Listen to Previously Unreleased Jimi Hendrix Song, ‘Station Break’ From his DAZE Touring With Curtis Knight & The Squires!!!

This Just In From Seattle Music History!!!                                                                                                                                                                               The track premiered earlier last month at the Daily Beast, which also details the story behind the recordings. Hendrix was a member of Curtis Knight & the Squires from 1965-66. Signed to Ed Chalpin’s PPX International, they recorded a handful of sides that went nowhere. However, once Hendrix became a star a year later, Chalpin repackaged many of the songs and sold them as the new Hendrix albums Get                                                                                                    

http://www.vevo.com/watch/curtis-knight-the-squires/Station-Break-(audio)/USQX91500360That Feeling (in December 1967) and Flashing (in October 1968).                                                                                                     by Dave Lifton PMOn March 24, some of Jimi Hendrix‘s earliest recordings were  released as You Can’t Use My Name: Curtis Knight & the Squires (Featuring Jimi Hendrix) – The RSVP/PPX Sessions. You can hear one of the previously unreleased tracks, an instrumental called “Station Br BY CLICKING ON THIS LINK! ----->    http://www.vevo.com/watch/curtis-knight-the-squires/Station-Break-(audio)/USQX91500360        

After more than a decade of litigation, Experience Hendrix, L.L.C., the company run by the Hendrix family to oversee his legacy, acquired the tapes. They then hired Eddie Kramer, Hendrix’s longtime engineer, to clean up the tapes as best as possible so that they could get a proper release.
Rolling Stone‘s original review of Get That Feeling called it “barely representative of what Hendrix is now doing and is an embarrassment to him as a musician. Moreover, while it does show the early elements of the style he has now developed, it is so badly recorded to be of little historical value.”
That said, “Station Break” is a solid, if rough and unspectacular, instrumental. The music in the verses seems to take a cue or two from Sam Cooke‘s “Another Saturday Night,” while the B-section features a four-bar break. Hendrix doesn’t show off, but you can hear his familiar Stratocaster tone and hammers-on approach even at this early stage.
Read More: Listen to Previously Unreleased Jimi Hendrix Song, 'Station Break' | http://ultimateclassicrock.com/jimi-hendrix-station-break/?trackback=tsmclip 

“I Found My Friends: The Oral History of Nirvana”

Before Nirvana got famous, the members of the band were part of a working community. In a fascinating new book, British author Nick Soulsby probes that period of the band’s early career, interviewing more than 200 musicians.

“I Found My Friends: The Oral History of Nirvana”Nick SoulsbySt. Martin’s Griffin,

When Nirvana’s “Nevermind” topped the Billboard charts in January 1992, like-minded folks.

the trio became the most famous rock group to ever come out of Seattle. But this newfound fame rested uneasily on the band members’ shoulders; in interviews they liked to stress that Nirvana was part of a community of “I Found My Friends” digs deeply into that community, featuring interviews with more than 200 fellow musicians who shared the stage with the band. The book is an extension of British-based author Nick Soulsby’s previous project, the 2014 compilation “No Seattle: Forgotten Sounds of the North-West Grunge Era 1986-97.”

While researching Nirvana, Soulsby became intrigued by the picturesque names of supporting acts at Nirvana’s shows, such as Oily Bloodmen, Gobblehoof and 3 Merry Widows. Soulsby began tracking down the bands, and while the music on “No Seattle” is limited to groups from the Northwest, the interviews in “I Found My Friends” draw from a larger pool.

Previous oral histories such as Mark Yarm’s “Everybody Loves Our Town” and Greg Prato’s “Grunge Is Dead” focused on the members of big acts like Soundgarden and Pearl Jam. What makes Soulsby’s book so interesting is that he unearths a hidden history by speaking to the members of lesser-known groups.

You get a clear sense of Nirvana’s early struggles It offers an inside look at Nirvana’s development as recounted by the fellow travelers who were destined to be left behind, once the band achieved superstar status.

“They could've easily, at first blush, been one of those bands you see a couple of times then fades away, never to be seen again,” is how Bruce Purkey of the band Soylent Green, remembered Nirvana’s early days.

It wasn't an unusual perception. Kurt Cobain tried to make an impression by donning satin trousers and platform shoes for a show, but “beyond the clothing there was nothing memorable about the stagecraft,” says Paul Morris, of the Sons of Ishmael.

That soon changed, of course. But along with admiring the band’s musicianship, memories of the pre-fame Nirvana are remarkably consistent: guitarist/lead singer Kurt Cobain, shy and withdrawn; bassist Krist Novoselic, outgoing and a bit goofy; early drummer Chad Channing, friendly and personable.

It was the kind of band that was ready to lend a helping hand. After one show, Gobblehoof’s Tim Aaron said Cobain gave him $100 out of Nirvana’s earnings, when he learned Gobblehoof wasn’t getting paid.

All of which makes the latter part of the book especially sad. Fame isolated Nirvana from former friends and allies. During an Australian tour, the Guttersnipes’ Paul Brockhoff was told by a bouncer to not even talk to Nirvana, “or we’d get thrown out.” Cobain further isolated himself with drugs. It’s a bittersweet look at the life of a working rock band, from those in the best position to observe it.

