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Rock - Released March 1, 2013 | Legacy Recordings

Distinctions 4F de Télérama - Sélectionné par Ecoutez Voir
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Rock - Released January 1, 2010 | Legacy Recordings

Distinctions The Qobuz Ideal Discography
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Rock - Released January 1, 2010 | Legacy Recordings

Distinctions The Qobuz Ideal Discography
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Rock - Released January 1, 2010 | Legacy Recordings

Distinctions The Qobuz Ideal Discography
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Rock - Released January 1, 2010 | Legacy Recordings

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Rock - Released November 22, 2019 | Legacy Recordings

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This archival mother lode gathers the four complete sets of music Jimi Hendrix and his then-new Band of Gypsys played at the Fillmore East in New York on December 31, 1969 and January 1, 1970. So...there's some guitar. Lots and lots of guitar, some of it initially released on the Band of Gypsys album but presented here in clearer fidelity. There are mind expanding, status-quo-smashing guitar ad-libs, machine-gun precise rhythm guitar riffs, and passages that start out in a mood of hazy reflection, only to swell into fits of heavy, snarling agitation. Where there's guitar there are stoptime guitar breaks, the fireworks-erupting moments rockers have used since the Chuck Berry days to kickstart the soloing. Hendrix was a master of these. To encounter him at peak, cue up the four (!) versions of "Them Changes," (the Buddy Miles tune that's curiously identified here as simply "Changes"). Zoom right to the end of verses, usually around the 2:00 mark. The set 1 break finds him dancing, with balletic precision, in the upper register. For set 2, he hangs expressively on a single note. Set 3 finds Hendrix in high-drama mode, pitchbending like a manic bluesman. Just before the break in set 4, he deviates from the riff in a way that sounds, at first, like a mistake; when the band stops, what follows is two measures of stone-cold diabolical genius. Studying the breaks is, of course, only one way to geek out on Hendrix. You can make like the School of Rock kids do and analyze the beginnings, endings and tempos of multiple versions of "Power Of Soul," "Machine Gun" and others. Of course, you can also just listen in chronological order, and marvel at this incendiary trio's ability to vary the tones and shades and energies of the music during what was clearly an intense, endurance-test run of shows. © Tom Moon / Qobuz
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Rock - Released January 1, 2010 | Legacy Recordings

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Rock - Released March 9, 2018 | Legacy Recordings

Booklet
As we slowly approach the fiftieth anniversary of his passing (on September 18, 1970), the release of a “new” Jimi Hendrix’ album is still a noteworthy event. The last part of a trilogy including Valleys Of Neptune (2010) and People, Hell and Angels (2013), Both Sides Of The Sky contains thirteen titles recorded between January 28, 1968 and February 3, 1970. And, just like the two previous compilations, it is mostly comprised of alternatives takes or very rare tracks already present in the massive “official” discography of the left-handed guitarist. The idea is thus not to only aim for the adepts of the Hendrixian cult, but to create a new following with first-rate material. It is even what is the most remarkable here: the sound is incredibly modern, as if the musician had passed away only last week after having recorded these few tracks.Even with what could be considered as first drafts—like the instrumental Jungle, Sweet Angel or Cherokee Mist—or these umpteenth versions of Hear My Train A Comin’ or Stepping Stone deserve attentive listening. But what will please the most demanding fans are those few gems that we lost hope of hearing someday. Especially with two additional tracks out of the sessions from September 30, 1970 at the Record Plant Studio in New York with his friends Stephen Stills: an ultra-powerful Woodstock, which precedes by many months the recording of this great classic by Crosby, Stills, Nash & Young and a surprising $20 Fine. Among the other cherries on top of this cake lovingly cooked by Janie Hendrix and the producer Eddie Kramer, you will find other meetings at the top of blues or R&B, with Johnny Winter, The Things I Used To Do, Lonnie Youngblood, Georgia Blues, and a few testimonies of the intense and much too ephemeral Band Of Gypsy, Power Of Soul, Lover Man and most of all the magnificent recreation of the timeless Mannish Boy from Muddy Waters. In the end, Both Sides Of The Sky will become one of the unmissable albums from the Voodoo Child, which will be recommended to everyone, from the expert to the merely curious (but who won’t stay that way for long…). © Jean-Pierre Sabouret/Qobuz
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Pop/Rock - Released August 16, 2013 | Legacy Recordings

Rock - Released September 30, 2016 | Legacy Recordings

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Rock - Released January 1, 2010 | Legacy Recordings

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'." ~ Richie Unterberger
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Pop - Released March 1, 2013 | Legacy Recordings

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Rock - Released January 1, 2010 | Legacy Recordings

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Rock - Released January 1, 2010 | Legacy Recordings

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Rock - Released November 12, 2010 | Legacy Recordings

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Rock - Released January 1, 2010 | Legacy Recordings

Wading through the repackagings of Jimi Hendrix musical legacy is a daunting task which has not been made any easier in the digital age. This double-CD set features a disc of "studio" and "live" performances, including several alternate and hard-to-find recordings of familiar classics. While nearly impossible to include everyone's favorites, this collection is a superior primer for those seeking a thumbnail sketch of Hendrix in both a studio and concert environment. Disc one cuts a chronological path through nearly 70 minutes of peak moments from Hendrix studio recordings as the leader of the Jimi Hendrix Experience and the Band of Gypsys. The sound is impeccable and the song selection hits most of the highlights. Conspicuously absent are vital contributions such as "If 6 Was 9," "Manic Depression," and "Can You See Me." In their stead are alternate versions of "Highway Chile," "All Along the Watchtower," "Stone Free," and "Spanish Castle Magic" -- all of which are available elsewhere. The rare 45 featuring the Band of Gypsys on "Isabella" and "Stepping Stone" is a nice inclusion for collectors. Disc two highlights Hendrix concert performances, including several generation-defining moments -- such as the reinvention of the electric guitar during "Wild Thing" at the Monterey Pop Festival as well as his inimitable "Star Spangled Banner" solo from the Woodstock Music and Arts Fair. Other highlights include a couple of oft overlooked later-era pieces featuring the Band of Gypsys. "Red House" from the New York Pop Festival and the previously unissued -- on CD at least -- "Foxey Lady" from Maui, HI, are both stellar performances from July of 1970. All in all, Voodoo Child: The Jimi Hendrix Collection is a great touchstone for anyone wishing to begin their Jimi Hendrix experience. ~ Lindsay Planer
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Rock - Released January 1, 2010 | Legacy Recordings

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. ~ Sean Westergaard
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Pop - Released March 8, 2010 | Legacy Recordings

Booklet
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Rock - Released March 8, 2010 | Legacy Recordings

Booklet
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Pop - Released March 5, 2010 | Legacy Recordings

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Jimi Hendrix in the magazine
  • The Qobuz Minute #2
    The Qobuz Minute #2 Presented by Barry Moore, The Qobuz Minute sweeps you away to the 4 corners of the musical universe to bring you an eclectic mix of today's brightest talents. Jazz, Electro, Classical, World music ...