Posts Tagged ‘Jimi Hendrix Experience’

Itching to do his own thing, Jimi Hendrix Experience bassist Noel Redding formed the band Fat Mattress in late 1968. Positioning himself as singer and guitarist, Noel recruited vocalist Neil Landon, drummer Eric Dillion and multi-instrumentalist Jim Leverton into the fold.

Released in August 1969, the British band’s self-titled debut album (Atco Records) fuses whimsical psychedelic pop practices with sunshine-spangled folk rock flourishes, bringing to mind select aspects of acts such as the Byrds, Traffic, the Idle Race and the Strawberry Alarm Clock. Peppered with phased vocals, the dizzy and dreamy “Magic Forest” was issued as a single and received airplay in a smattering of pockets across the globe. Cut of similar spacey seasonings, “Mr. Moonshine” tosses a brief jazzy jam into the pot as an added effect. Beat Club ’68 Noel Redding’s band after Jimi Hendrix Experience. Vocals by Neil Landon.

Mitch Mitchell, who completed the Jimi Hendrix Experience rhythm section with Noel Redding, and Traffic flautist Chris Wood work their mojo on the whirling psychedelic punch of “All Night Drinker,” while “I Don’t Mind” teems to the tone of jangly riffs, cheerful choruses and romping keyboards.

Fat Mattress performs “Naturally” on the TV show Beat Club 1969. Guitarist and vocalist Noel Redding founded this band 1968 during his time as bass player for The Jimi Hendrix Experience. After two albums the band split up in 1970.

At the time of its arrival, Fat Mattress drew mixed reviews. Those expecting the band to recreate the hard-edged intensity and improvisation of Redding had helped create in the Jimi Hendrix Experience were either surprised or disappointed by the dated psychedelic pop rock concepts casing the material. But in hindsight, Fat Mattress stands as an enjoyable effort. Steered by a certain mood, there’s also enough enterprising hooks and arrangements to make the songs memorable.

After a couple of personnel revisions, the band produced a second album, the aptly titled Fat Mattress II, which retained a lot of the same ingredients heard on the first recording. The album attracted little attention, and Noel Redding’s experiment with Fat Mattress ended.

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There’s no discography in rock like Jimi Hendrix’s, not because he died at the age of just 27 but because–unlike Janis Joplin, Jim Morrison and Kurt Cobain, all also gone at the age of 27 years of age, Hendrix was a true improviser. So in his case, The concert tapes merit prolonged attention. Jimi Hendrix’s studio career began in October 1966 and ended when he asphyxiated on his own vomit in September 1970. While alive he generated three albums with the Jimi Hendrix Experience (Brits Noel Redding on bass and Mitch Mitchell on drums) plus the live Band of Gypsys LP (Africa-Americans Billy Cox on bass and Buddy Miles on drums). That he left behind a much vaster body of important music reflects his enduring status as the greatest electric guitarist ever. How many versions of “Foxy Lady” do you need to hear ? So start deciding here.

Jimi Hendrix was despite being so enigmatic and galvanizing in front of a live audience, he actually hated being out on the road. In his defense, “the road” in the 1960s was an unforgiving and punishing place to be, especially when plotted out in advance by Hendrix’s manager, Michael Jeffery. One night he and his band, The Experience, would be playing a gym in Santa Barbara, California, and the next night they’d find themselves in an arena in Seattle, Washington. Patently brutal. Then there was the added anxiety of being far away from the recording studio — the place where he felt most at home. To Hendrix, touring was more stress than it was worth. It was just something he had to do to keep the black lights at Electric Lady Studios on.

Jimi Hendrix was only on the scene for about four years of his life, but he absolutely made the most of that time. Amid a vast number of classic, immortal live recordings, he toured incessantly and performed an incredible number of live shows that still have the ability to shock and surprise nearly 50 years on. From the Fillmore East to the Fillmore West, from Woodstock and Monterey to Paris, and London, and everywhere else that he and whatever group was backing him went, the possibility that real magic might present itself .

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THE OLYMPIA THEATRE  Paris– OCTOBER 18th, 1966

Some concerts are bound to get a little more shine due to their historic nature, like this gig at the Olympia Theatre in Paris from 1966. This was the first time that The Jimi Hendrix Experience, with Mitch Mitchell on drums and Noel Redding on bass, played together as a group in front of a paying audience — opening for the “French Elvis Presley”, Johnny Hallyday, no less. This was the first recorded live set as opposed to Hendrix’s last known gig at the Isle of Fehmarn on September 6th, 1970, other highlights are maybe his performance at the Isle of Wight a few weeks earlier, but both of those are kind of shambolic and more than a little morbid. Even though this show was only 15 minutes long, you get a real sense of the kind of fire Hendrix was playing with around the time he first hit the scene. The band’s first single, “Hey Joe”, sounds great, but it’s the Howlin’ Wolf cover “Killing Floor” that will leave your jaw on the floor.

Rumour has it that there were 14,500 people attending, however the theatre can’t hold more than 2,500. During the first part of the show the JHE played for just 15 minutes and did three songs. Jimi also played guitar during the finale before the intermission. Chas Chandler and Jimi watched the performance of Johnny Hallyday and Chas made a study of Hallyday’s stage-act. After the show everyone (including Chas Chandler) went to a Paris nightclub. The 1966 tour of France marked the first shows performed by The Jimi Hendrix Experience, on October 13th. This was only one week after the formation of the band, after drummer Mitch Mitchell joined on October 6.

THE MONTEREY POP FESTIVAL – JUNE 18th, 1967

When Jimi Hendrix left New York City for the UK in 1966, hardly anyone in his home country even noticed. When he came back on June 18th, 1967, for the Monterey Pop Festival in northern California, they could hardly tear their eyes away. As opposed to Woodstock where one song transcended the rest of the Hendrix’s set, at Monterey, the guitarist’s violent, sexually charged rendition of The Troggs’ “Wild Thing” was a culmination. Seemingly intent on topping The Who’s explosive performance of “My Generation” that preceded him, when it came to ending his own showing, Hendrix pulled out all the stops. Even watching now, the display of him grinding his custom-painted Stratocaster against the stack of Marshall amps before throwing it down to the ground and riding it like a familiar love is shocking to behold. Then comes the lighter fluid; and then the match and then the flames. At Monterey, Hendrix threw down the gauntlet to his generation of fellow artists: Either become daring, or remain irrelevant.

This remastered version of 1986’s Jimi Plays Monterey features one of Hendrix’s most significant performances: What was his breakthrough show at the Monterey Pop Festival on June 18th, 1967. You can’t see him set his guitar on fire here, but you can hear the electricity surging through the festival grounds. Most of the songs come from Hendrix’s just-released debut album, “Are You Experienced” along with a few blues covers, like the scorching set-opener, Howlin’ Wolf’s “Killing Floor.”

Hendrix was such a creative mercurial genius that no two shows were ever alike. His legendary performance at the Monterey Pop Festival captures The Experience in full flow, culminating with an incendiary version of Wild Thing . Although not available in full until 2007, half of his extraordinary set was released in 1970 with highlights from Otis Redding’s equally memorable appearance as Historic Performances Recorded at the Monterey International Pop Festival. Now that’s a concert bill to go down in history.

THE CAFÉ AU GO-GO – New York City MARCH 17th, 1968

One of the great things about going to any live show is the feeling that anything can happen. The patrons of the small Café Au Go-Go Club in New York City couldn’t have known when they ordered their drinks that they were about to witness one of the great, public rock and roll jam sessions of all time that spring night. To be sure, Hendrix was known to play around town while in New York City, but this gig with Elvin Bishop on rhythm guitar, Paul Butterfield on harmonica and vocals, and Buddy Miles on the drums is some next-level stuff. It’s clear from the recording that the guys were just interested in messing around, but there are some real spine-tingling moments to be gleaned here like the pickup group’s all-instrumental rendition of “Little Wing” or the cover of T-Bone Walker’s “Stormy Monday.” Jimi jammed (on ‘a rainy night’) with Paul Caruso (vocal & harmonica), Buddy Miles (vocal & drums) Elvin Bishop (guitar), James Tatum (saxophone), Herbie Rich (organ), Harvey Brooks (bass), Phillip Wilson (drums).  Jimi recorded the jam on his Sony reel-to-reel deck from the mixing board. Featured are “Everything’s Gonna Be Alright,” “Stormy Monday,” “Three Little Bears,” and “Little Wing.”

The Jimi Hendrix Experience: Live In Ottawa

OTTAWA CANADA CAPITAL THEATRE  March 19TH, 1968

This unique, authorized ‘bootleg’ release features a raw, two-track mixing console recording of Jimi’s March 19th, 1968 concert in Ottawa, Canada.

Jimi’s appearance in Ottawa was part of an extensive US tour organized in support of his recently issued second album, “Axis: Bold As Love”. The guitarist arrived in New York on January 30th, 1968 and immediately took part in a press reception organized by publicist Michael Goldstein. Goldstein dubbed the event “The British Are Coming” and made the Experience, as well as the other groups in the Michael Jeffery/Chas Chandler stable available to journalists and photographers at the Copter Lounge atop the Pan Am building in Manhattan.

Following the media hoopla in New York, the Experience flew to San Francisco where their tour began in earnest at the Fillmore Auditorium on February 1st. Eight shows over the course of four memorable nights at the Fillmore and Winterland Ballroom launched the tour in grand fashion.  From San Francisco, the Experience ventured across the US, performing at a mix of clubs, colleges, and medium sized auditoriums. Despite the growing popularity of Are You Experienced, issued the previous August by Reprise, Jimi’s US distributor, the Experience had only begun to develop a national following.  As a result, limited finances eschewed the comforts of a tour bus and made leasing a tour airplane unfathomable.  Instead, the group, guided by their faithful road manager Gerry Stickells, made much of their journey across the country in a rented station wagon.  In what can only be described as a remarkable test of their endurance and enthusiasm, the Experience performed sixty concerts in sixty days during the first leg of this tour.

Five weeks into their dizzying tour itinerary, the Experience arrived in Ottawa to perform two shows at the city’s venerable Capitol Theater. As he often did when performing two concerts in one evening, Jimi varied his set lists.  He maintained some staples such as “Fire” and “Foxy Lady” in each concert, but in the evening’s early performance, of which no recording is known, newspaper reviews reveal that he featured “Sgt. Pepper’s Lonely Hearts Club Band” and “I Don’t Live Today”.  These songs were not revived for the second show, but in their place came “Spanish Castle Magic”, an energetic reading of Howlin’ Wolf’s “Killing Floor” and the lengthy instrumental workout “Tax Free”.

Experience concerts bore little resemblance to seamlessly produced present day rock events.  In 1968, a Jimi Hendrix concert was truly a counter cultural gathering, fueled in large part by the support of underground radio and college newspapers.  The concerts themselves were miles away from today’s rigidly structured events which more often resemble a Broadway production than a traditional rock and roll show.  Technically, Jimi lacked virtually everything from amplifiers capable of withstanding his sonic demands to adequate stage monitoring [during this era, Mitch was often without any monitoring whatsoever].  There were no light cues or pyrotechnics timed to announce Hendrix’s arrival onstage. Jimi simply walked out, greeted the crowd, and would quickly tune his guitar.  During the performance, technical demands and other challenges were either solved on the fly or not at all.  This hasty work invariably took place in plain view of the audience.  Jimi’s Ottawa performance was no different.  As he and his crew struggled to overcome a variety of technical difficulties, Jimi peppered the crowd with his sly wit.

