Jimi Hendrix - The Cry Of Love 1971

This was the first of the posthumous releases in the Jimi Hendrix catalog and probably the best as it collected most of the studio tracks that were either completed or very near completion before Hendrix died. Some of these tunes, like "Angel" and "Ezy Rider," have become well-known pieces in the Hendrix canon, but they sit alongside lesser-known gems like "Night Bird Flying" and the Dylanesque "My Friend." Cry of Love as an album has been rendered as a footnote, since the Hendrix estate has recompiled, to Hendrix's specifications, First Rays of the New Rising Sun. This (originally) double-album set contains not only the entire Cry of Love LP, but the best studio tracks from Rainbow Bridge, War Heroes, and Crash Landing, presented in drastically improved sound. AMG.

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Jimi Hendrix - Rainbow Bridge 1971

Back when Rainbow Bridge was originally released, it was actually among the best of the posthumous Hendrix releases. Billed as "the original motion picture soundtrack" (it wasn't, really), it was a mix of excellent, finished studio tracks and a couple of live tracks. Despite this, it's understandable why it didn't appear in the digital realm until 2014 (officially, at least). Once the estate went back to the Hendrix family in the '90s, three of the tracks from Rainbow Bridge were used on the album First Rays of the New Rising Sun, which had previously only existed as Jimi's hand-written track listing. The remaining tracks were orphaned out on various box sets and compilations. So while all the tracks on Rainbow Bridge have been made available elsewhere, it's nice to finally have it assembled the way the original LP was, with excellent remastered sound (not just for the old-timers who had the LP the first time around, but for others who don't necessarily want to shell out for the box set needed to gather these tracks). Highlights include overlooked gems like "Pali Gap" and Jimi's rarely heard studio version of "The Star Spangled Banner," which is made of multi-tracked guitars and basses. AMG.

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Jimi Hendrix - Band of Gypsys 1970

Band of Gypsys was the only live recording authorized by Jimi Hendrix before his death. It was recorded and released in order to get Hendrix out from under a contractual obligation that had been hanging over his head for a couple years. Helping him out were longtime friends Billy Cox on bass and Buddy Miles on the drums because the Experience had broken up in June of 1969, following a show in Denver. This rhythm section was vastly different from the Experience. Buddy Miles was an earthy, funky drummer in direct contrast to the busy, jazzy leanings of Mitch Mitchell. Noel Redding was not really a bass player at all but a converted guitar player who was hired in large part because Hendrix liked his hair! These new surroundings pushed Hendrix to new creative heights. Along with this new rhythm section, Hendrix took these shows as an opportunity to showcase much of the new material he had been working on. The music was a seamless melding of rock, funk, and R&B, and tunes like "Message to Love" and "Power to Love" showed a new lyrical direction as well. Although he could be an erratic live performer, for these shows, Hendrix was on -- perhaps his finest performances. His playing was focused and precise. In fact, for most of the set, Hendrix stood motionless, a far cry from the stage antics that helped establish his reputation as a performer. Equipment problems had plagued him in past live shows as well, but everything was perfect for the Fillmore shows. His absolute mastery of his guitar and effects is even more amazing considering that this was the first time he used the Fuzz Face, wah-wah pedal, Univibe, and Octavia pedals on-stage together. The guitar tones he gets on "Who Knows" and "Power to Love" are powerful and intense, but nowhere is his absolute control more evident than on "Machine Gun," where Hendrix conjures bombs, guns, and other sounds of war from his guitar, all within the context of a coherent musical statement. The solo on "Machine Gun" totally rewrote the book on what a man could do with an electric guitar and is arguably the most groundbreaking and devastating guitar solo ever. These live versions of "Message to Love" and "Power to Love" are far better than the jigsaw puzzle studio versions that were released posthumously. Two Buddy Miles compositions are also included, but the show belongs to Jimi all the way. Band of Gypsys is not only an important part of the Hendrix legacy, but one of the greatest live albums ever. AMG.

