01- Red House 
02- Wake Up This Morning And You Find Yourself Dead 
03- Bleeding Heart 
04- Morrison's Lament 
05- Tomorrow Never Knows 
06- Outside Woman Blues 
07- Sunshine of Your Love

Bass – Randy Hobbs
Drums – Buddy Miles, Randy Z
Guitar [Rhythm] – Johnny Winter
Guitar, Vocals – Jimi Hendrix
Harmonica, Vocals – Jim Morrison

Woke Up This Morning and Found Myself Dead The lesson to be learned here is "LET THE BUYER BEWARE!" This CD contains a recording Jimi himself made of a jam at the Scene in NYC in early March (the 7th?) of 1968. Jim Morrison is there shouting vulgar things while Jimi tries to play. There are questions as to the rest of the line-up. Buddy Miles was there and participated a little in the jam but there was also another drummer on hand. Johnny Winters is advertised to have been there as well, but although he was friends with Jimi and worked with him from time to time, Johnny was in Texas at the time this jam took place.

Regardless, it's cool, a good album to have, but be warned. I've seen this exact same recording packaged and sold under 4 different names with 4 different cover photos/artwork. Three of these 4 were in the same store, on the same rack, inches from each other! --- socialmusic.fm

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01.Move Over And Let Me Dance - part 1
02.Have You Ever Be Disappointed - parts 1 & 2
03.Testify - parts 1 & 2 (alternate take)
04.Move Over And Let me Dance - part 2
05.Wild Little Tiger
06.The Last Girl
07.Simon Says
08.Looking For A Love
09.Testify - parts 1 & 2
10.Move Over And Let Me Dance
11.Have You Ever Be Disappointed
12.The Last Girl
13.Looking For A Love
14.My Little Girl
15.Open Up Her Eyes
16.Love Is A Wonderful Thing
17.Footprints In The Snow
18.Who's That Lady
19.The Basement
20.My Little Girl - alternate version

    * Lead vocals by Ronald Isley
    * Spoken vocals by Rudolph Isley
    * Background vocals by O'Kelly Isley, Jr. and Rudolph Isley
    * Guitars Jimi Hendrix

The Isley Brothers started their career in the early 1950s by performing gospel songs in local churches in Cincinnati, Ohio. At the time the group consisted of Ronald Isley (b. 21 May 1941), Rudolph Isley (b. 1 April 1941), O'Kelly Isley (b. 25 December 1937 d. 31 march 1986) and Vernon Isley (b. ? d. 1955 or 54).

In 1957 or 1956 Ronald, Rudolph & O'Kelly re-located to New York City and started their career as recording artists.

Hendrix joined the Isley Brothers sometime in early 1964, resulting in "Testify" by the Isley Brothers being recorded in an unknown studio in New York City. This track is usually listed as either being recorded in March 1964 or 21 May 1964 at Atlantic Studios. Neither of these dates (or the location) is correct. The master tape is listed in the tape logs as being "purchased" by Atlantic, so they bought the master tape when it had been already recorded.The master tape numbers allocated for Testify (7920 & 7921) suggest 20 or 21 May as the date when it was added to the library when compared to numbers assigned to masters recorded on those dates, "March ?" is listed as a speculative actual recording date in the logs, so the actual recording date is unknown.

"Testify" was the first release on the Isley Brother's T-Neck label (and the only one until the label was resurrected in 1969) which was distributed by Atlantic Record Sales, so very likely the master tape was brought to Atlantic for mastering and/or pressing of the single after a distribution deal had been closed.

Around the time of the recording of "Testify" Jimi played live with the Isley Brothers, for how long exactly is unclear as no firm dates are known, and only two photos from this period exist, taken before and during a gig at an unknown location. Sometime during spring / summer 1964 Hendrix left the Isley Brothers when in Nashville.

