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CURTIS KNIGHT (& THE SQUIRES)


1965 Studio Recordings

In order to properly understand the relationships between Jimi Hendrix, Curtis Knight, RSVP & PPX it's necessary to look at all of the recordings that Curtis Knight made during 1965 including those that did not involve Jimi.

Curtis seems to have signed recording and publishing contracts with RSVP in late 1964 / early 1965 as the first new Curtis Knight single since 1962 (as far as I can determine) was released by the label in April 1965.


1965 RSVP recordings WITH NO INVOLVEMENT BY JIMI
The Library of Congress copyright registration catalogs 1 & 2 list five Curtis Knight compositions for early 1965:

AIN'T GONNA BE NO NEXT TIME; w & m Curtis
Knight. 2 p, © RSVP Music, Inc;
11Feb65; EU866323.

MORE LOVE; w & m Curtis Knight. 2 p.
© RSVP Music, Inc.; 11Feb65; EU866320.

SUDDENLY; w & m Curtis Knight. 2 p
© RSVP Music, Inc.; 10Mar65 ; EU871253.

WELCOME HOME; w Curtis Knight, m Dick
Glass. 2 p. © RSVP Music, Inc.;
10Mar65; EU871252.

LET ME BE YOURS; w & m Curtis Knight.
2 p. © RSVP Music, Inc.; 12Jul65;
EU892143.

All of these registrations done in February-July were copyrighted by RSVP Music, Inc. so it would seem all of these songs were registered with some sort of release by the RSVP label in mind. Exactly what kind of a contract Curtis had with RSVP is unknown but a single featuring two of these tracks was released in April 1965 3:

"Ain't Gonna Be No Next Time / More Love" (RSVP 1111)
Listen to "Ain't Gonna Be No Next Time" on YouTube

Curtis Knight - Ain't Gonna Be No Next Time

The 45 was produced by Harold Thomas and Peter Orna with the publishing credited to RSVP on the label (as per the copyright registrations). Where these tracks were recorded is unknown but a likely location is Allegro Studios where other RSVP recordings were done. The registration date of 11 February 1965 for both of the tracks means they could would have been recorded circa January 1965 or even earlier . Who was backing Curtis on these recordings is not known.

The registration for "Welcome Home" is very interesting, it is NOT a registration for the version Curtis cut with Jimi but an earlier one with different writing credits. Exactly what the songs "Suddenly" and "Let Me Be Yours" are is unknown, they might have been tracks that Curtis recorded himself for possible release or they might have been recorded by another artist.


OCTOBER 1965 PPX recordings FEATURING JIMI

By October 1965 Curtis Knight had formed some kind of a working relationship with Ed Chalpin and PPX Enterprises, Inc. Whether this was a management or a recording contract (or both of them) is unknown. At least three songs ("How Would You Feel", "Don't Accuse Me" and "You Don't Want Me") were recorded for PPX in October 1965 at Chalpin's Studio 76.

None of the tracks were registered by RSVP or PPX at the time, instead Curtis used his own name for the registrations which might indicate that he was "between contracts". It is interesting to note that Curtis was first associated with RSVP, and even after he started to record for PPX the resulting tracks were released by RSVP. When "How Would You Feel" was licensed to RSVP and released by the label as a single in 1966 the publishing was credited jointly to PPX & RSVP.


AN LP AUTOGRAPHED BY CURTIS KNIGHT.
COURTESY OF LASSE ALEXANDERSSON

A bigger change than the contractual ones was that all of the October 1965 recordings featured Jimi Hendrix on guitar. Curtis had met Jimi on the 5th of October 1965 and took him to Studio 76 to record "How Would You Feel" the very next day.4

The songs recorded during the October 1965 sessions are very different in style from the ones Curtis had composed and recorded in the first half of 1965. Exactly how much of this can be credited to Jimi is difficult to say. Speaking about the first track they recorded, "How Would You Feel", according to Jimi Curtis "Sang the lyrics to me, you know, and gave me a rough idea how the lyrics went, the melody went" and Jimi worked out the chord changes "according to his melody" 4.

Jimi was credited for the arrangements of "How Would You Feel" and "Welcome Home" on the RSVP single label so it's probable he arranged some or all of the other tracks as well and his guitar playing is a prominent feature of all of the recordings that in general sound much rougher and aggressive than the tracks Curtis had recorded earlier in the year. So one could argue Jimi had considerable influence on the new direction of Curtis Knight's music. Curtis must however have already composed at least some of the tracks that were recorded as he clearly already had arranged for sessions at Studio 76 before he met Jimi.

Jimi signed a contract with PPX on the 15th October 1965 and participated in several recording sessions for the company before and after the signing. Very little session info has been released by Chalpin, the only reliable information comes from Jimi's PPX court case deposition from 7 March 1968 (partly reproduced in Univibes #35). According to Jimi he recorded for PPX maybe "six, seven, eight times" 4. There are six currently known finished PPX master recordings from 65-66 (seven if you include "Suey") so it would seem that there weren't many songs recorded per session.

During Jimi's deposition interview PPX layer Elliot Hoffman only mentions October 1965 and December 1965 as dates for PPX recordings 4. There could of course have been other sessions during other months that simply weren't discussed but as Hoffman was at the time trying to make a as strong as possible case for Jimi being under contract to PPX one would assume that all of the sessions that took place would have been mentioned.

