First Rays of the New

Jimi HendrixFirst Rays of the New Rising Sun

Jimi Hendrix’ three proper studio albums were three of my favorite records in high school. They remain so today, strong as ever, because I have a brain. So when Legacy decided to reissue said albums with a bright new mastering job and accompanying DVDs, I was sold. Just like the recent Beatles reissues, these discs were a no-brainer must have. When I got to the record store I saw the three familiar beauties lined up, shining bright, next noticing a fourth reissue, titled First Rays of the New Rising Sun. I’d seen this disc before, many times, but always figured it was a hits or live collection or something. Hendrix, when alive, was known to be a man of taste with notably great album art … but damn, Rays, released posthumously, is a very unsightly looking album. But, considering that Legacy decided to reissue it over Hendrix Blues or Band of Gypsys, I figured I needed to do some research on the ugly.

Sure enough, Rays wasn’t the budget-priced, truck-stop-ready release I’d written it off as. Not even close. Instead, I learned that it’s actually an almost proper fourth studio record - the album he was finishing when he passed in September of 1970, held aside until 1997, at which time it was compiled by Hendrix historians to the best of their ability. Now knowing this, I sped off to the store, bought it immediately and devoted what had to be at least a solid week to the very long, sometimes frustrating album.

And, sure, maybe most Hendrix fans already know about this hideous gem, but I didn’t, and I suspect many don’t. So I ordered the original release from Half.com, anxious to compare the mixes before writing a review (I’d originally planned to review the reissued of Are You Experienced, a record that changed my life). I found that, yes, if you own the original, you still need the reissue. It sounds twice as full and come with a stellar DVD, an essay and extensive notes on every track. It’s absolutely worthwhile, especially for the hardcore Hendrix set. And if you’re like me and have not yet heard Rays, get out to the store ASAP. If nothing else, you’ll get a handful of classic Hendrix studio cuts and what are maybe his best recorded vocal performances ever.

I’ve read where some critics have called Rays a “logical successor to Electric Ladyland,” Hendrix’s final proper studio release. I disagree. If anything, Rays feels like it could’ve been his second record, feeling more like a logical progression from the blues-rock pop of Experienced than the psychedelic and experimental sounds of Ladyland. A few songs here - notably “Angel” and “Dolly Dagger” - will be instantly familiar to many. Opener “Freedom,” despite maybe going on a bit longer than need be, sounds instantly classic. Some songs, like “Izabella,” are almost unreal. Shockingly complex enough at times that I wonder if it could even be played live. Is it possible to play guitar like that while singing? I’ve not seen such a thing in my 30 years.

I feel it essential to note that this isn’t a perfect record. We have no idea how Hendrix would’ve sequenced it or what songs he may have left off or continued to tweak and perfect. Maybe he would’ve added songs, we’ll never know. What we do know is that four of the 17 songs were finalized, including “Dolly,” “Night Flying Bird,” “Ezy Ryder” and “My Friend.” All these are fantastic - classics, even. The other 14 cuts sound, compared to the average song, pretty damn final. But who’s to say with Hendrix, a noted studio perfectionist? A few tracks aren’t quite at the A+ level we’ve come to know Jimi for, but there’s a very solid 10-11 song set here that fits nicely with his other proper studio records. And damn if the new mastering job isn’t wonderful, as are the essays and DVD. Essential stuff, made perfect for falling in love all over again with one of the all-time greatest.     9/10

Written by G. William Locke