There he joined a package tour featuring Sam Cooke in September, and did not take part in The Isley Brothers recording of the 45 "The Last Girl / Looking For A Love". These tracks have long been thought to feature Hendrix, and it's also been thought that he toured with the Isley Brothers in September / October 1964, but this is not correct. A short explanation why:

- The two postcards Hendrix send to his father, stamped 28 September 1964 & 8 October 1964 do not mention the Isley Brothers. - The Isley Brothers toured the UK during 17 October - 23 November 1964, and it's well know that Jimi never visited the UK before he moved there in 1966, so he had left the band by that time. - In the postcard stamped 28 September Hendrix says that he's about halfway through a 35-day tour, which means that he would have started on the tour around 10th of September. The Isley Brothers were recording "The Last Girl / Looking For A Love" in New York on the 23rd of September, not touring. - Sam Cooke was touring with Jackie Wilson and The Valentinos in September / October 1964. - Hendrix has said in interviews that he toured with Sam Cooke & Jackie Wilson, this has been confirmed at least by Bobby Womack (then a member of the Valentinos), "Gorgeous" George Odell & B.B.King who were on the same tour. - Jimi mentions in the postcard send in October that his home address is Atlanta, the Isley Brothers were based in New York. Atlanta is close to Nashville where Hendrix said in interviews that he quit the Isley Brothers, and joined a Sam Cooke tour. - Jimi has said in interviews that after he left the Sam Cooke tour he travelled BACK to Atlanta, and joined Little Richard there. In a postcard stamped 25 January 1965 Hendrix says "I received your letter while I was in Atlanta. I'm playing with Little Richard now". --- earlyhendrix.com

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01. Mannish Boy (Previously Unreleased)
02. Lover Man 	(Previously Unreleased)
03. Hear My Train A Comin'	(Previously Unreleased)
04. Stepping Stone  (Previously Unreleased)
05. $20 Fine	Feat. Stephen Stills	(Previously Unreleased)
06. Power Of Soul	(Previously Unavailable Extended Version)
07. Jungle  (Previously Unreleased)
09. Georgia Blues		Featuring Lonnie Youngblood
08. Things I Used To Do		Feat. Johnny Winter
10. Sweet Angel 	(Previously Unreleased)
11. Woodstock	 Feat. Stephen Stills	(Previously Unreleased)
12. Send My Love To Linda	(Previously Unreleased)
13. Cherokee Mist	(Previously Unreleased)

On March 9, Experience Hendrix and Legacy Recordings, the catalog division of Sony Music Entertainment, proudly release Both Sides of the Sky, a dynamic new Jimi Hendrix album featuring 13 studio recordings made between 1968 and 1970—10 of which have never before been released. The album will be released on multiple formats including CD, digital, and as a numbered 180 gram audiophile vinyl 2LP.

Both Sides of the Sky is the third volume in a trilogy of albums intended to present the best and most significant unissued studio recordings remaining in the music legend’s archive. Beginning with Valleys of Neptune (2010), which earned top ten sales rankings in fifteen countries (including a top position of #4 on Billboard’s Top 200 Album Chart), followed by People, Hell and Angels (2013) which peaked on Billboard’s Top 100 album chart at #2. Billboard’s coveted number one singles ranking went to “Somewhere,” the album’s lead track and the legendary guitarist’s highest ever US singles chart achievement. This third release is anticipated to complete the spectacular recording event in epic fashion. “Since Experience Hendrix began its restoration of the Jimi Hendrix music catalog in 1997, our goal has been to present these important recordings to Jimi’s fans in the best possible quality. We are excited about achieving that. We’ve also been intent on generating album releases which present this amazing music in its proper context,” explains John McDermott, one of the album’s co-producers, together with Janie Hendrix and Eddie Kramer. Recorded between January 1968 and February 1970, Jimi’s desire to push the boundaries of blues music can be heard throughout. Both Sides of the Sky additionally highlights Jimi’s mastery of studio production and his increasing use of these facilities as a proving ground for new sounds, material, and techniques. Many of the album’s tracks were recorded by the trio that would come to be known as Band of Gypsys: Jimi on guitar and vocals, Billy Cox on bass, and Buddy Miles on drums. For their first-ever recording session on April 22, 1969, Hendrix turned to their shared musical root, delta blues. Their previously unreleased, uptempo reworking of Muddy Waters’ “Mannish Boy” opens the album and sets the tempo for what follows. “Lover Man” was a favored Hendrix original and the guitarist was determined to realize a finished master. Previous attempts by the original Experience had yet to yield this for Hendrix but this December 1969 effort by the Band Of Gypsys — complete with its homage to the popular Batman theme song—was his strongest effort to date.