The personnel & date information listed below is mainly based on Jimi's deposition interview. The recording date for "How Would You Feel" is mentioned during the interview, the other two tracks may or may not have been recorded during the same session. They must however all have been recorded during October as all three tracks were copyrighted on the 25th of October so all date from between 6-25 October 1965.

How Would You Feel

Composer: Curtis Knight
Producer: Ed Chalpin
Arranged by: Jimi Hendrix
Recorded at: Studio 76, New York City
Engineer: unknown
Date: 6 October 1965
Vocals: Curtis Knight
Harmony vocals: Jimi Hendrix, Curtis Knight?, Johnny Star?
Tambourine: Curtis Knight?
Guitar: Jimi Hendrix
Fuzz bass: Jimi Hendrix
Drums: unknown

The track owes more than a little to Bob Dylan's "Like A Rolling Stone" released in July 1965. As Jimi was a huge Dylan fan this must have been partly because of his influence even though Curtis Knight is credited as the sole composer. Asked about the session Jimi said "...the first session we did was the one that I played all the instruments except the drums" and regarding overdubs "I guess about four including the bass" 4.

In a letter to UK music publishers Campbell Connelly & Co. Limited dated 8 November 1965 Ed Chalpin says he's sending over five acetates of songs available for publishing (no titles are listed so these might have included other artists in addition to Curtis Knight"). He makes special mention of one track:
"...really hot numbers, especially the protest song, "How Would You Feel." As you know, the protest records are really taking the country by storm." 6.

Original 1965 copyright registration 2:

HOW WOULD YOU FEEL (IF YOU WERE ME)?
w & m Curtis Knight, pseud. of Curtis
McNear. © Curtis Knight; 250ct65;
EU909064.


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

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

"Don't Accuse Me" was originally designated as the flip side of the "How Would You Feel" 45. In a letter to the record label RCA Victor dated 2 November 1965 Ed Chalpin wrote: "How Would You Feel" is the protest song and probably the greatest one written yet. Backed with "Don't Accuse Me" which is a hard driving rhythm and blues tune which continues to build all the way through." 5.

Original 1965 copyright registration 2:

DON'T ACCUSE ME; w & m Curtis Knight,
pseud. of Curtis McNear. © Curtis
Knight; 250ct65; EU909O63.


You Don't Want Me

Composer: Curtis Knight
Producer: Ed Chalpin
Arranged by: Jimi Hendrix?
Recorded at: Studio 76, New York City
Engineer: unknown
Date: October 1965
Vocals: Curtis Knight
Harmony vocals: Johnny Star?
Guitar: Jimi Hendrix
Fuzz bass: Jimi Hendrix?
Bass: Jimi Hendrix?
Drums: unknown

Original 1965 copyright registration 2:

YOU DON'T WANT ME; w & m Curtis Knight,
pseud. of Curtis McNear. © Curtis
Knight; 250ct65; EU909166.


UNDATED PPX recordings FEATURING JIMI
In addition to the three tracks definitely recorded in October 1965 three more tracks exist that are at the moment impossible to date with any accuracy: "Welcome Home", "Simon Says" and "Strange Things":


Welcome Home

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

The track had already been registered in March 1965 by RSVP Music but was in December registered for a second time by Curtis Knight (as the October 1965 tracks) and with different writing credits, 2:

WELCOME HOME; w & m Curtis Knight,
pseud. of Curtis McNear. © Curtis
Knight; 2Dec65; EU914932.

All of the available info suggests "Welcome Home" was recorded sometime later than "How Would You Feel", "Don't Accuse Me" & "You Don't Want Me":

  • - it was copyrighted more than a month later
  • - it sounds quite different from the first three tracks
  • - it replaced "Don't Accuse Me", the originally planned flip of the "How Would You Feel" 45.

At the moment October 1965 would still seem the most likely recording date for "Welcome Home". As the track was registered 2 December it's unlikely it was recorded in December (registration probably couldn't have been completed in a day in 1965), Jimi spend most (if not all) of November on the road with Joey Dee and the Starlighters and there is no mention in Jimi's deposition interview of any November 1965 sessions.

Who actually wrote this track is open to discussion as the track is musically a practically direct copy of a song called "Don't Mess Up A Good Thing".

"Welcome Home" was first registered on the 10th of March 1965 so obviously the track was (at least partially) composed months before Curtis Knight even met Jimi Hendrix. The original March registration credited "Welcome Home" to Curtis Knight & Dick Glass but the second 2 December 1965 registration gave Curtis Knight the sole writing credit.

"Don't Mess Up A Good Thing" was composed by Oliver Sain, the original recording by Fontella Bass and Bobby McClure was released in January 1965 on Checker 1097 coupled with "Baby What You Want Me to Do" (the same Jimmy Reed song that the Squires played live). The 45 was advertised in the 23 January 1965 issue of Billboard and reviewed in the "Singles Reviews" -section in the category "Rhythm & Blues Spotlights". The first registration of "Welcome Home" was done some 2 months later.

Listen to "Don't Mess Up A Good Thing" on YouTube.

