ヴァリーズ・オブ・ネプチューン
| 仕様 | 価格 | 新品 | 中古品 |
|
CD, CD, インポート, 2011/4/19
"もう一度試してください。" | 通常盤 | ¥1,640 | ¥779 |
|
CD, CD, 2015/9/16
"もう一度試してください。" | CD | ¥2,016 | ¥1,837 |
|
CD, CD, リミックス含む, 2010/3/9
"もう一度試してください。" | CD, インポート | ¥1,965 | ¥197 |
|
CD, 限定版, 2013/4/10
"もう一度試してください。" | 限定版 | ¥2,746 | ¥1,232 |
|
CD, インポート, 2011/3/15
"もう一度試してください。" | インポート |
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| — | — |
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曲目リスト
| 1 | ストーン・フリー |
| 2 | ヴァレーズ・オブ・ネプチューン |
| 3 | ブリーディング・ハート |
| 4 | ヒア・マイ・トレイン・ア・カミン |
| 5 | ミスター・バッド・ラック |
| 6 | サンシャイン・オブ・ユア・ラヴ |
| 7 | ラヴァー・マン |
| 8 | シップス・パッシング・スルー・ザ・ナイト |
| 9 | ファイア |
| 10 | レッド・ハウス |
| 11 | ララバイ・フォー・ザ・サマー |
| 12 | クライング・ブルー・レイン |
商品の説明
内容紹介
ジミが火をつけたのは、ギターだけじゃなかった。
2010年作品。未発表を全12曲収録したスタジオ録音作品。1969年の2月から3月にかけてジミ・ヘンドリックス・エクスペリエンスのメンバーで録音した10曲が中心になっており、彼の全ての未発表の中でもっとも探し求められていた中の一曲「バレーズ・オブ・ネプチューン」をフューチャー。よく知られた代表曲である「レッド・ハウス」「ファイア」「ストーン・フリー」の'69年ヴァージョンに加え、エルモア・ジェイムスの「ブリーディング・ハート」やクリームの「サンシャイン・オブ・ユア・ラヴ」にインスパイアされた未発表曲も収録。おそよ40年ぶりに陽の目を見るこれらの作品は、ジミを永らく手掛けているエディ・クレイマーによってミックスされ、最新技術の駆使により、奇跡の新作がここに誕生しました。
【完全生産限定盤】デジパック仕様
※解説/歌詞/対訳付
※完全未発表スタジオ録音曲集
※在庫がなくなり次第終了となります。
Amazonレビュー
ギターの革命児と謳われるジミ・ヘンドリックス。このアルバムは彼のカタログの権利がソニーに移ったことにより日の目を見ることとなった未発表スタジオ音源集だ。1969年にロンドンとニューヨークでレコーディングされたテイクが収められている。エリック・クラプトンのギターで有名なクリームの名曲<サンシャイン・オブ・ユア・ラヴ>やエルモア・ジェームスの<ブリーディング・ハート>のカヴァーなど、一聴の価値あるプレイが多数記録されている。。(ADLIB2010年3月号)
登録情報
- メーカーにより製造中止になりました : いいえ
- 製品サイズ : 14.2 x 1 x 12.5 cm; 100 g
- メーカー : SMJ
- EAN : 4547366052930
- 時間 : 1 時間 2 分
- レーベル : SMJ
- ASIN : B00317CO3U
- ディスク枚数 : 1
- Amazon 売れ筋ランキング: - 223,177位ミュージック (ミュージックの売れ筋ランキングを見る)
- - 44,201位ロック (ミュージック)
- カスタマーレビュー:
-
トップレビュー
上位レビュー、対象国: 日本
レビューのフィルタリング中に問題が発生しました。後でもう一度試してください。
2021年2月14日に日本でレビュー済み
Amazonで購入
全てにおいて問題ありません。素晴らしい…
2018年12月31日に日本でレビュー済み
Amazonで購入
今回私が購入したのは、ASIN: B004RWJ0JO、JAN: 0886976548223のコードからなる商品です。
CDケースの色はクリアで、22ページのブックレットがついています。写真は充実していますが歌詞は掲載されていません。
2010年に発表されたジミ・ヘンドリックスの未発表曲集(既発曲の別バージョン含む)になります。
彼は短い活動期間の割に、死後未発表曲集やライブなどが乱発されて、どれから聴いたらいいかわからない
状態になっていますが、これはややマニア向けに入ると思われます。有名曲の「ファイア」
や「ストーン・フリー」の別バージョンや、クリームのカバーである「サンシャイン・オブ・
ユアー・ラブ」あたりがハイライトかと思われます。全体的にやや渋めの作りになっていますが、
彼のことが好きならまず買って損はしない作品になっていると思います。なお、古い時期の
音源ですが、リマスターされているのか、音質・音圧共に良好でした。
CDケースの色はクリアで、22ページのブックレットがついています。写真は充実していますが歌詞は掲載されていません。
2010年に発表されたジミ・ヘンドリックスの未発表曲集(既発曲の別バージョン含む)になります。
彼は短い活動期間の割に、死後未発表曲集やライブなどが乱発されて、どれから聴いたらいいかわからない
状態になっていますが、これはややマニア向けに入ると思われます。有名曲の「ファイア」
や「ストーン・フリー」の別バージョンや、クリームのカバーである「サンシャイン・オブ・
ユアー・ラブ」あたりがハイライトかと思われます。全体的にやや渋めの作りになっていますが、
彼のことが好きならまず買って損はしない作品になっていると思います。なお、古い時期の
音源ですが、リマスターされているのか、音質・音圧共に良好でした。
2015年5月21日に日本でレビュー済み
Amazonで購入
未発表音源集。2010年発表。先ず最初に断っときますが、ジミの演奏のテンションはここでも天下一品、一聴の価値あり。ただし初心者は生前の4枚(「
Are You experienced?
