Two releases by Experience Hendrix (You Can’t Use My Name and No Business), feature recordings from the summer ’67 reunion session between Jimi and R’n’B singer Curtis Knight (although the two releases feature mainly the 1965-66 recordings by Curtis Knight And The Squires featuring Hendrix).
The reason for this is because there is little that is exploitable from the 1967 recordings.
See the Before Fame section for details of the 1965 – 1966 pre-Experience recordings.

This subject merits attention and I spend time on it to sort out all the terrible confusion that it has created over the decades. Producer Ed Chalpin created such a puzzle that even after all this time, many Hendrix fans still mistake these 1967 reunion session jams for pre-Experience recordings!
It must be said right away that the music here is sub-standard and bears no relation to the main body of Jimi’s work.

How the Curtis Knight recordings came back to haunt Jimi
As detailed in the Before Fame section, during his pre-Experience days, in and around New York, Hendrix recorded a number of songs with Curtis Knight & The Squires (a.k.a. The Lovelights). By the summer of 1966 Jimi formed his own little group in New York: Jimmy James & The Blue Flame (a.k.a. The Rainflowers) but would occasionally still play club gigs with Knight (he was in fact discovered by Linda Keith at the Cheetah Club while he was playing with either Knight’s band or with Carl Holmes & The Commanders. Then Linda got Chas Chandler interested, who took Jimi to London and made him an international sensation.
In late 1966, Mike Jeffery flew to New York in order to clear up the old contracts that Jimi said he had signed. Jeffrey recruited the New York law firm Marshall & Vigoda to track down the various companies involved. As Jimi hadn’t yet broken in the States (and was only beginnng in Europe) it was very easy for Jeffery to buy ou the old contracts that belonged to Henry “Juggy” Murray Jnr. (Sue Records and Copa Management) for little outlay. So, all appeared neat and tidy.

A few months later, Jeffery was on a night out with Jimi in a London club and the D.J. put on a promo single on the R.S.V.P. label titled Hornet’s Nest by Curtis Knight & The Squires. This was in fact an instrumental written and recorded by Jimi in New York shortly before he’d left for England with Chas and Mike. For some reason, Jimi hadn’t mentioned that he’d signed a contract with R.S.V.P back in early 1966! It seems that Jimi didn’t know that the song, backed with Knock Yourself out, would be released. This is perhaps true because only DJ-destined promo copies have been found since. However, Jimi had surely been aware that R.S.V.P. had previously released How Would You Feel b/w Welcome Home in April ’66 (a few weeks before Jimi met Linda Keith).

Mike Jeffery immediately instructed Marshall & Vigoda to buy out the contract with R.S.V.P. Records, owned by Jerry Simon (who had sneakily inserted his name as co-writer of the two songs). Thus Jeffery obtained the rights to seven songs that Simon had: Hornet’s Nest, Knock Yourself Out, U.F.O., I’m A Fool For You Baby, Gotta Have A New Dress, Ballad Of Jimmy and Your Love (an instrumental cover of the Petula Clark song with perhaps Hendrix on bass, it surfaced on some Chalpin exploitation albums as My Heart Is Higher). Jeffery had of course no intention of releasing this inferior material. So again, all seemed neat and tidy for Jimi, Chas and Mike.

Then months later a certain Ed Chalpin notified Track, Polydor and Warner Brothers that Jimi in fact belonged to him, thanks to an exclusive three-year contract that Hendrix had signed back in 1965, when he was a session musician for Chalpin’s recording company PPX Enterprises. At the time, Hendrix hadn’t even told Chalpin that he was already signed to Juggy Murray for management and record releases. Chalpin must have been living under a rock in 1967 because he hadn’t heard of The Jimi Hendrix Experience until he was looking through some overseas record sales information. He didn’t know about Jimi’s Monterey performance (which was big news in the industry at the time) or about the U.S. releases of Are You Experience and the successful singles! In the summer of ’67, Chalpin finally issued a lawsuit against Jimi’s management and labels in the USA and Europe.

