Wednesday, March 14, 2018

Jimi Hendrix - 2002 - The Baggy's Rehearsal Sessions

Jimi Hendrix 
2002 
The Baggy's Rehearsal Sessions


01. Burning Desire 9:33
02. Hoochie Coochie Man 5:57
03. Message To Love 4:50
04. Ezy Ryder 5:32
05. Power Of Soul 7:33
06. Earth Blues 5:10
07. Changes 5:20
08. Lover Man 3:40
09. We Gotta Live Together 0:44
10. Baggy's Jam 4:55
11. Earth Blues 6:26
12. Burning Desire 7:20

Buddy Miles: Drums
Billy Cox: Bass
Jimi Hendrix: Guitar, Vocals


Jimi Hendrix: The Baggy’s Rehearsal Sessions represents the fifth release by Dagger Records, the official bootleg label created by Experience Hendrix.  This edition offers the fruits of the guitarist’s spirited rehearsals fronting the Band Of Gypsys as they prepared for their four unforgettable Fillmore East concerts.

These unpolished, direct to two-track recordings were made over the course of two long December 1969 evenings.  Hendrix had just returned from Toronto, Canada where he had been acquitted in a jury trial for narcotic possession.  The verdict had lifted an enormous burden from the guitarist’s shoulders.  With the court case and all of its possible ramifications now behind him, Hendrix redirected his energy toward preparations for the recording of a live album at the Fillmore East with bassist Billy Cox and drummer Buddy Miles.  “We rehearsed at a place called Baggy’s in New York,” explains Cox.  “It was located down by Chinatown.  We were there prior to Christmas and then a little after, practicing and rehearsing.  We were working up a set with the songs we were going to perform for the [Fillmore East] concert.  Then we realized that we had to do four shows and we used quite a few of those numbers in each of the shows.”

Baggy’s Studios was a nondescript Manhattan rehearsal facility opened by former Soft Machine road manager Tom Edmonston.   Baggy’s was by no means a recording studio designed to compete with the likes of the Record Plant.  Baggy’s had no control room; its purpose was to provide a space for artists to rehearse without restriction and at full volume for as much time as they required.   This was a simple, yet effective rehearsal facility geared to those such as Hendrix who had no other convenient space to prepare for a live event or concert tour.  “Baggy’s had two floors,” remembers Cox.  “It was essentially warehouse space.  We worked in the large room downstairs.  It was a pretty simple set up.    There were rugs on the floor and the walls were padded and soundproofed. ”  While commonplace now, the concept of a dedicated rehearsal room for rock acts [as opposed to vacant halls or theaters] had only begun to take hold in 1969.   Cox explains.  “The recording studio was exclusively used for creating and coming up with something new and different.  This was something else.  Previous to that time, whenever Jimi wanted to rehearse something he would call me up and I would come over to his apartment and we would play through some small amps.  Rehearsal space did not exist as we know it today.”  Perhaps most importantly, Baggy’s rental rates were a fraction of the cost of similar time at the Record Plant.  With Hendrix’s finances hamstrung by the construction cost overruns of his own Electric Lady Studios and the continuing PPX litigation, this was an important consideration.

The twelve recordings that make up this collection were originally made at 7? i.p.s. on a two-track reel to reel tape machine.  “It seemed like Jimi and I always had a recorder running there,” recalls Cox.  “It was like every move we were making there was being taped by somebody!”  For Hendrix, these recordings served as a convenient tool to measure the group’s progress throughout the rehearsals.  Gene McFadden, a member of Hendrix’s road crew, organized the group’s equipment and installed a sound system from which a feed was patched into the tape recorder.  Hendrix loaded a full spool of tape and essentially left the machine to run.  Each song was recorded live with no overdubs or other such attempts to finish or even polish them.

By all accounts, Baggy’s served its purpose well.   Over the course of several marathon sessions at the facility, the Band Of Gypsys made marked progress rounding such budding prospects as “Earth Blues”, “Power Of Soul”, and “Message To Love” into form.  “Jimi enjoyed his time there,” remembers Edmonston.   “He called me the midnight social worker.   He and Billy Cox were great guys all around.”

Throughout The Baggy’s Rehearsals Sessions, Hendrix can be heard tinkering with both arrangements and lyrics, enthusiastically refining these bright examples of his new musical direction.  What these raw, unmixed tapes make clear is the enthusiasm the trio shared for this new music and the opportunity before them to bring it to life onstage.  Even at their peak of unity, the original Jimi Hendrix Experience never rehearsed in such a fashion.  This is by no means a knock on either Mitch Mitchell or Noel Redding, whose extraordinary interaction with Hendrix took form in a different fashion; instead it speaks to the shared cultural and musical heritage Hendrix, Cox, and Miles shared.  “Our music was spread [across] a wide spectrum,” recalls Buddy Miles.  “You had rockers, you had R&B, soul, and most definitely blues.  For instance, when we played ‘Stop’ by Howard Tate, the original version and the way that it was produced was most definitely uptown rhythm and blues, with a New York sound, but we kind of dissected it, which was cool.  That’s one of the things about the Band of Gypsys that I loved, because we could kind of like make our own baby–blues baby, rock baby, pop baby, and put them all together man, and come up with this formula.  It was like a soulful fragment.”

As groundbreaking as Electric Ladyland had seemed, Jimi’s new material represented another bold step forward by the guitarist.  Jimi had evolved as a guitarist, capable of more sophisticated lead and rhythm patterns.  These new songs were more serious in tone, in keeping with Hendrix’s desire to pare down his songs to deliver maximum impact.   In addition, complex songs such as “Power Of Soul” and “Burning Desire” incorporated intricate time and tempo changes that showcased the lively synergy between Cox and Hendrix.  “Truthfully, Billy Cox was a bear of a thinker, because to play Jimi’s music–and no discredit to Noel Redding or anything like that–but I could understand the fact that he needed somebody to think like he did,” explains Buddy Miles.  “If you really listen to Jimi’s music, there are a lot of time changes and different time signatures in the man’s music.  That was part of what made it so great. I remember when we were into about the third or fourth days of rehearsals, we had already gone through half of the Band of Gypsys songs we were going to play.  From there, it was really about improvisation.  What Jimi really wanted from Billy and I was not just to back him up but be a security blanket.  We also could fuse our ideas, that’s the reason why on little or nothing, Billy and myself came up with certain riffs that were really easy riffs, like for instance “Message To Love”, dah dah dah, du du du du dadda, yeah oooh yeah oooh.  It kind of sounded like the Beatles in a way, but the little curly cues and intricate things were very important.  They were an asset to what we were doing. Jimi was like that too, he gave us music that we could take and pick apart and say ‘Listen to that riff or listen to this riff.  That’s really cool.”

Prior to this release, a few excerpts from Jimi’s rehearsals at Baggy’s have been commercially issued.  “Burning Desire” and “Hoochie Coochie Man” first appeared overseas in 1973 as part of the long since deleted Loose Ends compilation.  In recent years, the Baggy’s recording of Jimi’s yuletide medley of “Little Drummer Boy”, “Silent Night”, and “Auld Lang Syne” has been issued as the popular CD single Merry Christmas And A Happy New Year.   The Baggy’s Rehearsal Sessions also features early versions of many of the songs later to be included as part of Band Of Gypsys or Live At The Fillmore East.

Throughout this collection, Hendrix, Cox, and Miles seem completely at ease and in fine spirits.  Their laughing and joking punctuate a number of the songs, ranging from good-natured imitations of Muddy Waters in “Hoochie Coochie Man” to the humor of popular comedians they enjoyed like Moms Mabley and Pigmeat Markham at the close of “Message To Love”.  Even Hendrix himself is not spared the needle, as Miles and Cox chide their famous bandleader with his own celebrated line from “Third Stone From The Sun”, ‘.and you’ll never hear surf music again,’  at the close of a raucous workout of ‘Ezy Ryder’.

