Category Archives: Jimi Hendrix

Rocks In The Attic’s Buyer’s Guide to….Jimi Hendrix

  – 3 essential albums, an overlooked gem, a wildcard, one to avoid, and the best of the rest –

The summer of 1966 was a great one in London. England won the World Cup in Wembley Stadium, the Kinks’ Sunny Afternoon hit the top of the charts, the American Billie Jean King won the first of her six Wimbledon titles and the Beatles delivered Revolver. In September, a pop culture atomic bomb was dropped on the city when an unknown blues guitarist was flown in by Animals bass-player Chas Chandler.

Hendrix-1In the short time between being thrust into the spotlight of swinging sixties London to his abrupt death just four years later, Jimi Hendrix redefined what was possible on the electric guitar. He personifies rock guitar and serves as the perfect mix of blues, pop, soul, R&B and psychedelia. While he only released three studio albums during his life, a wealth of live albums, compilations and posthumous studio albums have been released with varying degrees of success. This buyer’s guide aims to stick a finger to the man and raise a peace sign to all the foxy ladies.

Start off with: Are You Experienced (1967, Track Records)

Hendrix-2With only three proper studio albums available, it makes sense that these are all essential listening. It’s also good to tackle them in order, to see how Hendrix and his power-trio developed over time. The first of two albums in 1967, Are You Experienced shows us a bright new artist almost fully formed. Following on from the standard set by singles Hey Joe, Purple Haze and The Wind Cries Mary (all three of which were left off the UK release), the debut album also gives us Foxy Lady, Manic Depression and Fire to add to Hendrix’s bulging set list. In Red House, he creates a blues standard for guitarists everywhere, and delivers two psychedelic highlights in Third Stone From The Sun and the title track. The US version of the album arrived three months later and substitutes some of the album tracks for the previously mentioned singles, but it’s the UK version of the album that should be seen as the real deal.

Follow that with: Axis: Bold As Love (1967, Track Records)

Hendrix-3Already bored with the theatre and histrionics of his stage show, Hendrix put the fuzz pedals to one side for his second studio album of 1967. A subtler, nuanced album from a singer-songwriter perspective, the material shows an artist maturing in both song composition and lyrical content. The barnstorming Spanish Castle Magic and Bold As Love remain as the only songs that might fit on their noisier debut. Everything else feels much more relaxed. Little Wing is a delicate blues ballad featuring superb use of the glockenspiel, Wait Until Tomorrow tells the story of two star-crossed lovers who were never meant to be, and Castles Made Of Sand shows a contemplative Hendrix addressing the issue of mortality and time slipping away. Recorded just 13 months after he landed in London, the album is an incredible achievement in both songwriting and performance. Given how swiftly he could write and record material, one wonders how many Hendrix albums there could have been had tragedy not taken him so soon.

Then get: Electric Ladyland (1968, Reprise Records)

Hendrix-4For the Experience’s third studio LP, Hendrix recorded a double-album’s worth of material at several studios in London and New York. Where the first two records had been strictly a band affair, Electric Ladyland includes many guest appearances from assorted hangers-on and musicians. Traffic’s Dave Mason and Steve Winwood, the Jefferson Airplane’s Jack Casady, the Rolling Stones’ Brian Jones and Bob Dylan-sideman Al Kooper all pop up across the album’s sixteen tracks. Again, the record gives us a high hit-rate of Hendrix classics – Crosstown Traffic, Long Hot Summer Night, early-era single Burning Of The Midnight Lamp, and his reworking of Dylan’s All Along The Watchtower. But it’s the last song of the album that remains as Hendrix’s magnum opus. Voodoo Chile (Slight Return) begins with an ominous, faded-in wah-wah-pedal before all hell breaks loose in a psychedelic reimagining of electric blues. It’s an everlasting testament to the musical genius of Hendrix, and you couldn’t find a more fitting song to be the last track on his final studio album.

Criminally overlooked: Stone Free (1980, Polydor Records)

Hendrix-5Of course, where there’s money to be made you can always count on record companies sniffing around. Hendrix has released more albums from the grave than he did when he was alive; a raft of uneven posthumous studio records (thirteen at the last count) and dozens of compilations of varying quality. One particular favourite of mine is this 1980 offering from Polydor Records. It might suffer from the cover proclaiming it to be part of the ‘Special Price Series’, but the tracklist is killer. The usual offenders are here – Crosstown Traffic, All Along The Watchtower, Castles Made Of Sand and Little Wing – but it’s the inclusion of the non-studio album material that’s more interesting. Alongside a nice energetic version of the evergreen Johnny B. Goode, the highlight is Ezy Rider, taken from 1971’s The Cry Of Love. It’s the perfect, practically unknown Hendrix song, equal to anything released when he was alive.

