[CD] Jimi Hendrix: People, Hell and Angels [1] Earth Blues (J.Hendrix) - 3:33 [2] Somewhere (J.Hendrix) - 4:05 [3] Hear My Train A Comin' (J.Hendrix) - 5:41 [4] Bleeding Heart (E.James) - 3:58 [5] Let Me Move You (J.Hendrix) - 6:50 [6] Izabella (J.Hendrix) - 3:42 [7] Easy Blues (J.Hendrix) - 5:57 [8] Crash Landing (J.Hendrix) - 4:14 [9] Inside Out (J.Hendrix) - 5:03 [10] Hey Gypsy Boy (J.Hendrix) - 3:39 [11] Mojo Man (A.Allen/A.Allen) - 4:07 [12] Villanova Junction Blues (J.Hendrix) - 1:44 [13] Ezy Ryder/MLK Jam [Captain Coconut] (J.Hendrix) - 

20:01 A r t i s t s , P e r s o n n e l Jimi Hendrix – Guitars, Vocals, Bass Guitar on [9] Billy Cox – Bass Guitar on [1,3,4,6–8,13] Buddy Miles – Drums on [1–5,10,13] Mitch Mitchell – Drums on [6,7,9,12] Juma Sultan – Congas on [3,4,6,7,12] Larry Lee – Rhythm Guitar on [6,7] Jerry Velez – Congas on [6,7] Stephen Stills – Bass Guitar on [2] Lonnie Youngblood – Vocal & Saxophone on [5] Rocky Isaac – Drums on [8] Al Marks – Percussion on [8] Albert Allen – Vocal on [11] Jame Booker – Piano on [11] Gerry Sack - Triangle & Mime Vocal on [6] C o m m e n t s , N o t e s Track [1] recorded on December 19, 1969 at Record Plant Studios Track [2] recorded on March 13, 19

68 at the Sound Centre racks [3], [4] and [12] recorded on May 21, 1969 at Record Plant Studios Tracks [5] and [10] recorded on March 18, 1969 at Record Plant Studios Tracks [6] and [7] recorded on August 28, 1969 at the Hit Factory Track [8] recorded on April 24, 1969 at Record Plant Studios Track [9] recorded on June 11, 1968 at Record Plant Studios Track [11] recorded in June 1969 at Fame Studios, Muscle Shoals, Alabama; overdubs in August 1970 at Electric Lady Studios Track [13] recorded on January 23, 1970 at Record Plant Studios Jimi Hendrix made three historic studio albums in 1967 and '68.

He spent the rest of his life laboring and failing to finish a fourth. But it was a rich if chaotic time, and we're not done with it. These studio jams and early stabs at evolving songs mostly come from 1969 as Hendrix worked with shifting lineups, indecisive about his post-Experience path. Three tracks date from a May session, his first with Billy Cox and Buddy Miles, the future Band of Gypsys, including a funky turn through the signature blues "Hear My Train A Comin'." A rough "Izabella" with his short-lived Woodstock band comes with a diving-jet solo. Of course, Hendrix plays at an elevated level in every setting: a workout with saxman Lonnie Youngblood; the overdubbed-guitar chorales in the '68 instrumental "Inside Out." Hendrix left us so much but in precious little time. Every shred counts. David Fricke - March 5, 2013 RollingStone.com Hendrix Fans werden begeistert sein.

Dieses neue Album People, Hell & Angels enthält zwölf bisher unveröffentlichte Studioaufnahmen aus den Jahren 1968 bis 1970. Trotz des enormen Erfolges mit seiner Jimi Hendrix Experience ruhte er sich nicht auf seinen Lorbeeren aus, sondern begann `68 sich hinter den Kulissen schon mit neuen Sounds und musikalischen Stilrichtungen weiter zu entwickeln. Zusammen mit alten Freunden experimentierte er mit für ihn neuartigen Instrumenten und Stilrichtungen. Verschiedene Besetzungen brachten neue Tracks hervor, die für Hendrix sehr untypische Elemente enthielten, wie etwa den Einsatz von Bläsern, Keyboards, Percussion und man höre und staune - sogar einer zweiten Gitarre. Man bekommt einen spannenden Einblick in die Zukunftspläne der Gitarrenlegende. People, Hell & Angels war, als Nachfolger für Electric Ladyland geplant, definitiv der erste große Schritt in einen bahnbrechenden Stilwechsel.

Mit veränderter Rhytmussektion und Instrumentierung war er auf dem Weg, neue, für ihn endlos scheinende musikalische Horizonte zu erschließen. Folgende bisher unveröffentlichte Hendrix-Tracks sind auf People, Hell & Angels zu hören: "Earth Blues", "Somewhere", "Hear My Train A Comin'", "Bleeding Heart", "Baby Let Me Move You", "Izabella", "Easy Blues", "Crash Landing", "Inside Out", "Hey Gypsy Boy", "Mojo Man" und "Villanova Junction Blues". Amazon.de People, Hell and Angels is a posthumous studio album by the American rock musician Jimi Hendrix. The fourth release under the Experience Hendrix deal with Legacy Recordings, it contains twelve previously unreleased recordings of tracks he was working on for the planned follow-up to Electric Ladyland. It was released on March 5, 2013.

The tracks featured on People, Hell and Angels are previously unreleased recordings of songs that Jimi Hendrix and fellow band members (mainly the Band of Gypsys lineup featuring Billy Cox and Buddy Miles) were working on as the follow-up to Electric Ladyland, tentatively titled First Rays of the New Rising Sun.[1] The majority of the recordings are drawn from sessions in 1968 and '69 at the Record Plant Studios in New York, with a few inclusions from Hendrix's brief residencies at Sound Centre, the Hit Factory, and his own Electric Lady Studios. According to Eddie Kramer, the engineer who recorded most of Hendrix's music during his lifetime, this will be the last Hendrix album to feature unreleased studio material. Kramer said that several as-yet-unreleased live recordings would be available in the coming years. Upon its release, "People, Hell and Angels" received positive reviews from music critics. William Clark of Music Enthusiast Magazine wrote, "Between the downright fantastic music, to the production quality and the attention to detail, this new album is something any established Hendrix fan should easily be able to get into and passionately enjoy time and time again".

Allmusic gave the album three and a half stars, saying, "People, Hell and Angels certainly isn't the place to start your Hendrix collection, but collectors will surely want to hear this". BBC Music also gave the album a positive review, saying "This latest collection offers a tantalising glimpse of how Hendrix's genius might have progressed". Wikipedia.org Experience Hendrix LLC und Legacy Recordings, eine Abteilung von Sony Music Entertainment, kündigen den Release von People, Hell & Angels an. Dieses neue Album enthält 12 bisher unveröffentlichte Studioaufnahmen der Gitarrenlegende Jimi Hendrix. 1968 war Hendrix auf der Suche nach neuen musikalischen Ausdrucksmöglichkeiten. Während seine Experience mit zwei Alben in den US Top Ten vertreten und zu einem der begehrtesten Live-Acts avanciert war, arbeitete er hinter den Kulissen mit alten Freunden und unterschiedlichen Besetzungen an neuen Songs. Auf People, Hell & Angels erhält der Hendrix-Fan erstmals einen hochinteressanten Einblick in diese Schaffensphase des Ausnahmegitarristen.

Die zwölf Songs des Albums zeigen, mit welcher Experimentierfreudigkeit der Musiker ans Werk ging. Neue Sounds und musikalische Stilrichtungen wurden ausprobiert, dabei kamen viele für Hendrix untypische Instrumente zum Einsatz: Bläser, Keyboards, Percussion und sogar eine zweite Gitarre. People, Hell & Angels beweist auch, dass Jimi auf der Suche nach neuen Begleitmusikern war, mit deren Unterstützung er ein weiteres Kapitel in seiner außergewöhnlichen Karriere aufschlagen wollte. Anstatt auf seine Experience-Mitstreiter zurückzugreifen, arbeitete er mit Stephen Stills von Buffalo Springfield, dem Drummer Buddy Miles und dem Bassisten Billy Cox. Hendrix und Cox hatten ihren Militärdienst zusammen absolviert und waren in den frühen 1960ern Bandkollegen gewesen. Jimis Schwester Janie Hendrix, Eddie Kramer und John McDermott fungierten als Koproduzenten von People, Hell & Angels.

