Multi-award winning singer/songwriter Maria Manna shares a message of love’s bliss and female empowerment alike in her sassy new single, “I Like It In The Water.”
An indefatigable dynamo across her 45-year career and pure gem in Canada’s creative crown, “I Like It In The Water” lands as a moment for pause to revel in the fruits of a life well lived. “My inspiration while filming the video was my husband, who sat in the audience,” Manna shares. “He knows I like to dance in the water…
“The song was created as a celebration of life, and the desire to share intimacy with the person of your choice. It captures the essence of the joy of living and giving to your special someone. It’s my hope that showcasing love and happiness gives a sense of freedom of choice as an evolved, responsible being.
“My message to all women is to feel free to dance in the water with your loved one any which way you desire,” she continues. “Dance the dance of love! Exist in this life just as you are!
“You are beautiful just being you.”
An inimitably talented vocalist most specialized in the genres of Jazz, Blues, Gospel, and Italian, Manna is also an esteemed music director and producer with the Vancouver Island Gospel Festival, Vancouver Island’s Got Talent, Victoria Idol, Tony and Tina’s Wedding, and many more to her credit.
Inducted into the Alberta Music Archives, Manna is an ordained minister, recipient of the 2013 YoUnlimited Woman of Style Award, and has worked and performed with Dal Richards, Anne Mortifee, Jane Mortifee, Mike Reno, Jeff Neill, Paul Horn, Tommy Banks, Alfie Zappacosta, David Foster, and more. She’s released three previous albums, including 2007’s Between the Sheets and 2017’s With Love, and is the first female Italian Canadian to record in Italian in Alberta.
She’s a TV writer and producer for Maria Manna City Chat, an actor on the movie set of “The Engagement Ring”, the author of Earth Angels “Bella Figura,” playwright for “It’s Amore”: A tribute to Italian American Music and Comedy, and powerhouse franchise owner in the financial services sector.
Also under Manna’s extensive set of skills and service to others are her extensive and laudable philanthropic endeavours that have spanned her career. An honourable recipient of both the Governor General’s Caring Canadian Award (2013) and Sovereign Medal (2016), Manna has founded three charities — U-JAMS, BC Vocalist Society, and the Jazz Foundation of Canada — and the creation of the Victoria Conservatory of Music: Maria Manna Bursary Fund.
“I Like It In The Water” was written and composed by Maria Manna, Mark Robson, and Dean Hajas, with production credits to Christopher Grew and Dean Hajas.
Canadian artist and producer Fredy V. and his powerhouse band The Foundation are back, unleashing their ‘modern funk’ meets ‘classic throwback’ NEW single, “One Step.”
The song holds a strong message, and lands ahead of Fredy V. & The Foundation’s forthcoming EP, One Step — set for release on October 30, 2020.
“It’s got a nostalgic mood while still remaining relevant through its lyrics,” Fredy V. says about “One Step.” “There’s an empowering message in there, too — the importance of taking a leap of faith towards your purpose.
“It’s an anthem for aspiring performers, creatives, and entrepreneurs.”
The notion directly aligns with the group’s initiative to produce the EP in the first place, he adds; in the spirit of the single, Fredy V. & The Foundation have partnered with the Montreal-area Dynastie Sports Institute — aka not your average basketball academy.
“Dynastie are dedicated to recruiting and developing high-level French-speaking talent from countries like Congo, Guinea, France, and Ivory Coast with the goal of ushering the next wave of NBA players out of Quebec,” Fredy explains. “The journey of an aspiring professional basketball player and the come up of independent artists are very similar in numerous ways; there’s lots of crossover in the goals, including ownership, entrepreneurship, positive media relations, and a mission to improve their respective communities.”
In honour of the partnership, Fredy V. & The Foundation and Dynastie Sports Institute have developed the #OneStepMission, a promise between the two ‘teams’ to take at least ‘one step’ towards their goals, their dreams, and their ‘why.’ The song’s video was shot at the Institute and features the ’20-’21 roster, and a documentary detailing the unique journey of Dynastie and its players is in the works.
As for looking ahead to the album, “we got some for everybody!” Fredy enthuses.
