Court Hands Experience Hendrix, LLC Another Victory In Latest Trademark Case

Courtesy: Experience Hendrix, LLC

Courtesy: Experience Hendrix, LLC

There is a new development in the court battle between Experience Hendrix, LLC and Tiger Paw Distributors.

A court order handed down late last month an injunction that prevents Tiger Paw Distributors from:


  1. Using the word “Jimi” in the names of its websites, social media profiles, and other online profiles.
  2. Making, selling, distributing, or promoting any bottle of its Purple Haze Liqueur that uses the web address printed clearly on the label
  3. Displaying the trademark Jimi Hendrix signature on any of its labeling or marketing materials.


The newly ordered injunction is just the latest development in the case.  The case was first opened earlier this year when Experience Hendrix, LLC filed suit in a Georgia Federal Court, charging that Tiger Paw Distributors, its president Joe Wallace, its partner Leon Hendrix, and others had used trademarks owned by Experience Hendrix, LLC without the company’s permission in order to promote its Purple Haze Liqueur.  It is a drink made up of vodka, cognac, and other elements.  The trademarks in question included the use of the name “jimi,” the Jimi Hendrix trademark signature, and the jimipurple web address.

Experience Hendrix, LLC’s case against Tiger Paw Distributors is not the first time that the company has faced a court battle over the use of its trademarks.  In 2007 it took Electric Hendrix, LLC—formed by Leon Hendrix and others—to court over for trademark infringement and other “unlawful acts” in its efforts to sell its Jimi Hendrix Electric Vodka.  The Washington Federal Court overseeing the case found in favor of Experience Hendrix, LLC in that case, ordering that all bottles of Jimi Hendrix Electric Vodka be removed from store shelves across the country.  The order was a permanent injunction against Electric Hendrix, LLC, ensuring that it would never be able to sell its alcoholic beverage again.

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Jimi Hendrix: Live At The Atlanta Pop Festival Is One Of 2015’s Top New Live CDs

Courtesy:  Experience Hendrix, LLC/Legacy Recordings

Courtesy: Experience Hendrix, LLC/Legacy Recordings

On July 4th, 1970 legendary guitarist Jimi Hendrix stood on a stage in Byron, Georgia before an audience estimated to be anywhere from 300,000 to 400,000 people at the city’s Second Atlanta International Pop Festival. He was joined on stage by then band mates Billy Cox (bass) and Mitch Mitchell (drums) for what would go on to be the biggest audience for which the trio would ever perform before Hendrix’s untimely death a little more than two months later. While it is the biggest performance that Hendrix and company had ever held, it has never seen the light of day. That is until now. Thanks to the efforts of the people at Experience Hendrix, LLC and Legacy Recordings, this classic concert will finally be available to audiences this Friday, August 28th. Needless to say this new, upcoming live recording is one more welcome addition to any Hendrix fan’s music library. The main reason that it is such an enjoyable recording is its set list. The show’s set list totals sixteen songs and tops off at roughly an hour and twenty-two minutes. It features both a number of Hendrix’s biggest hits up to that point and even a number of lesser-known pieces. The combination of both those bigger hits and lesser-known pieces makes for a set list that both the most hardcore Hendrix fans will enjoy and those that might not be so familiar with the music that made Hendrix rock royalty. As important as the concert’s set list is to its presentation in whole, it is just one part of what makes the show so enjoyable. Hendrix’s stage presence and that of his band mates plays its own role in the concert’s enjoyment. Last but hardly least important in the concert’s enjoyment is its audio mix. Considering the changes in recording technology over the course of the past forty-five years the quality of this concert’s audio mix is surprisingly impressive. Sure, it’s tough to hear Hendrix talking and joking with the audience between songs without pumping the volume almost to max. But that’s a minor issue when looking at the audio mix in general. That being the case, the audio mix passes the test and rounds out what is yet another archived show that any Hendrix fan will want to have in his or her own music library.

Jimi Hendrix: Live at the Atlanta Pop Festival is hardly the Jimi Hendrix Experience’s first archived live show to be released by Experience Hendrix, LLC and Legacy Recordings. That aside, it is still another great addition to the home music library of any Hendrix fan out there regardless of his or her familiarity with Hendrix’s body of work and his live shows. The main way in which it proves so enjoyable is its set list. The set list is not entirely different from previous Jimi Hendrix Experience concert recordings. However, it does show at least some differences from those recordings. It shows differences by including a number of lesser-known songs including the likes of: ‘Lover Man,’ ‘Spanish Castle Magic,’ ‘Room Full of Mirrors,’ ‘Message To Love,’ and ‘Freedom’ just to name a handful. While the inclusion of those lesser-known songs is in itself important to the enjoyment of this recording the performance of the band’s more well-known songs should not be played down. Audiences will love the band’s laid back take of ‘Red House.’ And fittingly the band’s performance of the show-opening ‘Fire’ will have listeners even today feeling the energy exuded by the band and by the audience in attendance all those decades ago. Feeling that energy, listeners will feel it running through themselves, too. Just as interesting is the band’s performance of ‘Hey Joe,’ one of its biggest hits of all. Unlike with so many other performances of this song–and even the song’s original recording–it shows to be more up-tempo than in those recordings. That’s not to say that it is a really fast paced rendition of the song. It is just not as slow as audiences are accustomed to in regards to this song. It’s yet another interesting way in which the set list shows to be just one important element in the whole of Live at the Atlanta Pop Festival. The rest of the songs featured in the show’s set list could each be used as examples, too. These examples within themselves are just a few of the clearest examples of why the show’s set list is so important to its success and enjoyment.

