Friday, March 30, 2018

Kacey Musgraves' Golden Hour released

First posted 8/17/2020.

Golden Hour

Kacey Musgraves

Released: March 30, 2018

Peak: 4 US, 12 CW, 6 UK, 11 CN, 25 AU

Sales (in millions): 0.5 US, -- UK, 0.5 world (includes US and UK)

Genre: country

Tracks: (Click for codes to singles charts.)

  1. Slow Burn [4:06] (10/16/18, #38 CW, gold single)
  2. Lonely Weekend [3:46]
  3. Butterflies [3:39] (2/23/18, #32 CW)
  4. Oh, What a World [4:01]
  5. Mother [1:18]
  6. Love Is a Wild Thing [4:16]
  7. Space Cowboy [3:36] (2/23/18, #30 CW, gold single)
  8. Happy & Sad [4:03]
  9. Velvet Elvis [2:34]
  10. Wonder Woman [4:00]
  11. High Horse [3:33] (6/25/18, #36 CW, gold single)
  12. Golden Hour [3:18]
  13. Rainbow [3:34] (2/11/19, #98 US, 17 CW, gold single)

All songs are co-written by Musgraves. Co-writers in clude producers Daniel Tashian and Ian Fitchuk as well as Luke Laird, Natalie Hemby, Shane McAnally, Luke Dick, Jesse Frasure, Hillary Lindsey, Amy Wadge, Tommy Schleiter, and Trent Dabbs.

Total Running Time: 45:44


4.351 out of 5.00 (average of 16 ratings)

Quotable: It isn’t “classicist, but perhaps it might be classic.” – Spin magazine’s Katherine St. Asaph


About the Album:

Kacey Musgraves won critics over with three previous albums in which she “enlivened traditional country with her sly synthesis of old sounds” AMG and her “clever wordplay and witty turns of phrase about small-town life.” AZ However, she didn’t “fit the standard archetypes for women in country: not a Southern belle like countless ingenues, not a brash spitfire like Miranda Lambert, not a maternal elder like Dolly or Reba.” SP She also sang about “such un-conservative topics topics as gay rights and marijuana.” SP

That was never more apparent than when she won a Country Music Association Song of the Year award for “Follow Your Arrow.” That song pointed the way for an unconventional country artist who, on her fourth album, Golden Hour, still turns out “classic country constructions” AMG from a writing standpoint, but with music that “doesn’t scan country.” AMG A song like High Horse “gallops along with a Shania Twain conceit and lite disco licks that sound more like pop-radio Pharrell than what one might think of as country.” SP

Throughout this album, Musgraves integrates “the smooth grooves of yacht rock and the glitterball pulse of disco” AMG as well as country pop, electropop, and electronica. WK She cited influences from the Bee Gees to Sade to Neil Young. AZ As Spin magazine’s Katherine St. Asaph said, it isn’t “classicist, but perhaps it might be classic.” SP

Not only did she explore diverse sounds, but she wrote “some of the most honest and genuine tunes of her career.” AZ The album is “warm and enveloping, pitched halfway between heartbreak and healing – but the album lingers in the mind because the songs are so sharp, buttressed by long, loping melodies and Musgraves’ affectless soul baring.” AMG The songs sway “between casual confessions and songs about faded love.” AMG Musgraves said she wrote more love songs for this album as a result of getting married and finding herself “inspired to write about this person and all these things he brought out in me that weren’t there before.” WK

Musgraves’ voice “is reminiscent of folkies like Suzanne Vega or Sheryl Crow…it’s not a belting voice, but it’s a remarkable instrument, capable of imbuing with winsom empathy songs like Lonely Weekend and Happy & Sad that might otherwise be tweenish sap.” SP “Even the druggy tracks” SP like Mother and Oh, What a World “approach Disney levels of earnestness.” SP

Not only did Golden Hour take home the Country Music Association’s award for Album of the Year, but she landed Grammy gold with awards for Album of the Year and Best Country Album. She also took home Grammys for Best Country Solo Performance and Best Country Song for her first two singles, Butterflies and Space Cowboy, respectively.


The Japanese version of the album included three bonus tracks – “Merry Go ‘Round” and “Follow Your Arrow” from her 2013 Same Trailer, Different Park album and the Violents Remix of “High Horse.”

Review Sources:

Sunday, March 25, 2018

Johann Sebastian Bach's 6 Cello Suites

Last updated August 31, 2018.

Cello Suites

Johann Sebastian Bach (composer)

Composed: 1717-1723

First performed: ?

