According to Ed Chalpin of PPX Enterprises, Inc. Jimi played on two tracks featuring Jayne Mansfield on vocals, "As The Clouds Drift By" and "Suey". This was however always questioned in the past as there's no recognizable playing by Jimi audible anywhere on the 1967 single with these two tracks and apart from Chalpin himself no-one had ever come forward with any evidence of Jimi participating in the recording session(s). Nor did Chalpin ever release the tracks in the USA or on any audio format anywhere after the 1967 international single releases.

When Experience Hendrix acquired Chalpin`s tape archive in 2014 John McDermott was able to confirm that Jimi does indeed play on "Suey" ending years of speculation:   "It would also appear that Jimi was indeed playing guitar [not bass] on the "Suey" session.  It looks like any participation by Jayne Mansfield came at a separate session [insofar as we can determine so far] but the original track does feature Jimi.   Despite Chalpin's previous claims to the contrary, "As The Clouds Drift By" was not cut at the same session." 16

A new twist to the story was introduced in 2018 when Sundazed / Experience Hendrix released a previously unheard 1966(?) mix of "Suey". Yes, Jimi had played guitar on "Suey" but he´s only on the "new" 1966 / 2018 mix and NOT on the 1967 single.

What follows here is all of the information that I have about these recordings, my comments and a long list of questions. I hope that there are people out there with at least some of the answers...

The 1967 single release
The launch of Ed Chalpin's Chalco Records and the issue of "Suey" as the label's first release was reported in the Billboard issue of 1 October 1966 4 but the announced release on Chalpin's own label never came out nor did Chalco Records ever happen (the name "Chalco" was probably a combination of "Chalpin" and "Jocko", the composers of "Suey").  This may have something (or a lot) to do with a previous record contract that Jayne had signed in 1964. Cash Box magazine reported the following in it`s 16 May 1964 issue under the heading "A Long-Term Handclasp":

"HOLLYWOOD - Jayne Mansfield, recently pacted to a five-year wax contract by Original Sound, celebrates the event with a dual handclasp with the label`s general manager Art Newberger (left), and its president Art Laboe."

The news item includes a picture of Jayne shaking hands with the two label bosses. As we don`t know exactly what the contents of that contract were it`s impossible to say for sure what Jayne had signed up to do but it seems very likely that the contract prevented Chalpin from releasing "Suey" in the USA. Original Sound only ever released one Mansfield 45, "That Makes It / Little Things Mean A Lot" (Original Sound 51), in October 1964. 17

Jayne Mansfield died 29th of June 1967, some eight months after the Billboard news item about the supposed release of "Suey" on Chalco Records.  A letter 8 from UK Decca to Chalpin confirming the leasing of the recordings "for the United Kingdom and Eire and the Continent of Europe" dated 30th of June 1967 proves that negotiations to release the recordings probably had been underway well before Jayne's passing - though Decca sending the confirmation the day after her death is a very odd co-incidence. The advance for the single from Decca was $500.8 The UK 45 on Decca's subsidiary London label came out on the 21st of July 1967 with further London issues in Italy, Belgium, France & Germany probably released around the same time.

The Hendrix fanzine Straight Ahead 1 was the first publication to report on the existence of Jayne Mansfield & Jimi Hendrix -recordings in July 1990 after a copy of a promotional UK London 45 release of the tracks was discovered with a PPX credit on the label.

UK demo label side B

When Steven Roby interviewed Ed Chalpin about the recordings Chalpin asked "How did you get that information anyway?" and added that "I didn't give them permission to use his name". It seems that the first time that Chalpin ever publicly made the claim that Jimi was on the record was during this interview. Chalpin also said the recordings "didn't get released because she died shortly after (in a car accident)."

Roby didn't tell Chalpin in advance that he was going to talk about the Mansfield single 7. That adds some credibility to Chalpin's answers to Roby's questions but what Chalpin didn't say is that he had in the past tried to get the tracks released with the help of mentioning Jimi's involvement.