From his breakthrough solo release, 2017’s #ItTakesAVillage, to weekly appearances as CBC / Radio-Canada Les Poilus’ house band, to performing at the Montreal Jazz Fest and Cape Verde’s Atlantic Music Expo, and more, Fredy V. continues to bridge the gap between his North American and West African cultures through a now-signature funk, Afro-pop and R&B sound.
For their intrinsic part, The Foundation are a group of highly skilled, ‘first call’ musicians known for playing with the world’s top r&b, hip hop, funk, gospel and jazz acts. After gaining collective experience from producing and performing for a national TV show aired weekly, the group used their momentum and for the first time began creating new music together.
As a young phenom, Canadian pop-R&B singer, dancer and actor Azym sings of a love best lost in his new single, “One and Only.”
“This is about a bad relationship that was toxic, indecisive, and hurtful,” Azym shares of the track’s meaning. “The couple push and pull each other in different directions and, in the end, only destroy it.
“Obviously after a relationship ends, you feel kinda bad about it,” he continues of the song, which features Kalista Wilson as the muse. “In situations like this one in the song, though, it really is about realizing it’s better to have nothing at all than to stay in a relationship that’s not working.
“With a relationship that is as bad as the one in the song, it’s better to let go, move on, and grow.”
As as a multi-talented triple threat with previous singles “Open Up” and “Feel The Groove” under his belt, the Ottawa-based artist was recently hand-picked to audition for America’s Got Talent, won Silver at the 2020 World Championships of Performing Arts, was a semi-finalist in the International SongWriting Competition (2019), was an Official Nominee of the American Songwriting Awards (2018), and more.
Azym performs regularly, with 30+ live shows pre-quarantine; he’s been a Semi-Finalist in a 2018 ‘Family Channel’ Competition, performed on Rogers Live Daytime Ottawa TV for a Children’s Hospital (CHEO) fundraiser, participated in an exclusive interview with Pacific Northwest Radio’s talk show host for ‘Make a Scene Canada,’ and selected as a Semi-Finalist in the singing and acting categories at the New York City International Modeling and Talent Association (IMTA).
Canadian matriarch of the blues and veritable force of musical nature Dalannah takes an optimistic, introspective, and encouraging “Look Ahead” with the release of her new single and video — each available now.
“This song is an invitation and a reminder for us all as ‘stewards of the land’ to ensure we walk consciously and conscientiously in regard to Mother Earth and all living things,” Dalannah says. “The current climate in regards to Mother Earth is a sign that we must be aware of the damage we are causing; waters are receding and flooding, ancient icebergs are melting.
“We have entered a crucial time in our relationship to Mother Earth, and it is our responsibility to be active in ‘changing the tide.’ We cannot be idle in our daily practices. I encourage everyone to act with consideration and be an example of the positive and good way to respect the environment and all living things. We must carry the torch of respect for Mother Earth.
“As Chief Dan George says, ‘We are as much alive as we keep the earth alive.’
The song is the latest to come from her fifth and most recent studio album Looking Back, out via Quest Records and with support from Creative BC and the Province of British Columbia.
“I am very fortunate at this time in life as I usually get a message from spirit that it is time to do a CD,” Dalannah shares of her creative process and how Looking Back came to be. “All my albums have come from a waking moment where something comes through me…
“There has always been an underlying theme for my recordings,” she adds. “For Looking Back, I woke up one morning and knew I still had something to say musically at this crucial time. The more I thought about it, I knew that it was — and is — the undeniable fact that we need to take a good look at how we walk on Mother Earth…
“A good look at how we ‘be.’
“One of the basic hereditary teachings and beliefs of our tribal Indigenous communities is that we are not just casual visitors on this planet, we are the current generation of ancestral caretakers who must see that the needs of our children and their children’s children are not squandered, but harvested and shared and replenished for their use.
“As I was Looking Back on my life and its successes and failures to write songs for this album, I realized my worst times came from self-indulgence and a lack of concern or awareness of my personal footprints and behaviours in life, and how they effected others,” she recalls. “But also my best and most rewarding experiences were those that required giving, sharing, loving, and caring.
