If you have anything to share or correct, please email me. Thanks.

Back to Berlin (1970)
Midnight Beat

This is a mono audience recording of a bit better than average sound
quality. Generally all the instrument can be heard, although some of the
bass really booms or disappears without a's hard to tell if
Billy was playing badly or was having amplification troubles. Othererwise
the live mix is OK with guitars, vocals, drums, and bass being audible
and reasonably balanced. The tape recorder used to tape the show doesn't
sound to be hi-fi, but is generally free of distortion/clipping. The
source tape used by Midnight Beat doesn't seem to be anything special;
my Nth generation cassette sounds about as good.

The concert itself is interesting. The performance itself is generally
average or better, but nothing really great or terrible stands out. This
is the only post-1967 Hendrix concert I've heard where Jimi didn't spend
a lot of time between songs tuning up or talking. The source tape has a
few cuts between some of the songs (and a tiny bit of the start of Hey
Baby wasn't recorded), but it seems Jimi is in a hurry to get the show
over. And, unfortunately, so is Midnight Beat...they cut off the last
two songs! Power of Soul was started, but Jimi switched to Lover Man
(not recorded in its entirety) after around a minute, apparently wanting
something easier to play to wrap up the show. Perhaps Midnight Beat
didn't want to end the CD on a low (an aborted song and an incomplete
song), but this really annoyed me. I want the complete show. The full
tape only runs 60 min (the CD is 57min), so I would have liked the 10 min
post-concert interview tacked on as filler as well.

Overall: not recommended. Get a tape or wait for a better CD.

Another Review:

It is a great show from a pretty good audience tape (Sept 
4, 1970).  I was listening to it last night for the umpteenth time, and was 
flipping through Kees' "Plug Your Ears" at the same time.  Needless to say, 
I was pissed when I realized that the last two songs from the show were 
omitted from this disc - and for no apparent friggin reason.  'Paper 
Airplanes (aka Power of Soul)' and 'Here Comes Your Lover Man' are nowhere 
to be found!!!!  The CD only runs 56 mins - and Kees lists the source as a 
60 min audience tape.  Now you and I know that 75 mins can be crammed onto a 
disc with current compression technology, so my question to the Midnight 
Beat people is 'What Gives?'  This concert is available in its entirety on 
'The Lost Concerts Vol 3 - Berlin 70' so I can't understand why the last two 
songs would be omitted.  I haven't heard the entire concert, so if anyone 
has TLCVol3 I'd like to get some feedback on the quality of the two missing 

A third review:

        Next up on the disc player was "Back to Berlin!"  Also a Midnight
Beat audience tape transfered to CD.  This one is from 9/4/70.  That's
after Isle of of course it's interesting.  Here's the setlist:

        Straight Ahead
        Spanish Castle Magic
        Sunshine of Your Love
        Hey Baby
        Message To Love
        Machine Gun/The Breeze and I (?)
        Purple Haze
        Red House
        Foxy Lady
        Ezy Rider
        Hey Joe

        This concert is much better...I LOVE the Machine Gun...much better
than the previous show I think.  Of course, I prefer the later set list
with Hey Baby, and especially Straight Ahead.  Both of these are great,
late gems, along with Machine Gun.  Even Foxy Lady and SCM are great...I'd
recommend this disc AHEAD of the first MB Berlin disc.

Ball And Chain
Honeybed (HBR-024)

19 tracks, 72:58
tracks 1-4: Honeybed [Record Plant, 12/23/69, as stated in JHS; Black Gold
                        was wrong]
track 5: 3 Little Bears - spoken solo
tracks 6-8: Piano Roll #1-#3 - nice jams with Lee Michaels
track 9: Everything's Gonna Be Alright - a nice version with LM again
track 10: Messenger - another jam with LM
track 11: Message To Love - unremarkable
tracks 12-17: Power Of Soul - same
track 18: Electric Church Jam - from TTG, with LM
track 19: Hear My Freedom Call Me - same
My favorites are the LM tracks. All are of good sound quality.
I recently saw a CD called "Ball & Chain" at the local music store and
decided to check the Hendrix sights on the internet before buying.  Well,
nobody (that I found anyway) had any reference to this.  I picked it up
because according to the back, it was all studio stuff, and I didn't think
that the sound quality would be too bad. (And it wasn't at all !!) Anyway,
here's what the track list is:
1.  Honeybed (take 1)  1:08
2.  Honeybed (take 2)   :31
3.  Honeybed (take 3)  4:33
4.  Honeybed (take 4)  1:48
    -Record Plant, New York  23 December 1969
5.  Three Little Bears (vocal reference)  12:45
    -Record Plant, New York  2 May 1968
6.  Piano Roll (take 1)  3:41
7.  Piano Roll (take 2)  5:12
8.  Piano Roll (take 3)  5:34
9.  Everything's Gonna Be Alright  2:24
10.  Messenger  3:09
    -w/Lee Micheals -piano,  TTG Studios, Los Angeles 1968
11.  Message to Love  2:35
    -Record Plant, New York 1969
12.  Power of Soul (take 1)   :26
13.  Power of Soul (take 2)  2:47
14.  Power of Soul (take 3)  1:24
15.  Power of Soul (take 4)   :27
16.  Power of Soul (take 5)   :48
17.  Power of Soul (take 6)  7:02
    -Record Plant, New York  January 1968
18.  Electric Church Jam  8:48
    -w/Lee Micheals -organ,  TTG Studios, Los Angeles  October 1968
19.  Hear My Freedom Call Me
    -w/Lee Micheals -organ, Buddy Miles -percussion
    -TTG Studios, Los Angeles  October 1968
On the Three Little Bears tune, you
can just barely here the song, but Jimi's lyrics are very loud- I believe
that this is where he is overdubbing the lyrics onto the song itself (?)
There is some talking, giggling, it's all very cool.  Also when he stops
singing, the music becomes loud, and the band goes into a loose kind of
jam.  And on Hear My Freedom Call Me, the lyrics are barely audible, also
Jimi does play on this tune, but more here and there, so this is more of a
jam between Lee Micheals and Buddy Miles.
This CD was released around September 1995.
It's on a new(?) label called Honey Bed
Records. I don't recall any other releases by them, but it may just
be a new name for an old label. The sound quality of the this CD, as
well as most of the material on it, is sub-par. However, the material
on it is/was all new to CD (this CD was probably put together by
someone who knew what they were doing), so it may still be of interest
to folks who already have most of the other studio material out on CD.
I would definately NOT recommend it for newbies.
The sound quality varies with source; I'd rate it from 7 to 8 on a 10
point scale; not terrible (for a boot), but well short of "excellent".
The source tape(s) sounds fairly high generation for much of this
material (some more than other), with hiss minor dropouts and generally
high generation cassette mid-fi sound quality. The CD runs ~73 minutes
total, with 19 tracks (proberly indexed). The packaging is nice; the
cover photo shows Jimi sitting at the mixing console twiddling the
knobs. The only other photo/art is of Jimi's handwritten lyics to
"Honey Bed" from 19 July 1969. Nice touch. The back cover has the track
listing and studio/date info. Not all the info is correct (some are
guesses, some are wrong or typos), but they made a good try at it.
The tracks:
Tracks 1 - 4: a session for "Honey Bed", Band of Gypsies, 23 December
1969. This sounds like an early run thru of the song. It's really rough.
The music is similar to the uptempo version of "Bleeding Heart". The
session consists of 4 takes (only one complete), a couple false starts,
and the usual talk & tuneups between takes.
1) [1:08] false start 0:28-0:36; take 1 0:48-1:06
2) [0:31] take 2 0:14-0:31
These two takes have Jimi singing the first 4 lines of the song. Jimi
also mentions he wrote the song on July 19 (so he probably had the
lyric sheet in the photo with him while doing this). Things are not
progressing too well, so Jimi gives up trying to do rough guide vocals
and from now on concentrates on getting the music (gutar, bass, drums)
down right.
3) [4:33] take 3 0:05-4:14. Instrumental. It isn't pretty, but they
manage to get thru the whole song, which seems to have been their intent.
Jimi hums/na-na's some of the lyrics to provide a rough guide of where
they are in the song.
4) [1:45] false start 0:06-0:09; take 4 0:15-1:38. Jimi sings the first
line, then it's instrumental the rest of the way.
5) [12:41] "Three Little Bears/South Saturn Delta/Jam". This is the
complete song+jam which has been released before, but this time with
a very different mix, with the vocals (during 3LB) up front in the
mix and the backing music very faint. Fun to seems Jimi
really did want to halt his vocal overdub, but the engineer urges him
to continue. This really is silly. The previous mix on _Unsurpassed
Studio Takes_ mix is a proper mix (with much better sound quality too).
The next five jams/songs feature an unknown piano player...maybe Lee
Michaels. The date/studio is uncertain but might be TTG in October '68.
6) [3:42] piano jam 1: This runs around 3:37 before dying out. It's
OK but rather ragged.
7) [5:12] piano jam 2: This is a bit faster tempo and noisier, but
is again rather ragged. Before it dies out, Jimi switches gears and
drags the band into another jam...
8) [5:34] piano jam 3: This is a slow weird/funky blues jam. Again,
its kind of ragged and meanders around without a lot of intense soloing,
but it's kind of nice.
9) [2:25] The engineer announces "Hey Jimi, I gotta cut" (maybe to
change reels?), and then Jimi launchs the band thru a quick jam on
"Everythings Gonna Be Alright". They do ~2:15 before Jimi signals an
end with some out of tune guitar chords, followed by the bass tuning up.
10) [3:09]. This doesn't seem to be continuous with the previous jams,
but it has the ame general sound and probably the same personnel. It
might (might not) be a take of the song/jam "Messenger". Whatever, it's
somewhat ragged but still quite a lot of fun. It's a fast paced (is the
tape speed a bit fast too?) structured jam built around a 6 chord
ascending progression. Sort of southern/country sounding. Neat. It
lasts around 3:01, and ends with the engineer(? Or is it Jimi in
Micky Mouse tape-sped-up mode?) saying "Yes, we're gonna have to
keep that one, just gonna have to keep that one" and then Jimi in
the background saying "Try this one more ti"[me].
11) [2:32] "Message To Love", probably from around the time of Woodstock.
The tape sounds a bit fast. The lyrics are a bit different then the
usual version (BTW, I think _From the Ben Franklin Stdios_ has some
wrong..."both our pleasure...", "...shouldn't have to plead...",
"...rely on no man...".) Somewhat ragged and quick, but nice to hear
in this different early form. At the end Jimi says "Yeah, we're gonna
try it one more time straight away, OK?". The reply from the control
room is hard to make out but seems to be "Right you are Jimi".
The next six tracks are a session for "Power of Soul", probably from
16 January 1970 according to JIMPRESS. This session is different
than the two sessions on _Earth Tones_. Here the band doesn't try out
as many new ideas, and instead they focus on getting the guitar/bass/
drums interaction/timing down right according to what Jimi has planned.
It's a bit rough, as the focus is on getting the groove and parts right
rather than Jimi concentrating on his playing. All takes are instrumentals.
12) [0:26] take 1 0:00-0:22. Jimi seems focused on getting the opening
groove down right. The timing is tricky on this song.
13) [2:48] "rolling on take two" 0:06-2:02. This rough take falls apart.
14) [1:24] Jimi (solo) practices his openning guitar part 0:00-0:24, and
   then Jimi talks to the guys/Billy about tuning up.
15) [0:28] another short (0:07) band practice run (take 3?) to make
   sure they're in tune and ready to go with the next real take, followed
   by the engineer announcing "take four".
16) [0:47] take four, another short take (0:24), halted by Jimi. The
   engineer announces "take five" and Jimi explains to the band how he
   wants the song to go.
17) [7:03] false start 0:05-0:08, followed by take five 0:13-6:50.
   This take gets all the way thru the song, but is quite rough. THe
   idea seems to be to get thru the song and practice it rather than
   worrying right now about getting things right. At the end, Jimi
   asks the control room "How's the timing on that one? I mean the
   tempo? We start laggin' or speedin' up or whatever?".
The next two tracks are jams with Lee Michaels on organ.
18) [8:49] jam with organ 1: Maybe this should be titled "Hear My
Struggle To Tune A Guitar Calling" as Jimi spends most of this jam
struggling to tune his guitar (unsuccesfully). He makes a few brief
appearances playing guitar, but mostly he's just making noise trying
to tune up. But it sounds like the others are having fun without him.
The jam/pain lasts around 7:32 followed by around a minutes of tuneups.
19) [7:43] a jam called "Hear My Freedom Calling" (from some of the
lyrics Jimi sings). Jimi's tuning problems haven't been solved, so
after a few minutes he gives up trying to play/tune and starts doing
some ad-lib(?) vocals (which tend to be a bit buried in the mix).
After a couple minutes of singing, he tries the guitar again, but
quickly gives up.
So there it is...a collection of marginal sound quality mateial that
for the most part would only appeal to the "got to have it all"
collector. A few things on here are nice, but for the most part
this is scrapping the bottom of the barrel. It's no wonder most of
this stuff took so long to appear on CD.