The music for the first registration of "Welcome Home" was credited to Dick Glass. As we do not know what that first version was like it's impossible to say who adapted the music of "Don't Mess Up A Good Thing" into "Welcome Home", Dick Glass or Curtis Knight. Dick Glass was a folk artist who passed away in 1992 so we'll unfortunately probably never find out what his exact involvement with "Welcome Home" was.


Simon Says

Composer: Curtis Knight
Producer: Ed Chalpin
Arranged by: Jimi Hendrix?
Recorded at: Studio 76, New York City
Engineer: unknown
Date: December? 1965?
Vocals: Curtis Knight
Guitars: Jimi Hendrix
Bass: unknown
Drums: unknown
Sax: Lonnie Youngblood?

With a very nice rhythm track with three guitar parts by Jimi. Note that most mixes of this track have the sax part removed. Only vocal mixes of the track are currently available but Chalpin did supply Capitol with an instrumental mix that was never used, this is included in the master list attendum to the PPX contract with Capitol 7.

During Jimi's deposition interview PPX layer Elliot Hoffman only mentions October 1965 and December 1965 as dates for PPX recordings. When asked about recordings done in December Jimi mentions "Simon Says" but says he can't be sure of the month. Since three of the six currently known original PPX masters (that is, tracks cut for Chalpin pre-1967) were definitely done in October there is a good chance that "Simon Says" could indeed have been one of the tracks recorded in December 1965. The copyright registration for this track is as follows, note that this is the first Knight & Hendrix -track registered by PPX (all the previous ones were registered by Curtis Knight) which also suggests it does not date from the October 1965 sessions:

SIMON SAYS; words & music by Curtis
Knight. 3 sheets. © PPX Pub., a
division of PPX Enterprises, Inc.;
18Aug66; CI8728.

The registration date 18 August 1966 however does not fit the December 1965 theory very well. The tracks done in October were registered immediately in the same month, here we would have a gap of circa 8 months between recording & registration which is a bit odd. What is even stranger is the sort of registration that was done for the track, it hasn't been copyrighted as a musical composition but under "Lectures and other works prepared for oral delivery"! (as indicated by the "C" at the start of the registration number) 8.

The instrumentation may provide another clue: this is the only Curtis Knight studio recording that has a sax part on it. Sax player Lonnie Youngblood seems to have been playing with the Squires in December 1965. He's audible on the live recordings from George's Club 20 dated 26 December 1965 (though whether the date is entirely accurate is debatable, see the "Live" -section) and can be seen in photographs taken at the club around the same period. There is no evidence of Youngblood being a member of the band in October - November 1965 and he had left the band by June 1966 when they signed with RSVP. So it could be Youngblood on sax which might make the track more likely to have been recorded in December 1965 - but the sax on this track could of course also have been played by an unknown session musician.


Strange Things

Composer: Curtis Knight
Producer: Ed Chalpin
Arranged by: Jimi Hendrix?
Recorded at: Studio 76, New York City
Engineer: unknown
Date: 1965?
Vocals - Curtis Knight
Drums - Marion Booker?
Guitars - Jimi Hendrix
Bass - Napoleon Anderson?
Organ - Nathaniel Edmonds Sr. (aka Nate Edmonds)?

As this track is not listed among those that Chalpin purchased from RSVP (see the 1966 studio recordings -section) it's probably an original PPX recording but apart from that there's practically no information available. I can't find a copyright registration for 1965 or 1966, only a later 1967 registration seems to exist which is of no help in dating the track:

STRANGE THINGS; w & m Curtis Knight,
1 p. @ PPX Pub, Co., a division of
PPX Enterprises, Inc.; 10Oct67;
EU18613.

This is the only PPX recording with organ on it. The June 1966 RSVP recordings have organ player Nate Edmonds on them and he can be seen in the May 1966 Cheetah pictures which (if it is Nate playing the organ here) would suggest a 1966 recording date. However there currently isn't any proof of Jimi recording any sessions for PPX in 1966 and if the organ player isn't Nate Edmonds then there are no clues to even pin a recording year on this one let alone a month. There might be a pre-1967 copyright registration somewhere out there but so far I have been unable to find one.

Curtis did introduce the track as being recorded in 1965 during a live performance but a comment made during a gig 30+ years later really isn't very strong evidence: http://www.youtube.com/watch?v=2caOqrXJIhs


PPX DEMO RECORDING
In his deposition interview 4 Jimi gives details of a demo recording of his own composition that he made in 1965. Here's a compilation of relevant quotes from Jimi:
"One time I was doing a demo, I wrote a song one night; and the next morning, you know, I wanted to record it; I wanted to make a demo of it". "It was something like Hey, Pretty Baby or something like that".

Chalpin was present, and "while we was packing up equipment, he comes back, you know, and calls me in his office very light, and so forth. And then he asked, did I have any contracts with anybody? So I said, Yes I have a recording contract with Sue.` And he said - well, like, `How would you like to sign a contract as a backing musician, or producing things, maybe songs, or arranging them? And the way he explained it to me was that it had nothing at all to do with the Sue contract whatsoever" Chalpin "laid it on the desk, you know. And since I took it as an insurance of getting paid for sessions, I signed it".

If Jimi signed a contract with PPX after the session then the recordings must have taken place 15th of October 1965, the date on the contract.

