“Jimi Hendrix’s superlative 1968 double shot Electric Ladyland features two versions of his anthem toward getting high and dreamy on a rainy day (the first more laid back one being Rainy Day Dream Away, the second more explosive one being Still Raining Still Dreaming). I long ago linked them via an edit that I can’t even find now, but trust that it all flows nicely, powerfully together, with Hendrix rhapsodics to make even the gods cry, which leads to more rain, of course, more dreaming.” (Philip Random)
“On a bad night, with the wrong kind of ears, Pali Gap just sounds like more Hendrix noodling. The rhythm section locks into a groove, the great man proceeds to wander. But on a good night, with the right kind of lightning tearing up the sky, it’s a secret door to one of the Lord’s own mansions. Or as old friend Chris once put it, ‘With Hendrix sometimes, it’s not the notes he’s playing, it’s what they’re suggesting, except he plays so many f***ing notes, it’s impossible to grasp even a fraction of what he’s suggesting.’ So all the more reason to play Rainbow Bridge one more time (even if it has nothing to do with the movie of the same name).” (Philip Random)
The genius of Todd Rundgren is that he can do anything – pop, soul, rock, prog, abstract avant whatever. The worst thing about Todd Rundgren is that’s exactly what he does way too often — anything and everything all at the same time, and it all just ends up getting in the way of itself. But not so the title track of Healing (which takes up all of side two). It’s 1981 and drum machines and synths and sequencers are the cool new toys of the moment, and, genius that he is, Todd knows exactly how to play with them, to genuine therapeutic effect.
Alphabet Street being the lead off track from the last truly great Prince album, 1988’s Lovesexy. “We didn’t realize it at the time but he really did have to reign things in, else there would have been no reason for humanity continuing, God’s own paradise of peace and love and f***ing having been achieved on earth by Prince Rogers Nelson‘s unstoppable cavalcade of genius.” (Philip Random)
Leon Russell, everybody’s favourite underappreciated genius of the past fifty years, takes Bob Dylan’s surrealized hymn to ongoing apocalypse and renders it soulfully, gospelly, funkily (almost) fun. So much so that Dylan would be following that road himself in a few years … but first he’d have to find himself some Jesus.