People, Hell and Angels by Jimi Hendrix

February 26, 2013

More Jimi Hendrix from the vault will be released March 5, 2013. People, Hell and Angels gathers a dozen previously unreleased performances that focus on his work outside of the Experience. Sidemen Buddy Miles, Billy Cox, Stephen Stills, Lonnie Youngblood, Larry Lee, and a host of others (including Experience drummer Mitch Mitchell) all lend a hand on this disparate group of material.

While many of these tracks were never meant for public release, they feature some fine guitar play as they find Hendrix experimenting with new styles and sounds. Some tracks are stripped to basics but others add a second guitarist and other instruments to give them a fuller sound.

During December of 1969, Hendrix, bassist Billy Cox, and drummer Buddy Miles returned to the studio to record four tracks. One of the songs was “Earth Blues,” which was released on the Rainbow Bridge album after his death. It featured backing vocals by the Ronettes, guitar overdubbing, and Mitch Mitchell re-recording the drum parts. The song returns as a raw funky version featuring only the three primary musicians.

“Somewhere” is another song that has been released in a number of forms, all of which underwent studio tinkering after Hendrix’s death. This is a very precise rendition powered by Stephen Stills’ bass playing, which forms an underpinning for Hendrix’s wah-wah guitar sound.

Hendrix always had an affinity for the blues. He takes the old Elmore James tune “Bleeding Heart” and changes the tempo. It is Hendrix at his guitar best with only a basic rhythm section in support.

An interesting track is the nearly seven-minute “Let Me Move You,” recorded during March of 1969. During the mid-1960s Hendrix had been a session musician for Lonnie Youngblood and now the roles were reversed. Youngblood provided the vocal and his sax runs are the perfect foil for Hendrix and his guitar. The track also was one of the first times Hendrix used a 16-track recording process.

“Crash Landing” is another track that has undergone a number of transitions, the most famous being on the posthumous 1975 album that bears its name. That version featured overdubbing by studio musicians. This track has now been taken from the original master with drummer Rocky Isaac, bassist Billy Cox, and unfortunately an organist whose name has been lost to history. It has a stark and simpler feel from the versions that have preceded it.

Albert and Arthur Allen were friends with Hendrix and members of first The International G.T.O.’s and then the Ghetto Fighters. Hendrix invited them to sing background on “Freedom” and “Dolly Dagger.” They brought a third song with them, “Mojo Man.” Albert Allen provided the vocal and Hendrix both guitar parts, which were spliced together by his long time engineer Eddie Kramer.

People, Hell and Angels may not be a cohesive album but it provides insight into the mind of Jimi Hendrix as his time with The Experience came to an end. The liner notes give an excellent overview of each track


Live At Berkeley by The Jimi Hendrix Experience

July 11, 2012

Jimi Hendrix kept an odd schedule during the first part of 1970. He would spend weekdays in the recording studio and his weekends in concert with the Experience, which at the time consisted of bassist Billy Cox and drummer Mitch Mitchell. The only problem with this approach was the income stream had dried up a bit, and so it was decided to record a documentary film.

It was decided to record his two concerts at the Berkeley Community Theatre, Saturday, May 30, 1970, as the basis for the film. Experience Hendrix L.L. C. and Legacy Recordings are releasing a restored and expanded version of Jimi Plays Berkeley on both Blu-ray and DVD, July 10.

The company has gone the second mile with the resurrection of the concert. The entire second show, and the subject of this review, is being rereleased on CD. This concert by Hendrix is presented in its entirety and original sequencing. Since it is one complete concert, it gives an excellent picture into the live experience of Hendrix near the end of his life. There is a lot of Hendrix concert material out there, but this release moves to the forefront of what has been available and should please any fan.

The CD really communicates a concert experience. The show began with what Hendrix called an instrumental jam to make sure everything was in tune. “Pass It One” was a seven minute introduction to the evening’s music. This was a song in its early stages and would eventually evolve into “Straight Ahead.”

The material is a little different than the usual Hendrix concert fare as the famous was combined with some deeper catalogue songs. A laid back “Stone Free” and a slow and bluesy rendition of “Hey Joe” found Hendrix on familiar ground. The show piece was “Foxey Lady,” where played his guitar with his teeth and ground the strings against the microphone. By this time “The Star Spangled Banner” had become a regular part of his live show, which was always a showcase for his guitar virtuosity. A rollicking version of “Purple Haze” set up the concert closing “Voodoo Child,” which at over ten minutes was a virtual microcosm of Hendrix on stage.

“I Don’t Live Today” was a good example of Cox’s influence upon Hendrix and his music. He was a steady bassist and that fact allowed Hendrix to take off on his improvisations without worrying about a lack of foundational sound. “Machine Gun” contained one of those guitar solos that just need to be savored. “Hey Baby (New Rising Sun)” and “Lover Man” are both welcome additions to the live Hendrix experience and helped to bridge the gaps between the oft played material.

Had he lived, he would have turned 70 this year. While his material will no doubt continue to emerge and be rereleased, the Live At Berkeley CD is a fine addition the Hendrix legacy and is a worthwhile purchase for any Hendrix aficionado.

Article first published as Music Review: The Jimi Hendrix Experience – Live At Berkeley on Blogcritics.