Jimi makes a big mistake
Then, unknown to his management, Jimi (naively hoping to calm things down and make amends), met up with Knight and Chalpin in New York and offered to participate in two jam/recording session as an uncredited player. This reckless decision only gave Chalpin more recordings to exploit. Subsequent releases have revealed that at the beginning of one session, Jimi calls out to Chalpin “Don’t use my name on this, OK ?”. You can hear Chalpin simply reply “Don’t worry about it”. Jimi would soon have plenty to worry about and Chaplin came back to haunt him for the following three years.

While both sides readied themselves for the legal battle, Chalpin rushed out an album of Knight/Hendrix recordings (1965 to 1967) on Capitol Records titled Get That Feeling, featuring a cover photo of Jimi performing at Monterey. Capitol A&R man Nick Venet said that they’d had to overdub extra bass and drums in order to create a fuller sound. Jimi discovered the record one day in a record shop and this was obviously a big shock to him and his management and record companies.

Yameta did manage to block the Get That Feeling album in early 1968 due to its misrepresentation as the album was by Jimi Hendrix and Curtis Knight. Because of that, a second Capitol album titled Flashing, stated more clearly “Jimi Hendrix Plays – Curtis Knight Sings”).

However, Chalpin counter-attacked and managed to get the judges to freeze Hendrix record royalties paid to Warner Brother and tour revenue from General Artists Corporation! This was a dramatic drop in revenue for the Hendrix organisation. If you wondered where all he money went, a lot of it was frozen!
A further court ruling gave PPX 2% of US L.P. and tape sales profits up to 1972 plus 1% for Canadian releases. This was also retroactive for the releases prior to 1968. It was also ruled that Capitol/PPX would be granted a new album of Jimi Hendrix Experience recordings.

When the Experience broke up in June 1969, Jimi was in the midst of a creative block and still had nothing new to offer. He thought a way out of the litigation would be to give Capitol a live album. This turned out to be Band Of Gypsys which Chalpin rightly claimed didn’t fulfil the agreement (for a proper JHE studio album). The lawsuits continued all the way into the 21st century when Chalpin received a pay-off shortly before he died and submitted (or leased) all his master tapes to Experience Hendrix. This resulted in the releases of two studio albums (without Capitol’s post-session rhythm section overdubs) on Sony and Dagger Records (You Can’t Use My Name and No Business) and one un-retouched live album on Dagger Records (Georges Club recordings without Capitol’s post-session rhythm section overdubs). 

Jimi, Curtis Knight and an unknown bassist, perhaps at the first Studio 76 reunion session of July 1967. Jimi is playing an 8 string Hagstrom bass.
In the control booth are Dick (“turned down The Beatles”) Rowe of Decca Records and Ed Chalpin of PPX Enterprises.

The 1967 studio reunion sessions

Jimi in fact attended two sessions in July ’67 at Studio 76 in New York. At the first he only played bass through a fuzz box on three loose, scrappy jams that were modified after the sessions by Chalpin, Knight and Capitol Records and given titles, to become “Day Tripper/Future Trip/Flashing”, “Odd Ball”, and “Get That Feeling”. There is another bassist on the recordings and Jimi plays his 8 strings Hagstrom bass through a fuzz tone right up front and sometimes in a lead bass style.
Jimi also helped touch up a song he had written back in 1965/66 titled “I’ Ain’t Takin’ Care Of No Business”. Knight brought an old demo of the song to the studio and Jimi simply put some bass over it. It appeared on the various PPX compilations as “No Business”. Interestingly, the previous May, Jimi had already recorded the song with The Experience as “Taking Care Of No Business” during the sessions for his second album, Axis:Bold as Love (the song finally appeared on the 2000 MCA box set).