Sales: - NA -

Peak: - NA -

Quotable: “Considered to be among the most profound of all classical musical works.” WK

Genre: classical > chamber music > cello solos

Suites/Average Length:

  • Suite for solo cello No. 1 in G major, BWV 1007 [17:40]
  • Suite for solo cello No. 2 in D minor, BWV 1008 [20:00]
  • Suite for solo cello No. 3 in C major, BWV 1009 [22:00]
  • Suite for solo cello No. 4 in E flat major, BWV 1010 [23:40]
  • Suite for solo cello No. 5 in C minor, BWV 1011 [24:20]
  • Suite for solo cello No. 6 in D major, BWV 1012 [28:30]


Bach’s six suites for unaccompanied cello are “are some of the most frequently performed and recognizable solo compositions ever written for cello.” WK He most likely composed them while “in the employ of Prince Leopold of Anhalt-Cöthen.” L1 “A chronological order is difficult to prove, though one guesses that these suites were composed in numerical order from the way that they gradually evolve and deepen, both technically and musically.” L1

“A Baroque suite is typically a collection of dance movements…Bach took these typical dance forms and abstracted them,” L1 creating “the first, and arguably still the finest, solo works for a relatively new instrument.” L1

“The suites were not widely known before the 1900s.” WK Catalan cellist Pablo Casals began studying them at age 13 after discovering the sheet music in a thrift shop in Barcelona, Spain. WK He “essentially rescued the suites from the tedium of the practice room and presented them to the world as fully-fledged works of invention and virtuosity.” BS He didn’t record them until 1936, when he was 60 years old. By 1939, he “became the first to record all six suites. Their popularity soared soon after, and Casals’ original recording is still widely available and respected today.” WK He “seems to be the standard against which other performances are measured.” BS His recordings were inducted into the Grammy Hall of Fame in 1985.

“The first suite, in G major, gives the feel of innocent simplicity, and serves as a marvelous opening to these extraordinary works…[It] may have been inspired by viol writing in France and cello writing in Italy, but there was nothing like it before the first suite, and little like it after, except for the five suites that followed.” L1

In the second suite, “Bach seems to aspire to an almost Beethovenian mixture of tragedy and defiance, all within his usual framework of strict procedures.” L2 “This suite, perhaps above all the others, compels the listener’s attention through the contrast between the graceful and courtly language of the French dances that constitute the suite form and the dark, sinewy meat of Bach’s own compositional thinking…But Bach isn’t done with us yet; this movement prepares for the sunniness of the next suite in the set.” L2

The third suite “is probably the most popular of Bach’s six suites for solo cello, among cellists and listeners alike. How could one resist the work’s mix of nobility, exuberance, and relative contrapuntal simplicity?” L3 It is a “bouncy, virtuosic suite, perhaps the most idiomatic to the cello of all six suites.” L3

“The six Bach suites for solo cello may be arranged according to their modern, galant dance movements into three pairs (Nos. 1 and 2 use Minuets, Nos. 3 and 4 Bourrées, and Nos. 5 and 6 Gavottes). They also form two sequences of three in terms of key and mood (major-minor-major).” L4

“Bach’s fifth cello suite, in C minor, continues the experiments with texture, style, and counterpoint undertaken in the first four works in the set of six.” L5 However, “as unique and extraordinary as each of Bach’s other five cello suites are, the Suite No. 6 is perhaps the most ambitious, strangest, richest of all.” L6 “With each suite Bach continues his progression away from simple dance-like structural roots. Melodic leaps are introduced in the fourth suite, chords in the fifth suite, and a subtle mix of chords, leaps, and implied harmonies, which become as important as the melodies, in the sixth suite.” L6

Review Source(s):


Related DMDB Link(s):

Saturday, March 24, 2018

March 4, 1721: Bach writes the dedication for the Brandenburg concertos

Last updated August 31, 2018.

The Brandenburg Concertos

Johann Sebastian Bach (composer)

Composed: 1719-1721

Dedicated on: 3/24/1721

Sales: - NA -

Peak: - NA -

Quotable: “A benchmark of Baroque music…[with] the power to move people almost three centuries later.” NPR

Genre: classical > concertos

Concertos/Average Length: 1. Brandenburg Concerto No. 1 in F major, BWV 1046 [20:20] 2. Brandenburg Concerto No. 2 in F major, BWV 1047 [12:00] 3. Brandenburg Concerto No. 3 in G major, BWV 1048 [11:30] 4. Brandenburg Concerto No. 4 in G major, BWV 1049 [15:40] 5. Brandenburg Concerto No. 5 in D major, BWV 1050 [21:20] 6. Brandenburg Concerto No. 6 in B flat major, BWV 1051 [17:10]


The Brandenburg Concertos “add up the most complex and artistically successful failed job application in recorded history.” K1 They were written “for Christian Ludwig, the Margrave of Brandenburg,” JR who Bach probably met “on his 1719 trip to Berlin to select a new harpsichord,” RD but Ludwig may have first heard Bach “at the spas in Carlsbad, where Prince Leopold would have Bach accompany him.” K1 “Suspecting that the royal might be interested in giving him a job,” K1 Bach composed these “six lively concertos for chamber orchestra” NPR between 1719 and 1721, although the pieces “he appears to have selected…from concertos he had composed over a number of years while Kapellmeister at Köthen, and possibly extending back to his employment at Weimar (1708–17).” WK