“Hear My Train A Comin’” features drummer Mitch Mitchell and bassist Noel Redding from the original Jimi Hendrix Experience. This original blues composition had become a staple of Hendrix’s concerts. This previously unreleased April 1969 recording captured the furious power and dynamic tension that made the song so memorable. Previously unheard recordings of “Stepping Stone,” “Jungle,” “Cherokee Mist” (which features Hendrix on both electric guitar and sitar) as well as the January 1968 recording of “Sweet Angel” provide further highlights.

Both Sides of the Sky also features an assortment of notable guest musicians. Stephen Stills befriended Hendrix at the June 1967 Monterey Pop Festival. In September of 1969 Stills was invited to a Hendrix session at the Record Plant in New York. Stills burst into the session with a song Joni Mitchell had recently composed, titled “Woodstock.” Joined by Hendrix and Buddy Miles, the trio recorded this version first–months before Crosby, Stills, Nash & Young released their popular rendition of Mitchell’s song. Stills would also contribute $20 Fine, an original song that featured Hendrix on multiple guitars, Mitchell on drums, Stills on organ and lead vocals and Duane Hitchings (Buddy Miles Express) on piano.

Another of the album’s unique band creations sees Jimi Hendrix and Johnny Winter on guitar, backed by Billy Cox and drummer Dallas Taylor of Crosby, Stills, Nash & Young. An excerpt of their rendition of Guitar Slim’s “Things I Used To Do” was initially heard as part of a 1990 nationally syndicated radio program and accompanying box set, but here it is presented in full, newly mixed by Eddie Kramer for Both Sides of The Sky. On “Georgia Blues,” Jimi is reunited with his old bandmate Lonnie Youngblood (vocals/sax) from his pre-fame days in Curtis Knight & The Squires. Briefly issued as part of the 2008 Martin Scorsese Presents the Blues series but out of print for nearly a decade, this special recording is once more available to Hendrix fans throughout the world on all audio formats.

Both Sides of the Sky was produced by Janie Hendrix, John McDermott, and Eddie Kramer. Kramer served as recording engineer on every Jimi Hendrix album made during the artist’s life. In order to preserve the integrity and continuity of the Hendrix legacy, this same team has produced every Jimi Hendrix audio and visual release since 1996.

Janie Hendrix, President and CEO of Experience Hendrix, L.L.C. commented, “We have a growing commitment to preserve the legacy of Jimi and also to continue to give the worldwide family of Jimi fans quality releases. That’s what Both Sides of The Sky reflects…our ongoing commitment. In a deeper sense, it’s the keeping of a promise. Jimi and I once made a promise to each other. He said he would take care of me and I told him I would take care him. Through his music and our preservation of his work, my brother and I honor one another. We are now in our third decade of watching over Jimi’s creative works and our resolve to maintain the integrity of what he left us has only grown stronger with time.”

That is also the purpose for Eddie Kramer’s involvement and his devotion to the project. He remarked, “Jimi’s true home was the studio, that’s where the music and the magic happened. He loved everything about recording and it’s been my distinct pleasure and an honor to play a part in that process both then and now. ---jimihendrix.com

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1 - And the Gods Made Love 
2 - Have You Ever Been (To Electric Ladyland) 
3 - Crosstown Traffic) 
4 - Voodoo Chile 
5 - Little Miss Strange 
6 - Long Hot Summer Night 
7 - Come On (Part 1) 
8 - Gypsy Eyes 
9 - Burning of the Midnight Lamp 
10 - Rainy Day, Dream Away 
11 - A Merman I Should Turn To Be 
12 - Moon, Turn The Tides...Gently Gently Away 
13 - Still Raining, Still Dreaming 
14 - House Burning Down 
15 - All Along The Watchtower 
16 - Voodoo Child (Slight Return)

The Jimi Hendrix Experience: 
Jimi Hendrix (vocals, guitar, bass); 
Noel Redding (vocals, bass); 
Mitch Mitchell (vocals, drums).
+
Chris Wood (flute); 
Freddie Smith (tenor saxophone); 
Al Kooper (piano); 
Mike Finnigan, Steve Winwood (organ); 
Jack Casady (bass); 
Buddy Miles (drums); 
Larry Faucette (congas).