Ballad Of Jimi
The Authentic PPX Studio Recordings Vol. 3
CBH Records & SPV
Schallplatten SPV08544682 [German CD]

Recently Released Curtis Knight Stuff

U.F.O., You Don't Want Me (Instrumental), Better Times Ahead, Future Trip, Hush Now (Instrumental) (not Wah Wah), Everybody Knew But Me, Love Love 
(Instrumental) (not Mercy Lady Day), If You're Gonna Make A Fool Of Somebody, 
The Ballad Of Jimi (Instrumental) (not My Best Friend), The Ballad Of Jimi, Get That Feeling (Instrumental) (not Second Time Around).

"Baltimore Civic Center, June 13th, 1970." - Starquake 09

Set list:
        Pass It On - 3:24
        Lover Man - 3:10
        Machine Gun - 10:18
        Ezy Rider - 3:47
        Red House - 7:07
        Message of Love - 4:22 
        Hey Joe - 4:39
        Freedom - 4:57
        Hear My Train A Comin' - 9:01
        Room Full of Mirrors - 3:25
        Foxy Lady - 3:47
        Purple Haze - 3:38
        Star-Spangled Banner - 1:58
        Voodoo Child (Slight Return)/Keep on Groovin' - 8:03

        Total time - 72:02

        Verdict - Great show but the recording is not great.  Out of five 
stars, five being the commercial Woodstock or Winterland release and 1 
being a guitar coming through a tin can, I give this a three.  There are 
great moments that are captured well on tape, but most song beginnings 
are nearly obscured by the cheering crowd.  The original tape source 
isn't that great to begin with, so I'd stay away from this unless you 
enjoy decent audience tapes.  It is better than the Denver '69 show on 
Wink of an Eye, but worse than the Fehmarn show on the same release.  
Again, though, the playing makes this a good disc to get.  I know 
Jimpress reviewed it and loved it, and I also think it's a Japanese issue 
so it may not be the easiest disc to find due to distribution 
difficulties in the U.S. ad Europe.  If you have $25 to spare, go for it!

Band Of Gypsys 2
There are two different pressings of this
album, both with identical cover and labels. One pressing contains:
Hear My Train A Comin (Fillmore, 12/31/69 1st show)
Foxy Lady (Fillmore 1/1/70 1st show)
Stop (Fillmore 1/1/70 1st show)
(these three songs are also on the German CD of Band of Gypsys)
Voodoo Child (slight return) (Atlanta Pop 7/4/70)
Stone Free (Berkeley 5/30/70 2nd show)
Ezy Rider (Berkeley 5/30/70 1st show)
The alternate pressing contains:
Hey Joe (Atlanta 7/4/70)
Hey Baby (Berkeley 5/30/70, 2nd show)
Lover Man (Berkeley 5/30/70, 2nd show)
in addition to songs on the ordinary pressing, which are:
Hear My Train A Comin (Fillmore, 12/31/69 1st show)
Voodoo Child (slight return) (Atlanta Pop 7/4/70)
Stone Free (Berkeley 5/30/70 2nd show)
Ezy Rider (Berkeley 5/30/70 1st show)
This second version would most likely be the rarer one.

BOG Rehearsals

The one to find is Band of Gypsys 3 -- sure, it includes all of the BOG 
Rehearsals tunes, but it also has other tracks from the same sessions, 
as well as some live Fillmore material and the usual studio outtakes.

A Band Of Gypsys: Gypsy Blues

 A *very* long review follows. If you aren't interested in those types of 
thing, please skip it. Otherwise, enjoy!

 I managed to obtain a copy of this disc. It is a CD-R. The track list 
from the disc itself, is as follows:

Buddy's Blues
Message of Love #1
Message of Love #2
Ezy Rider
Billy's Blues

 Ben Franklin lists the tracks as follows:

JS 21 (1)
JS 22 (i)
Message To Love (8)
Message To Love (9)
Message To Love (10)
Message To Love (11)
Ezy Rider (3)
Ezy Rider (4)
Ezy Rider (5)
JS 22 (i)

Anyway, I thought I'd post a bit about it. I'll use the Ben Franklin 
guide to assist me rather than the titles from the back of the CD. We all 
know Ben is a *bit* more accurate!!