The long-shot: Live At Woodstock (1969, Music On Vinyl)

Hendrix-6This one doesn’t get a great deal of love, and it’s not hard to see why. Held over to ensure he was the final act to play the festival at the behest of his manager, rather than taking the headline slot on the Sunday night, it was 9am on Monday by the time Hendrix walked onto the stage with his much larger (than usual) band. Most of the 400,000 crowd had left, the 30,000 remaining had the hangover of all hangovers, and Hendrix himself could barely hide his disappointment. In the stark morning light, Hendrix and band deliver a set consisting of early classics, later masterpieces and lots and LOTS of jamming. It’s crazy how much improvisational material is played given the stature of the event. The highlight of the performance might be when Hendrix flashes the peace sign as he launches into his reworking of The Star Spangled Banner, but my favourite moment is his blistering version of Voodoo Chile (Slight Return). Amazing!

Avoid like the plague: Band Of Gypsys (1969, Polydor Records)

Hendrix-7Coming just four months after the Woodstock performance, Band Of Gypsys finds Hendrix once again playing live as a power-trio.  Captured at New York City’s Filmore East on New Year’s Day 1970, I’ve never really appreciated the heavier sound that bassist Billy Cox and drummer Buddy Miles bring to the equation. The newer material is dirge-like and it just sounds like a bad trip. The sixties are officially over, they’re selling Beatles wigs in Woolworth’s, and this record shows it.

Best compilation: The Ultimate Experience (1992, Polydor Records)

Hendrix-81997’s Experience Hendrix: The Best Of Jimi Hendrix may have overtaken it as the readily available compilation, but my favourite will always be this similar 1992 release. There’s just something about the sequencing of a compilation of an artist you’re discovering that becomes way more important than it has any right to be. All Along The Watchtower followed by Purple Haze followed by Hey Joe followed by The Wind Cries Mary. Bang! Bang! Bang! Bang! I could do without the next song, Angel, and would swap it for the bizarrely overlooked Spanish Castle Magic, but that’s really my only criticism. Even the gold artwork on this release is so tied to the treasures within!

Best live album: Live At Monterey (1967, Legacy Records)

Hendrix-9There’s a wealth of live Hendrix material, almost as many albums as the numerous compilations available, so it’s hard to nail these just to one essential release. If pushed, I’d go for this, his breakthrough appearance in America. Introduced by the Rolling Stones’ Brian Jones, Hendrix opens the show with an incendiary version of Howling Wolf’s Killing Floor. The set showcases early singles Hey Joe, Purple Haze and Foxy Lady, as well as covers of Dylan’s Like A Rolling Stone and the Troggs’ Wild Thing. He closes by setting his Fender Stratocaster on fire, and rock music would never be the same again.

Considering that Jimi Hendrix died almost fifty years ago, there’s still a huge amount of material I haven’t yet heard. And it’s still coming out! 2018’s Both Sides Of The Sky completes a trilogy of albums intended as a follow-up to Electric Ladyland. It’s unlikely that anything will overshadow those three original studio albums by the Experience, but I’m sure there’s still the odd gem to be found.

Hendrix-10

 

Rocks In The Attic #591: The Jimi Hendrix Experience – ‘Live At Woodstock’ (1969)

RITA#591
A couple of weekends ago, I saw a screening of Woodstock: The Director’s Cut at Auckland’s majestic Civic theatre as part of the New Zealand International Film Festival’s Autumn Classics programme. I have seen Michael Wadleigh‘s film many times, having owned it on DVD for half my life, but I couldn’t pass up the opportunity to see it on the Civic’s supersized screen.

Of course, the biggest draw-card is the appearance at the end of the film by Gypsy Sun & Rainbows, the de-facto name for Hendrix’s temporary band on the day (despite Chip Monck’s stage announcement introducing them as the Jimi Hendrix Experience).

Hendrix was billed to headline the festival, the last act on the third and final day of music (Sunday). However, the storm that ripped through the festival over the weekend, coupled with several technical delays, caused the event to over-run. Hendrix was offered to play at midnight on the Sunday night, but his manager declined, wanting him to perform as the festival’s closing act, as he was billed and contracted to do so.