Kramer und Hendrix lernten sich im Januar 1967 in den Londoner Olympic Studios kennen und zwischen den beiden entstand eine intensive Beziehung. Schließlich wurde Eddie zu Jimis Lieblings-Tonmann, der jedes Album, das der Gitarrist zu Lebzeiten veröffentlichte, abmischte. Auch bei den Live-Aufnahmen des Woodstock-Festivals saß Eddie an den Reglern. Seit 1997 gehört er wieder zum Hendrix-Team und überwacht alle Releases von Experience Hendrix LLC. Folgende bisher unveröffentlichte Hendrix-Tracks sind auf People, Hell & Angels zu hören: „Earth Blues“, „Somewhere“, „Hear My Train A Comin'“, „Bleeding Heart“, „Baby Let Me Move You“, „Izabella“, „Easy Blues“, „Crash Landing“, „Inside Out“, „Hey Gypsy Boy“, „Mojo Man“ und „Villanova Junction Blues“. People, Hell & Angels ist der Nachfolger des 2010 erschienenen Valleys Of Neptune.

Während sich dieses von der Kritik gefeierte Album den letzten Aufnahmen der Original-Jimi Hendrix Experience widmete, bietet People, Hell & Angels einen spannenden Einblick in Jimis musikalische Zukunftspläne. Hier wird ganz deutlich: mit dem als Nachfolger für Electric Ladyland geplanten Doppelalbum First Rays Of The New Rising Sun wollte Hendrix einen Stilwechsel vollziehen. Anders als viele zeitgenössische Künstler wie die Beatles oder Bob Dylan, hatte Jimi Hendrix die Rechte an seinen Songs nie abgetreten. Er war also nicht an bestimmte Tonstudios gebunden, die von seiner Plattenfirma betrieben wurden. So verbrachte er Stunden und Tage in den Aufnahmeräumen von Record Plant oder Hit Factory in New York, um an seinem Sound zu feilen. Wegen seiner Leidenschaft für die Studioarbeit trieb Hendrix den Bau seines eigenen Electric Lady Studios voran.

Während er an den Songs arbeitete, die auf People, Hell & Angels versammelt sind, entstand in Greenwich Village dieser topmoderne Komplex, in dem bis heute namhafte Künstler ihre Alben aufnehmen. Janie L. Hendrix, President / CEO von Experience Hendrix LLC, sagt über People, Hell & Angels : „Mit dem Release des Longplayers erinnern wir an den 70. Geburtstag meines Bruders. Die brillanten Aufnahmen unterstreichen, dass Jimis musikalische Energie bis heute unübertroffen ist.

Er wird noch viele Generationen nach der unseren inspirieren … und das wird wohl ewig so weitergehen.“ Auch Adam Block, President von Legacy Recordings, ist begeistert:„People, Hell & Angels gewährt dem Hörer weitere Einblicke in das Werk dieses genialen Gitarristen, der hier durch seine Arbeit mit veränderter Rhythmussektion und Instrumentierung neue, endlos scheinende musikalische Horizonte erschließt.“ Earth Blues: Eine komplette Neueinspielung des auf dem Rainbow Bridge-Album (1971) veröffentlichten Songs. Der Titel wird hier als puristischer Funk interpretiert und unterscheidet sich deutlich von der bislang erhältlichen Version. Mit Hendrix, Billy Cox und Buddy Miles. Somewhere: Aufgenommen im März 1968 und erst kürzlich in den Archiven entdeckt. Mit Buddy Miles am Schlagzeug und Stephen Stills am Bass. So hat der Fan „Somewhere“ garantiert noch nie gehört! Hear My Train A Comin': Dieser Track stammt aus der allerersten Aufnahmesession mit Billy Cox und Buddy Miles.

Die beiden Musiker bildeten auf dem Album Band of Gypsys die Rhythmussektion und teilten Jimis Sehnsucht nach einer „neuen Art von Blues“. Hendrix‘ Gitarre drängt mit fast bedrohlicher Präsenz ins Zentrum des Songs. Bleeding Heart: Diese Komposition von Elmore James war immer einer von Jimis Favoriten. Der Song stand beim Gig in der Royal Albert Hall auf der Setlist und wird hier während der New Yorker „Hear My Train A Coming“-Session vom Mai 1969 auf seine Studiotauglichkeit erprobt. Vor den Aufnahmen bat Hendrix Cox und Miles darum, den Track rhythmisch umzustrukturieren, um anschließend selbst eine atemberaubende Gitarren-Performance beizusteuern. Let Me Move You: Im März 1969 bat Jimi den Saxofonisten Lonnie Youngblood, ihn bei den Aufnahmen zu „Let Me Move You“ zu unterstützen.

1966 hatte Hendrix als unbekannter Studiomusiker die Rhythmusgitarre für Youngbloods Single „Soul Food“ eingespielt, die beiden kannten sich also aus den Tagen, bevor Jimis Stern als Superstar aufgegangen war. Mit ihren grandiosen Licks verwandeln die alten Freunde „Let Me Move You“ in einen Rockklassiker von atemberaubender Geschwindigkeit. Izabella: Im August 1969 versammelte Jimi sein neues Ensemble Gypsy Sun & Rainbows in der Hit Factory in NYC. Wie immer saß Eddie Kramer am Mischpult, als die Studioversion von „Izabella“ eingespielt wurde. Es war einer der Songs, die Jimi beim Woodstoock Festivals erstmals live präsentiert hatte - nun wollte er die ultimative Version des Tracks aufnehmen.

Wer die Band of Gypsys-Version im Ohr hat, die 1970 bei Reprise als Single erschien, wird überrascht sein – diese Einspielung unterscheidet sich grundlegend von dem Track, der auf People, Hell & Angels zu hören ist. Als Rhythmusgitarrist kommt Larry Lee, ein Kumpel aus Jimis alten R&B-Zeiten, zum Einsatz. Easy Blues: Eine gekürzte Fassung dieses sensationellen Instrumentals erschien auf der Wiederveröffentlichung des Albums „Nine To The Universe“. Auf People, Hell & Angels hat der Track fast die doppelte Spieldauer und so bekommt der Fan die Möglichkeit das Zusammenspiel zwischen Jimi, dem zweiten Gitarristen Larry Lee, Billy Cox und Drummer Mitch Mitchell voll auszukosten. Crash Landing: Dieser Song kommt eingefleischten Hendrix-Anhängern vielleicht bekannt vor. Er war der namensgebende Titel eines Albums, das 1975 erschien und auf dem Jimis Songs posthum von Studiomusikern mit Overdubs versehen wurden.

Die Originalaufnahme war aber bislang nie zu hören. Hendrix, der mit „Crash Landing“ eine kaum verhohlene Warnung an seine Freundin Devon Wilson ausspricht, spielte den Song mit Billy Cox und Drummer Rocky Isaac von den Cherry People ein. Inside Out: Jimis Song „Ezy Ryder“ hat seinen rhythmischen Ursprung in dieser Version von „Inside Out“: Hendrix, der an Bass und Gitarre zu hören ist, wird von Mitch Mitchell begleitet. Für das Solo verwendete Jimi den Verstärker einer Leslie-Orgel. Hey Gypsy Boy: Eine von Jimis größten Kompositionen, „Hey Baby (New Rising Sun)”, wurzelt musikalisch in dieser Aufnahme aus dem März 1969. Anders als auf dem kontroversen, posthum erschienen Album „Midnight Lightning”(1975) sitzt hier Buddy Miles am Schlagzeug. Mojo Man: Auf diesem Track sind die Sänger Albert und Arthur Allen, besser bekannt als die Ghetto Fighters, zu hören.

