Every time I come to light or unreleased recordings - as happens more often - never heard versions of material already known by Jimi Hendrix, the world of fans that season to be creative in fibrillation. And the real reason is absolutely not to be linked only with a simple "fanatical passion for the musical adventures that were the musical phenomenon in Seattle. The reasons for
always listen with great attention to the sound recordings that occasionally resurface magnetic oblivion is essentially due to the fact that the sensational quality of the performances and visionary approach of the musician / composer is always fraught of the insights that allow its unique style to be re-read, and appreciated the decoded for what it actually deserves.
Specifically, the collection "Valleys of Neptune" proposes a series of pieces (12 to be exact) all recorded between February and May of 1969 (albeit with some further elaboration and modification). They are present here: some classic footage of Jimi's original ("Stone Free", "Hear My Train A Coming," "Fire," "Red House", "Lover Man"), some temporary "work in progress" followed in completed / reviewed ("Mr. Bad Luck", artifact dating back to the sessions for "Axis: Bold as Love", in fact shortly after it became "Look over younder") and some but never officially completed (the title track "Valleys of Neptune" for example, was recorded and amended several times between September 1969 and in May the following year), missed a few others of classics ("Sunshine of Your Love" Cream of the legendary and "Bleeding heart" of the prodigious bluesman Elmore James) as well as some valuable unpublished absolute ("Ships passing through the night", "Lullaby For The Summer" and "Crying Blue Rain").
carefully repackaged and remastered from the original engineer Eddie Kramer and the true archivist vaultmaister Hendrix and John McDermott. Inserted in a production strongly desired by the new record label that bought the rights to the catalog Hendrix (Sony) and the heirs of the company Experience Hendrix, LLC managed by the half-sister Janie, these songs turn the lights back on a musical phenomenon that lasted far too little to fully tell his true talent, but that the sudden death gave the status of "myth" of music for at least three generations.
Perhaps the advent of the music generated "more electronically or electrically" has made us forget the new music lovers to mere entertainment of the first heroes of the first electric guitars and tube amps ... James Marshall Hendrix category to which must be ascribed. What shines through with stunning clarity of these recordings is a resounding creative state of grace perhaps no coincidence that dates to the period immediately after "Electric Ladyland," the third album produced with the band experience that for many it is a goal for others it is a creative moment too tangled in its extraordinary ambition progressive. Undoubtedly
Hendrix was essentially a blues man, electric and - musically - violent, but his creative spirit is not free from that form of "song" that has given so much globally traditional soul music of the second half of the twentieth century. And the tracks that are in "Valleys of Neptune" leave open manera even more explicit in the question will remain unanswered for sure: "Where was artistically directed Jimi Hendrix? ".
course all posthumous record releases (more than the Dagger Records authorized to less competent) people - some more and some less - added small pieces missing at the overall puzzle, but there is no doubt that without the voice of the person concerned from these transactions is the "myth" to take advantage of the "musician" where each interpretation is valid and can not in any way be considered definitive.
Janie Hendrix in the liner notes of this work (but like all other tagged and marked by 'imprimatur of the family business) take care to tell the truth, playing according to his own brother lived the life of the madcap and projected adults a way to colorful, swirling, happy to be there, but to live it perhaps too overwhelmed with the necessary balance.
This adds the "surrounding color, but everything else is the music once again manifest a truly unique artistic talent that have a fundamental importance to appreciate and understand the season between the two decades as important second half of last century.
"I'm working on a new sound ... will change the way we listen to the music" ... said an excited Jimi to his father during one of his last very brief visits to Seattle in 1969 ... sin has been unable to bring it to fruition as the wretched stupidity of a girlfriend too stoned to call an ambulance or a dark political conspiracy they have "deleted" forever on that September 18, 1970.
always listen with great attention to the sound recordings that occasionally resurface magnetic oblivion is essentially due to the fact that the sensational quality of the performances and visionary approach of the musician / composer is always fraught of the insights that allow its unique style to be re-read, and appreciated the decoded for what it actually deserves.
Specifically, the collection "Valleys of Neptune" proposes a series of pieces (12 to be exact) all recorded between February and May of 1969 (albeit with some further elaboration and modification). They are present here: some classic footage of Jimi's original ("Stone Free", "Hear My Train A Coming," "Fire," "Red House", "Lover Man"), some temporary "work in progress" followed in completed / reviewed ("Mr. Bad Luck", artifact dating back to the sessions for "Axis: Bold as Love", in fact shortly after it became "Look over younder") and some but never officially completed (the title track "Valleys of Neptune" for example, was recorded and amended several times between September 1969 and in May the following year), missed a few others of classics ("Sunshine of Your Love" Cream of the legendary and "Bleeding heart" of the prodigious bluesman Elmore James) as well as some valuable unpublished absolute ("Ships passing through the night", "Lullaby For The Summer" and "Crying Blue Rain").
carefully repackaged and remastered from the original engineer Eddie Kramer and the true archivist vaultmaister Hendrix and John McDermott. Inserted in a production strongly desired by the new record label that bought the rights to the catalog Hendrix (Sony) and the heirs of the company Experience Hendrix, LLC managed by the half-sister Janie, these songs turn the lights back on a musical phenomenon that lasted far too little to fully tell his true talent, but that the sudden death gave the status of "myth" of music for at least three generations.
Perhaps the advent of the music generated "more electronically or electrically" has made us forget the new music lovers to mere entertainment of the first heroes of the first electric guitars and tube amps ... James Marshall Hendrix category to which must be ascribed. What shines through with stunning clarity of these recordings is a resounding creative state of grace perhaps no coincidence that dates to the period immediately after "Electric Ladyland," the third album produced with the band experience that for many it is a goal for others it is a creative moment too tangled in its extraordinary ambition progressive. Undoubtedly
Hendrix was essentially a blues man, electric and - musically - violent, but his creative spirit is not free from that form of "song" that has given so much globally traditional soul music of the second half of the twentieth century. And the tracks that are in "Valleys of Neptune" leave open manera even more explicit in the question will remain unanswered for sure: "Where was artistically directed Jimi Hendrix? ".
course all posthumous record releases (more than the Dagger Records authorized to less competent) people - some more and some less - added small pieces missing at the overall puzzle, but there is no doubt that without the voice of the person concerned from these transactions is the "myth" to take advantage of the "musician" where each interpretation is valid and can not in any way be considered definitive.
Janie Hendrix in the liner notes of this work (but like all other tagged and marked by 'imprimatur of the family business) take care to tell the truth, playing according to his own brother lived the life of the madcap and projected adults a way to colorful, swirling, happy to be there, but to live it perhaps too overwhelmed with the necessary balance.
This adds the "surrounding color, but everything else is the music once again manifest a truly unique artistic talent that have a fundamental importance to appreciate and understand the season between the two decades as important second half of last century.
"I'm working on a new sound ... will change the way we listen to the music" ... said an excited Jimi to his father during one of his last very brief visits to Seattle in 1969 ... sin has been unable to bring it to fruition as the wretched stupidity of a girlfriend too stoned to call an ambulance or a dark political conspiracy they have "deleted" forever on that September 18, 1970.
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