Purple Haze Releases and charts Where was Purple Haze released? On March 17, 1967, "Purple Haze" was released in the UK How did the song do on the music charts? The single entered the charts at number 39 on Record Mirror and at number 43 on Melody Maker. It peaked at number three When was the song released in the US? It was released on June 19, 1967, What record company was Hendrix with when he released it in the US? Track Records. Was the song released with his album? Purple Haze" was included as the opening track on the American release of Are You Experienced
When did Are You Experienced come out?
When did Are You Experienced come out?
On March 17, 1967, "Purple Haze" was released in the UK as the first single on Track Records. Another Hendrix composition, the R&B-influenced "51st Anniversary" was included as the B-side. Paul McCartney, who was an early Hendrix supporter, gave the record an enthusiastic pre-release review in Melody Maker. The single entered the charts at number 39 on Record Mirror and at number 43 on Melody Maker. It peaked at number three and spent 14 weeks on the chart. During March 1967, several performances of "Purple Haze" were filmed to promote the song and used for television programs, such as Beat-Club, Dee Time, and Top of the Pops. Live performances were also broadcast on German NDR and BBC Radio's Saturday Club. For the American single, Reprise Records paired the song with "The Wind Cries Mary". It was released on June 19, 1967, the day following the Experience's performance at the Monterey Pop Festival. The single entered the Billboard Hot 100 pop chart on August 26, where it spent eight weeks and reached number 65. "Purple Haze" was included as the opening track on the American release of Are You Experienced on August 23, 1967. Because of the song's airplay on underground FM radio, the album became more popular than Hendrix's singles. One of Hendrix's most popular songs, "Purple Haze" appears on numerous compilation albums. Some of these include Smash Hits, The Essential Jimi Hendrix, The Singles Album, Kiss the Sky, Cornerstones: 1967-1970, The Ultimate Experience, Experience Hendrix: The Best of Jimi Hendrix, Voodoo Child: The Jimi Hendrix Collection, and The Singles Collection. An alternative version recorded at the same time, but with different vocal and guitar overdubs, is the first song on The Jimi Hendrix Experience 2000 box set. Live recordings of "Purple Haze" as performed by each of the different Hendrix lineups have been released. These include Live at Monterey (the Experience), Live at Woodstock (Gypsy Sun and Rainbows), Live at the Fillmore East (Band of Gypsys), and Live at Berkeley (the Cry of Love touring group). Additional live recordings with the Experience appear on Winterland (2011 Billboard number 49 album) and Miami Pop Festival (2013 Billboard number 39 album). CANNOTANSWER
on August 23, 1967.
"Purple Haze" is a song written by Jimi Hendrix and released as the second single by the Jimi Hendrix Experience on March 17, 1967.
The song features his inventive guitar playing, which uses the signature Hendrix chord and a mix of blues and Eastern modalities, shaped by novel sound processing techniques.  Because of ambiguities in the lyrics, listeners often interpret the song as referring to a psychedelic experience, although Hendrix described it as a love song.

"Purple Haze" is one of Hendrix's best-known songs and appears on many Hendrix compilation albums.  The song featured regularly in concerts and each of Hendrix's group configurations issued live recordings. It was inducted into the Grammy Hall of Fame and is included on lists of the greatest guitar songs, including at number two by Rolling Stone and number one by Q magazine.

Background and recording
By January 5, 1967, the Jimi Hendrix Experience's first single, "Hey Joe", backed with "Stone Free", had peaked at number six on the UK record chart. "Hey Joe" was not a Hendrix composition – it was written by Billy Roberts and recorded by several groups prior to the Experience. Hendrix commented, "That record isn't us. The next one's gonna be different.  We're working on an LP which will mainly be our stuff." The group recorded several demos of original material at studios in London, including "Can You See Me", "Foxy Lady", "Third Stone from the Sun", "Red House", and "Remember".  In the middle of December, producer Chas Chandler heard Hendrix toying around with a new guitar riff. "I heard him playing it at the flat and was knocked out. I told him to keep working on that, saying, 'That's the next single!  Chandler claimed that after some more urging, Hendrix wrote the rest of "Purple Haze" in the dressing room of a London club during the afternoon of December 26, 1966, before a gig. In several interviews, Hendrix spoke about writing the song, but did not mention where or when he wrote it.