If a desultory [and now rather humorous] review of Jimi’s performance, printed the following morning in the Ottawa Citizen, can be believed, the Experience sold out the second concert of the evening. It is this inspired performance which is featured on this disc.

The concert at the Capital Theater took place four days after the March 15th, Clark University performance issued as the second Dagger Records release in this series.  Like that show, the Experience were in top form throughout.  The grinding toll of their first major US tour was masked by the group’s upbeat demeanor and spirited performance.  Most important, coupled together with Live At Clark University, Live In Ottawa provides a compelling and detailed look at the Experience cresting at the peak of their friendship and unity.

There is much to be relished in this unpolished recording.  Jimi’s train whistle feedback announces his powerhouse rendition of Howlin’ Wolf’s “Killing Floor”.  A stinging “Red House”, Jimi’s own blues masterwork, is even stronger.  Live In Ottawa also presents the earliest live version of “Tax Free” issued to date.  Here Mitchell and Redding push Hendrix insistently throughout the song’s complex arrangement.  The expanded introduction to “Hey Joe”, a precursor to the more elaborate efforts which would follow in the weeks and months to come, is wickedly clever and no doubt a salve to Hendrix’s restless creative spirit.  The guitarist loathed having to replicate his hits in the same manner night after night.  It is alterations and embellishments such as these which made every Jimi Hendrix performance so unique.

More than three decades later, it is performances such as these which reveal just how exciting it was to have a witnessed a Jimi Hendrix Experience concert.

How and why the concert was recorded is somewhat of a mystery.  The performance was not professionally recorded, as were later Hendrix performances at Woodstock and the Fillmore East.  Nonetheless, Jimi was obviously well aware of a tape recorder capturing the proceedings.  During his set, he made mention of it onstage, exhorting the crowd at one point to cheer so that the group’s girlfriends wouldn’t think they had bombed in Ottawa!

It is possible that Jimi himself recorded this performance on his own Sony reel to reel tape machine.  He frequently made recordings of various jam sessions and club performances for his own enjoyment.  It is more likely, however, that member of the Capital Theater stage crew documented the performance for posterity.  All of Jimi’s performance is presented in its original running order.  “Wild Thing”, the final song of the evening, cuts out just as Jimi tore through the song’s unforgettable opening chord sequence.  Apparently, the tape operator loaded his reel to reel tape machine with a 2400 hundred foot spool of blank tape.  Such a spool would provide slightly more than sixty minutes of recording time at seven and a half inches per second.  The recording begins with the introduction of the group by CKOY radio personality Nelson Davis and continues until the spool runs out. Lost is the balance of “Wild Thing”, but most of us know what happens at the end there …

MIAMI POP FESTIVAL, MAY 18th 1968

Never previously available in any form, Miami Pop Festival, introduces the first recorded stage performances of “Hear My Train A Comin'” and “Tax Free” while showcasing definitive live takes on such classics as “Fire,” “Hey Joe,” “I Don’t Live Today” and “Purple Haze.” The package includes never before published photos taken at the festival and an essay by award-winning music journalist and Grammy Museum Executive Director Bob Santelli. This album includes the show as originally recorded on site by Hendrix’s long term sound engineer, Eddie Kramer.

Footage of Hendrix performing at the 1968 Miami Pop Festival was revealed in the two-hour documentary American Masters: Jimi Hendrix – Hear My Train a Comin’, the film debuts, you can get an look at this amazing clip of Hendrix performing “Foxy Lady” onstage in Miami on May 18th, 1968 during his headlining set. The video depicts the famed left-handed guitarist powering through one of his most enduring numbers. Sporting a fedora, blond streaks in his hair, a puffy white shirt and red velvet pants, Hendrix clearly stuns his daytime audience with his explosive, soulful playing.

This live album by the Jimi Hendrix Experience, documenting their May 18th, 1968 performance at the Miami Pop Festival. It album features eight songs recorded during their evening performance, along with two afternoon-show performances.

The Jimi Hendrix Experience: Live At Woburn

WOBURN MUSIC FESTIVAL on JULY 6th, 1968

The Jimi Hendrix Experience: Live At Woburn is the eleventh release in the Dagger Records authorized ‘bootleg’ recording series. Live At Woburn presents a 100% previously unreleased concert recording capturing The Jimi Hendrix Experience in concert at the Woburn Music Festival on July 6th, 1968.

The Woburn Music Festival was one of Britain’s first large scale, open-air rock music events. Staged by brothers Richard “Rik” and John Gunnell, who were well respected individuals in the burgeoning London music scene where they were heavily involved in many aspects including band managed, show promoters and club owners. Rik in particular, who owned three fashionable 1960’s London nightspots—the Ram Jam Club, Flamingo, and Bag O’ Nails—presented authentic, first generation American icons like John Lee Hooker and Otis Redding and some of the brightest examples of a swelling wave of emerging British talent such as The Rolling Stones, Jack Bruce and Georgie Fame.

Jimi’s co-managers Chas Chandler and Michael Jeffery—a fellow nightclub entrepreneur—enjoyed a friendship with Gunnell. Gunnell had been an early supporter of The Animals, and extended the same courtesy to Hendrix and The Experience, presenting some of the group’s earliest London engagements.

Jimi’s popularity had grown exponentially since those early days in 1966 and he arrived at the Woburn Festival as its eagerly anticipated headline act. This anticipation was fueled in part by Jimi’s absence from Britain. The Experience had spent much of 1968 touring and recording in America and had not performed live in Britain since December 1967.

Woburn Music Festival featured separate afternoon and evening sets for both Saturday and Sunday. While rhythm & blues was the primary focus with Gunnell drawing heavily from his own talent pool, casting John Mayall’s Bluesbreakers, Alexis Korner, and Geno Washington together with the more folk influenced Pentangle, Roy Harper, and Tim Rose. The Jimi Hendrix Experience were scheduled to close the Saturday evening show where an enthusiastic crowd some 14,000 strong turned out for the performance.

Axis: Bold As Love was still a top selling album in July 1968 but Jimi had long since moved on to new challenges. To Hendrix, performances such as Woburn were unique, shared experiences and not simply personal appearances intended to help shift units of albums or singles. At Woburn, Jimi skipped songs from Axis: Bold As Love altogether, electing instead to ‘jam’ as he called it kicking off his set with a spirited “Sgt. Pepper’s Lonely Hearts Club Band” regrettably missed in part by the late start of the recording machine]. The trio followed “Sgt. Pepper” with “Fire,” and despite beset with buzzing, crackles and otherwise unwanted noises throughout their set, uThe Experience continued to persevere doing their best to surmount the technical problems that hampered an otherwise animated set.

Jimi may have bypassed Axis: Bold As Love, but he did foreshadow his next album at Woburn, stretching out a marvelous “Tax Free,” a contender for Electric Ladyland and a favourite Experience vehicle for improvisation. Hendrix followed up with an extended improvisational rendition of “Red House” before diving into “Foxey Lady.” He also offered his Woburn audience what he called, ‘…a song that we recorded for our new LP. It’s nothing but a hard rock—it’s called “Voodoo Child (Slight Return)”.

Equipment problems were always an irritant for Jimi and Woburn was no exception. He prefaced “Purple Haze,” the group’s final song, with an apology. “We’re very sorry that we have to play through broken amplifiers,” he explained. “Like I said before, it’s really a hang up. It’s very hard to get our own sound across so we would like to end it and say thank you very much for showing up. We would like to do this last song “Purple Haze.” Jimi kicked off a boisterous feedback opening, buttressed by Mitchell and Redding and complete with tremolo bar swoops, wah-wah pedal shadings and soaring dive bomb styled bursts that transitioned seamlessly into the song’s unmistakable opening notes. At its conclusion, the audience roared with approval. While no microphones were positioned to fully capture the intensity of their reaction, their enthusiasm and calls for more can be easily heard through Jimi and Noel’s stage microphones.

The Experience’s performance at Woburn Music Festival would mark the trio’s last performance in England until the two celebrated concerts in February 1969 at the Royal Albert Hall.

Technical Note:

Like many of the live releases issued as part of the Dagger Records series, The Jimi Hendrix Experience: Live At Woburn was not professionally recorded using multi-track technology. It was instead drawn from a recording made from the stage soundboard.

As a result, the recording is not without its share of flaws and technical limitations. The recording is raw and occasionally overdriven but it effectively presents all of the voices and instruments onstage. In addition to the aforementioned late start on “Sgt. Pepper’s Lonely Hearts Club Band,” the ending of “Tax Free” was lost when the tape ran out. Fortunately, the tape spool was rethreaded and recording resumed for the start of “Red House”. It is entirely possible that another song was performed and not recorded but there is no firm evidence to definitively confirm this either way.

As noted, the buzzing, crackling and static not otherwise emanating from Jimi and Noel’s battered amplifiers are part of this historical document. Its flaws notwithstanding, this recording represents the only known documentation of this significant performance. The Jimi Hendrix Experience: Live At Woburn, despite its technical imperfections, supplies yet
another fascinating piece to the Hendrix puzzle.

THE WINTERLAND BALLROOM – OCTOBER 11th, 1968

The Jimi Hendrix Experience performed six shows over three days at San Francisco’s Winterland Ballroom in October 1968. This four-disc set gathers 35 of the songs, plus a rambling interview Hendrix gave backstage from another venue a month later. it’s the cover tunes that make it worth hearing. The Highlight: a bluesy, crawling take on Dylan’s “Like a Rolling Stone.” Burning guitars and rockets red-glaring aside, this show, the second in a run of three dates in San Francisco, was the absolute peak of Jimi Hendrix’s live performance career. Throughout its history, the Winterland Ballroom was a venue that brought the best out of those who performed there, whether it was Led Zeppelin in 1969, The Band in 1976, or Bruce Springsteen and the Sex Pistols in 1978. Hendrix, already one of the best live acts on the scene at the time, with a tremendously loyal and dedicated following in the Bay Area, brought his pure A-game to the Bill Graham-promoted concert hall.

It’s actually a pretty tall order to pick from which of the three nights from the 10th through the 12th was the best of the bunch. On the first evening, you have a tremendous, electrified version of “Hear My Train a Comin’” to go along with a twisted, psychedelic rendition of “Tax Free”. On the last night, there’s that great cover of Cream’s “Sunshine of Your Love” and an explosive “Spanish Castle Magic”. But then you have the second night, and Hendrix gives you perhaps the best version of “Purple Haze” that he ever performed live to go along with a mind-blowing cover of Bob Dylan’s “Like a Rolling Stone”. You can’t go wrong with any of these gigs to be perfectly honest, and taken together, they really are the iconic guitarist at the very top of his game.