Den Song „Mojo Man“ hatten die Allens in den Fame Studios in Alabama eingesungen und die Bänder von dort in Jimis Electric Lady Studios geschafft, damit Hendrix ihnen dort den letzten Schliff verpasste. Dank Jimis Gitarrenspiel wird „Mojo Man“ zu rockigem R&B aus einer anderen Dimension. Villanova Junction Blues: Jimi, Billy Cox und Buddy Miles nahmen im Mai 1969 diese Studioversion auf, lange bevor der Song beim Woodstock-Festival dem Publikum vorgestellt wurde. Er stammt aus derselben Session wie „Hear My Train A Comin'” und „Bleeding Heart”. Auch wenn die Aufnahmen nie komplett fertiggestellt wurden, ist er doch ein Beispiel dafür, welche Fülle an neuen Ideen Hendrix mit seinem neuen Sound verwirklichen wollte. jimihendrix. com Previously Unreleased Completed Studio Recordings from 1968-70 Reveal Post-Experience Experimental Dimensions of Legendary Guitarist.

Experience Hendrix LLC and Legacy Recordings, a division of Sony Music Entertainment, proudly announce the release of People, Hell & Angels, an essential new album premiering twelve previously unreleased studio recordings completed by guitarist Jimi Hendrix. People, Hell & Angels, showcases the legendary guitarist working outside of the original Jimi Hendrix Experience trio. Beginning in 1968, Jimi Hendrix grew restless, eager to develop new material with old friends and new ensembles. Outside the view of a massive audience that had established the Experience as rock's largest grossing concert act and simultaneously placed two of his albums in the US Top 10 sales chart, Jimi was busy working behind the scenes to craft his next musical statement. These twelve recordings encompass a variety of unique sounds and styles incorporating many of the elements—horns, keyboards, percussion and second guitar—Jimi wanted to incorporate within his new music. People, Hell & Angels, presents some of the finest Jimi Hendrix guitar work ever issued and provides a compelling window into his growth as a songwriter, musician and producer.

With an album title coined by Jimi Hendrix, People, Hell & Angels, reveals some of Hendrix's post-Experience ambitions and directions as he worked with new musicians--including the Buffalo Springfield's Stephen Stills, drummer Buddy Miles, Billy Cox (with whom Hendrix had served in the 101st US Army Airborne and later played on the famed R & B 'chitlin circuit' together) and others--creating fresh and exciting sounds for the next chapter in his extraordinary career. People, Hell & Angels, is co-produced by Janie Hendrix, Eddie Kramer and John McDermott. Kramer first met Hendrix at Olympic Studios in London in January 1967. Hendrix, who would have turned 70 on November 27 this year, developed a unique rapport with Kramer. As a result, Kramer engineered every album issued by the guitarist in his lifetime and recorded such famous Hendrix concerts as the Woodstock festival in August 1969. Since 1997, Kramer has teamed with Janie Hendrix and John McDermott to oversee the release of each Jimi Hendrix album issued by Experience Hendrix.

The dozen previously unreleased Jimi Hendrix performances premiering on People, Hell & Angels, include "Earth Blues," "Somewhere," "Hear My Train A Comin'," "Bleeding Heart," "Baby Let Me Move You," "Izabella," "Easy Blues," "Crash Landing," "Inside Out," "Hey Gypsy Boy," "Mojo Man" and "Villanova Junction Blues." A musical companion piece and successor to 2010's Valleys Of Neptune, the critically acclaimed album showcasing the artist's final recordings with the original Jimi Hendrix Experience, People, Hell & Angels, offers tantalizing new clues as to the direction Hendrix was considering for First Rays Of The New Rising Sun, his planned double album sequel to 1968's groundbreaking Electric Ladyland. Unlike contemporaries such as the Beatles or Bob Dylan, Jimi Hendrix owned his songs and master recordings. He did not have to record his music at recording studios owned and operated by his record company. Hendrix spent countless hours recording his new music at new, independent music studios such as New York's Record Plant and the Hit Factory.

Hendrix was so focused on recording his music that, concurrent with nearly all of the sessions featured as part of People, Hell & Angels,, he was underwriting the construction of his own recording facility--the state of the art Electric Lady Studios in Greenwich Village. Janie L. Hendrix, President / CEO of Experience Hendrix LLC, commented, "We're thrilled to be able to release People, Hell & Angels, during the celebration of the 70th anniversary of my brother's birth. The brilliance of the album serves to underscore what we've known all along: that there has never been and never will be a musical force equal to his and that we cherish and take inspiration of what he left us both now and for many generations to come...simply eternity." People, Hell & Angels, provides us with further insight into the genius of Jimi Hendrix," said Adam Block, President, Legacy Recordings.

"Working with new rhythm sections and instrumentation, Jimi Hendrix was opening up the horizons of his music, creating new sounds filled with endless possibilities." Earth Blues Totally unlike the version first issued as part of Rainbow Bridge in 1971, this December 19, 1969 master take features just Hendrix, Billy Cox and Buddy Miles--stripped down funk at its very origin. Somewhere This newly discovered gem was recorded in March 1968 and features Buddy Miles on drums and Stephen Stills on bass. Entirely different from any previous version fans have ever heard. Hear My Train A Comin' This superb recording was drawn from Jimi's first ever recording session with Billy Cox and Buddy Miles--the powerhouse rhythm section with whom he would later record the groundbreaking album Band Of Gypsys. Jimi shared a deep love for the blues with Billy Cox and Buddy Miles. Both musicians understood Jimi's desire to create what he described as a 'new type of blues'. Jimi's menacing lead guitar is the centerpiece of this dramatic addition to his remarkable legacy. Bleeding Heart This Elmore James masterwork had long been a favorite of Jimi's.

He had performed the song earlier that year with the Experience in concert at the Royal Albert Hall and had attempted to capture the song in New York studio sessions during the weeks that followed. Recorded at the same May 1969 session as "Hear My Train A Coming," the track conveys Jimi's firm understanding of the arrangement and tempo he desired. Before they began, Jimi instructed Cox and Miles that he wanted to establish a totally different beat than the standard arrangement. He then kicked off this amazing rendition that was nothing like any other he had ever attempted. Let Me Move You In March 1969, Jimi reached back to another old friend, saxophonist Lonnie Youngblood. Before he was discovered by Chas Chandler in the summer of 1966, Jimi had contributed guitar as a nondescript studio sideman for Youngblood and such infectious rhythm and blues styled singles such as "Soul Food". This March 1969 session features Hendrix and Youngblood trading licks throughout this never before heard, high velocity rock and soul classic.

Izabella In the aftermath of the Woodstock festival, Jimi gathered his new ensemble, Gypsy Sun & Rainbows, at the Hit Factory in August 1969 with engineer Eddie Kramer. "Izabella" had been one of the new songs the guitarist introduced at the Woodstock festival and Jimi was eager to perfect a studio version. This new version is markedly different from the Band Of Gypsys 45 rpm single master issued by Reprise Records in 1970 and features Larry Lee, Jimi's old friend from the famed rhythm & blues 'chitin' circuit', on rhythm guitar. Easy Blues An edited extract of this gorgeous, free flowing instrumental was briefly issued as part of the long-out-of-print 1981 album Nine To The Universe. Now nearly twice as long, the track offers fans the opporutnity to enjoy the dramatic interplay between Jimi, second guitarist Larry Lee, Billy Cox and drummer Mitch Mitchell. Crash Landing Perhaps known as the title song for the controversial 1975 album that featured Hendrix master recordings posthumously overdubbed by session musicians, this April 1969 original recording has never been heard before.