The Experience began recording "Purple Haze" on January 11, 1967, at De Lane Lea Studios in London. According to drummer Mitch Mitchell, he and bassist Noel Redding learned the song in the studio: "Hendrix came in and kind of hummed us the riff and showed Noel the chords and the changes. I listened to it and we went, 'OK, let's do it.' We got it on the third take as I recall." The basic track was recorded in four hours, according to Chandler.  Multitrack recording technology allowed engineers to record and complete additional parts on the final master.  After the basic track was finished, Chandler explained that he and Hendrix developed the song:
  Redding and Mitchell were not included in the process because Chandler felt that it was more efficient for him and Hendrix to do it alone. To get a better quality recording, Chandler took the four-track tape recorded at De Lane Lea to Olympic Studios for overdubbing (although Hendrix had worked with eight-track recording in the US, it was not yet available in the UK). At Olympic, they were assigned Eddie Kramer, who, as a sound engineer, played an important role in subsequent Hendrix recordings. Hendrix added new vocals and guitar parts between February 3 and 8, 1967.  Unlike the conventional techniques used by the Experience to record previous songs, Chandler decided to try out new effects and sounds for "Purple Haze". He enhanced background sounds (some contributed by Redding) by playing them back through headphones, which were moved around the recording microphone, creating "a weird echo". Chandler also used sped-up guitar parts recorded at half-speed (which also raises the pitch) and panning to create novel effects. The guitar solo features the first use of the Octavia guitar effects unit.  Acoustical and electronics engineer Roger Mayer developed the unit with input from Hendrix. The Octavia doubles the frequency of the sound it is fed, essentially adding an upper octave.

Lyrics and interpretation
In interviews, Hendrix usually gave different answers about the development of the song's lyrics.  Biographer Harry Shapiro points out that "Purple Haze" is most likely "a pot-pourri of ideas" which Hendrix developed over time.  As a fan of science fiction, he frequently incorporated its imagery in his songwriting.  Hendrix read Night of Light, a 1966 novel by Philip José Farmer, that expanded on a short story published in 1957.  In the story set on a distant planet, sunspots produce a "purplish haze" which has a disorienting effect on the inhabitants.  An early handwritten draft by Hendrix, titled "Purple Haze – Jesus Saves", uses dream-like imagery where the sense of direction and time is distorted.  In an interview on January 28, 1967, before the song was completed, Hendrix was asked how he wrote songs; he responded, "I dream a lot and I put my dreams down as songs. I wrote one called 'First Look Around the Corner' and another called 'The Purple Haze,' which was about a dream I had that I was walking under the sea."  He later expressed frustration that he was unable to more fully develop his ideas for the song:

So far, only a crumpled single sheet of ruled yellow tablet paper is on exhibit at the Rock and Roll Hall of Fame and does not include any of the lyrics used in the Experience song.  Chandler admitted that in the early stages, he helped Hendrix shape the songs and lyrics to radio single length.  Biographer Keith Shadwick comments that although much of the complexity may have been sacrificed, it resulted in verses that are "simple, focused and striking".
 
After its release, Hendrix offered another explanation: "He [the song's protagonist] likes this girl so much, that he doesn't know what [state] he's in, ya know.  A sort of daze, I suppose.  That's what the song is all about."  This draws on an experience Hendrix had while still in New York, where he felt that a girl was attempting to use voodoo to trap him and he became ill.  Shapiro believes that this is reflected in most of the first two verses:

Many fans and the press interpret the song as referring to a psychedelic experience due to lines such as "purple haze all in my brain" and "'scuse me while I kiss the sky".  However, Hendrix and those closest to him never discussed any connection between psychedelic drugs and the song, although Shapiro admits that, at the time, to do so would have been "professional suicide". Chandler, who claimed he was present when Hendrix wrote it, later denied suggestions that Hendrix did so while under the influence of psychedelics.  Commenting on the lyrics, Shadwick concludes "the music [was allowed] to tell the larger story.  Poised effectively between the twin intoxicants of drugs and desire, they could be interpreted to the listener's taste".  In concert, Hendrix sometimes substituted lyrics for comic effect; "'scuse me while I kiss the sky" was rendered "'scuse me while I kiss this guy" (while gesturing towards Mitchell), "'scuse me while I kiss that policeman" (at a near riot in Los Angeles), or "'scuse me while I fuck the sky" (during a downpour in Seattle).

