Send power to the people, that’s what they’re screaming Lyrics, in part:Ī whole lot a people’s coming right on down
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“Straight Ahead” (4:42) is another of Hendrix’s strong messages plus more superb guitar and great drumming from Mitchell. Are you now or have you ever been a side-ist? Harmonica courtesy of Paul Caruso a.k.a. Gers, with Stills on piano.Ĭonfession: as a side-ist, I know Side one of this album much better than the second side. This one goes far enough back to include Noel Redding on bass. It is a variation on the classic blues form. “My Friend” (4:40) is a song laid on top of a drunken party someplace. There is debate about whether Hendrix’s vocals: was he a great singer, mediocre singer, what? All I know is that his voice seemed perfect for every song he sang. “Night Bird Flying” (3:50) is an interesting mid-tempo tune. And how about Winwood and Wood from Traffic on backing vocals! Cox’s bass lines are pure dynamite. These songs are short, taut, and immensely powerful. The trippy guitars swirl around Buzzy Linhart’s beautiful vibes work.īuddy Miles gives “Ezy Rider” (4:09) a nasty kick as multiple guitars again soar and dive, swooping in and out. Hendrix recorded “Drifting” (3:46), a lovely ballad.
That opening guitar and his excellent solo, Cox’s driving bass and Mitchell’s matching drums, and those fine backing vocals from The Ghetto Fighters gave this song great lift. “Freedom” (3:24) is a clear indication of where Hendrix was going. Visit my website for complete album information and thousands of album cover photos Production team: Jimi Hendrix, production, mixing on “Freedom”, “Nightbird Flying”, “Ezy Ryder”, “Astro Man”, “Belly Button Window” Michael Jeffery, executive production Eddie Kramer, posthumous production, engineering on all tracks (except “Ezy Ryder,” “My Friend”), mixing on all tracks Jack Abrams, engineering on “Ezy Ryder” (1969) Bob Hughes, engineering on “Ezy Ryder” (1970) Mitch Mitchell, posthumous production, mixing on “Angel” Nancy Reiner, cover art and Victor Kahn-Sunshine, photography, graphic design. Arthur and Albert Allen, backing vocals on “Freedom” Buzzy Linhart, vibraphone on “Drifting” and Emeretta Marks, backing vocals on “In from the Storm.” The core trio for the majority of the recording were: Jimi Hendrix, lead vocals, guitar, backing vocals on “In from the Storm,” piano on “Freedom” Billy Cox, bass guitar on all tracks (except “My Friend”, “Belly Button Window”) and Mitch Mitchell, drums on all tracks (except “Ezy Ryder”, “My Friend”, “Belly Button Window”).įor “Ezy Rider,” add: Buddy Miles, drums Billy Armstrong, percussion Stevie Winwood, backing vocals and Chris Wood, backing vocals.įor “My Friend,” add: Noel Redding, bass guitar Kenny Pine, 12-string guitar Jimmy Mayes, drums Stephen Stills, piano and Paul Caruso a.k.a. Gers, harmonica.Īdditional musicians: Juma Sultan, percussion on “Freedom,” “Astro Man” The Ghetto Fighters a.k.a.
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They were included for the album release when “Dolly Dagger” and “Room Full of Mirrors” were held instead for what would become the second posthumous release, Rainbow Bridge. For instance, according to Ultimate Hendrix, “Straight Ahead” and “My Friend” were not originally part of the project. There were numerous hands involved in the production of the album and songs that were probably intended to be part of this album not included - was it to be a single album or a double? - and some that were not intended which are. Was The Cry of Love the album Hendrix intended to release? Obviously not. He went back to his home planet on September 18, 1970. What class do you put it in? The album contains material recorded from March of 1968 through August of 1970. The Cry of Love was the first posthumous release of music of Jimi Hendrix.
Forum Apin the U.S.? PLEASE? Yes, the stream is available, but I want to hold it in my hot little hands.) (And will somebody PLEASE issue Hendrix at the L.A. Of course, we had no idea at the time about the tsunami of brilliant studio, live, and bootleg recordings which would continue to wash over us to this day. The Cry of Love was a lovely parting gift to us. (However, I was fortunate to see him at Merriweather Post Pavilion August 16, 1968.)Įveryone I knew was totally crushed when he left us, although few of us were surprised. And that Baltimore show was incendiary, listening to the tapes. One mistake closer to the annoying side was when I announced that I would not see Jimi Hendrix at the Baltimore Civic Center June 13, 1970, because we would see him in New York in the fall. I’ve made many mistakes in my life, some very bad, some just annoying.
The Class of 1971: Jimi Hendrix - ‘The Cry of Love’
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