Jimi Hendrix Experience – Electric Lady Land (1968)

LPFrontCover1And here´s one of the most important albums in the hisory of rock music:

Electric Ladyland is the third and final studio album by English-American rock band the Jimi Hendrix Experience, released in October 1968 by Track Records/Polydor, and Reprise Records in North America. The double album was the only record from the band produced by Jimi Hendrix. By mid-November, it had charted at number one in the United States, where it spent two weeks at the top spot. Electric Ladyland was the Experience’s most commercially successful release and their only number one album. It peaked at number six in the UK, where it spent 12 weeks on the chart.Electric Ladyland is the third and final studio album by English-American rock band the Jimi Hendrix Experience, released in October 1968 by Track Records/Polydor, and Reprise Records in North America. The double album was the only record from the band produced by Jimi Hendrix. By mid-November, it had charted at number one in the United States, where it spent two weeks at the top spot. Electric Ladyland was the Experience’s most commercially successful release and their only number one album. It peaked at number six in the UK, where it spent 12 weeks on the chart.
Electric Ladyland included a cover of the Bob Dylan song, “All Along the Watchtower”, which became the Experience’s highest-selling single and their only top 40 hit in the US, peaking at number 20; the single reached number five in the UK. Although the album confounded critics in 1968, it has since been viewed as Hendrix’s best work and one of the greatest rock records of all time. Electric Ladyland has been featured on many greatest-album lists, including Q magazine’s 2003 list of the 100 greatest albums and Rolling Stone’s list of the 500 greatest albums of all time, on which it was ranked 54th.

OriginalBookletRecording sessions for the Jimi Hendrix Experience’s third and final studio album, Electric Ladyland, began at the newly opened Record Plant Studios, with Chas Chandler as producer and engineers Eddie Kramer and Gary Kellgren. As recording progressed, Chandler became increasingly frustrated with Hendrix’s perfectionism and his demands for repeated takes. Hendrix allowed numerous friends and guests to join them in the studio, which contributed to a chaotic and crowded environment in the control room and led Chandler to sever his professional relationship with Hendrix. Redding later recalled: “There were tons of people in the studio; you couldn’t move. It was a party, not a session.” Redding, who had formed his own band in mid-1968, Fat Mattress, found it increasingly difficult to fulfill his commitments with the Experience, so Hendrix played many of the bass parts on Electric Ladyland The album’s cover stated that it was “produced and directed by Jimi Hendrix”. The double LP was the only Experience album to be mixed entirely in stereo.

During the Electric Ladyland recording sessions, Hendrix began experimenting with other combinations of musicians, including Jefferson Airplane’s Jack Casady and Traffic’s Steve Winwood, who played bass and organ respectively on the fifteen-minute slow-blues jam, “Voodoo Chile”. During the album’s production, Hendrix appeared at an impromptu jam with B.B. King, Al Kooper, and Elvin Bishop. Electric Ladyland was released in October 1968, and by mid-November it had reached number one in the US, spending two weeks at the top spot. The double LP was the Experience’s most commercially successful release and their only number one album. It peaked at number six in the UK, spending 12 weeks on the chart.

Hendrix’s studio perfectionism was legendary – he and Mitch Mitchell recorded well over 50 takes of “Gypsy Eyes” over three sessions. Hendrix was generally insecure about his voice and often recorded his vocals hidden behind studio screens. Hendrix sang all the backing vocals himself on the title track and on “Long Hot Summer Night”. He was said to be very happy with the vocal results on “Have You Ever Been (To Electric Ladyland)”.

According to music journalist David Stubbs, Electric Ladyland is “undoubtedly a rock album, albeit rock on the point of evolving into something else.” Uncut magazine’s John Robinson said that its music reconciles the psychedelic pop of Hendrix’s earlier recordings with the aggressive funk he would explore on his 1970 album Band of Gypsys.


During its recording, Kramer experimented with innovative studio techniques such as backmasking, chorus effect, echo, and flanging, which AllMusic’s Cub Koda said recontextualized Hendrix’s psychedelic and funk sounds on the album.

Electric Ladyland is a cross-section of Hendrix’s wide range of musical talent. It includes examples of several genres and styles of music: the psychedelic “Burning of the Midnight Lamp”, a UK single the previous summer (1967), the extended blues jam “Voodoo Chile”, the New Orleans-style R&B of Earl King’s “Come On”, the epic studio production of “1983… (A Merman I Should Turn to Be)”, the social commentary of “House Burning Down”, and the Sixties-era Britpop of Noel Redding’s “Little Miss Strange”. The album also features an electric reworking of the Bob Dylan classic “All Along the Watchtower”, which has been well received by critics as well as by Dylan himself, and also “Voodoo Child (Slight Return)”, a staple of both radio and guitar repertoire. Rolling Stone’s Holly George-Warren praised “Crosstown Traffic” for its hard rock guitar riff.