(1967)」「
Axis:Bold As Love
(1967)」「
Electric Ladyland
(1968)」「
Band Of Gypsys
(1970)」)を聴きこんでから出直して来なさい。と言う前提で、以下、つらつらと文句を述べていきます。
一応、「未発表曲集」と銘打ってはいますが、まともに未発表な楽曲は4曲だけ。(“ヴァリーズ・オブ・ネプチューン”“シップス・パッシング・スルー・ザ・ナイト”“ララバイ・フォー・ザ・サマー”(“イージーライダー”(「 ファースト・レイズ・オブ・ザ・ニュー・ライジング・サン 」収録)の元ネタ)“クライング・ブルー・レイン”。)後は、ファンにはおなじみな「ジミヘン・クラシックス」が収録されています。いったい、何度これらの別テイクを僕らに売りつける気なのだろうかと、ため息が出てきますが、それでも、テイクが違えば聴いてみたくなるのがファンの性(さが)と言う物。上手い商売しやがるぜ、全く。さぁ、皆さんご一緒に!。「エクスペリエンス・ヘンドリックス(ジミの遺族団体)にはムカつかさせられるぜ!。」
“ルック・オーヴァー・ヤンダー”(「 サウス・サターン・デルタ 」収録)の元ネタ“ミスター・バッド・ラック”が1967年録音な以外は、1969年の録音で固めています。どーせなら生前の三枚のスタジオ録音の時期のアウトテイクをもっと出せよ、と言う気がするのですが、なんか、出せない理由でもあるんでしょうか。極端に少ないですよね、その時期の音源。
1969/2/18,24に行われたロイヤル・アルバート・ホール公演のための事前リハーサルの時収録されたものが5曲。“サンシャイン・オブ・ユア・ラヴ”“ラヴァー・マン”“ファイア”“レッド・ハウス”“クライング・ブルー・レイン”と言った楽曲で、このアルバムの聴き物の一つになっています。インストの“サンシャイン・オブ・ユア・ラヴ”では、途中、延々ギター・カッティングのみで、アドリブのアイディアに詰まったかのような箇所があり、いかにもリハーサルらしい荒っぽい音源と言えます。もっとも、その、執拗にカッティングを繰り返す様に、徐々に興奮してきたりもするのが、ジミの怖いところでもありますが…。“ラヴァー・マン”はお馴染みのアップテンポではなく、ややテンポを落としたファンク風味の演奏。
何曲かは、後からリズム・セクションをオーヴァーダブしてる(1987年)んですが、なんでそんなことするかな。ラジオでジミの特集した時の蔵出し用にオーヴァー・ダブしたものをそのまま流用しているようですが、ここは、ノー・ダビングのオリジナル音源を出すべきだったでしょう。
アルバムのラストは、エクスペリエンス・ヘンドリックスの常套手段で、スロー・ブルース・ナンバー(後半でテンポアップしますが)となっています。このわざとらしい構成はいいかげんやめてほしいな…。
と言う感じで、文句も言いたくなりますが、冒頭で述べたとおり、ジミのギターのテンションは最高。ほぼ1969年の録音で統一したことで、サウンド的にも整合感のあるものとなっています。なんだかんだ言って一聴の価値ありか。個人的にはブルースの“ヒア・マイ・トレインAカミン”“レッド・ハウス”がグッとくる。もちろん、アップテンポの曲に混じってだからこそだけどね。
一応、「未発表曲集」と銘打ってはいますが、まともに未発表な楽曲は4曲だけ。(“ヴァリーズ・オブ・ネプチューン”“シップス・パッシング・スルー・ザ・ナイト”“ララバイ・フォー・ザ・サマー”(“イージーライダー”(「 ファースト・レイズ・オブ・ザ・ニュー・ライジング・サン 」収録)の元ネタ)“クライング・ブルー・レイン”。)後は、ファンにはおなじみな「ジミヘン・クラシックス」が収録されています。いったい、何度これらの別テイクを僕らに売りつける気なのだろうかと、ため息が出てきますが、それでも、テイクが違えば聴いてみたくなるのがファンの性(さが)と言う物。上手い商売しやがるぜ、全く。さぁ、皆さんご一緒に!。「エクスペリエンス・ヘンドリックス(ジミの遺族団体)にはムカつかさせられるぜ!。」
“ルック・オーヴァー・ヤンダー”(「 サウス・サターン・デルタ 」収録)の元ネタ“ミスター・バッド・ラック”が1967年録音な以外は、1969年の録音で固めています。どーせなら生前の三枚のスタジオ録音の時期のアウトテイクをもっと出せよ、と言う気がするのですが、なんか、出せない理由でもあるんでしょうか。極端に少ないですよね、その時期の音源。