Jimi Hendrix's third and final album with the original Experience found him taking his funk and psychedelic sounds to the absolute limit. The result was not only one of the best rock albums of the era, but also Hendrix's original musical vision at its absolute apex. When revisionist rock critics refer to him as the maker of a generation's mightiest dope music, this is the album they're referring to. But Electric Ladyland is so much more than just background music for chemical intake. Kudos to engineer Eddie Kramer (who supervised the remastering of the original two-track stereo masters for this 1997 reissue on MCA) for taking Hendrix's visions of a soundscape behind his music and giving it all context, experimenting with odd mic techniques, echo, backward tape, flanging, and chorusing, all new techniques at the time, at least the way they're used here. What Hendrix sonically achieved on this record expanded the concept of what could be gotten out of a modern recording studio in much the same manner as Phil Spector had done a decade before with his Wall of Sound. As an album this influential (and as far as influencing a generation of players and beyond, this was his ultimate statement for many), the highlights speak for themselves: "Crosstown Traffic," his reinterpretation of Bob Dylan's "All Along the Watchtower," "Burning of the Midnight Lamp," the spacy "1983...(A Merman I Should Turn to Be)," and "Voodoo Chile (Slight Return)," a landmark in Hendrix's playing. With this double set (now on one compact disc), Hendrix once again pushed the concept album to new horizons. ---Cub Koda, All Music Guide

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01. Get That Feeling
02. How Would You Feel
03. Hush Now
04. No Business
05. Simon Says
06. Gotta Have A New Dress
07. Strange Things
08. Welcome Home
09. Love, Love
10. Day Tripper
11. Gloomy Monday
12. Fool For You Baby
13. Don’t Accuse Me
14. Hornet’s Nest
15. Flashing
16. Oddball
17. Happy Bit

Line Up:
Curtis Khight – vocals
Johnny Star – drums (2)
Jimi Hendrix - instruments [All other instruments], backing vocals

Before Jimi Hendrix went to London to become a solo recording star, he had recorded some material with journeyman soul singer Curtis Knight and signed a contract with record executive Ed Chalpin. When Hendrix became an international superstar in 1967, this contract backfired on him badly, as Chalpin leased recordings of the Knight sessions to Capitol Records that did not in any way reflect what Hendrix had evolved into as a solo artist. Eight of these tracks were issued at the end of 1967 on Get That Feeling, which -- despite featuring only a picture of Hendrix, in all his 1967 glory, on the cover -- only features him as a guitarist session man, with Knight actually handling the vocals. It was not clear exactly when this material was recorded (there are no liner notes), but likely it dated from mid-'60s sessions shortly before Hendrix went solo, and/or jam sessions never intended for release. It was the beginning of contractual headaches for Hendrix and his managers vs. Chalpin that would last for the rest of Hendrix's life. Its controversy also helped ensure that in Hendrix histories, the music on the album itself is overlooked and rarely discussed in depth. It's actually listenable, although generic, 1960s soul/R&B/rock, with Hendrix playing well but much more conventionally than he did on his own recordings. You can hear hints of his full-blown psychedelic style, as on the wah-wah effects on "Hush Now," while "How Would You Feel" is an obvious rewrite of Bob Dylan's "Like a Rolling Stone." The recording quality and mix, even by 1967 standards, isn't that good, although it's not truly terrible. If this had only come out as a bootleg years after Hendrix's death, it would probably be considered an interesting artifact, if of somewhat limited appeal to most listeners. As an entry into Hendrix's legitimate discography, though, it has to be considered peripheral at best, exploitative and unrepresentative of his music at worst. --- Richie Unterberger, allmusic.com