Jimi is joined here by Billy Cox and drummer Rocky Isaac of the Cherry People to record this thinly veiled warning to his girlfriend Devon Wilson. Inside Out Jimi was fascinated by the rhythm pattern that would ultimately take form as "Ezy Ryder". Joined here by Mitch Mitchell, Jimi recorded all of the bass and guitar parts for this fascinating song--including a dramatic lead guitar part amplified through a Leslie organ speaker. Hey Gypsy Boy The roots of Jimi's majestic "Hey Baby (New Rising Sun)" trace themselves to this March 1969 recording. Unlike the posthumously overdubbed version briefly issued as part of Midnight Lightning in 1975, this is original recording that features Jimi joined by Buddy Miles. Mojo Man Jimi would lend a hand to Albert & Arthur Allen, the vocalists known as the Ghetto Fighters, whom he had befriended in Harlem long before he achieved fame with the Experience. When the two recorded this inspired, previously unreleased master at the legendary Fame Studios in Muscle Shoals, Alabama they took it back to Hendrix at Electric Lady Studios.

Jimi knew just what to do to elevate the recording beyond contemporary R & B to the new hybrid of rock, rhythm and blues he was celebrated for. Villanova Junction Blues Long before his famous performance of this song at Woodstock, Jimi recorded this studio version with Billy Cox and Buddy Miles at the same May 1969 session which yielded "Hear My Train A Comin'" and "Bleeding Heart" also featured on this album. Never fully finished, the song stands as an example of the fertile ideas he hoped to harness and bring to fruition. jimihendrix. com "PEOPLE, HELL AND ANGELS ist eine großartige, vor allem auch klanglich überzeugende Zusammenstellung (Produzent: der für Meilensteine wie ELECTRIC LADYLAND zuständige Eddie Kramer).

Die Songs sind allesamt in Hendrix’ letzter Lebensphase entstanden, als er die Experience bereits aufgelöst hatte und mit seinen neuen Formationen, dem Trio Band Of Gypsys und dem Sextett Gypsy Sun & Rainbows, neue Wege bestritt." Good Times, April/Mai 2013 "Unveröffentlichtes Hendrix-Material hat ja den Stellenwert einer neuen Beethovenpartitur, die im Museumskeller oder auf einem Dachboden entdeckt wurde. Kann "People, Hell And Angels" diese Erwartungshaltung einlösen? Ja, denn es ist ein tolles Album mit starkem, wenn auch teils skizzenhaftem Material in erstaunlich gutem Sound. Nein, denn waschechte Hendrix-Fans und –Sammler werden mehrere dieser Novitäten durchaus vertraut vorkommen." K.

Reckert, Gaesteliste.de "Mehr als vier Jahrzehnte lagen ein Dutzend Studio-Aufnahmen von Jimi Hendrix im Schrank: nicht etwa der Ausschuss bekannter Sessions, sondern ein Kompendium mit herbem, packendem Blues Rock mit Kollegen wie Drummer Buddy Miles und Gitarrist Stephen Stills, stellenweise sogar um Bläser ergänzt." stereoplay, Mai 2013 Wie alle seit „First Rays of the New Rising Sun“ bis hin zur großen „West Coast Seattle Boy“-Anthologie erschienenen Jimi-Hendrix-Retrospektiven präsentiert „People, Hell & Angels“ einmal mehr „unveröffentlichtes“ Studio-Material. Allerdings muss man den Begriff hier mehr denn je cum grano salis nehmen. Archiv-Ausgrabungen, die Hendrix-Archäologen einer staunenden Fan-Gemeinde präsentieren könnten, findet man hier nicht eine einzige.

Bei diesen Aufnahmen handelt es sich weit überwiegend um richtig professionell musizierte Demos – Skizzen und erste angedachte Entwürfe von Songs, die am Ende ganz andere musikalische Gestalt annehmen sollten (beispielsweise „Hey Gypsy Boy“ oder „ Earth Blues“) –, um Remixes wie im Fall „Crash Landing“, hier ohne die nachträglichen Overdubs für die gleichnamige posthume LP zu hören, um ehrgeizig angegangene Neuaufnahmen von Songs, mit deren Urfassungen (wie bei „Izabella“) Hendrix bald nicht mehr zufrieden war, auch um Alternativ-Takes und letztlich nie gänzlich realisierte Songprojekte. Wie bei der auf „Valleys Of Neptune“ nachgereichten Studio-Einspielung von „Sunshine Of Your Love“ demonstriert Hendrix hier bei Elmore James’ „Bleeding Heart“, mit welcher Virtuosität er sich im Zweifelsfall der Vorlage geschätzter Kollegen annehmen konnte.

Auch bei deftiger Funk-Kost wie „Mojo Man“ (zweite Fremdkomposition des Sets, die aus der Feder der Ghetto Fighters) brilliert er, und noch eindrucksvollere Kostproben seines meisterlichen Spiels gibt es bei der Jamsession „Easy Blues“, bei der Eddie Kramer wie immer gern die Bänder mitlaufen ließ. Hier wie auch bei „Here My Train A Comin’“ (wie fast alle 1968/69 aufgenommen) darf man darüber staunen, wie gut die analoge Technik der Zeit das auf Tonband konservierte. Ohne die von Produzent Alan Douglas nach Hendrix’ Tod jahrelang nachträglich hinzugemischten Overdubs demonstrieren die Kramer-Remixes das filigrane Spiel des Meis­ters noch hinreißender in dieser Live-im-Studio-Atmosphäre. Was Hendrix hier präsentiert, hat in der Summe allerdings Workshop-Charakter. Bis auf zwei oder drei Aufnahmen hätte Jimi Hendrix die in dieser Form kaum zur Veröffentlichung freigegeben.

Franz Schöler - RollingStone.de When Jimi Hendrix died, he became a god. This is an undisputed fact. It’s all been said before, regurgitated by rock writers for decades: Hendrix revolutionized the art of guitar playing. He viewed the instrument as a sonic anomaly, his playing an ongoing experiment conducted during every jam session and live show. Scales, chords, progressions — all that stuff had already been discovered. Hendrix was fascinated by what hadn’t been done with a guitar– like playing it through wah-wah pedals and massive gain, or picking its strings with his teeth, or dousing it with lighter fluid and igniting it. His godliness is directly correlated to his larger-than-life fretwork. So when he died, he ascended to the rock ‘n’ roll heavens, where his divine amplifier feedback can be heard for all of eternity. Us mortals were left with loose ends: demos, outtakes, unfinished recordings, archived live audio, and stray handwritten lyrics. They were scraps to some, $$$ to all the music industry execs who knew how to exploit the death of an icon.

The first three posthumous LPs — The Cry of Love, Rainbow Bridge, and War Heroes — were produced and compiled by Mitch Mitchell, Eddie Kramer, and John Jansen with the earnest intent of finishing what Hendrix couldn’t (most of these songs would be collected on 1997’s First Rays of the New Rising Sun in an attempt to recreate the album Hendrix was working on before he died). Admirable enough. But with the vaults open and labels placing bids on Hendrix’s unreleased material, the money grubbing ensued. The villain: record producer Alan Douglas. Starting with 1975’s Crash Landing, Douglas produced numerous albums by taking Hendrix’s leftovers and replacing the original rhythm tracks with overdubs by session musicians. After mastering, the recordings sounded more polished and professional, but less authentic. This pissed off a lot of Hendrix fans. Douglas compiled every posthumous studio album until the Hendrix estate (which operates under the name ‘Experience Hendrix L.L.C.’) gained ownership of the recordings in 1995. Not that that’s seen a decrease in releases.