1969/2/18,24に行われたロイヤル・アルバート・ホール公演のための事前リハーサルの時収録されたものが5曲。“サンシャイン・オブ・ユア・ラヴ”“ラヴァー・マン”“ファイア”“レッド・ハウス”“クライング・ブルー・レイン”と言った楽曲で、このアルバムの聴き物の一つになっています。インストの“サンシャイン・オブ・ユア・ラヴ”では、途中、延々ギター・カッティングのみで、アドリブのアイディアに詰まったかのような箇所があり、いかにもリハーサルらしい荒っぽい音源と言えます。もっとも、その、執拗にカッティングを繰り返す様に、徐々に興奮してきたりもするのが、ジミの怖いところでもありますが…。“ラヴァー・マン”はお馴染みのアップテンポではなく、ややテンポを落としたファンク風味の演奏。
何曲かは、後からリズム・セクションをオーヴァーダブしてる(1987年)んですが、なんでそんなことするかな。ラジオでジミの特集した時の蔵出し用にオーヴァー・ダブしたものをそのまま流用しているようですが、ここは、ノー・ダビングのオリジナル音源を出すべきだったでしょう。
アルバムのラストは、エクスペリエンス・ヘンドリックスの常套手段で、スロー・ブルース・ナンバー(後半でテンポアップしますが)となっています。このわざとらしい構成はいいかげんやめてほしいな…。
と言う感じで、文句も言いたくなりますが、冒頭で述べたとおり、ジミのギターのテンションは最高。ほぼ1969年の録音で統一したことで、サウンド的にも整合感のあるものとなっています。なんだかんだ言って一聴の価値ありか。個人的にはブルースの“ヒア・マイ・トレインAカミン”“レッド・ハウス”がグッとくる。もちろん、アップテンポの曲に混じってだからこそだけどね。
2010年5月7日に日本でレビュー済み
Amazonで購入
70年9月、27歳で逝去するまで4枚のオリジナルアルバム(正確に言えば3枚)を発表
死後、膨大なライブやリハーサルなどのレア音源は
マネ−ジャーだった、マイケル・ジェフリー主導で、
コンセプトの見えないかなり無軌道無計画、
言ったら雑、なリリースがなされる
当然マニアの不興を買う
背景に、「エクスペリエンス」のノエル・レディング、ミッチ・、ミッツェルが将来の印税に対する権利を売却したためと言われる
このお二方、早まったかもしれませんねー
70〜80年代そういう経緯うまれたのが
「クラッシュ・ランディング」
「ウォー・ヒーローズ」
「ミッドナイト・ライトニング」
「レインボー・ブリッジ」といった乱暴な編集アルバム群
しかしマイケルの死後
ジミの遺産を相続した父、アルがナット・キング・コールの
音源管理をやってる弁護士に管理を依頼
97年以降
ジャズ・プロデューサーのアラン・ダグラスが音源の仕切りを
することでジョジョにコンセプトも定まっていく
〜『エクスペリエンス・ヘンドリクス』の運営
その成果の一つが
編集ながら4枚目のオリジナル・アルバムと称されるほどの
クオリティを示す
「ファースト・レイズ・オブ・ザ・ニュー・ライジング・サン」
そして配給をソニーに移して今年発売された
スタジオ録音による新作発掘盤
「ヴァリーズ・オブ・ネプチューン」
となる
リハーサル音源ながら曲、演奏、音質ともにクオリティは高し
配給移行第1弾ということは慎重に整理された音源が
また出るということか
死後、膨大なライブやリハーサルなどのレア音源は
マネ−ジャーだった、マイケル・ジェフリー主導で、
コンセプトの見えないかなり無軌道無計画、
言ったら雑、なリリースがなされる
当然マニアの不興を買う
背景に、「エクスペリエンス」のノエル・レディング、ミッチ・、ミッツェルが将来の印税に対する権利を売却したためと言われる
このお二方、早まったかもしれませんねー
70〜80年代そういう経緯うまれたのが
「クラッシュ・ランディング」
「ウォー・ヒーローズ」
「ミッドナイト・ライトニング」
「レインボー・ブリッジ」といった乱暴な編集アルバム群
しかしマイケルの死後
ジミの遺産を相続した父、アルがナット・キング・コールの
音源管理をやってる弁護士に管理を依頼
97年以降
ジャズ・プロデューサーのアラン・ダグラスが音源の仕切りを
することでジョジョにコンセプトも定まっていく
〜『エクスペリエンス・ヘンドリクス』の運営
その成果の一つが
編集ながら4枚目のオリジナル・アルバムと称されるほどの
クオリティを示す
「ファースト・レイズ・オブ・ザ・ニュー・ライジング・サン」
そして配給をソニーに移して今年発売された
スタジオ録音による新作発掘盤
「ヴァリーズ・オブ・ネプチューン」
となる
リハーサル音源ながら曲、演奏、音質ともにクオリティは高し
配給移行第1弾ということは慎重に整理された音源が
また出るということか
2017年6月5日に日本でレビュー済み
Amazonで購入
マニアやdjには未発表曲はうけるとおもう、僕もいい曲だしどうしてお蔵入りしたのか不思議 時代が早かった?