Beyond the good humor, there is much to be relished from a musical standpoint.  Hendrix soars over a superb “Power Of Soul”, weaving his spellbinding rhythm and lead parts around Cox’s rock solid underpinning.  Two versions of “Earth Blues” bear witness to this song’s promise-perhaps even more convincingly than its unfinished studio counterpart now featured at part of First Rays Of The New Rising Sun.    The Baggy’s Studio Rehearsals also reveal that “Changes” and “We Gotta Live Together”, two original compositions by Buddy Miles, were early candidates for the Fillmore East set list.   Miles powers through the upbeat “Changes” in his trademark style, honing the arrangement made famous by Band Of Gypsys.  A fragment of the infectious “We Gotta Live Together” was preserved when an unknown tape operator snapped on the recording device near the song’s close.  “Baggy’s Jam”, like so many other impromptu explorations by the trio, is an unexpected treat, building in intensity as Hendrix incorporates of host of fertile riffs and rhythm patterns.   A second, vigorous rendition of “Burning Desire” brings the disc to a close.

Taken together with Band Of Gypsys and Live At The Fillmore East, The Baggy’s Rehearsal Sessions offers Hendrix fans a more detailed view of the evolution of one of Hendrix most lasting achievements.   Enjoy!

Jimi Hendrix - 2002 - Blue Wild Angel: Live at the Isle of Wight

Jimi Hendrix 
2002 
Blue Wild Angel: Live at the Isle of Wight



101. God Save the Queen - 3:54
102. Sgt. Pepper's Lonely Hearts Club Band - 0:49
103. Spanish Castle Magic - 5:09
104. All Along the Watchtower - 5:39
105. Machine Gun - 22:10
106. Lover Man - 2:58
107. Freedom - 4:36
108. Red House - 11:36
109. Dolly Dagger - 6:01
110. Midnight Lightning - 6:23

201. Foxy Lady - 9:11
202. Message to Love - 6:23
203. Hey Baby (New Rising Sun) - 6:58
204. Ezy Ryder - 4:34
205. Hey Joe - 4:32
206. Purple Haze - 3:31
207. Voodoo Child (Slight Return) - 8:16
208. In From the Storm - 6:14

Recorded: August 30, 1970 at the Isle of Wight Festival, Isle of Wight, England

- Jimi Hendrix - guitar, vocals
- Mitch Mitchell - drums
- Billy Cox - bass guitar


Rolling Stone Review
By Gavin Edwards
November 19, 2002

"A bit more volume on this one, Charlie, it's going to need it," says a roadie testing microphones — and then Jimi Hendrix comes onstage and proves him absolutely right. This live album captures a thrilling Hendrix gig in the U.K. at the Isle of Wight Festival, on August 30th, 1970 — between sets from Jethro Tull and Joan Baez. Unlike many Hendrix repackagings, this record is not just for wonks who want to pore over every note of the "Red House" solo — it's an amazing document that will grab your ears and twist them.

The show starts with an incendiary version of "God Save the Queen" — no, not the Sex Pistols song, which came seven years later, but the British national anthem, a sequel to Hendrix's take on "The Star-Spangled Banner." (One can only hope that continued archival work will uncover Hendrix doing "La Marseillaise" and "O Canada.") Since this concert marked Hendrix's return to the United Kingdom, where he made his name, he plays like he has something to prove. Even a short cover of "Sgt. Pepper's Lonely Hearts Club Band" is imbued with real passion.

The Isle of Wight show was among Hendrix's last concerts; three weeks later, he was dead. If you want to find clues as to where he was headed musically, you won't find many here. He performs "Dolly Dagger," slated for inclusion on his never-completed album First Rays of the New Rising Sun, and although it's a solid up-tempo song, it doesn't break any new ground for him.

This concert has been released before, but only on woefully truncated discs. The show's centerpiece, previously unavailable, is "Machine Gun": twenty-two astonishing minutes of Hendrix fireworks, encompassing both a savage guitar assault and improvisation that stretches out like Silly Putty. It's a worthy final testament.


Two solid hours of -essential- live prime Jimi Hendrix for you unlimited listening pleasure. Gig took place at the famed British music festival on August 31, 1970 - merely weeks before the world had lost it's best guitarist of all time. Disc one gives us Hendrix's compelling cover of the Beatles' "Sgt. Peppers Lonely Hearts Club Band" (just days after the record hit the stores), Dylan's "All Along The Watchtower", the rocking "Lover Man", truly incredible "Dolly Dagger" and one that I just don't remember at all "Midnight Lightning". Then on disc two - there's the (always awesome to hear) "Foxey Lady", "Message Of Love", "Hey Joe", "Purple Haze" and the eight-minute "Voodoo Child (Slight Return". Comes housed in a very nice three-way fold-out digi-pack. An absolute must-have / own / borrow / keeper.

Jimi Hendrix - 2001 - Live In Ottawa 1968

Jimi Hendrix 
2001
Live In Ottawa 1968


01. Killing Floor 6'07
02. Tax Free 10'51
03. Fire 3'38
04. Red House 9'20
05. Foxy Lady 5'32
06. Hey Joe 6'19
07. Spanish Castle Magic7'48
08. Purple Haze 6'51
09. Wild Thing 2'29

Recorded Live at the Capitol Theater, Ottawa, Canada, March 19, 1968 (Second Show)

Jimi Hendrix - Guitar, vocals
Noel Redding - Bass , backing vocals
Mitch Mitchell - Drums


This unique, authorized ‘bootleg’ release features a raw, two-track mixing console recording of Jimi’s March 19, 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 30, 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 1. 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.

This is the fourth authorized Dagger Records CD release of The Jimi Hendrix Experience "Live In Ottawa". This is the March 19, 1968 Second Show. Do not confuse this release with Live 1968, Paris-Ottawa, which has four cuts from the March 19, 1968 First Show.

It's a fine show from 1968. Highly recommended. Not the *very* best sound, or the *very* best performance, but it's fine show with some good high points, no Hendrix cognoscenti will turn their nose up at it.

Jimi Hendrix - 2000 - Morning Symphony Ideas

Jimi Hendrix 
2000 
Morning Symphony Ideas


01. Keep On Groovin' 28:05
02. Jungle 9:04
03. Room Full Of Mirrors 5:53
04. Strato Strut 4:38
05. Scorpio Woman 21:41
06. Acoustic Demo 1:08

Bass – Billy Cox
Drums – Buddy Miles
Guitar, Vocals – Jimi Hendrix

Previously unreleased studio and home demo recordings.

Tracks 1 & 2: Recorded Record Plant, New York, November 14, 1969. Mixed at Extasy Studios, Los Angeles, May 23, 2000.
Track 3: Recorded Record Plant, New York, September 25, 1969. Mixed at NRG Studios, August 28, 1999.
Track 4: Recorded Record Plant, New York, December 19, 1969. Mixed at Extasy Studios, Los Angeles, May 23, 2000.
Track 5: Recorded Maui, Hawaii, August 1970. Tape transfer A&M Studios, May 20, 1998.
Track 6: Recorded Jimi's Apartment, New York, February 1970. Tape transfer Sterling Sound, New York, April 11, 2000.



Morning Symphony Ideas is an extraordinary collection of previously unreleased studio and home demo recordings.

Dagger’s two previous releases, Live At The Oakland Coliseum and Live At Clark University presented the original Jimi Hendrix Experience on tour at the peak of their powers. Morning Symphony Ideas places its focus on Jimi’s songwriting and his unique approach toward developing new material at home and in the recording studio.

Where officially authorized albums such as First Rays Of The New Rising Sun and South Saturn Delta gave light to such promising, yet unfinished studio fare as “Message To The Universe” and “Hey Baby (New Rising Sun)”, Morning Symphony Ideas probes even further, providing an invaluable insight into Jimi’s creative process.

These six 1969 and 1970 studio and home demo recordings reveal the earliest stages of Jimi’s songwriting technique.

“Jungle”, “Room Full Of Mirrors”, and the extended workout “Keep On Groovin'” showcase Hendrix in full flight with Band Of Gypsys drummer Buddy Miles and on “Strato Strut”, with Miles and bassist Billy Cox. These vibrant studio recordings freely intertwine elements from many of the promising songs the guitarist had been rounding into form throughout 1969.

Jimi’s home demo of “Scorpio Woman” is equally revealing. Recorded in Maui, Hawaii during his extended July/August 1970 retreat on the island, Jimi wove a host of fertile melodies throughout the song’s embryonic structure. Throughout this fascinating twenty-one minute workout, Jimi intently established the foundation for a host of exciting new ideas he had in development. Singing live over his own electric guitar accompaniment, Jimi expanded upon the “Scorpio Woman” theme by incorporating tantalizing snatches of other familiar phrases and rhythm patterns advanced by the guitarist in 1969 and 1970.

