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Jimi Hendrix
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Cord Hurn
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PostPosted: Thu Dec 08, 2016 8:15 pm    Post subject: Reply with quote

Three different versions of "Red House"...

https://www.youtube.com/watch?v=lob9lLXYCoc

https://www.youtube.com/watch?v=Us5sfT17hws

https://www.youtube.com/watch?v=ntQz4yoyvKw
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Cord Hurn
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PostPosted: Thu Dec 08, 2016 8:37 pm    Post subject: Reply with quote

CATFISH BLUES
(Written by Robert Petway)

Well I wish, I was a catfish
Swimin' in the, the deep blue sea
I have all you pretty women
Fishin' after me
Showin' up after me
Oh well
Ow well
Oh yeah
Oh yeah

Well I went down
To my girlfriends house
And I sat alone on her front step
And she said a "come in outcha man and just your love"
I just now left
I just now left
And I say
Who yeah
She said sure enough you did
Who yeah
Who yeah
Who yeah
Oh yeah

Yeah,
Well there's two
Two trains runnin'
But there's not a one that's goin' my way
You know there's a, one train running at midnight
The other one leave just for day
Leave just for day
Oh well
Yeah

I role and I tumble
Practically all night long
I role and I tumble
Practically all night long
Well, my baby don't treat me well

Yeah

https://www.youtube.com/watch?v=Sn4FpnuGFu0
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Cord Hurn
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PostPosted: Mon Dec 12, 2016 9:38 pm    Post subject: Reply with quote

LOVE OR CONFUSION
(Written by Jimi Hendrix)

Is that the stars in the sky, or is it
Rain fallin' down
Will it burn me if I touch the sun
So big, so round

Would I be truthful, yeah, in,
Choosing' you as the one for me?
Is this love baby,
Or is it just confusion?

My mind is so messed up
Goin' round and round
Must there be all the colors
Without names, without sound, baby?
My heart burns with feeling, but,
My mind, it's cold and reeling
Is this love baby,
Or is it confusion?

My head is poundin', poundin'
Goin' 'round and 'round and 'round and 'round
Must there always be these colors?
Without names, without sounds
My heart burns with feeling, but,
My mind, it's cold and reeling
Is this love baby,
Or is it just confusion?
You tell me baby, is this
Love or confusion?

Mama, we must get together and find out
Exactly what we're tryin' to do

Love or confusion?
Confusion

https://www.youtube.com/watch?v=tIuf_SPvX-Y

[BBC Sessions]
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Cord Hurn
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PostPosted: Mon Dec 12, 2016 10:02 pm    Post subject: Reply with quote

FOXEY LADY
(Written by Jimi Hendrix)

Foxy, Foxy
You know you are a cute little heart breaker
Foxy yeah,
And you know you're a sweet little love maker
Ah, foxy

I wanna take you home, yeah
I won't do you no harm
You've got to be all mine, all mine
Ooh Foxy Lady
Foxy, Foxy

Now, uh, I see you come down on the scene
Oh Foxy
You make me wanna get up and-a scream
Foxy, oh baby listen now
I've made up my mind,
I'm tired of wasting all my precious time
You've got to be all mine, all mine

Ooh, Foxy Lady
Ooh, Foxy Lady, yeah yeah
You look so good, Foxy
Oh yeah Foxy
yeah, give us some, Foxy
Foxy Foxy
Foxy Foxy
Foxy Foxy

https://www.youtube.com/watch?v=_PVjcIO4MT4

[Jimi Hendrix: Foxey Lady - Miami Pop, 1968]
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Cord Hurn
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PostPosted: Mon Dec 12, 2016 10:18 pm    Post subject: Reply with quote

One more from the Are You Experienced? album:

PURPLE HAZE
(Written by Jimi Hendrix)

Purple Haze all in my brain
Lately things don't seem the same
Actin' funny but I don't know why
'Scuse me while I kiss the sky

Purple Haze all around,
Don't know if I'm coming up or down
Am I happy or in misery?
Whatever it is, that girl put a spell on me

Purple Haze all in my eyes
Don't know if it's day or night
You've got me blowing, blowing my mind
Is it tomorrow or just the end of time?

https://www.youtube.com/watch?v=cJunCsrhJjg

[The Jimi Hendrix Experience: Purple Haze (Live at Atlanta Pop Festival, 1970)]
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PostPosted: Mon Dec 12, 2016 10:32 pm    Post subject: Reply with quote

I'd like to post a couple more songs from the First Rays Of The New Rising Sun compilation, so look out, here comes... Shocked

DOLLY DAGGER
(Written by Jimi Hendrix)

Here comes Dolly Dagger
Her love's so heavy, gonna make you stagger
Dolly Dagger
She drinks the blood from a jagged edge
Aw, drink up, baby

Been riding broomsticks since she was fifteen
Blowin' out all the other witches on the scene
She got a bullwhip just as long as your life
Her tongue can even scratch the soul out of the devil's wife
Well, I seen her in action at the Player's Choice
Turn all the love men into doughnut boys
Hey, red hot mama, you better step aside
This chick's gonna turn you to a block of ice
Look out!