JS 21 Buddy Miles Jam Part #1 (aka Buddy's Blues/Lonely Avenue Part 1) 28:07

 Other than on tape, this is the only CD that contains the complete jam. 
Diamonds in the Dust has most of the jam except the last two and a half 
minutes, under the title Lonely Avenue part 1. Other brief snippets have 
appeared on various other CDs.
  I really like this jam a lot. I have heard it before on Diamonds in the 
Dust, but this being complete, I like it more now!! Ben states that Jimi 
uses mainly an effect free guitar. And he does! Boy does Jimi sound good 
here. Heck, the whole BoG sound pretty good. I wish more of this type of 
jamming would show up.
  Anyway, among other songs that are recognizable in this lengthy 
instrumental are the following:

Power of Soul
Burning Desire
Here Comes the Sun (aka Bolero)
Gypsy Boy
Cherokee Mist
Woodstock Improvisation
Voodoo Chile (The Blues-Boogie Style)
Stepping Stone
Further On Up the Road

 Nothing is really formal here, but you can recognize the above tunes. 
Some more than others, but you get the gist. Just a very loose jam 
although some stuff seems to be under development. Nice thing is, the jam 
continues. It doesn't stop at all! Some nice work by all the boys throughout.
 I don't know if its just my CD player or what, but the time for the 
track on my machine is 28:20.

JS 22 Buddy Miles Jam Part #2 (aka Billy's Blues/Lonely Avenue Part 2) 9:35

 The first 3:01 of this second part immediately follows JS 21 on Gypsy
Blues. It also appears, again incomplete on other CDs. The complete
version can be found on Diamonds in the Dust under the title Lonely Avenue
Part 2. Good thing too! Its unfortunate that the complete version was not
on this disc, but at least it is available somewhere. JS 22 starts out
with, as Ben describes, "a beautifully haunting theme". And boy, is it
ever! Wow! I love it. At 2:19 an "up tempo" version of Villanova Junction
begins. Just beautiful!!  Unfortunately, as I stated, it ends 50 seconds
later. Fortunately, you can hear it in all its glory on DitD!! Thank god!!
Since I am reviewing this disc, I won't go into it any further. But let me
say, its definitely worth the price of admission. 

 So JS 21 and the first 3:01 of JS 22 make up Buddy's Blues, track 1 of 
Gypsy Blues. Total time for track 1 on Gypsy Blues is 31:36. Recorded on 
November 14, 1969 at the Record Plant.

Message to Love (8,9,10) 0:13, 0:38, 6:29

 Three versions of Message to Love (two extremely short versions) make up
track 2, Message To Love #1, of Gypsy Blues. Ben tells us that MtL (8)
only appears on this CD. MtL (9 and 10) also appear on Band of Gypsy
Rehearsals on Whoopy Kat. 
 A minute or so of chatter from Buddy with Jimi doing some vocal
meanderings starts the track. This is where Buddy is telling Billy to
"just take it. Billy take it, like play it...Yeah right, yeah right!"
Buddy does a count in "from B top". A false start lasting about 2 secs
follows. Another count in followed by a false start lasting about 15 secs
this time. Another try lasting about 38 seconds follows.  They're getting
there! In this 38 second snippet, Jimi used the line, "We're travelling at
speed unknown to man", rather than the more familiar "We're travelling at
speed of a reborn man" We get more dictating from Buddy to Billy for
another 30 secs before Jimi decides to show the boys how to do it right.
That goes on for another 35 secs. A false start of 2 secs ensues,
immediately followed by a 6:30 or so complete run through of Message to
Love. There is a bit of distortion on this lengthy version about 30 
seconds in, lasting about 20 seconds. Other than that it sounds great. 
And the complete run through is pretty damn good as well.
 By George, I think they've got it! Good view of how the BoG worked out
 I'm not sure why the track times on the CD are longer than what Ben
indicates. I am assuming Ben didn't include the chatting times. If not, it
must be my player I guess. In any event, time for track 2 of Gypsy Blues
is 10:24. Believed to be recorded at Baggy Studios December 1969. From 
the Band of Gypsys Rehearsal sessions.

Message To Love (11) 7:23

 This version can also be found on the Unsurpassed Studio Takes CD. 
Begins with some chat from Jimi and bass riffs from Billy and drum work
from Buddy. About 50 seconds worth. Then they commence Message to
Love. Another complete run through. Sounds very good. They really are
getting there!! Good work all around. Total time for track 3, Message to 
Love #2, of Gypsy Blues is 8:30. Same recording particulars as above track.

Ezy Rider (3,4,5) 1:45, 4:18, 8:36

 Three versions of Ezy Rider make up track 4 of Gypsy Blues. And, boy its
nice to have these! Ezy Rider 3 and 4 both only appear on the Gypsy Blues
CD. Ezy Rider 5 appears on This Ones for You, Gypsy on Cloud Nine and BoG
Rehearsals, all incomplete. The complete version is found here for the
first time. So three versions of Ezy Rider all only available complete on
Gypsy Blues!! Other than tape of course. But for CD lovers, like me, this
is the only place to get them! And to boot, they are takes 1, 2 and 3 from
this particular session! 
 Anyway, we start off with a 2:00 run through which shows Jimi is still 
in heavy experimentation mode with this song. Jimi is still working on 
the lyrics and that is evidenced by Jimi singing "Highway of love", rather 
than the more familiar "Highway of desire". This would be Ezy Rider 3 
according to good old Ben! 
 Next up, Ezy Rider 4. Again, more experimentation with the lyrics. As Ben
tells us, Jimi sings: 

"Ezy Rider, riding down the highway of love
 Ezy Flyer, trying to reach the clouds above

 Do you know that I'm looking for you baby
 All around the highway
 Come and ride my motorcycle, baby
 I'm gonna take you far away"

 Quite a bit different. I also caught Jimi singing:

"Owww, Ezy Rider, riding down the highway of love/desire" 

In other words, it sounds like Jimi decided right there that "desire" would 
fit. He sings "love" but immediately sings "desire" right after.
 Very nice solo here too!! Jimi is cooking!! Shut up Buddy with that scat 
shit! Jimi is attacking the solo!! Man! Reeealll good! You'd like this 
version Jason! Jimi is really giving it his all! Excellent! Great version 
lasting about 4:35 or so according to my machine.
 We begin Ezy Rider 5. Another cooker!! Christ!! More experimentation, as 
Ben informs us, with Jimi singing:

"Ezy Rider, watch out for that corner 'round the bend
 Ezy Rider, dig out for that man again

 Everytime I can't see you my heart's in pain

 Everytime I love you baby I'm going insane
 You know I love you baby I don't mind
 I traveled around for you to be at my side"

I'd like to point out that my ears hear "Everytime I KISS you my heart's 
in pain" not what is above. I'm pretty sure on that! Steve, listen again 
and tell me what you think. Anyway, this is a *very* extended run through 
of the song with a loooonnnggg solo section. Jimi still hasn't worked out 
an ending, but man oh man, what a tune! I am exhausted! Jimi just 
absolutely cooks in this session! I can't say enough about it. These are 
my opinions of course, but I can't see how anyone would not enjoy the Ezy 
Rider takes on this disc! Ezy Rider 5 clocks in at just under 9 minutes!! 
Did I say extended! So track 4, Ezy Rider, of Gypsy Blues, comes in at 
15:47 on my machine. And did I say that the session is great? Recorded at 
Baggy Studios in December 1969. 

JS 22 Buddy Miles Jam Part #2 (aka Billy's Blues/Lonely Avenue Part 2) 9:35

 This is the only bad part of the disc. Its the exact same snippet that 
follows JS 21 at the beginning of the disc! kind of a drag there! Why 
they couldn't put the more complete version of this tune, found on DitD, 
I don't know! But hey, who am I to quibble. Considering what is on there 
I am quite happy! All in all an excellent disc!! I really liked it. Sound 
is generally pretty damn good. For a CD-R disc it ain't too shabby. 
Thankfully, its no Lost Concerts that's for sure. I don't like putting a 
number rating on anything so I won't. But I am very happy with it. I'm 
sure the tapes are floating around amongst you folks, but I am a Cd guy 
and I am glad I have this disc. End of story!