The set list featured at the heart of Live at the Atlanta Pop Festival is a key element of the recording’s success. It is of course just one element in a much larger picture. The band’s stage presence–especially that of Hendrix himself–is just as important to its success and enjoyment. Audiences that are familiar with Hendrix’s history both on and off the stage will find his stage presence just as enjoyable as ever. This includes both his performance of each song and his rapport with his audience. During the course of each of the band’s songs, Hendrix feels just as at ease as ever. His performance feels completely natural and organic. Listeners will especially notice this in some of the concert’s more spur of the moment jam session moments. The same can be said of [Billy] Cox and [Mitch] Mitchell. They feel just as natural in their performances. Mitchell sounds as if his drumsticks are natural extensions of his arms as he flows through each song while Cox is just as smooth, offering up just enough low-end to perfectly compliment both Mitchell’s rhythms and Hendrix’s main line. It makes for a great harmony opposite Hendrix’s work. All three musicians’ talents together make for a nearly ninety minute set that is still just as enjoyable today as it was forty-five years ago. Hendrix’s rapport with the audience plays into that, too. Although listeners will have to pump the volume on their stereos or MP3 players in order to hear him between songs, they will hear for themselves in doing so just how natural he was even when not performing. It’s really interesting to note especially considering his nature off-stage. He was just as nice off-stage as he was in front of a crowd. But he was also somewhat shy around people when he wasn’t performing. So keeping that in mind, it makes his interactions with the audience here just as enjoyable and incredible as in any of the band’s other performances. It really goes to show why his ability to overcome that shyness is so important both to the enjoyment of this and other performances from the band, and why he is himself one of the most important front men in modern rock history.

The stage presence of both Hendrix and his band mates throughout the course of Live at the Atlanta Pop Festival shows in the long run to be a hugely important element in its overall success and enjoyment. That is because all three musicians’ performances feel just as natural and organic as in any of the band’s previous performances. That natural, organic approach to each song make the set list in whole that much more important to the recording’s success, too. For all of the importance of both noted elements, neither would be of any worth noting without noting the concert’s audio mix. Thankfully, those charged with restoring the concert’s audio mix stepped up and accomplished their task with the utmost expertise. Sure, it would have been nice if listeners didn’t have to jack up the recording’s volume in between songs. But that is a minor price to pay for a recording that sounds as good as it does in this case. It speaks volumes of not only the abilities of those that re-mastered the concert’s sounds but of those that originally recorded the concert and of the recording tech from the era. It is thanks to both that tech and the abilities of all involved that both the show’s set is so easy on the ears and why the band’s stage presence throughout the whole show comes across just as well even with the issue of the moments between the songs. It is the foundation for the concert in whole and in turn makes the concert complete. It is the final touch in the concert’s examination, proving exactly why it is yet another welcome addition to any Hendrix fan’s music library.

Jimi Hendrix: Live at the Atlanta Pop Festival is not the first live Hendrix concert recording to be released to audiences. That aside, it still proves in the end to be another fully welcome addition to any Hendrix fan’s music library. That is thanks to the show’s near ninety-minute set list, made up of songs that all of Hendrix’s fans will recognize. The band’s stage presence and the work of those responsible for re-mastering its sound are just as much to note. All three elements combined make Live at the Atlanta Pop Festival one more welcome addition to the music library of any Jimi Hendrix fan and one more of this year’s best new live CD recordings. It will be available in stores and online this Friday, August 28th. More information on this and other Jimi Hendrix recordings is available online now at:



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The Jimi Hendrix Park Finally Becoming A Reality

Courtesy:  Merlis For Hire

Courtesy: Merlis For Hire

It has taken four years of planning and fundraising. But it looks like the long-awaited Jimi Hendrix Park will finally become a reality at least in part very soon.

Officials with the Jimi Hendrix Park Foundation announced this week that after much negotiation, The City Of Seattle is now pursuing a contract with construction company ERGG, Inc. to start work on the park, honoring one of the city’s favorite sons. ERGG, Inc. was chosen from a pool of five bidding companies to build the 2.5 acre park in the city’s Central District. The park will be located adjacent to the city’s Northwest African-American Museum. Construction on Phase I is expected to begin in April with opening of the park’s new features expected for this fall. Phase I of the park’s growth, designated “Little Wing,” will include a new stairway and grand entrance at the southeast corner of the park at the intersection of 25th and Massachusetts. It will also feature a chronological timeline of Jimi’s life and career, paved pathways, new landscaping that will feature new trees and native plantings, seat wall benches, improved fencing, ADA accessible walkways, rain infiltration gardens, a butterfly garden, and central plaza for community gatherings and performances.

Jimi Hendrix’s sister Janie Hendrix is Founder and Director of the Jimi Hendrix Park Foundation. She shared her thoughts on this week’s major announcement noting her hopes that the park will be more than just another tourist trap. Rather, she hoped that it would become a site that would pay homage to Jimi’s life and legacy, noting, “It is our hope that for generations, it will exist as more than an attraction or point of interest, but a place of homage to one of Seattle’s own. The landscaping, the artistic design, and the ambience all mimic the vibe of the persona of Jimi, whom this park honors.”

Rosanna Sharpe is Executive Director of the Northwest African-American Museum. She shared Jamie’s high hopes for the park, especially being that the park will be located so close to the museum. “The Northwest African-American Museum looks forward to the opening of the new Jimi Hendrix Park,” she said. “Together we form a premier cultural destination that celebrates African-American art, history and culture, and the living legacy of an iconic musician who helped the world expand its definition of “black music” and continues to influence musicians today.”

Fundraising by the Jimi Hendrix Park Foundation started in 2012. It raised a total of $1.4 million for the first of the park’s two phases. Fundraising for the second phase of the park’s development is ongoing. The second phase of the park’s development includes: additional pathways, pedestrian lighting, improved fencing, construction of a central shelter and centerpiece feature, and a “shadow wave wall” that depicts iconic silhouette images of Jimi Hendrix. Anyone that would like to donate to the Jimi Hendrix Park Foundation’s work on the park’s second phase can do so online via the Foundation’s website at The Jimi Hendrix Park Foundation is a 501(c)3 registered public charity (EIN 27-3599916). A schematic design of the park in its completed state is noted below.

Courtesy:  Merlis For Hire

Courtesy: Merlis For Hire

Major financial assistance for development of Phase I came from: Hard Rock International, Parks and Green Spaces Opportunity Fund, Seattle Department of Neighborhoods, Janie L. Hendrix, King Conservation District, Seattle Parks Foundation, KISW 99.9 FM, Northwest African-American Museum, Nisqually Indian Tribe, and Fender Musical Instruments Co.