“For example,” she continues, “the era of my ‘hippie’ years with protests against war, nuclear power, pollution, and injustices, there was camaraderie in fighting for a just cause; that has become a sustaining purpose in my life, and will remain so as I ‘Look Ahead.’”
“It is an obligation to commit and participate in ensuring the earth’s resources are shared wisely so as to be available in perpetuity for all humankind.”
Born of African-Canadian and Cherokee heritage, Dalannah Gail Bowen’s indisputable prowess as a prolific singer, songwriter, actress, playwright, storyteller, event producer, social activist, International Memphis Blues Awards semi-finalist and Blues Hall of Fame Master Blues Artist has secured her standing as a fixture of the blues, rock and soul music-making scene for over 40 years.
Canadian Musician Magazine says she “has a truly spectacular set of pipes, and a most commanding stage presence,” before adding that Dalannah “has one of those voices that lays claim to part of your soul the first time you hear it, and never lets go.
“Smoky. Earthy. Soulful. Powerful. But it’s not just the voice, it’s what she does with it. So much emotion. So much control.”
Critics and colleagues across the board have long been ones to agree; an in-demand vocalist, she has performed alongside or opened for the likes of Led Zeppelin, B.B. King, Willie Dixon, as well as The Monkees and The Guess Who during her time with all-female group, The Feminine Touch.
Downbeat Magazine named her 2015 release Been Around A While one of the top blues albums of the year, and that year she was inducted into the Blues Hall of Fame as a Master Artist. Releases Mamma’s Got The Blues and Them Menz were also released to international critical acclaim, and she can also be heard in a wide range of musical collaborations, including traditional drum group The Snowy Owl Drummers, tribute collective to the world-renowned gospel singer in Songs of Mahalia Jackson, and Billie’s Blues: A Tribute to Billie Holiday.
It’s efforts like these that awarded her “The Key to The City” and have December 11th officially declared “Dalannah Gail Bowen Day” by Vancouver’s Mayor and Council.
All this to say there have long been many facets of Dalannah to shine, and they all share a common spark, joy, determination and fire towards her womanhood and craft.
The new release, Looking Back, takes the dynamic artist’s work in a new direction, with the music drawing more heavily from Dalannah’s own and more personal story.
“My journey has led me from an unsettled childhood, to finding music, to getting lost in the trauma, to finding traditional ceremony, and all that that means as far as healing is concerned,” she shares. “My journey as an activist started way back in the 60s, marching for the anti-apartheid movement and human rights… Women’s rights.
“Now, at this place and time, I have the opportunity to be a messenger through my music, and through Looking Back.
“The album also takes a hard look back at our world, and our cultures,” she adds of its genesis. “It takes a look towards our future, too.”
Produced by Michael Creber, Looking Back was recorded at Vancouver’s Monarch Studios and Warehouse Studio on classic mics seemingly designed to capture Dalannah’s rich, arresting vox.
The album features a veritable who’s who of the area’s local music scene, including Jim Byrnes, The Sorjourners, Tom Keenleyside, Andreas Schuld, Chris Nordquist, Miles Hill, Olaf de Shield, Brian Newcombe, and Rob Becker.
“We could have probably called it ‘How We Spent Our Summer’,” she laughs, recalling the release’s recording process. “We more or less missed hitting the beach, but our studio tans looked great!
“And wait ‘till you hear what we put down.”
You don’t have to wait much beyond this line… Looking Back and “Look Ahead” are available now.
Canadian rockers Revive the Rose harken true to their national pastimes and hometown roots with their widely lauded tribute to hockey, “Bar Down.”
At 250,000+ streams across platforms, Revive the Rose is lead singer Andy Colonico, guitarist Peter Antoniou, guitarist Matt Cookson, and Steve Stercho on bass; “Bar Down” is the latest to come from the Welland, Ontario-based band’s 2019 self-titled debut LP.
The song originally started as a theme song for a local OHL team and eventually, explains Colonico, was passed onto the NHL. “Toronto Maple Leafs DJ Cale Granton entered the track into heavy rotation during home games,” Colonico says. “From there, it became a 2019-2020 official warm-up song for the team. Then one thing led to another and, after informing EA Sports about this, we’re now in a video game. “Bar Down” will be featured in the EA Sports NHL 21 video game as a warmup song.