Berkeley Concert                                *
Audiofon (AF008)

"Fire" (5:22)
"Johnny B. Goode" (5:08)
"Hear My Train A'Comin" (11:36)
"Foxy Lady" (4:09)
"Machine Gun" (11:16)
"Freedom" (5:08)
"Red House" (8:16)
"Message Of Love" (5:29)
"Easy Rider (Ezy Rider)" (8:48)
"Voodoo Chile" (12:56)

Packaged to look like a budget Dutch release, this disc offers up the
first show from 5/30/70 at the Berkeley Community Center. Although
the listed track times here differ from a previously released version of
this concert The Berkeley Concerts (Whoopy Kat), it is actually the
same. However, this disc was mastered "hot" and there is additional
distortion here. Also, some portions of this concert have been released
commercially on Jimi Plays Berkeley, Johnny B. Goode and Band Of
Gypsys II.

To recap a review of the set, Jimi opens with "Fire", blazing away.
In form, Hendrix then takes us on an 11 1/2-minute journey through
"Hear My Train", following that up with a crowd pleasing "Foxy
Lady". A politically motivated 10-minute rendition of "Machine Gun"
bleeds into "Freedom". Again, Hendrix in rare form offers up a searing
version of "Red house", followed closely by "Message To Love" and
"Ezy Rider". The disc closes out with an 11 1/2-minute "Voodoo

Unfortunately, just as in previous releases, the final song of the set
"Purple Haze" has been deleted. For those who want the complete set,
a version of "Purple Haze" can be found on Soundtrack Recordings
From The Film Jimi Hendrix. (1996)

Best of the Bootlegs

        12 tracks totaling 70:03.
1.- Astro Man/10:39
2.- Calling All Devils Children/6:33
3.- 1983(A Merman I Should Turn to Be)/7:40
4.- Angel/3:21
5.- God Save The Queen/5:06
6.- Cherokee Mist/7:08
7.- Red House/7:25
8.- Look Over Yonder/2:30
9.- All Along The Watchtower/3:45
10.- Jungle Jam/5:49
11.- Drivin' South/Sgt. Pepper's/5:36
12.- Untitled Instrumental/4:23
Below track listing it says "Best of The Bootlegs" was scheduled for
release by Warner Bros., but was shelved by Alan Douglas.  All tracks
are studio recordings.c-1996 Reprise Records.
        I beleive several of these tracks are from "Master's Master" CD from my
review of internet(I do not have "Master's Master").  There is a picture
of Jimi,  Mitch,  and Noel lying on a bed looking psychadelic with a
stuffed frog on the bed and a stuffed frog on Noel's knee(inside paper
sleeve).  Supposedly this is same picture inside the sleeve of "Master's
Master".  The songs which appear to be from MM are Jimi Hendrix/John
Mclaughlin Jam("God Save The Queen" on Best of Bootlegs),  Look Over
Yonder,  Jungle Jam,  Devil's Jam("Calling All Devils Children" on Best
of the Bootlegs),  All Along The Watchtower,  Red House/Electric Church
Jam("Red House on Best of Bootlegs).  I'm not sure where Instrumental
Jam comes from but it might be "Jazz Jimi Jazz" from MM.  Does anyone
know?  It has another guitar playing 4 notes over and over most of song
but starts with some I-IV-V blues progression.  I can't really hear the
        2 songs are on the CD "Jimi By Himself: The Home Recordings",  the Cd
which came with the book "The Illustrated Legend of Jimi Hendrix". They
are 1983 and Angel.
1.-Astro MAn- Instrumental. Much longer and more guitar than on CL.
2.-Calling All Devil's Chi;dren-Supposedly Noel involvement?  Weird
song.  Opening riff sounds grunge-like.  Then this alternating chord
progression repeats itself: A-A,C-C,D-E,C-D,,A-A followed by
A,E,G,A,E,E,G,A,E(I think I'm in the right key).  Then this chatter
follows, a rambling on.
3.-1983-Acoustic sketch of the EL masterpiece.
4.-Angel- Acoustic version
5.-God Save The Queen- The verdict seems to be that this is Dave
Henderson fooling Alan Douglas.  Regardless, I like this track.  It sure
doesn't sound like Jimi.  There is an intro of classical and rapid
picking stuff before transition into God Save The Queen sound.
6.-Cherokee Mist- Indian-like drum beat throughout with sitar-like
sounds and spacy feedback.
7.-Red House-also on Hendrix:Blues.  This Red House rocks!(not to say
that the other versions don't...).  "It's all FREEDOM..." 
8.-Look Over Yonder-aka"Mr. Bad Luck".  Sounds very Experience-ish.  Is
there tab to this?  The mini-solo after "...just broke a guitar string"
is cool and the guitar tone sounds great!
9.-All Along The Watchtower- Unfinished version of AATW on EL.  Sounds
muddy compared to finished version.  Sounds like someone is messing with
the input levels of the vocal they are increasing it
pulse-like strong then weak.  I like the EL finished version much
10.- Jungle Jam-Sure sounds like a jungle!  Jimi starts out with some
scratch rhythm and these jungle sounding drums and percussion.  There
are some pick-sliding sounds in between the scratch rhythms.  Then some
jazzy improvisatuin stuff.  I swear I heard 2 seconds of flute in
there.  Interesting but definitely not my favorite.
11.-Drivin South/Sgt. Pepper's- Very weak version compared to Drivin'
South on Radio One.
12.-Untitled Instrumental- reviewed it above when talking about MM.
        Other pictures on CD include Feb 67 pic of Jimi in his London place
with "The Best of Elmore James" album on his lap...looking very
serious(cover),  Jimi playing a white Strat with rosewood
fingerboard...he's wearing black jacket with white flowers and shirt
with very prominent collar...he's in this room with a speaker on the
wall behind him(anyone know the source of this photo?).  Inside sleeve
has the group pic on bed /w stuffed frogs and a pic of Jimi in the
studio leaning sideways...his hair looking like he has a dose of static
electricity.  The CD itself has "Astro Man" on it with star fowering out
like fireworks.

Between the Lines
a promo CD for the Lifelines Box set 
Between the Lines still contains some of the annoying voice
over commentary it's not as bad as the box set.  It includes the following
songs as listed on the back:
1.  Jimi Hendrix Narration -- 0:10
2.  Hey Joe (studio) -- 3:24
3.  I'm a Man (live, 1965) -- 3:09
4.  Pete Townshend and Eric Clapton Narration followed by Red House (live,
1967) -- 7:32
5.  Jimi Hendrix Narration followed by Drivin' South (studio, 1967) -- 5:50
6.  The Things That I Used To Do (studio, 1969) -- 5:10
7.  1983...(A Merman I Should Turn To Be) (alternate mix, 1968) -- 4:37
8.  Purple Haze (live, The Forum, 1969) -- 5:48
9.  Rainy Day Shuffle (studio, 1968) -- 1:19
10.  Angel (home demo, 1968) -- 3:20