"Suey" was offered to the men's magazines Penthouse, Gallery & High Society in 1984 by Brian Graifman of PPX, in letters dated 11 April 1984 (accompanied by a cassette of the track): "Jimi Hendrix...is playing as a session musician on this title. This is a fact and easily substantiated, but we cannot represent it as such due to our subsequent settlements....where we were granted a certain number of albums for licensing."9 So Chalpin may have been surprised by Roby's question but the answers he gave were not spontaneous as he had been trying to license the tracks using Jimi's name a few years earlier.

Chalpin's claim that he "didn't give them permission to use his name" (apparently referring to the 1967 European London 45 releases) is a tricky one. Chalpin wasn't necessary legally in a position to allow or disallow the use of Jimi's name in June 1967. He had started proceedings to establish the legality of his contract with Jimi on the 22th of May 1967 14 but would Chalpin have risked possible damages by releasing his own records with Jimi's name on them before the court proceedings were over?

Jimi recorded further sessions at Chalpin's Studio "76" in July & August 1967 and Jimi's own UK label Track Records released the PPX Curtis Knight & Jimi Hendrix  45 "How Would You Feel" in August 1967 11 as if to validate Jimi's PPX contract. All quite confusing and it makes it pretty impossible to tell who had which motivation for their actions at the time.

The comment that the single "didn't get released because she died shortly after (in a car accident)" can be interpreted in two ways. If Chalpin meant that the record was never released anywhere because of Jayne Mansfield's death then that isn't true - the single came out in at least 5 European countries right after Jayne's passing so her death definitely didn't prevent it's release, probably quite the opposite.

But if what Chalpin is talking about here is an US release what he says might be a fact, the lack of a 1967 US release could in some way be down to Mansfield's passing. A memorial disc would have sold well so there must have been contractual problems with a release. Indeed to this day there hasn't been an official release of the 1967 single in America, nor has there been any official re-release of the 1967 single anywhere in the world, all later releases seem to be pirates including the 1993 "Too Hot To Handle" cd. 10

It seems however most likely that Jayne`s contract with Original Sound was the reason that Chalpin couldn`t release the tracks in the USA in 1967. If the Cash Box news item is accurate and Jayne indeed had signed to a five year contract (thus 1964-1969) it may have meant that Chalpin`s hands were tied when it came to the USA. As to the lack of later releases, as Brian Graifman of PPX admitted in his 1984 letter, "... we cannot represent it as such due to our subsequent settlements....where we were granted a certain number of albums for licensing..."  - Chalpin was unable to release any studio recordings after 1968 mentioning Jimi`s name apart from the Curtis Knight masters that he was granted rights to release.

A big surprise came in 2018 when Experience Hendrix / Sundazed released a 7" single with Jayne Mansfield`s "Suey" coupled with "I Need You Every Day" (actually titled "Sick And Tired") by Ricky Mason. The version of "Suey" included on the single turned out to be previously unheard and completely different to the 1967 single.

The 45 features an original 1966(?) PPX mix of "Suey" (according to producer John McDermott)19 and though Mansfield`s vocal take is the same her vocals are edited on top of a completely different take of the backing track and there are previously unheard additional vocals by Douglas "Jocko" Henderson. It was already known that Jocko wrote a large chunk of the song but it was not known that he had also participated in the recording.

Jayne Mansfield Suey 2018

The "new" version of "Suey" is edited together from two recordings, one which has Jayne on vocals and another one which has Jocko on it. This is an original contemporary PPX edit by Ed Chalpin, not a later creation, the single label lists the song as stereo but the song is actually in mono. The recording with Jocko was used as the basis for the track with Jayne`s vocal parts from an earlier recording edited in. The edits are not very smooth and the tempo of the Jocko sections varies a lot. To my ears it sounds like editing the two takes together was not a thoroughly planned out in advance, rather a later idea or something done out of necessity.