“And making a beer for the song.” Revive The Rose will release their official beer, “Bar Down Lager”, on Friday October 16th at Taps Brewhouse in Niagara Falls. The beer will be available for purchase online as well as several Niagara area bars.
“Hockey is a huge part of the atmosphere growing up in the Niagara region,” Colonico offers. “There’s a thick hockey history here, and there’s been a lot of OHL to NHL success stories from the Welland area — Dan Girardi, Paul Bissonnette, Cal Clutterbuck…
“We love the atmosphere this song has created, bringing so many friends and family together and crankin’ it up at the cottage,” Colonico continues. “It’s kind of our way of praising our small-town lifestyle… We always attend our pal’s hockey games and they always attend our shows; it’s just our way of life.”
“We really loved the term ‘Bar Down’ because our hockey pals just have the most insane lingo,” Colonico adds. “Rock and roll has always complemented the sport well. That, and beer.
“So now we’re known as the band from Niagara with the hockey song.”
The video upped the band’s ice cred even more thanks to some insider access to the IceDogs and their arena. “My cousin Mike Krasnay worked for a film production company that shot the IceDogs games,” Colonico says. “He had access to the arena and the team’s management were all-in for the idea; they even showed the video at every hometown game!”
Known for honest, straightforward, and salt-of-the-earth songwriting that reflects themes of life, love, learning, and moving forward, Revive the Rose have opened for bands such as Monster Truck, The Trews, Danko Jones, The Glorious Sons, The Standstills, illScarlett, The Lazys, The Mahones, and more. Their single “Nine To Five” was featured extensively at radio, and the band has been counted as Alan Cross’ #1 pick for ‘Bands You Must Hear This Week.’
HuDost, led by Montreal and Kentucky-based musicians and activists Moksha Sommer and Jemal Wade Hines, have released a powerful video for their forthcoming single, “Our Words Will Be Louder.”
The new song is a vital message for positive, collective action to be taken in this vulnerable and polarized time. “Our Words Will Be Louder” was co-written with Dan Haseltine (GRAMMY Award-winning band Jars of Clay) and Guitar World magazine’s “Acoustic Guitarist of the Year,” Christie Lenée.
Specifically, the song addresses how inadequate people can feel until they give their voices to a larger purpose, and the video has several cameo performances from artists and activists — including Jars of Clay, Kevin Hearn (The Barenaked Ladies), Kevin Clash (creator of Elmo), Cy Curnin (The FIXX), Gangstagrass, Jai Uttal, Hymn for Her, The Accidentals, JP Durand, Liza Carbe (Incendio), and others.
Proceeds from “Our Words Will Be Louder” will be directed to The Poor People’s Campaign, a non-profit organization committed to lifting up and deepening the leadership of those most affected by systemic racism, poverty, the war economy, and ecological devastation as well as to building unity across lines of division.
At the end of HuDost’s music video is riveting footage of peaceful protests and the voice of The Poor People’s Campaign’s main leader, Reverend William J. Barber II, saying these words:
“We will stand up again, we will march again, we will preach again, we will organize again. We are black, we are white, we are latino, we are native American, we are democrat, we are republican, we are independent, we are people of faith, we are people not of faith, we are natives and immigrants, we are business leaders and workers and unemployed, we are doctors and the uninsured, we are gay, we are straight, we are students, we are parents, we are retirees, we are America, and we are here and we ain’t going nowhere!”
The power of his voice and this unyielding proclamation, summarizes the message of the song and music video. Sommer and Hines both have learned a great deal by acting as congressional district representatives for ONE, a non-profit advocacy organization working to end extreme poverty globally, in Kentucky for almost six years. Through advocacy work, they have come to know how to be a voice for people who are not being heard and have been amazed by what can happen with the power of collective voice. In this desperate time, they feel profoundly pushed and inspired to work locally and nationally. Their music is a direct expression of this drive and they hope that it will be part of what motivates others to take action in this time.
In addition to benefiting The Poor People’s Campaign, HuDost also hopes that this song will encourage early voting. There has never been a greater need for all voices to be heard.