Later on Jimi makes mention of a time "when everybody was in the studio on my own money, like, to make a demo". It is unfortunately unclear if he refers to the previously described demo session or is talking about another time that he made a demo. Even if the number of demo sessions is unclear it's very interesting that there was at least one occasion where Jimi paid others to get his own song(s) recorded.

Among the 1967 9 copyright registrations (which included several tracks originally recorded 65-66) of Curtis Knight tracks there is one very interesting entry:

OOH-AH; w & m Jimi Hendrix & Curtis
Knight. 2 p. © PPX Pub. Co., a div .
of PPX Enterprises, Inc.; 18Aug67 ;
EU10730.

This could of course in principle be a familiar title under a different name or an unreleased 1967 jam but what's note worthy about this one is that it gives partial composing credits to Jimi. There isn't a single other Ed Chalpin produced / registered track that gives Jimi writing credits so this song would appear to be a genuine Jimi Hendrix & Curtis Knight co-composition (or a Jimi solo composition with co-credit to Curtis added later). Either way it could be an unreleased proper song with lyrics, possibly even the same demo that according to Jimi he recorded at Studio 76. Chalpin might not have been able to release the track if it was composed and maybe also financed by Jimi. If someone could get hold of the two page registration we might  know much more as transcribed lyrics for the song would probably be included.





SOURCES
1 Library of Congress Copyright Office
Catalog of Copyright Entries 1965 Music Jan-June 3D Ser Vol 19 Pt 5
2 Library of Congress Copyright Office
Catalog of Copyright Entries 1965 Music July-Dec 3D Ser Vol 19 Pt 5
3 Listed in Billboard magazine April 17, 1965 issue under "SPOTLIGHT WINNERS OF THE WEEK".
4 Jimi's PPX court case deposition interview recorded 7 March 1968 in New York City, partially reproduced in Univibes issue #35
5 a copy of a letter from Ed Chalpin to Ben Rosner of  RCA Victor in New York City dated 2 November 1965 - Ed Chalpin Papers, Library and Archives, Rock and Roll Hall of Fame and Museum
6 a copy of a letter from Ed Chalpin to Mike Collier of Campbell Connelly & Co. Limited in London dated 8 November 1965 - Ed Chalpin Papers, Library and Archives, Rock and Roll Hall of Fame and Museum
7 Ed Chalpin's contract with Capitol Records, page 5 attendum no. 1 "a) TITLES OF SELECTIONS EMBODIED IN THE "MASTERS" - Ed Chalpin Papers, Library and Archives, Rock and Roll Hall of Fame and Museum
8 Library of Congress Copyright Office
Catalog of Copyright Entries 1966 Dramas Jan-Dec 3D Ser Vol 20 Pts 3-4
9 Library of Congress Copyright Office
Catalog of Copyright Entries 1967 Music July-Dec 3D Ser Vol 21 Pt 5

 

CURTIS KNIGHT (& THE SQUIRES)


1966 Studio Recordings

Sometime in late 1965 what had started out in October as a Curtis Knight solo act became "Curtis Knight & the Squires" 1. The well known promotional picture of the group (probably dating from late 1965) introduces the band as the Squires and Ed Chalpin as their manager.

Apparently after the 1965 PPX sessions Ed Chalpin only handled the management for the band and in 1966 the Squires signed publishing and recording contracts with RSVP. PPX gets no mention on the label of the 2nd Knight / Hendrix RSVP single "Hornet's Nest / Knock Yourself Out" released in late 1966, the production (and co-composing) credit goes to Jerry Simon.

RSVP OR PPX?
Even though all of the Curtis Knight recordings are nowadays known as "PPX" recordings this wasn't how all of them were originally made, all of the recordings made by the band in 1966 (unless some of the 1965 tracks turn out to be from 1966 instead) and later released by Ed Chalpin were done for Jerry Simon's RSVP.

For reasons unknown the Squires stopped recording for PPX & Chalpin sometime in early 1966 and instead signed a recording contract with RSVP on the 10th of June 1966. As Chalpin already was licensing his own recordings to RSVP for release and both the RSVP and PPX offices were located in the same building 1650 Broadway this wasn't really a very dramatic change of circumstances.

The signing members included Napoleon Anderson, Nathaniel Edmonds, Marion Booker and Jimmy Hendrix. Curtis Knight had already signed a (second?) contract with RSVP on the 19th of February 1966. The RSVP sessions were recorded at Allegro Sound Studios located downstairs at 1650 Broadway and were produced by Jerry Simon.

When Ed Chalpin started to put together the first Knight / Hendrix albums in 1967 he bought several (but not all) of the 1966 RSVP recordings from Simon. According to the book "Setting The Record Straight" on or around 27 July 1967 Chalpin bought the masters for the following tracks:"The U.F.O.", "I'm A Fool For You Baby", "Ballad Of Jimmy", "Gotta Have A New Dress", "Hornet's Nest", "Knock Yourself Out", "Your Love".

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

Jerry Simon for one reason or another however didn't sell Chalpin all of the recordings that he had, at least two tracks recorded by the Squires for RSVP were left out of the deal. As a consequence the first (and so far only) Hendrix / Knight record that was not put out by Ed Chalpin, a 45 with the 1966 RSVP recording "No Such Animal" (split into two parts), was released by Jerry Simon on the Audio Fidelity Records label in 1970.