Here comes Dolly Dagger
Her love's so strong, gonna make you stagger, baby
Dolly Dagger
She drinks her blood from a jagged edge
Uh, right on
Drink up, baby
Hey!

Yeah, look at old burnt out Superman, tryin' to shoot his dust on the sun
Captain Karma kids, they're dead on the run
Oh, words of love, do they ever touch Dolly Brown?
Better get some highway an' clear outta town

Here comes Dolly Dagger
Her love's so heavy, gonna make you stagger
Dolly Dagger
She ain't satisfied 'til she gets what she's after
She drinks the blood from a jagged edge
Better watch out, baby, here comes your master

Alright
Watch out, Devon
You give me a little bit of that heaven

Dolly, heavy mama, get it on, get it on, get it on
Dolly, heavy mama, get it on, get it on, get it on
Dolly, heavy mama, get it on, get it on, get it on
Dolly, heavy mama, get it on, get it on, get it on
Get it on, get it on, get it on, get it on, get it on, get it on
Woo, yeah, yeah, yeah
Woo, yeah, yeah, yeah
Woo, yeah, yeah, yeah
Woo, yeah, yeah, yeah
Woo, yeah, yeah, yeah

https://www.youtube.com/watch?v=-E2A60WslXg
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Cord Hurn
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PostPosted: Mon Dec 12, 2016 11:24 pm    Post subject: Reply with quote

EZY RIDER
(Written by Jimi Hendrix)

There goes ezy
Ezy rider
Riding down the highway of desire
He says the free wind
Takes him higher
Trying to find his heaven above
But he's dying to be loved

He's tellin me livin'
Is so magic
Something is forever
So he claims
He's talkin' bout lyin'
It's so tragic baby
But don't you worry about today
We got freedom comin' our way

How long
Do you
Think he is gonna last
Carryin' out on a gas

See all the others say
'Do what you please'
Gotta get the brothers together
And the right to be free
In a cloud of angel dust
I think I see me a freak
Hey motorcycle mama
You gonna marry me? ha,ha

I'll be stone crazy
Love comin' in at you
Stone crazy baby

There goes ezy
Ezy rider
Riding down the highway of desire
He says the free wind
Takes him higher
Trying to find his heaven above
But he's dying to be loved

https://www.youtube.com/watch?v=n9g6ngaWNAE

[Jimi Hendrix: Live at the Fillmore East, 12/31/1969]
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PostPosted: Fri Dec 16, 2016 1:38 am    Post subject: Reply with quote

Electric Ladyland

...And The Gods Made Love - There's a sound like wind at this track's start, and Jimi's voice saying, "One more time," is slowed down. to give the impression of some potent being speaking. As far as my personal taste goes, I consider this track to basically be a bunch of noise, although it was imaginative noise for the time, and sounds more interesting through headphones.

Have You Ever Been (To Electric Ladyland) - Jimi does all the voices on this song, a song that's meant as a propitious welcome to the album's listeners to a "magic carpet" where many things will be shown to them through the music. Jimi's higher-end vocal range sounds a little strained, but the harmony still works better here than later on in "Long Hot Summer Night". Jimi's on guitar and bass here, and does a good job creating a comforting yet anticipating mood with both instruments.

Crosstown Traffic - This has a good dramatic beginning, and even the silliness of JH using wrapped tissue paper over a comb to apply a "kazoo sound" can't spoil the melody for me. The lyrics I find amusing in places, and I appreciate hearing so much vigorous hard rock playing from the band on what is essentially a pop song. Dave Mason of Blood, Sweat, & Tears adds backing vocals along with the singing of drummer Mitch Mitchell and bassist Noel Redding, but those backing vocals still sound kind of rough.

Voodoo Chile - Jimi H. could be a perfectionist in the studio, and at one point he frustrated manager/producer Chas Chandler (of The Animals fame) to the point of quitting with insisting on many takes. When Jimi became this album's producer after Chandler's resignation, he had Noel play a bass part for 50 recorded takes, and things like this plus wanting to gig with his band Fat Mattress made Noel often leave the studio earlier than everybody else involved. So, when Jimi wanted to record a blues bit he wrote, Mitch was around to drum but Noel wasn't there to play bass. Jack Casady of Jefferson Airplane is the bassist here, and that's Traffic's Steve Winwood on organ. The four of them get off to a slow start, but they really start jamming out after awhile, and the results make this recording feel like it captured a true event! However, I could have done without the extended recording of people talking after the song is done, because I [refer to have things moving on to the next tune.