Black Gold
Midnight Beat MBCD058-062
Lux '96
RE: Insert booklet information
5 CDs / 36 tracks / 5h52m19s total time
Coll.  Disk
Seq.   Seq.  
Disk 1
  1      1      I Was Made To Love Her/Ain't Too Proud To Beg 
                        (Part 1 & 2)  8:35
  2      2      Voodoo Child (Slight Return) 
                        [The Session: takes 1-15]  32:43
  3      3      Long Hot Summer Night (Part 1 & 2 ) [solo]  4:23
  4      4      1983...  [solo]  4:00
  5      5      Moon Turn The Tides...  [solo]  3:28
  6      6      Angel  [solo]  3:22
  7      7      Cherokee Mist  [solo]  3:12
  8      8      Getting My Heart Back Together Again  [solo]  1:21
  9      9      Voodoo Chile [solo]  6:07
 10     10      Gypsy Eyes  [solo]  5:53
 11     11      Gypsy Eyes  [solo]  4:14
Disk 2
 12      1      South Saturn Delta 3:29
 13      2      Rainy Day, Dream Away [overdub session: take 1]  0:56
 14      3      Rainy Day, Dream Away [take 2]  2:19
 15      4      Rainy Day, Dream Away [take 3]  10:21
 16      5      Third Stone From The Sun, Villanova Junction Blues  14:05
 17      6      Jam Back At The House  5:47
 18      7      Bleeding Heart  3:48
 19      8      Pride Of Man [take 1]  1:28
 20      9      Pride Of Man [take 2]  2:18
 21     10      Midnight, Valleys Of Neptune Arising  [takes 1-7]  14:51
 22     11      Sending My Heart To Linda [takes 1-2]  11:06
Disk 3
 23      1      Had To Cry Today  16:30
 24      2      Paper Airplanes  [rehearsals]  26:41
 25      3      Blue Suede Shoes [jam]  11:36
 26      4      Izabella [overdub session: take 2]  3:50
 27      5      Izabella  4:41
 28      6      Honey Bed [takes 1-5]  7:52
Disk 4
 29      1      Mannish Boy  [rehearsals: takes 1-7]  39:55
 30      2      Closer To The Truth [Room Full Of Mirrors]  22:06
Disk 5
 31      1      Voodoo Chile  [Blues Session: takes 1-5]  36:44
 32      2      Instrumental Jam  23:48
 33      3      3 Little Bears  [solo]  2:38
 34      4      Gypsy Eyes  [solo]  2:38
 35      5      1983...  [solo]  4:27
 36      6      Untitled Instrumental  0:44
Playhouse Theatre, London  10/06/67 : 1
Drake Hotel, NYC  04/17/68 : 2-11
Record Plant, NY 06/14/68 : 12
Record Plant, NY  06/10/68 : 13-15
Record Plant 05/14/68 : 16
Electric Lady, NYC  06/16/70 : 17
Record Plant, NY  03/24/69 : 18
Record Plant, NY  09/24/69 : 19-20
Olmstead, NY  04/03/69 : 21
Record Plant, NY  04/21/69 : 22
Electric Lady, NYC  07/23/70 : 23
Record Plant, NY  11/21/69 : 24
Record Plant, NY  01/23/70 : 25
Record Plant, NY  11/07/69 : 26-27
Sheridan Square, NYC  09/10/69 : 28
Record Plant, NY  01/07/70 : 29
25 Brook St., London  03/10/69 : 30
Record Plant, NY  05/01/68 : 31
59 W. 12 St., NYC  02/10/70 : 32
Record Plant, NY  04/20/68 : 33-36
Jimi : 1-36
Stevie Wonder : 1
Noel : 1-2,13-15,31
Mitch : 12-23,28-29,31-32,36
Buddy : 2,24-27
Billy : 12,16-29,36
Lee Michaels : 13-15
Stephen Stills : 31
This is a handsome 5xCD box set from Midnight Beat. It consists of an
11x6-inch black box case with gold scripted writing and the War Heroes
picture of Jimi's head.  On the back, you will find a complete track 
listing for each CD, including number of takes or if rehearsal or solo.
Inside you'll find a simple but colorful booklet.  The 10x5.5-inch
saddle-stitched booklet is only about 10 pages, and largely consists of
photos, except that in the middle is a two-page matrix of track information.
This info. is sparse, giving only date, name, personnel, and recording
location.  I believe there are some inaccuracies with dates and personnel,
but not many.
There are five discs: the Volume 1 jewel case contains the first two discs,
the Volume 2 jewel case contains the next two discs, and the third disc is
alone in the Volume 3 jewel case. The discs themselves are silk-screened
black on the front; quite nice.  Heck, it beats my commercial Citizen Steely
Dan box set! 
The sound overall is quite good, even excellent, for almost all tracks.  I
have no problem with the sound, except for perhaps two tracks I can think of
off-hand; Had To Cry Today and the Instrumental Jam with Mitch; more on that
Here we go...
10-6-67 Playhouse Theatre, London.  Hendrix, S. Wonder (drums), Redding.  
This is the familiar Stevie Wonder on drums jam, complete with the first
part of the jam.  Sound quality is excellent, and Jimi lets rip on some
riffs.  I like this jam.  There are no vocals, but faintly you can hear
someone (Stevie?) singing some verses of ATPTB.  I know this jam is found on
other imports, but this is the only version I have, and I think it's great!
It *does* fade in though, so my guess is that something from the beginning
is missing.  I read in a review of this song that one release has the BBC
announcer at the start, and if so, then this version misses that.  It does
fade into the jam though, so we *are* definitely missing something.  Compare
this track time to your version if you must.
2.      VOODOO CHILD (SLIGHT RETURN) (The Session, Take 1-15), 32:43
5-3-68 Record Plant NY.  Hendrix, Miles, Redding.
I would think this is Mitch on drums, but booklet claims Miles.  Booklet
could be wrong.  This can also be found on the Voodoo Sessions CD.  The last
take is the keeper that we all know, complete with some added seconds of
maracas and tambourines at the end.  Now, unlike the Voodoo Chile Blues
Session takes (more later), this is NOT a fluid rehearsal session; that is,
there are cuts in between some of the takes, which I suppose may or may not
indicate missing takes.  But that doesn't take away the enjoyment of seeing
how this song progressed from primitive to mature.  Very good quality;
someone's post on Voodoo Sessions a while back says this is mono; maybe so,
but it sounds pretty open to me.  These takes have been reviewed before; I
have nothing new to add.
The rest of this disc contains the Drake Hotel Jimi solo songs, some
available on the Illustrated Voodoo cartoon book CD (hereafter called
Illustrated), 1968 AD Pt 2, and assorted boots. I don't have Illustrated so
I can't compare the quality, but the quality here is very, very good.  And,
Black Gold features *more* of these solo songs than Illustrated.  These seem
to be presented in the order in which he recorded them; it appears that
tracks 3-11 were one continuous recording session, and you hear Jimi turning
pages at the end of most tracks and then beginning on the next track
presented here.
Tracks 3-11: 4-17-68 Drake Hotel, NY. Hotel Room Recording.
3.      LONG HOT SUMMER NIGHT (PT 1 & 2), 4:23
Jimi solo.  Rough in the sense that he stops to turn pages throughout, and
his guitar sounds out of tune at times.  Excellent as a historical piece to
regard with interest, but not really great music.  He announcesa second
verse at 2:14 into the song. At 3:56 comes "Part 2," where I think Jimi
pauses the tape recorder and then un-pauses it, but we miss some of his
vocals; some boots have this part indexed as another track. 
4.      1983...A MERMAN I SHOULD TURN TO BE, 4:00
Jimi solo.  This is a slow meandering early version, with Jimi singing.  The
instrumental version on Volume 3 is superior, in my opinion.
Jimi Solo.  Although indexed here as Track 5, this is the last part of
1983...  You really are awed by Jimi's creative genius after hearing him
work out this segment.  
6. ANGEL, 3:22
The familiar Angel solo.  Same as on Lifelines and Illustrated.  Nice,
probably the most polished Jimi solo among the group on this disc.  
Jimi solo.  I think this is the best, most natural version of Cherokee Mist
there is; you know how the 7+ minute version of it has to grow on you?
Well, this doesn't really require that because it doesn't contain the
feedback Indian sounds and drum beat.  In fact, the chords for CM really are
beautiful, and for me it takes this version to realize that.
Jimi solo.  Very short solo version of Hear My Train.  Starts out like
Voodoo Chile, but Jimi sings the Hear My Train lyrics. Some minor tape
glitches at the beginning.
Jimi solo.  Jimi hums along with his guitar, and does some singing too. At
3:00 you hear him say "guitar solo," for reference later in the studio.
Segues right into Gypsy Eyes.
10. GYPSY EYES, 5:53
Jimi solo.  At around 2:00 into this we hear some bars of Cherokee Mist. The
lyrics do not really match up to the official Gypsy Eyes on ELL.  And yes,
at 4:54 you hear phone ringing in the background.  See Volume 3 for best
version in my opinion. 
11. GYPSY EYES, 4:14
Jimi solo.  This take includes a more advanced guitar lead-in. Jimi stays on
course more in this version, as it appears he has found the rhythm; although
there is no singing.  Gypsy Eyes must have been closely related to Cherokee
Mist in Jimi's mind, because he again plays some chords of CM here.
6-14-68 Record Plant NY.  Hendrix, Mitchell, Cox.
Instr. jam of this song, with just Jimi solo on guitar and no other
personnel.  The booklet claims the above personnel, but I can't hear anyone
or anything but Jimi and his guitar.  If you like the rhythm and pattern of
SSD, then I suspect you'll enjoy this rendition.  I like it because it
offers a clean, unfettered version of SSD without the horns and everything
else you hear on Lifelines.  It starts off with a series of very sharp
banjo-type twangs (sort of like at the beginning of acoustic Hear My Train
on :Blues).  2-3 seconds of studio chatter precede the song.
2. RAINY DAY: DREAM AWAY (Overdub Session, Take 1), 0:56
3. RAINY DAY: DREAM AWAY (Take 2), 2:19
4. RAINY DAY: DREAM AWAY (Take 3), 10:21
6-10-68 Record Plant NY.  Hendrix, Mitchell, Redding, Lee Michaels (organ).
Take 1 - The first take is with organ, drums, and guitar (no vocals) with
the band just messing around loosely on the Rainy Day pattern.  I don't
think any of this made it into the official version.  Not much music.
Take 2 - This take really departs from Rainy Day.  Jimi soloing accompanied
by organ and drums. Again, I don't think any of this made it in official
Take 3 - This is the combined Rainy Day, Dream Away and Still Raining Still
Dreaming tracks on ELL, except here it is presented as the original single
track.  The mix is a little different too, with vocals and instruments at
times more upfront or more behind than in the official version.  Also, the
horn is not as full-sounding as on ELL.  Take 3 fades in, so we are missing
something at the beginning...but, we shouldn't complain because at the 2:37
mark we hear the cough that kicks off the familiar Rainy Day, Dream Away
from ELL...that means we get a full 2:37 min. more of music at the beginning
that the official version chops off.  In addition, we get an additional 5
seconds at the end, with Jimi saying something unintelligible to the control
room.  Taken together, these three takes give you a more complete picture of
Rainy Day than is available on ELL.  I know this is nothing new to bootlegs,
but here it is anyway and in very good quality. 
5-14-68 Record Plant NY.  Hendrix, Mitchell, Cox.