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

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

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

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

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

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

Kato's Special
Station Break

No Such Animal
Flying On Instruments

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

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

Eventually only two of these tracks were released by RSVP in 1966, and Jerry Simon sold some of the multitracks and masters to Ed Chalpin in 1967. Based on the info that we have Jerry Simon probably still has the original multitracks for the following songs in his possession (unless they have been destroyed of course): Station Break (unreleased), No Such Animal and possibly "I'm A Fool For You Baby" (since only one mix apart from mixes created by repeating sections of the track has ever appeared which suggests that Ed Chalpin was unable to remix it).

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


1966 RSVP recordings FEATURING JIMI
Since there is no session info available I'll just list the tracks one by one. There must have been several studio sessions and these are all likely to have taken place in or after June 1966 but no further info is available.


I Ain't Taking Care Of No Business

Composer: Jimi Hendrix
Producer: ?
Recorded at: ?
Engineer: ?
Date: March? 1966?

Jimi signed a publishing contract with R.S.V.P. MUSIC, INC for the track "I Ain't Taking Care of No Business" on 30 March 1966. The contract was offered for sale by Lelands.com in 2002. He's credited as the sole composer for the song. The track was later recorded by the Jimi Hendrix Experience during sessions for Axis: Bold As Love in May 1967, and again recorded during the July / August 1967 Curtis Knight sessions (released as "No Business").

According to Jimi, speaking of the 1967 PPX sessions:
"There was one time that Curtis started playing this song - I think it was No Business - and like he was playing an old version of it, some demo version or something, I don't know. And we were playing with it. But that old version was made like, you know, a while back" 2.

So apparently there wasn't a proper studio recording made of the track in 1966, only a demo recording which might still exist somewhere. Curtis Knight had signed with RSVP in February and the RSVP publishing contract for the song was signed in March so the demo probably was made in or around March 1966. Since Curtis Knight & Ed Chalpin seem to have had the tape in their possession in 1967 it could be a home demo made by Jimi & Curtis (see the "Demos" -section).


I'm A Fool For You Baby

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

Features two guitar parts by Hendrix, the second one played through a fuzzbox with Jimi cleverly imitating a trumpet. The copyright listing of this track dates from 1967 after Chalpin had bought it from RSVP:

FOOL FOR YOU, BABY; w & m Curtis Knight.
2 p. © PPX Pub. Co., a division of
PPX Enterprises, Inc.; 16Aug67 ;
EU10285 .


Gotta Have A New Dress

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

This track is a re-recording of a Curtis Knight solo track (with no involvement by Jimi) released in 1962 on the single "Gotta Have A New Dress / When You've Got Love" (Shell 45-312). This is the first 1962 copyright registration for the track 3:

GOTTA HAVE A NEW DRESS; w & m Sampson
Horton & Curtis Knight. © Saxon Music
Corp.; 30Jan62; EU704774.

The 2nd registration dates from 1967 after Chalpin had bought the track from RSVP: 4:

GOTTA HAVE A NEW DRESS; w & m Curtis
Knight. 2p. @ PPX Pub. Co., a
division of PPX Enterprises, Inc.;
16Aug67; EU10286.

The re-recorded version is basically a straight re-recording of the original so the correct writing credits for the track should include Sampson Horton, missing from the 1967 registration.


The U.F.O.

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

The copyright listing of this track dates from 1967 after Chalpin had bought it from RSVP 4:

UNIDENTIFIED FLYING OBJECTS; w & m
Curtis Knight. 2 p. © PPX Pub. Co.,
a division of PPX Enterprises, Inc.;
16Aug67; EU10284.


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

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

This track was copyrighted twice, once in 1966 5 by RSVP for the 45 release and again in 1967 4 after Chalpin bought the track from RSVP:

HORNET'S NEST; m Jimmy Hendrix & Jerry
Simon. © R.S.V.P. Music, Inc.;
30Aug66; EU955490.

HORNET'S NEST; m Curtis Knight. 1 p.
© PPX Pub. Co., a division of PPX
Enterprises, Inc.; 16Aug67; EU10287.

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


Knock Yourself Out

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

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

This track was copyrighted twice, once in 1966 5 by RSVP for the 45 release and again in 1967 4 after Chalpin bought the track from RSVP:

KNOCK YOURSELF OUT; m Jimmy Hendrix &
Jerry Simon. © R.S.V.P. Music, Inc.;
6Sep66; EU956073.

KNOCK YOURSELF OUT; m Curtis Knight.
1 p. © PPX Pub. Co., a division of
PPX Enterprises, Inc.; 16Aug67;
EU10288.


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

Hendrix signed a publishing contract with RSVP for this instrumental on the 21st of June 1966. This track is not included in the list of RSVP masters sold to PPX, and has never appeared on any compilation put out by Ed Chalpin, it was first issued by Jerry Simon on an Audio Fidelity Records 45 in 1970. Ed Chalpin later sued Audifidelity for releasing fake Hendrix recordings. The 1970 copyright listing 6:

NO SUCH ANIMAL; m Jimmy Hendrix. 2 v.
© R.S.V.P. Music, Inc.; 22Oct70;
EU213266-213267.


