Jomy Hendrix

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.

Electric Ladyland is the 1968 double album by the Jimi Hendrix Experience and is their third album. This is the first American digital release of this album, which Reprise released as a double CD in 1987 since most compact discs could not go beyond 74 minutes at the time. This is an unremastered version, or a "flat transfer", from the existing master tape at the time and is different from the mastering that was released for the CD in England at the time. Unlike the Germany CD from 1984 which has songs in different order due to how it was made on vinyl (i.e. Side 1 and Side 4 for Disc 1; Side 2 and Side 3 for Disc 2), the American CD separated each record with their own individual disc and are in proper order.

'Los Angeles Forum - April 26, 1969' presents an extraordinary live performance by the Jimi Hendrix Experience. Before a raucous, sold-out house, Hendrix, drummer Mitch Mitchell and bassist Noel Redding tore through a unique set featuring highlights such as 'I Don't Live Today', 'Purple Haze', 'Red House' and an astonishing medley of 'Voodoo Child (Slight Return)' and Cream's 'Sunshine of Your Love'. This pristine recording, newly mixed by Hendrix's long-time engineer Eddie Kramer, captures the original Jimi Hendrix Experience in their unrivalled, peak form. A portion of this performance was previously included as part of a short-lived Westwood One radio documentary box set 'Lifelines 1990-1992', but has been unavailable in any form for two decades. The CD release with a 24 page booklet, complete with liner notes from ZZ Top's Billy Gibbons who witnessed the show first hand, gives this seminal performance its proper platform, presenting the complete performance mixed directly from the original eight-track master tapes.

Some of Jimi Hendrix's live radio broadcasts for the BBC were released by Rykodisc in 1988 on Radio One, but The BBC Sessions, remastered and fleshed out into a two-disc completist's dream, is perhaps the best document of how the Experience sounded live in 1967. From blues stomps such as Muddy Waters's "Catfish Blues" to surly R&B vamps such as the three takes of Curtis Knight's "Driving South," Hendrix explores his roots with hardscrabble passion. Meanwhile, he pushes the psychedelic-pop spectrum with surprisingly rich versions of studio-tweaked numbers like "The Burning of the Midnight Lamp." There's plenty of slop–a stumbling jam with Stevie Wonder on "I Was Made to Love Her"–and lots of horsing around and awkward interview fragments. But in its balance of pop form, interstellar improv, R&B pedigree, and sheer charm, The BBC Sessions is about as accurate and honest a snapshot of the charismatic, still-pimply 24-year-old phenom as you're likely to hear.

Jimi Hendrix’s immortal 1970 live album, Band of Gypsys, is one of his most influential releases, with the charismatic guitar icon testing the bounds of his creative approach to produce some of the most ambitious music of his career. Capitol/UMe will honor this landmark record on March 27, almost exactly 50 years from its original release, with special 50th anniversary vinyl editions of Band of Gypsys that recapture the album’s boundary-breaking spirit.

C’est l’histoire d’un bide, celui d’un film, qui donna naissance à un concert beaucoup plus mémorable. Sorti sur les écrans en 1972, Rainbow Bridge, long-métrage fortement influencé par Easy Rider, conte maladroitement les aventures d’un mannequin new-yorkais se rendant à Hawaï. Tourné avec les pieds, laissant apparaître des acteurs qui peinent à réciter leur texte, cet ovni cinématographique doit en partie son existence à Michael Jeffery, manager de Jimi Hendrix, qui en produit une bonne partie après avoir obtenu les droits sur la bande-son qui devait contenir de nouveaux morceaux du Voodoo Child. Le tournage qui eut lieu en 1970 se déroula de manière aussi décousue que chaotique.