No idea WHY this was done, why wasn`t Jocko´s vocal just overdubbed on the version with Jayne`s vocal? Jocko`s vocal might also be an overdub done after the two versions were edited together but again to my ears the new version sounds more like two completely separate takes of the song edited together than anything more carefully planned.

I`ll call the two sources used to construct the new 1966/2018 mix the "Jayne" and "Jocko" -tapes.

The "Jayne" tape session
Chalpin may have cut Jayne´s vocals live with a band, this new version of "Suey" seems to prove this as Chalpin was unable to isolate Jayne´s vocal track which probably indicates that she was in the studio with the band. Another possibility is that for some reason Chalpin didn`t have a multitrack to work with and had to use a mono mix of the song when editing the two takes together but that seems unlikely. Unless of course he didn`t actually record the song himself in the first place but the track supposedly was a PPX production. What is clear is that the new 1966 / 2018 version of "Suey" features bits of Jayne´s vocals edited in from the version released on the 1967 single. This is clear because bits of the original instrumentation remain as it overlapped Jayne`s vocal and couldn`t be removed from the mix. Chalpin tried to edit these out as well as possible and mask them with effects and overdubs but some parts, especially the distinctive bass parts of the 1967 single version, are still audible.

The "Jocko" tape session
The tracks sounds like a rather loose run through which has more of jam session feel than that of a tightly run recording session. And by the sound of it this version was cut by a completely different band than the Jayne tape. Which of course leads us to the most interesting question: what was Jimi´s involvement?

The only logical conclusion here is that Jimi is NOT playing on the version released as a single in 1967, the take with Jayne´s vocals. The guitar on that one has always been problematic as it´s very basic and there´s nothing that says "Hendrix". Instead Jimi seems to be playing on the new version as part of the band backing Jocko. The playing sounds more like Jimi than the guitar on the 1967 single. There are no solos, it´s still all rhythm but the player puts many little variations in the riff, a typically Hendrix thing to do.

Also, there is nothing to indicate that Jimi would have been in the studio together with Jayne. Chalpin said he wasn`t there for the vocals and Jimi never mentioned recording with Jayne Mansfield. So if Jayne`s vocal was cut live with the band Jimi most likely wasn`t there and hence doesn`t play on the 1967 single version.

Jayne Mansfield Suey 2018

1966 / 2018 version breakdown

Here`s how the 1966 / 2018 version of "Suey" breaks down. All of the parts that aren`t specifically noted are from the Jocko tape, I´ve only listed the bits of the Jayne tape that have been edited in (the timings are approximate):

0.32 - 0.34
This part is an edit from the Jayne tape. It cuts in with the familiar sliding bass (possibly a timpani) which gives the source of the vocals away, Jayne says "It makes my knees freeze" and there is cut at 0.34 right after the first drum stroke.

0.54 - 0.58
The second edit section from the Jayne tape. Jayne says "It makes my back crack", the start of the bass part after Jayne`s vocal is from the Jayne tape, at 0.58 it switches to the Jocko tape continuing with a different bass part. Listen to the sound of the bass, the first part before the cut is sharper. I`m not a musician so forgive me if this is a dumb suggestion but sounds like the first part is played with a plectrum and the second part without. Whatever the reason the bass sound changes at this spot marking an edit.

1.10 - 1.13
Again, from the Jayne tape. You can hear a short remnant of the 1967 single bass part mixed with the start of Jayne`s vocal. Jayne says "Makes my liver quiver" and the tape is cut again immediately after.

1.33 - 1.37
Jayne says "I`m doing it good like I knew I could". Here the bass part that overlaps Jayne`s vocal on the Jayne tape is not audible but there`s a heavy echo effect applied so that and some EQ might have hidden it.

1.46 - 1.48
Jayne says "Puts a dip in my hip". Again heavy echo is applied to Jayne`s vocal, the overlapping cymbal from the Jayne tape seems to be hidden by a new cymbal strike but what couldn`t be fixed is a tiny bit of bass just at the end of "hip" which gives the end edit point away.