More information on The Jimi Hendrix Park Foundation is available online along with information on how to donate to the second phase of the park’s construction, and all of the latest developments on its construction at:




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Sony Legacy’s Latest Hendrix Profile Is One Of The Best Overall Albums Of 2015

Courtesy:  Sony Legacy/Experience Hendrix, LLC

Courtesy: Sony Legacy/Experience Hendrix, LLC

Sony Legacy’s new record You Can’t Use My Name is one of this year’s best new records. It is also one of the most important pieces of music history to be released in a long time. The record is a compilation of songs on which legendary guitarist Jimi Hendrix lended his talents during his short stint with Curtis Knight and the Squires from 1965 – 1966. The songs culled for this record have never been released in any form. That is,as is noted in the album’s companion booklet, a result of legal issues that were only hammered out by the people at Experience Hendrix, LLC. Speaking of the booklet, it is just one part of what makes this record so important regardless of one’s level of knowledge in regards to Hendrix and his body of work. Confused? It’ll all be explained shortly. First and foremost though, the songs are central to the overall enjoyment of the record. They, along with the record’s companion booklet, make perfectly clear why any music lover overall will want to hear this record. Last but not least of all worth noting is the production values of the songs presented across the record. Considering that they have apparently sat in limbo for decades, they sound especially impressive in this presentation. Each element by itself makes You Can’t Use My Name enjoyable for any Jimi Hendrix fan. All three elements taken collectively into account they prove this record to be an equally important piece of music history. That collective importance and enjoyment makes You Can’t Use My Name one of this year’s best new album’s overall and a piece that both Hendrix fans and music lovers overall should add to his or her collection.

There is a lot to be said of Sony Legacy’s new compilation You Can’t Use My Name. The fourteen-track record is a compilation of songs that were recorded by legendary guitarist Jimi Hendrix between 1965 and 1966 when he served as a backup member of Curtis Knight’s group Curtis Knight & The Squires. Its release on Tuesday, March 24th marks the first time ever that these songs have seen the light of day. They have hung in limbo for so long because of legal issues that Experience Hendrix, LLC only recently finally got settled. The issues in question had to do with ownership and distribution rights for the songs. The efforts to get the rights to the songs were well worth it as listeners will agree in hearing these songs. As listeners will note on this record, Hendrix’s guitar playing in each one of the compilation’s songs displays the roots of his talents. His guitar solo on ‘Gotta Have a New Dress’ and his work on the near seven-minute-long ‘Knock Yourself Out (Flying on Instruments) both display those roots. Though, the latter of the two shows more hints of the timeless tunes that he would churn out in the years to come with Mitch Mitchell, Noel Redding, and Billy Cox. For all of the breadth of talent displayed by both Hendrix and the members of The Squires on this record, listeners get to hear a glimpse of the consequences of those talents in the uncut take of ‘Gloomy Monday.’ Listeners hear Hendrix talking to Curtis Squires and to producer Ed Chalpin, head of PPX in regards to his name being used in the song’s credits. His reasoning for keeping his name off of the recording is fully justified, as audiences will read in the album’s companion booklet. Speaking of that story and the booklet in whole, the companion booklet that comes with You Can’t Use My Name both that story and the larger story presented in the booklet proves to be another reason that music lovers and Hendrix fans alike will enjoy and appreciate You Can’t Use My Name.

So many consumers today have turned away from purchasing physical albums and turned more towards directly downloading specific songs from given acts’ albums. Ever since the creation of iTunes so many years ago, people have increasingly turned their backs on the physical object. The main argument given for this turn is that there are so few full albums worth purchasing anymore. To a certain point, that argument does hold water. In the case of You Can’t Use My Name, it is an argument that is one giant hole. In this case, the hole is so large not only because of the amount of impressive songs included for the compilation’s body but for the inclusion of its companion booklet. The booklet included with You Can’t Use My Name gives an in-depth background on Hendrix’s early days and his rise to stardom as the mouthpiece of The Jimi Hendrix Experience. While many audiences know plenty about Hendrix’s time with The Jimi Hendrix Experience and Band of Gypsys, it’s likely that far fewer audiences know about the legal issues that he faced during his rise to stardom. The booklet included with You Can’t Use My Name outlines in detail the legal issues in question courtesy of writer John McDermott. Those legal issues even boil over onto the album itself as can be heard in the rough cut of ‘Gloomy Monday.’ McDermott goes so far as to clearly transcribe the conversation heard between Hendrix, Knight, and PPX head Ed Chalpin before the recording begins. It clearly displays Hendrix as being very untrusting of Chalpin but trying to play off his discomfort at the situation in which he had found himself. That’s just part of the whole story that makes this record a must have for any music lover, historian or Hendrix fan. McDermott goes on to detail how perhaps Hendrix’s own interpretation of his contract with PPX versus Chalpin’s view obviously led to the ongoing dispute and the rift formed between Hendrix and Chalpin. McDermott notes in his history that these disputes followed Hendrix into his career with The Jimi Hendrix Experience. It would explain why in Sony Legacy’s Hendrix documentaries Jimi Plays Berkeley (2012), The Jimi Hendrix Experience: Hear My Train A’ Comin’ (2013), and Blue Wild Angel: Jimi Hendrix Live at the Isle of Wight, Hendrix is seen as being somewhat closed off from others while not on stage. He even shows a little of that side on-stage, too. It is visible and audible in his stage presence. Despite his powerhouse performances, he himself comes across as being a little reserved for lack of better wording. The impact of these legal issues would seem to explain at least to some extent that reserved nature. Regardless of whether or not the legal issues outlined in You Can’t Use My Name’s companion booklet played a role in who Jimi Hendrix became over time, one can’t help but wonder. The very revelation of those issues–which may or may not have played a role in his personal life–thanks to John McDermott and the potential discussions that they could lead to as noted here, prove without a doubt why the booklet included with You Can’t Use My Name is just as important to the whole as the music itself. It still is not all worth noting of what makes the record work, either. The record’s production values are well worth noting, too.