“Jimi Hendrix Experience- Winterland”  (versions available: 4 Disc Deluxe Box Set or 8 12″ 180 gram Vinyl Audiophile LP Deluxe Box Set .

Winterland is drawn from six stellar shows recorded over three days (October 10th, 11th and 12th, 1968) at San Francisco’s historic Winterland Ballroom.  These special performances celebrated the two year anniversary of the Jimi Hendrix Experience and came just as the groundbreaking album “Electric Ladyland” was released.

Winterland presents some of Hendrix’s most spectacular guitar work and the four CD set (also available as eight 12″ vinyl LPs) is filled with rare live versions of classic songs such as “Manic Depression,” “Are You Experienced?,” “Tax Free,” and “Little Wing” that are not part of any other Sony Legacy release.  Fans will also enjoy Hendrix’s dramatic interpretations of Cream’s “Sunshine Of Your Love” and Howlin’ Wolf’s “Killing Floor” [with the Experience joined by Jefferson Airplane bassist Jack Casady] as well his rendition of Bob Dylan’s “Like A Rolling Stone,” which has been selected as the lead track for this special release.

This special deluxe box set features never before released music from each of the six unforgettable Winterland performances.  The new standard and deluxe editions of Winterland are markedly different from a single disc compilation, long out of print, that was briefly issued by Rykodisc in 1987 and 1988.

The deluxe edition also presents a rare interview with Hendrix recorded backstage at the Boston Garden a few weeks after the Winterland performances.  This previously unreleased bonus provides fans with a unique window into Hendrix’s views about his background, his approach to the guitar and songwriting and future direction of his music. The deluxe edition also features a 36 page booked filled with previously unpublished images by acclaimed photographers Robert Knight, Allen Tannenbaum and Jim Marshall as well as an essay by noted Rolling Stone journalist David Fricke.

The featured track, “Like A Rolling Stone,” will precede the album’s release as a CD and 7″ vinyl single . The single will also feature a previously unreleased live version of “Purple Haze” from the Winterland concerts that will not be featured on the box set.

The Jimi Hendrix Experience: Live In Cologne

LIVE IN SPORTHALLE COLOGNE , JANUARY 13th 1979 

Live in Cologne is a posthumous live album by the Jimi Hendrix Experience. Released in November 2012, The Jimi Hendrix Experience: Live In Cologne, the twelfth release in the Dagger Records official bootleg series, documents this spirited, January 13th, 1969 performance at the Sporthalle in Cologne,
Germany.

Hendrix kicked off the proceedings with a scalding “Come On (Let the Good Times Roll)” from Electric Ladyland. This Earl King chestnut had long been a favorite of Jimi’s and here he began with a driving solo introduction before signaling Redding and Mitchell to join. Next followed a blistering version of “Foxey Lady,” a perennial stage favorite. An abrupt tape cut precedes a memorable rendition of “Red House.” Thankfully the performance is essentially complete lacking only Jimi’s prefacing stage banter, offered as he likely changed guitars before starting. “Voodoo Child (Slight Return)” followed next, not yet established as Jimi’s closing number as it would become later in 1969 and remain so throughout his career, but no less muscular.

Jimi then shifted directly into “Fire” and then a thunderous “Spanish Castle Magic.” The Experience were clearly locked in sync, pushing each other throughout all to the delight of their audience. The Experience never backed off, launching next into their first single “Hey Joe.” Jimi had to do some quick tuning on the fly, but he pressed on undaunted, boldly dashing off a lick from the Beatles’ “I Feel Fine” as he barreled through this uptempo rendition. This driving intensity built up after the solo, underscored by Jimi’s rhythm guitar work and Mitchell’s superb drumming before culminating in a rousing finale.

“Sunshine Of Your Love” was offered in tribute to Cream, all to the delight of the audience whose howls of approval can be heard even during Redding’s bass solo. “Star Spangled Banner” and “Purple Haze” capped off a truly memorable night and then the Experience were gone, whisked off to the next city and another unsuspecting audience.

The Jimi Hendrix Experience: Live In Cologne is like other releases in the Dagger Records series. This album was not drawn from professionally recorded masters but instead an amateur, monophonic audience recording. As a result, the recording is not without various technical flaws and sonic limitations. Nonetheless, this special ‘official bootleg’ stands as a captivating document of this important chapter of Jimi’s legacy.

THE ROYAL ALBERT HALL – FEBRUARY 24th, 1969

It was over 50 years ago when the Jimi Hendrix Experience played an important concert at the Royal Albert Hall on February 24th, 1969. Although captured on film by a team of cameramen, the event seemed consigned to history and became just a distant memory of those lucky enough to be there. So, at the Royal Albert Hall the first concert was held on February 18th, 1969 . A week later on February 24th. the first show hadn’t been filmed because the lighting in the hall wasn’t sufficiently bright. On that occasion, the Experience was supported by a post-Traffic group billed as Mason, Capaldi, Wood & Frog plus Soft Machine. The first show was okay, if not wonderful.

Of course it was the music we came to experience and the sheer riveting power exercised by Jimi with that fingertip control of his trusty Fender guitar, was mesmerising. There were moments when he drifted away on secretive spiritual journeys, then came the blasting back down to earth, crash landing into total funk grind, all the while unleashing familiar riffs and teasing melodies.

Stone Free set us free from the outset. It wandered through different grooves but was always brought under control by the drummer and bass player, loyally responding to Jimi’s changing musical moods. A nod here, a glare there – there was no mistaking his unspoken directions. And when Jimi turned them loose, it was Mitch Mitchell who shone with a tumultuous drum solo that drew cheers from an audience not even at a ‘live’ concert but straining their necks to gaze up at the pulsating screen.

Mitch was always a highly regarded drummer even from his R&B days with Georgie Fame & the Blue Flames. His freewheeling style blossomed with the Experience, but could be erratic at times. Not so on the night in question. As the tiny figure launched into an astonishing assault on his double bass drum Ludwig kit, he disappeared in a mass of flying hair and shining cymbals. All we could see were the sticks flailing. On that night he out-drummed ‘em all, Baker and Bonham included. Noel Redding too stayed on the ball throughout. While never the focus of extensive camera attention, (given that all eyes were on Jimi), his bass playing gave sturdy support for Hendrix and Noel formed a perfect team mate for Mitch in the rhythm section.

As the show progressed Jimi embarked on a series of hypnotic performances playing such songs as Lover Man, I Don’t Live Today and the ultimate blues anthem Red House. The crowd leapt from the seats for Foxy Lady, Fire, Little Wing and Voodoo Chile (Slight Return), and sprawled exhausted for Purple Haze, the wonderful Wild Thing and Jimi’s tilt at the Star Spangled Banner, an anthem the former paratrooper must have heard played many a time during his 101st Airborne days.

‘Thank you very much!’ Was all Jimi could say to his audience after such a physically exhausting and emotionally draining performance that saw him kicking over Marshall amps and smashing a guitar to smithereens and finally hurling the broken neck out into the once restrained and now hysterical audience.

It was one of Hendrix manager Michael Jeffrey’s more canny moves that this gig was even booked in the first place. Originally, he and The Experience were only supposed to perform at the Royal Albert Hall for one night on February 18th, which was due to be recorded for a potential live album, but Jeffrey was worried that the band wouldn’t make the grade. His concern proved correct as both Redding and Mitchell sounded utterly lethargic at that show.

The band only had one more shot to make up for their lackluster performance, thus this gig a week later where they absolutely killed. Hendrix clearly knew that he and the band were on fire and actually went back on at the end of the night for a positively rare encore of the exceedingly rarely played “Room Full of Mirrors”. This ended up being the last show that The Experience would ever play together in Europe.

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WOODSTOCK – AUGUST 18th, 1969

One transcendent moment does not a complete concert make. Hendrix’s performance of “The Star-Spangled Banner” at Woodstock will forever stand as one of the defining moments of the ‘60s, but the rest of the show around that singular and notably solo – rendition of the American national anthem is somewhat shambolic. For this gig, Hendrix brought together his regular drummer, Mitch Mitchell, and his Army buddy and Band of Gypsys bassist, Buddy Cox, but also an overstuffed array of world musicians who clearly weren’t ready to tackle this material. That this was also the longest performance of Hendrix’s career actually doesn’t help its case as one might assume either. It’s not a complete disaster, however, as both “Woodstock Improvisation” and “Hey Joe” are undeniably fantastic.

Hendrix’s festival-closing set is the stuff of legend — mostly because his instrumental take on “Star Spangled Banner” sounds like a thousand bombs dropping on unsuspecting hippies at an ungodly hour. This 1999 album gathers almost his entire show (two songs sung by a rhythm guitarist are MIA), which was made up of familiar songs like “Foxey Lady” and “Purple Haze,” as well as a few blues covers. And “Star Spangled Banner,” of course.

As celebrated as Hendrix’s appearance at the Woodstock Festival was, the double disc release containing Jimi’s entire 16-track performance is nothing short of an exhausting listen. The band weren’t as tight as they should have been and Jimi extended every track to within an inch of its life, not always to its advantage. While it’s undeniably great to have access to a good quality recording of the fabled show, chances are you’ll find yourself returning to a select few incendiary performances – more than likely ‘Foxey Lady’, ‘Red House’ and the ‘Star Spangled Banner’ – but most of it is far too reliant upon seemingly endless jam sessions, and there’s only so much of that you handle at one sitting without the heady visuals to match.

Woodstock Music & Art Festival, Bethel, New York

Set List: Message To Love Hear My Train A Comin’ Spanish Castle Magic, Red House Mastermind [Larry Lee] Lover Man Foxey Lady Jam Back At The House Izabella Gypsy Woman [Larry Lee] Fire Voodoo Child (Slight Return) Star Spangled Banner Purple Haze Woodstock Improvisation Villanova Junction Blues Hey Joe

Beginning in July 1969, Jimi relocated to Shokan, a quiet upstate New York village near Woodstock for the balance of the summer. Here Hendrix was accorded sufficient time to relax and refine his new musical direction. In time, the rustic summer retreat served to rejuvenate his creative spirit. “Jimi was taking a kind of vacation out in the country, trying to get his act together,” explains Eddie Kramer. “It was all part of his developmental process, wood shedding if you want to call it that. With Billy Cox in tow, Jimi revisited his Tennessee roots once more, reaching back to guitarist Larry Lee, another old friend and veteran of the chitlin’ circuit. Where Cox had been actively involved in various music projects prior to heeding Jimi’s call, Lee had just returned from a stint in Vietnam. Also invited to Hendrix’s vacation retreat were percussionists Jerry Velez and Juma Sultan. Hendrix met Velez at Steve Paul’s Scene Club prior to the break up of the Experience. “I had just finished jamming with The McCoys,” explains Velez. “When I walked over to my table, Jimi and his entourage were sitting behind me. A little later, I joined the band on stage again for a few more tunes. When I came back to sit down, he leaned over and said, ‘Listen, I’m recording this jam over at the studio tonight. We’ll be starting around four, after this thing ends tonight. Do you want to come down and jam?’ I said sure. I went over that night and jammed with Jimi and Buddy Miles, and we seemed to hit it off.” Juma Sultan was actively involved with the Aboriginal Music Society in Woodstock, New York, and was a highly respected percussionist who would performed regularly at the Tinker Street Cinema. Both were received well during their jam’s back at the house and were invited to join Hendrix’s expanded ensemble, Gypsy Sun and Rainbows. In the weeks prior to the Woodstock festival, Jimi jammed at his rented home, as well as the Tinker Street Cinema in downtown Woodstock. Making its first and only official public appearance, Hendrix’s expanded ensemble Gypsy Sun and Rainbows performs at the Woodstock Music & Art Festival in Bethel, New York. Hendrix takes to the Woodstock stage on Monday morning with the support of Mitch Mitchell (drums), Billy Cox (bass & backing vocals), Larry Lee (rhythm guitar), Juma Sultan (percussion), and Jerry Velez (percussion). His extended set includes his magnificent rendition of the “Star Spangled Banner”.