At the second session, Jimi recorded a few takes of a driving R&B song titled “Gloomy Monday” which was possibly an old song from 1966 that they never got round to finishing. It’s not much of a song but Jimi brings it alive with some terrific rhythm playing. He also added some warbling wah-wah to what seems to be a rough demo of a Knight penned song titled “Ballad Of Jimmy (My Best Friend)”.

Jimi hadn’t had his new wah-wah pedal for long in fact. It has been said that he had discovered Frank Zappa using the gadget first and soon adopted it himself. However Noel said in his book that it was he who had discovered a Vox Cry Baby in the London Vox shop and promptly encouraged Jimi to check it out. “Burning Of The Midnight Lamp” had been his first use of it and ultimately, the wah-wah pedal was destined to be forever associated with Hendrix.

Apart from those two numbers, Jimi also jammed loosely with those present, improvising through his new pedal. One jam (sounding a bit like the basic drive of “Stars That Play With Laughing Sam’s Dice”) was used to create “Hush Now”/”Love Love”/”Love”/”Happy Birthday”. Curiously, Jimi’s opening guitar on what became “Hush Now” slightly resembles the intro guitar of “1983”. Without Jimi’s knowledge, Ed Chalpin later edited and looped the taped sections to construct “songs”, exploiting the little he had to the full. Then Curtis Knight added some vocals over the top. Capitol Records found the results unusable and they too added more overdubs on the recordings.

Even though Jimi had asked Chalpin not to use his name, PPX didn’t waste time, putting Jimi’s name in huge letters on the cover of the album “Get That Feeling” (released at the end of the year) with a superb photo of him performing at Monterey. As detailed above, Jimi’s management team tried to stop the album but lost and were ordered hand over rights to a new Hendrix album (which eventually turned out to be “Band Of Gypsys” in 1970) as a payment for his breaching of contract. Chalpin however was expecting the 4th Jimi Hendrix Experience studio album and he was soon filing another lawsuit. All of this greatly troubled Jimi.

According to Jimi is credited as songwriter for Future Trip / Flashing, Get That Feeling, Happy Birthday, Hush Now, Love Love

These are the dates that Jimi attributed for the sessions (during a court-case regarding rights issues):

SESSION 1 (17 July 1967)
Jimi plays only 8-string fuzz bass on:
No Business
– loose rhythmic jam which was later overdubbed and titled Get That Feeling
– rhythmic doodling later overdubbed by Chalpin and titled Oddball
– one long ambling “jam” edited into three separate tracks as Day Tripper, Future Trip and Flashing

 + some loose wah-wah jamming which Chalpin and Knight later turned into the songs: Hush Now and Love Love (in his deposition, Jimi attributed these to the August session)

Ed Gregory plays the rhythm guitar that can be heard on these tracks.

> Research by has revealed that some overdubs were done on July 31 st but Jimi wasn’t present.

SESSION 2 (8 August 1967)
Jimi plays guitar on:
Gloomy Monday (several takes)
Ballad Of Jimi a.k.a. My Best Friend (re-recording with wah-wah overdubs by Jimi). 

> Level was a different take of the jam that was transformed into Hush Now!
> Happy Birthday was simply a different take of the jam that became Love Love.

How to make records out of this paltry selection of recordings? Easy, just pad them out with some old 1965-66 recordings and totally confuse everyone!


When Jeffery and Chandler learned of this session (from Jimi) they were again astounded and appalled by what Jimi had done because it handed new recordings (as paltry as they were) to Ed Chalpin! 

Another photo from the same session showing Jimi this time with a Corvette guitar which is very similar to the Hagstrom 8-string bass.

As said above, some of the 1967 reunion session recordings were finally released by the Hendrix estate.
You Can’t Use My Name featured Gloomy Monday from the 1967 sessions and the album No Business contained a lot more. 
AT LONG LAST we get to hear Hush Now and Love Love jams without Chalpin/Capitol’s poor overdubs!
 > see Before Fame section for the review of these releases.

