I ridCSy,
March 26, 1971
THE MICHIGAN.DAILY
Page Seven
rid March 26, 1971 THE MICHIGAN DAILY Page Seven
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'S \t1 Sl'tq,
4
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By FARGO BERMAN
I have lived here before, the
days of ice
And of course this is why
I'm so concerned
And Icome back to find the
stars misplaced and the
smell of a world t h at has
burned
(Jimi Hendrix, "Up
From the Skies")
Blue are the life-giving wa-
ters taken for granted
They quietly understand
Once happy Turquoise armies
lay opposite
Ready, but wonder why the
fight is on
And all these emotions of
mine keep
Holding me from giving my
life to a rainbow like you
(Jimi Hendrix, Bold As Love")
Only a driven man could have
travailed so far as Hendrix. His
unending quest for unconfined
love and its paradoxical free-
dom of the skies above neuro-
Arded es
4s e
Ge" 'I *, o
wtow bet
Che t
bor of loneliness
sis, always so plainiu]ly appar-
ent, and often s eming, not just
by hindsight after his death,
like a call for release by obliv-
ion. His search, his pain, are
made clear by the song titles
alone: "Purple Haze." "The
Wind Cries Mary," "Manic De-
pression," and now, on The Cry
of Love (Reprise MS 2034),
"Freedom," "Night Bird Flying,"
"Astro Man," and "Angel."
Jimi Hendrix never fell to be-
come a man of this earth. He
took the electric guitar and
molded it into a new instru-
ment. one so personal that no
future musician, much less
Moog Synthesizer, will ever
touch the tones he evolved.
More than any other contem-
porary musician. Hendrix drew
his instrument toward his will
to provide messages of his vis-
ions. coaxing fluctuating rivers
of sound to soar between dimen-
sion as if sculpting with vary-
ing intensities and hues of light.
But his singing and poetics nev-
er grew beyond child-like voice,
. never assumed the macho self-
assuredness of a r o c k super-
star, at no time carried a Mick
Jagger sneer.
Refusal to accept "the smell
of a world that has burned,"
continues on Cry of Love, with
Hendrix as choir boy of a cos-
mic secular culture still begging
for peace. On "Angel," which is
musically reminiscent of the
Axis: Bold as Love album, is the
line "and then she spread her
wings all o v e r me," and the
verse:
I said fly on my sweet angel
Fly on through the sky
F y on my sweet angel
Tomorrow I'm going to be by
your side.
Inside the album cover is a
picture of Jimi leaning out a
window with a rifle in his hand
- his gay grin, flowers, and
cigarecte in hand make the ser-
iousness of the gesture ambi-
valent. Cry of Love is definitely,
however, the most directly po-
litical of all Hendrix's releases,
with a strong message to let
people be in "Freedom," a line
about unity in the hard-to-de-
cipher lyrics of "E z y Rider,"
and the following from "Straight
Ahad:"
We got to stand side by side
We got to stand together and
organize
They say power to the people
That's what they're screamin'
Freedom of the soul
Pass it on, Pass it on to the
y,u: and old.
Still, Hendrix is essentially
c'nceerned with getting some-
thing together within himself,
constantly talking about leaving
the past behind, and pushing
forward against the pressure of
his loneliness. "Straight Ahead,"
also contains:
Hello my friend
So good to see you again
Been all by myself
I don't think I can make it
alone
Keep pushing ahead.
Somehow this superstar was
desolately alone in the midst of
the crowd. He seemed desperate
in his avowals and pleas foi
love with the Monterey and
Woodstock Festival audiences.
When the Axis: Bold as Love
album came out and definitely
established him (for anyone
blind enough to ignore the Are
You Experienced? album) as
unchallenged virtuoso and inno-
vator of present d a y electric
guitar playing, Jimi seemed to
recognize the fact, but almost
kiddingly rioted remorse that
somehow this didn't set things
right, adding as the wah-wah
fades at the end of "Up From
The Skies," "Aw, shucks, if my
daddy only could see me now."
Note: his father is still alive).
Again a crystal-clear decla-
ration of solitude in a jazzy
Moded song, with bar-room
background sound effects:
*and sometimes it's not so easy
specially when your only
friend
talks, sees, looks, and feels
like you
and you do just the same as
him;
("My Friend," Cry)
and
love
It is unclear at present wheth-
er this will be the last album
of Hendrix material released;
certainly Reprise will issue an-
other if at all possible. What-
ever, Cry is but one more asser-
tion of Hendrix genius compar-
ed to excellence in other stars
Where you would listen to Jeff
Beck or even Eric Clapton and
think about how fast their fin-
gers are moving, how technic-
ally skillful, perhaps brilliant,
they are, Hendrix and guitar
form more of a bond, present
more of a direct communication
from the artist. Besides, it is at
the limits of conception to pic-
ture Beck or Clapton furiously
hammering their fingers; Hen-
drix' technical ability is just as
far beyond credibility as the
corresponding sounds it gene-
rates.
As in previous efforts, th e
music is often not melodic, and
very often not predominantly
pretty. It is nearly always uni-
que. It almost always offers a
very intense experience.
A couple of the songs, "Drift-
ing" and "Angel," wind a i d
whine with a lyric quality;
mostly this album is rock and
blessed by the return of drum-
mer Mitch Mitchell, who was in
the original Jimi Hendrix Ex-
perience. Billy Cox, who w a s
with Hendrix and Buddy Miles
in the not-so-hot Band of Gyp-
sies, is along on bass, and a few
guest artists sit in on various
cuts.
Pure Hendrix.
Come and Enjoy
Sid Shrycck Goes to Africa
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-- -__-_ i
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BYE BYE BRAVERMAN
starring:
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GODFREY CAMBRIDGE
PHYLLIS NEWMAN
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