Legacy Recordings and Experience Hendrix have already collaborated for some box sets and LPs, People, Hell and Angels being the latest. However, the presentation of the music differs. This partnership has taken an archivist approach to preserving and releasing posthumous material — the opposite of what Douglas did. No overdubs. You’re hearing Billy Cox on bass and Buddy Miles on drums (the Band of Gypsys!). Stephen Stills shows up. The recordings sound raw– and real. Opener “Earth Blues” is a tight rock-and-soul fusion and easily the catchiest tune on People, Hell and Angels. Hendrix sings his conversational jive-talk as Miles and Cox follow with a harmonized chorus reminiscent of vintage Motown. Originally featured on 1971’s Rainbow Bridge, the song is presented here in a looser form. The same goes for “Somewhere”, which sees Stills on bass. The takes are obviously candid, as if somebody just hit the record button while Hendrix and his band jammed in the studio (which is probably what happened). And the guitar solos… they’re on every song, multiple minutes in length. It’s to be expected, but it gets tiresome with repeated plays.

Better are the solos that sound written rather than improvised. “Sometimes” touts one of the former, a silky romance of a solo that segues into Hendrix all down n’ out: “Back at the saloon, tears mix with mildew in my dreams.” No surprise that the two aforementioned tracks were selected as the singles for People, Hell and Angels (and they’re bound to chart, courtesy of classic rock stations everywhere). The rest of the album is a mixed bag of brilliance and indifference. Some songs we simply don’t need another version of in our music libraries. “Hear My Train A Comin’” and “Bleeding Heart” were presented in superior form on 1994’s Blues; “Izabella” sounds good here, but better on First Rays and Woodstock. Other songs are so rough that they were probably better off unreleased (the cloying solo in the middle of “Easy Blues” is arguably Hendrix’s worst; “Mojo Man” is a Ghetto Fighters track with guitar awkwardly overdubbed into it). Then there’s “Crash Landing”, which is so good that it’s hard to believe it went unreleased for so long (Douglas’ version doesn’t count).

Hendrix sings to then-girlfriend Devon Wilson, pleading that she kick her drug addiction: “And look at you, all lovey-dovey when you mess around with that needle / Well, I wonder, how would your loving be otherwise?” His lyrics are rarely this personal and transparent. This is the kind of stuff that makes a posthumous release worthwhile. People, Hell and Angel isn’t perfect — or godly — but it does contain some canon tracks that every Hendrix fan should hear. And for a posthumous anthology, it’s surprisingly cohesive as a singular unit. These tracks share a consistent groove that’s never urgent or lazy, but just right. Perhaps it’s the organic, jam-session sound quality. Or the Miles-Cox rhythm section. Whatever the dynamic, the Douglas-produced albums didn’t have it. People, Hell and Angels does, and no matter how flawed it might be, you can’t dispute its authenticity.

Jon Hadusek - March 07, 2013 © 2007 - 2014 Consequence of Sound Hendrix diverted to R&B on 'People, Hell and Angels' | Jimi Hendrix - People, Hell and Angels | STATIC AND FEEDBACK Hendrix diverted to R&B and funk on 'People, Hell and Angels' Socialize: By NICK TAVARES STATIC and FEEDBACK Editor As it is with Jimi Hendrix projects culled from the vault since the 1997 takeover of his catalog by his family’s Experience Hendrix label, there needs to be a compelling reason to attach the guitarist’s name to a new album. Though “Jimi Hendrix playing guitar” would be compelling enough for some fans, this compilation, People, Hell and Angels, zooms in on Hendrix’s experiments in the studio in late 1969 and early 1970, sketching out ideas and shaping songs on into the late hours as blazes toward the path that eventually took him to his unfinished final studio album, First Rays of the New Rising Sun.

People, Hell and Angels finds Hendrix without the Experience and mostly with his Band of Gypsys cohorts, including folks who worked out with the Gypsy, Sun & Rainbows band that took the stage at Woodstock. In keeping with the new direction, People, Hell and Angels features more funk and rhythmic workouts in the place of the blazing guitar treatments that are so quickly associated with a Hendrix record. One of the more interesting moments is “Mojo Man,” a slice of Rhythm-and-Blues-inspired funk recorded with the Ghetto Fighters (who would later lend backing vocals to some of the First Rays of the New Rising Sun tracks). “Mojo Man” finds Hendrix channeling his chitlin’ circuit days as the bandleader he could have been if he hadn’t been so busy reinventing electric music, pumping in horns and a blues vocal that all come together as a party. This set also offers a bit of validation to Lonnie Youngblood, a musician whose sessions with Hendrix have been erroneously packaged as full-on Jimi Hendrix records, infuriating fans and leading to more than a little confusion .

Here, on “Let Me Love You,” the pair share equal footing on an R&B track that properly places the saxophonist in context with Hendrix, while offering fans a bit of music that’s actually worthy of release. All those prior compilations can be boiled down to one song, and it’s both satisfying and more than enough. And in the spirit of correcting the many sins exacted upon Hendrix’s catalog in the decades following his death, “Crash Landing” is rescued from its overdub prison. “Finished” by studio musicians in the mid-1970s as the title track of another Hendrix record, here it’s presented in its appropriately skeletal state, a piece containing early elements of “Freedom” with Cox and drummer Rocky Issac backing. It’s a jam, like a lot of the recordings here, unfinished yet fascinating. “Hey Gypsy Boy” is rescued from similar circumstances and is all the better for it. Other directions are channeled through “Easy Blues,” which leans heavily on a jazzy backing as Hendrix twists and jams through a six-minute take.

“Hear My Train a-Comin’” is present as well, in a loose interpretation that forecasts the version released on Live at the Fillmore East with the Band of Gypsys. The fact that “Hear My Train a-Comin’” is on nearly all of these posthumous albums, and always sounds different enough to justify its inclusion, never ceases to bring a smile to my face. But as for studio material, People, Hell and Angels is apparently the end of the line. There’s an understandable amount of skepticism that goes along with a statement like this, but if engineer Eddie Kramer is to be believed , this will be the last posthumous compilation of Hendrix in a recording setting. So, paired with the three original studio albums, the live Band of Gypsys, the completed First Rays of the New Rising Sun, the collections South Saturn Delta, Valleys of Neptune and the four-disc The Jimi Hendrix Experience, we now have Hendrix’s entire studio output, conveniently sorted and filed for context.

The supremely devoted, of course, have been diving into bootlegs and unedited studio tapes for years (the unofficial, five-disc Unsurpassed Masters provides a nice glimpse into this bit of overwhelming fanaticism, of which I’m happily guilty of indulging), but for the music world at large, parsing through the miles of tape is appreciated and necessary. Together with those posthumous compilations, People, Hell and Angels provides a window into Hendrix’s process and a glimpse of different directions, some he followed and some he abandoned. And, on its own, it’s another chapter in Hendrix’s all-too-short saga, one that serves as an engaging, compelling listen independent of the other albums. With an artist like this, all the music that can be considered listenable should be welcome. Of course, there is no other artist like this; every addition to the catalog becomes a valuable artifact because Hendrix was and is without peer. Putting on this record is both familiar and new, a thrilling experience in listening. And it’ll fill the time nicely, until the next, mind-blowing live package is unleashed on the dedicated masses. Like on the Experience box set, we’re left with a taste of what could have been.

In less than two minutes, the closing “Villanova Junction Blues” offers up a bit of Hendrix simply playing, unencumbered with the demands of touring or delivering another hit. His tone, style and inventiveness are all there, all the elements that made him such a dynamic force in the first place. Then, all too soon, it fades away. Nothing abrupt, but the volume pans down and the last guitar lines float out into the ether and off the tape. If it’s not a fitting end to Hendrix’s final studio compendium, it’s certainly an apt one. E-mail Nick Tavares at nick@staticandfeedback.com All materials © 2005-2013 STATIC and FEEDBACK All rights reserved Top 10 Posthumous Jimi Hendrix Albums Top 10 Posthumous Jimi Hendrix Albums By Michael Gallucci November 27, 2012 8:00 AM REDDIT Sony/Legacy Jimi Hendrix released only three studio albums and one live LP before he died on Sept. 18, 1970, at the age of 27.