Jimi Hendrix - 1999 - Merry Christmas And A Happy New Year

Jimi Hendrix 
1999 
Merry Christmas And A Happy New Year


01. Little Drummer Boy / Silent Night / Auld Lang Syne 4:29
02. Three Little Bears 4:14

CD bonus
03. Little Drummer Boy / Silent Night / Auld Lang Syne (Extended Version) 7:25


As Christmas 1969 beckoned, Jimi Hendrix, bassist Billy Cox, and drummer Buddy Miles engaged in extensive rehearsals for their highly anticipated appearances a t the Fillmore East in New York. 

Branded by Hendrix as the "Band Of Gypsys," the trio worked feverishly rounding such exciting new original material as "Izabella" and "Machine Gun" into form. Keenly aware of the special significance his forthcoming concerts represented, Jimi wanted to prepare something extraordinary for his audience. To mark the occasion in his own inimitable fashion, Jimi readied this special medley of holiday favorites to celebrate both Christmas and the dawning of a new decade. 

This recording was made at Baggy's Studios, a Manhattan rehearsal facility the group preferred. It by no means should be considered a polished studio recording made to Hendrix's exacting specifications. It is, instead, perhaps even more revealing. This is a glimpse of Jimi simply having fun in the company of close friends. 

The photograph of Jimi posing as Santa Claus was originally organized on behalf of the UK music newspaper Record Mirror. To help publicize the December 1967 release of Axis: Bold As Love, the group's second album, Jimi agreed to pose as Santa for the issue's cover. An alternate photograph from that session, with Jimi bearing gifts in the form of Axis: Bold As Love, is featured here. 

As an added bonus, also included is Jimi's playful "Three Little Bears". This track was recorded with the Experience at the Record Plant in May 1968 during sessions for Electric Ladyland. Bypassed for that album, "Three Little Bears" was originally issued as part of the 1972 posthumous compilation War Heroes. It has been unavailable in the US for nearly twenty-five years. 

 In December 1969, Jimi Hendrix went into the studio with the recently formed Band Of Gypsys, which featured him, Billy Cox on bass and Buddy Miles on drums, to rehearse for some upcoming concerts at the Filmore East (which would be documented on Band Of Gypsies and Live At The Filmore East). One of the songs recorded was an instrumental Christmas/New Year's medley, set to a march, consisting of "The Little Drummer Boy", "Silent Night", and "Auld Lang Syne" (with a snippet of "Taps" thrown in the middle), churned out with a similar flavor that Hendrix gave "The Star Spangled Banner", albeit without the nightmarish aura surrounding that cover. It's certainly nice, but not something I would consider essential. If, however, you manage to get a copy of the 2010 edition of the single, you are treated with the full version of the medley, which makes the short version completely superfluous. Right after the part where the short version ends, the band begins to cook and starts jamming; compete with the usual trademark solos from Hendrix, some good bass work from Cox and lovely background vocals from Miles (which are sadly buried in the mixed), sending the piece into the stratosphere as the ball drops to ring in the new year. The medley is not as mind blowing as the rendition of "The Star Spangled Banner" Hendrix unleashed at Woodstock four months earlier, but it's quite lovely nonetheless and bound to give you those warm, fuzzy feelings you usually get at Christmas time.
For the B-side, there's "Three Little Bears", a tropical flavored number from the Electric Ladyland sessions (with Noel Redding and Mitch Mitchell on rhythm this time) which was originally released on the War Heroes LP. It's... one of the weirder numbers to come out of the vaults. I honestly have no idea what on earth Hendrix was trying to accomplish with the nursery rhymish lyrics, which, at one point, he even comments on the absurdity of them. At least the music is quite nice, even though one gets the feeling that Hendrix would not have even considered releasing this.

My only complaint is that this is another one of those "Why did they release this as a single" moments. IMO, the extended suite and "Three Little Bears" could have easily fit on the South Saturn Delta compilation. As it is, both songs are enjoyable romps that will please longtime fans.

Jimi Hendrix - 1999 - Live At The Fillmore East

Jimi Hendrix 
1999 
Live At The Fillmore East


101. Stone Free - 12:56
102. Power of Soul - 6:19
103. Hear My Train A Comin' - 9:02
104. Izabella - 3:40
105. Machine Gun - 12:36
106. Voodoo Child (Slight Return) - 6:01
107. We Gotta Live Together - 9:55

201. Auld Lang Syne - 3:54
202. Who Knows - 3:55
203. Them Changes - 5:38
204. Machine Gun - 13:35
205. Stepping Stone - 5:20
206. Stop - 5:43
207. Earth Blues - 5:48
208. Burning Desire - 8:22
209. Wild Thing - 3:06

Jimi Hendrix - guitar
Buddy Miles - drums
Billy Cox - bass guitar



This two disc set consists of alternate performances from the four Band of Gypsys shows held on December 31, 1969 and January 1, 1970.

A series of Jimi Hendrix performances from the Band of Gypsys concerts finally gets the deluxe treatment from MCA and Experience Hendrix, as tapes from both first and second shows are brought together, correctly identified (1986's Band of Gypsys 2 actually featured three tracks that weren't by the band at all) in one deluxe two-disc set. This newly expanded edition contains the only live versions of "Earth Blues," "Auld Lang Syne," "Stepping Stone," and "Burning Desire"; Hendrix tunes specifically worked up for the performance that rarely surfaced again like "Izabella," "Power of Soul," and "Who Knows"; newly remastered versions of "Stop" and "Hear My Train a-Comin'" (both originally presented on Band of Gypsys 2 in horrendous sound) and classic performances of "Stone Free," "Changes," "Voodoo Child (Slight Return)," and "Wild Thing." Equally as revelatory is one of the two alternate versions included of "Machine Gun," every bit as stunning as the better-known version. Though this new edition hardly makes all previous incarnations obsolete, it presents the man at his most challenged and brilliant.

Jimi Hendrix - 1999 - Live At Clark University

Jimi Hendrix 
1999
Live At Clark University


01. Jimi Hendrix: Pre-Concert Interview 2:56
02. Fire 3:33
03. Red House 7:09
04. Foxey Lady 4:31
05. Purple Haze 5:05
06. Wild Thing 8:12
07. Noel Redding: Post-Concert Interview 7:13
08. Mitch Mitchell: Post-Concert Interview 8:58
09. Jimi Hendrix: Post-Concert Interview 4:54

Recorded March 15, 1968 at Atwood Hall, Clark University, Worcester, Massachusetts, second show.

Jimi Hendrix: guitar, vocals
Noel Redding: bass
Mitch Mitchell: drums


Like no Hendrix live disc ever before issued, The Jimi Hendrix Experience: Live At Clark University provides a window into one night on the road with the Experience. Beyond the memorable concert performances of “Fire”, “Red House”, “Foxey Lady”, “Purple Haze”, and “Wild Thing” featured here, Live At Clark University provides a further treat in the form of extended interviews with Jimi, Mitch, and Noel. What makes this collection so unique is the perspective and extraordinary insight gained by listening to the interviews conducted with each band member prior to and immediately following the group’s performance.

The interviews, conducted backstage in a nearby dressing room, afford a rare opportunity to eavesdrop on Jimi and the group. Jimi’s conversation is candid, relaxed, and informative. His philosophy and goals for his music are clear and well stated. The different personalities within the group are also evident, as Mitch and Noel share their insights on the group’s accomplishments and musical course.

The live recordings which make up the core of Live At Clark University are no less powerful or revealing. The five songs included here showcase the optimism and vibrant enthusiasm of the fertile period between Axis: Bold As Love and Electric Ladyland. Vigorous renditions of such classic fare as “Fire” and “Foxey Lady” clearly reveal the group’s undeniable chemistry and skill. The intimate confines of Atwood Hall, Clark University’s student auditorium, placed the group in close proximity to its fans. The overwhelming combination of sheer volume and Jimi’s dynamic stage show left the sold out audience thunderstruck.

The Experience had traveled to Clark University on March 15, 1968 as part of their extensive US tour in support of Axis: Bold As Love, their second album. Clark University, a small, respected Massachusetts university, is located in Worcester, a city located approximately one hour west of Boston. Filled to capacity, Atwood Hall could accommodate more than six hundred students. Tickets for the concerts were modestly priced, with seats priced at $3.00, $3.50, and $4.00.