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

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


1966 RSVP recordings WITH NO INVOLVEMENT BY JIMI
It's doubtful that Hendrix actually plays on these tracks. The guitar parts are very simple and low in the mix unlike the other PPX / RSVP studio recordings, and neither of these tracks has appeared on that many releases, which considering the way that Chalpin has been exploiting the other Knight recordings makes these two instantly suspect. One possibility could be that these tracks were recorded after Hendrix left the group, the style is very different to the other recordings so the Squires might have continued recording for RSVP without Jimi. Furthermore, "My Best Friend" was redone during the 1967 sessions which (if Hendrix were playing on this version) would make the song the only Curtis Knight studio track that was cut twice with Hendrix on guitar.


My Love (aka My Heart Is Higher)

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

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


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

This is probably a 1966 version of the song, the track was re-done during the 1967 sessions, and later after Hendrix's death a new vocal part for the 1967 version was recorded with new lyrics on which Hendrix supposedly foresees his death. See the "1967 studio" -section for details. This sales gimmick would have worked better if the 1967 version of the song featuring the original lyrics hadn't already been released in 1968.

This 1966 version is so far only known to appear on the "Music for Pleasure"-label lp "Strange Things" MFP 2M046-95397, released in France in 1974. Again the guitar part is very basic which really isn't typical for Jimi.




SOURCES
1 as stated by Jimi in his 7 March 1968 deposition interview he played all of the instruments except the drums during his first Curtis Knight session 6 October 1965. So obviously Curtis didn't have a band together having just met Jimi the previous day. This is backed up by the RSVP single released from the sessions, "How Would You Feel", which is credited to Curtis Knight only, no mention of the Squires. In June 1966 RSVP signed a contract with Curtis Knight & the Squires and this is also who the 1966 "Hornet's Nest" RSVP single is credited to on the label.
2 Jimi's PPX court case deposition interview recorded 7 March 1968 in New York City, partially reproduced in Univibes issue #35
3 Library of Congress Copyright Office
Catalog of Copyright Entries 1962 Music Jan-June 3D Ser Vol 16 Pt 5
4 Library of Congress Copyright Office
Catalog of Copyright Entries 1967 Music July-Dec 3D Ser Vol 21 Pt 5
5 Library of Congress Copyright Office
Catalog of Copyright Entries 1966 Music July-Dec 3D Ser Vol 20 Pt 5
6 Library of Congress Copyright Office
Catalog of Copyright Entries 1970 Music July-Dec 3D Series Vol 24 Pt 5

 

CURTIS KNIGHT (& THE SQUIRES)


1967 Studio Recordings

These recordings were done over two days, 17 July & 8 August 1967, when for reasons never satisfactorily explained Hendrix returned to Studio 76 twice in spite of an ongoing breach of contract law suit initiated by Ed Chalpin / PPX. All track titles except "Ballad Of Jimmy", "I Ain't Taking Care of No Business" (aka "No Business") & "Gloomy Monday" (and possibly "Happy Birthday") are fictitious, the rest of the tracks are just segments of jam sessions that were given titles when Curtis Knight overdubbed vocals on them in 1967/ 68.

Practically all of the reliable date & personnel information about these sessions comes from Jimi's 7 March 1968 PPX court case examination. Unfortunately Jimi mixes the two sessions up with each other (and several pages of the transcript are missing), so it's not always clear which session he's talking about. He says there was a guitar player who's last name possibly was "Shears" present in at least one of the sessions, and that he himself also played 12-string acoustic on occasion.

Jimi maintains that he played bass and didn't do any overdubs during the 17 July 1967 session, and this is backed up by the recordings & pictures that we have, the people present match the instruments audible (see pictures), there are no overdubs (by Jimi) to be heard. It is possible that the unknown person visible in the pictures is the guitar player that Jimi recalled was named "Shears", but this is unconfirmed.

Ad Tingle ID'd the strange looking instrument that the 2nd guitar player can be seen playing in the pictures from the 17th of July session. It's a Danelectro Bellzouki 12-string semi-hollow body electric guitar (exact model number unknown). This is very likely the instrument that can be heard on the recordings and that Jimi says he also played during the course of the sessions.

About the 8 August 1967 session Jimi says that he repeatedly told Ed Chalpin that he can't use Jimi's name for the recordings, again this is confirmed by available recordings. During this second session Jimi played guitar, "sometimes lead and I played sometimes melody and twelve string, I think, sometimes" 1.


1. Session - 17 JuLY 1967

Day Tripper / Future Trip / Flashing
Composer: John Lennon, Paul McCartney & Unknown
Producer: Ed Chalpin
Recorded at: Studio 76, New York City
Engineer: unknown
Date: 17 July 1967
Drums: Ray Lucas
Fuzz bass: Jimi Hendrix
Electric 12-string guitar: "Shears"?
Bass: Ed "Bugs" Gregory

A long jam based on the riff to "Day Tripper", cut in three pieces for the various lp releases, hence the three different titles. Available in both vocal & instrumental mixes.

The 1967 copyright registrations 2, there of course is no registration available for "Day Tripper" as it was an already existing Beatles song, the registrations for the other two tracks are as follows (the Ed Chalpin -credits for the music are "questionable"):

FUTURE TRIP; w & m Ed Chalpin. 2 p.
© PPX Pub. Co., a division of PPX
Enterprises, Inc.; 12Sep67; EU14244

FLASHING; m Ed Chalpin. 1 p. © PPX
Pub. Co., a division of PPX Enter-
prises, Inc.; 12Sep67 ; EU14245.