The music chosen for You Can’t Use My Name and the record’s companion booklet are both of equal importance to the record’s enjoyment and success. That has been noted above. The music presents Hendrix before he was a star. And not only that, but it also presents a clear picture of his musical roots. The in-depth history of the legal issues challenging Hendrix as his star rose is just as key to the record’s enjoyment and success. It is more ammo in the argument in favor of owning the physical object and against the digital. Those that buy the album in its physical form will get the full experience, including that history and music. Those that only download the music won’t get the full background on the music and why the songs on this record are so important in the overall history of popular music and of Jimi Hendrix’s career. Now, having noted all of this, the music and the history lesson behind the music would be useless without quality production values. From the socio-politically charged protest piece that is ‘How Would You Feel’ to the uptempo, blues-infused instrumental that is Knock Yourself Out (Flying on Instruments) to the album’s controversial closer ‘Gloomy Monday,’ each song collected for the album sounds equally impressive. And that is thanks to those charged with resurrecting them and re-mastering them. If not for their painstaking efforts, none of the elements noted above would mean anything and this record would otherwise end up collecting dust on store shelves. But thankfully that is not the case. Because it isn’t the case, every song on the record is equally worth the listen. In hearing the quality sound of each song and taking in the important history behind the songs, listeners that are open-minded enough will agree that You Can’t Use My Name is not only one of this year’s best new albums but one of the most important pieces of 20th Century music history to come along in a very long time.

You Can’t Use My Name proves in the end to be an aptly titled new collection of songs from Experience Hendrix, LLC and Sony Legacy. The history provided behind the songs courtesy of John McDermott illustrates this clearly and concisely. This leads the songs themselves to prove all the more valuable both because of Hendrix’s performance on each one and simply for the fact that they were held in music limbo for so long. And thanks to the hard work of those charged with restoring the songs, the songs are clear and completely enjoyable. The end result of all of these elements is an album that once again proves to be one of the year’s best overall new records and one of the best pieces of 20th Century music history to come along in a very long time. You Can’t Use My Name will be available Tuesday, March 24th in stores and online. Though, the purchase of the physical item in the case is highly recommended. More information on this and other titles from Experience Hendrix, LLC and Sony Legacy is available online now at:



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Blue Wild Angel Is A Fitting Memorial To Hendrix’s Legacy

Courtesy:  Experience Hendrix, LLC/Legacy Recordings

Courtesy: Experience Hendrix, LLC/Legacy Recordings

Sony Legacy and Experience Hendrix, LLC released their latest archived live Jimi Hendrix performance this week.  Jimi Hendrix Live at the Isle of Wight: Blue Wild Angel was released on DVD and Blu-ray earlier this week.  The latest archived concert to be released by Sony Legacy and Experience Hendrix, LLC, this archived concert is one more wonderful addition to the ongoing series of archived concerts that the companies have released in recent years.  The first reason for that is the concert’s set list.  Included in this concert are some familiar pieces.  There are also some not so familiar pieces included in the show’s set list, too.  Those songs are a great addition to the concert in whole.  Just as worth noting in this new concert recording is the show’s collective audio and video mix. The recording’s bonus material—primarily the interview with director Murray Lerner and the bonus live footage of ‘Hey Joe’—completes the presentation, making Jimi Hendrix Live at the Isle of Wight: Blue Wild Angel a definite candidate for a spot on this critic’s list of the year’s best new live recordings.

Jimi Hendrix Live at the Isle of Wight: Blue Wild Angel is one of the most important live recordings that any Jimi Hendrix fan and music historian alike should add to their own collection. The reason for that is that while it wasn’t his last concert, it was his final full official performance before his untimely passing in late 1970. One of the key reasons that viewers will enjoy this concert recording so much is that it includes more than the typical Hendrix hits. He pays homage to The Beatles with a performance of the title track from the band’s 1967 alum Sgt. Pepper’s Lonely Hearts Club Band early on. Before the concert begins, there is a near fifteen-minute documentary of sorts that sets the stage so to speak, for the concert. During the course of the documentary, Hendrix notes in some of the footage that he was in fact a fan of The Beatles. Taking this into account, that comment makes Hendrix’s performance of the Beatles’ hit all the more special. Audiences will agree that Hendrix does the song justice even with his rendition. Just as intriguing is the juxtaposition of Jimi, Mitch [Mitchell] (drums) and Billy [Cox] (bass) performing ‘God Save The Queen.’ It is intriguing in that also included in the pre-concert mini-documentary” is a clip of Jimi discussing his performance of the National Anthem at Woodstock and the reaction to said performance. He also discusses his military service with Cavett during said clip. It makes the group’s performance of ‘God Save The Queen’ almost a response of sorts to those that came out against him for his rendition of the National Anthem even after the fact. Add in performances of ‘Dolly Dagger,’ ‘Freedom,’ ‘Spanish Castle Music,’ and others that are less commonly seen in previous Hendrix live recordings alongside Hendrix’s standards, and audiences get a set list that by itself, makes plenty of reason to check out this new live recording.

The set list that Jimi and his band mates had assembled for what would be their last full official concert is in itself reason enough for audiences and music historians to want to purchase this recording. The collective audio and video mix of this recording makes it even more of a success. Almost forty-five years (that’s almost three quarters of a century) later, the footage looks and sounds just as good as it did in its original recording. That is a testament to those charged with bringing the concert back to life for audiences of all ages. The footage looks and sounds especially good in its transfer to Blu-ray. The grainy quality of the original recording is still there. So that vintage feel was not lost in the transfer. It just looks more well defined for lack of better wording. And the audio is just as impressive. It sounds impressive on an HDTV. But those with home theater systems will truly appreciate the quality of the audio in the original concert audio’s re-mastering and transfer to Blu-ray. Making the experience even more special is the inclusion of extra camera angles on specific songs as bonus material. It adds even more to the overall experience, especially being that they largely come from the stage.

Speaking of bonus material, the bonus performance of Jimi and company performing ‘Hey Joe’ puts the final piece in place for this recording. The performance had not been included in the original concert recording. So having it included this time gives audiences the full experience in terms of the show’s set list. The bonus interview with director Murray Lerner rounds out the presentation. His insight and behind-the-scenes tidbits regarding the pre-show preps and reaction by the fans shows a troubled show that seemingly came close to not happening. And even when it did happen, it wasn’t without its share of problems. But because it did happen, audiences today get what is a fitting final end to a career that would ultimately be cut far too short.