Live At Clark University begins with Jimi in his dressing after following the conclusion of the first set. In typical fashion, he takes the failure of the Experience’s battered stage gear to heart, hoping he has not let the audience down. The conversation then turns to Jimi’s musical influences. Seven minutes into Jimi’s interview, one can hear the opening strains of the second set by the Soft Machine.

Shortly after Jimi’s interview drew to a close, the Experience took the stage. Live At Clark University begins with “Fire” and continues through “Wild Thing”. One or more songs might have preceded “Fire”, but no further recordings are available beyond what is represented on this collection.

Although Live At Clark University has been drawn from professionally recorded two track masters, it is not without an occasional flaw. Nonetheless, these tapes represent the only known documentation of this spirited performance. We hope you enjoy the experience!

Jimi Hendrix - 1998 - The Jimi Hendrix Experience

Jimi Hendrix 
1998 
The Jimi Hendrix Experience


101. Purple Haze
102. Killing Floor (Live)
103. Hey Joe (Live)
104. Foxy Lady
105. Highway Chile
106. Hey Joe
107. Title #3
108. Third Stone from the Sun
109. Taking Care of No Business
110. Here He Comes (Lover Man)
111. Burning of the Midnight Lamp
112. If 6 Was 9
113. Rock Me Baby (Live)
114. Like a Rolling Stone (Live)
115. Burning of the Midnight Lamp (Live)
116. The Stars That Play With Laughing Sam's Dice

Tracks 7 and 9 are previously unreleased recordings.
Tracks 1, 4, 5, 6, 8, 10, 11 and 12 are previously unreleased alternate recordings.
Tracks 2 and 3 recorded live at Olympia Theatre, Paris, France, October 18, 1966.
Tracks 13 and 14 recorded live at the Monterey International Pop Festival, June 18, 1967.
Track 15 recorded live at Dee Time, London, August 22, 1967.
Track 16 is the original 1967 single mix.


201. Sgt. Pepper's Lonely Hearts Club Band (Live)
202. Burning of the Midnight Lamp (Live)
203. Little Wing
204. Little Miss Lover
205. The Wind Cries Mary (Live)
206. Catfish Blues (Live)
207. Bold as Love
208. Sweet Angel
209. Fire (Live)
210. Somewhere
211. Have You Ever Been (To Electric Ladyland)
212. Gypsy Eyes
213. Room Full of Mirrors
214. Gloria" (Van Morrison)
215. Peace in Mississippi
216. It's Too Bad
217. Star Spangled Banner (Studio version featuring Silver Apples)

Track 15 and 16 are previously unreleased recordings.
Tracks 3, 4, 7, 8, 10, 11, 12, 13 and 14 are previously unreleased alternate recordings.
Tracks 1 and 2 recorded live at Stockholm, Sweden, September 5, 1967.
Tracks 5 and 6 recorded live at Olympia Theatre, Paris, France, October 9, 1967.
Track 9 recorded live at Clark University, Worcester, Massachusetts, March 15, 1968.
Track 17 originally issued as part of Rainbow Bridge.


301. Stone Free
302. Like a Rolling Stone (Live)
303. Spanish Castle Magic
304. Hear My Train A Comin'
305. Room Full of Mirrors
306. I Don’t Live Today (Live)
307. Little Wing (Live)
308. Red House (Live)
309. Purple Haze (Live)
310. Voodoo Child (Slight Return) (Live)
311. Izabella

Tracks 1, 3, 4, 5 and 11 are previously unreleased alternate recordings.
Track 2 recorded live at Winterland, San Francisco, California, October 10, 1968 (Second Show).
Track 6 recorded live at Los Angeles Forum, California, April 26, 1969.
Tracks 7 and 10 recorded live at the Royal Albert Hall, London, February 24, 1969.
Tracks 8 and 9 recorded live at San Diego Sports Arena, California, May 24, 1969.


401. Message to Love
402. Earth Blues
403. Astro Man
404. Country Blues
405. Freedom
406. Johnny B. Goode (Live)
407. Lover Man
408. Blue Suede Shoes (Live)
409. Cherokee Mist
410. Come Down Hard on Me
411. Hey Baby/In from the Storm (Live)
412. Ezy Ryder
413. Night Bird Flying
414. All Along the Watchtower (Live)
415. In from the Storm (Live)
416. Slow Blues

Tracks 4, 7, 9 and 16 are previously unreleased recordings.
Tracks 1, 2, 3, 5, 10, 12 and 13 are previously unreleased alternate recordings.
Tracks 6 and 8 recorded live at Berkeley Community Theatre, Berkeley, California, May 30, 1970 (First Show).
Track 11 recorded live at Maui, Hawaii, July 30, 1970.
Tracks 14 and 15 recorded live at the Isle of Wight, England, August 30, 1970.



A holy grail for Hendrix fans. Live cuts and studio rarities from his years with The Experience (which everyone rightfully acknowledges was his best lineup). Some of the alternate versions are too close to the album versions for them to appeal to casual fans but Hendrix fanatics will find them fascinating. But the real treat are the unreleased studio cuts and live tracks. Highlights from the former category are early sketches of "Little Wing", "Midnight Lamp" "Lover Man" and "Have You Ever Been", a energetic backing track only known as "Title # 3", and a rare later-period groove called "Cherokee Mist". From the latter category we have killer covers of "Johnny B. Goode", "Blue Suede Shoes" and "Sgt. Pepper" and the ultimate version of "Red House", which includes some of Jimi's best soloing (no exaggeration). A must-hear for all obsessives.

Jimi Hendrix - 1998 - Live at the Oakland Coliseum

Jimi Hendrix 
1998 
Live at the Oakland Coliseum


01. Introduction 0:42
02. Fire 4:19
03. Hey Joe 4:26
04. Spanish Castle Magic 8:53
05. Hear My Train A Comin' 10:25
06. Sunshine Of Your Love 6:45
07. Red House 13:12
08. Foxey Lady 10:35
09. Star Spangled Banner 2:58
10. Purple Haze 4:08
11. Voodoo Child (Slight Return) 18:04

Jimi Hendrix - guitar, lead vocals
Mitch Mitchell - drums
Noel Redding - bass, backing vocals
Jack Casady - bass on track 11


Released on the Hendrix Estate's own Dagger Records, this mono recording was captureed by a fan at the Oakland Coliseum on April 27, 1969. Noted for Jefferson Airplane bassist Jack Casady sitting in and including the longest recorded version of Voodoo Child (Slight Return) clocking at over 18 minutes.

Spread over two discs, The Jimi Hendrix Experience: Live In Oakland presents the group’s April 27, 1969 concert at the Oakland Coliseum. The Experience’s spirited Oakland performance was capped off with an eighteen minute, extended jam of “Voodoo Child (Slight Return)”. Joining the group onstage for this final number was Jefferson Airplane bassist [and Electric Ladyland contributor] Jack Casady.

The concert was recorded by Ken Koga using a single microphone onto a portable Sony reel to reel deck. The concert was not professionally recorded, so Ken’s amatuer tapes represent the only known documentation of this inspired performance. The monophonic sound is unobtrusive and clear, but far from industry [as well as Jimi’s own] standards.

Fans of the Experience will recognize the set list, as songs such as “Fire”, “Purple Haze”, and “Spanish Castle Magic” were staples of the 1969 US tour repertoire, but there are many intriguing elements marbled throughout the eighty-five minute performance. Highlights include Jimi’s spontaneous reworking of “Hey Joe”, complete with passages about the `soldiers in Vietnam’. Jimi’s two blues workouts, “Red House” and “Hear My Train A Comin'” are particularly strong, as is a raucous, extended rendition of “Foxey Lady”. The evening came to a close with a rousing finale, as Casady climbed onstage to join the group for “Voodoo Child (Slight Return)”.


 In 1998, the first release of Dagger Records saw the light in the form of the marketing of this Oakland Concert (April 27, 1969). Dagger label puts boot recordings on the market and label them as official. Here is the definition of what Dagger Records intended to be (taken from the official Hendrix site):
''To service Jimi's fans, we have created Dagger Records, a unique label established to release bootleg' recordings which further detail Jimi's illustrious legacy''. And you should expect no less, no more.