I Ain't Taking Care of No Business (aka No Business)
Composer: Jimi Hendrix
Producer: Ed Chalpin
Recorded at: Studio 76, New York City
Engineer: unknown
Date: 17 July 1967
Drums: Ray Lucas
Electric 12-string guitar: "Shears"?
Fuzz bass: Jimi Hendrix
Bass: Ed "Bugs" Gregory
Vocals: Curtis Knight

Jimi signed a publishing contract with R.S.V.P. MUSIC, INC for "I Ain't Taking Care of No Business" on the 30th of March 1966. The contract was offered for sale by Lelands.com in 2002. He's credited as the sole composer for the song. A demo version of the track seems to have been recorded in 1966 but there is no known 1966 studio version. The track was later recorded by the Jimi Hendrix Experience during sessions for Axis: Bold As Love in May 1967.

According to Jimi, speaking of the 1967 PPX sessions:
"There was one time that Curtis started playing this song - I think it was No Business - and like he was playing an old version of it, some demo version or something, I don't know. And we were playing with it. But that old version was made like, you know, a while back" 1.

Available both in vocal & instrumental mixes.

The 1967 copyright registration 2:

NO BUSINESS; m Curtis Knight. 1 p.
© PPX Pub. Co., a division of PPX
Enterprises, Inc.; 14Aug67; EU9707.


Odd Ball

Composer: Unknown
Producer: Ed Chalpin
Recorded at: Studio 76, New York City
Engineer: unknown
Date: 17 July 1967
Drums: Ray Lucas
Electric 12-string guitar:  "Shears"?
Fuzz bass: Jimi Hendrix
Bass: Ed "Bugs" Gregory

Only available as an instrumental mix. The last part of the jam sounds like an existing song but I can't recognize the tune that the band is playing.

The 1967 copyright registration 2:

ODD BALL; m Ed Chalpin. 1 p. © PPX
Pub. Co., a division of PPX Enter-
prises, Inc.; 15Sep67; EU14698.


2. Session - 8 AUGUST 1967

Ballad Of Jimmy (AKA MY BEST FRIEND)
Composer: Curtis Knight?
Producer: Ed Chalpin
Recorded at: Studio 76, New York City
Engineer: unknown
Date: 8 August 1967
Drums: Ray Lucas
Acoustic guitar: Unknown
Guitar (with wah wah): Jimi Hendrix
Guitar: Unknown
Bass: Ed "Bugs" Gregory
Fuzz bass: Unknown
Tambourine: Curtis Knight?

A re-recording of the song probably first done by the Squires (without Jimi) during the 1966 RSVP sessions. This could very well be the song that Jimi mentions in his court deposition as being recorded on the 8th of August 1967, referring to it as "an old song" and "so funny and so diabolical" 1.

Two versions of the vocals exist, the original 1967 one about Jimi stealing Curtis's girlfriend and dying in a car accident, and the 1970 version with re-done lyrics cashing in on Jimi's death where Curtis tells us how Jimi supposedly foresaw his own demise.

The version with new lyrics was released as a single all over the world in 1970. A version released in Germany even included a "reproduction" Studio 76 session log that supposedly came from the master tape of the original "Ballad Of Jimmy" recording session. It was offered as proof that Jimi foresaw his own death as the session date on the sheet was September 1965 and the new lyrics included the line "five years this he said, he's not gone, he's just dead".

The big problem here is that both Curtis Knight and Ed Chalpin have on many occasions stated that the first song Jimi recorded with Curtis Knight was "How Would You Feel" and the recording session took place on the 6th of October 1965, a day after Curtis and Jimi first met. Additionally the version with the original lyrics had already been released in 1968.

There are also two instrumental mixes available, on both of these very faint vocals can be heard suggesting that the vocals were cut "live" with the band in the same room with leakage remaining on the multitracks that can't be mixed out. The vocal that can be faintly heard is the one about Jimi stealing Curtis's girlfriend proving those to be the original lyrics as recorded in 1967.

Instrumental Mix 1 - Ballad Of Jimi (1)
The drums are mixed hard left and the bass hard right, the guitar is relatively low in the mix.
Available on: Lp "The Legends Of Rock" (Strand 6.28530)

Instrumental Mix 2 - Ballad Of Jimi (6)
The drums and bass are mixed closer to center, the guitar part is high in the mix.
Available on: Cd "Ballad Of Jimi" (SPV 085-44682)

The 1967 copyright registration 2:

THE BALLAD OF JIMI; w & m Curtis
Knight. 2 p. © PPX Pub. Co., a
division of PPX Enterprises, Inc.;
14Aug67; EU9708.


Get That Feeling

Composers: Curtis Knight, Edward Gregory
Producer: Ed Chalpin
Recorded at: Studio 76, New York City
Engineer: unknown
Date: 8 August 1967
Drums: Ray Lucas
Guitar: Jimi Hendrix
Guitar: Unknown
Bass: Ed "Bugs" Gregory

Available in both vocal & instrumental mixes.

