Jimi Hendrix – Hendrix In The West
Label:
Polydor – 2302 018
Format:
Vinyl, LP, Album, Gatefold
Country:
Released:
Genre:
Style:
Tracklist Hide Credits
A1 | Johnny B. GoodeWritten-By – Chuck Berry |
4:54 |
A2 | Lover Man | 3:05 |
A3 | Blue Suede ShoesWritten-By – Carl Perkins |
4:31 |
A4 | Voodoo Chile | 7:55 |
B1 | The Queen (British National Anthem)Written-By – Traditional |
|
B2 | Sergeant Pepper's Lonely Hearts Club BandWritten-By – Lennon-McCartney |
4:02 |
B3 | Little Wing | 3:16 |
B4 | Red House | 13:12 |
Companies, etc.
- Recorded At – Berkeley Community Theatre
- Recorded At – San Diego Sports Arena
- Recorded By – Wally Heider Recording
- Recorded At – Isle Of Wight Festival
- Recorded By – Pye Mobile Recording Unit
- Remixed At – Electric Lady Studios
- Lacquer Cut At – Phonodisc Ltd.
- Pressed By – Phonodisc Ltd.
- Marketed By – Polydor
- Printed By – MacNeill Press Ltd.
- Published By – Jewel Music
- Published By – A. Schroeder
- Published By – Carlin Music
- Published By – Northern Songs
Credits
- Bass – Billy Cox (tracks: A1 to A3, B2), Noel Redding (tracks: B1, B3, B4)
- Design – Tom Wilkes (2)
- Drums – Mitch Mitchell
- Engineer – Abe Jacob (tracks: A1 to A4, B4)
- Photography By – Jim Marshall (3)
- Producer, Remix – Eddie Kramer, John Jansen
- Written-By – Jimi Hendrix (tracks: A2, A4, B3, B4)
Notes
One of the few official releases after his death. The album is composed of good performances from different concerts between 1968 and 1970.
A1 to A3 recorded at Berkeley Community Centre by Wally Heider Recording
A4, B3 & B4 recorded at San Diego Sports Arena by Wally Heider Recording
B1 & B2 recorded at the Isle of Wight by Pye Recording, London
A1 published by Jewel Music
A2, A4, B3 & B4 published by A. Schroeder
A3 published by Carlin Music
B2 published by Northern Songs
Issued in a gatefold sleeve.
A1 to A3 recorded at Berkeley Community Centre by Wally Heider Recording
A4, B3 & B4 recorded at San Diego Sports Arena by Wally Heider Recording
B1 & B2 recorded at the Isle of Wight by Pye Recording, London
A1 published by Jewel Music
A2, A4, B3 & B4 published by A. Schroeder
A3 published by Carlin Music
B2 published by Northern Songs
Issued in a gatefold sleeve.
Other Versions (5 of 85) View All
Cat# | Artist | Title (Format) | Label | Cat# | Country | Year | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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MOVLP408 | Jimi Hendrix | Hendrix In The West (2xLP, Album, RE, RM, 180) | Music On Vinyl, Legacy, Experience Hendrix | MOVLP408 | Europe | 2011 | Sell This Version | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
80 448 | Jimi Hendrix | Hendrix In The West (LP, Album) | Barclay | 80 448 | Europe | 1978 | Sell This Version | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
M 82049, 2049 | Jimi Hendrix | Hendrix In The West (8-Trk, Album) | Reprise Records, Reprise Records | M 82049, 2049 | US | 1972 | Sell This Version | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
88697934291 | Jimi Hendrix | Hendrix In The West (2xLP, Album, RE, Gat) | Experience Hendrix, Legacy | 88697934291 | Europe | 2017 | Sell This Version | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
80.448 U | Jimi Hendrix | Hendrix In The West (LP, Album, RP, Gat) | Barclay | 80.448 U | France | 1972 | Sell This Version |
Recommendations
Reviews Show All 5 Reviews
phaks
November 2, 2014
A great record to proove what a great guitar player Jimi Hendrix was. From cool licks within the singing to flowing clean fast melodies to distorted orgies. Wow!!
mdaggett
June 19, 2014
To speak to the music directly, this album contains a mixed bag of cuts ranging from the somewhat overindulgent and forgettable to the mind-blowing and life-changing. Opening with "Johnny B. Goode" and "Lover Man" we hear the type of performances that surely enthralled the masses: a fantastic mix up good rock and roll songs with Hendrix' virtuosity. They are accessible, easy to listen to, and, well...fun. They are easy to listen to and image Jimi’s stage antics embellishing the music.
The cover of Carl Perkins’ "Blue Suede Shoes" is interesting for its tempo but would easily be seen left off a “Hendrix Mix” playlist.