2017年4月4日に日本でレビュー済み
Amazonで購入
ヨーロッパ原盤。未発表音源ってあとどれくらいあるのだろう。同じ曲を何回も録音していたようですね。じっくりゆっくり聴いていきます。
2017年3月14日に日本でレビュー済み
Amazonで購入
ジミ・ヘン亡くなってから相当の年数が経過していますが、最近のリマスター技術は素晴らしと思います。ギターの音が前面に溢れて感動です。今後も発掘音源のリマスターに期待したいと思います。
2014年9月7日に日本でレビュー済み
Amazonで購入
買う時に、値段を気にします。しかし、新品のように磨いてあるので、本当に買ってよかったと思いました。
他の国からのトップレビュー
J. Hand
5つ星のうち5.0
more from the Master
2010年6月4日にアメリカ合衆国でレビュー済みAmazonで購入
Warning- Much of this is the same review I wrote for First Rays of the New Rising Sun. There are a few changes. But, what I hold true for that release is no less valid for this one.
Ok, Ok. I'm currently and old fart who spent my teen years in the late 1960s. I always loved music and yes I still love all those bands from that era. I still have a turntable albeit I have more money invested in my phono preamp than I had in my entire system back in the day. In fact I suspect our house at that time dollar for dollar cost less than my current audio system. I never threw out or packed away my LPS when I made CDs my format of choice. So, let's recap: I'm old. I grew up on what is now called classic rock and roll. I still like music, classic R&R among the genres I still really like. I have a stereo system that kicks butt.
Now, concerning Mr. Hendrix. I loved him from the moment my cheesy old Garrard turntable spun Are You Experienced for the first time. This was around late 1969. Yes, it was released a few years earlier, but I was still making the awkward transition from green plastic army men and model cars to girls and rock and roll. We didn't have a stereo at home, just an AM/FM/Short-wave radio. My tardiness in finding Jimi Hendrix's LP can be forgiven. Later that year, Mom was divorced and she and the Tribe of Seven relocated to a small city midway up Long Island. Being the oldest, young, strong, and suddenly largely without adult supervision I changed radically. I got thrown out of school and went to work, saving enough money to buy an all in one stereo system with the previously mentioned Garrard turntable. My first three LP purchases were Muddy Water's Electric Mud, Ultimate Spinach's Just Like Romeo and Juliet, and the Jimi Hendrix Experience's Are You Experienced. Hendrix's guitar spoke to my life! Soon after came Axis: Bold as Love and then Electric Ladyland. Next up was Smash Hits! and then came Band of Gypsies which I didn't understand. I gradually became aware that musicians had things to say. Hendrix was different. He didn't need the put-on publicity stories like the Stones were accused of doing. He didn't need the indulgent stage volatility of the Who and Kinks. He didn't speak with the acerbic wit of John Lennon that few in the US understood at the time. It wasn't the ego-maniacal ravings of Ritchie Blackmore boasting of his guitar prowess. Yes, Hendrix was different. He didn't seem so much out to impress his audience as he was just being himself and pushing himself forward, out and away. The man was his music and the music was the man. If the rest of us wanted to follow along with him on his journey, there was always room for us. It was important to remember it was his trip and we were just passengers. He was the driver. We were the riders. Even though I was still largely a hormone driven, dopey kid at the time, I got what he was saying and was doing. But, like Jim Morrison, far too many people didn't "get" Hendrix and wanted to act like they owned him. They totally missed the musician, the mastery, the power, the man, and focused on the spectacle. Like crabs in a pail that pull the ones who try to escape back into the confines of their container, they were never willing to give him the freedom they claimed to represent. Hendrix became painfully aware that too many of his "fans" wanted to keep him burning guitars, playing with his teeth, and doing the other stage antics that were just the visual result of man, guitar, music, and the cosmos fusing together. The financial vampires that surrounded Hendrix knew those physical antics were what so many focused on. They knew that was where the money was, and with their blood sucking fangs deep in his cash flow, his escape with his art into the uncharted realms he wanted to explore was doubtful. After I "got" Hendrix, I finally "got" Band of Gypsies. And Jimi finally got away. After he was gone I remember when Cry of Love was released. Almost every track seemed to indicate he knew it was ending for him. Jimi's frustration showed (My Friend. Lyrics dealt directly with death and rebirth (Angel and especially Belly Button Window. To this day, I am convinced he knew! Damn, I missed him and hated the thought of no more music from him. But, I also wasn't so selfish that I would begrudge him the peace he found in death that was kept from him in life.