Since this concert only took place some four months before Woodstock, the track list is very similar (but shorter here). The sound was captured in the audience (mono format.) The first three tracks aren't quite well recorded I must say. Still, from ''Here My Train?'' onwards, it is of decent quality and better than lots of other boots even if this raw music might be a bit too much at times (the second part of ''Spanish Castle Magic'' for instance).

At the time of recording, ''Hear My Train?'' is still called ''Get My Heart Back Together Again'' (one can hear this during the song intro). This version is maybe the best I've heard: the middle solo section is just phenomenal. But experiencing Hendrix live is always a pleasure to me.

From this track onwards, the best of Hendrix' repertoire is played. Some of them will be extensively stretched: ''Foxy Lady'' (over 10 minutes) and of course the longest taped version of ''Voodoo Child'' which clocks at over eighteen minutes (almost five minutes longer than the Woodstock magical version).

This boot recording is supervised by the Hendrix LLC which is supposed to be ''cleaner'' than previous producers. To my understanding, under the virtuous stamp of willing to restore Jimi's music honourably, it is just another cash machine. His half-sister (Janie Hendrix) was even accused for having earned unbelievable salaries from the company. She answered: ''I've worked hard''?This boot is available for 20$ on their official site. OK, it's a double CD set since the performance lasted for about ? 84 minutes! See what I mean?.

This collection of live performances (10 so far under the Dagger Records umbrella) is of course a benediction for Hendrix addicts (as I am) but the casual fan will perfectly live with the Woodstock set or other official releases which are better recorded and much more symbolic than this particular one. Even if ''Hear My Train'' and ''Foxy Lady'' are damned impressive.

The version of ''Star Spangled Banner'' is a great preview to the ultimate Woodstock one. Pretty close a version actually which will also fades in ''Purple Haze''. I told you, this set is (partially) very similar. The long jam during ''Voodoo'' is of course a delectation for Hendrix fans (but for them only). It could have last forever apparently since after the band presentation (around minute 14) the band is still jamming.

Jimi Hendrix - 1998 - BBC Sessions

Jimi Hendrix 
1998 
BBC Sessions


101. Foxy Lady - 2:59
102. Alexis Korner Introduction - 0:27
103. Can You Please Crawl Out Your Window? - 3:31
104. Rhythm and Blues World Service - 0:12
105. (I'm Your) Hoochie Coochie Man - 5:31
106. Traveling with the Experience - 0:22
107. Driving South - 5:30
108. Fire - 2:43
109. Little Miss Lover - 2:57
110. Introducing the Experience - 0:51
111. Burning of the Midnight Lamp - 3:43
112. Catfish Blues - 5:28
113. Stone Free - 3:25
114. Love or Confusion - 2:54
115. Hey Joe - 4:01
116. Hound Dog - 2:42
117. Driving South - 4:49
118. Hear My Train a Comin' - 5:00

201. Purple Haze - 3:17
202. Killing Floor - 2:29
203. Radio One - 1:34
204. Wait Until Tomorrow - 2:57
205. Day Tripper - 3:24
206. Spanish Castle Magic - 3:07
207. Jammin' - 3:23
208. I Was Made to Love Her - 3:04
209. Foxy Lady - 2:43
210. A Brand New Sound - 0:54
211. Hey Joe (alternate take) - 2:57
212. Manic Depression - 3:10
213. Driving South (alternate take) - 3:21
214. Hear My Train a Comin' (alternate take) - 5:02
215. A Happening for Lulu - 0:19
216. Voodoo Child (Slight Return) - 4:08
217. Lulu Introduction - 0:22
218. Hey Joe - 2:43
219. Sunshine of Your Love - 1:17

Jimi Hendrix- Vocals, Guitar
Mitch Mitchell- Drums, except on tracks 25-26
Noel Redding- Bass
Stevie Wonder- Drums on tracks 25-26
Alexis Korner- Slide guitar on track 5

Tracks 1/1, 1/13-15 and 2/9-11 recorded February 13, 1967.
Tracks 1/8, 2/1-2 recorded March 28, 1967.
Track 2/12 recorded April 17, 1967.
Tracks 1/9-12, 1/16-17, 2/7-8 and 2/13 recorded October 6, 1967
Tracks 1/2-7 recorded October 17, 1967.
Tracks 1/18, 2/3-6 and 2/14 recorded December 15, 1967.
Tracks 2/15-19 recorded January 4, 1969.
Track 2/20 (bonus track) recorded August 24, 1967
Track 2/14 Not an alternate take.


The Jimi Hendrix Experience BBC Sessions is now available as a two CD and DVD set. This package puts together all of the tracks from the BBC Hendrix archives, along with a fascinating account of the sessions in a booklet laden with pictures. In addition to that you get a DVD that sheds further light upon that time and those now legendary sessions.
The sound quality is excellent on this set given that they are live off floor recordings. While a full bodied sound is maintained the excitement and rawness of the tracks are still intact. All of this music was recorded in London at the BBC studios in 1967 prior to the release of the first studio release from the band Are You Experienced. If you stop for a moment and think about that, it is quite incredible that they had not released their first album yet. After listening to all the tracks you begin realize why everyone was so awestruck with Hendrix and what his band was doing at the time.

In addition to the music the Hendrix personality and sense of humor is on display on the recordings and footage provided from the BCC tapes with Lulu. The instant formation of the "Radio One (jingle)" on the air while recording or the barking on "Hound Dog" are good examples of the ongoing lightheartedness. Everything you will hear is impromptu jams on this session and several tracks that were never attempted live. It is also interesting to watch what transpires on the show with Lulu. Hendrix decided to ignore industry standards and the show guidelines while launching into a free form intro for "Hey Joe" that the rest of the band did not seem too sure how to follow but they managed to pull it off just the same. Then to make it more confusing Hendrix decided to suddenly abandon "Hey Joe" entirely and go into a tribute to Cream with "Sunshine of Your Love", all the while the director was waving his arms for the band to stop. We can witness here again the absolute genius of Hendrix playing these songs in such an "off the cuff manner" while still sounding so amazingly fresh and innovative. It was displays like this that prove my point that he was one of the progenitors of progressive rock, if not the man that started it all.

What I found so charming about Hendrix and this pre-studio recording time period was how much innocent fun Jimi and the boys were having while simultaneously driving everyone else from the shows crazy. Hendrix was laughing all way and then suddenly became a worldwide sensation after the release of their first album. Make no mistake about it though, this is what started the fire back in 1967 and it's a flame that has yet to be extinguished.

There is a litany of information and music to take in on this set. The video segment has a few things to be desired like showing footage of songs and playing the backing track that did not sync with Jimi's vocals onstage. Up to this point the DVD's that came along with these sets were very good however this one took something away from the quality of an otherwise outstanding set. The interviews were good and informative and made you think more about what was going on in those days, which I thought was important to be able to link yourself to that time and the atmosphere of the sessions.

Once again we get to enjoy the spontaneous combustion of the Jimi Hendrix Experience, a trio that made more noise than bands that were twice their size. Just listen to the version of "Driving South" and tell me who was making music that sounded this amazing back in 1967? In fact, is there anyone today that is even coming close to producing music like this? I think not so enjoy these Hendrix reissues all you can and make sure you listen several times to absorb it all. Excuse me while I go listen to some more Hendrix?

Jimi Hendrix - 1997 - South Saturn Delta

Jimi Hendrix
1997
South Saturn Delta


01. Look Over Yonder 3:25
02. Little Wing 2:44
03. Here He Comes (Lover Man) 6:33
04. South Saturn Delta 4:07
05. Power Of Soul 5:20
06. Message To The Universe (Message To Love) 6:18
07. Tax Free 4:56
08. All Along The Watchtower 4:01
09. The Stars That Play With Laughing Sam's Dice 4:21
10. Midnight 5:32
11. Sweet Angel (Angel) 3:55
12. Bleeding Heart 3:15
13. Pali Gap 5:08
14. Drifter's Escape 3:05
15. Midnight Lightning 3:07

Percussion – Larry Faucette
Bass, Backing Vocals – Billy Cox
Drums, Percussion, Backing Vocals – Buddy Miles
Percussion – Jerry Velez
Percussion - Juma Sultan
Percussion – Brian Jones
Twelve-String Guitar – Dave Mason
Bass – Noel Redding
Drums – Mitch Mitchell
Engineer – Angel Balestier
Guitar, Vocals – Jimi Hendrix


Rolling Stone Magazine Review
By David Frickle
December 25, 1997

Oh, the temptation — to just say that Kettle Whistle blows, that it's the alt-rock answer to Led Zeppelin's Coda, But if these outtakes from one of the shortest, brightest careers in post-punk rock aren't all diamonds, they are solid evidence that even in their formative days (the "Mountain Song" and "Ocean Size" demos, the early club-gig cuts), Jane's Addiction were onto something, a visionary bent on art-metal violence and millennial sensuality. The live material from '90 and '91 shows that Jane's broke up too soon, while the two new studio tracks with substitute bassist Flea hint at newer, greater things — without quite delivering.