THE FILLMORE EAST – JANUARY 1st, 1970

The one and only performance of the short-lived Band of Gypsys came at Bill Graham’s Fillmore East. The only reason this project came to fruition in the first place was due to a legal settlement between Hendrix and Ed Chalpin of PPX Recordings, whereby the latter would receive total rights to one release by the former. It was a messy situation all around and one that Hendrix wasn’t about to resolve by giving Chalpin the tapes that would make up Electric Ladyland, so instead he enlisted his old Army buddy Billy Cox to play bass and Buddy Miles of Electric Flag to play drums for a special live album project. It’s hard to say that Band of Gypsys was superior to the Experience, but this show isn’t without its merits. “Them Changes” with Miles on lead vocals is funky and fun in a way that Hendrix rarely was while performing live, but it’s the song “Machine Gun” that takes the cake. At a runtime of 12:40, it’s by no means succinct, but with that signature, simulated-gunfire riff and wandering, adventurous solos, it’s one of the most thrilling tracks in Hendrix’s canon.

Live at the Fillmore East is basically an expanded version of the 1970 live album Band of Gypsies, which was recorded on New Year’s Eve 1969 at the legendary New York club. Hendrix’s new trio were bluesier and jazzier than The Experience, so the 16 songs here — including reworked versions of “Stone Free” and “Voodoo Child (Slight Return)” — swing harder. Highlight: was the anti-war jam “Machine Gun.”

With a myriad of debatable quality bootleg live recordings available, it’s fantastic to find a great live recording of Jimi at his fiery best. Live At Fillmore East is one such beast. The double CD is taken from recordings of four nights Jimi and The Band Of Gypsys (completed by bassist Billy Cox and Buddy Miles on drums) played over New Year’s Eve 1970. If anything, this is a better place to hear Jimi with this band than the official Gypsys release that came out during the guitarist’s lifetime. Hendrix’s self-written material comes across the best – lead-off track ‘Stone Free’ is particularly powerful as it clocks in at nearly 13 minutes, but it’s good to hear the guitarist stretching out on the Buddy Miles composition ‘We Gotta Live Together’, while closer ‘Wild Thing’ serves as a reminder that while Jimi liked to improvise and jam in a live environment he was more that capable of wringing the best out of a three minute pop song.

THE L.A. FORUM – APRIL 25th, 1970

There’s something about the sunny confines of the Forum in Inglewood, California, that brought out the best in a myriad of ‘60s and ‘70s rock bands, and Jimi Hendrix was no exception. This was the first live show that Hendrix played after his foray with the Band of Gypsys and the first in seven months with Mitch Mitchell back on the skins. Hendrix sounds completely re-energized and hits the SoCal crowd with a number of heavy-hitting tracks, including one of the first performances of “Ezy Rider” and “Freedom”, which both sound incredible. The cherry of this gig, however, is the sultry and bombastic “Foxy Lady”, which, per usual, was dedicated to one of the finer specimens of the opposite sex that the guitarist spotted in the crowd.

BERKELEY COMMUNITY THEATRE – MAY 30th, 1970

Loose is the operative word when it comes to describing this concert, which took place just outside the confines of the University of California. In the context in which it was performed, it’s actually an interesting contrast to the mania of the anti-Vietnam War demonstrations that were taking place right outside the venue. In his own way, Hendrix addresses the tension permeating the atmosphere in his intro to “The Star-Spangled Banner” when he asks the crowd to get on their feet and stand for the national anthem, reminding them that “we’re all Americans.” For their troubles, he then proceeds to knock them down back on their asses with seismic versions of “Purple Haze” and “Voodoo Chile (Slight Return)”. For real music nerds, it should be noted that this show was one of the very few instances in his career when Hendrix didn’t tune his guitar down a half step and instead played this entire gig in standard tuning.

This is a tasty recording as it features Jimi Hendrix neither with the Experience nor with his Band Of Gypsys, rather the line-up here was a cross between the two. Gypsy bassist, Billy Cox and Experience drummer Mitch Mitchell backing up Jimi as he tears through blinding versions of ‘Purple Haze’ and ‘Hey Joe’. Encapsulating the best of both worlds, Hendrix was able to illustrate the experimental side of the Experience with the more funky, R&B-led style of the Gypsys. The concert captured here is the second show Hendrix and co. performed at the Berkeley Community Center in 1970. As ever, the live rendition of ‘Red House’ is stunning while ‘Voodoo Child’ is a textbook performance – the perfect blend of experimentation kept on a short leash, even though it’s a suitably extended version with a superb vocal track. It’s not all established material that Hendrix offers here – we also get to witness early versions of songs (notably ‘Hey Baby (New Rising Sun)’ and ‘Straight Ahead’ – here in the guise of ‘Pass It On’) that would go on to be featured on other posthumous releases.

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THE ATLANTA INTERNATIONAL POP FESTIVAL – JULY 4th, 1970

Many of Hendrix’s greatest live shows came in outdoor spaces, like this one at the Atlanta Pop Festival on Independence Day in 1970. In many ways, this Georgia gathering was the spiritual sequel to Woodstock that the fiasco in Altamont failed to be. Like Woodstock, it was billed as “three days of peace, love and music,” and you needed a ticket to enter. And just like in upstate New York, the deluge of 300,000-500,000 people crying out slogans like “music belongs to the people” forced the organizers to open the gates and let everyone in completely free of charge.

For his part, Hendrix actually delivered a set that was far more cohesive and tight than he had given the summer before, albeit without any of the iconic highlights. A rare performance of “Room Full of Mirrors” is a real gem from this show as is the extended “Red House” jam.

 

THE ISLE OF WIGHT FESTIVAL, AUGUST 31st, 1970

“Blue Wild Angel: Live at the Isle of Wight” is a posthumous live album by Jimi Hendrix released on November 12th, 2002. The album documents Hendrix’s last U.K. live performance at the Isle of Wight Festival on August 31st, 1970, just three weeks before his death. The set list for the concert contained songs from the original Experience albums, as well as new songs. Some were previously available on Isle of Wight (1971) and Live Isle of Wight ’70 (1991).

Included in the set was an adaptation of “God Save the Queen” and a cover of The Beatles’ “Sgt. Pepper’s Lonely Hearts Club Band”, played just before launching into “Spanish Castle Magic”. The 22-minute version of “Machine Gun” includes walkie-talkie interference from security personnel feeding through the sound equipment. Apparently there were all sorts of issues with the organisation of the festival, and there were equipment problems, In some ways it’s a bit of a disappointing finale to his career, he’s seems a little tired or to be just going through the motions on much of this, maybe he was just getting tired of the band screaming out for Fire and Wild Thing, but at times the playing is as sublime as ever, and it’s interesting to see how the band with Billy Cox and Mitch Mitchell continues to expand their style. Billy Cox makes the ensemble work much better than Noel Redding ever did, a fine example being where Hendrix sits out for some time on what is easily the longest of my 20 versions of Foxy Lady. The full set is available on this album “Blue Wild Angel: Live at The Isle of Wight” and I’m not sure why they didn’t release a double album first time around. The single release album is necessarily not even the best selection of songs from the gig so I’d recommend getting Blue Wild Angel instead. This isn’t his finest performance, but they’re all unique, so if you haven’t heard it, and you’re a Hendrixphile, you need to.

The CD set is more complete than the DVD release as it contains “Midnight Lightning”, “Hey Baby (New Rising Sun)”, and “Hey Joe”, three songs that were omitted from the DVD. There was also a “highlights” album released as a single disc, which contained eleven songs – nine from disc one and two from disc two. It was re-released in 2003 as a three-disc “Deluxe Sound & Vision Edition” in a special box and slip cover format as part of Experience Hendrix’s plan to re-release most of Jimi Hendrix’s recorded material.

The Jimi Hendrix Experience: Live At The Isle Of Fehmarn

LIVE AT THE ISE OF FEHMARN September 6th 1970

The Jimi Hendrix Experience: Live At The Isle Of Fehmarn marks the eighth release in Dagger Records’ popular bootleg-style recording series. This historically significant album features The Jimi Hendrix Experience’s final live performance on September 6th, 1970 during the Love & Peace Festival held on the Isle Of Fehmarn in Germany.

Originally slated to perform on September 5th, The Experience’s appearance at the festival was delayed by frequent rain storms that plagued the previous days shows. Having just completed a series of six concerts in six days including headlining shows at both the Isle Of Wight (August 30th) and Berlin (September 4th), the extra day of rest would serve the group well.

By the time The Experience took to the stage on September 6th, audience tensions were guarded following a series of fights between German bikers, that had escalated in ferocity, and included the festival Box Office being robbed at gun point and Jimi Hendrix’s own road manager, Gerry Stickells being attacked. Depsite these problems, The Experience delivered an enthusiastic hour-plus performance which saw Jimi lead the trio through a series of songs encompassing all of the different periods of the group’s existence.

Jimi’s Isle Of Fehmarn performance has been widely bootlegged over the last 35 years yet it was never professionally recorded. Amateur recordings made from the audience by fans have served as the only known documentation of this historic concert until now. As the eighth entry in this popular ‘bootleg’ series, Dagger presents a newly discovered recording made by the festival’s promoters. Unbeknownst to Hendrix, the promoters captured the group’s entire performance by feeding two overhead stage microphones into a consumer grade Revox reel-to-reel tape machine located off to the side of the stage. The resulting document, rough hewn and unmixed, is clear and not unlike the amateur
audience recording featured on the initial Dagger offering Live At The Oakland Coliseum.

In addition to “Killing Floor,” Live At The Isle Of Fehmarn also features “Spanish Castle Magic,” “All Along The Watchtower,” “Hey Joe,” “Message To Love,” “Hey Baby (New Rising Sun),” “Foxey Lady,” “Red House,” “Ezy Ryder,” “Freedom,” “Room Full Of Mirrors,” “Purple Haze,” and a particularly memorable rendition of “Voodoo Child (Slight Return).”

On 4th December the Tour plays 2 shows at the City Hall in Newcastle, This time as the joint headline act with The Move on a showcase tour which also featured Pink Floyd , Amen Corner, The Nice and two support bands called The Outer Limits and Eire Apparent. Once again there were two shows – a matinee and an evening performance.