Little Miss Strange - Noel Redding is, however, very much on hand for this song he wrote. Noel plays guitar as well as bass here, and sings lead. Jimi is only doing background vocals with Mitch. Noel has a passable singing voice, somewhat less in both range and emotion than Jimi's voice, and also somewhat nasal-sounding. The song has a festive beginning, and Noel's a competent guitarist, and his bass playing matches well with Mitch's hyperactive drums. I wouldn't want to listen to an entire album of Noel Redding songs, but I like how this song adds to the album's stylistic diversity while still seeming "psychedelic" in its own way.

Long Hot Summer Night - The guitar sound is standard fuzz-tone Jimi style, Mitch is reduced tp mainly playing a melodic loop that allows little wiggle room to stretch out, and Noel is missing and is substituted by Jimi's dubbed bass. The background vocals , all of them JH's voice, are "psychedelic" in a bad-trip sort of way, ruining the melody. I do like the piano playing from guest musician Al Kooper (like Dave Mason, from the band Blood, Sweat, & Tears), because it's a breath of fresh air in an otherwise stale-sounding track.

Come On (Let The Good Times Roll) - I like the way this song has such a confident swagger about it. The stops in this musical number only make the music seem more revved-up and turbo-charged when the band takes off again. I get the feeling that everybody involved was having a roaring good time putting this track down. This song is sometimes listed as "Come On (Part 1)" on albums. Turn this up; let it (and them) roll!

Gypsy Eyes - Here, Jimi Hendrix time-travels into his family past to when his father was falling in love with his mother, his dad felt it was likely she'd leave him before long, because he knows he's been hypnotized by her "gypsy eyes", her nature for wanting to move on. My favorite parts of this song are when Hendrix quickly picks the strings after singing the words "gypsy eyes"--magic!

Burning Of The Midnight Lamp - The opening melody with guitar and harpsichord sounds nice. The backing vocals by The Sweet Inspirations are rather well done. While I realize that some of the guitar effects are to make the song seem weirder and more psychedelic, they sound to me like unwelcome distractions from the main melody. there's a solo that fits the rest of the song snugly, however. The song has nothing deeper to say than "loneliness is such a drag", but many poems have also made that their main point, so I'm okay with it. A song I find mostly enjoyable but slightly frustrating.

Rainy Day, Dream Away - The beginning of this has a nice calm jazz-y mood to it, though JH's guitar playing is basically blues-styled at its core. Jimi and Noel are here joined by Larry Faucette on congas, Mike Finnigan on organ, Buddy Miles on drums (later to be in Jimi's Band Of Gypsys) and Freddie Smith on tenor saxophone. I'm entertained by the duel trying to break out between the guitar and the sax, and duel that sounds playfully half-hearted. Then, after that "half-hearted duel" moment, the band somewhat sounds like the Door plus JH on lead guitar, before going into a funky and vigorous melody that soon fades (to be picked up agin on "Still Raing, Still Dreaming"). Not really a stand-alone track, for it would feel too incomplete emotionally, but a nice track as part of the whole album.

1983 (A Merman I Should Turn To Be) - I think this is the closest Jimi Hendrix ever came to that genre of music known as "art rock" or "progressive rock". The narrative of the song sounds like science fiction or fantasy. The music starts out like a sad processional, then JH's voice gives the song an atmosphere of protest, complete with angry vocal echoes. Melodic structure melds with free-form art, though I'm sometimes impatient with the proceedings. I really like the presence of Chris Wood's flute, as it adds an ethereal feel to the whole proceeding.

Moon, Turn The Tides...gently gently away - The first few notes sound like high-pitched beeping that evokes in myself some notion of an interstellar craft which sounds like it gets closer than farther for a few times. There are buzzing hums of feedback to suggest a mobile structure brimming with energy. It's noise, but it's creative noise. Perhaps Jimi is suggesting that the people of Atlantis got rescued by aliens in spaceships?

Still Raining, Still Dreaming - The same cast that performed on "Rainy Day, Dream Away" shows up to play on this, picking up and slightly backtracking where that song let off: on a sassy, funky groove. The guitar seems to be talking, and the music in general emotes as a saucy, spunky strut. The organ adds a tone that is reprovingly puritan to balance the hedonistic vibe of the rest of the music. It all sounds cool to me!