His legacy is built on that classic trio of records, but it's grown over the past four decades thanks to dozens of albums that have been released since his death. Some of those records simply repackage the songs you're familiar with to make a quick buck; some of them contain outtakes and live cuts that are almost as important as 'Purple Haze.' Our list of the Top 10 Posthumous Jimi Hendrix Albums will help you sort though all these albums. You'll find everything from career-spanning box sets and live LPs to fully realized works that attempt to replicate the records Hendrix was working on when he passed away. 10 March Album of the Month: Jimi Hendrix&rsquo;s &lsquo;People, Hell & Angels&rsquo; Posted on February 27, 2013 at 1:47 pm. Written by cmauck by Steve Hochman The first sound on this set of previously unreleased Hendrix recordings — the solo, straightforward and grounded Stratocaster licks that introduce the song “Earth Blues” — belies the turmoil that surrounded the musician when the session took place in mid-December, 1969.

In the liner notes, album co-producer John McDermott recounts a time of business conflicts, a recent drug-charge trial (acquitted) and the recent defection of his Experience drummer Mitch Mitchell among the hurdles to Hendrix’s progress. And that in itself was daunting, as he wrestled with his own artistic ambitions, seemingly at a crossroads and burdened with expectations, self-imposed and otherwise, on a level few had ever experienced. But here, with his Band of Gypsys — his old Army pal Billy Cox on bass and cheerful funk master Buddy Miles on drums — he seems to have found sanctuary. People, Hell & Angels, featuring ten 1969 recordings plus two from 1968, showcases a Hendrix revisiting his roots, reacquainting himself with some of the simple joys of music. There’s blues, of course, driven by his innate expressiveness both as a guitarist and singer. And in two full-on soul-funk workouts there are echoes of his days on the Chitlin’ circuit with the Isley Brothers and King Curtis.

Throughout he employs much of his familiar bag of tricks — octaved lead runs, butterfly flurries of hammer-on trills, chunky chording, wah-wah excursions and so on — but all with an offhanded ease, nothing sounding forced or intended as a “statement.” This, in many moments, is Hendrix at his most relaxed, most natural. Which isn’t to say mellow. On the contrary, “Earth Blues” and the 1968 “Somewhere” from a session with Stephen Stills on bass rather than Cox, start the album off in pure power-trio mode. The former is a very compelling contrast to the version heard on the second posthumous album Rainbow Bridge, which featured multiple overdubs (including the Ronettes’ backing vocals). The latter, a relic of the Electric Ladyland sessions, also provides a solid alternative to two released versions (one from 1975’s controversial Crash Landing, on which Allen Douglas saved only Hendrix’s part and added new backing). This version shows Stills and Miles as a dynamic rhythm section in support of the leader.

And “Hear My Train A Comin’,” perhaps the most known Hendrix title on this collection, is one of the first recordings he made with Cox and Miles, a classically soaring Jimi blues exploration and a tone that’s extended on the next track, “Bleeding Heart.” It’s with “Izabella” and “Easy Blues,” though, that we get hints of a “new” Jimi Hendrix. Recorded right after Woodstock, with Mitchell still in the fold with Cox, but crucially supplemented by two percussionists and — gasp! — rhythm guitarist Larry Lee, these expand on the Experience experiments. The irresistible “Izabella” sounds like a coulda-been hit, while instrumental “Easy Blues” heads almost into jazz territory. The biggest surprises might be the two funk numbers. “Let Me Love You” reunited Hendrix with singer-saxophonist Lonnie Youngblood and a soul-power band, clearly having a blast inaugurating a new Ampex board at the Record Plant. “Mojo Man,” though, is something more.

Old Harlem pal Albert Allen takes the lead vocals as Hendrix exuberantly leads a horn-driven band (credits, apparently, lost save for piano, manned by legendary, if erratic, New Orleans figure James Booker) into regions of soul, both solid and psychedelic, building on James Brown with as much personal character as Sly Stone was doing at the same time. And while seeing the title “Crash Landing” among the songs may make some Hendrix fans cringe, rightfully given that prominent ‘70s misjudgment of the album which bore its name, this serves as a rehabilitation. As McDermott’s notes state, it was a song fraught with difficulties as Hendrix couldn’t quite get what he wanted out of another new line-up variation (Cox, with drummer Rocky Isaac, two percussionists and an “unknown” organist). And this version, as much as anything on the album, is more an idea being tested out than a complete thought, so to speak. But it’s also not just a throwaway by any means. Credit to the team behind this — McDermott with the guitarist’s sister Janie Hendrix and Electric Ladyland engineer Eddie Kramer — for getting the best out of these sessions without messing with them.

Very little fiddling was done beyond merely brightening and strengthening the sound qualities. It continues the recent string of well-presented, thoughtfully assembled sets — including 2010’s Valley of Neptune and 2011’s live Winterland box set — which have not just lived up to but enhanced this singular legacy. “We’re fortunate to have Eddie Kramer,” McDermott said in an interview with Fender.com. “That’s all it needs. You don’t have to do anything to it. That’s what we’ve tried to do, and people really like what we do. They like Jimi!” Overall, he says, this showcases Hendrix’s burgeoning visions as a producer, seeking new combinations and forms of expression. “This isn’t a ‘lost album’ or a mystery,” McDermott said. “But Jimi working as an artist and producer and giving a signal of what the future might have been.” Perhaps. It might be a stretch, though, to say that there are any real revelations here, any epiphanies.

Still, maybe there is something, even in one track that could be deemed a throwaway, the tossed-off Hendrix-Cox-Miles jam titled “Villanova Junction Blues,” all 1:48 of it, which closes the album. It’s epiphany is merely that Hendrix, at this point in time, with so much extraneous noise in his life, could sound so natural, so at ease. People, Hell And Angels - Jimi Hendrix - Listen to Free Music by Jimi Hendrix on Pandora Internet Radio more Jimi Hendrix In his brief four-year reign as a superstar, Jimi Hendrix expanded the vocabulary of the electric rock guitar more than anyone before or since. Hendrix was a master at coaxing all manner of unforeseen sonics from his instrument, often with innovative amplification experiments that produced astral-quality feedback and roaring distortion. His frequent hurricane blasts of noise and dazzling showmanship -- he could and would play behind his back and with his teeth and set his guitar on fire -- has sometimes obscured his considerable gifts as a songwriter, singer, and master of a gamut of blues, R&B, and rock styles.

When Hendrix became an international superstar in 1967, it seemed as if he'd dropped out of a Martian spaceship, but in fact he'd served his apprenticeship the long, mundane way in numerous R&B acts on the chitlin circuit. During the early and mid-'60s, he worked with such R&B/soul greats as Little Richard , the Isley Brothers , and King Curtis as a backup guitarist. Occasionally he recorded as a session man ( the Isley Brothers ' 1964 single "Testify" is the only one of these early tracks that offers even a glimpse of his future genius). But the stars didn't appreciate his show-stealing showmanship, and Hendrix was straitjacketed by sideman roles that didn't allow him to develop as a soloist. The logical step was for Hendrix to go out on his own, which he did in New York in the mid-'60s, playing with various musicians in local clubs, and joining white blues-rock singer John Hammond, Jr. 's band for a while. It was in a New York club that Hendrix was spotted by Animals bassist Chas Chandler.

The first lineup of the Animals was about to split, and Chandler, looking to move into management, convinced Hendrix to move to London and record as a solo act in England. There a group was built around Jimi, also featuring Mitch Mitchell on drums and Noel Redding on bass, that was dubbed the Jimi Hendrix Experience. The trio became stars with astonishing speed in the U.K., where "Hey Joe," "Purple Haze," and "The Wind Cries Mary" all made the Top Ten in the first half of 1967. These tracks were also featured on their debut album, Are You Experienced, a psychedelic meisterwerk that became a huge hit in the U.S. after Hendrix created a sensation at the Monterey Pop Festival in June of 1967. Are You Experienced was an astonishing debut, particularly from a young R&B veteran who had rarely sung, and apparently never written his own material, before the Experience formed. What caught most people's attention at first was his virtuosic guitar playing, which employed an arsenal of devices, including wah-wah pedals, buzzing feedback solos, crunching distorted riffs, and lightning, liquid runs up and down the scales.