>From its name, this track sounds promising, but it's hard to hear *any*
Third Stone here.  If you try you might detect some similarities.  There's a
lot of bass, rhythm guitar and drums/cymbals on Third Stone, not much if any
lead guitar.  Jimi doesn't really play lead until 4:12 min. into the jam.
At around 6:30 the band begins VJB.  Jimi starts playing more lead guitar
now.  This is a mellow jam that is nice to have, not much in the way of
guitar licks, but good for the soul.  The last 5-6 minutes though is really
beautiful in a Hey Baby sort of way. 
Now, something odd happens in this jam, but I can't be sure so I leave it to
you to decide.  At precisely 7:05 into the jam it sounds like it cuts into
another jam entirely; that is, it sounds as if someone spliced in another
jam on top of one. I can't be sure; I like to think this isn't the case, and
hopefully it isn't. 
6. JAM BACK AT THE HOUSE (Instr), 5:47
6-16-70 Electric Ladyland Studios.  Hendrix, Mitchell, Cox.
Beginnings from War Heroes. Might be a different mix, but sounds similar
enough.  Here this song sounds very good and clear - a great song to crank
in the car.  Near-commercial quality to my ears. 
7.      BLEEDING HEART, 3:48
3-24-69 Record Plant NY.  Hendrix, Mitchell, Cox.
Ahah! This I know for sure - the same version as on Eyes & Imagination,
complete with all the instruments.  However, Jimi's vocals are soft in the
mix until the third verse or so, when his vocals get louder.  I did a direct
comparison to E&I version -- on E&I, the vocals are normal all the way
through.  But here for some reason he sounds as if he's off-mike (or more
likely a different mix).  The sound quality is just as good as E&I, maybe
with a tad less hiss.  But I really do wish his vocals were louder.
8. PRIDE OF MAN (Take 1), 1:28
9. PRIDE OF MAN (Take 2), 2:18
9-24-69 Record Plant NY. Hendrix, Mitchell, Cox.
Instrumentals.  Sound just like the Valleys of Neptune from Track 10 below.
I recognize the title name from other imports, but I don't have them.  I
wonder if these also have anything to do with the 15 minute PoM on
Multicolored Blues.  Anyway, these two takes seem like they might come from
a session with many more takes.  The tune itself is only ok, very
distinctive when you hear it.  Because he plays the same chords and sound as
the Valleys of Neptune jam below, this is either another name for Valleys or
an unrealized version.    
4-3-69 Olmstead Studios, NY.  Hendrix, Mitchell, Cox.
The VoNA takes (2-7) sound just like the Pride of Man takes above.  They're
not duplicates, it's just that they are the same songs.
Take 1: This is the Midnight jam, ending at 2:40.
VoNA Take 2: 2:52-3:40.  Doesn't last long, and breaks down with Jimi
saying, "Eddie, make the congas much louder in my earphones." Eddie: "Sure."
They test the congas and drums awhile before Take 3.
VoNA Take 3: Begins 4:01
VoNA Take 4: Begins 7:46
VoNA Take 5: Begins 9:41
VoNA Take 6: Begins 10:22
VoNA Take 7: Begins 11:19
11. SENDING MY LOVE TO LINDA (Instr. Take 1-3), 11:06
4-21-69 Record Plant NY.  Hendrix, Mitchell, Cox.
This single instrumental track consists of 3 takes.  There is no singing on
it, and therefore cannot be the same as the one on Lifelines.  But, this is
awesome! It has a real haunting sound, and is one of my favorites.  It is
unlike the version on Lifelines, which besides having vocals, has a much
more restrained guitar sound.  This guitar is definitely heavy at times.
The same basic chords are played though. Other boots have shorter versions
of SMLTL or Heaven Has No Sorrows; not sure if this is HHNS, since I've
never heard it, but this is an 11min track whereas I haven't seen SMLTL's or
HHNS's anywhere over 8min.  Correct me if I'm wrong.
Take 1 - Breaks down at 0:46, but Jimi continues to solo repeating the main
riff until 1:07. 
Take 2 - Begins at 1:07 with engineer saying "on four," and band breaks down
at 2:36 with Jimi complaining that the earphones are distorting everything.
Jimi continues to play alone until the 3:00 min. mark.  This take is about
1:53 min. long.
Take 3 - Begins at the 3:00 min. mark, with engineer saying "on five."
Continues until the end at 11:06.  This take is about 8:06 min. long.
Jimi doesn't seem to have the rest of the song ironed out yet, as Take 3
plays out the haunting riffs he started in the first two takes but then he
just improvises for the remainding jam.  This could have been a killer song
had he lived and chose to work on it, adding some lyrics and filling out the
1.      HAD TO CRY TODAY 16:30
7-23-70 Electric Ladyland Studios.  Hendrix, Mitchell, Cox.  
The quality here is good, but not great.  Maybe it's just that I don't like
this jam; kind of boring, but not terrible.  Features a lot of percussion
playing, and Jimi's voice is very distant, but he doesn't sing much anyway.
At about 2:00 into the jam Jimi's guitar starts to heat up, making sporadic
appearances thereafter, and so if you find the beginning a tad uninspiring,
hang in there.  The percussion (conga, drums, cowbells) dominates at the
beginning though, and provides a beat that you might find catchy.  An organ
joins the fun much later in the jam.  One caution is that there are a lot of
instrument drop-outs and some amp distortion at times.  One other thing to
keep in mind is that the jam is very loose and somewhat disorganized.
Now, I have a suspicion, but I would have to listen to the Ball & Chain CD
to confirm.  Scott Hannon posted in his review of B&C the following two tracks:
"[8:49] jam with organ 1: Maybe this should be titled "Hear My
Struggle To Tune A Guitar Calling" as Jimi spends most of this jam
struggling to tune his guitar (unsuccesfully). He makes a few brief
appearances playing guitar, but mostly he's just making noise trying
to tune up. But it sounds like the others are having fun without him.
The jam/pain lasts around 7:32 followed by around a minutes of tuneups.
[7:43] a jam called "Hear My Freedom Calling" (from some of the
lyrics Jimi sings). Jimi's tuning problems haven't been solved, so
after a few minutes he gives up trying to play/tune and starts doing
some ad-lib(?) vocals (which tend to be a bit buried in the mix).
After a couple minutes of singing, he tries the guitar again, but
quickly gives up." -- S. Hannon
Interesting -- I wonder if these two tracks are Had to Cry Today?  I know a
"Had to Cry Today" appears in the Notes in Colours boot, but I have not
listened and have no other information.  Consider: 1) the track times from
B&C add up to about the 16 min of HtCT, 2) Jimi's vocals *are* toward the
end of the jam, and they are very buried in the mix (or he's off-mike?), 3)
"Hear my freedom calling" *is* one of the lines he sings.  
This would have to be confirmed with comparative listening.
Jimi's first vocal comes at 11:57 into jam, and lasts for about 1:15 min.
Here are some tidbits: "I hear my freedom call me/...Wake up early in the
morning, think about what I got to say/.../I'm singing from the bottom of my
heart/Lord, Lord, Lord, Lord".
2. PAPER AEROPLANES (Rehearsal Sessions), 26:41
11-21-69 Record Plant NY.  Hendrix, Miles, Cox.
This is really good.  You get a near-complete rehearsal session of this
Power of Soul tryout.  This is probably the stuff presented on the CD Paper
Airplanes.   And, now I know why this track is called Paper Airplanes,
because in one of the takes Jimi sings "strike down some of those paper
airplanes."  There is no indication anywhere of the number of takes, so I
came up with the following (a total of 15 takes):
Take 1: Band ends at 2:43, Jimi soon continues on alone until 5:48
("alright, fade out").  Features some nice lyrics, including "paper airplanes."
Take 2: 6:00-6:08. False start.
Take 3: 6:10-7:03.  Jimi's playing is nice here, but they don't get very
far. No vocals.
Take 4: 7:06-8:48.  No vocals.
Take 5: 8:50-9:19.
Take 6: 9:20-9:22. 2 seconds of nothing, but the engineer calls it "Take 6."
Take 7: 9:22-9:40. Drums and guitar play together for about 20 sec.
Take 8: 9:40-10:10. The drummer is out of step.
Take 9: 10:12-10:32
Take 10: 10:32-12:06
Take 11: 12:07-12:38
Take 12: 12:38-13:50.  Not much music; numerous false starts.
"Take 13, guitar and drums" - engineer.  13:50-16:12.  This takes includes
no bass.  Breaks down with engineer saying "What's the matter in there?"
Take 14: 16:25-16:46 (false start of sorts)
Take 15: 18:54-end (includes a new start at 24:55).
Rehearsal ends ubruptly with Jimi talking to control room, so we are missing
something.  This rehearsal is easy to follow because engineer is good about
marking takes (e.g., "Take 1," "Take 2," etc).  Listening to this session
reveals that the drums and guitar at the opening were having a hard time
synching up.
3. BLUE SUEDE SHOES (Jam), 11:36
1-23-70 Record Plant NY.  Hendrix, Miles, Cox.
This must be "Police Blues" from the Freak Out Blues CD.  You start out with
Jimi's funny Elvis impersonation, and then it rolls into a nice studio Blue
Suede Shoes.  After about 2 mins. it rolls into jam-mode.  At 2:30 in the
song Jimi's guitar and another guitar and harmonica combine to sound like a
wailing siren and it has been suggested that this is where the name "Police
Blues" comes from.  However, the vocals do contain references to
policemen, and this might be a truer reason.  You may find the harmonica
annoying; I don't, but some might.  Very good jam, but sadly fades out.
Nice quality throughout.  
Transcription of Elvis impersonation:
JH: "I feel evil. If you want trouble, you've come to the right place".
Jimi then sings a verse of Elvis' Heartbreak Hotel! BSS begins.
4. IZABELLA (Reel 4, Take 2, Overdub Session), 3:50
5. IZABELLA, 4:41
11-7-69 Record Plant NY.  Hendrix, Miles, Cox.
These are two nice takes of Izabella.  Track 4 starts with engineer saying
"Reel 4, take 2."  This is the more polished of the two tracks, and Jimi
sings along with his guitar at the end.  Nice.  
Track 5 really consists of two takes; it is looser and contains no vocals.
Starts with engineer saying "Izabella, take 1, go ahead."  At 0:32 song
breaks down: JH: "Can I get the guitar through these earphones?"  After a
false start, at 0:53 Take 2 begins.  Toward the end Jimi plays a few bars of
Freedom, which is a pleasant surprise.
6.      HONEY BED (Take 1-5), 7:52
9-10-69 Sheridan Square, Greenwich Village NY.  Hendrix, Mitchell, Cox.
Although booklet claims the above, it is more likely the date is 12-23-69,
as other reviewers have noted. If so, then it makes more sense if Miles was
the drummer.  I do not know which date is true, let alone the personnel.
9-9-69 was the Cavett show appearance in NYC, so it is conceivable Jimi was
in NYC on 9-10.  Well, Jimi announces at the start that he'll call this one
Honey Bed.  So it is a genuine name.  Ball & Chain has 4 takes of Honey Bed
and this has 5, but Black Gold calls the false start in Take 1 another follow Scott Hannon's comments below for Honey Bed on Ball &