House Burning Down - I've always assumed that Jimi Hendrix had much more of the libertine than the moralist in his personality, so it's a surprise to realize that he shows his social conscience in producing this anti-riot song that pleas for tolerance, patience, and forbearance. Jimi again plays bass in Noel's absence. The glowing sound of the backing vocals and Jimi's ability to play rugged yet twinkling guitar lines make this song memorable.

All Along The Watchtower - This has a good dramatic beginning, followed by a catchy reimagining of the music of Bob Dylan that illuminates Jimi's creativity. I'm especially impressed by the three concise and emotionally perfect guitar solos, one without slide or wah-wah effects, one with the slide, and one with the wah-wah. Jimi's friend Brian Jones of the Rolling Stones adds percussion to Mitch's drums, Jimi plays bass in Noel's absence, and Dave Mason makes another appearance to add 12-string guitar. This is one of the greatest covers ever in rock and roll, one for the ages.

Voodoo Child (Slight Return) - That wah-wah intro is just bristling with fire, electricity, and sensuality. There's a nice heavy swing to the main melody of this song, and it seems a re-imagination of the blues and an inflammation of red-hot rock. And speaking of hot, the spine-tingling guitar solo is sizzling! Mitch and Noel keep it steadily rocking, and produce some fancier and faster moves in the song's choruses. One of my absolute favorite songs from the Jimi Hendrix Experience.

I can't say that I find this album to be really cohesive, as the musical flavors between tracks differ wildly at times, but the general concept of taking the listener on a psychedelic voyage remains intact. Even the tracks that are just noise work all right within that larger context. This album is the only double-album's worth of Jimi Hendrix music that was released while he was still alive, and thus we can be sure the songs came out the way he wanted them to sound, that they met his final approval. Electric Ladyland is often listed among the 100 (or 500, or whatever number) greatest albums of all time, and critics have stated it is the fullest realization of Jimi's musical vision. I concur that it is the fullest realization of that vision, and thus is his greatest album. I have no reservations at all about stating that.
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PostPosted: Sat Dec 17, 2016 5:25 am    Post subject: Reply with quote

Nice write up!

Cord Hurn wrote:
Voodoo Child (Slight Return) - That wah-wah intro is just bristling with fire, electricity, and sensuality. There's a nice heavy swing to the main melody of this song, and it seems a re-imagination of the blues and an inflammation of red-hot rock. And speaking of hot, the spine-tingling guitar solo is sizzling! Mitch and Noel keep it steadily rocking, and produce some fancier and faster moves in the song's choruses. One of my absolute favorite songs from the Jimi Hendrix Experience.
My only input is for the bass for this song. It's available for Rocksmith, so I've worked on it quite a bit, note-for-note, making me realize for the first time how badass that bassline is. It's easy to miss because it blends in so well with what Jimi is doing on guitar, down to individual fill-ins. Noel is accenting the guitar melody line with a ton of mutes that seem entirely haphazard and improvised, never repeated, but it's all calculated to fit seamlessly with Jimi's madness. I didn't realize that Jimi recorded up to 50 takes in studio until reading it here, so maybe that explains what a perfect bassline this is. Once you get it up to speed and play every note, it's almost hypnotic. What a groove!
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PostPosted: Mon Dec 19, 2016 10:13 pm    Post subject: Reply with quote

Thank you for the kind words, Zar, and I very much appreciate your input!

Zarathustra wrote:
My only input is for the bass for this song. It's available for Rocksmith, so I've worked on it quite a bit, note-for-note, making me realize for the first time how badass that bassline is. It's easy to miss because it blends in so well with what Jimi is doing on guitar, down to individual fill-ins. Noel is accenting the guitar melody line with a ton of mutes that seem entirely haphazard and improvised, never repeated, but it's all calculated to fit seamlessly with Jimi's madness. I didn't realize that Jimi recorded up to 50 takes in studio until reading it here, so maybe that explains what a perfect bassline this is. Once you get it up to speed and play every note, it's almost hypnotic. What a groove!


JH didn't necessarily require 50 takes on every single Electric Ladyland song, but he reportedly made Noel record his bass part 50 times for one of the songs [and that song was probably "Voodoo Child "(Slight Return)], and apparently every version was listened to by Hendrix until he found the take he liked best, that he thought would fit best. You're right, it's a great bassline, and it fits in well with the guitar, to the point I have to boost bass on my CD player to hear the subtleties. It is indeed an awesome groove going on in that song, and that makes one of my all-time favorite rock songs.
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PostPosted: Mon Dec 19, 2016 10:23 pm    Post subject: Reply with quote

ALL ALONG THE WATCHTOWER
(Written by Bob Dylan)
(This arrangement by Jimi Hendrix)

"There must be some kind of way out of here,"
Said the joker to the thief,
"There's too much confusion,
I can't get no relief.
Businessmen, they drink my wine,
Come and dig my herb.
None of them along the line.
Knows what any of it's worth, hey!"