“All Along the Watchtower” became the band’s highest-selling single and their only US top 40 hit, peaking at number 20; it reached number five in the UK. The album also included one of Hendrix’s most prominent uses of a wah-wah pedal, on “Burning of the Midnight Lamp”, which reached number 18 in the UK charts.


Hendrix had written to Reprise describing what he wanted for the cover art, but was mostly ignored. He expressly asked for a color photo by Linda Eastman of the group sitting with children on a sculpture from Alice in Wonderland in Central Park, and drew a picture of it for reference. The company instead used a blurred red and yellow photo of his head while performing at Saville Theatre, taken by Karl Ferris. Track Records used its art department, which produced a cover image by photographer David Montgomery, who also shot the inside cover portrait of Hendrix, depicting nineteen nude women lounging in front of a black background. Hendrix expressed displeasure and embarrassment with this “naked lady” cover, much as he was displeased with the Axis: Bold as Love cover which he found disrespectful. The cover was banned by several record dealers as “pornographic”, while others sold it with the gatefold cover turned inside out.

The double LP was the Experience’s most commercially successful release and Hendrix’s only number one album. In the UK, it peaked at number six and charted for 12 weeks.
Electric Ladyland confounded contemporary critics; reviewers praised some of its songs but felt the album lacked structure and sounded too dense. Melody Maker called it “mixed-up and muddled”, with the exception of “All Along the Watchtower”, which the magazine called a masterpiece. In a negative review for Rolling Stone, Tony Glover preferred the less difficult “Little Miss Strange” to songs such as “Voodoo Chile” and “1983”, which he said were marred by reactively harsh playing. Robert Christgau was more enthusiastic, naming it the fifth best album of 1968 in his ballot for Jazz & Pop magazine’s critics poll.


Over time, Electric Ladyland’s critical standing improved significantly, with author and musicologist John Perry describing it as “one of the greatest double-albums in Rock.” According to author Michael Heatley, “most critics agree” that the album was “the fullest realization of Jimi’s far-reaching ambitions”; Guitar World editor Noe Goldwasser called it his greatest work. The record was also deemed an essential hard rock album in Tom Larson’s 2004 book History of Rock and Roll, and Clash reviewer Robin Murray viewed it as a “true classic of the psychedelic rock era”. In a retrospective review for Blender, Christgau wrote that it was the definitive work of psychedelic music, describing the record as “an aural utopia that accommodates both ingrained conflict and sweet, vague spiritual yearnings, held together by a master musician”. In Charlotte Greig’s opinion, much like Are You Experienced, Electric Ladyland was “groundbreaking, introducing audiences to a style of psychedelic rock rooted in the blues”.

Electric Ladyland has been featured on many greatest album lists, including a number 10 ranking on Classic Rock magazine’s list of the 100 Greatest Rock Albums Ever, and number 37 on The Times’ 100 Best Albums of All Time. Music journalist and author Peter Doggett argued that it is very likely the greatest rock album of all time because of its exceptional concept, artful melodies, experimentation, and skilled musicianship, which he felt remains unparalleled by any other rock artist. In 2003, Q magazine included it on its list of the 100 greatest albums ever, while Rolling Stone ranked it 54th on its list of the 500 greatest albums of all time. (by wikipedia)


Jimi Hendrix Graffiti Tribute is a painting by Victor Cavalera


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


Alternate frontcovers

Jimi Hendrix (vocals, guitar, piano, percussion, harpsichord, bass on 02., 06., 08., 11., 14. + 15.)
Mitch Mitchell (drums, percussion, vocals on 05., background vocals)
Noel Redding (bass,  background vocals, guitar and vocals on 05.)
Jack Casady (bass on 04.)
Larry Faucette (percussion on 10, + 13.)
Mike Finnigan (organ on 10. + 13.)
Brian Jones (percussion on 15.)
Al Kooper (piano on 06.)
Dave Mason (guitar on 15, , background vocals on 03.)
Buddy Miles (drums on 10. + 13.)
Freddie Smith (saxophone on 10. + 13.)
The Sweet Inspirations (background vocals on 09.)
Steve Winwood (organ on 04.)
Chris Wood (flute on 11.)