Curtis Knight/Hendrix albums released in Jimi's lifetime


Released December 1967 (Capitol)

How Would You Feel, Simon Says, Get That Feeling, Hush Now, Welcome Home, Gotta Have a New Dress, No Business, Strange Things

Only three tracks here are from the summer 1967 sessions; “Hush Now”, “Get That Feeling” (Jimi on 8-string bass only) and “No Business” (bass only), the rest are old 1965 Curtis Knight & The Squires recordings. One can imagine the deception of record buyers at the time and all those who have been duped by this type thing right up to the present day. Even Jimi got a shock when he found this album in a record shop!

Overdubs by Capitol
In a January 1968 Rolling Stone interview, Capitol A&R man Nick Venet stated that these eight songs were the only PPX recordings that they felt were salvageable. He also stated that they “had to remix and re-record Chalpin’s tapes” (meaning overdubbing of some backing). This reveals just how worthless Ed Chalpin’s recordings of the Studio 76 really were.

A lousy album, but a superb cover. Great photo of Jimi in action at Monterey – 9/108


Ballad Of Jimi, No Business, Future Trip, Gotta Have A New Dress, Hornet’s Nest, Don’t Accuse Me, Flashing, Hush Now, Knock Yourself Out, Happy Birthday

Strangely, the European version of the album featured a very different track listing and not even the title track. However it featured more tracks from the 1967 sessions.

The opening song “Ballad Of Jimi” started life as a demo back in 1965 titled “Ballad Of Jimmy – My Best Friend”. That initial demo featured a lyric about the singer’s best friend Jimmy (nothing to do with Hendrix), who had died five years earlier in a car crash, leaving his girlfriend in sorrow.
In 1966, a studio recording was attempted but never released. Then, during the summer ’67 Knight/Hendrix reunion sessions, Jimi and Knight recorded a new version featuring wah-wah guitar overdubs by Jimi but with the original 1966 vocal intact (versions without the vocal also turned up on various PPX exploitation albums over the years as simply “My Friend” – not to be confused of course with the song of that name on th Cry Of Love album!). 
Then, in late 1970 (after Jimi’s death) Chalpin and Knight decided to cash-in on the situation and came back to the version with Jimi on guitar and recorded a new vocal with lyrics about the memory of Jimi, and how he had predicted his own death.
Knight later tied this in with the release of his biography “Jimi”, inventing a story that these lyrics dated from the mid 60s, saying that Jimmy James had told him that he would be dead in five years time! The new version of the song cropped up on many a Knight/Hendrix compilation over the years.

Resume of Ballad Of Jimmy/Jimi:

– 1965 demo with Knight – the last track as “My Best Friend” on the No Business CD
– 1966 recording – as “My Best Friend” Take 5 on the No Business CD
– 1967 re-recording with Jimi’s wah-wah etc. and the same lyrics
– 1970 new lyrics overdubbed onto the 1967 version (about Jimi predicting his death) 

Mad collector’s corner:

Chalpin later recycled “Ballad Of Jimi” in 2017 when he handled the reissue of a 1971 Chubby Checker album titled Checkered. For the reissue, the album was re-titled Chubby Checker Goes Psychedelic and another version of “Ballad Of Jimi” was stuck on as a bonus track. This version has a different mix than the early 70s Knight version and has a spoken voice and vocal (by Chubby in 1970?) on top of Knight’s.


Released October1968 (Capitol)

Gloomy Monday, Hornet’s Nest (Hendrix/Simon), Fool For You Baby, Happy Birthday, Flashing, Day Tripper (Lennon/McCartney), Odd Ball, Love Love, Don’t Accuse Me

Unperturbed by Jimi’s management’s attempts to stop them, Chalpin proceeded to issue a further collection of pre-Experience and Studio 76 recordings.