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Jimi Hendrix - Electric Ladyland 1968

Jimi Hendrix's third and final album with the original Experience found him taking his funk and psychedelic sounds to the absolute limit. The result was not only one of the best rock albums of the era, but also Hendrix's original musical vision at its absolute apex. When revisionist rock critics refer to him as the maker of a generation's mightiest dope music, this is the album they're referring to. But Electric Ladyland is so much more than just background music for chemical intake. Kudos to engineer Eddie Kramer (who supervised the remastering of the original two-track stereo masters for this 1997 reissue on MCA) for taking Hendrix's visions of a soundscape behind his music and giving it all context, experimenting with odd mic techniques, echo, backward tape, flanging, and chorusing, all new techniques at the time, at least the way they're used here. What Hendrix sonically achieved on this record expanded the concept of what could be gotten out of a modern recording studio in much the same manner as Phil Spector had done a decade before with his Wall of Sound. As an album this influential (and as far as influencing a generation of players and beyond, this was his ultimate statement for many), the highlights speak for themselves: "Crosstown Traffic," his reinterpretation of Bob Dylan's "All Along the Watchtower," "Burning of the Midnight Lamp," the spacy "1983...(A Merman I Should Turn to Be)," and "Voodoo Child (Slight Return)," a landmark in Hendrix's playing. With this double set (now on one compact disc), Hendrix once again pushed the concept album to new horizons. AMG.

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Jimi Hendrix - Hendrix In The West 1970

There were a lot of terrible album debacles in the wake of Jimi Hendrix's death in 1970, but there were a handful of keepers. The Cry of Love and Rainbow Bridge were both excellent, but now the material from both albums has been officially released as part of First Rays of the New Rising Sun or on another compilation. Even the best material from the really bad albums like Midnight Lightning and War Heroes, has now been officially released without the egregious posthumous overdubs. But somehow, In the West, one of those keepers, remained basically out of print until 2011. Yes, it's a hodge-podge, made of live tracks largely from 1969 and 1970. But it's a bunch of great live tracks, including some real rarities. The opening sequence of "God Save the Queen" and "Sgt. Pepper's Lonely Hearts Club Band" is rare and excellent in itself, and Hendrix's intro is hilarious (he was a truly funny guy). "Little Wing" and "I Don't Live Today" (not on the original LP) were also live rarities for Hendrix, but not as rare as him covering "Blue Suede Shoes" or "Johnny B. Goode" (an absolutely blistering version that might top Chuck Berry's). "Lover Man" was a live staple, but in this version, Hendrix slips in a quote from "Flight of the Bumble Bee," and listen for a quote from "Tomorrow Never Knows" in "I Don't Live Today." Fans familiar with the original vinyl should note some differences. The versions of "Voodoo Child (Slight Return)" and "Little Wing" (recorded at Royal Albert Hall) have recently been released elsewhere, so they've been replaced with versions from San Diego 1969 and Winterland 1968 (oddly enough, this very same version of "Little Wing" was also released on the Winterland box set the same day). In addition, to "I Don't Live Today," "Fire," and "Spanish Castle Magic" are added as bonus tracks, also from the San Diego show. Old vinyl fetishists may quibble that the tracks have been resequenced, but most listeners will have no idea. In the West is a great sampling of Hendrix's late-period live material (and his sense of humor) making its long awaited appearance in the digital world. AMG.

listen here

Jimi Hendrix - The Cry Of Love 1971

This was the first of the posthumous releases in the Jimi Hendrix catalog and probably the best as it collected most of the studio tracks that were either completed or very near completion before Hendrixdied. Some of these tunes, like "Angel" and "Ezy Rider," have become well-known pieces in the Hendrixcanon, but they sit alongside lesser-known gems like "Night Bird Flying" and the Dylanesque "My Friend." Cry of Love as an album has been rendered as a footnote, since the Hendrix estate has recompiled, to Hendrix's specifications, First Rays of the New Rising Sun. This (originally) double-album set contains not only the entire Cry of Love LP, but the best studio tracks from Rainbow Bridge, War Heroes, and Crash Landing, presented in drastically improved sound. AMG.