They were “based on an Italian Concerto Gross style” NPR and “display a lighter side of Bach’s imperishable genius.” NPR “Bach wrote out the music himself for presentation to the Margrave rather than leaving it to a copyist.” WK He prepared them in a bound manuscript NPR with a dedication dated March 24, 1721. WK “The Margrave never thanked Bach, paid him a fee, staged a performance of the works, or offered him a position.” AS Eventually Bach’s score “came into the possession of Frederick the Great’s sister, Princess Amalie, who bequeathed it to a school library in Berlin.” RD

“These pieces display a variety of styles, influences, and musical preoccupations,” AS but “the diversified character of these six concertos implies random composition” RD and that they “were probably not conceived of as a set.” AS “It was common practice in the Baroque era to use whatever instruments were available at any given time.” RD “However, all of them share in Bach’s great talent for absorbing new styles…and then expanding and improving upon them.” AS In particular, he modeled the Italian composers’ style of creating “concertos for widely varying combinations of instruments.” K1

The first concerto is marked by “Bach’s use of hunting horns” K1 blended “into the ensemble through the use of multiple winds,” K1 including “three oboes and a bassoon, as well as continuo strings and the violino piccolo.” K1 The second concerto features “four prominent instruments – trumpet, recorder, oboe, and violin – against a foundation of strings and continuo.” JR

The third concerto “is reminiscent of the Italian concerto,” AS which Bach was fascinated with during his time at Weimar. AS It was “written for three violins, three violas, and three cellos, with bass and continuo.” AS Its “motoric rhythm, clear melodic outline, and motivic construction owe a lot to the comparable works of Vivaldi, but the clarified harmony and more interesting counterpoint are unmistakably Bach’s” AS with their “kaleidoscopic range of colors and shades.” AS

“No. 4 is scored for a concertino of solo violin and two flûtes à bec (i.e. recorders) and a ripieno of violins, violas, cellos, and continuo.” RD The “fifth concerto is scored for flute, solo violin, obbligato harpsichord, and strings. It is the only one of the six pieces to have any solo material given to the harpsichord.” K5

The sixth concerto displays “Bach’s sonic imagination…In the early eighteenth century the lower members of the violin family were considered orchestral instruments with supporting roles…Bach chose to reverse the level of difficulty, giving the viola and cello the tough solo parts.” K6 “No other composer of the Baroque era could write through the constraints of form as if it was not there at all.” K5

Review Source(s):


Related DMDB Link(s):

Wednesday, March 21, 2018

Beethoven's Piano Sonatas among the new entries to the 2018 National Recording Registry

Last updated 11/16/2020.

Piano Sonatas (32)

Ludwig van Beethoven (composer)

Composed: 1795-1822

Peak: -- US, -- UK, -- CN, -- AU

Sales (in millions): -- US, -- UK, -- world (includes US and UK)

Genre: classical

Early Sonatas:

Opus 2: Three Piano Sonatas (1795)

  • No. 1: Piano Sonata No. 1 in F minor
  • No. 2: Piano Sonata No. 2 in A major
  • No. 3: Piano Sonata No. 3 in C major

Opus 7: Piano Sonata No. 4 in E-flat major ("Grand Sonata") (1797)

Opus 10: Three Piano Sonatas (1798)

  • No. 1: Piano Sonata No. 5 in C minor
  • No. 2: Piano Sonata No. 6 in F major
  • No. 3: Piano Sonata No. 7 in D major

Opus 13: Piano Sonata No. 8 in C minor ("Pathétique") (1798)

Opus 14: Two Piano Sonatas (1799)

  • No. 1: Piano Sonata No. 9 in E major (Also arranged by the composer for String Quartet in F major (H 34) in 1801)
  • No. 2: Piano Sonata No. 10 in G major

Opus 22: Piano Sonata No. 11 in B-flat major (1800)

Middle Sonatas:

Opus 26: Piano Sonata No. 12 in A-flat major ("Funeral March") (1801)

Opus 27: Two Piano Sonatas (1801)

  • No. 1: Piano Sonata No. 13 in E-flat major 'Sonata quasi una fantasia'
  • No. 2: Piano Sonata No. 14 in C-sharp minor 'Sonata quasi una fantasia' ("Moonlight")

Opus 28: Piano Sonata No. 15 in D major ("Pastoral") (1801)

Opus 31: Three Piano Sonatas (1802)

  • No. 1: Piano Sonata No. 16 in G major
  • No. 2: Piano Sonata No. 17 in D minor ("Tempest")
  • No. 3: Piano Sonata No. 18 in E-flat major ("The Hunt")

Opus 49: Two Piano Sonatas (composed 1795–6, published 1805)

  • No. 1: Piano Sonata No. 19 in G minor
  • No. 2: Piano Sonata No. 20 in G major

Opus 53: Piano Sonata No. 21 in C major ("Waldstein") (1803)

  • WoO 57: Andante Favori — Original middle movement of the "Waldstein" sonata (1804)