But Hendrix was also a first-rate songwriter, melding cosmic imagery with some surprisingly pop-savvy hooks and tender sentiments. He was also an excellent blues interpreter and passionate, engaging singer (although his gruff, throaty vocal pipes were not nearly as great assets as his instrumental skills). Are You Experienced was psychedelia at its most eclectic, synthesizing mod pop, soul, R&B, Dylan , and the electric guitar innovations of British pioneers like Jeff Beck , Pete Townshend , and Eric Clapton . Amazingly, Hendrix would only record three fully conceived studio albums in his lifetime. Axis: Bold as Love and the double-LP Electric Ladyland were more diffuse and experimental than Are You Experienced On Electric Ladyland in particular, Hendrix pioneered the use of the studio itself as a recording instrument, manipulating electronics and devising overdub techniques (with the help of engineer Eddie Kramer in particular) to plot uncharted sonic territory. Not that these albums were perfect, as impressive as they were; the instrumental breaks could meander, and Hendrix's songwriting was occasionally half-baked, never matching the consistency of Are You Experienced (although he exercised greater creative control over the later albums).

The final two years of Hendrix's life were turbulent ones musically, financially, and personally. He was embroiled in enough complicated management and record company disputes (some dating from ill-advised contracts he'd signed before the Experience formed) to keep the lawyers busy for years. He disbanded the Experience in 1969, forming the Band of Gypsies with drummer Buddy Miles and bassist Billy Cox to pursue funkier directions. He closed Woodstock with a sprawling, shaky set, redeemed by his famous machine-gun interpretation of "The Star Spangled Banner." The rhythm section of Mitchell and Redding were underrated keys to Jimi's best work, and the Band of Gypsies ultimately couldn't measure up to the same standard, although Hendrix did record an erratic live album with them. In early 1970, the Experience re-formed again -- and disbanded again shortly afterward. At the same time, Hendrix felt torn in many directions by various fellow musicians, record-company expectations, and management pressures, all of whom had their own ideas of what Hendrix should be doing. Coming up on two years after Electric Ladyland, a new studio album had yet to appear, although Hendrix was recording constantly during the period.

While outside parties did contribute to bogging down Hendrix's studio work, it also seems likely that Jimi himself was partly responsible for the stalemate, unable to form a permanent lineup of musicians, unable to decide what musical direction to pursue, unable to bring himself to complete another album despite jamming endlessly. A few months into 1970, Mitchell -- Hendrix's most valuable musical collaborator -- came back into the fold, replacing Miles in the drum chair, although Cox stayed in place. It was this trio that toured the world during Hendrix's final months. It's extremely difficult to separate the facts of Hendrix's life from rumors and speculation. Everyone who knew him well, or claimed to know him well, has different versions of his state of mind in 1970. Critics have variously mused that he was going to go into jazz, that he was going to get deeper into the blues, that he was going to continue doing what he was doing, or that he was too confused to know what he was doing at all. The same confusion holds true for his death: contradictory versions of his final days have been given by his closest acquaintances of the time.

He'd been working intermittently on a new album, tentatively titled First Ray of the New Rising Sun, when he died in London on September 18, 1970, from drug-related complications. Hendrix recorded a massive amount of unreleased studio material during his lifetime. Much of this (as well as entire live concerts) was issued posthumously; several of the live concerts were excellent, but the studio tapes have been the focus of enormous controversy for over 20 years. These initially came out in haphazard drabs and drubs (the first, The Cry of Love, was easily the most outstanding of the lot). In the mid-'70s, producer Alan Douglas took control of these projects, posthumously overdubbing many of Hendrix's tapes with additional parts by studio musicians. In the eyes of many Hendrix fans, this was sacrilege, destroying the integrity of the work of a musician known to exercise meticulous care over the final production of his studio recordings. Even as late as 1995, Douglas was having ex- Knack drummer Bruce Gary record new parts for the typically misbegotten compilation Voodoo Soup.

After a lengthy legal dispute, the rights to Hendrix's estate, including all of his recordings, returned to Al Hendrix, the guitarist's father, in July of 1995. With the help of Jimi's step-sister Janie, Al set up Experience Hendrix to begin to get Jimi's legacy in order. They began by hiring John McDermott and Jimi's original engineer, Eddie Kramer to oversee the remastering process. They were able to find all the original master tapes, which had never been used for previous CD releases, and in April of 1997, Hendrix's first three albums were reissued with drastically improved sound. Accompanying those reissues was a posthumous compilation album (based on Jimi's handwritten track listings) called First Rays of the New Rising Sun, made up of tracks from the Cry of Love, Rainbow Bridge and War Heroes.

Later in 1997, another compilation called South Saturn Delta showed up, collecting more tracks from posthumous LPs like Crash Landing, War Heroes, and Rainbow Bridge (without the terrible '70s overdubs), along with a handful of never-before-heard material that Chas Chandler had withheld from Alan Douglas for all those years. More archival material followed; Radio One was basically expanded to the two-disc BBC Sessions (released in 1998), and 1999 saw the release of the full show from Woodstock as well as additional concert recordings from the Band of Gypsies shows entitled Live at the Fillmore East. 2000 saw the release of the Jimi Hendrix Experience four-disc box set, which compiled remaining tracks from In the West, Crash Landing and Rainbow Bridge along with more rarities and alternates from the Chandler cache. The family also launched Dagger Records, essentially an authorized bootleg label to supply hardcore Hendrix fans with material that would be of limited commercial appeal. Dagger released several live concerts (of shows in Oakland, Ottawa, Clark University in Massachusetts, Paris, San Francisco, Woburn in Bedfordshire, and Cologne) and a collection of studio jams and demos called Morning Symphony Ideas.

Mainstream Hendrix reissue activity continued during the 2000s and 2010s, spotlighted by major live albums originally recorded at the Isle of Wight (2002), Berkeley (2003), Monterey (2007), Winterland (2011), and the Miami Pop Festival (2013). In 2010, Sony issued a four-disc set titled West Coast Seattle Boy: The Jimi Hendrix Anthology, which offered a full disc of recordings from Hendrix's time as a backing guitarist. ~ Richie Unterberger & Sean Westergaard Review: Jimi Hendrix, "People, Hell and Angels" Review: Jimi Hendrix, "People, Hell and Angels" March 5, 2013 By Joe Marchese Leave a Comment The Jimi Hendrix reclamation project continues. The partnership between Experience Hendrix and Legacy Recordings began in early 2010 with the release of Valleys of Neptune , a 12-track collection of previously unreleased material from the late guitar hero. Since then, CDs, DVDs, Blu-rays and box sets have all arrived to keep the Hendrix flame burning bright.

And now Valleys of Neptune receives a proper follow-up in the form of People, Hell and Angels (88765 41898 2), a “new” collection of Hendrix songs that even avid collectors of the late artist’s output are unlikely to have heard. The lion’s share of the album was recorded in 1969, with a couple of tracks stretching back to 1968 and one forward to 1970, and the focus is on Hendrix’s trailblazing work outside of the Experience, with drummer Buddy Miles and bassist Billy Cox of the Band of Gypsys era. Valleys concentrated on performances from the classic Experience line-up of Hendrix, drummer Mitch Mitchell and bassist Noel Redding, so the style here is quite different if equally intense. Each new Hendrix album curated under the aegis of Experience Hendrix has sought to right the perceived wrongs of previous regime, or set the record straight, as it were. And so material from posthumously overdubbed and/or edited albums like Crash Landing, Midnight Lightning and Nine to the Universe has been addressed in “pure” versions on albums such as People, Hell and Angels.