2.10 - 2.13
Jayne says "Boogaloo I gotta do it just for you". On the Jayne tape Jayne says "Boogaloo" twice, the edit point at the start is between these two omitting the first one.

So, the track is a quite elaborate construction, one of the edit jobs that Ed Chalpin is so well known for among Hendrix collectors.

To recap, as it`s a complex story, we now have two versions of "Suey":

The 1967 single version
This is the version that was released as a single in 1967. It`s the original take with Jayne Mansfield`s vocals. This version does not feature Hendrix.

The 2018 single version
This is the version that was released as a single in 2018. It includes and original PPX mix / edit of two different recordings, one with a new backing track that features Hendrix on guitar and has a (probably overdubbed) vocal from Douglas "Jocko" Henderson. The vocals by Jayne Mansfield have been edited onto this take from the 1967 single version master.

The guitar & bass playing on the 1967 single, the "Jayne" session, is all quite basic rhythm and there is very little about the track that would make one believe Jimi is playing on it. According to Chalpin Jimi "did all the guitar parts". It`s unclear whether he means Jimi played just the two rhythm guitar parts or also the bass guitar part 13 but in any case he seems to have been talking about the 2nd "Jocko" tape session -version of the song and NOT about the original Mansfield vocal take version.

Chalpin says he has photos of the session but that Jimi is not in them though according to him Jimi was present at the session 3.

Chalpin however later contradicted himself. In a filmed interview released on the dvd "Jimi Hendrix - Feedback" (starting at 19.49) he said the following about the session:

Ed Chalpin: "I recall, I did give him some work where he backed Jayne Mansfield, and I had to make sure he did the track without her being present cause, eh, you know, it might have been offensive. The way he was dressed and looked, in those days, it wasn't really in yet. Later on it became everyone had to dress that way or look that way otherwise they wouldn't be considered an artist but in those days it might have been considered offensive so we had to do it (by?) laying the track first and then bring her in."

Chalpin again later contradicted himself, this time about the photos from the session. John McDermott: "All of Chalpin's photos are now owned by EH but none of the Mansfield session were included [or made available to us].  That is not to say that something did not exist at some point but he claimed to not have any images of Mansfield other than press photos." 18 So whether there are photos from the session or not remains a mystery but if they do exist Jimi is not in them. Which is consistent with the recordings that we have.

If we assume the recording took place weeks or months before the copyright registrations the session(s) for the "Jayne" tape -version of "Suey" could have taken place circa November-December 1965, but this conflicts with the 10 February 1966 date that McDermott thinks is likely. However it seems that 10 February was the date for the new backing track with Jimi on guitar and not the date of the original session with Jayne Mansfield.

John McDermott had the following to say about the session: "The basic track was cut live so Jimi did not play the bass. I would agree that Jimi was unaware of the final use of the "Suey" track." 18 So all evidence seems to point to the backing track (the one with Jimi that is) being cut without Jayne Mansfield being present.

The bass on the1967 single "Jayne" tape -version of "Suey" is odd: the slide at the end of the verses sounded too "boomy" to me to have been played with a regular electric bass so I thought it might have been played on an acoustic upright bass. I asked a few musicians and people in the know 6 to give their opinions and the results were interesting. A semi-acoustic fretless bass was one suggestion, an upright bass another, a trombone was suggested, one suggested a normal electric bass and two people (independent from one another) suggested that the main riff was played with an electric bass but the "slide" part was actually done with a percussion instrument, either by running one's hand across a drum skin or using a tunable percussion instrument, perhaps a timpani.

So a very wide variety of opinions, an electric bass with a percussion slide and an upright bass both got a total of two votes, hard to come to any conclusion at the moment. If you have an opinion please email me at This email address is being protected from spambots. You need JavaScript enabled to view it.. The question of the instrumentation is relevant because if the bass part on the recording for example is an upright bass or a combination of string & percussion instruments it would be highly improbable that Jimi played it. Which would be consistent with him not being present at the session.