Opus 54: Piano Sonata No. 22 in F major (1804)

Opus 57: Piano Sonata No. 23 in F minor ("Appassionata") (1805)

Opus 78: Piano Sonata No. 24 in F-sharp major ("A Thérèse") (1809)

Opus 79: Piano Sonata No. 25 in G major (1809)

Opus 81a: Piano Sonata No. 26 in E-flat major ("Les adieux/Das Lebewohl") (1810)

Opus 90: Piano Sonata No. 27 in E minor (1814)

Late Sonatas:

Opus 101: Piano Sonata No. 28 in A major (1816)

Opus 106: Piano Sonata No. 29 in B-flat major ("Hammerklavier") (1818)

Opus 109: Piano Sonata No. 30 in E major (1820)

Opus 110: Piano Sonata No. 31 in A-flat major (1821)

Opus 111: Piano Sonata No. 32 in C minor (1822)

Average Duration: 10-11 hours


4.625 out of 5.00 (average of 4 ratings)


About the Sonatas:

Beethoven’s 32 piano sonatas, written over more than a quarter century, were not originally intended as “a meaningful whole,” WK but “as a set they compose one of the most important collections of works in the history of music. Hans von Bülow called them ‘The New Testament’ of music (Johann Sebastian Bach’s The Well-Tempered Clavier being ‘The Old Testament’).” WK

“Beethoven's piano sonatas came to be seen as the first cycle of major piano pieces suited to concert hall performance. Being suitable for both private and public performance, Beethoven’s sonatas form a bridge between the worlds of the salon and the concert hall.” WK

The sonatas have been grouped as the early sonatas (1-11), middle sonatas (12-27) and late sonatas (28-32). The early sonatas “were highly influenced by those of Haydn and Mozart.” WK His middle sonatas “are very different from his earlier ones;” WK “his experimentation in modifications to the common sonata form of Haydn and Mozart became more daring, as did the depth of expression.” WK The late sonatas comprise “some of today's most difficult repertoire. Yet again, his music found a new path, often incorporating fugal technique and displaying radical departure from conventional sonata form. The Hammerklavier was deemed to be Beethoven's most difficult sonata yet. In fact, it was considered unplayable until almost 15 years later, when Liszt played it in a concert.” WK

“In a single concert cycle, the whole 32 sonatas were first performed by Hans von Bülow. A number of other pianists have emulated this feat, including Artur Schnabel (the first since Bülow to play the complete cycle in concert from memory),” WK who was also the first pianist to make a complete recording of the sonatas. He recorded them between 1932 and 1935 for EMI. WK His recordings were inducted into the Grammy Hall of Fame in 1975 and the Library of Congress’ National Recording Registry in 2018.

Resources and Related Links:

Friday, March 9, 2018

Jimi Hendrix – Posthumous Albums: A Retrospective

First posted 3/5/2013; last updated 10/15/2020.

Posthumous Albums: 1970-2018

Jimi Hendrix

A Brief History: Jimi Hendrix was born on November 27, 1942 in Seattle, Washington. Despite his death at age 27 on September 18, 1970, he became one of the most influential rock guitarists in history. This page celebrates a selection of album’s released after his death.

Posthumous Albums:

The above posthumous albums are spotlighted on this page. All the tracks appearing on these albums have been listed below chronologically below by the dates of their recordings. Which albums the songs appear on are noted with the codes above. When relevant, the date the song was released as a single and its peaks on various charts. Click for codes to singles charts.

Tracks by Recording Dates, 1967-1968:

  • Highway Chile * (4/3/67) WH
  • Mr. Bad Luck (5/5/67) VN
  • The Stars That Play with Laughing Sam’s Dice (7/18/67 – 7/29/67) LE,SS
  • Little Wing ** (10/14/67, 5 CL) SS
  • All Along the Watchtower *** (1/21/68 – 1/26/68; single: 9/2/68, 1 CL) SS
  • Sweet Angel (11/13/67, 1/28/68) SS, BS
  • My Friend (3/13/68) CoL, FR
  • Somewhere (3/13/68, single: 2/5/13) CLA, PH
  • Tax Free (5/1/68) WH, SS
  • Three Little Bears (5/2/68) WH
  • Cherokee Mist (5/2/68) BS
  • Inside Out (6/11/68) PH
  • South Saturn Delta (5/2/68 – 6/14/68) SS
  • Have You Ever Been to Electric Ladyland? *** (6/14/68) LE
  • Look Over Yonder (10/22/68) RB, SS
  • Here He Comes (Lover Man) (10/29/68) SS

Tracks by Recording Dates, February – April 1969:

  • Sunshine of Your Love (2/16/69) VN
  • Lover Man (2/16/69) VN
  • Crying Blue Rain (2/16/69) VN
  • Fire * (2/17/69) VN
  • Red House * (2/17/69) VN
  • Georgia Blues (3/16/69) BS
  • The Star Spangled Banner (3/18/69, B-side: 10/23/71, 6 CL) RB
  • Gypsy Boy (New Rising Sun) (3/18/69) ML, FR, PH
  • Let Me Move You (3/18/69) PH
  • Midnight (4/3/69) WH, SS
  • Peace in Mississippi (4/3/69) CLA
  • Trash Man (4/3/69) ML
  • Lullaby for the Summer (4/7/69) VN
  • Hear My Train A-Comin’ (4/7/69, 4/9/69, single: 8/73) ML, VN, BS
  • Ships Passing Through the Night (4/14/69) VN
  • Mannish Boy (4/22/69, single: 1/16/18) BS
  • Crash Landing (4/24/69) CLA, PH

Tracks by Recording Dates, May – December 1969:

  • Things I Used to Do (5/7/69) BS
  • Jam 292 (5/14/69) LE
  • Stone Free Again * (4/7/69 – 5/17/69) CLA, VN
  • Hear My Train A-Comin’ (5/21/69) PH
  • Bleeding Heart (4/24/69, 5/21/69; single: 3/1/10) VN, PH
  • Villanova Junction Blues (5/21/69) PH
  • Beginnings (8/28/69) ML, FR
  • Message to the Universe (Message to Love) (8/28/69) SS
  • Easy Blues (8/28/69) PH
  • Machine Gun (8/29/69, 14 CL) ML
  • $20 Fine (9/30/69) BS
  • Woodstock (9/30/69) BS
  • Jungle (11/14/69) BS
  • Lover Man (12/15/69, single: 2/22/18) BS
  • Earth Blues (12/16/69 – 12/19/69) RB, FR, PH
  • Burning Desire (12/19/69) LE
  • I’m Your Hoochie Coochie Man (12/19/69) LE

Tracks by Recording Dates, January – July 1970:

  • Send My Love to Linda (1/16/70) BS
  • Message to Love (aka “Message to the Universe”) (12/19/69 – 1/20/70) CLA, SS
  • Stepping Stone (11/14/69 – 11/18/69, 1/7/70 – 1/20/70, 46 CL) WH, FR, BS
  • Captain Coconut (aka “Ezy Ryder/MLK,” early version of “New Rising Sun”) (1/23/70) CLA, FR
  • Blue Suede Shoes (1/23/70) LE, ML
  • Once I Had a Woman (1/23/70) ML
  • With the Power (aka “Power of Soul”) (1/21/70 – 2/3/70) CLA, SS, BS
  • Bleeding Heart (3/24/70) WH, SS
  • Peter Gunn Catastrophe (5/14/70) WH
  • Valleys of Neptune (9/23/69 – 5/15/70, single: 2/9/10) VN
  • Hear My Train a Comin’ (live 5/30/70) RB
  • Drifter’s Escape (6/17/70) LE, SS
  • Izabella (8/28/69, 1/17/70 and 6/70, 46 CL) WH, FR, PH
  • Pali Gap (7/1/70) RB, SS
  • Hey Baby (New Rising Sun) (7/1/70) RB, FR
  • Midnight Lightning (7/14/70) ML, SS
  • Come Down Hard on Me (5/14/70-7/15/70) LE, CLA
  • Angel (7/23/70, B-side: 3/8/71, 12 CL) CoL, FR

Tracks by Recording Dates, August 1970:

  • Mojo Man (6/69 – 8/70) PH
  • Room Full of Mirrors (11/17/69 – 8/20/70 RB, FR
  • Straight Ahead (6/17/70 – 8/20/70) CoL, FR
  • Freedom (6/25/70 – 8/20/70, single: 3/8/71, 59 US, 20 CL) CoL, FR
  • Drifting (6/25/70 – 8/20/70) CoL, FR
  • Ezy Ryder (12/18/69 – 8/22/70) CoL, FR
  • Night Bird Flying (6/16/70 – 8/22/70) CoL, FR
  • Astro Man (6/25/70 – 8/22/70) CoL, FR
  • Beginnings (7/1/70 – 8/22/70) WH, FR
  • Belly Button Window (8/22/70) CoL, FR
  • Dolly Dagger (7/1/70 – 8/24/70, single: 10/23/71, 74 US, 8 CL) RB, FR
  • In from the Storm (7/22/70 – 8/24/70) CoL, FR

* original version on 1997 CD version of Are You Experienced?
** original version on 1967’s Axis: Bold As Love
*** original version on 1968’s Electric Ladyland

The Michael Jeffery Era (1970-1974):

“This first era produced music that was sanctioned by Al Hendrix as the heir to Jimi's estate and created by the same personnel that Hendrix was working with at the time of his death: drummer Mitch Mitchell, engineer Eddie Kramer, and manager Michael Jeffery.” WK

The Cry of Love

Jimi Hendrix


3.759 out of 5.00
(average of 11 ratings)

Recorded: 3/13/68 to 8/24/70

Charted: March 6, 1971

Peak: 8 US, 2 UK, -- CN, -- AU

Sales (in millions): 1.0 US, -- UK, 1.0 world (includes US and UK)