"No reason to get excited,"
The thief, he kindly spoke.
"There are many here among us
Who feel that life is but a joke.
But you and I, we've been through that,
And this is not our fate.
So let us stop talking falsely, now.
The hour is getting late, hey!"

Hey!

Ooo, all along the watchtower
Princes kept the view
While all the women came and went
Their foot-servants, too.
Well, uh, outside in the cold distance
A wildcat did growl.
Two riders were approaching,
And the wind began to howl, hey!

All along the watchtower!

Got to get away, got to get away from here!

All along the watchtower!

https://www.youtube.com/watch?v=TLV4_xaYynY

[The Jimi Hendrix Experience: All Along The Watchtower (Official Audio)]
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PostPosted: Tue Dec 20, 2016 4:25 am    Post subject: Reply with quote

VOODOO CHILD (SLIGHT RETURN)
(Written by Jimi Hendrix)

Well, I stand up next to a mountain
And I chop it down with the edge of my hand
Well, I stand up next to a mountain
Chop it down with the edge of my hand
Well, I pick up all the pieces and make an island
Might even raise just a little sand!
'Cause I'm a voodoo child
Lord knows I'm a voodoo child

I didn't mean to take up all your sweet time
I'll give it right back to you one of these days
I said, I didn't mean to take you up all your sweet time
I'll give it right back to you one of these days
And if I don't meet you no more in this world
Then I'll, I'll meet you in the next one
And don't be late, don't be late!
'Cause I'm a voodoo child
Lord knows I'm a voodoo child
I'm a voodoo child

https://www.youtube.com/watch?v=qaIXYt541XA

[Jimi Hendrix Experience: Voodoo Child (Slight Return)--Atlanta Pop Festival, July 4, 1970]
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PostPosted: Tue Dec 20, 2016 4:52 am    Post subject: Reply with quote

GYPSY EYES
(Written by Jimi Hendrix)

Well I realize that I've been hypnotized,
I love your gypsy eyes
I love your gypsy eyes
Alright!

Hey!
Gypsy.

Way up in my tree I'm sitting by my fire
Wond'rin' where in this world might you be
And knowin' all the time you're still roamin' in the country side
Do you still think about me?
Oh my gypsy.

Well I walked right on to your rebel roadside
The one that rambles on for a million miles
Yes I walk down this road searchin' for your love and ah my soul too
But when I find ya I ain't gonna let go.

I remember the first time I saw you
The tears in your eyes look like they're tryin' to say
Oh little boy you know I could love you
But first I must make my get away
Two strange men fightin' to the death over me today
I'll try to meet cha by the old highway.
Hey!

Well I realize that I've been hypnotized, I love your gypsy eyes
I love your gypsy eyes
I love your gypsy eyes
I love your gypsy eyes
Alright!

I've been searchin' so long my feet have made me lose the battle
Down against the road my weary knees they got me
Off to the side I fall but I hear a sweet call
My gypsy eyes is comin' and I've been saved.

Oh I've been saved
That's why I love you uh
Said I love you
Hey!
Love you uh
Lord I love you
Hey!

https://www.youtube.com/watch?v=48hLu6odZXI

[Jimi Hendrix: Gypsy Eyes - Behind The Scenes]
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PostPosted: Wed Jan 18, 2017 4:23 am    Post subject: Reply with quote

From the posthumous Hendrix album Valleys Of Neptune, released in 2010, is this title track:

VALLEYS OF NEPTUNE
(Written by Jimi Hendrix)

Lord, I feel the ocean swaying me
Washing away all my pain
See where I used to be wounded
Remember the scar?
Now you can't see a thing
And I don't feel no pain, no, no

Singing about the Valleys of Sunrise
Green and blue canyons, too
Singing about Atlantis love songs
The Valleys of Neptune is rising, rising, rising

Mercury liquid, emerald's shining
Now showing me where I came from, baby
Honey sun, turquoise bed he lays in
On the burning edge horizon
I'm sailing on a bluebird's mission
Bubbles and curls and tiptoes in the foam
See the wind make love to all the ocean
Tidal waves spread, and the message got home
And the message got home

Singing about the Valley of Sunsets...
Purple and gold... the Armies of the Lord
Before ancient Egypt, there were moon trips...
The Valleys of Neptune is arising -