HuDost were recently honored with an Independent Music Award for their song “Rise Together” in the “Social Action” category (also co-written with Dan Haseltine from Jars of Clay).
Award-winning rocker Kevin B Klein continues to amplify freedom of choice with his signature retro rock with a modern vibe in the celebrated release of “The Wrong From Right” and his sophomore album, They Call It Rock n Roll — both available now!
“The vision I had while creating this song was about making choices in life,” Klein says of ‘The Wrong From Right.” “This song is about our free will.
“I wanted it to be rhythmic, primal, and edgy, and I wanted it to reflect the current world we live in: relatable and powerful for all to enjoy.”
Mission accomplished.
SiriusXM Little Steven’s Underground Garage’s Genya Raven calls Klein a “brilliant musician and great lyricist,” while Detroit-based WRIF 101.1FM’s Jonel Jaska adds “if you prefer a more classic rock sound, I’d like to introduce you to Kevin B Klein. His brand of rock music harkens back to straight, good-time rock n’ roll while keeping its originality.”
“We try to select the best or, at least the most interesting,” Odayrox adds, noting the constant flux of new albums and artists arriving on their desks daily. “This is the case with They Call It Rock n Roll… This guy has a profound love for American classic rock music… This album is a very well-rounded homage (of) all-original material to a time when melody ruled.”
“My vision for the album was to recreate the sounds of the past that we all love — those classic sounds of Rock and Roll — without emulating any other artist,” Klein shares of the 13-track release. “I wanted every song to have its own special character that captured the pure essence of the genre, and sound vintage but current at the same time.
“I had the title for the album before the title track was even written,” he recalls. “It was also the last track we recorded; I finished writing it in my van in the driveway of the studio — GDA Productions in Annapolis, Maryland — while we were laying down guitar tracks. I didn’t want to rush anything; I wanted to create rock and roll magic, and I feel that was achieved.”
Kevin B Klein has won the Josie Music Award for Rock Artist of the Year (2017) and Rock Entertainer of the Year (2018), the Motor City Muscle songwriting competition for “We Are Detroit,” and opened for the likes of Tesla, Night Ranger, Eric Martin (Mr. Big), Everclear, Bullet Boys, and more.
Ranking on the Independent Canadian charts, They Call It Rock n Roll serves as the follow-up to his critically acclaimed debut, Good Day To Be Alive. His video “Only In My Dreams” was #1 for two years on Balcony TV Nashville, and he’s been featured on PBS, Sirius XM, and national and international radio the world over.
Toronto’s alt-rockers Imperial Ashes intertwine their unique insights as songwriters and academics to confront global injustice head-on with the release of their new and debut single, “Ordinary Lights” — available now.
The song takes to task society’s outsized and accelerating privilege disparity through both the song’s lyrics and supplementary content, including an interview series wherein lead vocalist Rayna Elizabeth draws on her academic background to discuss the issues at hand with people who are directly involved with, and affected by them.
“We wanted to write a song dedicated to the challenges faced by the working class in their struggle for fair treatment,” Elizabeth says. “‘Ordinary Lights’ highlights the precarious positions often faced by front-line workers — a fact that has been brought to the forefront and exacerbated by the pandemic.
“COVID-19 has been a difficult time for almost everyone, but it has been the workers in health care, retail, farming, delivery, waste disposal, public transportation, and other essential industries who have quite literally kept us alive through it all,” she continues. “These same people were already faced with low wages, long hours, job insecurity, and sometimes dangerous working conditions before the pandemic hit.
“Now, many of them are expected to risk viral exposure and, thus, their lives on a daily basis.”
More than just this song, Imperial Ashes — including Rayna Elizabeth, Andrew Lauzon, Nick Chiarore, Drew Hallenbeck, and Greg Olsen — is a band born entirely out of their shared frustration with the rampant power abuse and inequality that exists in today’s world. After completing a Master’s thesis on wealth inequality and stigma, Elizabeth didn’t want to limit her voice to the confines of academia, she says. “I felt that marrying my lyrics to the power of hard rock and alternative music was the perfect vehicle for unapologetic criticisms of the grave injustices rampant in the world, and the growing sense of angst so many of us feel.”