01. And The Gods Made Love (Hendrix) 1.20
02. Have You Ever Been (To Electric Ladyland) (Hendrix) 2.13
03. Crosstown Traffic (Hendrix) 2.26
04. Voodoo Chile (Hendrix) 14.59
05. Little Miss Strange (Redding) 2.53
06. Long Hot Summer Night (Hendrix) 3.27
07. Come On (Part I) (King) 4.10
08. Gypsy Eyes (Hendrix) 3.45
09. Burning Of The Midnight Lamp (Hendrix) 3.41
10. Rainy Day, Dream Away (Hendrix) 3.40
11. 1983… (A Merman I Should Turn To Be) 5.49
12. Moon, Turn the Tides…Gently Gently Away (Hendrix) 7.51
13. Still Raining, Still Dreaming (Hendrix) 5.28
14. House Burning Down (Hendrix) 4.33
15. All Along The Watchtower (Dylan) 4.01
16. Voodoo Chile (Slight Return) (Hendrix) 5.13




“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,
Plowmen dig my earth.
None will level on the line,
Nobody of it is worth.

“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 not talk falsely now.
The hour’s getting late.

All along the watchtower
Princes kept the view
While all the women came and went.
Barefoot servants too.

Outside in the cold distance
A wildcat did growl.
Two riders were approaching,
And the wind began to howl, hey.


Jimi Hendrix – Rainbow Bridge (1971)

FrontCover1Rainbow Bridge is a compilation album by American rock musician Jimi Hendrix. It was the second posthumous album release by his official record company and is mostly composed of recordings Hendrix made in 1969 and 1970 after the breakup of the Jimi Hendrix Experience. Despite the cover photo and subtitle Original Motion Picture Sound Track, it does not contain any songs recorded during his concert appearance for the 1971 film Rainbow Bridge.Rainbow Bridge is a compilation album by American rock musician Jimi Hendrix. It was the second posthumous album release by his official record company and is mostly composed of recordings Hendrix made in 1969 and 1970 after the breakup of the Jimi Hendrix Experience. Despite the cover photo and subtitle Original Motion Picture Sound Track, it does not contain any songs recorded during his concert appearance for the 1971 film Rainbow Bridge.
Continuing in the vein of The Cry of Love, the first official posthumous Hendrix album, Rainbow Bridge explores new guitar styles and textures. All the songs, except for a solo studio version of “The Star Spangled Banner”, are written by Hendrix and mostly performed with Mitch Mitchell on drums and Billy Cox on bass.
The songs on Rainbow Bridge represent material in various stages of development and were never finalized or approved for release by Hendrix. Four of the songs on the album, along with the ten songs from The Cry of Love and three from War Heroes, were planned for Hendrix’s follow-up album to the live Band of Gypsys, released in March 1970. These songs were later included on Voodoo Soup in 1995 and First Rays of the New Rising Sun in 1997, which were attempts at completing the double album Hendrix was working on at the time of his death.

Despite the title, Rainbow Bridge was not a soundtrack to the film of the same name but rather a compilation of one live song and studio recordings from a number of sources between 1968 and 1970, including some for his planned but unfinished double album Hendrix01First Rays of the New Rising Sun. “Look Over Yonder” began as “Mr. Bad Luck” while Hendrix was performing in Greenwich Village, New York City, with his group Jimmy James and the Blue Flames in the summer of 1966. The version included on Rainbow Bridge was recorded by the Experience in 1968.[5] Two songs by the Band of Gypsys, “Room full of Mirrors” and “Earth Blues” date from 1969, although the latter has subsequent drum overdubs by Mitchell. “The Star Spangled Banner” is a 1969 solo studio recording by Hendrix. The remainder of the songs were recorded with the “Cry of Love” group (Mitchell and Cox) in 1970: “Dolly Dagger”, “Pali Gap”, and “Hey Baby (New Rising Sun)”. “Hear My Train A Comin'” is a live recording from the first show on May 30, 1970, at the Berkeley Community Theatre. An edited version appears in the 1971 concert film Jimi Plays Berkeley.
The album was the second to be produced by Eddie Kramer and Mitch Mitchell, with John Jansen assisting. It was released in October 1971 in the US, and the following month in the UK where it reached numbers 15 and 16 respectively in the album charts. “Dolly Dagger” with “The Star Spangled Banner” as the B-side was released as a single in the US in October 1971. It appeared at number 74 in the Billboard Hot 100 pop chart. In 2014, the original Rainbow Bridge album was reissued in both CD and LP formats.
According to Setting The Record Straight by John McDermott with Eddie Kramer, Izabella and Stepping Stone were pulled from the track listing in the final stages and replaced with the live version of Hear My Train A Comin’ from Berkeley. Izabella and Stepping Stone were instead used the improve the next posthumous release War Heroes per Mike Jeffery. Bleeding Heart was also considered but ultimately used on War Heroes. In a contemporary review for Rolling Stone magazine, Tony Glover wrote favorably of the songs on side one, particularly the “really majestic version” of “The Star-Spangled Banner”. Robert Christgau said in a retrospective review that The Cry of Love (1971) had highlighted Hendrix’s abilities as a songwriter, but Rainbow Bridge showcased his guitar playing:
Rich stuff, exploring territory that as always with Hendrix consists not merely of notes but of undifferentiated sound, a sound he shapes with a virtuosity no one else has ever achieved on an electric instrument. (by wikipedia)


