Everyday in the week I'm in a different city
If I stay too long people try to put me down
They talk about me like a dog
Talkin' about the clothes I wear
But they don't realise they're the ones who's square
If I stay too long people try to put me down
They talk about me like a dog
Talkin' about the clothes I wear
But they don't realise they're the ones who's square
- Jimi Hendrix
I'm always cautious of posthumously released material from any artist. This album, however, confirms that Jimi Hendrix's music and art still has power, a story to tell, and will resonate for generations to come. Jimi's premature death in London on Friday, September 18, 1970 sadly deprived the world of a musical genius.
While Jimi's career lasted less than four years, his music and guitar playing remain inspirational, unique, soulful, and relevant. Jimi pushed the boundaries of music creation, guitar playing, and performance to a limit which has never been surpassed by any other musician. Jimi remains the greatest, most innovative, and iconic guitarist of all time.
Eddie Kramer engineered most of Jimi's authorized recordings from Are You Experienced? to Hendrix in the West, and I'm glad to see he's involved in producing this album, together with John McDermott.
Track Listing:
Stone Free
Recorded: Record Plant, New York, April & May 1969
Vocal, Guitar: Jimi Hendrix
Bass: Billy Cox
Drums: Mitch Mitchell
This reworking of "Stone Free" is intriguing for the hypnotic rhythmic variations Jimi uses to drive the song. The use of sliding octaves, pull-offs, string bending and Jimi's inventive approach to playing segments of songs differently throughout the recording enrich the take/recording. Jimi's vocals and phrasing are beautiful. His guitar tone is incredible. Words can't describe his explosive solo - full of melodic expression, passion, fire. Billy Cox's bass playing and tone is refreshing. I'm not surprised this is the first track on the album. The recording flows and Jimi sounds at ease and inspired.
This reworking of "Stone Free" is intriguing for the hypnotic rhythmic variations Jimi uses to drive the song. The use of sliding octaves, pull-offs, string bending and Jimi's inventive approach to playing segments of songs differently throughout the recording enrich the take/recording. Jimi's vocals and phrasing are beautiful. His guitar tone is incredible. Words can't describe his explosive solo - full of melodic expression, passion, fire. Billy Cox's bass playing and tone is refreshing. I'm not surprised this is the first track on the album. The recording flows and Jimi sounds at ease and inspired.
Valleys Of Neptune
Recorded: Record Plant, New York, September 23, 1969; May 15, 1970
Vocal, Guitar: Jimi Hendrix
Drums: Mitch Mitchell
Bass: Billy Cox
Beautiful chords, melody and Jimi in fine vocal form. It's such a great song that the absence of a solo, or further guitar parts, overdubs are not missed. The track has a transcendental feeling and is testament to Jimi's artistic gifts and his development as a songwriter. Love the fadeout.
Bleeding Heart
(Elmore James)
Recorded: Record Plant, New York, April 24, 1969
Vocal, Guitar: Jimi Hendrix
Bass: Billy Cox
Drums: Rocky Isaac
This up-tempo version of " Bleeding Heart" is a revelation. Jimi's singing and rhythm playing are only eclipsed by his electrifying solos; his use of wah is electrifying. Jimi and Billy dig deep into their R&B and blues roots to create an exceptional sound, vibe. A wonderful track.
Hear My Train A Comin'
Recorded: Record Plant, New York, April 7, 1969
Vocal, Guitar: Jimi Hendrix
Bass: Noel Redding
Drums: Mitch Mitchell
The definitive version remains the superb 'live' version recorded/filmed at the Berkeley Performance Centre, California, on May 30, 1970. However, this version is also memorable. The soloing is a source of tremendous melodic inventiveness. Also, Jimi incorporates some scat singing. Great bass and drum sound.
Mr Bad Luck (Look Over Yonder)
Recorded: Olympic Studios, London, May 5, 1967
Vocal, Guitar: Jimi Hendrix
Bass: Noel Redding
Drums: Mitch Mitchell
The driving rhythm ensures a memorable musical journey. In addition to some clowning from Jimi his soloing is magical, upbeat and inspired - 'See that? - I've just broke a guitar string.' While it is well documented Jimi was a perfectionist this track still sounds exceptional.