A collective of seasoned musicians with international tours under their belts, their debut album — set to be a raw blend of visceral emotiveness and compelling melodies channelled through an explosive, alt-prog and post-hardcore rock conduit — is in collaboration with multi-GRAMMY Award winning producer and mixer David Bottrill (Tool, Muse, Rush, Peter Gabriel).
Canadian pop punk rapper Hollow River delivers his version of a protest record with the unleashing of Quarantine Mixtape — a concept EP and video trilogy release available now.
Balancing the fine line between personal and political themes, art quickly imitated life for the Boston- and Toronto-based artist.
“I was stuck in my apartment, still taking classes at Berklee, and needing to keep up with a pretty heavy load from my songwriting classes,” he recalls. “But all I could think about was the lockdown, and I couldn’t stop watching the news. I ended up writing about that for my classes just to get through some assignments, but my classmates and teachers encouraged me to see the project through to the end.
“This revisits those first days of quarantine and the feelings of helplessness and isolation many felt during that period. There were a number of times over the last few months I almost axed it altogether but, unfortunately, it’s now Fall and the coronavirus is more topical than ever…
“Wash your hands and wear a mask.”
At three tracks, Quarantine Mixtape lands as an experimental follow-up to this year’s previous release, “Known To Lie” — which received critical acclaim from Alan Cross and appeared on Ottawa’s Live 88.5.
Hollow River first fledged his music career interning at Hamilton’s legendary Grant Avenue Studio (Daniel Lanois, Gordon Lightfoot, John Cage) before heading to Boston, Massachusetts to attend Berklee College of Music — where he currently resides — to pursue a double major in music production and engineering/songwriting.
Time not spent studying revolves around furthering his craft, including freelance production and mix work with a variety of artists, and songwriting and arrangement consulting.
His efforts are quickly becoming noticed; “Mark is a talented and adaptable musician who can evolve on a dime when he needs to,” says Berklee Songwriting professor, George Woods. “(Mark is) committed and dedicated to what he does.”
Award-winning songwriter and producer Pat Hanlin — who MacDonald is mentored by as a production assistant at Hanlin’s Revivalhouse Records & Film — agrees, adding “(Hollow River’s) super power is the tone of his writing; it’s raw and real and really well composed, lyrically.
“The guy’s a maniac in the studio,” Hanlin continues. “You know anything Hollow River releases is going to BUMP!”
Experience Hendrix L.L.C. in partnership with Legacy Recordings, a division of Sony Music Entertainment, are releasing the brand new feature length documentary Music, Money, Madness . . . Jimi Hendrix In Maui as well as the accompanying album Live In Maui on November 20. The film chronicles the Jimi Hendrix Experience’s storied visit to Maui and how they became ensnared with the ill-fated Rainbow Bridge movie produced by their controversial manager Michael Jeffery. The Blu-ray will include the full documentary as well as bonus features featuring all of the existing 16mm color film shot of the two performances that afternoon mixed in both stereo and 5.1 surround sound. Included in the package will be Live In Maui – both of the aforementioned sets spread across 2 CDs or 3 vinyl LPs, newly restored and mixed by longtime Jimi Hendrix engineer Eddie Kramer, and mastered by Bernie Grundman.
By the middle of 1970, Jimi Hendrix was working on a follow up album to Electric Ladyland with his bandmates Mitch Mitchell (drums) and Billy Cox (bass), headlining festivals and arenas across the U.S. and building Electric Lady Studios in Manhattan’s Greenwich Village. Completing this state-of-the-art recording facility was proving to be a costly endeavor, so his manager Michael Jeffery procured a $500,000 advance from Warner Bros. to fund the remaining construction required to complete the studio. At those same meetings, Jeffery convinced Warner Bros. executives to finance a film called Rainbow Bridge that was to be shot in Maui, in exchange for rights to its soundtrack album consisting of new Jimi Hendrix studio recordings.