Composition

Music critic William Ruhlmann describes "Purple Haze" as having "relentlessly driving, if relatively slow-paced underlying music, which provides a good platform for some of Hendrix's inventive guitar playing".  Beginning with its dissonant opening and heavy use of distortion, Hendrix's techniques "all contributed to the dirty, raw, metallic, [and] angular sounds" heard in the song, according to Shapiro.  The intro consists of the melodic interval of a tritone or diminished (sometimes called flattened) fifth.  Historically, this dissonant interval has been referred to as diabolus in musica (literally "Devil in music"). It is sounded during the first two measures by Hendrix playing a B on guitar against an E played by Redding on bass, followed by the respective octaves.  Mitchell on drums comes in for the third measure, when Hendrix introduces the riff that piqued Chandler's interest, and Redding continues playing the octaves in E.

After the riff, the verse sections begin, which Shadwick describe as "simplicity itself, consisting of just three chords": E79, G, and A.  The E79, or dominant seventh sharp ninth chord, has come to be called the "Hendrix chord" by guitarists and was used primarily in rhythm and blues and jazz before Hendrix helped popularize it.  He also used an unconventional fingering technique for the G and A chords.  Because Hendrix used his thumb to fret the roots of the G and A chords on the sixth string, his fingers were left in a position to create different chord voicings.  Instead of the usual G barre chord (G–D–G–B–D–G), a G5 (G–X–G–G–D–G) is sometimes played with the major third (B) being muted on the fifth string and replaced by the open third string (G).  Redding follows the chord changes mostly by playing the root with occasional passing notes, while Mitchell heightens the tension with drum flourishes that accentuate Hendrix's vocal and guitar.

Biographer David Henderson describes Hendrix's guitar tone as "at the razor edge of distort".  However, individual notes are still clear, as well as the harmonically more complex chords, even with the use of extreme overdrive for the time.  The tension is maintained until the guitar solo, which "arrives as something of a release rather than a further racking up of the atmosphere."  It is also when Hendrix first introduces the Octavia, coupled with a Fuzz Face distortion unit.  Whitehill describes the solo as "almost sound[ing] likes he's playing a blues raga.  He starts out playing in the Mixolydian mode and then he goes right into the blues side.  The Octavia has the effect of a sitar, kind of like Ravi Shankar meets B.B. King."  During the song's outro, the guitar part recorded at 7½ inches per second (ips) played back at 15 ips, is combined with the Octavia, further extending the guitar's upper frequency range.  Henderson describes it as "an uncanny piercing tone that takes off, Eastern-sounding beyond the range of the guitar" and, according to Shadwick, "gives the impression that the guitar notes are flying off into the ether."

Releases and charts

On March 17, 1967, "Purple Haze" was released in the UK as the first single on Track Records.  Another Hendrix composition, the R&B-influenced "51st Anniversary" was included as the B-side.  Paul McCartney, who was an early Hendrix supporter, gave the record an enthusiastic pre-release review in Melody Maker.  The single entered the charts at number 39 on Record Mirror and at number 43 on Melody Maker. It peaked at number three and spent 14 weeks on the chart.  During March 1967, several performances of "Purple Haze" were filmed to promote the song and used for television programs, such as Beat-Club, Dee Time, and Top of the Pops.  Live performances were also broadcast on German NDR and BBC Radio's Saturday Club.

For the American single, Reprise Records paired the song with "The Wind Cries Mary".  It was released on June 19, 1967, the day following the Experience's performance at the Monterey Pop Festival. The single entered the Billboard Hot 100 pop chart on August 26, where it spent eight weeks and reached number 65.  "Purple Haze" was included as the opening track on the American release of Are You Experienced on August 23, 1967.  Because of the song's airplay on underground FM radio, the album became more popular than Hendrix's singles.