Chain...they apply here too.  This song had possibilities, but at this stage
it is rough and not very developed at this stage.  The main lyric:  "You got
me sittin' up on the shelf."
1) [1:08] false start 0:28-0:36; take 1 0:48-1:06
2) [0:31] take 2 0:14-0:31
These two takes have Jimi singing the first 4 lines of the song. Jimi
also mentions he wrote the song on July 19 (so he probably had the
lyric sheet in the photo with him while doing this). Things are not
progressing too well, so Jimi gives up trying to do rough guide vocals
and from now on concentrates on getting the music (gutar, bass, drums)
down right.
3) [4:33] take 3 0:05-4:14. Instrumental. It isn't pretty, but they
manage to get thru the whole song, which seems to have been their intent.
Jimi hums/na-na's some of the lyrics to provide a rough guide of where
they are in the song.
4) [1:45] false start 0:06-0:09; take 4 0:15-1:38. Jimi sings the first
line, then it's instrumental the rest of the way. -- S. Hannon
1.      MANNISH BOY (Rehearsal Session Take 1-7), 39:55
1-7-70 Record Plant NY.  Hendrix, Mitchell, Cox.
This is just great.  It is the longest track on the set, and features some
outstanding playing as the Gypsies try to cut this tune.  This is one of my
favorites on this set. You hear all studio chatter between each take, and
Jimi telling the band and engineers how he wants parts played.  Throughout
Jimi is dissatisfied with the band's timing in particular. The track on
:Blues is created from this set, and those liner notes claim 4-22-69 as the
date - I do not know which is right.  
I'm sure there is an import with this session on it, and if so I cannot
vouch for its quality, but the quality here is terrific. Play this loud with
no worries of distortion, hiss, etc.  
The booklet claims 7 takes; I hear many more than that.
Take 1: Lasts about 1.5 minutes.
Take 2: Begins at 1:40
Take 3: Begins at 5:32
Take 4: Begins at 6:00
Take 5: Begins at 6:17.  Very good take. Some of this may have been used to
create the track on :Blues.  Breaks down at 10:15.
Take 6: Begins at 11:00.  After breaking down, you can hear Jimi apologize
to the control room at 13:26, "I didn't mean to keep you up this late." 
Take 7: Begins at 13:58
Take 8: Begins at 19:25, with Jimi wanting to go a little faster this time.
At a take at 27:20, we hear the riff used at the start of Mannish Boy on
:Blues, along with the strange "Mama, Mama Hankin Take 1....Oooh
yeah...everything's gonna be alright this mornin'. Have mercy!"  However, I
do not believe the rest of this take is used on :Blues, so Douglas did some
major cut & paste between the takes to manufacture his Mannish Boy -- I
think at least a combination of this take and Take 5.
3-10-69  25 Brook Street, London.  Home Recording.  Hendrix.
25 Brook St. was Jimi's flat for awhile.  This is really disappointing if
you're expecting music.  Jimi is talking/chanting/spacing out in his
apartment to the accompaniment of taped music of others; music which he is
controlling on his cassette deck or record player.  
His vocals are on one channel, while the music is on the other.  The music
itself is a bit of a mystery, but I detect at least three different songs.
Orange and Red Beams and Closer to the Truth (New Animals) is featured, and
another snippet of a mystery song.  I really do not like this, and I've been
flamed for not liking it; to show good faith, I've taken the time to
transcribe Jimi's long-winded discourse. I believe my transcription to be
95% accurate.  I have posted this transcription separately so as not to make
this post any longer :)
1. VOODOO CHILE (Blues Sessions, Takes 1-5), 36:44
5-1-68 Record Plant NY.  Hendrix, Mitchell, Stills/Redding.
The above personnel may not be accurate (Don't Casady, Winwood also appear
on this?).  This is the same session as on Voodoo Sessions.  However this
clocks in at 36:44, whereas the Voodoo Sessions version is more like 40
minutes, so something is missing here.  The first take fades into the song,
so maybe the cut is from there.  Sound quality is very good.  For those who
have never heard this, it is a must.  The track on :Blues uses parts of two
takes to create its version.
Take 1: Breaks down at 9:20.  At the beginning we have some audio
problems/fades.  Some of this take was used to create the track on :Blues.  
Take 2: 10:50-12:05. Jimi sings, but doesn't get very far.  The take breaks
Take 3: 12:08-19:00.  The first two minutes I think is used on the :Blues
track.  At 14:10 Jimi breaks a string and curses, so it is at that point
that Douglas decides to cut. I believe it has been stated that the last 6
minutes or so of Take 1 is used to finish the construction of the :Blues
track.  Yes Virginia, nothing is as it appears. After breaking the string,
the band (minus Jimi) continues to play impromptu (organ interplaying nicely
with drums).  Jimi rejoins at 17:40.
Take 4: 19:00-21:18. Includes a false start. Jimi says the audience claps at
the wrong place.
Take 5: 21:20-35:48 (music ends). This take has the audience participation
correct now.  This is the ELL version.  Different mix though, as the
audience is mixed way up front; kind of disconcerting, since you hear
individual conversations throughout the entire familiar ELL version.
Obvious overdub, since Jimi is heard talking to the crowd at the same time
the track has him singing.  From 26:15-27:07 everything is mixed out except
Jimi's screeching solo, some of which I recognize and some which I think was
cut from the ELL version.  From 28:00-28:25 everything is again mixed out
except organ and guitar this time.  For the third time, from 34:02-35:19,
everything is again mixed out except guitar...we get a superb Jimi solo
here, no more than 10 seconds of which I think was used.
It's always fun to try to hear what the crowd is saying in the last minute
after the take ends.
2. INSTRUMENTAL JAM with Mitch Mitchell.  Jam includes snippets of: Stepping
Stone, Sending My Love to Linda, Freedom, Here Comes the Sun, Cherokee Mist,
All Devil's Children.  23:48
2-1-70  59 West, 12th Street, Greenwich Village NY.  Home Recording.  
Hendrix, Mitchell.  
This seems like something that is completely new to CD, but then again, I
don't know.  I have never heard anyone mention this before.  The track
"Acoustic Medley" on Freak Out Blues sounds like it could be this, but I
don't have it so I don't know.  It is a bit hissy, but maybe it's only
because it features just soft guitar and soft drums, with plenty of seconds
of silence, and therefore any hiss is more noticeable.  We have Jimi and
Mitch just trying things out here, supposedly in Jimi's home in NYC.  It
almost sounds like he's playing acoustic, and that may be.  Mitch seems like
he is playing the drums with brushes instead of sticks, he plays that
softly. Another way to put it is that it sounds like he is slapping his legs
instead of drums - it is that kind of sound, not a normal drum sound. He
also achieves sounds by banging his sticks together. Okay, let me try one
more analogy - it kind of sounds like Jimi playing acoustic guitar with
Mitch tap-dancing beside him.  That is, Mitch achieves a tapping, not
drumming, sound throughout.
Basically, the playing is quite restrained and soft, and you hear some
chatting between Jimi and Mitch.  It would be great to listen to this if it
was carefully de-noised to remove hiss.  I hear more hiss through my
speakers than the headphones though, so it may vary.  This is a wonderful
jam that seems more intimate than 
any of the others.  The Freedom snippet in particular is short but quite nice. 
The jam starts out with Mitch and Jimi chatting, and features another funny
Elvis impersonation (I think it is Mitch this time), and then playing
begins.  You do not notice Stepping Stone until 3:20 into the jam. Since
songs melt into each other, I'll list the rough times at which I first
recognize the song:
3:20 - Stepping Stone
4:50 - Sending My Love to Linda
6:30 - Freedom
8:03 - Here Comes the Sun (I don't know if this is the Beatles tune, or
what).  I'm not even sure I have the time correct here.  I can't recognize
this tune.
10:23 - Cherokee Mist.  I can't hear much CM here.
19:20 - All Devil's Children. I am not sure here.
23:20 - I also detect Pride of Man (Valleys of Neptune Arising) here.
3.      THREE LITTLE BEARS, 2:38 
4-20-68 Record Plant NY.  Hendrix.
Jimi solo, instrumental run-through.  The CD incorrectly lists the time as
10:03, which led me to believe that this was a slightly shorter version of
the Unsurpassed Studio Takes 3-song medley.  Not so.  This is just Jimi
solo'ing on the TLB riff.  Not too interesting, really.  To me, the charm of
TLB is the lyrics, not the music, and as this contains no vocals, I like it
less than the Unsurpassed/War Heroes version.
4.      GYPSY EYES, 2:13
4-20-68 Record Plant NY.  Hendrix.
Jimi solo, instrumental run-through.  This is the third rendition of Gypsy
Eyes on this set. This is a pretty fast-paced version of the song, Hendrix
ripping through the chords.  Nice. It differs from the other two version on
Volume 1 in that it is more sure of itself. It comes 3 days later
apparantly, and in the studio. So I have to assume that Jimi recorded this
version after listening to the Gypsy Eyes solos he recorded in the hotel.
5.      1983...A MERMAN I SHOULD TURN TO BE 4:27
4-20-68 Record Plant NY.  Hendrix.
Jimi solo, instrumental run-through.  This is really beautiful; Hendrix
playing some amazing chords.  This differs from the version on Volume 1 in
that it is more polished. 
4-20-68 Record Plant NY.  Hendrix, Mitchell, Cox.  
Not bad, just too short, that's all. This may be the untitled instr. on 1968
AD, I am not sure as I do not have this.  Again, I only hear Hendrix here,
not Cox or Mitchell.  The thing is, it fades out at the end so it has to be
longer, but we don't get the rest here.  I believe it fades in, too.
I recommend this box set highly for anyone who just can't get enough Jimi
Hendrix.  Experienced collectors might also want to consider this since it
brings together a lot of favorite booted tracks in one handsome package.
Closer to the Truth is the only dog in my opinion, although it is unique and
not readily available elsewhere.  I regard it less an artistic creation than
a chance home recording that Jimi would be embarrassed to let loose.  But
some people defend it and that's great.  Listen and judge for yourself.  
At least there are NO FAKES on this set, which cannot be said of the KTS
4-CD set Legacy and others we've seen.  What is wonderful about this set is
that it has a concept, which I think is unique with large box sets. The
concept here is studio and home instrumentals and unfinished-in-the-can
works.  I would say that these songs are at the very least upgrades of
what's out there, because nothing sounds bad.  Everything sounds very, very
good in fact.