Sometime after his passing another album did come out. I'm not sure if it was this one or the First Rays LP. I do recall it was a single LP and the cover was similar to First Rays I think. I remember it was sort of purple and blue but I don't remember a picture of Jimi on the cover. I shopped at some pretty damn good record stores so it may well have been this one rather than First Rays. There was a write up about the record that said this was the new direction Hendrix was wanting to take with his music. As I remember the article, it claimed this was what he was doing to keep his sanity filling the personal need to push boundaries, but something his fans would not be ready for. I remember being disappointed in the record, as it wasn't the feedback power driven guitar I was used to. I seem to recall it was largely instrumental as well. I wish I could remember for certain what it was. I can't find reference to it on the discographies I have searched. At the time I had little exposure to or knowledge of jazz, real blues, or anything beyond AM radio and stuff I'd pick up on the BBC. Honestly, I didn't understand what I was hearing. Over the next several years after discovering Underground Radio, traveling and meeting many new and different kinds of people, my world and everything in it expanded. Yes, Jimi, old friend. I finally was experienced. I became a huge fan of progressive rock and later, fusion jazz, jazz, and dozens of genres of music since.
I can't say I knew what was up with the sudden spate of Hendrix music that was coming out other than much of it was terrible. If it had a decent sound quality, it was all just greatest hits type mixes. Tracks from other albums were repackaged in endless combinations and with different art work. There was little that was new. There was also a lot of live material coming out, but it was mostly bootleg audio quality. When video footage started being released, it was more of the same- most was crap. Bad sound and limited or poorly shot performances. I bought many of them hoping for something I hadn't seen or heard. Eventually, I gave up. (Currently I have seen this same phenomenon happening with Bob Marley)It was only later I learned of the battle for the rights to his catalog between Dark Forces of Exploitation and the Hendrix Family. I learned the Dark Ones were cashing in on Hendrix and cared for nothing but fleecing fans out of a few more dollars. Then it all made sense!
I was absolutely delighted to learn that this title was released and was also available on LP format. And being released with the approval of the Hendrix Family was a huge plus! There are samples of the track here on Amazon so they can be listened to. I think everybody interested in rock music of any era is aware of Jimi Hendrix and knows what to expect from his music. Here you can listen to "traditional" Hendrix, but also hear him pushing forward, and out, and up, and taking his music to new places. I can say nothing that hasn't already been said about him and his music. I can talk about my passion for it and hope it adds weight to my words. I couldn't get this set on the turntable fast enough. Jimi and I picked right back up where we had left off. It wasn't just that I finally had a system powerful enough feel the music pounding my body or speakers with the dynamic range to pick up every time his finger touched a string. It wasn't that I could approach near concert volume although all that helped! It was my old friend back again to play for me. The hair on my neck and arms stood up during some passages. During others, I was the wild young man back on Eastern Long Island again; as yet unaware of the Hendrix guitar solo like ride my life was going to take me on. And what a ride it was! Thank you Jimi, thank you Hendrix Family. Thank you for doing this, for sharing Jimi with us as he deserves to be heard. Hopefully we are older and wiser now and can understand him as guide and master. If you haven't been experienced, come on the trip with us- there's always room for one more!
Ok, Ok. I'm currently and old fart who spent my teen years in the late 1960s. I always loved music and yes I still love all those bands from that era. I still have a turntable albeit I have more money invested in my phono preamp than I had in my entire system back in the day. In fact I suspect our house at that time dollar for dollar cost less than my current audio system. I never threw out or packed away my LPS when I made CDs my format of choice. So, let's recap: I'm old. I grew up on what is now called classic rock and roll. I still like music, classic R&R among the genres I still really like. I have a stereo system that kicks butt.