Jimi Hendrix completed just three studio albums in his lifetime. The guitarist's death, in September 1970, and the prolonged manhandling of his legacy mean that the bulk of his life's work — demos, live tapes, unfinished recordings — has been treated shabbily over the decades: cherry-picked for compilations, deleted, reissued, re-reissued with every change in stewardship. South Saturn Delta is less of a mess than its predecessors, combining tracks from Rainbow Bridge, Loose Ends and War Heroes with previously unissued material that is revealing, although not always in the way the compilers intend. The instrumental sketch of "Little Wing" and the early mix of "All Along the Watchtower" prove that there was magic as well as mania in Hendrix's obsessive studio ways. But "Sweet Angel" (a '67 demo of "Angel") and "Midnight Lightning," cut solo as a Venusian-delta blues, indicate there is still much to be discovered and cherished. Memo to Experience Hendrix: This set's fine; now let's get deep.

Jimi Hendrix - 1997 - First Rays Of The New Rising Sun

Jimi Hendrix 
1997 
First Rays Of The New Rising Sun



01. Freedom 3:26
02. Izabella 2:50
03. Night Bird Flying 3:50
04. Angel 4:21
05. Room Full Of Mirrors 3:21
06. Dolly Dagger 4:44
07. Ezy Rider 4:07
08. Drifting 3:48
09. Beginnings 4:12
10. Stepping Stone 4:12
11. My Friend 4:36
12. Straight Ahead 4:42
13. Hey Baby (New Rising Sun) 6:04
14. Earth Blues 4:21
15. Astro Man 3:34
16. In From The Storm 3:41
17. Belly Button Window 3:36

Jimi Hendrix - guitar, lead vocals, backing vocals, bass, piano, producer, mixing
Billy Cox - bass, backing vocals
Mitch Mitchell - drums, producer, mixing
Juma Sultan - percussion

Buddy Miles - drums (on tracks 5, 7 & 14), backing vocals
Albert Allen - backing vocals (The Ghetto Fighters)
Arthur Allen - backing vocals (The Ghetto Fighters)
Billy Armstrong - percussion on Ezy Rider
Buzzy Linhart - vibraphone on Drifting
Emmeretta Marks - backing vocals
The Ronettes - backing vocals
Steve Winwood (Traffic)- backing vocals on Ezy Rider
Chris Wood (Traffic) - backging vocals on Ezy Rider
Kenny Pine (The Fugs) - 12 string on My Friend
Stephen Stills - piano on My Friend
Paul Caruso - harmonica on My Friend
Jimmy Mayes - drums on My Friend


Well here it is the last review in the set of reissues from the Hendrix catalog. I am sure there will be more opportunities in the future with the wealth of music that is continually getting uncovered from the Hendrix estate.
First Rays Of The New Rising Sun is making its debut fully re-mastered from the master tapes for the very first time. The end result is a staggering array of music and guitar techniques displayed by the legendary Hendrix. Previously this music came out piece meal via the albums The Cry of Love and Rainbow Bridge in 1971 and finally in another incarnation in 1972 as War Heroes. These issues only grazed the surface and where incomplete collections. Finally we have the last recording sessions at Electric Ladyland re- mastered beautifully all on one CD. I remember picking up Cry of Love on vinyl in the early 70's, I wish I would have held on to that LP, it is now very rare and was selling for hundreds of dollars at one point but I am not sure with the advent of this collection that still applies.

Besides the 17 awesome tracks on this set we again get to enjoy the documentary "An Inside Look" with Eddie Kramer. Kramer takes you through some of the recording processes and breaks it all down just as he did on the previous releases with "Dolly Dagger", "Angel", "Night Bird Flying" and "Freedom". The added bonus is you get some great live footage snippets of Hendrix performing songs live like the funky "Dolly Dagger", which was always one of my favorites.

The re-mastering of these tracks brings a new life to the sound of Hendrix and his band. I found listening to this set was even more jaw dropping than the other three sets. Although the others were equally outstanding musically, this set of tracks sounds more vibrant and today than any I have ever heard before. I think the main reason is because Hendrix changed the configuration of his band bringing in Billy Cox on bass to replace Noel Redding, thereby changing the entire chemistry of the group and pushing Jimi to create more expansively. Jimi was obviously more in a groove with Cox as his anchor man and even Mitch Mitchell (drums) felt this was the best band he played in to date. This is also noted by Kramer on the DVD commenting how Jimi laid down tracks for four different guitar parts and made it all come together somehow on "Night Bird Flying", the first cut Kramer and Hendrix created from scratch at Electric Ladyland. Kramer also said this was the reason he never played it live, because it was such a complex piece of music.

Nobody knew where the man was coming from or where he was going, they all just followed and it fell together. I am sure everyone that was involved with the evolution of Hendrix in the studio is grateful to have witnessed a genius at work and watched in amazement as each track came together. From the moment you give this CD its first spin and "Freedom" kicks in, I guarantee you will be spellbound just as you were the first time you heard it. This time it will all sound refreshing and new even though it was all recorded between 1968 and 1970. I suggest getting this entire set and anything else you can get your hands on that you have not heard before from Hendrix.

Jimi Hendrix - 1994 - Live At Woodstock

Jimi Hendrix 
1994 
Live At Woodstock


01. Introduction 2:21
02. Message To Love 7:21
03. Hear My Train A Comin' 9:49
04. Spanish Castle Magic 7:05
05. Red House 5:24
06. Lover Man 5:11
07. Foxey Lady 5:06
08. Jam Back At The House 7:44
09. Izabella 6:42
10. Fire 3:42
11. Voodoo Child (Slight Return) 13:40
12. Star Spangled Banner 3:43
13. Purple Haze 4:23
14. Woodstock Improvisation 3:59
15. Villanova Junction 4:28
16. Hey Joe 5:52

Jimi Hendrix - guitar, vocals
Mitch Mitchell - drums
Billy Cox - bass guitar
Larry Lee - rhythm guitar
Juma Sultan - percussion
Jerry Velez - percussion



In those days, Jimi was the top of the bill of most of the festivals. As a highly paid band (over 50,000 $) they had to close the biggest concert of all times (at least, this is my opinion) even if lots of people had already left the festival grounds on this Monday morning.
Even if Jimi and his band had to step on the stage round 9 AM on the next day of his original schedule the band played a fabulous concert. At least to my own standards.

For lots of us (I mean the teenagers from the early seventies), the only Woodstock stuff available from the master in 1970, was his thirteen minutes appearance on the triple album ''Woodstock''. Side six, second track. Oh boy! How many times did I listen to this one!!!

Then came the double album: Woodstock II with several additional tracks.

Then this double live album with the entire concert.

The band featured here is mixed one: some sort of combination between ''The Experience'' and ''The Band Of Gypsys'' (Hendrix, Cox and Mitchell).

This Woodstock concert is IMVHHO the best one I have been listening to. A great live documentary. The movie is even more expressive (but this will be the occasion for another review).

I discovered Jimi thanks to Woodstock. And like many others of the bands who played there, it was just their best ever set in their lives (Cocker, Canned Heat, The Who, CSN & Y, Santana, Ten Years After, Jefferson Airplane, Sly & The Family Stone). And Jimi of course.

I have always been nuts about this set, so be prepared for a laudatory review. But you know that I am not throwing these ones away, so.

The set list of this gig is just gorgeous. The best one you could ever expect from the giant. The improvisations here are just AWESOME. It starts all great with ''Message to Love'' and ''Hear My Train a Comin'' but it REALLY kicks off with a huge version of ''Spanish Castle Magic''. Wild, magnificent and powerful. A definite highlight of this set which holds several more.

What can I say about this release? That I was expecting this which every bits and parts of my body for soooooo many years? Of course, yes! I was like a shivering young boy while I listened to this CD some ten years ago.