Jimi Hendrix Live at the Isle of Wight: Blue Wild Angel is available now on DVD and Blu-ray in stores and online. It can be ordered directly from the official Jimi Hendrix website, More information on this and other Hendrix releases, as well as the upcoming 2014 Experience Hendrix Tour and more Jimi Hendrix news, is available via the official Jimi Hendrix website and Facebook page, To keep up with the latest sports and entertainment reviews and news, go online to and “Like” it. Fans can always keep up with the latest sports and entertainment reviews and news in the Phil’s Picks blog at

Experience Hendrix, Legacy Announce New Hendrix Live Recording

Courtesy:  Experience Hendrix, LLC/Legacy Recordings

Courtesy: Experience Hendrix, LLC/Legacy Recordings

Officials with Experience Hendrix, LLC and Legacy Recordings announced Tuesday that the companies will release one of the last live performances of Jimi Hendrix’s career next month.

Blue Wild Angel: Jimi Hendrix Live at the Isle of Wight will be released on Tuesday, June 17th on DVD and Blu-ray. The recording captures what would be his last full performance before his death eighteen days later on September 18th, 1970. His last live performance before his death was an impromptu set at Ronnie Scott’s Jazz Club in Soho less than a month later. The concert presented on Blue Wild Angel: Jimi Hendrix Live at the Isle of Wight documents Hendrix’s headlining performance at the hugely revered festival on August 31st 1970. Hendrix performed to an audience of 600,000 at the festival. It was the largest audience before which he had ever performed. It was also the first time that his new band, rounded out by bassist Billy Cox and drummer Mitch Mitchell, had played together in the UK.

The concert’s presentation on both DVD and Blu-ray will contain the same features including new footage of ‘Hey Joe’ that was not part of the concert recording’s original release. There is also a bonus interview with director Murray Lerner, reproductions of the original Isle of Wight Festival tickets, festival posters and even a copy of Hendrix’s own hand-written directions to the festival. The recording features both a stereo sound mix and ad 5.1 audio surround sound track mixed by Eddie Kramer. Eddie Kramer was Jimi Hendrix’s original recording engineer. The complete track listing for Blue Wild Angel: Jimi Hendrix Live at the Isle of Wight is noted below.


  1.      Blue Wild Angel: Jimi Hendrix Live At The Isle Of Wight (Main Film) (Live At The Isle Of Wight)
  2.      Introduction (Live At The Isle Of Wight)
  3.      God Save The Queen (Live At The Isle Of Wight)
  4.      Sgt. Pepper’s Lonely Hearts Club Band (Live At The Isle Of Wight)
  5.      Spanish Castle Magic (Live At The Isle Of Wight)
  6.      All Along The Watchtower (Live At The Isle Of Wight)
  7.      Machine Gun (Live At The Isle Of Wight)
  8.      Lover Man (Live At The Isle Of Wight)
  9.      Freedom (Live At The Isle Of Wight)
  10.  Red House (Live At The Isle Of Wight)
  11.  Dolly Dagger (Live At The Isle Of Wight)
  12.  Foxey Lady (Live At The Isle Of Wight)
  13.  Message To Love (Live At The Isle Of Wight)
  14.  Ezy Ryder (Live At The Isle Of Wight)
  15.  Purple Haze (Live At The Isle Of Wight)
  16.  Voodoo Child (Slight Return) (Live At The Isle Of Wight)
  17.  In From The Storm (Live At The Isle Of Wight)
  18.  Credits (Live At The Isle Of Wight)

Blue Wild Angel: Jimi Hendrix Live at the Isle of Wight will be available Tuesday, June 17th. It can be pre-ordered online now via Amazon at More information on this and other Jimi Hendrix recordings is available online at and To keep up with the latest sports and entertainment news and reviews, go online to and “Like” it. Fans can always keep up with the latest sports and entertainment news and reviews in the Phil’s Picks blog at

McDermott Discusses Upcoming Hendrix LP

Bob Merlis/M.f.h./Experience Hendrix, LLC/Legacy Recordings

Bob Merlis/M.f.h./Experience Hendrix, LLC/Legacy Recordings

Legacy Recordings will release the brand new Jimi Hendrix rarities album, People, Hell and Angels on Tuesday, March 5th.  The anticipation is building over this upcoming compilation of previously unreleased songs.  Now thanks to writer Joe Bosso, audiences are able to get a glimpse into each song on the new LP.  Bosso—who previously served as editor-in-chief of Guitar World magazine and ex VP of A&R at Island Records–sat down with the album’s co-producer John McDermott and let him discuss the story behind each track in depth.  The following is what McDermott had to say about each song.  It comes courtesy of Mr. Bosso.

On 5 March, Experience Hendrix LLC and Legacy Recordings releases People, Hell And Angels, a new collection of previously unreleased Jimi Hendrix recordings culled from sessions between early 1968 and late ’69, which saw the guitarist assuming the producer role and experimenting with different groups of musicians outside of the original Jimi Hendrix Experience trio.

“It’s a really exciting and interesting album,” says John McDermott, who co-produced the set with Eddie Kramer and Janie Hendrix. “The idea on Valleys Of Neptune was to show the end of the original Jimi Hendrix Experience, and with People, Hell And Angels, we moved the timeline up some. We looked at the remaining material, and the idea was to fill in the portrait as best we could.”

The recordings on People, Hell And Angels feature the first-ever studio session by the Band Of Gypsys, along with the group that Hendrix assembled for Woodstock, and also it showcases collaborations with old friends and new friends. “He was widening the net,” says McDermott. “Once the Experience were no longer going to be an effective recording unit, he got Billy Cox and Buddy Miles, as well as additional percussion and Larry Lee on additional guitar. And there’s a track where his friend Stephen Stills bass. There’s experimentation, but it’s not in a loose, unformed way; Jimi was working with really compelling song structures, and he was playing great, too.”

During this period, Hendrix worked at various facilities – New York’s Record Plant, Hit Factory and Sound Center, along with the Fame Studios in Muscle Shoals, Alabama – and with the exception of the track Somewhere, everything was recorded 16-track onto two-inch tape. “They were mainly Scotch tapes, and they were great shape,” says McDermott. “Jimi was fortunate in that he was working at a time before tape got thinner. We didn’t have to do any baking to the recordings. Everything held up beautifully.”