Now, concerning Mr. Hendrix. I loved him from the moment my cheesy old Garrard turntable spun Are You Experienced for the first time. This was around late 1969. Yes, it was released a few years earlier, but I was still making the awkward transition from green plastic army men and model cars to girls and rock and roll. We didn't have a stereo at home, just an AM/FM/Short-wave radio. My tardiness in finding Jimi Hendrix's LP can be forgiven. Later that year, Mom was divorced and she and the Tribe of Seven relocated to a small city midway up Long Island. Being the oldest, young, strong, and suddenly largely without adult supervision I changed radically. I got thrown out of school and went to work, saving enough money to buy an all in one stereo system with the previously mentioned Garrard turntable. My first three LP purchases were Muddy Water's Electric Mud, Ultimate Spinach's Just Like Romeo and Juliet, and the Jimi Hendrix Experience's Are You Experienced. Hendrix's guitar spoke to my life! Soon after came Axis: Bold as Love and then Electric Ladyland. Next up was Smash Hits! and then came Band of Gypsies which I didn't understand. I gradually became aware that musicians had things to say. Hendrix was different. He didn't need the put-on publicity stories like the Stones were accused of doing. He didn't need the indulgent stage volatility of the Who and Kinks. He didn't speak with the acerbic wit of John Lennon that few in the US understood at the time. It wasn't the ego-maniacal ravings of Ritchie Blackmore boasting of his guitar prowess. Yes, Hendrix was different. He didn't seem so much out to impress his audience as he was just being himself and pushing himself forward, out and away. The man was his music and the music was the man. If the rest of us wanted to follow along with him on his journey, there was always room for us. It was important to remember it was his trip and we were just passengers. He was the driver. We were the riders. Even though I was still largely a hormone driven, dopey kid at the time, I got what he was saying and was doing. But, like Jim Morrison, far too many people didn't "get" Hendrix and wanted to act like they owned him. They totally missed the musician, the mastery, the power, the man, and focused on the spectacle. Like crabs in a pail that pull the ones who try to escape back into the confines of their container, they were never willing to give him the freedom they claimed to represent. Hendrix became painfully aware that too many of his "fans" wanted to keep him burning guitars, playing with his teeth, and doing the other stage antics that were just the visual result of man, guitar, music, and the cosmos fusing together. The financial vampires that surrounded Hendrix knew those physical antics were what so many focused on. They knew that was where the money was, and with their blood sucking fangs deep in his cash flow, his escape with his art into the uncharted realms he wanted to explore was doubtful. After I "got" Hendrix, I finally "got" Band of Gypsies. And Jimi finally got away. After he was gone I remember when Cry of Love was released. Almost every track seemed to indicate he knew it was ending for him. Jimi's frustration showed (My Friend. Lyrics dealt directly with death and rebirth (Angel and especially Belly Button Window. To this day, I am convinced he knew! Damn, I missed him and hated the thought of no more music from him. But, I also wasn't so selfish that I would begrudge him the peace he found in death that was kept from him in life.
Sometime after his passing another album did come out. I'm not sure if it was this one or the First Rays LP. I do recall it was a single LP and the cover was similar to First Rays I think. I remember it was sort of purple and blue but I don't remember a picture of Jimi on the cover. I shopped at some pretty damn good record stores so it may well have been this one rather than First Rays. There was a write up about the record that said this was the new direction Hendrix was wanting to take with his music. As I remember the article, it claimed this was what he was doing to keep his sanity filling the personal need to push boundaries, but something his fans would not be ready for. I remember being disappointed in the record, as it wasn't the feedback power driven guitar I was used to. I seem to recall it was largely instrumental as well. I wish I could remember for certain what it was. I can't find reference to it on the discographies I have searched. At the time I had little exposure to or knowledge of jazz, real blues, or anything beyond AM radio and stuff I'd pick up on the BBC. Honestly, I didn't understand what I was hearing. Over the next several years after discovering Underground Radio, traveling and meeting many new and different kinds of people, my world and everything in it expanded. Yes, Jimi, old friend. I finally was experienced. I became a huge fan of progressive rock and later, fusion jazz, jazz, and dozens of genres of music since.
I can't say I knew what was up with the sudden spate of Hendrix music that was coming out other than much of it was terrible. If it had a decent sound quality, it was all just greatest hits type mixes. Tracks from other albums were repackaged in endless combinations and with different art work. There was little that was new. There was also a lot of live material coming out, but it was mostly bootleg audio quality. When video footage started being released, it was more of the same- most was crap. Bad sound and limited or poorly shot performances. I bought many of them hoping for something I hadn't seen or heard. Eventually, I gave up. (Currently I have seen this same phenomenon happening with Bob Marley)It was only later I learned of the battle for the rights to his catalog between Dark Forces of Exploitation and the Hendrix Family. I learned the Dark Ones were cashing in on Hendrix and cared for nothing but fleecing fans out of a few more dollars. Then it all made sense!