One of Hendrix's most popular songs, "Purple Haze" appears on numerous compilation albums.  Some of these include Smash Hits, The Essential Jimi Hendrix, The Singles Album, Kiss the Sky, Cornerstones: 1967–1970, The Ultimate Experience, Experience Hendrix: The Best of Jimi Hendrix, Voodoo Child: The Jimi Hendrix Collection, and The Singles Collection.  An alternative version recorded at the same time, but with different vocal and guitar overdubs, is the first song on The Jimi Hendrix Experience 2000 box set.  Live recordings of "Purple Haze" as performed by each of the different Hendrix lineups have been released. These include Live at Monterey (the Experience), Live at Woodstock (Gypsy Sun and Rainbows), Live at the Fillmore East (Band of Gypsys), and Live at Berkeley (the Cry of Love touring group).  Additional live recordings with the Experience appear on Winterland (2011 Billboard number 49 album) and Miami Pop Festival (2013 Billboard number 39 album).

Recognition and influence
In March 2005, Q magazine ranked "Purple Haze" at number one in its list of the "100 Greatest Guitar Tracks Ever!" The song placed at number two on Rolling Stone magazine's "100 Greatest Guitar Songs of All Time" list, which noted that the song "unveiled a new guitar language charged with spiritual hunger and the poetry possible in electricity and studio technology". It also appeared at number 17 on the magazine's "500 Greatest Songs of All Time" list in 2004, with the comment that "it launched not one but two revolutions: late-Sixties psychedelia and the unprecedented genius of Jimi Hendrix". Author and music critic Dave Marsh called it the "debut single of the Album Rock Era".  In 1995, "Purple Haze" was included as one of the Rock and Roll Hall of Fame's "500 Songs That Shaped Rock and Roll".  NPR named the song to its list of the "100 Most Important American Musical Works of the 20th Century" in 2000.  In 2000, it was given a Grammy Hall of Fame Award, which "honor[s] recordings of lasting qualitative or historical significance".

Many musicians have recorded their interpretations of the song, making it one of Hendrix's most covered songs.  Dion DiMucci included an acoustic version with strings on his 1968 comeback album Dion. Released as a single in 1969, it appeared at number 63 on the Billboard Hot 100, which was two positions higher than Hendrix' single in 1967.  Also with a new arrangement, the Cure recorded it for the various artist's Stone Free: A Tribute to Jimi Hendrix in 1993. Their rendition reached number two on Billboard's Modern Rock Tracks alternative rock chart. "Purple Haze" has achieved an unusual level of interest among classical musicians. The Meridian Arts Ensemble, the Hampton String Quartet, and Nigel Kennedy have recorded their interpretations and the Kronos Quartet often play it as an encore.

See also 
 Album era

Notes
Footnotes

Citations

References

External links
[https://www.youtube.com/watch?v=WGoDaYjdfSg "Purple Haze" (official audio) on Vevo]

1967 songs
Songs written by Jimi Hendrix
1967 singles
The Jimi Hendrix Experience songs
Track Records singles
Reprise Records singles
Grammy Hall of Fame Award recipients
Dion DiMucci songs
The Cure songs
Song recordings produced by Chas Chandler
American hard rock songs
American psychedelic rock songs
Mondegreens
Where Did Our Love Go is the second studio album by Motown singing group The Supremes, released in 1964. The album includes several of the group's singles and B-sides from 1963 and 1964. Included are the group's first Billboard Pop Singles number-one hits, "Where Did Our Love Go", "Baby Love", and "Come See About Me", as well as their first Top 40 hit, "When the Lovelight Starts Shining Through His Eyes", and the singles "A Breathtaking Guy" and "Run, Run, Run".

With the release of this album, The Supremes became the first act in Billboard magazine history to have three number-one hits from the same album. It was the album that introduced "The Motown Sound" to the masses.  It was also, at the time, the highest-ranking album by an all-female group. It remained in the #2 position for 4 consecutive weeks in January 1965, shut out of the top spot by the Beatles' blockbuster Beatles '65 album. Where Did Our Love Go remained on the Billboard album chart for an unprecedented 89 weeks.

Hip-O Select released a limited run fortieth anniversary deluxe edition of the album in 2004, which included both the mono and stereo versions of the album, as well as several outtakes, non-album tracks and a recorded live show from the Twenty Grand club in Detroit, Michigan. It sold out immediately.

They filmed performances of four of the singles from the album including "Run, Run, Run",  "When the Lovelight Starts Shining Through His Eyes", "Where Did Our Love Go" and "Baby Love" for the concert film, The T.A.M.I. Show released on December 29, 1964. It was equivalent to Motown 25 or Live Aid as a pivotal music concert event . When it hit theaters nationwide, it undoubtedly raised and extended the visibility of the Where Did Our Love Go album.