Genre: classic rock

Tracks: (1) Freedom (2) Drifting (3) Ezy Ryder (4) Night Bird Flying (5) My Friend (6) Straight Ahead (7) Astro Man (8) Angel (9) In from the Storm (10) Belly Button Window

Total Running Time: 39:48


“When Jimi died in 1970, he left behind a lot of unfinished material for his next record; ment to be called The Cry Of Love or The Rising Sun. Actually, he had been putting aside tapes of what he has the most satisfied with for the past years, to this album.” AK

After his death, Eddie Kramer and Mitch Mitchell sat down to organize his library of halfly finished tapes, and arrange them into an album. Mitch played a whole lot of things again, and added new stuff where something was missing. The state of the songs ranged from Night Bird Flyingand Freedom, which was almost finished, to Angel and Drifting, that was missing serious amouts of work. After five months, the record was ready for release. In 1997, it was re-released under the name The First Rays Of The New Rising Sun, with seven bonus tracks.” AK

Also check out the DMDB page for this album.

Rainbow Bridge

Jimi Hendrix


3.726 out of 5.00
(average of 8 ratings)

Recorded: 3/18/69 to 8/24/70

Charted: October 9, 1971

Peak: 15 US, 16 UK, -- CN, -- AU

Sales (in millions): 0.5 US, -- UK, 0.5 world (includes US and UK)

Genre: classic rock

Tracks: (1) Dolly Dagger (2) Earth Blues (3) Pali Gap (4) Room Full of Mirrors (5) The Star Spangled Banner (6) Look Over Yonder (7) Hear My Train a Comin’ (live) (8) Hey Baby (New Rising Sun)

Total Running Time: 42:22

“Slapped together to fulfill a Mike Jeffreys contract after the tapes to the real Rainbow Bridge concert were stolen, this collects a few excellent tracks (Dolly Dagger, Hey Baby) with trivial outtakes (a curiously tame Star Spangled Banner)” WA and the live “10-minute electric version of Hear My Train A-Comin’, which saw the song transformed almost beyond recognition; like ‘Machine Gun,’ it showcased the classic elements of the Hendrix electric sound and featured some of his most inspired improvisation.” WK Overall, though, the “strong material is on New Rising Sun and [South Saturn Delta].” WA

War Heroes

Jimi Hendrix


3.644 out of 5.00
(average of 5 ratings)

Recorded: 1/28/68 to 8/22/70

Released: December 9, 1972

Peak: 48 US, 23 UK, -- CN, -- AU

Sales (in millions): -- US, -- UK, -- world (includes US and UK)

Genre: classic rock

Tracks: (1) Bleeding Heart (2) Highway Chile (3) Tax Free (4) Peter Gunn Catastrophe (5) Stepping Stone (6) Midnight (7) Three Little Bears (8) Beginning (9) Izabella

Total Running Time: 35:20

“Just a couple of new release-quality tracks (Izabella) plus B-sides (Highway Chile) and throwaways (Three Little Bears).” WA “This one would be worth owning if the two new Hendrix estate releases hadn't made it irrelevant.” WA

Loose Ends

Jimi Hendrix


3.643 out of 5.00
(average of 4 ratings)

Recorded: 7/19/67 to 6/17/70

Released: February 1974

Peak: -- US, -- UK, -- CN, -- AU

Sales (in millions): -- US, -- UK, -- world (includes US and UK)

Genre: classic rock

Tracks: (1) Coming Down Hard on Me (2) Blue Suede Shoes (3) Jam 292 (4) The Stars That Play with Laughing Sam’s Dice (5) Drifter’s Escape (6) Burning Desire (7) I’m Your Hoochie Coochie Man (8) Have You Ever Been to Electric Ladyland?

Total Running Time: 35:09

“Scraping the bottom of the barrel, with trivial jams (Jam 292, Peter Gunn Theme) and an endless live-in-the-studio take on Burning Desire.” WA

The Alan Douglas Era (1975-1996):

This “era is defined by the period of control held by producer Alan Douglas…Douglas reconstructed selections of studio material by hiring session players to overdub portions that were incomplete. The resulting LPs, Crash Landing and Midnight Lightning, contain several important tracks but are generally considered to be of substandard quality. Intending to ‘refresh’ Hendrix's sound with the funk driven grooves of the era, they achieved only marginally successful sales, and the use of replacement musicians (including lead guitar work) was viewed by fans as sacrilege.” WK

Crash Landing

Jimi Hendrix


3.644 out of 5.00
(average of 5 ratings)

Recorded: 3/13/68 to 11/12/69

Charted: March 22, 1975

Peak: 5 US, 35 UK, -- CN, -- AU

Sales (in millions): 0.5 US, -- UK, 0.5 world (includes US and UK)

Genre: classic rock

Tracks: (1) Message to Love (aka “Message to the Universe”) (2) Somewhere Over the Rainbow (3) Crash Landing (4) Come Down Hard on Me (5) Peace in Mississippi (6) With the Power (aka “Power of Soul”) (7). Stone Free Again (8) Captain Coconut (early version of “New Rising Sun”)