Recording agreement
A recording agreement between Jayne Mansfield and PPX Enterprises, Inc. exists with a "date of execution 5/8/65" (thus signed / valid from 8 May 1965) 12 . It's a bit unclear to me exactly what this document is: it runs for 6 pages containing detailed information about the sale, royalties and amounts of records, it's signed on each page with "jm by me" and on the last page with "Jayne Mansfield By: jayne mansfield by me" and "PPX Enterprises, Inc. (PPX) By Ed Chalpin". The signatures don't look like Jayne's handwriting at all - does the text "by me" after the initials "jm" indicate someone signing the documents on behalf of Jayne Mansfield? Anyone with knowledge of legal / contractual matters please email me at This email address is being protected from spambots. You need JavaScript enabled to view it.

Doug Henderson

"Suey" co-author Douglas "Jocko" Henderson was a well known black DJ of whom Jimi for sure would have been aware of even before his association with Chalpin. The lyrics for "Suey" probably were for the most part (if not completely) written by Jocko: several websites list "make my liver quiver", "make my knees freeze" and "make my back crack" (all part of the lyrics for "Suey") as Jocko's catchphrases.

And indeed Jocko can be heard using one of the catchphrases in this 29 December 1964 broadcast 22 of his WADO "Rocket Ship Show" - the more impatient listeners will find the relevant part at 21.27. In the radio broadcast you can also hear Jocko shouting a trademark "Goooooooo!", something that he also does on the 1966/2018 single version.

So "Suey" must have been written as some sort of an ad / theme tune for Jocko - the version with Jocko's vocals certainly sounds like one of his radio broadcasts with him talking over the track in the exact same style as on air.

The planned Chalco Records -label with "Suey", a Jocko-themed single as it's first release would suggest that Chalpin and Henderson were putting together some sort of a co-venture at the time of the recording of the song - which in the end obviously never happened. This could be another reason that the single never got a US release, and very likely is the reason why the 2nd version which Jocko`s vocals never saw the light of day at all.

A big question is, what does the title "Suey" actually mean? It's easy to find a modern day dictionary entry for the word but what did it mean in New York City circa 1965 / 66?

Date of the recordings
Roby & Schreiber date the recording of both "Suey" and "As The Clouds Drift By" to have taken place in late January - early February 1966 2. The time frame was deducted from Jayne Mansfield's visits to New York 7 as at the time neither Chalpin nor anybody else had ever produced an actual date for the session(s). The main evidence supporting this period as the time that the recordings took place is Mansfield's January - March 1966 15 "French Dressing" -revue booking at the New York City nightclub Latin Quarter.

Again, John McDermott was finally able to provide more information. A 100% certain recording date could not be determined but it`s, in John`s words, "entirely possible" that the session for "Suey" took place 10 February 1966. This, however, is likely to be the date of the new backing track session for the "Jocko" tape and NOT the date of the session when Jayne recorded her vocals.

french dressing

The copyright registry entries for the two tracks from the Library of Congress Copyright Office 5 are as follows:

AS THE CLOUDS DRIFT BY; w & m Sandy Brodsky. © P.P.X. Pub. Co.
(a division of PPX Enterprises, Inc.;
15Mar65; EU872291.

SUEY; w & m Ed Chalpin & Doug Henderson. © PPX Pub., Inc.;
3Jan66; EU91916O.

Ed Chalpin claims in the Straight Ahead interview that both songs were recorded in the same session and both songs feature Jimi. "As The Clouds Drift By" however was copyrighted 15 March 1965 and "Suey" 3 January 1966, nine months apart, and the same session claim was also disputed by John McDermott. The copyright of course does not tell us when the tracks actually were recorded but with the dates so far apart it's very unlikely they were cut at the same session. It seems even more unlikely when you listen to the tracks back to back, they have completely different instrumentation and style from each other.