...and then there is "Voodoo Chile (A Slight Return). This February 24, 1969 Royal Albert Hall performance is not only an excellent example of how psychedelic hard rock could occasionally constitute "art" but for guitar players it is one of those tracks that cause you shake your head in disbelief, wonder how so much talent could be contained within a single person, make you want to smash your instrument with the realization you are but a hack, and may even cause you to weep openly over the death of such gifted musician. After the initial verse the singer steps away from the microphone, the effects pedal foot switch is stomped on, and Hendrix instantly becomes possessed. The solo transcend mere notes and phrases, it is a cacophony of blinding speed, motion, color. What you hear is the exact element that made Hendrix so unique, great sweeping expanses of SOUND: sound as imagery, sound as pure emotion.
Hyperbolic? Perhaps, but there are moments here that have put a shiver down my spine, every single time I’ve ever listened to it. This is one of the definitive Hendrix performances and it is only the edits and mastering of the original vinyl where you can hear all this. (I’ve heard several different releases of that used either different performances or edits and they don’t even come close to the magnificence of the original Reprise (MS2049) vinyl.)
In contrast to what precedes and follows “The Queen” and “Sergeant Pepper’s” are truly only necessary to fill blank space on the record. They are Hendrix goofing around and showing off. The psychedelic love song “Little Wing” is next and a Hendrix favorite. This excellent performance, also from the same concert as “Voodoo Chile”, is paradoxical in both beauty and its hardness. Pretty lyrics and rhythm coupled with screaming guitar.
“Red House” concludes the album and it’s also a fan-favorite version. If one were to make a comprehensive playlist of 12-bar blues songs showing the range of the form, it is this version that should be the one pulled from the Hendrix canon. Here Hendrix seems to focus and stays (mostly) within bounds of the format. What it demonstrates is that when Hendrix wasn’t being “Hendrix” he was still better than everyone else. His phrasing, pure tone, use of dynamics and vibrato are not only flawless but seem to flow effortlessly from within.
The cover of Carl Perkins’ "Blue Suede Shoes" is interesting for its tempo but would easily be seen left off a “Hendrix Mix” playlist.
...and then there is "Voodoo Chile (A Slight Return). This February 24, 1969 Royal Albert Hall performance is not only an excellent example of how psychedelic hard rock could occasionally constitute "art" but for guitar players it is one of those tracks that cause you shake your head in disbelief, wonder how so much talent could be contained within a single person, make you want to smash your instrument with the realization you are but a hack, and may even cause you to weep openly over the death of such gifted musician. After the initial verse the singer steps away from the microphone, the effects pedal foot switch is stomped on, and Hendrix instantly becomes possessed. The solo transcend mere notes and phrases, it is a cacophony of blinding speed, motion, color. What you hear is the exact element that made Hendrix so unique, great sweeping expanses of SOUND: sound as imagery, sound as pure emotion.
Hyperbolic? Perhaps, but there are moments here that have put a shiver down my spine, every single time I’ve ever listened to it. This is one of the definitive Hendrix performances and it is only the edits and mastering of the original vinyl where you can hear all this. (I’ve heard several different releases of that used either different performances or edits and they don’t even come close to the magnificence of the original Reprise (MS2049) vinyl.)
In contrast to what precedes and follows “The Queen” and “Sergeant Pepper’s” are truly only necessary to fill blank space on the record. They are Hendrix goofing around and showing off. The psychedelic love song “Little Wing” is next and a Hendrix favorite. This excellent performance, also from the same concert as “Voodoo Chile”, is paradoxical in both beauty and its hardness. Pretty lyrics and rhythm coupled with screaming guitar.
“Red House” concludes the album and it’s also a fan-favorite version. If one were to make a comprehensive playlist of 12-bar blues songs showing the range of the form, it is this version that should be the one pulled from the Hendrix canon. Here Hendrix seems to focus and stays (mostly) within bounds of the format. What it demonstrates is that when Hendrix wasn’t being “Hendrix” he was still better than everyone else. His phrasing, pure tone, use of dynamics and vibrato are not only flawless but seem to flow effortlessly from within.
ejjan
March 30, 2014
everything is correct and the same on my release but : Matrix / Runout (Side A): 2302018 A//1 ▽420 1-4 28 On my copy its: Matrix / Runout (Side A): 2302018 A//1 ▽420 1-4 21 (and there is also a: 04 further on? somebody reckognise this on their copy??
MB280E
June 3, 2013
The album is composed by live performances from 1969 and 1970. There is nothing here from 1968...not on the original release that is. The performaces are taken from Royal Albert Hall, UK February 24th. 1969, San Diego 1969, Berkeley 1970 and Isle Of Weight 1970.
Funkenskankenland
July 24, 2016