Look out east coast, but you're going to have a neighbor
A rebirth land, home of the praying hands​
We know there were kinds, so much older
And they shall rise, and tell us much more the truth of man
I see visions of sleeping peaks erupting
Releasing all hell that will shake the Earth from end to end

And this isn't bad news, good news, or any news
It's just the truth, better save your souls while you can

Singing about the New Valleys
Of the Sunrise... Rainbow clean
The world is gonna be...
Singing about getting ready for the new tide...
The Valleys of Neptune is arising

https://www.youtube.com/watch?v=DjxH_a5U7wA
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PostPosted: Tue Nov 07, 2017 3:22 am    Post subject: Reply with quote

Valleys Of Neptune

Stone Free- The sound is sharp; but the pacing is a little too irritatingly start-and-stop for me to be particularly patient with this later remake. I'm most patient and forgiving with the newer & smoother outro, however.

Valleys Of Neptune - Here, Jimi is with bassist and old army buddy Billy Cox, drummer Mitch Mitchell, and percussionist Juma Sultan. This has a chipper and assured melody, and probably would have developed into a worthy Hendrix standard had it more opportunity to grow. It's not bad to me, but it doesn't "take off" for me emotionally until the solo.

Bleeding Heart - Rocky Isaac plays drums, Al Marks does maracas, and Chris Grimes controlled a tambourine--all three were members of a group called the Cherry People. Billy Cox debuted on this recording as Jimi's studio bass player, although Noel Redding would remain the touring bass player for a couple more months. Pleasant sound, though not particularly remarkable to me.

Hear My Train A-Comin' - Jimi, Mitch, and Noel created a soaring, blistering version of the song that is most famous for Jimi's playing it solo and acoustically in the 1973 documentary Jimi Hendrix. There is an enjoyable dangerousness to the music as this version progresses. It's fierce!

Mr. Bad Luck - This is a song JH wrote and performed with his group Jimmy James and the Blue Flames in 1966, before being discovered by Chas Chandler. The basic track was recorded in May 1967, and Mitch and Noel redid their parts on this recording twenty years later at Chandler's invitation. An okay track, I guess.

Sunshine Of Your Love - There was reportedly an atmosphere of friendship and mutual musical admiration between the members of the Jimi Hendrix Experience and Cream. And so, the JHE occasionally like to perform a Cream song live. This studio recording was done in anticipation of a new arrangement the band would soon play live. For JH standards, this is pretty mediocre, and the long percussion part is tiresomely repetitive. The blandest track on this collection.

Lover Man - Noel's bass and Mitch's drums were re-recorded by them in June 1987 with Chandler's invite. The basic track with Jimi's vocals and guitar was recorded in February 1969. An energetic and expressive guitar tone most certainly prevails here atop a solid jam.

Ships Passing Through The Night - Recorded in April 1969, which would be the last time the original Experience worked together in the studio. One of the main guitar recordings was put through a Leslie organ speaker, making for more of an ethereal sound. It's the cheery instrumental part of this that hits the spot for me.

Fire - A sped-up and crisply snappy version of a Hendrix standard recorded in studio in February 1969 to reflect how this song had evolved onstage in the many months since it was first recorded. Noel Redding needed accompaniment to cover up his harsh gargling backing vocals, in my opinion, and didn't get it this time.

Red House - This is from the same session as the previous track. It's true to the spirit and pacing of the best-known version (reviewed in this thread as a bonus track on Are You Experienced?), yet has a strikingly re-imagined solo section and an improved rhythm foundation going for it.

Lullaby For The Summer - This song would eventually morph into "Ezy Rider". The Experience has a really good groove going on here. This is an instrumental, and it ends with a glowing note that buttresses this entire track. The guitars snarl and sass over a groove that clicks.

Crying Blue Rain - A relatively mellow track for Jimi Hendrix and the Experience, featuring percussionist Rocki Dzidzornu on congas. No real lyrics, other than "yeah!", were with this, but the music makes up for it. It has a great tempo change to interest the listener, following a suave-sounding intro and preceding a brisk-sounding outro. I'm having fun listening to new Hendrix tracks like this one, and think anybody who already owns the classic Jimi tetralogy released during his lifetime (Are You Experienced?, Axis: Bold As Love, Electric Ladyland, and Band Of Gypsys) will enjoy adding this comp album to their music collection. For those reading along who don't own those albums, I recommend buying them before even considering purchasing this one. This is a good album for the completists, with great production, but it just isn't as representative of Jimi at his best as are his first four albums. And someone who is familiar with the more famous versions of Jimi's songs is more likely to enjoy the alternate versions here on this complilation, as opposed to someone who doesn't know Jimi's work very well.
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PostPosted: Tue Nov 07, 2017 4:12 am    Post subject: Reply with quote