The 1967 copyright registration 2:

GET THAT FEELING; w Curtis Knight, m
Edward Gregory. 2p . © PPX Pub .
Co., a division of PPX Enterprises,
Inc.; 14Aug67; EU9706.


Gloomy Monday

Composer: Curtis Knight?
Producer: Ed Chalpin
Recorded at: Studio 76, New York City
Engineer: unknown
Date: 8 August 1967
Drums: Ray Lucas?
Guitar: Jimi Hendrix
Bass: Ed "Bugs" Gregory?
Vocals: Curtis Knight

Takes 1 & 2
Two out-takes without any overdubs, only released on bootleg. These are preceded by the famous "You Can't Use My Name" conversation when Jimi tells Ed Chalpin that he can't use his name on the records and Ed replies "I won't, don't worry". The vocals are clearly being cut live along with the basic track. Listen to on YouTube.

Take 3
Several different mixes exist of this third take.

The 1967 copyright registration 2:

GLOOMY MONDAY; w & m Curtis Knight.
2 p. © PPX Pub. Co., a division of
PPX Enterprises, Inc.; 16Aug67 ;
EU10283.

Hush Now  (AKA LEVEL)
Composer: Jimi Hendrix, Curtis Knight
Producer: Ed Chalpin
Recorded at: Studio 76, New York City
Engineer: unknown
Date: 8 August 1967
Drums: Ray Lucas
Guitar: Jimi Hendrix
Guitar: Unknown
Bass: Ed "Bugs" Gregory

Basically a jam around the riff of "The Stars That Play With Laughing Sam's Dice".

Take 1
Incomplete, only available as an instrumental mix

Take 2
Available both in an instrumental and a vocal mix with vocals overdubbed by Curtis.

The 1967 copyright registration 2:

HUSH NOW; w & m Curtis Knight. 1 p.
© PPX Pub. Co., a division of PPX
Enterprises, Inc.; 9Aug67; EU8976.

LEVEL; m Ed Chalpin. 1 p. © PPX Pub.
Co., a division of PPX Enterprises,
Inc.; 15Sep67; EU14697.


Happy Birthday / Love Love

Composer: Jimi Hendrix?
Producer: Ed Chalpin
Recorded at: Studio 76, New York City
Engineer: unknown
Date: 8 August 1967
Drums: Ray Lucas
Guitar: Jimi Hendrix
Tambourine: Curtis Knight?
Bass: Ed "Bugs" Gregory

Take 1 - aka "Happy Birthday"
"Happy Birthday" seems to be a different take of the "Love Love" -jam. Only available as vocal mixes. There is an almost instrumental mix of the track which still has faintly audible vocals. This suggests that there is leakage from the vocals on the multitrack that can't be mixed out which in turn means the vocals were probably recorded live.

Take 2 - aka "Love Love"
Available in both vocal & instrumental mixes.

The 1967 copyright registrations 2:

HAPPY BIRTHDAY; m Curtis Knight 2 p.
© PPX Pub. Co., a division of PPX
Enterprises, Inc.; 14Aug67; EU9709.

LOVE, LOVE; w & m Curtis Knight 1 p.
© PPX Pub. Co., a division of PPX
Enterprises, Inc.; 14Aug67;
EU10134.


UNIDENTIFIED TRACKS
The following three songs were registered for copyright in 1967 but do not seem to circulate in any form. One of these, "Ooh-ah", was co-composed by Jimi Hendrix:

OOH-AH; w & m Jimi Hendrix & Curtis
Knight. 2 p. © PPX Pub. Co., a div .
of PPX Enterprises, Inc.; 18Aug67 ;
EU10730.

"Ooh-ah" could be a familiar title under a different name or an unreleased 1967 jam edit but what's note worthy about this one is that it gives partial composing credits to Jimi. There isn't a single other Ed Chalpin produced / registered track that gives Jimi writing credits so this song would appear to be a genuine Jimi Hendrix & Curtis Knight co-composition (or a Jimi solo composition with co-credit to Curtis added later). Either way it could be an unreleased proper song with lyrics. One possibility is that it could be a 1965 demo recording, please see the "1965 studio recordings" -section.

N0.1; m Curtis Knight. 1 p. © PPX
Pub. Co., a division of PPX Enter-
prises, Inc.; 14Aug67; EU9711.

"No. 1" could be a Curtis Knight solo recording.

SUDDENLY; w & m Curtis Knight. 2 p.
© PPX Pub. Co., a div. of PPX
Enterprises, Inc.; 18Aug67; EU10728.

"Suddenly" very likely is a Curtis Knight solo recording as a previous registration from March 1965 (before Jimi & Curtis met) exists:

SUDDENLY; w & m Curtis Knight. 2 p
© RSVP Music, Inc.; 10Mar65 ; EU871253.




SOURCES:
1 Jimi's PPX court case "Examination Before Trial" given 7 March 1968 in New York City, partially reproduced in Univibes issue #35
2 Library of Congress Copyright Office
Catalog of Copyright Entries 1967 Music July-Dec 3D Ser Vol 21 Pt 5

CURTIS KNIGHT (& THE SQUIRES)


Bio

Scans of a 3-page promotional Curtis Knight biography produced in 1992 (Note: I don't agree with all of the information, the biography is reproduced here as-is). Courtesy of Ad Bastiaanssen.

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