Total Running Time: 29:34

“The first really vile plundering of the vaults, with guitar and sideman tracks scrubbed to make room for session musicians (principally Jeff Mironov, guitar; Alan Schwartzberg, drums; and Bob Babbitt, bass). There was such a preponderance of clueless white people involved with the project that no one could figure what a track labeled ‘MLK’ stood for, so they retitled it Captain Coconut.” WA

Midnight Lightning

Jimi Hendrix


3.722 out of 5.00
(average of 5 ratings)

Recorded: 3/18/69 to 3/23/70

Charted: November 29, 1975

Peak: 43 US, 46 UK, -- CN, -- AU

Sales (in millions): -- US, -- UK, -- world (includes US and UK)

Genre: classic rock

Tracks: (1) Trash Man (2) Midnight Lightning (3) Hear My Train a Comin’ (4) Gypsy Boy (New Rising Sun) (5) Blue Suede Shoes (6) Machine Gun (7) Once I Had a Woman (8) Beginnings

Total Running Time: 35:58

“Worse than Crash Landing, with Hey Baby, Hear My Train, the title track and other unfinished tunes given the Douglas session cat treatment.” WA

The Experience Hendrix Era (1997-present):

In 1995, Jimi’s father Al Hendrix regained the rights to his son’s music. The three original Experience albums were remastered for new CD releases and, in 1997, a pair of compilations were issued. Also notable during this era was a box set, expanded reissues of previous live releases, and the development of Dagger Records, through which “official” bootlegs were released.

First Rays of the New Rising Sun

Jimi Hendrix


4.118 out of 5.00
(average of 10 ratings)

Recorded: 3/13/68 to 8/24/70

Released: April 22, 1997

Peak: 49 US, 37 UK, -- CN, -- AU

Sales (in millions): -- US, -- UK, -- world (includes US and UK)

Genre: classic rock

Tracks: 1. Freedom 2. Izabella 3. Night Bird Flying 4. Angel 5. Room Full of Mirrors 6. Dolly Dagger 7. Ezy Ryder 8. Drifting 9. Beginnings 10. Stepping Stone 11. My Friend 12. Straight Ahead 13. Hey Baby (New Rising Sun) 14. Earth Blues 15. Astro Man 16. In from the Storm 17. Belly Button Window

Total Running Time: 69:27


This is as close as you can get to an essential “fourth” studio album from Hendrix. “Having finally wrested control of Hendrix's estate from the vile Alan Douglas, Hendrix's family made a genuine effort to reconstruct Hendrix's final project. It ends up including all of Cry of Love, plus seven tracks that had been the high points of the two cash-in albums that followed (1971's Rainbow Bridge and 1972's War Heroes). Even though all of these tracks had been released on assorted LPs a quarter-century earlier, the disc does bring together classics like the blazingly psychedelic Room Full of Mirrors and the thundering Dolly Dagger, and it also features only the original performances and mixes [as opposed to the Alan Douglas versions with added session musicians]…The solid track listing and respectful presentation make the collection nearly as essential as Hendrix's three classic studio albums.” WA

Also check out the DMDB page for this album.

South Saturn Delta

Jimi Hendrix


3.653 out of 5.00
(average of 10 ratings)

Recorded: 7/19/67 to 7/1/70

Released: October 25, 1997

Peak: 51 US, -- UK, -- CN, -- AU

Sales (in millions): -- US, -- UK, -- world (includes US and UK)

Genre: classic rock

Tracks: (1) Look Over Yonder (2) Little Wing (3) Here He Comes (Lover Man) (4) South Saturn Delta (5) Power of Soul (6) Message to the Universe (Message to Love) (7) Tax Free (8) All Along the Watchtower (9) The Stars That Play with Laughing Sam’s Dice (10) Midnight (11) Sweet Angel (12) Bleeding Heart (13) Pali Gap (14) Drifter’s Escape (15) Midnight Lightning

Total Running Time: 65:47


“The second Hendrix family release, and again it consists mostly of previously available – though in many cases out of print - material. Generally speaking, this is the best of the material that wasn't seriously considered for release by Hendrix: abandoned tunes (the title track with a jazz horn section, Bleeding Heart); tossoff jams (Midnight, Pali Gap); demos (Sweet Angel, Little Wing). That said, it's very well put together, in several cases restoring material edited out or erased by the Douglas regime (Power of Soul), or returning to mixes Hendrix made before his death rather than posthumous mixes (Drifter's Escape). The biggest surprise on this set is a slow blues, unaccompanied version of Midnight Lightning that blows all the previously released versions away - for devotees, that one track alone makes this a valuable acquisition. Because the cuts featured here don't really reveal any previously unseen facets of Hendrix the composer, performer or producer, it's of interest only to fans, but it's roughly a hundred times better than the previous releases it makes irrelevant (War Heroes, Loose Ends, Crash Landing, Voodoo Slop). Finally somebody's doing the job right.” WA