Hendrix’s last official album with the Experience was 1968’s Electric Ladyland, and the tracks on People, Hell And Angels offer fascinating insights as to the musical direction he was entertaining on his planned double album First Rays Of The New Rising Sun. “Jimi was working with friends who shared a common language with him,” says McDermott. “To be able to say to people who knew Elmore James, ‘I want to get an entirely different beat to this. I want to take this somewhere new. Here’s where we’re going’ – that was exciting for him. Everybody fell right in and tore into the music.

“What’s fascinating about Jimi is that one week of his felt like a year for other artists. There was so much creativity and so many possibilities. He was really looking to challenge himself. When he had an idea, he chased it fearlessly.”

Earth Blues


     “This harks back to that first May 1969 session. It was one of the songs that Jimi showcased to Buddy and Billy. While they didn’t get it then, they certainly had an interesting handle on it. When things geared up in December of that year for 

      the Band Of Gypsys shows, this is one of the tracks that was not only in the set, but Jimi recorded it in the studio, as well.


“What’s really interesting about this one is that, unlike the version now on First Rays Of The New Rising Sun and previously on Rainbow Bridge, it shows off the stripped-down funk, without the Ronettes and a lot of the extra guitar things that were overdubbed by Jimi later. It’s a separate take entirely, and he’s got the drum break in it, which is really cool. It’s a different approach.

“There was a shared understanding between Billy and Buddy, and that made it really easy for Jimi to work with them. As great as Noel became as a bassist, I just think that the camaraderie that Jimi and Billy had was special. They worked on material before they got into the studio in ways that Jimi and Noel never did. They got together in hotel rooms or in Jimi’s apartment – they enjoyed playing together. By ’68, ’69, Jimi’s relationship with Noel was more professional.”


“It’s really Jimi and Buddy Miles, and then Stephen Stills joins them on bass, and it starts to come together. It’s a great track with something of a strange history: It was part of the Crash Landing album, but a different take of the song was used on that. To us, this is the version that has all the right pieces. It’s got the original instrumentation and none of the posthumous overdubbing.

“It’s surprising to me that Somewhere was never considered for Electric Ladyland. I don’t know whether that was because Jimi recorded it without Chas Chandler being there to supervise it – that could have been an issue. Like My Friend, it’s a really interesting look at Jimi when he was just starting to step outside the original three-man band.

“Stephen Stills was good friends with Jimi, and he was friends with Buddy, as well, so it was a great mix of personalities. Stephen acquitted himself well on the bass. I think this track was really about Jimi taking advantage of the skills his friends had and tapping into that. Today, it’s nothing to invite your friends to the studio and have them play on a track – people do it all the time, guest starring on cuts and all that. Back then, it didn’t happen so much. The Beatles, The Stones – with rare exceptions, they always kept the core.”


Hear My Train A Comin’


“One of the highlights of the record. It’s Jimi sharing a common language with Billy and Buddy. All three of them did the chitlin’ circuit together. Both this song and Bleeding Heart were right in everybody’s wheelhouse.

“Jimi’s first love was the blues, but unlike his contemporaries – Clapton or Beck or some others – who were covering blues songs that they had heard on records, he was writing new, original blues and taking it to the next level. That’s what this is – a phenomenal take on a song that he had really tried to get right with the Experience, but hadn’t been able to do it to his liking.

“Billy and Buddy understood how to set the tempo. If you listen to this recording, they play it the same way as they did on the Live At The Fillmore East album. They knew intuitively that the song should have a great, menacing groove; it shouldn’t be old-school, old-tempo, four-bar stuff. They wanted it to have a totally different feel, and that’s what makes it exciting.”


Bleeding Heart

“The Elmore James song. Jimi loved Elmore, of course, and he tried this one many different ways: as a 12-bar, slow, extended version with the Experience; as a version that’s on Valleys Of Neptune with Billy Cox and the Cherry People, which is really cool – a totally different vibe. He worked with it a lot.

“What’s so cool about this track is that, prior to cutting it again, he told Buddy and Billy, ‘I want to drive a whole different beat.’ Again, it’s Jimi reinterpreting the blues. Yes, there’s homage there, but he’s putting his imprint on it. He had a way about him in that, when he did a cover, be it All Along The Watchtower, Sgt. Pepper or Like A Rolling Stone, it became a Jimi Hendrix tune. This is a fresh take.” 

Let Me Move You


“Jimi was reaching back to old friends, including Lonnie Youngblood, and he had this idea to take what they used to do, when Jimi was a sideman for Lonnie, and bring it into the future. He was able to be free not only with his guitar part but with the tone and the attack, as well. None of that stuff had to be muted like it was going to be a little R&B recording; instead, it was a Jimi Hendrix recording.

“Given that, I think everybody stepped up. It’s a very exciting, energetic cut. Jimi put everything he had into it. If you compare it to some of the things he had done with Lonnie three years earlier, it’s like night and day.

“Guitar players should take note of him comping the changes. He really understood the value of rhythm guitar; that you really have to connect to an arrangement and bring something to it, not just for a 16-bar solo but throughout the song. He’s all over it.

“It’s really cool to hear Jimi play off Lonnie’s saxophone, and what’s especially interesting is to hear how he can add but not trample.”



“What I love about this version of Izabella is that it showcases the promise of the Woodstock band. I think what Jimi saw in that, and having somebody like Larry Lee, whom he had played with on the chitlin’ circuit, was adding that rhythm guitar and connecting with it. The band had played this song two weeks earlier at Woodstock, and it came off very well. Jimi wanted to cut it in the studio while it was still fresh.

“The solo is just fantastic – absolutely scorching. Eddie Kramer and I heard it in ’95 when we were going through the tape library, and we said, ‘You know what? When the time comes, there will be a place for that.’ It’s amazing.”

Easy Blues

“Easy Blues is a favorite. There was an edited version that came out as part of Nine To The Universe, and we’ve had a lot of requests for the extended track. It really fits here because it’s from the same sessions, and it’s the same instrumentation, the same players. Contextually, we felt that this was the place to showcase the longer extract.