                                                                                                                                                                                                                                         

"Jimi was quite shy really. He hated his own voice and always wanted it buried in the track, but the engineer would always bring it up again.”

     This Just In From Seattle Music History!!!             To write about singer and guitarist Trevor Burton’s life would fill at least one big book, what with his rock ‘n’ roll history, the drugged-up party days, and playing with names such as Jimi Hendrix and Steve Winwood.                                                                                     

Since 1983 he has led the Trevor Burton band up and down the country, and they will be coming to Hockley’s Touchline live music club next month.

You might say Trevor was born to play, and it’s what he has stuck to his entire life, despite at one point several years back, becoming gravely ill with Legionnaires’ disease.

He took nearly a year to recover from it and be able to sing again, as his lungs were so damaged, but as soon as he did, he got back down to business.

“Well, it’s what I know – and I still feel like I’ve got loads more to do,” he said in his relaxed Brummie tones, when I asked after 50 years in the business, if he every felt like hanging up his guitar. “I very rarely feel like stopping, very rarely. What else would I do now anyway? Become a milkman?”

He was only little, six or seven years old, when he decided playing music was what he must do.

“I heard the early rock ‘n’ roll, white rock ‘n’ roll, people like Buddy Holly and Eddie Cochran. I’d never heard music like it before,” said Trevor. “It was electrifying!

“I was naturally musical anyway, starting off on the drums and then progressing onto guitar because I saw people like Cliff and the Shadows so had to do that.”

He was just 13 years old when he created his first band, the Everglades, and turned professional at 15, joining Danny King and the Mayfair Set, before becoming one of the founding members of the Move in 1966.

Trevor only stayed in the band for two-and-a-half years, getting five top five singles in that time, including the massive hit Flowers in the Rain and the band’s only number one Blackberry Way.

Then Trevor met Jimi Hendrix, whose musical influence set the teenager onto a new path.

“We did a lot of shows with Cream and Jimi Hendrix,”

said Trevor, who was at that time, 17. “What Jimi was playing was very heavy, and I started discovering more about that music, about blues and going down that road. We did a few shows with him and got to know him very well.

“He was a very gentle guy, very courteous, and always stoned out of his brains...well, we all were. Jimi was quite shy really. He hated his own voice and always wanted it buried in the track, but the engineer would always bring it up again.”

His new influences led him to leaving the Move and jamming with Jimi, spending a lot of time at Steve Winwood’s country house with the band Traffic, and playing the blues.

“I suppose the Move were a psychedelic pop band, then they went heavy, but then started to do pop again and wearing warpaint,” said Trevor, referring to the makeup the band members started to wear. “Well, thankfully I left before the warpaint came along.

                                                                                                                                          “But I just got into this other music and playing with the others, and I felt after that I didn’t want to go back to doing Flowers in the Rain.

I didn’t want to do pop music anymore.”

He put together a band called Balls with Steve Gibbons of the Ugly’s and Denny Laine of the Moody Blues. It was managed by the former Moody Blues/Move manager Tony Secunda.

Record producer Jimmy Miller was hired for the group’s recording sessions and with Secunda arranging a large cash advance from the record company, the group started to compose and record new material while playing gigs. Balls split at the end of 1969.

Their only release was a single that did not come out until September 1971, an antiwar anthem called Fight For My Country, composed and sung by Burton, and including backing vocals from Gibbons and Laine, who also played bass guitar on the track.

“I just wanted to do my own thing really,” said Trevor, “so I became a session musician for Island Records.”

It was during this time Trevor enjoyed jamming and recording with several highprofile musicians, notably his friend Paul Kossoff who had been in Free.

“Of all the albums I have been on – probably about 15 or 16 albums with different people – the one I did with Paul called Backstreet Crawler is my favourite. I played bass on the whole of the B side, which was all recorded, totally spontaneously, a jam for about 22 minutes, I think it is.

We just recorded it and Paul said, ‘that’s it’ and that was to be the whole side.

“It was one of the last things I did with Paul before he died. It was special.”

The rock ‘n’ roll and drugsfuelled lifestyle eventually caught up with Trevor, and it is said his old manager Secunda turned up on his doorstep with a bag of money and told him to get himself back to his home in Birmingham before he died.

Trevor took the advice.

His next notable step on his musical journey was to hook back up with Steve Gibbons, who he ended up playing with as part of the Steve Gibbons Band the for next eight years, touring the world. A particular highlight during this time was when they supported the Who, sometimes to stadiums full of 80,000 people, a time which Trevor describes as “scary and fun”.

These days may be less wild, but Trevor, now aged 66 and still living in Birmingham, shows no signs of stopping.

“I’m planning to do another album this summer,” he said.

“Usually I only take about three days to record an album, because I think if you can’t get it within three takes, then forget it. But this time I want to go into the studio for a month to record it and be a lot more experimental. I’ve got some ideas buzzing around in my mind, but I want to try it all out once we are in the studio,” he said.

• The Trevor Burton band (Trevor Burton – guitar, vocals; Bill Jefferson – drums; Pez Connor – bass and Abby Brant – keyboard, vocals) will be at the Touchline Music Club at Hockley Community Centre, Westminster Drive, Hockley, on Friday, April 24, from 8pm until 11.30pm. Tickets are £10 plus £1 booking fee, and are available from wegot tickets.com