Record Reviews
📝 2096 reviews| Artist | Title | Review |
|---|---|---|
| Jimi Hendrix | Are You Experienced? (US Edition) | <p>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. Not 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 CD reissue does 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.</p>— <b>Richie Unterberger</b> |
| Jimi Hendrix | Purple Haze | |
| Jimi Hendrix | Radio One | <p>Seventeen songs from 1967 BBC broadcasts, when the Jimi Hendrix Experience had yet to burn out from the wheel of constant touring, management hassles, and internal strife. They're in good, enthusiastic form as they run through early gems like "Hey Joe," "Foxy Lady," "Fire," and "Stone Free," the lack of studio polish giving these versions a loose feel. The Experience studio albums are still considerably superior to this set, but it's certainly worth acquiring by any serious Hendrix fan, not least because it has several covers that didn't make it on to the three proper Experience LPs. Several of these ("Hoochie Koochie Man," "Killing Floor," "Catfish Blues") reveal his sometimes overlooked affinity for Chicago-style electric blues; there are also a couple of surprises ("Hound Dog" and "Day Tripper"). With good sound, it's a solid addition to the Hendrix library, demonstrating his versatility in various rock, soul, and blues styles.</p><p>—<strong>Richie Unterberger</strong></p> |
| Jimi Hendrix | Electric Ladyland | <p>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.</p><p>—<strong>Cub Koda</strong></p> |
| Jimi Hendrix | Live At Winterland | <p>Jimi Hendrix's sonic assaults and attacks hypnotized, frightened, and amazed audiences in the late '60s. His studio recordings helped him attain his reputation, but his live works validated it. That's the case on the 13 songs from a 1968 Winterland concert that made their way onto CD in 1987. Whether he was doing short, biting songs like "Fire" or stretching out for sprawling blues statements like "Red House" and "Killing Floor," Jimi Hendrix turned the guitar into a battering ram, forcing everyone to notice and making every solo and note a memorable one.</p><p>—<strong>Ron Wynn</strong></p> |
| Jimi Hendrix | Pipedream | |
| Jimi Hendrix | Experience, The Last Concert | |
| Jimi Hendrix | Axis Bold As Love | <p>When the Experience recorded their second album, they were in the process of solidfying their international stardom. That meant access to more studio time and more sophisicated technology, but not, alas, a great deal of time to write the material. That may be why Axis isn't quite as much of a tour de force as <i>Are You Exerienced?</i>, but it's nevertheless another major effort, showing Hendrix continuing to grow, particularly in his increasing mastery of the studio and more sophisticated lyrics. Soul and R&B influences are more prominent here than on his debut, though psychedelic experimentalism ran rampant (to great effect) on "If 6 Was 9." "Spanish Castle Magic," "Up From the Skies," "You Got Me Floatin'," and "Castles Made of Sand" all had funky grooves that gave the spiraling guitars and crunchy rhythm section a much-needed buoyancy. The best song, though, might have been the mellowest: "Little Wing" was Hendrix at his most delicate, and perhaps his most personal.</p>— <b>Richie Unterberger</b> |
| Jimi Hendrix | Live At Woodstock | <p>In August 1994, MCA Records released Jimi Hendrix: Woodstock, a single-disc collection of highlights from Hendrix's legendary closing set at Woodstock. Less than a year later, Al Hendrix won the rights to his son's recordings, and his company, Experience Hendrix, began reissuing definitive masters of Jimi's catalog. In the summer of 1999, Experience Hendrix rolled out Live at Woodstock, which features the entire set over the course of two discs. Hearing Hendrix's complete concert isn't as revelatory as you'd think, since it just emphasizes that he overcompensated for his under-rehearsed band by jamming. And does he ever jam -- almost everything clocks in at over five minutes, with a couple weighing in at over ten minutes. Naturally, this will hardly be seen as a detriment by legions of Hendrix fans, and that's who this set is for. Listening to all of Live at Woodstock takes dedication and an active interest in the subtleties of Jimi's playing. He had disbanded the Experience only eight weeks before and was teamed with players who wanted to follow him, no matter where he went. Unfortunately, the lack of rehearsal meant that they were often striving to keep up with him; in turn, Hendrix runs wild, spinning off dizzying solos that are as fascinating as they are frustrating. Taken individually, these performances are usually enthralling, but Live at Woodstock will exhaust the average listener. Which is not to say it isn't a worthwhile experience. As a historical document, it is interesting and revealing, and Hendrix historians undoubtedly will find several of these performances necessary. But this not an essential addition to the average fan's library, simply because Hendrix blew minds at Woodstock through excess, not focus.</p><p>—<strong>Stephen Thomas Erlewine</strong></p> |
