|
This is the album that Hendrix "owed" Capitol for releasing him over to Reprise Records and significantly, it isn't a studio effort, as his Reprise effort's have been. Which is not to imply that it is any better than those Experience albums. The context of the album is vital -- Band of Gypsys was one of Hendrix' 1969 amalgamations consisting of Buddy Miles on drums and Billy Cox on bass, among others. They hadn't been together very long when this session was recorded live at the Fillmore East, New Year's Eve 1969/70, and the music shows it.
Both sides are basically extended jams with lots of powerful, together guitar by Hendrix, able bass by Cox, at times overbearing drums by Miles and rather lame, buried vocals by both Hendrix and Miles. The group sound is surprisingly similar to Hendrix' old "Foxy Lady" and "Purple Haze" days, with the significant difference that here Hendrix really gets into his guitar playing. No more the flashy, crotch-oriented gimmickry and extended wah-wahs -- here he just stands still and shows us how adept he is with the ax. The support from Cox is always inventive, but Miles' drumming is definitely disturbing and exceedingly pedestrian at times. Hendrix overcomes on pure tension alone, as both "Message To Love" and "Who Knows" aptly demonstrate.
The problem is the vocals -- all the tunes are new ones and with Hendrix' weird poetic sensibility (akin to LeRoi Jones in effect at times: catch the poem on the inside cover), it would have been a large improvement had we been presented with a little less drumming and a lot more vocal. The excitement and hypnotic compression so apparent in the music would have been pressed home even more forcefully behind Hendrix' drawling, heavenly inflected voice, because Hendrix is not just a run-of-the-mill R&B singer -- his voice is just as much an instrument as his guitar. But, it's all just potential this time out, with the one exception of the twelve-minute "Machine Gun," dedicated to "all the soldiers that are fighting in Chicago, Milwaukee and New York and... oh, yes...all the soldiers fighting in Viet Nam." Here the Hendrix vocal is in the forefront and perfectly matched to his most desperate, driving guitar solo ever. You can hear the sirens wailing and the entire mood, even down to Miles' drumming, is one of confrontation and freneticism mixed in equal parts.
This album is Hendrix the musician. With just bass and drum support he is able to transfuse and transfix on the strength of his guitar-work alone.
- Gary Von Tersch, Rolling Stone, 5/28/70.
Bonus Reviews!
Jimi is back, refurbished with Billy Cox (who used to play third base for the Brooklyn Dodgers) and Buddy Miles whose drumming is worth the price of your admission. Hendrix, the heavy of all time, is refining his music and the result is a tighter more evenly spaced out recording, full of power and a more technically proficient set. I never believed that he played up to his popularity, his image, but give me time, I'll come around. He's about the only black musician playing for a white audience a peculiar blend of black records and white traditional acid rock. Hendrix is into black liberation in a heavy way, though his music has always been liberating, driving an intensely pitched energy level that has often been overshadowed by his act. I don't think he's acting anymore but getting into his playing, which is a relief.
- Jonathan Eisen, Circus, 7/70.
Band of Gypsys has been here and gone, while drummer Buddy Miles and Hendrix, a Reprise artist, have since formed a new combo. But Capitol caught the heavy duo live at Fillmore East last New Year's Eve, and with bass Billy Cox, they rip through "Who Knows" and "Power to Love," plus two Miles compositions. A hot item for Capitol and a big bonus for Hendrix fans.
- Billboard, 1970.
Because Billy Cox and Buddy Miles are committed (not to say limited) to a straight 4/4 with a slight funk bump, Hendrix has never sounded more earthbound. "Who Knows," based on a blues elemental, and "Machine Gun," a peacemonger's long-overdue declaration of war, are as powerful if not as complex as anything he's ever put on record. But except on the rapid-fire "Message to Love" he just plays simple wah-wah patterns for a lot of side two. Not bad for a live rock album, because Hendrix is the music's nonpareil improvisor. But for a Hendrix album, not great. B+
- Robert Christgau, Christgau's Record Guide, 1981.
 Further reading on Super Seventies RockSite!: |
Hendrix himself was dissatisfied with the line-up of this set, although containing the talented Billy Cox on bass and Buddy Miles on drums and recalled ex-Experience drummer Mitch Mitchell for his last studio recording.
Only personal auditioning can balance the musical/sound quality scales here.
- David Prakel, Rock 'n' Roll on Compact Disc, 1987.
Hendrix, sans the Experience, hooked up with bassist Billy Cox and drummer Buddy Miles to record this hard electric funk outing live at the Fillmore East in New York on December 31, 1969. While the rhythm section may have lacked the chops for wild free-form excursions, they provided Hendrix with a no-nonsense groove for his funkier R&B experiments. "Machine Gun," the album's highlight, features some of Hendrix's greatest playing. His dramatically violent soundscapes convey the horror of the war experience, with brilliantly controlled use of feedback and rapid-fire bursts of notes. * * * *
- Rick Clark, The All-Music Guide to Rock, 1995.
Maybe the finest live album ever and arguably one of the best blues records, this set is timeless, effortless, beautiful. Recorded at legendary Fillmore East with Hendrix's old army pal Billy Cox on bass, this is as far from pop as the undisputed genius of electric guitar got. If you really want to hear Jimi stretch out on his Strat, get this. * * * *
- Zagat Survey Music Guide - 1,000 Top Albums of All Time, 2003.
Main Page |
Readers' Favorites |
The Classic 400 |
Other Seventies Discs |
Search The RockSite/The Web