Back when Rainbow Bridge was originally released, it was actually among the best of the posthumous Hendrix releases. Billed as “the original motion picture soundtrack” (it wasn’t, really), it was a mix of excellent, finished studio tracks and a couple of live tracks. Despite this, it’s understandable why it didn’t appeared in the digital realm until 2014 (officially, at least).

Once the estate went back to the Hendrix family in the ’90s, three of the tracks from Rainbow Bridge were used on the album First Rays of the New Rising Sun, which had previously only existed as Jimi’s hand-written track listing. The remaining tracks were orphaned out on various box sets and compilations. So while all the tracks on Rainbow Bridge have been made available elsewhere, it’s nice to finally have it assembled the way the original LP was, with excellent remastered sound (not just for the old-timers who had the LP the first time around, but for others who don’t necessarily want to shell out for the box set needed to gather these tracks). Highlights include overlooked gems like “Pali Gap” and Jimi’s rarely heard studio version of “The Star Spangled Banner,” which is made of multi-tracked guitars and basses. (by Sean Westergaard)

Billy Cox (bass)
Jimi Hendrix (guitar, vocals) backing vocals
Mitch Mitchell (drums)
Buddy Miles (drums on 04., background vocals on 02.)
Noel Redding (bass on 06.)
Juma Sultan (percussion on 01., 03. + 06.)
background vocals:
The Ghetto Fighters (Albert Allen and Arthur Allen) on 01.
The Ronettes (Veronica Bennett, Estelle Bennett, Nedra Talley) on 02.


01. Dolly Dagger (Hendrix) 4:45
02. Earth Blues (Hendrix)  4:20
03. Pali Gap (Hendrix) 5:05
04. Room Full Of Mirrors (Hendrix) 3:17
05. Star Spangled Banner (studio version) (Smith)  4:07
06. Look Over Yonder (Hendrix) 3:28
07. Hear My Train A Comin’ (live) (Hendrix) 11:15
08. Hey Baby (New Rising Sun) (Hendrix) 6:05


Recording details:
Tracks 1, 3 and 8:
recorded at Electric Lady Studios, New York City, July 1, 1970

Track 2:
recorded at Record Plant Studios, New York City, December 19, 1969 and Electric Lady Studios, July 1970

Track 4:
recorded at Record Plant Studios, November 17, 1969 and Electric Lady Studios, July 1970

Track 5;
recorded at Record Plant Studios, March 18, 1969

Track 6:
recorded at TTG Studios, Hollywood, October 22, 1968

Track 7:
recorded at Berkeley Community Theatre, Berkeley, California, May 30, 1970 (first show)



Jimi Hendrix – Blues (1994)

FrontCover1Blues is a posthumous compilation album by musician Jimi Hendrix, released April 26, 1994, on MCA Records. The album contains eleven blues songs recorded by Hendrix between 1966 and 1970. Out of these eleven, six were previously unreleased. The tracks include seven of Hendrix’s compositions along with covers of famous blues songs such as “Born Under a Bad Sign” and “Mannish Boy”. Most of the album’s material consists of leftover studio tapes that Hendrix might have never intended to release.

Compiled by MCA and released in 1994, Blues was met with favorable criticism and multiple chart success, selling over 500,000 copies in its first two years of release. On February 6, 2001, Blues was certified platinum in sales by the Recording Industry Association of America. The album was re-released on Experience Hendrix Records in 1998, following the Hendrix family’s acquisition of the musician’s recordings.

This collection was re-released again in October 2010 as part of the Hendrix family’s project to remaster Jimi’s discography.