“It’s right in Mitch’s pocket – he plays very, very well on this. The additional percussion, the ability for everybody to add to what Jimi was doing instead of him having to carry the weight all the time – there’s a lot here, and you can hear why Jimi felt that this band had a lot of potential. It’s a shame that it wasn’t able to grow into something, but cuts like this sound great.”

Crash Landing


“Obviously, it was a part of the Crash Landing album. We just felt that anything that had been tinkered with should be heard in its original form. This is what Jimi was actually doing with the players, and it’s really good. There was never any need for any of that overdubbing that had gone on in ’75.

“Anybody who hears this will recognize it as a precursor of Freedom, but it still stands on its own. Jimi’s playing is great, the time signatures are unique, and Billy Cox, in one of his first sessions, is terrific. You can kind of get a sense for some of the things Billy would be doing going forward. He cemented the bottom in a way that Noel didn’t.

“There is a keyboard player on the track – somebody’s on B3 – but we don’t know who it was. They cut it all live. The session was tough for Jimi because he was struggling to get the guy to play what he wanted. A more sympathetic player like Steve Winwood might have been able to take it our further, but this is what Jimi had on this particular day.”

Inside Out


“A cool track. It starts to show the concept of Jimi no longer having to work with the three-man band. Actually, it’s him looking at a really unusual way of recording, where he and Mitch would work without a bass player. Jimi would overdub the bass.

“When you listen to a track as complex as this, that’s almost hard to believe. Mitch wasn’t a straight-ahead kind of drummer like Buddy Miles. While he played in time, he would certainly add a lot of amazing accents and techniques. Yet Jimi was able to pull everything off, and as a bass player he was fabulous.

“He and Eddie Kramer worked on that great Leslie guitar sound. Ezy Rider was such an important riff in his head – he doesn’t yet have it quite together, but here he’s blending it with kind of what he did with Tax Free, and that’s what makes it so interesting.”

Hey Gypsy Boy


“The precursor of Hey Baby from the Rising Sun album. Again, it’s one of Jimi’s first recordings with Buddy Miles. It shows the direction moving out of the Experience, and it would be a key part of Jimi’s set throughout 1970 and, of course, as the great version that’s on First Rays.”

Mojo Man


“A very cool track. It was cut at Fame Studios in Muscle Shoals, which was the hottest R&B studio at the time, but Jimi, just by making his additions, turned it into something that those guys never could have put together. His whole approach elevates it beyond what was then contemporary R&B.

“The groove of the Fame track – James Booker on piano – is fantastic. There was some amazing talent in the room. But what Jimi brought to it really speaks to what he could do, not only as a guitar player but as a producer, as well.”

Villanova Junction Blues


“The Woodstock version with Band Of Gypsys is so ingrained in people’s minds, but here is Jimi at the very front of it, kind of saying, ‘OK, I’ve got something really great, but I have to develop it.’

“We thought it was a sweet way to bring the record to a close. Like a lot of great songs in the library, it’s one that held a lot of promise, but of course, he wasn’t able to finish it.”

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Experience Hendrix Announces New Slate of Releases for 2013

Bob Merlis/M.f.h./Experience Hendrix, LLC/Legacy Recordings

Bob Merlis/M.f.h./Experience Hendrix, LLC/Legacy Recordings

The world celebrated the seventieth anniversary of the birth of the iconic musician Jimmy Hendrix this past November.  While the anniversary has passed, Experience Hendrix, LLC continues to celebrate his legacy with more new releases this winter.  The company is set to release a new compilation of previously unreleased material in March titled, People, Hell and Angels.  In anticipation of the upcoming release, the single, ‘Somewhere’ is now available online at  The song is just one of the twelve tracks that comprise the new release.  It will also be available in a variety of formats beginning February 5th.  It will be available as a CD single available only at Wal-Mart.  It will also be available as a digital single and a special double-sided vinyl single available only at independent record stores nationwide.  The vinyl single will come with a bonus B-side that is a previously unreleased recording of ‘Power of Soul’ recorded by Band of Gypsys.  The CD single will come with a bonus live recording of ‘Foxey Lady’ recorded live at the Fillmore East in January 1970.  Both the vinyl and CD singles will be limited editions.

The upcoming album and limited edition singles are just part of the ongoing celebration of Hendrix’s birth and life.  Now, Experience Hendrix, LLC has made a new announcement about even more releases.  Along with the upcoming release of People, Hell and Angels, Experience Hendrix, LLC will also release a pair of Hendrix’s classic albums on 12” mono vinyl’s for true Hendrix aficionados.   The companion releases will be re-issues of his classic albums, Are You Experienced and Axis: Bold as Love.  Both albums will be struck on 200-gram audiophile vinyl.  Each one will be individually numbered and will include original artwork and sequencing.

The track listing for each vinyl is as follows:

Are You Experienced (U.S. Sequence and Artwork)

Side 1                                                    Side 2

1.  Purple Haze                                  1.  The Wind Cries Mary

2.  Manic Depression                      2.  Fire

3.  Hey Joe                                          3.  3rd Stone From The Sun

4.  Love or Confusion                      4.  Foxey Lady

5.  May This Be Love                       5.  Are You Experienced

6.  I Don’t Live Today

Are You Experienced (U.K. Sequence and Artwork)

Side 1                                                    Side 2

1.  Foxey Lady                                    1.  May This Be Love

2.  Manic Depression                      2.  Third Stone From the Sun

3.  Red House                                    3.  Remember

4.  Can You See Me                         4.  Are You experienced

5.  Love or Confusion

6.  I Don’t Live Today


Axis: Bold as Love

Side 1                                                    Side 2

1.  EXP                                                   1.  You Got Me Floating

2.  Up From the Skies                     2.  Castles Made of Sand

3.  Spanish Castle Magic                                3.  She’s So Fine

4.  Wait Until Tomorrow                4.  One Rainy Wish

5.  Little Wing                                     5.  Little Miss Lover

6.  If 6 Was 9                                       6.  Bold as Love


For all of the latest news on the latest Hendrix releases and more, fans can go online to

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Experience Hendrix, Legacy Recordings Offer Track-By-Track Rundown Of New Hendrix LP

Bob Merlis/M.f.h./Experience Hendrix, LLC/Legacy Recordings

The music world has spent 2012 celebrating the seventieth anniversary of Jimi Hendrix’s birthday.  And now rather than let the celebration end, Experience Hendrix, LLC and Legacy Recordings have decided to extend the celebration of the late musician’s birthday anniversary with a new release in the New Year.