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1st Show

1.Fire
2.Johnny Be Good
3.Foxy Lady
4. Hear My Train A Comin'
5.Machine Gun
6.Freedom
7.Red House
8. Massage To Love
9.Ezy Rider
10. Voodoo Child (Slight Return)

2nd Show

1. Introduction 
2. Pass It On (Straight Ahead) 
3. Hey Baby (New Rising Sun) 
4. Lover Man 
5. Stone Free 
6. Hey Joe 
7. I Don't Live Today 
8. Machine Gun 
9. Foxey Lady 
10. Star Spangled Banner 
11. Purple Haze 
12. Voodoo Chile (Slight Return)

Jimi Hendrix – guitar, vocals
Mitch Mitchell – drums
Billy Cox – bass guitar

There was already a video available for these live sessions in Berkeley, but it was a kind of mixed bag from both representations with lots of non-concert footage. What is very interesting in this release is that the full concert (in the original sequence) from the second show is represented (the band was most of time playing two shows a night in those days).

The sound is excellent and the trio Jimi, Cox and Mitchell is my second fave band composition (my fave one being "The Experience"). Their manager, Mike Jeffery, was willing to recreate the original "Experience" trio but Noël Redding was too reluctant. As it is mentioned on the booklet: "he had elected to quit the group in June '69 and in the interim had enjoyed little contact with Hendrix". No Redding then?

It is always a pleasure to listen to the warm voice from the master during the introduction: he was so cool and friendly towards the audience.

The first great moment of music is by no doubt "Hey Babe". It starts with some sort of flamenco and develops in a warm and groovy slow rock (similar to what's available during "Hey Joe"). An excellent track indeed which will see the light on the very good posthumous "Rainbow Bridge" album.

As usual with Hendrix concerts, the second half will just be phenomenal. The explosive "Machine Gun" is one of the highlight of course, but I quite like the version available of "Star Spangled Banner". Jimi is asking the audience to stand up for the American anthem, and he plays it quite with inspiration.

This version is only second to the huge "Woodstock" one IMHHO. What a man!!! It is one of my two or three deepest regret in my musical life to have not seen him live (another one being Floyd). But I was too young (eleven) when he sadly died.

Jimi had concluded an arrangement with his manager to play live almost exclusively on weekends while recording sessions at his new Electric Ladyland studios were taken place during the week days. Mitchell describes: "This was such a change after all of those stupid years of two shows a night which were just ridiculous".

The version of "Foxey Lady" is one of the best and wildest available in all of Jimi's career. Another highlight from this very good set with no doubt. The last two legendary live tracks being such a great musical live moments (the hit "Purple Haze" and the HUGE "Voodoo Child").

In all, this is a very good performance from the band and I rate it with four stars. A wonderful testimony of rock live music. ---ZowieZiggy, progarchives.com

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01. Trashman - 3:16
02. Midnight Lightning - 3:49			play
03. Hear My Train A Coming - 5:42
04. Gypsy Boy - 3:45
05. Blue Suede Shoes (Carl Perkins) - 3:28	    play
06. Machine Gun - 7:28
07. Once I Had A Woman - 5:19
08. Beginnings (Mitch Mitchell) - 3:02

Personnel:
- Jimi Hendrix - guitar, vocals
- Bob Babbitt - bass
- Jeff Mironov - guitar (01-03,05,08)
- Lance Quinn - guitar (02,04,06,07)
- Alan Schwartzberg - drums (01,02,04-08), shaker (03), percussion (04)
- Jimmy Maeulin - percussion (02,08)
- Maeretha Stewart, Hilda Harris, Vivian Cherry - backing vocals (02,04,07)
- Mitch Mitchell - drums (03)
- Buddy Lucas - harmonica (07)