| Jimi Hendrix | Live At Woodstock | <p>In August 1994, MCA Records released Jimi Hendrix: Woodstock, a single-disc collection of highlights from Hendrix's legendary closing set at Woodstock. Less than a year later, Al Hendrix won the rights to his son's recordings, and his company, Experience Hendrix, began reissuing definitive masters of Jimi's catalog. In the summer of 1999, Experience Hendrix rolled out Live at Woodstock, which features the entire set over the course of two discs. Hearing Hendrix's complete concert isn't as revelatory as you'd think, since it just emphasizes that he overcompensated for his under-rehearsed band by jamming. And does he ever jam -- almost everything clocks in at over five minutes, with a couple weighing in at over ten minutes. Naturally, this will hardly be seen as a detriment by legions of Hendrix fans, and that's who this set is for. Listening to all of Live at Woodstock takes dedication and an active interest in the subtleties of Jimi's playing. He had disbanded the Experience only eight weeks before and was teamed with players who wanted to follow him, no matter where he went. Unfortunately, the lack of rehearsal meant that they were often striving to keep up with him; in turn, Hendrix runs wild, spinning off dizzying solos that are as fascinating as they are frustrating. Taken individually, these performances are usually enthralling, but Live at Woodstock will exhaust the average listener. Which is not to say it isn't a worthwhile experience. As a historical document, it is interesting and revealing, and Hendrix historians undoubtedly will find several of these performances necessary. But this not an essential addition to the average fan's library, simply because Hendrix blew minds at Woodstock through excess, not focus.</p><p>—<strong>Stephen Thomas Erlewine</strong></p> |
| Jimi Hendrix | Nine To The Universe | <p>This is the third Hendrix album to be produced by Alan Douglas, and easily the best. It was recorded at a time in his career when Hendrix was considering which way to take his music, and was only only a jam, never intended as a commercial recording, so it's got a looser jazzier feel to it. Again Douglas has tampered with the music but this time it's more stripped back than embellished, and sounds authentic enough. I really like Hendrix in this sort of setting and would have loved to have heard more of this.</p> |
| Jimi Hendrix | Smash Hits | <p>One of the first hits compilations assembled of Jimi Hendrix's catalog, Smash Hits remains one of the best, since it keeps its focus narrow and never tries to extend its reach. Basically, this album contains the songs everybody knows from Hendrix, drawing heavily from Are You Experienced?, plus adding the non-LP "Red House," "51st Anniversary," and "Highway Chile." Those non-LP selections may still make this worth seeking out, even if they've appeared on subsequent hits collections, but the main strength of Smash Hits is that it contains the best-known big-name songs in one place. Maybe not enough to make the collection essential, but still enough to make it a representative, accurate sampler.</p><p>—<strong>Stephen Thomas Erlewine</strong></p> |
| Jimi Hendrix | Smashing Amps | |
| Jimi Hendrix | Band Of Gypsys | <p>Band of Gypsys was the only live recording authorized by Jimi Hendrix before his death. It was recorded and released in order to get Hendrix out from under a contractual obligation that had been hanging over his head for a couple years. Helping him out were longtime friends Billy Cox on bass and Buddy Miles on the drums because the Experience had broken up in June of 1969, following a show in Denver. This rhythm section was vastly different from the Experience. Buddy Miles was an earthy, funky drummer in direct contrast to the busy, jazzy leanings of Mitch Mitchell. Noel Redding was not really a bass player at all but a converted guitar player who was hired in large part because Hendrix liked his hair! These new surroundings pushed Hendrix to new creative heights. Along with this new rhythm section, Hendrix took these shows as an opportunity to showcase much of the new material he had been working on. The music was a seamless melding of rock, funk, and R&B, and tunes like "Message to Love" and "Power to Love" showed a new lyrical direction as well. Although he could be an erratic live performer, for these shows, Hendrix was on -- perhaps his finest performances. His playing was focused and precise. In fact, for most of the set, Hendrix stood motionless, a far cry from the stage antics that helped establish his reputation as a performer. Equipment problems had plagued him in past live shows as well, but everything was perfect for the Fillmore shows. His absolute mastery of his guitar and effects is even more amazing considering that this was the first time he used the Fuzz Face, wah-wah pedal, Univibe, and Octavia pedals on-stage together. The guitar tones he gets on "Who Knows" and "Power to Love" are powerful and intense, but nowhere is his absolute control more evident than on "Machine Gun," where Hendrix conjures bombs, guns, and other sounds of war from his guitar, all within the context of a coherent musical statement. The solo on "Machine Gun" totally rewrote the book on what a man could do with an electric guitar and is arguably the most groundbreaking and devastating guitar solo ever. These live versions of "Message to Love" and "Power to Love" are far better than the jigsaw puzzle studio versions that were released posthumously. Two Buddy Miles compositions are also included, but the show belongs to Jimi all the way. Band of Gypsys is not only an important part of the Hendrix legacy, but one of the greatest live albums ever.</p><p>—<strong>Sean Westergaard</strong></p> |