Chas Chandler later told the story of the show: “Jimi had this guitar shaped like an arrow, known as a Flying V. It was one of those nights when everything was going wrong. No matter what happened, an amp was breaking down, there was crackling coming over, and at one point, half way through the act, he was getting so uptight because the world was falling down around him out on stage. He took his guitar and threw it at the amp, and this is where the good luck comes into it – the guitar went into the amp and stuck. It was just like an enormous arrow sticking out of this amplifier. The audience thought it was part of the act, the amp just went ‘rmmmmm’, and from that minute nothing else went wrong. It was just one of those little magic seconds. It just altered the balance of the act and he went on to just tear the place apart.”

December 4th, 1967: Experiencing equipment problems on the penultimate night of a package tour that includes Pink Floyd and Amen Corner, Jimi Hendrix rams his Gibson Flying V into his speaker stacks during a gig at the City Hall, Newcastle. Thinking that it’s part of the show, the audience whoops in delight.

Noel Redding: “In Newcastle we met pleasantly intelligent but coldly determined people like bouncer Dave, who beat up eight guys after they had axed his head in and before he walked to hospital. During the show one guy jumped twenty feet from the balcony to the stage only to be lobbed off by a roadie wielding a mic’ stand.“
[‘Are You Experienced’ 1990 by Noel Redding and Carol Appleby] .

Andy Fairweather Lowe (who was performing with Amen Corner), said that someone was taking cine footage of Hendrix in the dressing room. This footage has never become available.
This filming will most likely have been done using Jimi’s own 8mm cine camera which he had with him on the tour. The Jimi Hendrix Experience’s second album Axis Bold as Love was released in the UK three days before the show on 1st December.

The band stayed at the Station Hotel in Newcastle.

Brian Jones who was at the evening show on the 4th december 1967 and remembers seeing Jimi throw his Gibson Flying V into one of his 6 Marshall cabinets. He recalls …
“When Hendrix and the band came on I seem to remember there were three white strats & the flying v on the stage.
The p.a speakers consisted of 4 or 5 Vox column speakers on each side. Jimi`s guitar was way out of tune and he tried to re – tune it while he was playing, the first song i think was Foxy Lady. I think that somebody was playing a joke on him because all the guitars were out of tune.
The volume they were playing at was so, so loud, one of my friends who was with me couldn`t stand it and after two songs left and went outside. The p.a. systems of the day could not handle volume like that so there was a lot of distortion, my ears were ringing at the end.
He managed to get one of the guitars in tune and carried on. I cant remember all the songs he did but certainly did Hey Joe & Purple Haze.
I think he finished with Wild Thing.
I seem to remember that he used 2 or 3 Marshall stacks. Looking at one of the photographs I think the stacks behind Mitch Mitchell were maybe being used as a monitor for him.
In spite of the incredible volume

Possible songs are Sgt. Pepper’s, Fire, Hey Joe, The Wind Cries Mary, Purple Haze and Wild Thing all of which were played one week earlier at the Blackpool Opera House , a show that was filmed by the BBC. An alternative possible set list would include Foxy Lady, Fire, Hey Joe, The Burning of the Midnight Lamp, Spanish Castle Magic, The Wind Cries Mary and Purple Haze which were all played at the tour’s opening night at the Royal Albert Hall in London. Two witnesses on this page have said that the band opened with Foxy lady at the City Hall so that part is certain anyway. For your 15 shillings admission you were treated to a two-part show with the first half headlined by The Move & the second half by Jimi Hendrix, the running order & set times for the evening show being as follows :-

Outer Limits 8 minutes
Eire Apparent 8 minutes
Pink Floyd 17 minutes
The Move 30 minutes
Interval
The Nice 12 minutes
Amen Corner 15 minutes
Jimi Hendrix Experience 40 minutes.

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This week we have a superb collection of early material from The Fleet Foxes, including their seminal debut album, a couple EP’s and some well-worth-it B-Sides and outtakes. It’s a hefty swathe of music, and all in a lovely clamshell box affair inc liner notes and booklet.

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J Mascis – Elastic Days

Everyone’s favourite tiny dinosaur is back too, with Mr. Mascis‘ first solo release since 2014’s ‘Tied To A Star’ encompassing aspects of Dinosaur Jr’s rockier moments but imbued with tender folkish acousticry, swooning Americana and soaring rock solos, delivered with the unmistakable gravelly vox we’ve come to know and love from Mr. M. 

Since then, through the reformation of the original Dinosaur Jr lineup in 2005, J has recorded solo albums now and then. And those album, Sings and Chant for AMMA (2005), Several Shades of Why (2011) and Tied to a Star (2014) had all delivered incredible sets of songs presented with a minimum of bombast and a surfeit of cool. Like its predecessors, Elastic Days was recorded at J’s own Bisquiteen studio. Mascis does almost all his own stunts, although Ken Miauri (who also appeared on Tied to a Star) plays keyboards and there are a few guest vocal spots. These include old mates Pall Jenkins (Black Heart Procession), and Mark Mulcahy (Miracle Legion, etc.), as well as the newly added voice of Zoë Randell (Luluc) among others. But the show is mostly J’s and J’s alone. For those expecting the hallucinatory overload of Dinosaur Jr’s live attack, the gentleness of the approach here will draw easy comparisons to Neil Young’s binary approach to working solo versus working with Crazy Horse. This is a lazy man’s shorthand, but it still rings true. Elastic Days brims with great moments. Epic hooks that snare you in surprisingly subtle ways, guitar textures that slide against each other like old lovers, and structures that range from a neo-power-ballad (Web So Dense) to jazzily-canted West Coasty post-psych (Give It Off) to a track that subliminally recalls the keyboard approach of Scott Thurston-era Stooges (Drop Me). The album plays out with a combination of holism and variety that is certain to set many brains ablaze.

3cd design

In November 1968, millions of double LPs were shipped to record stores worldwide ahead of that tumultuous year’s most anticipated music event: the November 22nd release of The BEATLES (soon to be better known as ‘The White Album’). With their ninth studio album, The Beatles took the world on a whole new trip, side one blasting off with the exhilarating rush of a screaming jet escorting Paul McCartney’s punchy, exuberant vocals on “Back In The U.S.S.R.” “Dear Prudence” came next, John Lennon warmly beckoning his friend and all of us to “look around.” George Harrison imparted timeless wisdom in “While My Guitar Gently Weeps,” singing, “With every mistake we must surely be learning.” Ringo Starr’s “Don’t Pass Me By” marked his first solo songwriting credit on a Beatles album. For 50 years, ‘The White Album’ has invited its listeners to venture forth and explore the breadth and ambition of its music, delighting and inspiring each new generation in turn.

For it’s 50th anniversary, The Beatles release a suite of lavishly presented ‘White Album’ packages. The album’s 30 tracks are newly mixed by producer Giles Martin and mix engineer Sam Okell in stereo and 5.1 surround audio, joined by 27 early acoustic demos and 50 session takes, most of which are previously unreleased in any form.

“We had left Sgt. Pepper’s band to play in his sunny Elysian Fields and were now striding out in new directions without a map,” says Paul McCartney in his written introduction for the new ‘White Album’ releases.

This is the first time The BEATLES (‘White Album’) has been remixed and presented with additional demos and session recordings. The album’s sweeping new edition follows 2017’s universally acclaimed Sgt. Pepper’s Lonely Hearts Club Band Anniversary Edition releases. To create the new stereo and 5.1 surround audio mixes for ‘The White Album,’ Martin and Okell worked with an expert team of engineers and audio restoration specialists at Abbey Road Studios in London. All the new ‘White Album’ releases include Martin’s new stereo album mix, sourced directly from the original four-track and eight-track session tapes. Martin’s new mix is guided by the album’s original stereo mix produced by his father, George Martin.

“In remixing ‘The White Album,’ we’ve tried to bring you as close as possible to The Beatles in the studio,” explains Giles Martin in his written introduction for the new edition. “We’ve peeled back the layers of the ‘Glass Onion’ with the hope of immersing old and new listeners into one of the most diverse and inspiring albums ever made.”

The minimalist artwork for ‘The White Album’ was created by artist Richard Hamilton, one of Britain’s leading figures in the creation and rise of pop art. The top-loading gatefold sleeve’s stark white exterior had ‘The BEATLES’ embossed on the front and printed on the spine with the album’s catalogue number. Early copies of ‘The White Album’ were also individually numbered on the front, which has also been done for the new edition’s Super Deluxe package. The set’s six CDs and Blu-ray disc are housed in a slipsleeved 164-page hardbound book, with pull-out reproductions of the original album’s four glossy color portrait photographs of John, Paul, George, and Ringo, as well as the album’s large fold-out poster with a photo collage on one side and lyrics on the other. The beautiful book is illustrated with rare photographs, reproductions of handwritten and notated lyrics, previously unpublished photos of recording sheets and tape boxes, and reproduced original ‘White Album’ print ads. The book’s comprehensive written pieces include new introductions by Paul McCartney and Giles Martin, and in-depth chapters covering track-by-track details and session notes reflecting The Beatles’ year between the release of ‘Sgt. Pepper’ and recording sessions for ‘The White Album,’ the band’s July 28 1968 “Mad Day Out” photo shoot in locations around London, the album artwork, the lead-up and execution of the album’s blockbuster release, and its far-ranging influence, written by Beatles historian, author and radio producer Kevin Howlett; journalist and author John Harris; and Tate Britain’s Senior Curator of Modern and Contemporary Art Andrew Wilson.

The Deluxe 3CD is presented in an embossed digipak with the fold-out poster and portrait photos, plus a 24-page booklet abridged from the Super Deluxe book. Presented in a lift-top box with a four-page booklet, the limited edition Deluxe 4LP vinyl set presents the 2LP album in a faithful, embossed reproduction of its original gatefold sleeve with the fold-out poster and portrait photos, paired with the 2LP Esher Demos in an embossed gatefold sleeve.

Much of the initial songwriting for ‘The White Album’ was done in Rishikesh, India between February and April 1968, when John Lennon, Paul McCartney, George Harrison, and Ringo Starr joined a course at the Maharishi’s Academy of Transcendental Meditation. In a postcard to Ringo, who had returned to England before the others, John wrote, “we’ve got about two L.P.s worth of songs now so get your drums out.”

During the last week of May, The Beatles gathered at George’s house in Esher, Surrey, where they recorded acoustic demos for 27 songs. Known as the Esher Demos, all 27 recordings are included in the new edition’s Deluxe and Super Deluxe packages, sourced from the original four-track tapes. Twenty-one of the demoed songs were recorded during the subsequent studio sessions, and 19 were ultimately finished and included on ‘The White Album.’

The Beatles’ studio sessions for The BEATLES (‘White Album’) began on May 30, 1968 at Abbey Road Studios. In the 20 weeks that followed, The Beatles devoted most of their time to sessions there for the new album, with some recording also done at Trident Studios. The final session for the album took place at Abbey Road on October 16, a 24-hour marathon with producer George Martin to sequence the double album’s four sides and to complete edits and cross-fades between its songs. The Beatles’ approach to recording for ‘The White Album’ was quite different from what they had done for ‘Sgt. Pepper.’ Rather than layering individually overdubbed parts on a multi-track tape, many of the ‘White Album’ session takes were recorded to four-track and eight-track tape as group performances with a live lead vocal. The Beatles often recorded take after take for a song, as evidenced by the Super Deluxe set’s Take 102 for “Not Guilty,” a song that was not included on the album. This live-take recording style resulted in a less intricately structured, more unbridled album that would shift the course of rock music and cut a path for punk and indie rock.