Track listing
All tracks written by Holland–Dozier–Holland except as noted.

Side one
"Where Did Our Love Go" - 2:33
"Run, Run, Run" - 2:16
"Baby Love" - 2:39
"When the Lovelight Starts Shining Through His Eyes" - 3:05
"Come See About Me" - 2:44
"Long Gone Lover" (Smokey Robinson) - 2:27

Side two
"I'm Giving You Your Freedom" - 2:40
"A Breathtaking Guy" (Robinson) - 2:25
"He Means the World to Me" (Norman Whitfield) - 2:00
"Standing at the Crossroads of Love" - 2:27
"Your Kiss of Fire" (Robert Gordy, Harvey Fuqua) - 2:48
"Ask Any Girl" - 3:00

2004 Expanded CD bonus tracklist
 "This Is It" (Faye Hale) ****
 "I'm The Exception To The Rule" (Whitfield) **
 "Everyday I'll Love You More Than Yesterday" (Robinson, Claudette Rogers Robinson) *
 "Beginning To The Ending" (George Fowler) *****
 "Mr. Blues" (Robinson) *
 "Come On Boy" (Berry Gordy, Jr.) ***
 "Bye Baby" (Gordy) ***
 "My Imagination" (Richard Parker, Faye Hale) ****
 "I Idolize You" (Robinson) *
 "You're Gonna Come To Me" (Gordy) (Version 4 - Credited as Version "3")
 "Honey Babe" (Gordy, Stevie Wonder) ***
 "Penny Pincher"
 "Let Me Hear You Say (I Love You)" (Andre Williams, Johnny Bristol) ********
 "Don't Take It Away" (William Weatherspoon, William "Mickey" Stevenson) *******
 "Just Call Me" (Ivy Jo Hunter, Stevenson) ******
 "That's A Funny Way" (Hunter, Stevenson) ******
 "Stop, Look & Listen" (Ed Cobb) ***
 "Send Me No Flowers"
 "Baby Love" (Alternate "early" version)
 "Introduction/Devil's Den" (Live (Live 1964)
 "When The Lovelight Starts Shining Through His Eyes" (Live 1964)
 "A Breathtaking Guy" (Live 1964)
 "Your Heart Belongs To Me" (Live 1964)
 "Let Me Go The Right Way" (Live 1964)
 "I Am Woman, You Are Man" (Jule Styne, Bob Merrill) (Live 1964)
 "People" (Merrill, Styne) (Live 1964)
 "Where Did Our Love Go" (Live 1964)

The original album sold a million copies {in 1964-1965} stateside alone. The limited exclusive "40th Anniversary" version is now listed as "sold out". It remains, to date, their third best-selling studio album.

Personnel
 Diana Ross, Florence Ballard, and Mary Wilson - lead and background vocals
 The Four Tops, and Holland–Dozier–Holland - background vocals on "When the Lovelight Starts Shining Through His Eyes", "Run, Run, Run" and "Penny Pincher"
 The Love-Tones - background vocals on "Standing on the Crossroads of Love", "This Is It" and "My Imagination"
 Brian Holland, Lamont Dozier - producers on all tracks except noted below
 Smokey Robinson - producer on "Long Gone Lover" and "A Breathtaking Guy" (and bonus track *)
 Norman Whitfield - producer on "He Means the World to Me" (and bonus track **)
 Robert Gordy - producer on "Your Kiss of Fire"
 Berry Gordy, Jr. - producer on bonus track ***
 Faye Hale - producer on bonus track ****
 George Fowler - producer on bonus track *****
 Ivy Jo Hunter, William "Mickey" Stevenson - producer on bonus track ******
 William "Mickey" Stevenson - producer on bonus track *******
 Andre Williams - producer on bonus track ********
 The Funk Brothers - instrumentation
Earl Van Dyke – piano on "Where Did Our Love Go", "Baby Love" and "Come See About Me"
Robert White – guitar on "Where Did Our Love Go"
Eddie Willis – guitar on "Where Did Our Love Go" and "Baby Love"
Joe Messina – guitar on "Come See About Me"
James Jamerson – bass on "Where Did Our Love Go", "Baby Love" and "Come See About Me"
Richard "Pistol" Allen – drums on "Where Did Our Love Go" and "Baby Love"
Uriel Jones – drums on "Come See About Me"
Jack Ashford – vibraphone on "Where Did Our Love Go", "Baby Love" and "Come See About Me"
Andrew "Mike" Terry – baritone saxophone on "Where Did Our Love Go", "Baby Love" and "Come See About Me"
Hank Cosby – tenor saxophone on "Baby Love" and "Come See About Me"
Mike Valvano – footstomps on "Where Did Our Love Go", "Baby Love" and "Come See About Me"
 Bernard Yeszin, Wallace Mead - cover design