An interesting question is whether the tracks were copyrighted before or after they were recorded. Let's compare the copyrights for other Chalpin recordings registered in 1965 / 1966 (see the Curtis Knight -section for more info on these tracks):

45 How Would You Feel / Welcome Home
- single released in April 1966. "How Would You Feel" was recorded on the 6th of October 1965, the Copyright Office registration for the track is dated 25 October 1965, circa three weeks after the recording date. The exact recording date of "Welcome Home" is unknown but must have been recorded between October-November 1965, the track was copyrighted 2 December 1965 which would mean it was registered 1-2 months after the session.

45 Hornet's Nest / Knock Yourself Out
- the single was released in August / September 1966. RSVP publishing contracts were signed on 21st of June 1966 and a tape log mentioning the tracks exist with a 20 June 1966 date so the recording probably took place in June 1966. The Copyright Office registrations for "Hornet's Nest" & "Knock Yourself Out" are dated 30 August 1966 & 6 September 1966 so circa 2 months after the probable recording date.

So based on other PPX copyright registrations one could assume that the Mansfield tracks would have been copyrighted roughly 1-2 months after they had been recorded.

As The Clouds Drift By
The instrumentation & style of "As The Clouds Drift By" and the copyright (15 March 1965) and recording agreement (8 May 1965) dates strongly suggest that the track was most likely recorded sometime in early 1965 well before Chalpin & Jimi first met (in October 1965) and thus could not have any involvement by Jimi. This however is not the case. An article about Jayne Mansfield was published in the Fitchburg Sentinel 28 July 1965 including several interesting bits of information including the only contemporary direct mention of the Mansfield PPX recordings that I have been able to find:

"Jayne Mansfield, currently starring in Herman Wouk`s "Nature`s Way" at the Guy Palmerton Lake Whalom Playhouse is - as her husband puts it - "energetic and can`t stand still." Therefore, he does not envision any sedate domestic scenes after the birth of her fifth child due in about 2 1/2 months. Miss Mansfield intends to continue working this summer for another month and then return to work two weeks after the baby is born.

"A busy schedule is awaiting her" ... "Record - cutting: "Til The Clouds Roll By,"

"The couple`s home in New York City is on 69th and Park Ave"

So, what can we deduct from this? Jayne had clearly been informed that she was going to record "As The Clouds Drift By" (the creative spelling of the song title is probably down to the reporter who wrote the piece). The interview was published in 28 July 1965, an earlier issue of the same newspaper on 22 July 1965 featured an ad for Nature's Way stating that it starts at the Lake Whalom Playhouse on Monday 26 July 1965. So the newspaper interview was probably done on 26th or 27th of July 1965. "As The Clouds Drift By" clearly hadn`t been recorded yet despite of the March 1965 copyright registration so the session must have taken place after 27 July 1965 and not early in the year (like I previously believed). As Jayne Mansfield had an apartment in New York City at the time she could also have been in the city at any time, not only when contracted for an appearance. Which again makes it possible that the track might have been recorded after Jimi started working for Chalpin - though there still is no evidence that he plays a single note on the recording.

As The Clouds Drift By -acetate
Acetate label courtesy of Joseph Pomponio / Record WareHouse

So the conclusion is that in this case the copyright registrations offer very little proof for any dates, it seems Chalpin first registered the songs well in advance of recording them.

"Suey" seems to be a close relative of "One Track Heart" by Elvis Presley. Both songs are largely based on a distinctive bass figure which kicks the songs off and then features prominently throughout. The bass figure in the Elvis song has additional notes compared to "Suey" (and is also played at a faster tempo), but the two bass parts are very similar to each other.

Here`s a comparison sample of the bass figures edited back to back:

1. One Track Heart
2. Suey (1967 single)
3. Suey (2018 single)

Here`s the full Elvis track:

The important role that the bass parts play in both songs and the more than superficial similarity between the bass figures do make one think that the resemblance is down to more than just co-incidence.