The Beatles’ newly adopted method of recording all through the night was time consuming and exhausting for their producer, George Martin. Martin had other duties, including his management of AIR (Associated Independent Recording), and he had also composed the orchestral score for The Beatles’ animated feature film, Yellow Submarine, released in July 1968. After the first three months of ‘White Album’ sessions, Martin took a three-week holiday from the studio, entrusting the control room to his young assistant Chris Thomas and balance engineer Ken Scott. Scott had taken the place of engineer Geoff Emerick, who left the sessions in mid-July. On August 22, Ringo Starr also left the sessions, returning 11 days later to find his drum kit adorned with flowers from his bandmates. While the sessions’ four and a half months of long hours and many takes did spark occasional friction in the studio, the session recordings reveal the closeness, camaraderie, and collaborative strengths within the band, as well as with George Martin.

The BEATLES (‘White Album’) was the first Beatles album to be released on the group’s own Apple Records label. Issued in both stereo and mono for the U.K. and in stereo for the U.S., the double album was an immediate bestseller, entering the British chart at number one and remaining there for eight of the 22 weeks it was listed. ‘The White Album’ also debuted at number one on the U.S. chart, holding the top spot for nine weeks of its initial 65-week chart run. In his glowing ‘White Album’ review for Rolling Stone, the magazine’s co-founder Jann Wenner declared: “It is the best album they have ever released, and only The Beatles are capable of making a better one.” In the U.S., ‘The White Album’ is 19-times platinum-certified by the RIAA and in 2000, it was inducted into the Recording Academy’s GRAMMY® Hall of Fame, recognizing “recordings of lasting qualitative or historical significance.”

Boygenius

Boygenius  –

Julien Baker, Phoebe Bridgers, and Lucy Dacus formed boygenius after booking a tour together, but the trio had subconsciously been in the works for longer than that. Through a series of tours and performances together, and chance encounters that led to friendships – including Bridgers’ and Dacus’ first in-person meeting backstage at a Philadelphia festival, greenroom hangouts that felt instantly comfortable and compatible, a couple of long email chains and even a secret handshake between Baker and Dacus – the lyrically and musically arresting singer-songwriters and kindred spirits got to know each other on their own terms.

Fleet foxes first collection 2006 2009

Fleet Foxes  –  First Collection

First Collection 2006-2009 is a special limited edition collection to mark the 10th year anniversary of Fleet Foxes’ debut album.
The collection comprises content spanning the early days of the group’s career, including the eponymous debut album, as well as the Sun Giant EP, The Fleet Foxes EP, and a compilation of B-sides & Rarities.

Available on limited edition 4-disc vinyl, as well as CD, the release also includes an extensive booklet featuring show flyers, lyrics, and artwork from the period.

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Laura Jane Grace & the Devouring Mothers – Bought to Rot

14 tracks spanning Laura Jane Grace’s fractured relationship with her adopted hometown of Chicago, true friendship, complicated romance, and reconciling everything in the end, Bought to Rot stands as the most musically diverse collection of songs Grace has written to date.
Inspired in large part by Tom Petty’s Full Moon Fever, the first album Grace ever owned, Bought to Rot finds her at the same age Petty was when he created his solo debut masterpiece. In light of his recent passing, Grace was motivated to pay homage to one of her lifelong heroes.

Laura Jane Grace & the Devouring Mothers are Laura Jane Grace, Atom Willard, and Marc Jacob Hudson. Grace is a musician, author, and activist best known as the founder, lead singer, songwriter, and guitarist of the punk rock band Against Me!. Willard, also of Against Me!, is a drummer who has played in iconic punk bands such as Rocket from the Crypt, Social Distortion, and The Offspring. Devouring Mothers bassist Hudson is a recordist and mixer at Rancho Recordo, a recording studio and creative space in the woods of Michigan, and the sound engineer for Against Me

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The Beths  –  Future Me Hates Me

The Beths from New Zealand occupy a warm, energetic sonic space between joyful hooks, sun-soaked harmonies, and acerbic lyrics. Their debut album Future Me Hates Me on Carpark Records, delivers an astonishment of roadtrip-ready pleasures, each song hitting your ears with an exhilarating endorphin rush like the first time you heard The Breeders / Jale / Veruca Salt..

Front and center on these ten infectious tracks is lead singer and primary songwriter Elizabeth Stokes. Stokes has previously worked in other genres within Auckland’s rich and varied music scene, recently playing in a folk outfit, but it was in exploring the angst-ridden sounds of her youth that she found her place. From the irresistible title track to future singles Happy Unhappy and You Wouldn’t Like Me, Stokes commands a vocal range that spans from the brash confidence of Joan Jett to the disarming vulnerability of Jenny Lewis.

Beths guitarist and studio guru Jonathan Pearce (whose other acts as producer include recent Captured Tracks signing, Wax Chattels brings it all home with an approach that’s equal parts seasoned perfectionist and D.I.Y. Channeling their stew of personal-canon heroes while drawing inspiration from contemporaries like Alvvays and Courtney Barnett, The Beths serve up deeply emotional lyrics packaged within heavenly sounds that delight in probing the limits of the pop form. “That’s another New Zealand thing,” Stokes concludes with a laugh. “We’re putting our hearts on our sleeves—and then apologizing for it.” The result is nothing less than one of the standout records of 2018.

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The Wave Pictures -Look Inside Your Heart

The Wave Pictures return with the promised second album of the year, Look Inside Your Heart – a warm, joyous record celebrating friendship, happiness and drunken party times. Like the first album they released this year, the more contemplative Brushes With Happiness, this one was recorded late at night whilst inebriated back at the tiny Booze Cube Studio in Stoke Newington, live to reel-to-reel tape with no computers of any kind. The album is peppered with giggles and chatter, which adds a sense of spontaneity and place.

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Sun Kil Moon – This Is My Dinner

Prolific singer / songwriter Mark Kozelek presents yet another Sun Kil Moon album, focusing less on actual singing and more on storytelling and observation. The 10-track effort follows the chronological journey of Sun Kil Moon’s November 2017 European tour. After the trek, the band set up shop at TAPF Studio in Copenhagen, Denmark before finishing the record at San Francisco, California’s Hyde Street Studios. In addition to eight original numbers, This Is My Dinner includes a cover of AC/DC’s Rock ‘N Roll Singer (featuring Jordan Cook of Reignwolf) and the iconic theme song to The Partridge Family, Come On Get Happy.

Mary Lattimore and Meg Baird  –  Ghost Forests

Musical conversations between Meg Baird (Espers) and Mary Lattimore are intimate, fluid, effortless and spontaneous. They’re filled with the euphoria of creation and, at times, they articulate hard truths and tangled emotions with an ease only trusted friends can manage. The songs alternate between extended ethereal instrumental excursions, gauzy and dreamy pop, blown-out Bull of the Woods heavy haze, and modern re-imaginations of epic traditional balladry all while touching on the strange and otherworldly places between these stations.

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Jimi Hendrix Experience – Electric Ladyland 50th Anniversary Edition

In celebration of the 50th anniversary of the Jimi Hendrix Experience’s 1968 album Electric Ladyland. Electric Ladyland was remastered by Bernie Grundman, who did an analog direct to disc vinyl transfer of the original LP, as well as a new 5.1 surround sound mix of the original album by Hendrix’s original engineer Eddie Kramer. The box set includes Electric Ladyland: The Early Takes with demos, studio outtakes, and more. It also includes the 1997 documentary At Last… The Beginning: The Making of Electric Ladyland on Blu-ray and the unreleased live recording Jimi Hendrix Experience: Live at the Hollywood Bowl 9/14/68. The 50th anniversary reissue arrives with a 48-page book featuring Jimi’s handwritten lyrics, poem, and instructions to his record label Reprise, previously unpublished photos from studio sessions by Kramer, and more. The Deluxe Edition comes with new cover art that features a photo of the band at New York City’s Alice in Wonderland statue by Linda McCartneyHendrix’s personal choice for the album art. Electric Ladyland was Hendrix’s last studio album. It included the iconic tracks Voodoo Child, their cover of Bob Dylan’s All Along the Watchtower, Crosstown Traffic, and others. It was the only Hendrix LP to reach No. 1 on the Billboard chart.

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Dave Kusworth  –  World of Dave Kusworth Vol 1 and 2

Career spanning anthology from 1983-2018, includes newly remastered classic tracks from The Jacobites, The Bounty Hunters, The Tenderhooks and The Dave Kusworth Group as well as solo material including a track from the as yet, unreleased new album 22b.The very first time a ‘Best Of ‘has been committed to vinyl. Compiled by Dave himself and designed by long standing designer Dave Twist.

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Alela Diane – The Pirate’s Gospel (Deluxe Edition)

An Album Of The Year when it was first released and it is still an Essential listen. Now with a swanky remastered edition of Alela Diane’s first mythical album including 10 bonus tracks. 2006’s The Pirate’s Gospel was the debut release from singer and songwriter Alela Diane. Hailing from the deep woods and winding rivers of Northern California Gold Rush town Nevada City, Alela grew up singing songs with her parents (both musicians). During a stay in San Francisco in 2003, she began teaching herself guitar and writing her first songs, blending tense, trance-like arpeggios, with warm, thick vocals and meditative lyrics about family and nature. Written in response to a loss of home and familiarity, The Pirate’s Gospel is a powerful document of personal re-evaluation and renewal set against the backdrop of generations past and future, mothers and fathers, life, death, and birth.

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Jethro Tull – This Was – The 50th Anniversary Edition

After several name changes, Jethro Tull played its first show as Jethro Tull in February 1968. Months later, Ian Anderson, Mick Abrahams, Glenn Cornick and Clive Bunker released the band’s debut – This Was. The album debuted at number 10 on the U.K. album chart, but more important, it was the first step in a 50-year (and counting) journey that made Jethro Tull one of the world’s most successful progressive rock bands. To celebrate the album’s 50th anniversary, a special deluxe edition

Recorded during the summer of 1968, This Was is the only Jethro Tull album to feature guitarist Mick Abrahams, who left the group shortly after the album came out to form Blodwyn Pig. The title of the album refers to the band moving away from its early blues-based sound, which was referenced in the original liner notes: “This was how we were playing then – but things change – don’t they?” The album includes songs that have been in and out of Jethro Tull’s live show for 50 years, like My Sunday Feeling and Beggar’s Farm. Also featured are several bonus tracks: Love Story, A Christmas Song. Sunshine Day and Aeroplane. In 1968, BBC Radio featured the band twice on its award-winning program, “BBC Top Gear Session.” Both of those performances – nine songs in total – are featured on the second disc, including live versions of Serenade To A Cuckoo, Love Story and My Sunday Feeling. Rounding out the disc are b-sides, outtakes, radio advertisements, and an unreleased mono mix of Someday The Sun Won’t Shine For You(Faster Version). The final CD features the album’s original U.K. stereo mix and its original mono mix.

