The Afterword

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New music from Tony Poole, you say?

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Tony Poole is one of my heroes. His early ’70’s band, Starry Eyed and Laughing, were my gateway to The Byrds, Teenage Fanclub, Nada Surf and so many more. His love of The Beatles and The Byrds knows no bounds and he makes no apologies for writing and singing like it was new music from Roger McGuinness. Nor should he.

I know him online a little bit and have seen him play enough times that he’ll come over for a chat and ask me how my studio-blog is going. He’s a genuinely lovely man.

This track is the title-song from his first solo album which is getting great reviews.

Today, receiving this email with the track in it has really given me a boost.

More power to his creaky old elbow.

Jimi’s Record Collection – A Man Of Wealth and Impeccable Taste

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Someone sent me this picture they took at the Hendrix museum at the house at 23 Brook Street, London W1 where Jimi lived in 1968-69.

In the recreation of his bedroom we see Jimi’s record collection and look, he had the first Zappa LP Freak Out, the Byrds’ Fifth Dimension, Wes Montgomery’s A Day In The Life, the first Canned Heat album and last, but by no means least….

*Drum Roll*

THE BEANO ALBUM

http://i.imgur.com/uHHrfP5.jpg

Hey Joe – Where You Going With That Gun In Your Hand?

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C-G-D-A-E

Those are the chords to Hey Joe. Along with House Of The Rising Sun it’s one of those simple songs that nearly every budding guitarist learns how to play very early in the uphill struggle to rock stardom.

Perhaps the most famous version of Hey Joe is by Jimi Hendrix. It was Jimi’s very first single, recorded as a slow, lazy ballad in late 1966 not long after he arrived in London. But the song has a long and illustrious history going back much further than Hendrix.

It’s thought that Hey Joe was written in 1962 by Billy Roberts, an obscure California-based folk singer, but even that is shrouded in uncertainty.

The Leaves, The Standells, The Surfaris, Love, The Music Machine, and The Byrds all recorded versions before Jimi and the song became an LA garage band standard, in much the same way as Louie, Louie had before it.

The song became so ubiquitous around LA, usually in fast-paced, speeded-up form that perhaps inevitably, Frank Zappa lampooned it as Flower Punk a track from the Mothers’ 1967 album We’re Only In It For The Money. It’s thought that Frank based Flower Punk on The Leaves version » Continue Reading.