Sunshine Of Your Love
(Jack Bruce/Pete Brown/Eric Clapton)
Recorded: Olympic Studios, London, February 16, 1969
(Jack Bruce/Pete Brown/Eric Clapton)
Recorded: Olympic Studios, London, February 16, 1969
Guitar: Jimi Hendrix
Bass: Noel Redding
Drums: Mitch Mitchell
Jimi's energetic version of Cream's "Sunshine of your Love" shows the breadth of his inventiveness. It makes the original version by Cream seem pedestrian, even though it remains an iconic song with a memorable riff. While this version elapses into an elongated jam it still retains an infectious rhythm which tends to drag you in. A great groove.
Lover Man
Recorded: Olympic Studios, London, February 16, 1969
Vocal, Guitar: Jimi Hendrix
Bass: Noel Redding
Drums: Mitch Mitchell
Slow version of this song enhanced by a great sound from the bass and drums. Great fill-ins and soloing by Jimi. The outro solo evolves into a free form jam full of superb licks and melody. Evidence, if needed, of Jimi's creative potential during spontaneous jam sessions in the studio.
Ships Passing Through The Night (Night Bird Flying)
Recorded: Record Plant, New York, April 14, 1969
Guitar, Vocals: Jimi Hendrix
Bass: Noel Redding
Drums: Mitch Mitchell
Engaging riffs, rhythms, melody and rendition of a song which shows great potential. Again, beautiful soloing. Despite its failings this song still contains the seeds of something beautiful: Night Bird Flying. Jimi's solo performance at the coda of the song highlights his prodigious talent and guitar magic.
Fire
Recorded: Olympic Studios, London, February 17, 1969
Vocal, Guitar: Jimi Hendrix
Bass & Backing Vocals: Noel Redding
Drums: Mitch Mitchell
Difficult to improve on the 'live' version included on The Jimi Hendrix Concerts CD released in 1990 - truly an incendiary performance - great drumming by Mitch Mitchell, and Jim's guitar playing is stratospheric. This version still contains some great playing. What the atmosphere was like in the studio is/was only known by a few individuals.
Red House
Recorded: Olympic Studios, London, February 17, 1969
Vocal, Guitar: Jimi Hendrix
Bass: Noel Redding
Drums: Mitch Mitchell
A 'live' performance favourite and one of the greatest blues songs composed. A launching pad for Jimi to give a strong vocal performance and show his soloing and improvisation skills.
Lullaby For The Summer (Ezy Rider)
Recorded: Record Plant, New York, April 7, 1969
Guitar: Jimi Hendrix
Bass: Noel Redding
Drums: Mitch Mitchell
An instrumental which evolved into "Ezy Rider". This version contains some tantalizing moments. It displays the development of a song. The composition has a great groove and riffs over which Jimi improvises. Which take is this? How many patterns were changed? Was the band in disarray? I don't know, and frankly, I don't care. The music speaks for itself.
Crying Blue Rain (Blue Window)
Recorded: Olympic Studios, London, February 16, 1969
Vocal, Guitar: Jimi Hendrix
Bass: Noel Redding
Drums: Mitch Mitchell
A slow blues that morphs to a faster groove. The band are jamming and Jimi colours the instrumental with beautiful chord voicings and licks.
The album is well produced and most of the tracks highlight a genius at work. Even though marred by patches of weakness there is creativity and passion in the raw material, and - more importantly - honesty.
Jimi Hendrix was a human being - not a god - whose unique personality continues to shine through in his music, lyrics and guitar playing. To rise from a poverty-stricken background, to be black, left-handed, shy, and become a musical genius - always evolving, taking risks - and conquer the musical world, is testament to Jimi's perseverance amid a myriad of unwanted distractions and pressures.
This album - while imperfect - is testament to the creative mind of an exceptional artist who will be remembered as long as music exists.