I was absolutely delighted to learn that this title was released and was also available on LP format. And being released with the approval of the Hendrix Family was a huge plus! There are samples of the track here on Amazon so they can be listened to. I think everybody interested in rock music of any era is aware of Jimi Hendrix and knows what to expect from his music. Here you can listen to "traditional" Hendrix, but also hear him pushing forward, and out, and up, and taking his music to new places. I can say nothing that hasn't already been said about him and his music. I can talk about my passion for it and hope it adds weight to my words. I couldn't get this set on the turntable fast enough. Jimi and I picked right back up where we had left off. It wasn't just that I finally had a system powerful enough feel the music pounding my body or speakers with the dynamic range to pick up every time his finger touched a string. It wasn't that I could approach near concert volume although all that helped! It was my old friend back again to play for me. The hair on my neck and arms stood up during some passages. During others, I was the wild young man back on Eastern Long Island again; as yet unaware of the Hendrix guitar solo like ride my life was going to take me on. And what a ride it was! Thank you Jimi, thank you Hendrix Family. Thank you for doing this, for sharing Jimi with us as he deserves to be heard. Hopefully we are older and wiser now and can understand him as guide and master. If you haven't been experienced, come on the trip with us- there's always room for one more!
o dubhthaigh
5つ星のうち5.0
WOW!
2010年3月13日にアメリカ合衆国でレビュー済みAmazonで購入
THAT'S ALL - WOW!
As for the hoo haa over whether it is a money making venture, well it doesn't rank up there with the invasion of Iraq or the Wall Street swindle, but I certainly hope the family is turning some coin on this. This is how the man earned his crust, and all without ever taking advantage of anyone. I met Hendrix in a Holiday Inn in western Massachusettes the Monday night he was supposed to be on Cavett. He was exhausted from Woodstock and bailed on the tv appearance as there was a concert appearance in Mass that Tuesday or Wednesday. My father, my brother, our executive chef (who knew a thing or two about the chitlin circuit) and I asked him to join us in the restaurant for a meal. He was charming, genuine, gracious. My brother and I sat in awe as the adults talked of military service, earning a living on the road, bearing with the indignities of making ends meet. No trippy bs. Just a very gifted man sharing observations on a life. I hope his family makes a bloody fortune on this.
As for this disc, I'll go back to my unbridled enthusiasm. Shorn of the psychedelics, this is Hendrix in the lab creating. As time moves along, it becomes ever clearer what an incredible marriage he and Mitchell were. Cox was the more perfect bass player, but Redding had his merits as well. With Mitchell's passing last year, it is further reason to listen more carefully to what is going on here. The chemistry jumps out in numbers like the instrumental "Sunshine of your love" (listen even once and you'll forget whoever it was that first did that tune). Mitchell and Hendrix were as tightly in step with each other as Elvin Jones and John Coltrane. That intensity is all over this disc, and it is as much about the rhythm section as it is about the astonishing six string work on offer. The lyrics are moving away from the psychedelic babble of AXIS and radically towards the blues. And this is a blues album. While you'll hear ad infinitum that most of the tracks have appeared elsewhere (and anyone who tells you to buy a cutout disc at Target you can dismiss wholesale - typical Yank), Kramer and crew have effected aural wonders in the remaster and the disc sounds especially contemporary, like it was cut yesterday. It is seamless. That is the wonder of the technology. It is to the credit of Kramer that he then gets out of the way and allows the musicians to make their own case.
And the case is simply, 40 years dead, and Hendrix is still the best guitarist there's ever been. I haven't got round to the other re-issues, although I have enjoyed the blu-ray of Woodstock, again mostly because the sound is in fact hugely cleaned up. That is the reason for the exercise in remastering the back catalogue, seeing what is still in the lab, dusting off the ancient texts, handing through the ages the alchemy of making music in service to one's Muse. And for all the years he laboured for chitlins with the Isleys, I do indeed believe he and his family should make a killing. Why not? You know anyone more deerving? In Music? Didn't think so. Enjoy this. WOW! that's all.
As for the hoo haa over whether it is a money making venture, well it doesn't rank up there with the invasion of Iraq or the Wall Street swindle, but I certainly hope the family is turning some coin on this. This is how the man earned his crust, and all without ever taking advantage of anyone. I met Hendrix in a Holiday Inn in western Massachusettes the Monday night he was supposed to be on Cavett. He was exhausted from Woodstock and bailed on the tv appearance as there was a concert appearance in Mass that Tuesday or Wednesday. My father, my brother, our executive chef (who knew a thing or two about the chitlin circuit) and I asked him to join us in the restaurant for a meal. He was charming, genuine, gracious. My brother and I sat in awe as the adults talked of military service, earning a living on the road, bearing with the indignities of making ends meet. No trippy bs. Just a very gifted man sharing observations on a life. I hope his family makes a bloody fortune on this.
As for this disc, I'll go back to my unbridled enthusiasm. Shorn of the psychedelics, this is Hendrix in the lab creating. As time moves along, it becomes ever clearer what an incredible marriage he and Mitchell were. Cox was the more perfect bass player, but Redding had his merits as well. With Mitchell's passing last year, it is further reason to listen more carefully to what is going on here. The chemistry jumps out in numbers like the instrumental "Sunshine of your love" (listen even once and you'll forget whoever it was that first did that tune). Mitchell and Hendrix were as tightly in step with each other as Elvin Jones and John Coltrane. That intensity is all over this disc, and it is as much about the rhythm section as it is about the astonishing six string work on offer. The lyrics are moving away from the psychedelic babble of AXIS and radically towards the blues. And this is a blues album. While you'll hear ad infinitum that most of the tracks have appeared elsewhere (and anyone who tells you to buy a cutout disc at Target you can dismiss wholesale - typical Yank), Kramer and crew have effected aural wonders in the remaster and the disc sounds especially contemporary, like it was cut yesterday. It is seamless. That is the wonder of the technology. It is to the credit of Kramer that he then gets out of the way and allows the musicians to make their own case.