The opening song “Hear My Train A Comin'” (aka, by Hendrix, “Getting My Heart Back Together Again”) is a Hendrix original that he often played live in concert, particularly in 1969 and 1970. The song was from a long lost master tape of Hendrix alone playing a 12-string acoustic right-hand guitar, strung for left hand and singing in a delta blues manner. This December 1967 live studio performance was filmed for, and included in the film See My Music Talking, and later included in the 1973 documentary Jimi Hendrix and accompanying soundtrack LP. The last song on Blues is a live version of “Hear My Train A Comin'”, recorded on May 30, 1970, at the Berkeley Community Theatre, that had previously been released on the posthumous Rainbow Bridge album in 1971.


“Born Under a Bad Sign” is an instrumental jam of the Albert King number originally written by Booker T. Jones and William Bell (performed by Band of Gypsys). “Red House” is the original (mono) take from the European version of Are You Experienced, but minus the outro chat (previously unavailable in US & Canada). Another take (stereo) from a different session was released on the US version of the 1969 compilation album Smash Hits. On this version Redding plays electric guitar tuned down to resemble a bass. “Catfish Blues” is from a Dutch TV show, Hoepla, which was recorded in November 1967.

Hendrix uses the first two verses from Muddy Waters “Rollin’ Stone” (which is based on older versions usually with “Catfish” in the title) and the last verse is from Muddy’s “Still a Fool” itself based on “Roll and Tumble Blues” by Hambone Willie etc.

“Voodoo Chile Blues” is another creation of Alan Douglas, recorded during the sessions that produced the finished track, “Voodoo Chile”, for the critically acclaimed Electric Ladyland album. This track is made up of two different takes of the song that were edited and joined together in order to come up with one consistent track. “Mannish Boy” is actually a hybrid of Muddy Waters’s “Mannish Boy” and Bo Diddley’s “I’m a Man”, it is a similar edited studio creation that combines several takes. “Once I Had a Woman” is a slightly longer edited version of a song recorded at the Record Plant in New York City on January 23, 1970 with musicians Buddy Miles on drums and Billy Cox on bass guitar. The band starts to jam during the second half of the long song and then a fade out follows. “Bleeding Heart” is a cover of the Elmore James number, performed here by Band of Gypsys. “Jelly 292” is actually take 2 of the song “Jam 292” (the name on the tape box) which appeared on the 1974 European-only LP Loose Ends. It is an uptempo jam based on Duke Ellington’s “Dooji Wooji”. “Electric Church Red House” is a jam from TTG Studios in Los Angeles featuring a group introduction by Hendrix (lifted from another, different jam at TTG) and Lee Michaels on organ.


Blues was well received by music critics. Rolling Stone magazine was impressed by how it showcases Hendrix’s ability to pay homage to his influences but also transcend them,while NME wrote that the album’s compilation of lengthy blues jams is distinguished by his “definitive” style of electric blues and the digital remastering quality. In The Village Voice, Robert Christgau said that the ordinary blues concept and track selection are conducive to Hendrix’s unique and eclectic style. (by wikipedia)


While Jimi Hendrix remains most famous for his hard rock and psychedelic innovations, more than a third of his recordings were blues-oriented. This CD contains 11 blues originals and covers, eight of which were previously unreleased. Recorded between 1966 and 1970, they feature the master guitarist stretching the boundaries of electric blues in both live and studio settings. Besides several Hendrix blues-based originals, it includes covers of Albert King and Muddy Waters classics, as well as a 1967 acoustic version of his composition “Hear My Train a Comin’.” (by Richie Unterberger)


Jimi Hendrix (guitar, vocals)
Jack Casady (bass on 05.)
Billy Cox (bass on 02., 06. – 09. . 11.)
Sharon Layne (piano on 09.)
Lee Michaels (organ on 10.)
Buddy Miles (drums on 02., 06. – 08.)
Mitch Mitchell (drums on 03. – 05., 09. – 11.)
Noel Redding (bass on 03., 04. + 10.)
Steve Winwood (organ on 05.)


01. Hear My Train A Comin’ (acoustic version) (live) (Hendrix) 3.05
02. Born Under A Bad Sign (Jones/Bell) 7.37
03. Red House (Hendrix) 3.41
04. Catfish Blues (live) (Traditional/Hendrix) 7.46
05. Voodoo Chile Blues (Hendrix) 8.47
06. Mannish Boy (Morganfield/London/McDaniel) 5.21
07. Once I Had A Woman (Hendrix) 7.49
08. Bleeding Heart (James) 3.26
09. Jelly 292 (Hendrix) 6.25
10. Electric Church Red House (Hendrix) 6.12
11. Hear My Train A Comin’ (electric version) (live) (Hendrix) 12.08

Note: upon the 2010 re-release of the album, “Jelly 292” was retitled “Jam 292.”