Inspired by Easy Rider and directed by Warhol acolyte Chuck Wein, Jeffery’s film centered around the idea of a “rainbow bridge” between the unenlightened and enlightened worlds. It was envisioned to feature everything from surfing and yoga to meditation and Tai-Chi and filmed without the aid of a script or professional actors. It proved to be a rambling assemblage of hippie excess and Jeffery grew concerned that his investment was being squandered. The Experience were already booked to perform a concert in Honolulu at the H.I.C. Arena on August 1, 1970. Chuck Wein, desperate to feature Hendrix in some capacity within the film, devised a plan to film a free ‘color/sound vibratory experiment’ on the lower slope of the dormant Haleakala volcano. Word of mouth about a free Jimi Hendrix concert led a few hundred curious Maui locals to the Baldwin cattle ranch in Olinda where a makeshift stage was constructed and the audience was arranged by their astrological signs. The performance was a success – the trio was at the height of its powers and played two sets flawlessly against a stunning natural backdrop.
In the aftermath of his performance on Maui, Hendrix would return to New York and his work at Electric Lady Studios. He had no further involvement in Rainbow Bridge. He left for Europe at the end of August to headline the massive Isle Of Wight festival and begin a European tour. Tragically, he would die in London on September 18, 1970.
The Cry Of Love, the first album of posthumous Jimi Hendrix recordings, was issued in 1971 to wide commercial and critical acclaim. Jeffery readied Rainbow Bridge and its accompanying soundtrack to be the next release. Despite its Hendrix association, the film was a commercial flop. Rainbow Bridge confused moviegoers, many of whom were under the impression they were going to see a concert film. A scant 17 minutes of haphazardly edited Hendrix concert footage was used in the final cut, and it proved to be the film’s saving grace. Due to technical problems inherent in the original recording of the Maui performances, Mitch Mitchell had to overdub his drum tracks at Electric Lady Studios in 1971 just so those performances could be featured.
Eddie Kramer recalls, “Mitch did a tremendous amount of work on the overdubs. If he didn’t get it in one take, he certainly did in the second one and I was so blown away by his ability to duplicate the parts he had already played! He was determined to fix what suffered on the recordings due to the 50 mile an hour winds because they were playing on the side of a bloody volcano! After Jimi died it took a while before I was able to go back to the closet with all the tapes. Mitch was a trooper with a can do British attitude. It’s all very well to overdub drums, but to do it so you can’t tell, that’s the magic. He knew the material extremely well and it’s a tribute to his sensitivity as a great musician and an equal and willing partner of Jimi’s.”
The posthumously released Rainbow Bridge soundtrack album, prepared by Mitch Mitchell, Eddie Kramer and John Jansen, was first rate and featured classics such as “Dolly Dagger” and “Hey Baby (New Rising Sun).” The album, however, did not include audio from the Maui concert, which may have also added to consumer confusion.
Directed by John McDermott and produced by Janie Hendrix, George Scott and McDermott, Music, Money, Madness . . . Jimi Hendrix In Maui incorporates never before released original footage and new interviews with firsthand participants and key players such as Billy Cox, Eddie Kramer, Warner Bros. executives and several Rainbow Bridge cast members, as well as its director Chuck Wein. Their fascinating account tells the definitive story about one of the most controversial independent films ever made.
The documentary sets the proverbial stage for Live In Maui – the two full Jimi Hendrix Experience sets, including breathtaking renditions of crowd favorites like “Foxey Lady,” “Purple Haze” and Voodoo Child (Slight Return),” as well as then-unreleased songs like “Dolly Dagger” and “Freedom” that showcased the new direction Hendrix was moving toward.
The Jimi Hendrix Experience – Live In Maui CD tracklist
DISC ONE
FIRST SHOW:
Chuck Wein Introduction
Hey Baby (New Rising Sun)
In From The Storm
Foxey Lady
Hear My Train A-Comin’
Voodoo Child (Slight Return)
Fire
Purple Haze
Spanish Castle Magic
Lover Man
Message to Love
DISC TWO
SECOND SHOW:
Dolly Dagger
Villanova Junction
Ezy Ryder
Red House
Freedom
Jam Back at the House
Straight Ahead
Hey Baby (New Rising Sun)/Midnight Lightning
Stone Free