While it would be easy for the law of diminishing returns to take effect, the good news is that there’s variety and electricity a-plenty to make People, Hell and Angels a worthwhile entry in the Hendrix catalogue. Experience Hendrix’s head, Janie Hendrix, has indicated that this “could be the last of the studio releases.” If so, it’s a fitting conclusion to that particular chapter. Hendrix’s gift was how he reinvented and melded familiar idioms into an entirely new sound, drawing on various traditional strains but never slavishly imitating them. Much of People, Hell and Angels is steeped, even drenched, in the blues, arguably the root of Hendrix’s greatest music and a starting point for his otherworldly, wailing rock transformations. A standout is “Hear My Train A-Comin’,” previously recorded with the Experience. Hendrix knew that he would arrive at a very different result with Cox and Miles, and he was clearly inspired during this scorching rendition that morphs from trippy funk to gutsy blues.

From the same May 21, 1969 session, the new album also includes a stab at Elmore James’ “Bleeding Heart” with singular results. (Valleys of Neptune offered a wholly different recording of the James song.) “Hey Gypsy Boy” is another slow-burning blues original, heard here sans overdubs. Hendrix takes some vocals in his “smooth” falsetto register, and lends the song a low-key, ominous feel with slithery lead guitar. There's plenty more after the jump! “Blues” appears not only in the style, but in the name, too, of three tracks. “Earth Blues” (first aired on 1971’s Rainbow Bridge and 1997’s Experience Hendrix-curated First Rays of the New Rising Sun) is heard here in a galvanizing rendition minus overdubs and with substantially different lyrics. This version (Take 15, per the notes) features just Hendrix, Cox and Miles, and with its infectious “Love, love, love” refrain, it’s Hendrix at his most accessible.

“Easy Blues,” a portion of which first appeared on producer Alan Douglas’ “jam” album Nine to the Universe, is far removed from the funky “Earth Blues.” It’s a jazzy exercise in improvisation recorded during the same August 28, 1969 session with Hendrix’s Woodstock band (Larry Lee on rhythm guitar, Mitch Mitchell on drums, Billy Cox on bass and Jerry Velez and Juma Sultan on percussion) as the version of “Izabella” also included on People, Hell and Angels. This previously unearthed “Izabella” is said to be the earliest known recording of the song. Then there’s the brief, album-closing snippet of “Villanova Junction Blues,” a song actually played at Woodstock. People, Hell and Angels also adds the “R&” to the “B” with a couple of pop-ish tracks that are among its best. Lonnie Youngblood handles the vocals on the energetic, amped-up R&B of “Let Me Move You.” This ebullient, nearly seven-minute take is filled with energy that crackles particularly as Hendrix’s guitar and Youngblood’s saxophone intertwine.

Even better is “Mojo Man.” Hendrix’s old friends Albert and Arthur Allen, a.k.a. The Ghetto Fighters, recorded the song with pianist James Booker and the Muscle Shoals rhythm section and horns. But Hendrix sensed what he could bring to the track, and so his guitar (overdubbed in NYC) elevates the song to the next level but doesn’t overpower it. It’s bar none one of the most exciting discoveries here. Whenever Hendrix expanded his musical palette, as with the presence of horns here, the results were never less than interesting and frequently were thrilling. It’s all the more bittersweet to wonder what stylistic paths he might have pursued. Then there are a couple tracks that offer a window into a familiar song. “Somewhere,” issued in overdubbed form on 1975’s Crash Landing and then in “legitimate” form on the Jimi Hendrix Experience box set, premieres here in a version different from either of the previous two. Making this recording all the more special, Hendrix and Miles are joined by Stephen Stills on bass.

There’s no evident discomfort from guitar great Stills as he switches to bass, and the trio are locked in a positively cosmic groove for one of Hendrix’s most sprawling songs of social commentary. “Somewhere” is never in the lyric, though the singer takes us from earth to outer space, hearing “pleas and prayers and a desperate whisper sayin’, Oh, Lord, please give us a helpin' hand…” and imagining “UFOs jumpin' themselves/Laughin' they sayin'/ Those people so uptight, they sure know how to make a mess.” Hendrix almost casually tosses off riffs as if they’re going out of style, riding the wah-wah with no inhibitions. “Crash Landing,” premiering in a version with Hendrix, Cox, Rocky Isaac on drums and Al Marks and Chris Grimes on percussion, is already proving controversial in various circles. Some vocal collectors are abuzz over what alterations (if any) have been made to the original track, said to be a completely unreleased take from April 1969. Purely on its own merits, the recording here is a welcome addition.

Lyrically the song seems directed at a “suffocating” woman and takes in the twin demons of drugs and sex, but the melody and lyric seem secondary to the sizzling performance itself. The instrumental “Inside Out” is a play on the riff that would become “Ezy Rider,” with just Hendrix (on guitar and bass) and Mitchell. It’s not a remarkable composition at this stage, but the power of its primal rock riff was already abundantly clear. People, Hell and Angels by its nature isn’t a great jumping-on point for Hendrix fans-to-be, but it most certainly does hold up as a collection of songs that, save one or two, don’t feel “unfinished.” It chronicles Hendrix the seeker, searching for a more elaborate sound – and more elaborately funky, bluesy and truthful. Compliments to engineer/mixer Eddie Kramer and mastering engineer Bernie Grundman, the sound quality here is so pristine on most of the tracks that these songs sound as if they were recorded yesterday. In addition, John McDermott provides lengthy track-by-track liner notes explaining the genesis and prior recording and release history of each song.

There’s always a visceral thrill in hearing new Jimi Hendrix music for the first time, and as with virtually every posthumous release from the artist, there are moments so galvanizing that it’s hard to believe this music has gone unreleased for so long. During those moments, Hell feels more like Guitar Heaven. You can order People, Hell and Angels by clicking here . A Target-exclusive edition is also available with a bonus track, "Ezy Ryder/MLK Jam [Captain Coconut]," recorded on January 23, 1970 at the Record Plant. Categories: News , Reviews Joe Marchese JOE MARCHESE (Editor) joined The Second Disc shortly after its launch in early 2010, and has since penned daily news and reviews about classic music of all genres. He has contributed liner notes to reissues from a diverse array of artists, among them Paul Williams, Lesley Gore, Dusty Springfield, B.J. Thomas, The 5th Dimension, Burt Bacharach, Perry Como, Peggy Lipton, Vikki Carr and Andy Williams, and has compiled releases for talents including Robert Goulet and Keith Allison of Paul Revere and the Raiders.

In 2009, Joe began contributing theatre and music reviews to the print publication The Sondheim Review, and his work still appears with frequency in the magazine. In 2012, he joined the staff of The Digital Bits as a regular contributor writing about film and television on DVD and Blu-ray. Over the past two decades, Joe has also worked in a variety of capacities on and off Broadway as well as at some of the premier theatres in the U.S., including Lincoln Center Theater, George Street Playhouse, Paper Mill Playhouse, Long Wharf Theatre, and the York Theatre Company. He has felt privileged to work on productions alongside artists such as the late Jack Klugman, Eli Wallach, Arthur Laurents, Betty Comden and Adolph Green. In 2015, Joe formed the Second Disc Records label. Celebrating the great songwriters, producers and artists who created the sound of American popular song, Second Disc Records, in conjunction with Real Gone Music, has released newly-curated collections co-produced by Joe from iconic vocalists Bobby Darin and Johnny Mathis, legendary producer Bob Crewe, soul legend Wilson Pickett and many others. Joe currently resides in the suburbs of New York City.

Jimi Hendrix - People, Hell And Angels Jimi Hendrix Hear My Train A Comin' (5:41) VERSION 6.0.18 | © 2010 - 2017 Imusic LLC. All rights reserved. | Made in Yerevan | Hosted By ADC loading...

Question: Released last month, People, Hell and Angels is a posthumous album made up of songs recorded by which artist in 1969 ?
Answer: JIMI HENDRIX