The DVD features the original album and bonus tracks remixed by Steven Wilson in 4.1 DTS and AC3 Dolby Digital surround and 96/24 LPCM stereo. There are also 5.1 surround versions of Love Story and A Christmas Song. Also included in 96/24 LPCM stereo is the 1969 stereo mix that was released in the U.S.

Jimi Hendrix

The Jimi Hendrix Experience’s Electric Ladyland is being reissued with a massive 50th anniversary deluxe box set. Due on November. 9th, the album will be available as either a three-CD/Blu-ray set or a six-LP/Blu-ray set.

Both packages include the original double album, which has been newly remastered from the original analog tapes. The vinyl set features an all-analog direct-to-disc vinyl transfer. Among the set’s other highlights are Electric Ladyland: The Early Takes, which features demos and studio outtakes from the era; an expanded documentary on the making of Electric Ladyland; a book containing handwritten lyrics and unseen photos; Live at the Hollywood Bowl 14/9/68, a recently discovered two-track soundboard recording that’s part of Experience Hendrix’s Dagger Records official bootleg series; the feature-length documentary At Last … the Beginning: The Making of ‘Electric Ladyland’; and a new 5.1 surround sound mix of the album by original Hendrix engineer Eddie Kramer.

Hollywood Bowl Cover

Initially released on October. 16th, 1968, this was the third album by the Jimi Hendrix Experience, the first produced by Hendrix himself and the last studio effort to arrive during his lifetime. Signature tracks include “Voodoo Child (Slight Return),” “Crosstown Traffic” and his definitive cover of Bob Dylan’s “All Along the Watchtower.”

“Electric Ladyland is a complete work. He pushed the limit musically; it went in different directions,” Kramer says in the video preview below. “It’s a body of work that Jimi was in control of right from the beginning. This is the definitive album that Jimi created.”

This never-before-released 1968 performance at the Hollywood Bowl “captures the band and the mounting excitement that took place just weeks before the release of Electric Ladyland,” according to pre-release materials.

The late Linda Eastman (McCartney) took the updated cover art, which finds the Jimi Hendrix Experience and a group children at the statue of Alice in Wonderland in New York’s Central Park. This was actually Hendrix’s choice for the album cover image, though it was later relegated to the inside of the U.S. version. The U.K. edition infamously featured a gatefold photo of 19 naked women instead, a decision Hendrix never agreed with.

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This period found Hendrix expanding his musical sphere with a series of collaborators as his relationship with Experience bassist Noel Redding deteriorated. Jefferson Airplane’s Jack Casady played bass on “Voodoo Chile,” while Hendrix took over on many of the other tracks – including “All Along the Watchtower.” Other guest stars on Electric Ladyland include Steve Winwood, Chris Wood and Dave Mason of Traffic; Al Kooper; and Hendrix’s future Band of Gypsys bandmate Buddy Miles.

The volume of outtakes, Electric Ladyland: The Early Takes, contains audio pulled from reel-to-reel tapes Hendrix recorded himself on his personal Teac machine in March 1968 while staying at Manhattan’s Drake Hotel. These include early versions of “Voodoo Chile” and “Gypsy Eyes” as well as two songs that didn’t make the Ladyland finaltrack list – “Angel” and “My Friend”– and an early version of “… And the Gods Made Love” titled “At Lastthe Beginning.”  “He did these incredibly quietly,” Kramer says with a laugh. “You can hear the atmosphere of the hotel room. He’s almost whispering. Why? He doesn’t want to wake up the neighbors. He’d go, ‘Here’s “Electric Ladyland”‘ and he’d whisper, ‘Have you ever been? … ‘ It’s so warm and so intimate, and all of a sudden you hear a phone ringing and that’s the front desk calling and you can just hear in his voice he’s getting really pissed off. It’s great.”

Previously unreleased versions of “Angel Caterina” and “Little Miss Strange” on The Early Takes also feature a guest appearance by Stephen Stills. Kramer’s new 5.1 surround-sound remix showcases uncompressed 24 bit/96 kz high resolution audio, a first for a Hendrix studio album.

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The Jimi Hendrix Experience Live In This RARE Close Up Full Concert Filmed In Sweden 1969. Featuring all the songs we All know and love! One of Jimi’s Best Full Concerts Before His Tragic Death. This Hard To Find Live Performance of One of the true still Guitar Heroes Of our time.

“We’re gonna play nothing but oldies-but-baddies tonight, we haven’t played together in about six weeks, so we’re going to jam tonight and see what happens. Hope you don’t mind.”.. and as he steps away from the microphone we can vaguely hear him mumbling something like:  “You wouldn’t know the difference, anyway.”
Jimi Hendrix (intro to the concert)

On the whole, I can’t understand how anyone who saw us on this tour could have liked us. There was a lot of filming for Swedish TV and compared to similar films in 1967, we were a different group. Jimi was sullen and removed and actually slagged off the audience during the first set. He rarely bothered to sing. I paced grimly in my corner and turned my back on him. The sparkle was gone, very gone, replaced by exhaustion and boredom which showed in the sloppy repeats of the hits as we stared at the crowd with dead eyes. We hated playing Sweden. Always the same problem–no drugs. We were forced to drink the killer Schnapps, and it brought on Jimi’s mood for the first set.

Noel Redding (Are You Experienced?: The Inside Story Of The Jimi Hendrix Experience)

Jimi Hendrix – Guitar Noel Redding – Bass Mitch Mitchell – Drums

Setlist: 01 Killing Floor 02 Spanish Castle Magic 03 Fire 04 Hey Joe 05 Voodoo Child (Slight Return) 06 Red House 07 Sunshine Of Your Love

Live At The Konserthuset, Stockholm, Sweden, January 9th, 1969

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Consistently named the greatest guitar player of all time by pretty much every publication that has ever compiled such a list, Jimi Hendrix combined untouchable virtuosity, an improvisational spirit and poignant soul every time he picked up the instrument. But Hendrix was more than just a guitar slinger. He combined undeniable songwriting talent, a great ear for melody and a love of music rooted in tradition but with a definite slant towards experimentation and desire to break new ground in the studio.
On the surface, it’s very easy to look at Jimi Hendrix’s recorded output, After all, he only had a four-year recording career, with as many albums. With the Jimi Hendrix Experience, he recorded Are You Experienced (1967), Axis: Bold As Love (1967), Electric Ladyland (1968) and then the self-titled Band Of Gypsys, with the Band Of Gypsys in 1970. Each album is a killer in its own way but things start to get tricky when you delve into the myriad of releases that have appeared since the guitarist’s untimely death.

Cry Of Love  ( 1971 )

 ‘The Cry of Love’ is a posthumous fourth studio album by Hendrix. Originally part of an ambitious double album project ‘The Cry Of Love’ is a 10 track album compiled and mixed by Eddie Kramer and drummer Mitch Mitchell at Electric Lady Studios.

Inspired by the movie Easy Rider, this tune initially appeared on Cry of Love – the first posthumous release of Hendrix studio recordings and a collection of basically what was intended to be his next album. It seems to point in the direction that Jimi’s music was headed at the time: less sprawling and trippy, more straightforward and funky. It appeared on two more attempts to complete Hendrix’s fourth studio album: 1995’s Voodoo Soup and 1997’s First Rays of the New Rising Sun.

Blues ( 1994 )

Blues was among the early posthumous release that collected 13 tracks of you guessed it – blues-styled numbers, although for the most part they’re studio outtakes that probably were never intended for release. That said, “Hear My Train a Comin'” is featured twice, the closing number being a recording of an electric version he frequently played live. On the opening number, the keeper, Hendrix lets loose on the 12-string acoustic, showing off his skill as an unplugged player with a song that sounds very much like a timeless blues standard but is in fact an Hendrix original.

First Rays of the New Sun (1997)

When he died, Hendrix was working on a followup to Electric Ladyland that promised to be even more ambitious than that 1968 classic. First Rays of the New Sun is the best attempt to reconstruct the record that most likely would have been Hendrix’s fourth studio album. Most of the 17 songs here had shown up on other posthumous records (many of them are now out of print), but they make much more sense within this context. Other songs from the sessions appeared on South Saturn Delta . Highlights: “Freedom,” “Angel,” “Ezy Rider,” “My Friend” and “Stepping Stone.”
Finally, after years of finagling, this set was released with the blessing of the Jimi Hendrix estate. If anything, this is an approximation of what would have been the next Jimi Hendrix album, a sequel of sorts to Electric Ladyland. Where this album succeeds, when many posthumous (and unofficial) releases had failed, was that the Hendrix Estate involved Eddie KramerHendrix’s longtime recording engineer to assist in its assembly. While we’ll never know what Hendrix’s next album would have sounded like, this is as close as we’ll ever get ‘Hey Baby (New Rising Sun)’, the stunning ballad ‘Angel’, the dreamy ‘Drifting’ with its deft guitar work, ‘EZY Rider’ – featuring a guest appearance from Traffic’s Stevie Winwood – and the blistering funk rock of ‘Room Full Of Mirrors’, they all feature here and continue to indicate Hendrix’s brilliance as player, songwriter and singer. This is an album worthy of the Hendrix name, and worthy of your cash.
“If you give deeper thoughts in your music, then the masses will buy them,” Hendrix said, and if he’d finished this double LP his dreams might have come true. But as reimagined by longtime engineer-collaborator Eddie Kramer, it’s less startling musically than Electric Ladyland and not too profound lyrically. It’s also a powerful collection by a genius whose songwriting kept growing and whose solos rarely disappoint.
Alternative: Polydor Russia’s The Cry of Love/War Heroes combines two early-’70s posthumous releases.

South Saturn Delta (1997)

This 1997 album gathers a bunch of leftovers that had shown up on other posthumous albums over the years, like the out-of-print Rainbow Bridge and War Heroes. It’s mostly a collection of demos, alternate takes and sketches of songs recorded between 1967 and the time of Hendrix’s death, but it’s an essential piece for collectors.
The unreleased “Here He Comes (Lover Man)” and the 1967 B-side “The Stars That Play With Laughing Sam’s Dice.” Released the same year as First Rays Of The Rising Sun, South Saturn Delta is a hotchpotch of demo takes, alternative and unfinished versions. Now, that usually spells disaster, but in this case the Hendrix Estate came up with another winning release. The alternate version of ‘All Along The Watchtower’, his take on ‘Drifter’s Escape’ – another Bob Dylan song – and the beautiful instrumental ‘Pali Gap’ (originally featured on the Rainbow Bridge LP) are worth the price of admission alone. The completely new ‘Look Over Yonder’ is an interesting (and particularly strong) addition and it makes you wonder why Hendrix omitted to include it on any of his records released in his lifetime, while this is one of the few places you’ll find a genuinely acoustic Hendrix track  ‘Midnight Lightning’ may only be a demo take, but Jimi’s swampy delta blues-style song is a definite winner. Notably, the title track is probably the most unusual and unlikely Hendrix song – it’s almost jazz rock in nature and unlike anything you ordinarily associate with him – there’s even a horn section. It makes you wonder just what direction Jimi would have pursued if he was still alive.