As usual, some very short moments are less thrilling like the short version of ''Red House'' but it is instantly compensated with a superb ''Lover Man''. Outrageously wild and skilled. It is a fantastic showcase for our hero (one of the VERY few of mine- two or three perhaps). It is a magnificent performance from the man, more than anything else. The band is gorgeous as well (just like during the incredible ''Jam Back at the House'' which closes the first CD).

There is no ''Machine Gun'' on this live set, but Jimi is introducing the Vietnam War with ''Izabella''. As far as I am concerned, it is the best version ever released. Full of ''joy'' and dynamism. Crying guitar and heavy bass. A highlight (one more). You won't be surprised that this version of ''Fire'' is just a devastating one. Maybe to wake up all the junkies still attending.

The next trio of songs do belong to the rock history (and part of them were present in the medley of the original Woodstock soundtrack). Almost fourteen minutes of a sublime version of ''Voodoo Child''. The best ever of course. The sound coming out the band is just awesome, phantasmagorical. In one word: great, sublime (oups, there are two words here).

Even if part of the track is a band introduction, it has left an indelible mark on me. Having seen that lots of people were leaving, Jimi said: ''You can leave, we are only jamming. That's all''. These were the last words from the man.

And what to say about the huge ''Star Spangled Banner'' version? I'm just voiceless.The sounds of the bombs falling on (the Vietnam) ground. Timeless. This is flesh and bones for me. Difficult to describe really. Have a listen, enjoy and fall under admiration.

The violent '' Purple Haze'' is also a memorable moment of this legendary, monstrous live set. The studio version is just blown away. This one is a total disintegration, explosion. It is wild, wonderful, extravagant. SUPERB my friends. Do have a listen to the ''tranquil'' track which almost closes this FABULOUS set: ''Villanova Junction''. And then the encore (at 8 AM or so): ''Hey Joe''. What else do we need?

The good thing about this recording is that most of songs intro do appear here. They show a casual and friendly Jimi. A real pleasure for me and an integrant part of the concert (even if only about 10 to 15 percent of the audience was still attending his gig on this Monday morning).

It is a memorable moment of live music. One of the best that I have listened to. The most recommendable live album from this huge man. I wish I had seen him then.

Jimi Hendrix - 1994 - :Blues

Jimi Hendrix
1994 
:Blues


01. Hear My Train A Comin' (3:05)
02. Born Under A Bad Sign (7:37)
03. Red House (3:43)
04. Catfish Blues (7:47)
05. Voodoo Chile Blues (8:47)
06. Once I Had a Woman (7:49)
07. Bleeding Heart (3:26)
08. Jam 292 (6:24)
09. Electric Church Red House (6:12)
10. Hear My Train A Comin' (12:10)

Jimi Hendrix: guitars, vocals
Billy Cox: bass on "Born Under a Bad Sign", "Mannish Boy", "Once I Had a Woman", "Bleeding Heart", "Jelly 292" and "Hear My Train a Comin' (Electric)"
Noel Redding: bass on "Red House", "Catfish Blues" and "Electric Church Red House"
Buddy Miles: drums on "Born Under a Bad Sign", "Mannish Boy", "Once I Had a Woman", "Bleeding Heart" and "Electric Church Red House"
Mitch Mitchell: drums on "Red House", "Catfish Blues", "Voodoo Chile Blues", "Jelly 292", "Electric Church Red House" and "Hear My Train a Comin' (Electric)"
Jack Casady: bass on "Voodoo Chile Blues"
Steve Winwood: organ on "Voodoo Chile Blues"
Sharon Layne: organ on "Jelly 292"
Lee Michaels: organ on "Electric Church Red House"


When people think of Hendrix psychedelic rock is one of the many things that come to mind. And thinking along those lines of what a great rock guitarist he was can steer you away from the fact that everything Jimi did was rooted in the blues. He took everything to another level, especially the blues. Those that recorded with him well tell you that without hesitation. His longtime friend and bass player Billy Cox perhaps said it best - "You can call Jimi Hendrix whatever you like, but he was a bluesmaster. That's what he was. A hell of a bluesman."
With the repackaging of Jimi Hendrix: Blues in a CD/DVD remastered deluxe package you can explore that statement further and crystalize it in your mind. The package includes a booklet with plenty to absorb including a track by track rundown and a DVD. Although the DVD is short lived it is another glimpse into some live footage of Jimi along with interviews that delve into where Jimi was coming from with his music.

Hendrix loved Muddy Waters, John Lee Hooker and other legendary blues players. He learned their music at a very young age with a $5 acoustic guitar his father bought him. His father also encouraged him to develop his own style and he took that to heart.

The eleven tracks presented in this package will give insight into the blues and the Hendrix style and how his unique musical voice spoke for the genre and an entire generation. For instance with "Hear My Train A Comin'", you get a good helping of it in its modernized rock- blues form and then again in an acoustic setting to remind you how the electric version was realized in the first place. The blues Jimi really appreciated were played on the acoustic guitar. Everything starts somewhere and with the two contrasting versions of this track you are taken from a foundation to the musical stratosphere. Hendrix did that with all of his adaptions of blues tracks, using electronics and studio manipulation and his incredible guitar playing. And let us not forget how brilliant he was bringing that music to life onstage, yet another seemingly impossible feat at the time.

To break it all down is no easy task but I can tell you every track is smokin' hot blues and acoustically it is best illustrated by "Hear My Train A Comin'" and again with the same track which is an electric guitar production clocking in at 12:08. The rousing instrumental "Jam 292" is equally masterful and will certainly blow you away. There is much more to be enjoyed throughout this set however I found those three tracks the most exceptional.

If you are a Hendrix beginner or longtime listener, Blues will bring you down to earth then to the ends of the musical universe in one sitting. Jimi had a way of doing that with his music. This a good starting point before exploring the entire Hendrix catalog. You have to build a foundation first before a house goes up and in the case of Hendrix it was already built in his mind before he walked into the studio. You hear it all like never before on 11 amazing tracks that need several listens before you fully understand the impact and importance of the blues on the music of the late great Jimi Hendrix.

Jimi Hendrix - 1989 - Radio One

Jimi Hendrix 
1989 
Radio One


01. Stone Free
02. Radio One
03. Day Tripper
04. Killing Floor
05. Love or Confusion
06. Drivin' South
07. Catfish Blues
08. Wait Until Tomorrow
09. Hear My Train a Comin'
10. Hound Dog
11. Fire
12. Hoochie Coochie Man
13. Purple Haze
14. Spanish Castle Magic
15. Hey Joe
16. Foxey Lady
17. Burning of the Midnight Lamp

Jimi Hendrix - guitar, lead vocals
Noel Redding - bass, backing vocals on track 3
Mitch Mitchell - drums, backing vocals
Jimmy Leverton - backing vocals on track 11
Trevor Burton - backing vocals on track 11
Alexis Korner - Slide guitar on track 12

Released in 1988 by Rykodisc. A collection of BBC Session tracks.



It's only fitting that James Marshall Hendrix, along with bassist Noel Redding and drummer Mitch Mitchell, were featured several times during 1967 on the BBC radio airwaves, as the gifted guitarist made his first impression in the British market. While pushing out a pair of albums at the height of the psychedelic scene in '67, with the release of Are You Experienced? and Axis: Bold As Love, and touring relentlessly, The Jimi Hendrix Experience performed on the BBC a total of five times over the course of the year. The collective recordings make up the Radio One disc.

The BBC anthology consists of The Experience's appearances on Saturday Club, Top Gear and Alexis Korner's Rhythm & Blues Show. From his first recorded BBC session on February 13 of 1967, Hendrix displayed his innovative approach. Armed with his inverted Fender, J.H. ruled the hard rock Strat-o-sphere with a sound that was completely out of character with the summer of love pop sound. Performing blues, funk and rock with passion, trumped-up with a wall of sound built on feedback and distortion, Hendrix explored new musical horizons. 

The seventeen song Radio One collection showcases Jimi at his improvising best. The compilation includes "Stone Free", covers of "Day Tripper", "Hey Joe" and "Killing Floor", plus "Fire", "Purple Haze", and "Foxy Lady". Combining his unique talent with the latest advances in equipment, Hendrix stretched out and let loose with abandon. Sustain took on a whole new meaning when Hendrix took over, and the cat was a master of fuzz box and wah-wah effects. Hendrix blew minds in '67 with furious fretboard work and an authoritative stage presence. In addition, Jimi quickly inspired countless musicians to alter their approach when playing guitar. 