Unknown Author – Jimi Hendrix (Discography + lyrics) (1986)

FrontCoverThis is a very item from my collection of music books.

I didn´t find any information about this book, written by an unknown author on the internet.

Jimi Hendrix was an exceptional musician and songwriter and justifiably considered as  one of the most outstanding artists of the twentieth century. The interpretation of him as simply a great or greatest guitarist has in a way overshadowed the sheer beauty of his music.
It is true that he transformed the whole approach to electric guitar playing with his audacious fusion of Chicago blues, R&B, rock and roll, free jazz, you name it. He had an enormous influence on so many musicians and not only in rock and blues circles. Even the great Miles Davis felt compelled to abandon traditionnal “Jazz” structures, even putting a wah-wah pedal on his trumpet, to get the “Hendrix sound” into his music. Hendrix’s influence reached out to soul artists such as The Temptations and subsequent Oscar winner Isaac Hayes who soon featured funky Hendrix-style “wakka wakka” or fuzzy guitars in their arrangements. Of course it was primarily in the field of rock and pop that his influence was so strongly felt and many artists and groups followed suit, featuring elaborate guitar playing in their music.

Hendrix01Jimi’s psychedelic image also launched a trend with many black artists adopting his look, from Sly Stone to James Brown to the young Michael Jackson and his brothers, who took the stage sporting psychedelic costumes and afros, looking like little Hendrix clones. Even Eric Clapton had an afro perm back in 1967, making him look like a white Hendrix fronting Cream !

The fact that he acheived so much in a short time, with such influence, is amazing. There again, what he did get down is frustratingly short of the real measure of his talents. His blossoming as a songwriter in 1967 and 1968 had established him as a major international artist. His three classic albums as The Jimi Hendrix Experience had perfectly suited and even defined their epoch. Two unbeleivable years of creativity and fun, like one long party, which couldn’t have lasted forever. (by hendrix.guide.pagesperso-orange.fr)

Here some scans from this book … And many thanks to the unknown person, who wrote this book ! This is a printed booklet *smile*



Jimi Hendrix Experience – Are You Experienced (1967)


One of the most stunning debuts in rock history, and one of the definitive albums of the psychedelic era. On Are You Experienced?, Jimi Hendrix synthesized various elements of the cutting edge of 1967 rock into music that sounded both futuristic and rooted in the best traditions of rock, blues, pop, and soul. It was his mind-boggling guitar work, of course, that got most of the ink, building upon the experiments of British innovators like Jeff Beck and Pete Townshend to chart new sonic territories in feedback, distortion, and sheer volume. It wouldn’t have meant much, however, without his excellent material, whether psychedelic frenzy (“Foxey Lady,” “Manic Depression,” “Purple Haze”), instrumental freak-out jams (“Third Stone from the Sun”), blues (“Red House,” “Hey Joe”), or tender, poetic compositions (“The Wind Cries Mary”) that demonstrated the breadth of his songwriting talents.

JHE01Not to be underestimated were the contributions of drummer Mitch Mitchell and bassist Noel Redding, who gave the music a rhythmic pulse that fused parts of rock and improvised jazz. Many of these songs are among Hendrix’s very finest; it may be true that he would continue to develop at a rapid pace throughout the rest of his brief career, but he would never surpass his first LP in terms of consistently high quality. [The British and American versions of the album differed substantially when they were initially released in 1967; MCA’s 17-song reissue did everyone a favor by gathering all of the material from the two records in one place, adding a few B-sides from early singles as well.] (by Richie Unterberger)


Jimi Hendrix (vocals, guitar)
Mitch Mitchell (drums, background vocals)
Noel Redding (bass (background vocals)
The Breakaways (background vocals on 13.)
Chas Chandler — producer

01. Foxy Lady 3.19
02. Manic Depression 3.42
03. Red House 3.42
04. Can You See Me 2.33
05. Love Or Confusion 3.11
06. I Don’t Live Today 3.55
07. May This Be Love 3.11
08. Fire 2.43
09. Third Stone From The Sun 6.44
10. Remember 2.48
11. Are You Experienced 4.14
12. Hey Joe (Roberts) 3.30
13. Stone Free 3.36
14. Purple Haze 2.51
15. 51st Anniversary 3.16
16. The Wind Cries Mary 3.20
17. Highway Chile 3.33

All songs written and composed by Jimi Hendrix except where noted.


