1975 saw the release of two more Jimi Hendrix studio albums. I remember being excited about the prospect of more Hendrix in the studio. I had assumed the supply of unreleased studio tracks had been exhausted. While Crash Landing and Midnight Lightning may not have been as strong as previous posthumous releases; there were still some interesting and quality tracks. Those were my thoughts before I realized just how the two albums had actually been put together.
This brings us to the controversial figure; producer Alan Douglas. He would somehow acquire control of the Jimi Hendrix catalogue and hold on to it for nearly twenty years; until Hendrix’s family would win control back after an extended court battle. Douglas would take un-issued tracks by Hendrix and erase everything except for Jimi’s contributions. He would then bring in studio musicians and create songs more in tune with his own vision.
Crash Landing was released in March of 1975 and was the first of the Alan Douglas productions. What would further anger a lot of Hendrix fans was Douglas taking a co-writing credit on five of the songs. The album would become a top five hit and make Douglas a rich man.
It is difficult at times to understand Jimi Hendrix’ original intent for these songs. I find it best to approach and appreciate them as they are presented. “Captain Coconut” is a classic Hendrix psychedelic tune. “Come Down Hard On Me” is almost straight blues and features him at his guitar best. “Message Of Love” and “Stone Free Again” may not be classics but they certainly feature some high points for him.
Midnight Lightning would be nowhere near as popular as Crash Landing. Douglas did not take any writing credits but again would erase all the contributions by Noel Redding, Billy Cox, Buddy Miles, and Mitch Mitchell. He even used this approach on the Noel Redding composition, “Trashman.”Midnight Lightning may be the weakest of the Hendrix studio releases. “Blue Suede Shoes” and “Here My Train A Comin’” pale next to the previously released live versions. “Midnight Lightning” does have some nice Hendrix guitar work but “Gypsy Boy,” “Once I Had A Woman,” and “Iszabella/Machine Gun” are only average at best and suffer from Douglas’ tinkering.
Many of the songs contained on Midnight Lightning and Crash Landing were re-released after 1995 and restored to their original intent as much as possible. These two albums are for the Hendrix aficionado only as they are interesting but ultimately are two of the weakest in the Hendrix inventory.