“Jimi Hendrix plays, Curtis Knight sings”. At least this one was more honestly worded and the illustration low key, like Jimi’s participation. – 5/10


Released 1968 (London)

Get That Feeling, Strange Things, Odd ball, Love Love, Simon Says, Gloomy Monday, Welcome Home

A UK collection of Curtis Knight material, using the same sleeve art as “Flashing”.

And so it continued through the decades with continual jumbling up of studio and live tracks (Georges Club 1965/1966) to create “new albums” and fool the record buying public. More tracks were created along the way in the early 70s:

Love (“Love Love” without the vocal overdub)
Happy Birthday – part of the “Love” jam with a different vocal overdub
Level (instr.) – an alternate take from jam that had been used to create Hush Now 
My Best FriendBallad Of Jimi without the vocal overdub


When Jimi and Track lost their case against PPX Enterprises
they were even obliged to release “How Would You Feel” in 1967 on Track Records!
(The song had been previously released in 1966 as a single on RSVP in the USA when Jimi was unknown)

Recycling and curiosities

Since the sixties, the PPX material has been over exploited on dozens of albums which churned out the same material again and again for the unwitting consumer, with titles like “The Great Jimi Hendrix In New York”, “The Eternal Fire Of Jimi Hendrix”, “Early Jimi Hendrix”, “Birth Of Success” … Here are just a few of relative interest:

The Freud/Jungle label must be commended for their clear and acurate approach to all the Curtis Knight material. “Knock Youself Out” (pre-Experience), “Drivin’ South” (the so called Georges Club”live” recordings) and “Summer Of Love Sessions” (1967 reunion sessions).

Later of course, Exprience Hendrix and Sony Legacy released their own (and definitive) versions of the 1965-67 recordings with superior sound quality (Kramer mix – Grundman mastering) and without the Ed Chalpin overdubs.

The Authentic PPX Recordings – a series of lousy, confusing CD compilations of all the substandard Chalpin PPX studio and live material from 1965 to 1967 across six volumes, a box set and a “Best Of”. Talk about flogging a dead horse! All the sources of Curtis Knight collaborations from 1965 to 1967 are stupidly mixed up to create even more confusion (a speciality of Ed Chalpin).

A Japanese CD release featuring that nice photo from one of the 1967 sessions with Curtis Knight. This photo was used (rather inaccurately) for the cover of the 24 page booklet of the Sony Legacy album “You Can’t Use My Name” which was 95% pre-Experience material.


Some jumbled releases of the PPX material even went as far as changing the names of songs to further mislead the unsuspecting buyer.

Alternate song titles used on the albums Second Time Around and Guitar Giants (three double albums):

Torture Me Honey = Level (which was simply another take of the jam that led to Hush Now)
Mercy Lady Day = Love, Love
Second Time Around = Get That Feeling
Got To Have It = Happy Birthday
Sleepy Fate = No Business
Left Alone = Bleeding Heart*
Not This Time = Bleeding Heart (edit)*
I Should’ve Quit You = Killing Floor*
Fool About You = Fool For You Baby*
You Got Me Runnin’ = Baby What You Want Me To Do
Mr Pitiful = California Night a.k.a. Travellin’ To California
Hard Night = Come On (live at Georges Club – nothing to do with the Earl King song that Jimi covered on Electric Ladyland)
Running Slow = Baby What You Want Me To Do (guitar solo – different take from You Got Me Runnin’)
My Fault = It’s My Own Fault (from the Generation Club jam?)
I’ve Got A Sweet Lady = Sweet Little Angel

Guitar Giants Vol. 3 also contains a track which doesn’t even feature Hendrix – My Heart is Higher

* Live, NY or NJ, late 1965/early 1966


For more information about the whole Curtis Knight/Hendrix muddle,
check out Niko Bauer’s amazing research at

There is also an excellent resume of the PPX/Knight/Hendrix saga at the official Hendrix site. 







“Well, I float in liquid gardens,way down in Arizona’s new red sands”