| Jimi Hendrix | Concerts | <p>Out of several live Hendrix albums, The Jimi Hendrix Concerts stands as one of the very best. Taken from shows at Winterland, The Royal Albert Hall, and from various venues in New York, Berkeley, and San Diego, the set includes hits like "Fire," "Voodoo Chile," and "Hey Joe," as well as fine blues like "Red House," "Bleeding Heart," and "Hear My Train a Comin'." Highlights include a definitive version of "Little Wing" and one of the most assured and driving versions of "Voodoo Chile" (these and four other stellar tracks come from what must have been an amazing concert at Winterland in the fall of '68). Another standout is "I Don't Live Today," which features a fine mix of jazz-inspired soloing and various feedback and distortion "tricks" (tricks that figure into Hendrix's way of "playing with the electronics," and which make up one of the more innovative aspects of his guitar playing). Hendrix gets adept and sympathetic support throughout from bassist Noel Redding and drummer Mitch Mitchell (Band of Gypsies' bassist Billy Cox replaces Redding on "Red House" and "Hey Joe"). With top-notch performances, consistently inspired solos, and excellent sound, this is probably the best introduction to Hendrix's live recordings.</p><p>—<strong>Stephen Cook</strong></p><hr/><p><strong>01 - Fire</strong> - recorded at the Winterland Arena, San Francisco, California, USA on October 12, 1968 (1st show)</p><p><strong>02 - I Don't Live Today</strong> - recorded at San Diego Sports Arena, San Diego, California, USA on May 24, 1969</p><p><strong>03 - Red House</strong> - recorded at New York Pop, Downing Stadium, Randall's Island, New York, USA on July 17, 1970</p><p><strong>04 - Stone Free</strong> - recorded at the Royal Albert Hall, London, England on February 24, 1969</p><p><strong>05 - Are You Experienced?</strong> - recorded at the Winterland Arena, San Francisco, California, USA on October 10, 1968 (1st show)</p><p><strong>06 - Little Wing</strong> - recorded at the Winterland Arena, San Francisco, California, USA on October 12, 1968 (2nd show)</p><p><strong>07 - Voodoo Chile</strong> - recorded at the Winterland Arena, San Francisco, California, USA on October 10, 1968 (1st show)</p><p><strong>08 - Bleeding Heart</strong> - recorded at the Royal Albert Hall, London, England on February 24, 1969</p><p><strong>09 - Hey Joe</strong> - recorded at Berkeley Community Theatre, Berkeley, California, USA on May 30, 1970 (2nd show)</p><p><strong>10 - Wild Thing</strong> - recorded at the Winterland Arena, San Francisco, California, USA on October 12, 1968 (1st show)</p><p><strong>11 - Hear My Train A Comin'</strong> - recorded at the Winterland Arena, San Francisco, California, USA on October 10, 1968 (2nd show)</p><p><strong>12 - Foxey Lady</strong> - recorded at The Forum, Los Angeles, California, USA on April 26, 1969</p> |
| Jimi Hendrix | Cry Of Love | <p>This was the first of the posthumous releases in the Jimi Hendrix catalog and probably the best as it collected most of the studio tracks that were either completed or very near completion before Hendrix died. Some of these tunes, like "Angel" and "Ezy Rider," have become well-known pieces in the Hendrix canon, but they sit alongside lesser-known gems like "Night Bird Flying" and the Dylanesque "My Friend." Cry of Love as an album has been rendered as a footnote, since the Hendrix estate has recompiled, to Hendrix's specifications, First Rays of the New Rising Sun. This (originally) double-album set contains not only the entire Cry of Love LP, but the best studio tracks from Rainbow Bridge, War Heroes, and Crash Landing, presented in drastically improved sound.</p><p>—<strong>Sean Westergaard</strong></p> |
| Jimi Hendrix | Jimi Hendrix | |
| Jimi Hendrix | Loose Ends | <p>This is, as the title suggests, loose ends is just a few scraps from rehearsals or jam sessions, the exception being "The Stars That Play". "Jam 292" is great but the superior second take of this appears on the Blues collection. Other than that it's just running through stuff in the studio, never meant to be released. Obviously Hendrix still produces some magnificent licks, but this is strictly only for the hardcore Hendrix collectors.</p> |
| Jimi Hendrix | Rainbow Bridge | <p>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).</p><p>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.</p><p>—<strong>Sean Westergaard</strong></p> |
| Jimi Hendrix | Soundtrack |
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