In terms of the sound of the record, The Cry of Love isn't quite as thick as the style on any of his Experience albums - everything feels looser, more spacious in style. This makes for a really air-y type of album, with Hendrix giving himself all the room in the world to glide and fly around on these tracks, not just vocally of course. Hendrix's guitar playing is, as to be expected, powerful and crashing, still playing like an extension of his voice, creating sounds and walls like nobody else could on the instrument. Part of this looseness can be attributed to the subtle use of other percussion that permeates the production style, and they usually serve as a less-filling contrast to Mitch Mitchell's consummate and punching drums. Hendrix's new band is a great fit for his looser style, with Billy Cox providing a tight and thundering bass background for Hendrix's flourishes, and longtime partner Mitch Mitchell being just as good as his years in The Experience. A further consortium of musicians fill in the gaps with softer instrumentation to create a soaring, yet gentle album - I'm sue you'll recognize names like Buddy Miles, Steve Winwood, Noel Redding, and Steve Stills.
Lyrically, Hendrix's style has grown just as lax and carefree as the music, often pushing through with a sound that's distinctly loving and hopeful. Many of these songs reflect on his life in a curious way, such as the tributes to his mother that can be heard on "Drifting" and album highlight "Angel," the latter of which is one of Hendrix's most lovely tunes, gentle and beautifully worded throughout. Moments like these showcase a brief respite from the cockeyed Hendrix that was on display in his previous albums. Even still, Hendrix's more out-there side still gets a lovely chance to shine on "My Friend," a track with an energy straight out of a drunken blues club, complete with some honking harmonica lines from Paul Caruso. "Belly Button Window" is a assuredly odd way to end a record - a rich bluesy track with nothing more than Hendrix and a guitar in what is a smooth guitar lyrics, with lyrics that are so out-there and strange that I'm still not entirely sure what he's getting at. Of course, Hendrix can still rock, from the unshackling of "Freedom" to driving power of "Ezy Ryder," inspired by the film of the same name, to the pushing forward of "Straight Ahead." These songs all showcase Jimi's omnipresent ability to make the guitar his second voice, and some of these moments convince me that he's never rocked harder.
Many attempts to piece together Hendrix's fourth album have followed since The Cry of Love, eventually culminating in 1997's First Rays of the New Rising Sun. While all of those attempts would showcase new recordings and songs from the Hendrix vault, there is something awfully pure about The Cry of Love. Perhaps it's that it was the first of his posthumous releases, or maybe it's as simple as the fact that the album cover is significantly better, but The Cry of Love feels like the most ideal tribute to Jimi Hendrix. It brilliantly showcases the very talent that he had displayed throughout his entire career, while also showcasing elements of where he was planning to go next - it seems like whatever would've came out of the sessions had Hendrix lived would have been great. Hendrix has long since flown away, and yet his music remains eternally poignant and lively, and The Cry of Love is no exception. It's the love of Hendrix of full display.
RATING: ✯✯✯✯✯✯✯✯✯✯
Listen to The Cry of Love.
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