Blues at Midnight

Jimi & Roy B. jammed at the Generation Club in New York City on April 7/68.
I imagine that someone, somewhere must have a tape of the whole jam
(apparently a film was made), but as far as I know, only one song has made
it to bootleg. Apparently it's available on Lost Concerts Vol.1, & I have
it on the Midnight Beat CD "Blues At Midnight". On that one it's listed as
"Blues in C", and the date is shown as April 15/68.
Before you go looking for it, expecting to hear two wild guitars, be
forewarned that Roy Buchanan is playing bass on this song!

Little Wing (9:19) (Buddy breaks the snare drum!)
Everything's Gonna Be Alright (8:47)
Three Little Bears Part 1 (15:54)
Three Little Bears Part 2 (6:19)
Instrumental Jam (8:45)
Stormy Monday (8:24)
Blues In C (19:49)

Luna (LU 9204)

Another good CD full of snippets and concert venues. Three songs from the
Lulu Show, some Atwood Hall, Winterland and Royal Albert Hall. Most of the
sound quality is excellent except for the Atwood Hall show which sound as
though it were lifted off videotape. Hey Joe and Foxy Lady from Winterland
sound great with Herbie Rich on organ.

1. Voodoo Child
2. Hey Joe
3. Sunshine of Your Love
4. Purple Haze
5. Wild Thing
6. Like A Rolling Stone
7. Hoochie Koochie Man
8. Hey Joe
9. Foxy Lady
10. Red House
11. Hear My Train A Coming
12. Red House

Rating: B+ Great compilation of Radio and TV Broadcasts from '68 and '69.
Over 70+ minutes of non-stop Hendrix.

Burning at Frankfurt
Midnight Beat (MB CD 040)

It's that cover again, it's that picture again, a different title this
time. Yes from page 133 of Mitch Mitchell's 'Hendrix Experience' book comes
the shot that has graced the covers of at least two other bootleg cds. Okay
the graphics here are good but why decide to release this show on cd?

'BURNING AT FRANKFURT' presents, as the title suggests, the Experience show
from the Jahrhunderhalle, Frankfurt 17 January 1969 and although it's a
good show it's not exactly the best unbooted audience recording around.
Surely the 23 January gig from  Berlin would have made a better candidate
if any from that particular European tour had to be chosen at least that
has a decent sound and instrument balance.

Once again a clean up job has been applied to the tape used as source but
the results veer far to close to high treble, well for these ears anyway,
and as a consequence the sound is very thin and becomes almost painful
after a while. I don't think that prolonged listening to this on headphones
would be advisable. This disc could seriously drill holes in your eardrums.

The complete show is presented here, at least that is one thing in it's
favour, probably the only thing.

Come On                 (6.40)
Fire                            (4.15)
I Don't Live Today              (10.03)
Little Wing                     (3.52)
Foxy Lady                       (5.32)
Sunshine Of Your Love   (11.41)
Hey Joe                 (4.32)
Purple Haze                     (4.30)

Really because of the high frequency terror ready to leap out of the
speakers as this thing whirls away in the cd player it can't be considered
to be an essential buy. A better idea would be to get hold of a copy of the
tape (if you don't have it already) and have fun driving yourself and your
partner round the bend as you attempt your very own DIY cleanup through the
graphics in the privacy of your own lounge/ attic/ cellar/ broom cupboard
(delete as applicable).

And the panels decision is ..... NIL POINTS.