Valleys of Neptune

Jimi Hendrix


3.539 out of 5.00
(average of 18 ratings)

Recorded: 5/5/67 to 5/15/70

Released: March 9, 2010

Peak: 4 US, 21 UK, -- CN, -- AU

Sales (in millions): -- US, -- UK, -- world (includes US and UK)

Genre: classic rock

Tracks: (1) Stone Free (2) Valleys of Neptune (3) Bleeding Heart (4) Hear My Train A-Comin’ (5) Mr. Bad Luck (6) Sunshine of Your Love (7) Lover Man (8) Ships Passing Through the Night (9) Fire (10) Red House (11) Lullaby for the Summer (12) Crying Blue Rain

Total Running Time: 62:11

Valleys of Neptune, the first new Hendrix studio album released in more than a decade,” MM “assembles 12 previously unreleased recordings, which include long-sought-after studio originals, reworked arrangements of Hendrix classics, and studio versions of covers Hendrix often played in concert.” MM “The bulk of these tracks were recorded in early 1969” MM “in London and New York after the Jimi Hendrix Experience’s third and final studio album, Electric Ladyland.” JZ “In the 18 months leading up to his death in September 1970, Hendrix was in the midst of transition borne of confidence and success.” JZ “This record captures the final studio output of the original Experience lineup” MM of Noel Redding and Mitch Mitchell and three tracks with “Billy Cox, Hendrix’s old army buddy who’d take up bass duties in Band of Gypsys later in the year.” JZ

Also check out the DMDB page for this album.

People, Hell, and Angels

Jimi Hendrix


3.750 out of 5.00
(average of 13 ratings)

Recorded: 3/13/1968 to 12/19/1969

Released: March 5, 2013

Peak: 2 US, 30 UK, -- CN, -- AU

Sales (in millions): -- US, -- UK, -- world (includes US and UK)

Genre: classic rock

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

Total Running Time: 52:33

This album captures Hendrix as he “was transitioning away from the mega-successful but limiting trio format of the Jimi Hendrix Experience, whose ending was documented on…Valleys of Neptune.” UT and toward “a new, fuller and funkier sound.” UT He tapped “musicians who could supply a broader array of sounds and rhythms, from chitlin' circuit R&B spice to Sly Stone-like psychedelic soul.” UT Among the players are Buddy Miles and Billy Cox (the future Band of Gypsys rhythm section) and “Stephen Stills playing funky bass lines on Somewhere; saxophonist/vocalist Lonnie Youngblood leading a nearly seven-minute wailing R&B workout on Let Me Move You; rhythm guitarist Larry Lee fattening the sound behind Hendrix's killer rock solo on Izabella; pianist James Booker lending a modern R&B spin to Mojo Man.” UT

“Electrified blues-rock is still at the heart of the music, exemplified by thrilling re-interpretations of Hendrix’s own Hear My Train a Comin’’ and Elmore James’ Bleeding Heart.” UT Still, “while the recordings…might very well be unreleased, …the songs themselves are nothing close to that.” AQ “Let Me Move You” seems to be a new cut and “Inside Out” is – sort of. It appears to actually be an early version of “Ezy Ryder.” AQ “An overall look…shows that very little is to actually be unveiled with the record…It feels like the tracklisting was organized as a grab-bag of cuts from the many Hendrix posthumous albums already out there.” AQ

Both Sides of the Sky

Jimi Hendrix


3.683 out of 5.00
(average of 7 ratings)

Recorded: 1/28/68 – 2/3/70

Released: March 9, 2018

Peak: 8 US, 8 UK, -- CN, -- AU

Sales (in millions): -- US, -- UK, -- world (includes US and UK)

Genre: classic rock

Tracks: (1) Mannish Boy (2) Lover Man (3) Hear My Train A-Comin’ (4) Stepping Stone (5) $20 Fine (6) Power of Soul (7) Jungle (8) Things I Used to Do (9) Georgia Blues (10) Sweet Angel (11) Woodstock (12) Send My Love to Linda (13) Cherokee Mist

Total Running Time: 65:32

Both Sides of the Sky presents 13 studio recordings including 10 which have never before been released. All but two of these studio recordings were made during a fertile period between January 1968 and 1970. Jimi's mastery and use of the studio as a proving ground for new songs resulted in a growing collection of extraordinary material. This album completes a trilogy of albums [with Valleys of Neptune and People, Hell & Angels] presenting the best and most significant unissued studio recordings remaining in the Hendrix archive. The songs include fascinating alternate versions of Stepping Stone, Lover Man and Hear My Train A-Comin’ as well as recordings where Jimi is joined by special guests Johnny Winter and Stephen Stills. Both Sides of the Sky was mixed by Eddie Kramer, the engineer for all of Hendrix’s albums throughout the guitarist’s lifetime, and produced by Janie Hendrix, Kramer and John McDermott.” AZ

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