Experience Hendrix, LLC and Legacy Recordings have teamed up for the release of a brand new compilation of previously unreleased Hendrix recordings title, People, Hell and Angels. The album, which shows Hendrix’s post- Jimi Hendrix Experience works, will be released March 5, 2013.  In anticipation of the upcoming release, Jimi’s sister and Experience Hendrix, LLC President/CEO commented on the new album.  “We’re thrilled to be able to release People, Hell and Angels during the celebration of the 70th anniversary of my brother’s birth.  The brilliance of the album serves to underscore what we’ve known all along: that there has never been and never will be a musical force equal to his and that we cherish and take inspiration of what he left us both now and for many generations to come…simply eternity.”

Legacy Recordings president Adam Block also shared his thoughts on the upcoming release.  “People, Hell and Angels provides us with further insight into the genius of Jimi Hendrix”, he said.  “Working with new rhythm sections and instrumentation, Jimi Hendrix was opening up the horizons of his music, creating new sounds filled with endless possibilities.”

While People, Hell and Angels won’t hit stores for at least another four months, Experience Hendrix and Legacy Recordings are offering a track-by-track rundown of the album for fans.  Each song on the album is given explanation in this new rundown.  And they are explained right here as follows:

People, Hell & Angels – Track by Track


Earth Blues:

Totally unlike the version first issued as part of Rainbow Bridge in 1971, this December 19, 1969 master take features just Hendrix, Billy Cox and Buddy Miles–stripped down funk at its very origin.  



This newly discovered gem was recorded in March 1968 and features Buddy Miles on drums and Stephen Stills on bass.    Entirely different from any previous version fans have ever heard.


Hear My Train A Comin’:

This superb recording was drawn from Jimi’s first ever recording session with Billy Cox and Buddy Miles–the powerhouse rhythm section with whom he would later record the groundbreaking album Band Of Gypsys


Jimi shared a deep love for the blues with Billy Cox and Buddy Miles.  Both musicians understood Jimi’s desire to create what he described as a ‘new type of blues’.   Jimi’s menacing lead guitar is the centerpiece of this dramatic addition to his remarkable legacy.


Bleeding Heart:

This Elmore James masterwork had long been a favorite of Jimi’s.   He had performed the song earlier that year with the Experience in concert at the Royal Albert Hall and had attempted to capture the song in New York studio sessions during the weeks that followed.


Recorded at the same May 1969 session as “Hear My Train A Coming,” the track conveys Jimi’s firm understanding of the arrangement and tempo he desired. Before they began, Jimi instructed Cox and Miles that he wanted to establish a totally different beat than the standard arrangement.  He then kicked off this amazing rendition that was nothing like any other he had ever attempted. 


Let Me Move You:

In March 1969, Jimi reached back to another old friend, saxophonist Lonnie Youngblood.   Before he was discovered by Chas Chandler in the summer of 1966, Jimi had contributed guitar as a nondescript studio sideman for Youngblood and such infectious rhythm and blues styled singles such as “Soul Food”.


This March 1969 session features Hendrix and Youngblood trading licks throughout this never before heard, high velocity rock and soul classic.



In the aftermath of the Woodstock festival, Jimi gathered his new ensemble, Gypsy Sun & Rainbows, at the Hit Factory in August 1969 with engineer Eddie Kramer.  “Izabella” had been one of the new songs the guitarist introduced at the Woodstock festival and Jimi was eager to perfect a studio version.    This new version is markedly different from the Band Of Gypsys 45 rpm single master issued by Reprise Records in 1970 and features Larry Lee, Jimi’s old friend from the famed rhythm & blues ‘chitin’ circuit’, on rhythm guitar.


Easy Blues:

An edited extract of this gorgeous, free flowing instrumental was briefly issued as part of the long-out-of-print 1981 album Nine To The Universe.  Now nearly twice as long, the track offers fans the opportunity to enjoy the dramatic interplay between Jimi, second guitarist Larry Lee, Billy Cox and drummer Mitch Mitchell.


Crash Landing:

Perhaps known as the title song for the controversial 1975 album that featured Hendrix master recordings posthumously overdubbed by session musicians, this April 1969 original recording has never been heard before.   Jimi is joined here by Billy Cox and drummer Rocky Isaac of the Cherry People to record this thinly veiled warning to his girlfriend Devon Wilson.


Inside Out:

Jimi was fascinated by the rhythm pattern that would ultimately take form as “Ezy Ryder”.  Joined here by Mitch Mitchell, Jimi recorded all of the bass and guitar parts for this fascinating song–including a dramatic lead guitar part amplified through a Leslie organ speaker.


Hey Gypsy Boy:

The roots of Jimi’s majestic “Hey Baby (New Rising Sun)” trace themselves to this March 1969 recording.  Unlike the posthumously overdubbed version briefly issued as part of Midnight Lightning in 1975, this is original recording that features Jimi joined by Buddy Miles.


Mojo Man:

Jimi would lend a hand to Albert & Arthur Allen, the vocalists known as the Ghetto Fighters, whom he had befriended in Harlem long before he achieved fame with the Experience.  When the two recorded this inspired, previously unreleased master at the legendary Fame Studios in Muscle Shoals, Alabama they took it back to Hendrix at Electric Lady Studios.  Jimi knew just what to do to elevate the recording beyond contemporary R & B to the new hybrid of rock, rhythm and blues he was celebrated for.


Villanova Junction Blues:

Long before his famous performance of this song at Woodstock, Jimi recorded this studio version with Billy Cox and Buddy Miles at the same May 1969 session which yielded “Hear My Train A Comin'” and “Bleeding Heart” also featured on this album.  Never fully finished, the song stands as an example of the fertile ideas he hoped to harness and bring to fruition.

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