Jimi Hendrix was a hard rock pioneer who left an incredible legacy despite a very brief run of serious six string amplification.

Jimi Hendrix - 1987 - Live At Winterland

Jimi Hendrix
1987
Live At Winterland


01. Prologue 0:59
02. Fire 3:12
03. Manic Depression 4:46
04. Sunshine Of Your Love 6:25
05. Spanish Castle Magic 5:32
06. Red House 10:58
07. Killing Floor 8:05
08. Tax Free 8:00
09. Foxy Lady 4:50
10. Hey Joe 6:44
11. Purple Haze 4:34
12. Wild Thing 3:05
13. Epilogue 0:33

Jimi Hendrix - guitar, vocals
Mitch Mitchell - drums
Noel Redding - bass guitar, backing vocals on track 11
Jack Casady - bass guitar on track 7

Rykodisc. Songs performed at Winterland San Francisco October 10,11,12 1968. The disc is now currently out of print.


"There is much interest in his records. Because of that, I am well taken care of."
-Alan Douglas, as quoted in Ebony, 1988.

For roughly twenty years, producer Alan Douglas possessed total control over the Hendrix catalog. Under his stewardship, Jimi's recordings were seen as fodder for sales rather than inviolable relics of a man who passed too soon. While some of the Alan Douglas releases involved dishonest overdubs and rampant edits, others were sabotaged by more subtle forms of tampering. As these nefarious misdeeds came to light, they were amply derided by Jimi's loyal fanbase. After defeating the old scrooge in court, the Hendrix family sought to undo the damage wrought during his shameful tenure. The official history has basically written him and his records out of the grand Jimi Hendrix narrative. But now I shall, in the just spirit of Procopius, unveil a chapter from the secret history of these dark ages. 

In the mid-70s, Alan Douglas made two "fake" Hendrix albums using mediocre leftovers and loads of overdubs. In the 80s, he focused on editing material rather than adding onto it. Nine to the Universe shows his penchant for cutting down the jams into more digestible pieces. This 1987 compact disc is another example of the new Douglas approach. Rather than giving us a full concert, he has elaborated a Frankenstenian "best of" from a three night JHE stint in San Francisco. All of the music on this CD has undergone some state of the art 1980s digital tweezing and remixing. Oh sure, the live performances at the Winterland are absolutely wonderful vintage 68 Experience barnstormers, but the sound quality has been debased by the producer's prerogative. Notice the digital reverb on Mitch Mitchel's drums, the unreal distance between the instruments, the inaudible bass of Noel Redding and the acceptable but hardly ear-shattering work of Jimi Hendrix. It's the Alan Douglas way: edit and remix and make it hip 'n modern. If you compare this to the Eddie Kramer-supervised live fare released from the late 90s on, you will see a tremendous difference. The straightforward Kramer material is in your face rather than timid and tinny. Nevertheless, this Alan Douglas-sanctioned compilation remained the only non-bootleg to shed light on the Winterland shows for almost two decades. And so, until Experience Hendrix opted to bring the music out from the haze of 1980s remastering, the world had to be content with this out of print relic. 

Jimi Hendrix - 1986 - Jimi Plays Monterey

Jimi Hendrix 
1986 
Jimi Plays Monterey


01. Killing Floor 3:35
02. Foxey Lady 3:34
03. Like A Rolling Stone 6:51
04. Rock Me Baby 3:29
05. Hey Joe 4:10
06. Can You See Me 2:42
07. The Wind Cries Mary 3:24
08. Purple Haze 3:18
09. Wild Thing 9:10

- Jimi Hendrix / guitar, vocals
- Noel Redding / bass
- Mitch Mitchell / drums

Released February 1986
Recorded June 18, 1967 at the Monterey Pop Festival, Monterey, California, USA


In the evening of June 18th 1967, The Jimi Hendrix Experience played The Monterey International Pop festival, in between The Grateful Dead and The Mamas & The Papas (who also had Scott McKenzie with them). The Who had played before The Grateful Dead and neither they nor Hendrix wanted to follow each other – for good reason as The Who were on guitar-smashing top form. As for The Jimi Hendrix Experience, they were virtually unknown in The States at that time. Like many of the artists that appeared at that festival that would not remain the case – in slightly less than 45 minutes, The Monterey International Pop Festival made their reputation.
You will note that Monterey was not billed as a Rock Festival. It was very much a pop festival and the range of artists from Ravi Shankar to Otis Redding to Hugh Masekela to Jefferson Airplane to The Byrds to Lou Rawls to Simon & Garfunkel to Johnny Rivers is quite staggering. Organised by John Phillips of The Mamas & Papas and their producer, Lou Adler, with producer Alan Pariser and publicist, Derek Taylor,  Monterey is often overlooked when compared, say, to Woodstock but it was better organised, had better sound and probably better weather. It was held at the same venue as The Monterey Jazz & Folk Festivals. The festival was filmed by D A Pennebaker – I have the film plus out-takes - and it is all great (although I can see why Simon & Garfunkel did not make the final cut - their harmonies were way-off!).
But back to The Jimi Hendrix Experience. The trio were Jimi Hendrix – guitar & vocals, Noel Redding – bass & backing vocals and Mitch Mitchell – drums and they were already a major attraction in the UK. Hendrix seemed to be enjoying himself  -  although nerves probably account for some of the mistakes – but from the opening of “Killing Floor” – (A Howlin’ Wolf song) to the closing “Wild Thing” where Hendrix upstages The Who by setting his guitar on fire (“A Sacrifice” as Hendrix puts it) you can tell that Jimi Hendrix was determined to make his mark. He wasn’t the only one – Monterey made stars of Janis Joplin, Laura Nyro, Canned Heat, Otis Redding (he was more or less unknown to white audiences), Canned Heat, The Steve Miller Band & Ravi Shankar and enhanced the reputations of others.
I am not sure how this festival was so influential – The Beach Boys who were a “no-show” for many good reasons – never regained their reputation – not fully – but it was.
But now I want to turn to the CD of The Jimi Hendrix Experience performance – no visuals – just the music. It is worth pointing out that the CD I have was released in October 2007. It was engineered by Eddie Kramer who worked as an engineer on all of the albums Hendrix made in his life-time and has looked after the Hendrix albums since The Hendrix family gained the rights to Hendrix’s material – the label is “Experience Hendrix” and while there has been definite barrel scrapping of late, “Live At Monterey” is pretty much essential. The same set was issued in February 1986, the earlier version being produced by Alan Douglas whose work on the posthumous Hendrix material has been heavily slatted. I have no idea if this CD sounds any different – I have not heard it but it has a different cover – a picture of a burning guitar and is called “Jimi Plays Monterey”. There is also an earlier release – from August 1970 – just a few weeks before Jimi Hendrix’s untimely death. This was a vinyl album called “Historic Performances Recorded at the Monterey International Pop Festival” and was produced by John Phillips & Lou Adler. Side one was The Jimi Hendrix Experience – 4 tracks of the nine song set – “Like a Rolling Stone” – the Bob Dylan song, “Rock Me Baby” – the BB King blues standard, Jimi’s own “Can You Hear Me” and the previously mentioned “Wold Thing”. Side two consists of the five songs Otis Redding performed at the festival – Otis had to curtail his set but those five songs changed history – but that is another story. Of these, despite missing out the third verse (and Dylan when he performs “Like a Rolling Stone” tends to omit it) “Like a Rolling Stone” is stunning. – and the other three are not bad, either.
Back to the CD. Following the introduction by Brian Jones – and I can’t believe he flew out specially just to introduce The Jimi Hendrix Experience – the other songs consist of the three songs that had provided Jimi with UK hits – “Hey Joe”, “The Wind Cries Mary” & “Purple Haze”  - all excellent as is “Foxy Lady” not a UK single but it was an American one. This was a set that was designed to sell Jimi Hendrix to an American audience. It certainly worked. The guitar playing is superb – no long solos here - as is Mitchell’s drumming. Redding’s bass was the weak link – but his playing was OK and suited Hendrix until the arrival of Billy Cox.
“Live at Monterey” is an historical document but it is still great music and it is worth buying for “Like a Rolling Stone”. The fact that the rest is great, too, is a bonus.