BLEEDING HEART
(Written by Elmore James)
(This arrangement by Jimi Hendrix)

Peoples, peoples, peoples
You know what it means to be left alone
Peoples, peoples, people
You know what it means to be left alone
Yeah
Lord it happened to day
Lord not even a call on my telephone
Understandin'
Lord a little love in the world is all I need
A little love and understanding baby
It's all in the world I need
Lose of love
A misunderstanding of a no good woman
Lord they've both caused my heart to bleed
All right

Every mornin'
Every mornin' the willows weep among for me
Every mornin' yes the willows weep among for me
The birds sang the love song
My baby's caused my heart to bleed

https://www.youtube.com/watch?v=COsVgbAJ8B8
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PostPosted: Tue Nov 07, 2017 4:38 am    Post subject: Reply with quote

STONE FREE
(Written by Jimi Hendrix)

Everyday of the week I'm in a different city
If I stay too long people try to pull me down
They talk about me like a dog
Talkin' about the clothes I wear
But they don't realize they're the ones who's square

Hey!
And that's why
You can't hold me down
I don't want to be down I gotta move on
Ah

Stone free to do what I please
Stone free to ride the breeze
Stone free I can't stay
I got to got to got to get away right now

Alright
Listen to this baby
A woman here a woman there try to keep me in a plastic cage
But they don't realize it's so easy to break
But sometimes I get a ha
Feel my heart kind of runnin' hot
That's when I've got to move before I get caught

Hey that's why, listen to me baby, you can't hold me down
I don't want to be tied down
I gotta be free
Owh!

I said
Stone free to do what I please
Stone free to ride the breeze
Stone free I can't stay
Got to got to got to get away
Yeah ow!
Tear me loose baby

Yeah! Owh!
Stone free to ride on the breeze
Stone free to do what I please
Stone free I can't stay
Stone free I got to I got to get away
Stone free I'm gone baby, right now, don't try to hold me back
Stone free go on down the highway
Stone free I got to, got to, got to
Stone free bye bye baby

https://www.youtube.com/watch?v=uNK5-tZ_OgA
[Jimi Hendrix: "Stone Free", Live at the Atlanta Pop Festival, 1970]
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PostPosted: Fri Nov 10, 2017 3:19 am    Post subject: Reply with quote

Earlier in this thread, I wrote:
Hey Joe - I really don't like this song. A tune with the lyrics, "I'm going down to shoot my lady, you know I caught her messin' 'round with another man" is deplorable to me. Besides, Jimi didn't even write this, for it's a cover of a Billy Roberts song. Though I admire a lot of JH's work, and this is a signature song of his, I HATE IT!


I know I said this, but I find I must allow for the fact that many people were introduced to Jimi's guitar prowess through this song. So, to acknowledge this song's ground-breaking musical performance (even though I don't like the lyrics), here's the official audio for "Hey Joe":


https://www.youtube.com/watch?v=rXwMrBb2x1Q
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PostPosted: Fri Nov 10, 2017 3:34 am    Post subject: Reply with quote

South Saturn Delta

Look Over Yonder - "Mr. Bad Luck", a song Jimi had written while still a member of Jimmy James and the Blue Flames, had transformed into this song when Jimi, Mitch, and Noel had done 17 straight takes, and by then had the title changed to "Look Over Yonder". The result is an exciting, inviting, and satisfying road to ride.

Little Wing (Angel) - JH ended up devising music for "Little Wing" that was quite different from the music featured on this track. The music here would evolve into the song, "Angel". This arrangement that the original Experience uses here is a tad too up-tempo and rushed to bring out the beautiful potential of the song, in my opinion.

Here He Comes (Lover Man) - An abrasively energetic take on Jimi's guitar is featured here, following a strikingly effervescent solo introduction Hendrix conjured up. Alas, the lyrics are predictable and the word-less warbling drags my estimation of this recording downward. Brazen guitar, but muddy mix.

South Saturn Delta - Jimi here attempts to stir jazz into a song already representing a concoction of rock and blues, with horns played on one of his songs for the first (and the only?) time. In this context, it's a little surprising to hear Hendrix's guitar turned down in the mix early in the song, but it gets turned up again, and it turns out Mitchell's drums thrive in a jazz-tinged setting.

Power Of Soul - The introduction to this musical version is an enriching and infectious melody, and weighs somewhat heavily in favor of the song being cool to me. But the seamless switching to the familiar "Power To Love" featured on Band Of Gypsys is another feature I can like. Nice track, and more great work from Buddy Miles and Billy Cox!

