re all right, oo-ooh)
    Thank you very much for your help and everything (Oo-ooh) Hah (It was fabulous)
    It was all right. Jus’, you know (Oo-ooh, didn’t hurt one bit)
    Here we go then, kind o’, bring it kind o’ quiet right here and so on. It’s all right (Oo-ooh)
    (Take it down a little) Shoo, thank you. (Ooh) Thanks a lot people (Okay, arsehole, ha-ha-ha)
    He-he-he(hey! Ho! Hey!) hey, I think we had a thing goin’ there for a while
    (Can we have it back?) hey, can we just hear that back? So we can see where we are.

    *Interestingly Jimi doesn’t use the (later) ‘Hear My Train A Comin’’ chorus


    THAW OUT1* (Albert Collins)

    [Instrumental]

    1
    re-titled ‘Driving South’ by Curtis Knight to claim royalties for his crap ad-lib. The JHE also used this title
    in 1967 as a ‘group’ composition for the BBC royalty
    *ie better than the version that wasn’t broadcast, unfortunately this was later ‘censored’, ie some totally
    ignorant prick cut out the best part of the solo which is now only available on a poor home recording of the
    original broadcast!

    THAW OUT (Albert Collins)

    [unbroadcast version]
    Last edited by stplsd; 02-23-18 at 07:24 PM.
    Frank Zappa: "Rock journalism is people who can't write interviewing people who can't talk for people who can't read."

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    Re: 20. TOP GEAR 15 December

    Where can I get the audio for this interview ?

    Friday 15 December 1967
    BBC Playhouse Theatre, London

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