It is of course always possible that both songs have a third unknown song as a common ancestor, but "Suey" seems to have surfaced roughly a year after "One Track Heart" was released which also suggests a direct connection between the two.

"One Track Heart" was composed by Bill Giant, Bernie Baum and Florence Kaye.

Release dates
"One Track Heart" was included on the Elvis Presley lp Roustabout, the soundtrack to the movie of the same name.
The Roustabout LP was released on the 19th of October 1964 20 and the film opened in New York City on the 10th of November 1964 21.

According to the official Elvis website elvisthemusic.com "One Track Heart" was recorded on the 3rd of March 1964 at Radio Recorders in Hollywood and personnel was as follows (clearly based on general info about the sessions as opposed to this one particular song as four guitar players and two drummers are listed):

Guitar: Barney Kessel, Tiny Timbrell, Billy Strange, Scotty Moore
Bass: Bob Moore
Drums: D.J. Fontana, Buddy Harman
Piano: Floyd Cramer
Saxophone: Boots Randolph
Vocals: The Jordanaires

A copyright for "Suey" was applied for sometime in late 1965, roughly a year after the release of the Roustabout -soundtrack LP leaving little doubt about which one came first.

Jimi's silence
So, Ed Chalpin variously states that Jimi was and wasn`t present when Jayne recorded her vocals. Either way, if Jimi appeared on a record by Jayne Mansfield then why didn't he ever mention this, not in a single interview? When the Jimi Hendrix Experience was put together in 1966 the biographies of Jimi done for the press did mention all the big acts that he had played with in the past but no mention was made of Mansfield, surely a very interesting name from a PR point of view? And when Jayne died in 1967 and the PPX 45 was released in the UK (while Jimi lived in England) there still was no mention of her from Jimi in any interviews. Even if Jimi was unhappy with his contribution to a musically less than spectacular recording surely someone with his sense of humor couldn't have resisted making a mention of the session at some point?

Since Jimi only played on the 2nd version of "Suey" which had the Jayne Mansfield -vocals edited in from an earlier recording by Chalpin the most realistic explanation for him never mentioning Jayne Mansfield is that Jimi never heard the finished track as it wasn`t released during his lifetime. That would explain why he never mentioned the recordings anywhere but unless a quote from Jimi someday turns up somewhere we will never know for sure...

1 reported in Straight Ahead July 1990 (volume #16) according to the Ed Chalpin interview published in Straight Ahead Vols. 63/64

2 "Becoming Jimi Hendrix" by Steven Roby & Brad Schreiber (page 138)

3 Ed Chalpin interview published in Straight Ahead Vols. 63/64

4 Billboard magazine issue 1 October 1966

5 Library Of Congress Catalog of Copyright Entries 3D Ser Vol 19 Pt 5 (Volume Catalog of Copyright Entries 1965 Music Jan-June 3D Ser Vol 19 Pt 5) and Catalog of Copyright Entries 3D Ser Vol 20 Pt 5 Secs 1-2 (Volume Catalog of Copyright Entries 1966 Music Jan-June 3D Ser Vol 20 Pt 5 Secs 1-2)

6 email conversations with Joel J. Brattin, Niko Karppinen, Janne Hongisto, Paul van Gelooven, Roeland Drost & Jari Ruotsalainen October 2013

7 email from Steve Roby 31 October 2013 in reply to my questions about the Ed Chalpin interview and the info presented in the book "Becoming Jimi Hendrix" by Roby & Schreiber.