Message To The Universe (Message To Love) - While living in rural upstate New York and working with his Woodstock band Gypsy Sun & Rainbows (Billy - bass, Mitch - drums, Juma Sultan and Jerry Veloz on percussion, and Larry Lee on rhythm guitar), Jimi recorded this. I enjoy most the guitar sound apparent in this song's bridge, with its great tone and riffing. Good dramatic ending, too.

Tax Free - It's Jimi, Noel, and Mitch under direction from Chas Chandler, and here they cover a song they learned about and studied while touring in Sweden. It sounds like a tune that's a comfortable fit with their abilities, strewn with quick fancy fills and rapid-fire note releases. Some great time changes are here, also.

All Along The Watchtower - Before Chas quit as producer of the Electric Ladyland sessions, he recorded this with Jimi, Mitch, Brian Jones, and Dave Mason on a 4-track recorder. When Jimi became producer, he ran this through a 12-track machine, then changed his bass overdub from this and added other overdubs. So this sounds like a rawer version of the familiar cover, with some bass dubs poorly mixed (at one point on this track, it sounds like a knob was bumped to make the bass dub louder than the basic track to which it was being mixed). This seems to me to be the most unnecessary track on this compilation.

The Stars That Play With Laughing Sam's Dice - This is a song the Jimi Hendrix Experience recorded with Chas producing that was done shortly after their appearance at the Monterey festival. It's got lots of noise, courtesy of Hendrix on those Roger Mayer customized tone pedals. Some of the lyrics are enjoyable as humor, and I like some of the searing guitar, but overall it's just too much noise for me. I have never been able to take this song very seriously.

Midnight - A listener can tell that JH, Mitch, and Noel worked really hard at creating and maintaining a tricky groove. While Jimi would lock into the groove with guitar lines sparkling enough to make minor stars jealous. A thoroughly psychedelic number that features some audaciously volatile lead guitar.

Sweet Angel (Angel) - The vocals pop in with a few lines obviously having been omitted, and I think I can hear an editing "pop" as though something was imperfectly attached. And I have an issue with the mix, because I feel the bass is too loud relative to the guitars. Yet those sweet and angelic guitar tones still rule.

Bleeding Heart (Peoples, Peoples, Peoples) - It's got a good and subtle beginning, then it suddenly kicks into a moderately-fast melody punctuated by lots of wah-wah lead lines fluttering away. The power duo of Billy and Mitch shines as usual. This version of BH has differences in lyrics and a faster tempo than the BH on Valleys Of Neptune. Both versions sound good!

Pali Gap - Everybody playing on this instrumental just lock into a very tight and solid effort that keeps the upbeat feeling going for several minutes. I'd never heard this before buying this compilation album, and I find I must say this is one of the better instrumentals in JH's catalog.

Drifter's Escape - The singing style Jimi uses here on the verses seems unusual for him, with uncharacteristic pitch changes. The guitar has a familiar and identifiable bristling energy, further buoyed by the well-oiled machine that Billy, Mitch, and Juma had become by now. The guitar vibe bolsters the stormy lyrics.

Midnight Lightning - This is "merely" Jimi's guitar and voice, but the recording comes through clearly, making for some beautifully-toned guitar to savor. This is a demo that is certainly worth hearing. Like the demo "Belly Button Window", included on the posthumous compilations The Cry Of Love and First Rays Of The New Rising Sun, this track has its charm. Unlike BBW, however, the charm of this is in the whimsical music rather than the whimsical lyrics.


Even though I have said some positive things about some of these tracks, I want to caution any readers who currently own no Hendrix albums that are considering buying this: buy the original four albums released when Jimi was alive first, and see how you like them! If you crave more Jimi after that, consider purchasing either :blues or First Rays Of The New Rising Sun next, because while these are posthumous, they have a completed sound to most of their tracks, without much tampering by an overzealous producer. Then if you liked those and want more, then and only then consider purchasing this album and/or Valleys Of Neptune. You will probably be in a better place to appreciate these two albums by that point. And, for the record, I consider Valleys Of Neptune to be a better collection than this South Saturn Delta.
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PostPosted: Fri Nov 10, 2017 5:25 am    Post subject: Reply with quote

[Jimi Hendrix - Tax Free]

https://www.youtube.com/watch?v=L1ZE4d8ER90

[music starts at 3:02 on this link to a Denver Pop performance]



https://www.youtube.com/watch?v=so3rz618Q7M
[Jimi Hendrix: Tax Free - 1969 at the LA Forum]
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