‘BBC Sessions’ (1998)

Everybody who is anybody in British music has performed for the BBC — the Beatles, the Rolling Stones and the Who, among countless others, have recorded live sessions for British radio. In 1967 and 1969, Hendrix and the Experience laid down more than three dozen tracks. This two-disc set gathers almost all of them. There’s plenty of familiar Hendrix songs here (“Fire,” “Hey Joe,” etc.), but the great covers — including Bob Dylan’s “Can You Please Crawl Out Your Window?” and the Beatles’ “Day Tripper” — make it one of the Top 10 Posthumous Jimi Hendrix Albums.
Given that the Jimi Hendrix Experience were a primarily British band, it’s hardly surprising that they managed to rack up several performances for the BBC. Packaged together here as the BBC Sessions, we’re treated to everything they ever recorded for the Beeb, whether for TV or radio, including the candidly aborted ‘Hey Joe’ morphing into ‘Sunshine Of Your Love’ from the Lulu show the day after Cream split up.
It’s the cover songs that really hold the most interest – Jimi takes on The Beatles’ ‘Day Tripper’, Willie Dixon’s ‘Hoochie Coochie Man’ (featuring Alexis Korner on slide guitar), Leiber & Stoller’s ‘Hound Dog’ and somewhat bizarrely Stevie Wonder’s ‘I Was Made To Love Her’ with none other than the song’s composer on drums.
Of the 32 tracks on this record, we’re given no less than three versions of both ‘Foxy Lady’ and ‘Hey Joe’ but it matters little since Jimi opted to extend and jam every time he played them, so on each recording you’re treated to something a little different. Another bonus point for this collection is the simple fact that the quality is astounding. It isn’t a half-arsed bootleg, these are studio masters lovingly taken care of by Eddie Kramer before release
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The Jimi Hendrix Experience’ (2000)

This four-disc box set includes some previously released material — mostly the songs you’d expect on an anthology like this. But it’s also stuffed with lots of alternate versions, live cuts and other rare tracks making their first appearances. This is one of the best primers for fans who want to dive a little deeper into Hendrix’s surprisingly vast catalog.

Valleys of Neptune (2010)

Remarkably, the dozen studio tracks on this 2010 album had never been released before. Mostly recorded with the original Experience after the release of Electric Ladyland in 1968, Valleys of Neptune includes reworked versions of Jimi Hendrix classics like “Stone Free” and “Fire” as well as instrumental cover of Cream’s “Sunshine of Your Love” and a few bluesy originals. Highlights: the title tune and a cover of Elmore James’ “Bleeding Heart.”

West Coast Seattle Boy: The Jimi Hendrix Anthology (2010)

Like The Jimi Hendrix Experience box the four-disc West Coast Seattle Boy tells Hendrix’s story through his music. But this terrific set plays out like a biography, starting with his session work for R&B stars like the Isley Brothers and Little Richard, and ending with some of the final recordings he made just months before his death. In between are tons of previously unreleased studio jams, concert performances and cover songs (like an acoustic cover of Dylan and the Band’s “Tears of Rage”) that confirm Hendrix’s legacy as one of the all-time greats.

People Hell And Angels

People, Hell & Angels is an album of twelve previously unreleased Jimi Hendrix studio recordings. The album showcases the legendary guitarist working outside of the original Jimi Hendrix Experience trio. Beginning in 1968, Jimi Hendrix grew restless, eager to develop new material with old friends and new ensembles.

Outside the view of a massive audience that had established the Experience as rock’s largest grossing concert act and simultaneously placed two of his albums together in the US Top 10 sales chart, Jimi was busy working behind the scenes to craft his next musical statement.

Both Sides Of The Sky (2017 )

Legacy Recordings present this dynamic new album of 13 previously unreleased studio recordings, made between January 1968 and February 1970. Notable collaborators include Stephen Stills. This is the third and final volume in a trilogy of previously unreleased material

The previously unissued version of “Lover Man,” which UNCUT deemed “a weaponised piece of funk, with Buddy Miles in particularly thunderous form,” was recorded at the Record Plant in New York on December 15th, 1969 by Hendrix’s then recently assembled new band: Billy Cox on bass, Buddy Miles on drums and, of course, Hendrix on guitar and vocals. The session took place two weeks before the trio introduced itself to the world via four triumphant New Year’s Eve and New Year’s Day concerts at the Fillmore East, which would ultimately yield the live album Band of Gypsys (1970) as well as its, critically acclaimed follow up, 2016’s Machine Gun.

Heralded by Relix as “both a historically valuable document . . . and a treat musically,” Both Sides of the Sky, the album home of “Lover Man,” is the third volume in a trilogy of albums intended to present the best and most significant unissued studio recordings remaining in Jimi Hendrix’s archive. It follows Valleys of Neptune (2010) and People, Hell and Angels (2013), which both achieved top 5 chart ranking on Billboard’s Top 100 album chart. Recorded between January 1968 and February 1970, and featuring guest appearances by Stephen Stills, Johnny Winter and Lonnie Youngblood, Both Sides of the Sky contains 10 unreleased tracks. The project was co-produced by Eddie Kramer, Jimi Hendrix’s recording engineer on all of his albums made during his life,

Muddy Waters’ “Mannish Boy” was reworked by the trio that would come to be known as Band of Gypsys (Jimi Hendrix, bassist Billy Cox, drummer Buddy Miles) during their first ever recording session on April 22nd, 1969 at the Record Plant in New York.

At this point, some 47 years after Jimi Hendrix’s death, it’s probably unrealistic to expect that a set of deep-vault studio tracks can expand the guitarist’s legacy in any meaningful way. This no doubt dismays the Hendrix obsessives, who pine for the long-whispered-about radical experiments they believe Hendrix squirreled away in some Electric Ladyland broom closet. Both Sides of the Sky is the third and purportedly final instalment in a trilogy of albums (starting with 2010’s Valleys of Neptune and 2013’s People, Hell & Angels dedicated to highlighting Jimi’s creative development throughout the last two years of what was an incredibly short albeit spectacular career.

For the rest of us, the arrival of any sort of Hendrix material, especially if it’s captured in the studio, is a chance to be awed, all over again and in surprising ways, by this human’s freakish powers of musical persuasion. No rock figure before or since could breathe fire like Hendrix does, on his beloved well-known albums and on the assortment that is Both Sides Of The Sky. Even when he’s playing the well-worn heard-it-a-zillion-times blues like the opening track “Mannish Boy.” Even when he’s dropping an over-the-top theatrical solo on his original “Hear My Train A-Comin'” that alternately celebrates and shatters blues tropes.

Jimi Hendrix, Both Sides of the Sky
Both Sides of the Sky comes out March 9th via Experience Hendrix LLC.

Both Sides Of The Sky culls music from sessions Hendrix began in 1968 as the follow-up to Electric Ladyland – but never completed as a cogent single album. Though its track list includes a tune with original Jimi Hendrix Experience members Mitch Mitchell and Noel Redding, the bulk of the set features the lineup that became Band of Gypsies – bassist Billy Cox and drummer Buddy Miles. Given the high-elevation stratospheres the second great Hendrix trio visited later on, it’s interesting to hear the group attend to rhythm in more foundational ways – check out the way they lock into and maintain the blazing breakneck pace of “Stepping Stone.” The steady backing allows Hendrix to tear into the massive contorted fistfuls of notes that define his solo.

Starting with “Mannish Boy,” a bluesy funky rocker that finds Hendrix exploring his inner Muddy Waters, the cut is also the first known recording he made with Buddy Miles (drums) and Billy Cox (Bass) in April 1969, several months before the trio officially named themselves the Band of Gypsys. “Lover Man,” also recorded with Cox and Miles in December 1969, is another up-tempo tune Jimi had been tinkering with since 1967’s Are You Experienced but never quite managed to perfect to his satisfaction.

Hendrix was open to all kinds of ideas during this period, and some of the most interesting moments involve studio visitors. Stephen Stills sings and plays on two tracks (his original “$20 Fine” and a new Joni Mitchell tune called “Woodstock,” which features Hendrix on bass). Johnny Winter appears as a Hendrix jousting partner on “Things I Used To Do,” and a figure from Hendrix‘ pre-stardom days, the singer and saxophonist Lonnie Youngblood, steps in for “Georgia Blues.”

He lets rip on a scorching “Hear My Train A Comin’,” backed by Mitch Mitchell (drums) and Noel Redding (bass), followed by a country-tinged rendition of “Stepping Stone,” the last single released during his lifetime.

On other tracks Jimi burns the midnight amp via “Jungle,” a previously unreleased instrumental, along with an embryonic take of “Sweet Angel” (recorded in January 1968), a song inspired by a dream Jimi had of his late mother, and continued to work on until his death.

Fans of Crosby, Stills & Nash may be fascinated to hear a nascent reading of Joni Mitchell’s “Woodstock,” with Stephen Stills singing and Hendrix filling in the role on bass. On other tracks Jimi branches out, exploring new musical territory on the medium-tempo ballad “Send My Love To Linda,” 

All these performances – along with the searching guitar/sitar/drums instrumental “Cherokee Mist” that closes the album – overflow with the single salient trait that made Hendrix unstoppable: his spirit. No matter what he’s playing, whether it’s a workman’s blues or some high-concept improvisation, he conveys, just through the way he sings and the way he shapes the notes, that what he’s doing matters. And will not be stopped. There’s always something deep and existential on the line, and it is that emotional intensity – not the songs, not the flashy solo playing – that defines every Hendrix encounter. This one just doesn’t disappoint.

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John Peel’s legendary status is defined by the vast amount of bands and artists he championed. His urge to “hear something he hadn’t heard before” led to a relentless search through demo tapes sent in to his radio show from songwriters and musicians looking for a break. His conviction in not following conventional programming formats, and offering his listeners an alternative to daytime pop pap would ensure that his relevance to broadcasting would remain vital right up to his untimely death in 2004.

His sessions would become an important outlet for new listeners to sample live selections from fledgling and established artists. Many of these recordings have been released to the public, some remain in the vaults. Here is a continuing history of all the sessions, starting in 1967 for his “Top Gear” show right up to the final recording in October 2004.

recorded 15th December 1967: Jimi Hendrix Session

Tracklist

Day Tripper
Spanish Castle Magic
Radio One Jingle
Wait Until Tomorrow

The Band

Jimi Hendrix (Guitar, Vocals)
Mitch Mitchell (Drums)
Noel Redding (Bass, Vocals)

Jimi Hendrix Experience Poster

Jimi Hendrix and the Flying Eyeball are images indelibly linked in the psychedelic poster art of the late Rick Griffin. Griffin discovered The Eyeball, in a much more benign form, in the 1950s auto detailing art of California pinstriper Von Dutch and reworked it over time to become the winged, bloodshot figure parting a ring of fire with serpent-like tentacles. The highlighted lettering, vivid color, and complicated imagery reflect Griffin’s attention to precise details and the influence of Indian lore on his work.