8 a copy of a letter from Decca Records to Ed Chalpin dated 30 June 1967 - Ed Chalpin Papers, Library and Archives, Rock and Roll Hall of Fame and Museum

9 copies of letters from Brian Graifman of PPX to Penthouse, High Society & Gallery magazines dated 11 April 1984 - Ed Chalpin Papers, Library and Archives, Rock and Roll Hall of Fame and Museum

10 The "Too Hot To Handle" -cd is beautifully packaged and was available in your regular record stores but includes no licensing info, no credits, no contact info for the label - all suggesting it's a pirate. The Mansfield 45 tracks are sourced from a tape but they are hissier than on the 45 releases suggesting that the master tapes weren't used. Since PPX had over the years send out multiple copies of the tracks on tape (each men's magazine that PPX flogged the recordings to in 1984 received a copy) it would be no wonder if one of the tapes ended up on a pirate cd.

11 According to the book Jimi Hendrix Electric Gypsy by Harry Shapiro & Caesar Glebbeek the release date of the "How Would You Feel / You Don't Want Me" (Track Record 604 009) single was 17 August 1967 (p. 577)

12 a copy of the contract is a part of the Ed Chalpin Papers, Library and Archives, Rock and Roll Hall of Fame and Museum

13 in the Straight Ahead July 1990 (volume #16) interview transcription Steven Roby quotes Chalpin as saying Jimi "did all the guitar parts" and in the book "Black Gold" Roby writes that "Chalpin eventually revealed that Hendrix played bass and then added a guitar track to Mansfield's vocal" (page 44). The track actually has 2 guitar parts and one bass part so both descriptions are a bit vague.

14 the book "Setting The Record Straight" by John McDermott and Eddie Kramer states that Chalpin send telegrams to Polydor, Pye and Warner Bros. on the 22th of May 1967 - a copy of a telegram send by Ed Chalpin to Louis Benjamin of Pye Records, London dated 22 May 1967 is included in the Ed Chalpin Papers, Library and Archives, Rock and Roll Hall of Fame and Museum

15 Jayne Mansfield's "The City Of New York Department Of Licenses" "Application Cabaret Or Public Dance Hall Employee's Identification Card" dated 20 January 1966 and stamped with "issue temporary card" was sold by www.legendaryauctions.com. "Jayne Mansfield: A Bio-bibliography" by Jocelyn Faris dates the "French Dressing" -revue shows as having taken place 24 January - 8 March 1966. However, she quotes a review of the show published in the "New York Journal American" 24 January 1966 which mentions a "sold-out house". If the show opened on the 24th of January the newspaper couldn't have printed a review in the same day`s issue unless the reporter saw a press preview, the comment about the show being sold out however suggests the reporter attended a normal general public performance. But as the three reviews Faris quotes in the book all were published between 24-26 January it would seem at least her opening date is roughly correct as reviewers would have attended the first few showings. Roby & Schreiber date the appearances 18 January - 28 February 1966, the opening date of 18 January is unlikely to be correct, It predates the newspaper reviews by almost a week and it also predates the cabaret identification card application by two days.

16 email from John McDermott 28 December 2014

17 The single "That Makes It / Little Things Mean A Lot" (Original Sound 51) was reviewed in Cash Box issue 24 October 1964

18 email from John McDermott 2 January 2015

19 email from John McDermott 10 September 2018: "That is an original PPX mix of "Suey". "

20 release date as given at elvisthemusic.com/music/roustabout, the 31 October 1964 issue of Cash Box featured a full page ad for the album stating "NOW AVAILABLE".

21 Daily News, New York, 8 November 1964 & 10 November 1964

22 Uploaded on Mixcloud by RadioMaven77 the recording is labelled "WADO 1965-01-01 Jocko Henderson" but I believe that the recording is actually from 29 December 1964. Jocko refers several times to the coming new year 1965 and talks about getting an invitation to a new year's party. So the broadcast would seem to date from late December 1964 and as Jocko makes no mention of Christmas I'd assume it's from the period post-Christmas and pre- New Year's Eve.
Jocko also mentions going to a party on Monday, the previous evening, so the broadcast must have been made on a Tuesday on the week between Christmas and New Year. Which in 1964 would make it Tuesday 29 December 1964.