US front+back cover:

US front+back cover

Jimi Hendrix – Stone Free – A BBC Radio 1 FM Documentary (1991)

FrontCover1This is a real interesting BBC documentary about one of the greatest musicians in music.

It was first broadcast on September 14, 1991. And all official tracks was replaced by alternate versions. !

Unfortunately I don´t know the source of these alternate versions, except all these brilliant live recordings, Jim Hendrix did for BBC radio shows. You must know, that all these UK – bands of the Sixties recorded their songs again live for the BBC Radio. And these versions are pure dynamite … live, raw and dirty !

And we will hear great alternative versions, for example “Hey Joe” with great background vocals, and a wonderful verson of “The Wind Cries Mary”.

This documentary includes many interviews with Chas Chander, Eric Clapton, M itch Mitchell, Noel Redding, Sting, Jeff Beck, DA Pennebaker …

This is a very item ..  decicated to all, who know, that Jimi Hendrix was one of the greatest musicians we ever had.


Jimi Hendrix (guitar, vovals)
Mitch Mitchell (drums)
Noel Redding (bass)

01. Stone Free (alternate take) (Hendrix) 3.40
02. Talk – Chas Chandler, Eric Clapton 4.10
03. Killin’ Floor (BBC Session) (Burnett) 2.27
04. Talk – Jeff Beck, Chas Chandler, Mitch Mitchell, Noel Redding 4.18
05. Hey Joe (alternate take) (Roberts) 3.04
06. Talk – Jimi, Sting 2.32
07. Purple Haze (BBC Session) (Hendrix) 3.15
08. Talk – Pete Townshend 1.12
09. The Wind Cries Mary (alternate take) 3.18
10. Talk – Sting, Chas Chandler 3.25
11. Fire (BBC Session) (Hendrix) 2.40
12. Talk – Jeff Beck 0.56
13. Are You Experienced (alternate take) 4.03
14. Talk – Mitch Mitchell, Jimi talks about Third Stone From The Sun, Chas Chandler, Jeff Beck 3.47
15. Foxy Lady (alternate take) 0.54
16. Talk – Jeff Beck 0.56
17. Wild Thing (Taylor) 1.43
18. Talk – DA Pennebaker, Klaus Berling, Jimi, Jeff Beck 4.06
19. If 6 Was 9 (Hendrix)  0.57
20. Talk – Jeff Beck, Noel Redding 1.50
21. Burning Of The Midnight Lamp (alternate take) (Hendrix) 3.42
22. Talk – Chas Chandler 4.51
23. Talk – About Woodstock – Mitch Mitchell 1.23
24. Talk – Eric Clapton 2.05
25. Talk – Part of Jimi’s final Interview with Keith Altham 1.15
26. Talk – Chas Chandler 2.12
27. Angel (alternate take) (Hendrix) 3:32
28. Talk – Buddy Guy, Jeff Beck, Pete Townshend, Jimmy Page 3.31
29. All Along The Watchtower  (alternate take) (Dylan)  4.03


The Jimi Hendrix Experience: BBC Sessions (1998)

FrontCover1BBC Sessions is an album of recordings by the rock group The Jimi Hendrix Experience, released on MCA Records on June 2, 1998. It contains all the surviving tracks from their various appearances on BBC radio programmes, such as Saturday Club and Top Gear, recorded in 1967. At a BBC radio ‘session’, a practice still alive in British radio today, a band is required to record material in a studio quickly with limited overdubbing, largely limited to and relying upon their live sound. Many groups as part of this tradition choose to record some songs that are not part of their main repertoire. The album also includes the only two surviving Hendrix UK TV soundtracks (both BBC) Late Night Line Up (“Manic Depression” only survives) and the 1969 Lulu Show (complete).

BBC Sessions therefore offers its own unique example of the Experience sound, and a revealing glimpse of a song from their early repertoire Howlin’ Wolf’s “Killing Floor” and their only known studio recording of Bob Dylan’s “Can You Please Crawl Out Your Window?”.

Inlay1Apart from the “live” in studio versions of well-known Experience songs, there are several unique studio recordings of songs, i.e. “Driving South” , which includes several licks derived from Albert Collins’ “Frosty” (1962) and “Thaw Out” (1965), “Hoochie Coochie Man”, “Catfish Blues”, “Hound Dog”, “Hear My Train a Comin'” and a couple of novelty tracks: the amusing parody of a BBC Radio 1 jingle “Radio One”, and a recording with a young Stevie Wonder on drums (a cover of Wonder’s own “I Was Made to Love Her”). It also includes the sound track from the band’s infamous appearance on Lulu’s television show in 1969.