Singles history
"A Breath Taking, First Sight Soul Shaking, One Night Love Making, Next Day Heart Breaking Guy" b/w "(The Man with the) Rock And Roll Banjo Band" (from The Supremes Sing Country, Western and Pop) (Motown 1044, June 12, 1963, reissued immediately with A-side title shortened to "A Breath Taking Guy")
"When The Lovelight Starts Shining Through His Eyes" b/w "Standing at the Crossroads of Love" (Motown 1051, October 31, 1963)
"Run, Run, Run" b/w "I'm Giving You Your Freedom" (Motown 1054, February 7, 1964)
"Where Did Our Love Go" b/w "He Means the World to Me" (Motown 1060, June 17, 1964)
"Baby Love" b/w "Ask Any Girl" (Motown 1066, September 17, 1964)
"Come See About Me" b/w "You're Gone, But Always in My Heart" (on The Supremes Sing Holland–Dozier–Holland) (Motown 1068, October 27, 1964)

Chart history

Weekly charts

Year-end charts

See also
List of Billboard number-one R&B albums of the 1960s

References

1964 albums
The Supremes albums
Albums produced by Norman Whitfield
Albums produced by Smokey Robinson
Albums produced by Brian Holland
Albums produced by Lamont Dozier
Motown albums
Albums recorded at Hitsville U.S.A. "I'd Come for You" is the second European single (fourth in Canada) from Nickelback's 2008 album Dark Horse.  The song was written by the band and Mutt Lange. It was released March 23, 2009. "If Today Was Your Last Day" served as the third single instead in North America (after "Gotta Be Somebody" and the rock radio-only single "Something in Your Mouth"). Lyrically the song is emotional and not sexual, as some originally inferred from the title.

Music video

In an interview Chad Kroeger said they wanted to get Kevin Costner to star as the father in the video. Costner asked Chad Kroeger to be in one of their videos when they met previously. But when shooting for the video came along he was unable to make it.

Jessa Danielson, Don Broach and Craig Anderson play the three roles in the video. The video was shot in late January 2009 with long-time collaborator Nigel Dick directing the video. The video was released on March 23, 2009, in Canada. The video shows a father arriving home to find his daughter on her way out to go on a date with her boyfriend. Later on the boyfriend tries to sexually assault the daughter who makes two frantic calls to her father, one a text message with the same numbers, 77, in a photograph of the daughter and the father by a baseball field. He realizes she is in a situation at the baseball ground, therefore he goes looking for her. He arrives in time to pull the young man out of the car and punch him twice, then drives off with her crying in his arms. Shots throughout the video shows the band performing inside a concert garden.

Track listing
"I'd Come For You" (Album Version)
"I'd Come For You" (Edit)

German Track Listing
"I'd Come For You" (Edit)
"I'd Come For You" (Album Version)
"Far Away" (Live At Sturgis 2006)

Japan Track Listing
"I'd Come For You" (Edit)
"I'd Come For You" (Album Version)
"Photograph" (Live At Sturgis 2006)

Chart performance
"I'd Come for You" experienced chart success prior to its release as a single. Following Dark Horse's release, the song climbed as high as #14 on the U.S. iTunes Store, fueling a #44 debut on the Billboard Hot 100. It also debuted the same week at #53 on the Canadian Hot 100 and re-entered the chart months later rising to #29. The song also peaked to #1 on the UK Rock Chart.

Charts

Weekly charts

Year-end charts

References 

2009 singles
Nickelback songs
Song recordings produced by Robert John "Mutt" Lange
Music videos directed by Nigel Dick
Songs written by Chad Kroeger
Songs written by Robert John "Mutt" Lange
2008 songs
Roadrunner Records singles
Songs about sexual assault
Works about rape