And the case is simply, 40 years dead, and Hendrix is still the best guitarist there's ever been. I haven't got round to the other re-issues, although I have enjoyed the blu-ray of Woodstock, again mostly because the sound is in fact hugely cleaned up. That is the reason for the exercise in remastering the back catalogue, seeing what is still in the lab, dusting off the ancient texts, handing through the ages the alchemy of making music in service to one's Muse. And for all the years he laboured for chitlins with the Isleys, I do indeed believe he and his family should make a killing. Why not? You know anyone more deerving? In Music? Didn't think so. Enjoy this. WOW! that's all.
Fred Derry
5つ星のうち5.0
Why Some Tracks Sound Familiar
2019年4月20日にアメリカ合衆国でレビュー済みAmazonで購入
Great stuff. The best posthumous collection yet, far exceeding the overrated Cry of Love because here there are no intentionally silly throwaway tracks. First off, let's note why some of these sound familiar.
Lullaby for the Summer, an instrumental, is what the song Freedom eventually grew into.
Ships Passing Through the Night is the original version of the best Cry of Love track, Night Bird Flying.
Sunshine of your Love is an instrumental version of, of course, the Cream track that bassist Jack Bruce originally wrote for Jimi Hendrix. Jimi takes over the lyrics with his lead guitar, and there's a Mitch Mitchell drum solo.
If you bought this at Target originally, there's an instrumental titled Trash Man which is another version of Midnight: the best Jimi instrumental out there and that appears on the South Saturn Delta album.
Crying Blue Rain is an instrumental, mostly. Following a few "Yeahs" chanted by Jimi, it's a slow blues groove that picks up into a jazzy blues.
Valleys of Neptune, the title track, is something they'd been working on when Jimi played at Woodstock. In fact, he mentions the song (but does not play it) at Woodstock. The only problem is that it sounds like a work in progress despite the perfect sounding recording. Mostly because, alas, there is no guitar solo, and one is desperately needed here.
The versions of the already recorded blues classics Red House, Lover Man and Hear My Train are more crisp and really drive. The only two famous tracks that sound kinda blah are Jimi's Smash hits Fire, which an annoying backup vocal by Noel Redding, and Stone Free, sort of a middleground track to begin with.
In all, this is a fantastic album. And what separates it from other Hendrix posthumous records is the recording level is matched perfectly, so one song isn't recorded low while the following song blows your head off since you had to turn up the previous track. You can listen to Neptune with all one volume, and it won't abuse your ears like those cable TV commercials.
Lullaby for the Summer, an instrumental, is what the song Freedom eventually grew into.
Ships Passing Through the Night is the original version of the best Cry of Love track, Night Bird Flying.
Sunshine of your Love is an instrumental version of, of course, the Cream track that bassist Jack Bruce originally wrote for Jimi Hendrix. Jimi takes over the lyrics with his lead guitar, and there's a Mitch Mitchell drum solo.
If you bought this at Target originally, there's an instrumental titled Trash Man which is another version of Midnight: the best Jimi instrumental out there and that appears on the South Saturn Delta album.
Crying Blue Rain is an instrumental, mostly. Following a few "Yeahs" chanted by Jimi, it's a slow blues groove that picks up into a jazzy blues.
Valleys of Neptune, the title track, is something they'd been working on when Jimi played at Woodstock. In fact, he mentions the song (but does not play it) at Woodstock. The only problem is that it sounds like a work in progress despite the perfect sounding recording. Mostly because, alas, there is no guitar solo, and one is desperately needed here.
The versions of the already recorded blues classics Red House, Lover Man and Hear My Train are more crisp and really drive. The only two famous tracks that sound kinda blah are Jimi's Smash hits Fire, which an annoying backup vocal by Noel Redding, and Stone Free, sort of a middleground track to begin with.
In all, this is a fantastic album. And what separates it from other Hendrix posthumous records is the recording level is matched perfectly, so one song isn't recorded low while the following song blows your head off since you had to turn up the previous track. You can listen to Neptune with all one volume, and it won't abuse your ears like those cable TV commercials.
Amazon Customer
5つ星のうち4.0
Ok
2023年2月26日に英国でレビュー済みAmazonで購入
Surprised probably The Best of the Hendrix finds
lugar kane
5つ星のうち3.0
Ok
2023年7月17日にアメリカ合衆国でレビュー済みAmazonで購入
Used has some scratches
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