The Top of the Pops references were overdubbed by Brian Mathews onto Top Gear recordings for the BBC produced Swedish (English language) radio show of the same name. The original recordings minus Brian no longer exist.

Booklet-7AThis collection has been re-released as part of the Hendrix Family’s project to remaster Jimi’s discography in 2010 by Experience Hendrix and Legacy Recordings. The re-release contains 2 digitally remastered sound discs with “Burning of the Midnight Lamp” bonus track from August 24, 1967, and 1 DVD videodisc of footage from recording sessions, and 22 pages of program notes.

Some of this material had previously been released by Rykodisc in 1988 on an album titled Radio One. (by wikipedia)

Booklet-10AThese are the recordings that Jimi Hendrix made for BBC radio in the late ’60s. As such, they’re loose, informal, and off-the-top-of-his-head improvisational fun. These versions of the hits “Foxey Lady,” “Fire,” two versions of “Purple Haze,” and “Hey Joe” stay surprisingly close to the studio versions, but the tone of Hendrix’s guitar on these is positively blistering and worth the price of admission alone. There’s also a lot of blues on this two-disc collection, and Hendrix’s versions of “Hoochie Coochie Man” (with Alexis Korner on slide guitar), “Catfish Blues,” “Killing Floor,” and “Hear My Train A-Comin'” find him in excellent form. But perhaps the best example of how loosely conceived these sessions were are the oddball covers that Hendrix tackles, including Stevie Wonder’s “I Was Made to Love Her” (featuring Wonder on drums), Dylan’s “Can You Please Crawl out Your Window?,” The Beatles’ “Day Tripper,” and, in recognition of his immediate competition, Cream’s “Sunshine of Your Love.” No lo-fi bootleg tapes here (everything’s from the original masters and gone over by Eddie Kramer), the music and sound are class-A all the way, making a worthwhile addition to anyone’s Hendrix collection. (by Cub Koda)

Jimi Hendrix: vocals, guitar
Mitch Mitchell (drums)
Noel Redding (bass)
Alexis Korner (slide guitar on CD 1: 05.)
Stevie Wonder (drums on CD 2: 07. + 08.)


CD 1:
01. Foxy Lady (Hendrix) 2.59
02. Alexis Korner Introduction 0.27
03. Can You Please Crawl Out Your Window? (Dylan) 3.31
04. Rhythm and Blues World Service 0.12
05. (I’m Your) Hoochie Coochie Man (Dixon) 5.31
06. Traveling With the Experience 0.22
07. Driving South (Collins) 5.30
08. Fire (Hendrix) 2.43
09. Little Miss Lover (Hendrix) 2.57
10. Introducing the Experience 0.51
11. Burning Of The Midnight Lamp (Hendrix) 3.43
12. Catfish Blues (Petway) 5.28
13. Stone Free (Hendrix) 3.25
14. Love Or Confusion (Hendrix) 2.54
15. Hey Joe (Roberts) 4.01
16. Hound Dog (Leiber/Stoller) 2.42
17. Driving South (Collins) 4.49
18. Hear My Train A Comin’ (Hendrix) 5.00

CD 2:
01. Purple Haze (Hendrix) 3.17
02. Killing Floor (Burnett) 2.29
03. Radio One (Hendrix) 1.34
04. Wait Until Tomorrow (Hendrix) 2.57
05. Day Tripper (Lennon/McCartney) 3.24
06. Spanish Castle Magic (Hendrix) 3.07
07. Jammin´ (Hendrix) 3.20
08. I Was Made To Love Her (Wonder/Hardaway/Cosby/Moy) 3.04
09. Foxy Lady (Hendrix) 2.43
10. A Brand New Sound 0.54
11. Hey Joe (alternate take) (Roberts) 2.57
12. Manic Depression (Hendrix) 3.10
13. Driving South (alternate take) (Knight) 3.21
14. Hear My Train A Comin’ (alternate take) (Hendrix) 5.02
15. A Happening for Lulu 0.19
16. Voodoo Child (Slight Return) (Hendrix) 4.08
17. Lulu Introduction 0.22
18. Hey Joe (Roberts) 2.43
19. Sunshine Of Your Love (Bruce/Brown/Clapton) 1.17

CD2A* (CD 1)
** (CD 1)

* (CD 2 + artwork)
** (CD 2 + artwork)

JimiHendrixIn other words: He was one of the greatest !