listen here

Jimi Hendrix - In the West 1972

There were a lot of terrible album debacles in the wake of Jimi Hendrix's death in 1970, but there were a handful of keepers. The Cry of Love and Rainbow Bridge were both excellent, but now the material from both albums has been officially released as part of First Rays of the New Rising Sun or on another compilation. Even the best material from the really bad albums like Midnight Lightning andWar Heroes, has now been officially released without the egregious posthumous overdubs. But somehow, In the West, one of those keepers, remained basically out of print until 2011. Yes, it's a hodge-podge, made of live tracks largely from 1969 and 1970. But it's a bunch of great live tracks, including some real rarities. The opening sequence of "God Save the Queen" and "Sgt. Pepper's Lonely Hearts Club Band" is rare and excellent in itself, and Hendrix's intro is hilarious (he was a truly funny guy). "Little Wing" and "I Don't Live Today" (not on the original LP) were also live rarities for Hendrix, but not as rare as him covering "Blue Suede Shoes" or "Johnny B. Goode" (an absolutely blistering version that might top Chuck Berry's). "Lover Man" was a live staple, but in this version, Hendrix slips in a quote from "Flight of the Bumble Bee," and listen for a quote from "Tomorrow Never Knows" in "I Don't Live Today." Fans familiar with the original vinyl should note some differences. The versions of "Voodoo Child (Slight Return)" and "Little Wing" (recorded at Royal Albert Hall) have recently been released elsewhere, so they've been replaced with versions from San Diego 1969 and Winterland 1968 (oddly enough, this very same version of "Little Wing" was also released on theWinterland box set the same day). In addition, to "I Don't Live Today," "Fire," and "Spanish Castle Magic" are added as bonus tracks, also from the San Diego show. Old vinyl fetishists may quibble that the tracks have been resequenced, but most listeners will have no idea. In the West is a great sampling of Hendrix's late-period live material (and his sense of humor) making its long awaited appearance in the digital world. AMG.

listen here

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Jimi Hendrix - Band Of Gypsys 1970 - (Isle of Wight 1970)

Band of Gypsys was the only live recording authorized by Jimi Hendrix before his death. It was recorded and released in order to get Hendrix out from under a contractual obligation that had been hanging over his head for a couple years. Helping him out were longtime friends Billy Cox on bass and Buddy Miles on the drums because the Experience had broken up in June of 1969, following a show in Denver. This rhythm section was vastly different from the Experience. Buddy Miles was an earthy, funky drummer in direct contrast to the busy, jazzy leanings of Mitch Mitchell. Noel Redding was not really a bass player at all but a converted guitar player who was hired in large part because Hendrix liked his hair! These new surroundings pushed Hendrix to new creative heights. Along with this new rhythm section, Hendrix took these shows as an opportunity to showcase much of the new material he had been working on. The music was a seamless melding of rock, funk, and R&B, and tunes like "Message to Love" and "Power to Love" showed a new lyrical direction as well. Although he could be an erratic live performer, for these shows, Hendrix was on -- perhaps his finest performances. His playing was focused and precise. In fact, for most of the set, Hendrix stood motionless, a far cry from the stage antics that helped establish his reputation as a performer. Equipment problems had plagued him in past live shows as well, but everything was perfect for the Fillmore shows. His absolute mastery of his guitar and effects is even more amazing considering that this was the first time he used the Fuzz Face, wah-wah pedal, Univibe, and Octavia pedals on-stage together. The guitar tones he gets on "Who Knows" and "Power to Love" are powerful and intense, but nowhere is his absolute control more evident than on "Machine Gun," where Hendrix conjures bombs, guns, and other sounds of war from his guitar, all within the context of a coherent musical statement. The solo on "Machine Gun" totally rewrote the book on what a man could do with an electric guitar and is arguably the most groundbreaking and devastating guitar solo ever. These live versions of "Message to Love" and "Power to Love" are far better than the jigsaw puzzle studio versions that were released posthumously. Two Buddy Miles compositions are also included, but the show belongs to Jimi all the way. Band of Gypsys is not only an important part of the Hendrix legacy, but one of the greatest live albums ever. AMG.

listen here