The opening riff to "Foxey Lady" provides the foundation for the instrumental "Trash Man," and no amount of bastardization can take away from the genius guitarist his legacy. If you take this work at face value, without the baggage of what "producer" Alan Douglas did to the tapes, this time with Tony Bongiovi along for the ride, it's still Hendrix. Maybe God allowed the series of albums to happen so the world could see Hendrix's work could survive doctoring and musicians jamming with his art after the fact. That this disc goes for big bucks on Internet auction sites says something about the timelessness of the music. The title track, as with seven of the eight performances here, has session player Alan Schwartzberg on drums, a far cry from his work with Carole Bayer Sager. Mitch Mitchell only appears on Hendrix's blues classic "Hear My Train," Schwartzberg adding shakers. Bob Babbit is the "designated bassist" on the entire project (no doubt what Billy Cox and Noel Redding thought about this), and Jeff Mironov shares guitar duties with Lance Quinn. That's not a misprint. Thankfully, the extra guitarists are somewhat invisible -- you know, what's the point of having co-vocalists add their talents to a Janis Joplin disc? What these recordings effectively do is offer the world a comparison between what the official Hendrix estate is doing, and what Douglas did. The Hendrix estate wins that battle, Eddie Kramer and John McDermott carefully restoring all the master tapes of Jimi Hendrix, and restoring them properly. Discs like Midnight Lightning are also a statement on how a great artist's legacy can go through various hands and the artistic consequences of tapes traveling as if under their own steam. History is an excellent vantage point from which to view. The title track is great -- and it goes along with the cover painting very nicely. Is it blasphemy to say that this is a highly enjoyable disc? All the post-Cry of Love releases -- War Heroes, Crash Landing, Voodoo Soup, Blues, Hendrix in the West, Rainbow Bridge, the soundtrack to the Jimi Hendrix film, and this -- provide another crucial look at Hendrix. The more the merrier. It is great to have the official Hendrix estate with Janie Hendrix, John McDermott, and Eddie Kramer doing this properly, but this version of "Gypsy Boy (New Rising Sun)," the inclusion of Mitch Mitchell's "Beginnings," another "Machine Gun," and "Blue Suede Shoes" exist, thus they are important additions to the Hendrix archives. It will be interesting to see if the official Hendrix estate eventually re-releases the Alan Douglas masters just to keep these once-legit works from cluttering the market with counterfeits. ---Joe Viglione, AllMusic Review

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1.Earth Blue
2.Somewhere
3.Hear My Train A Comin’
4.Bleeding Heart
5.Baby Let Me Move You
6.Isabella
7.Easy Blues
8.Crash Landing
9.Inside Out
10.Hey Gypsy Boy
11.Mojo Man
12.Villanova Junction

Personnel:
    Jimi Hendrix – guitars, vocals, bass guitar (track 9)
    Billy Cox – bass guitar (tracks 1, 3, 4, 6–8)
    Buddy Miles – drums (tracks 1–5, 10)
    Mitch Mitchell – drums (tracks 6, 7, 9)
    Juma Sultan – congas (tracks 3, 4, 6, 7, 12)
+
    Larry Lee – rhythm guitar (tracks 6, 7)
    Jerry Velez – congas (tracks 6, 7)
    Stephen Stills – bass guitar (track 2)
    Lonnie Youngblood – vocal & saxophone (track 5)
    Rocky Isaac – drums (track 8)
    Al Marks – percussion (track 8)
    Albert Allen – vocal (track 11)
    Jame Booker – piano (track 11)

With almost four times as many posthumous collections as studio albums released during his lifetime, James Marshall Hendrix really may be worth more dead than alive. Most of the dozen songs here have been released before in other forms, and 1997's First Ray of the New Rising Sun remains the definitive set of "building blocks" for what would have been Hendrix's fifth album. However, these 1968-9 recordings (mostly with Billy Cox and Buddy Miles) are free of overdubs, and the playing is incendiary. Easy Blues and Elmore James' Bleeding Heart are rawer than other versions, but most intriguing are the songs where you can hear him feeling out new directions: Earth Blues and Izabella are lithe and funky, and the outstanding, sax-blasting Let You Move You, with Lonnie Youngblood's vocals, suggests Hendrix could have made a blistering metamorphosis into turbocharged electric soul. ---Dave Simpson, guardian.co.uk

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01. Stone Free (Jimi Hendrix) - 3:25
02. Radio One (Jimi Hendrix) - 1:57
03. Day Tripper (John Lennon, Paul McCartney) - 3:13
04. Killing Floor (Howlin' Wolf) - 2:27
05. Love Or Confusion (Jimi Hendrix) - 2:52
06. Drivin' South (Curtis Knight) - 4:47
07. Catfish Blues (Muddy Waters) - 5:26
08. Wait Until Tomorrow (Jimi Hendrix) - 2:55
09. Hear My Train A Comin' (Jimi Hendrix) - 4:58
10. Hound Dog (Jerry Leiber, Mike Stoller) - 2:40
11. Fire (Jimi Hendrix) - 2:39
12. Hoochie Koochie Man (Willie Dixon) - 5:30
13. Purple Haze (Jimi Hendrix) - 3:02
14. Spanish Castle Magic (Jimi Hendrix) - 3:06
15. Hey Joe (Billy Roberts) - 4:00
16. Foxy Lady (Jimi Hendrix) - 2:57
17. Burning Of The Midnight Lamp (Jimi Hendrix) - 3:41

- Jimi Hendrix – guitar, lead vocals
- Noel Redding – bass, backing vocals (03)
- Mitch Mitchell – drums, backing vocals
+
- Paul McCartney – backing vocals (03)
- Jimmy Leverton – backing vocals (11)
- Trevor Burton – backing vocals (11)

Seventeen songs from 1967 BBC broadcasts, when the Jimi Hendrix Experience had yet to burn out from the wheel of constant touring, management hassles, and internal strife. They're in good, enthusiastic form as they run through early gems like "Hey Joe," "Foxy Lady," "Fire," and "Stone Free," the lack of studio polish giving these versions a loose feel. The Experience studio albums are still considerably superior to this set, but it's certainly worth acquiring by any serious Hendrix fan, not least because it has several covers that didn't make it on to the three proper Experience LPs. Several of these ("Hoochie Koochie Man," "Killing Floor," "Catfish Blues") reveal his sometimes overlooked affinity for Chicago-style electric blues; there are also a couple of surprises ("Hound Dog" and "Day Tripper"). With good sound, it's a solid addition to the Hendrix library, demonstrating his versatility in various rock, soul, and blues styles. --- Richie Unterberger, allmusic.com

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1- "Freedom" 3:24 
2- "Drifting" 3:46 
3- "Ezy Ryder" 4:09 
4- "Night Bird Flying" 3:50 
5- "My Friend" 4:40 
6- "Straight Ahead" 4:42 
7- "Astro Man" 3:37 
8- "Angel" 4:25 
9- "In from the Storm" 3:42 
10- "Belly Button Window" 3:34

Personnel:
    Jimi Hendrix – lead vocals, guitars, backing vocals on tracks 3 and 9, piano on track 1    
    Billy Cox – bass on all tracks except 5 and 10
    Mitch Mitchell – drums on all tracks except 3, 5 and 10, posthumous production
    Juma Sultan – percussion on tracks 1, 4 and 7
    Buddy Miles – drums on track 3
    Noel Redding – bass on track 5

This was the first of the posthumous releases in the Jimi Hendrix catalog and probably the best as it collected most of the studio tracks that were either completed or very near completion before Hendrix died. Some of these tunes, like "Angel" and "Ezy Rider," have become well-known pieces in the Hendrix canon, but they sit alongside lesser-known gems like "Night Bird Flying" and the Dylanesque "My Friend." Cry of Love as an album has been rendered as a footnote, since the Hendrix estate has recompiled, to Hendrix's specifications, First Rays of the New Rising Sun. This (originally) double-album set contains not only the entire Cry of Love LP, but the best studio tracks from Rainbow Bridge, War Heroes, and Crash Landing, presented in drastically improved sound. --- Sean Westergaard, allmusic.com

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