RITA#591b
The result is good and bad. Unfortunately, half of the audience had gone home by the time Hendrix walked on stage at 9am on the Monday morning, presumably back to their jobs working for ‘the man’ as the week started. On the film of Hendrix’s full performance, it’s clear to see the disappointment on his face on numerous occasions as he looks out at the grounds – half-full of rubbish, and half-full of tired hippies.

It’s also worth considering whether Hendrix’s meandering set-list was influenced by the time of day he played, and the massive reduction in audience numbers compared to the rest of the weekend. It’s far more improvisational than usual, particularly when you compare it to his set at the Isle Of Wight festival a fortnight later.

The one positive aspect of Hendrix playing early in the morning, is that the resulting film of his performance looks fantastic. The stage-lighting at the festival over the previous three evenings was basic, to say the least, and it’s nice to see a rare instance of Hendrix playing in daylight.

While the original cut of Woodstock only featured three songs by Hendrix (The Star Spangled Banner, Purple Haze and Villanova Junction), the expanded director’s cut also adds in a jam (the almost schizophrenic Woodstock Improvisation) and a jaw-dropping rendition of Voodoo Chile (Slight Return).

For the longest time, I was bored by Hendrix’s set at Woodstock – too few actual songs, and too much improvisational material. Over the years, the jams have grown on me and now the performance is one of my first go-to’s when I put a record on the turntable. I’ve gradually become obsessed with the performance, going so far as buying the film of his set on blu-ray.

RITA#591a
The lucky thing about the filming of the festival is that they had enough actual film to capture all of Hendrix’s set. Due to the delays over the weekend, the film crews used up far more film than planned, and by the time Hendrix walked on stage on the Monday morning, they had almost run out. The Hendrix performance was also captured by a pair of enterprising young men who smuggled their movie camera into the festival and snuck on stage just before the band’s performance started. This film, a grainy black and white image, is interesting given the different perspective it provides. Presumably so that they wouldn’t run into the festival’s official camera crew, they set up their tripod behind Hendrix and so it’s great to see a moment like Hendrix throwing the peace sign at the start of The Star Spangled Banner, from a reverse angle.

This 3xLP version of Live At Woodstock is the most complete version of Hendrix’s performance available. The two songs sung by rhythm guitarist Larry Lee (Master Mind and Gypsy Woman) are excised completely, while his guitar contributions across the rest of the set are very low, almost inaudible, in the mix.

The record’s greatest mistake however, is in the sequencing of songs between sides. The segue of feedback between Voodoo Chile (Slight Return) and The Star Spangled Banner – mere seconds before one of the defining moments of the 1960s – is split across sides four and five. Sacrilege!

Hit: The Star Spangled Banner

Hidden Gem: Message To Love

Rocks In The Attic #487: The Jimi Hendrix Experience – ‘Live At Monterey’ (2007)

RITA#487What a performance! From the moment that Jimi kicks into the electrifying opening guitar riff from Howlin’ Wolf’s Killing Floor to the destruction of western pop music on the Troggs’ Wild Thing, he’s really setting out his stable to American audiences.

I’ve always regarded Hendrix as a British act – two thirds of the Experience were English, and Jimi had to come to London to kick off his solo career. Who knows what would have happened if he’d have turned down Chas Chadler’s offer to go to London? Would he have kept playing as a sideman? Would he have been noticed in some other way? They say that the cream always rises to the top, but there are plenty of examples of people being overlooked completely, or finally noticed by the mainstream when they’re well past their prime.

This was the Experience’s first show on American soil, at what was undoubtedly an important performance. After winning a coin toss to decide who played first, The Who played before Hendix, resulting in Pete Townshend destroying his guitar and Keith Moon kicking over his drum kit. Hendrix and his band had to follow this, and it’s clear that they don’t sound intimidated or nervous. Hendrix would of course upstage the Who, by not only destroying his guitar but by setting fire to it (with the help of some lighter fluid).

I recently saw the Hendrix biopic Jimi: All Is By My Side. I was excited to see it; Jimi’s one of my musical heroes. I had heard that Hendrix’s estate had not authorised the use of any of Jimi’s songs in the film, and this didn’t sound very promising. In the end, I didn’t miss any of Hendrix’s songs (Stevie Nicks’ guitarist Waddy Wachtel – he of the Edge Of Seventeen riff from Bella Donna – does a great Hendrix imitation), André Benjamin was uncannily outstanding as Hendrix, and the film covered enough of the events from that London scene before he broke through.

The problem with the film seemed to be the editing. It really felt like we were watching something that hadn’t been finished. Such a shame really, as it ticked a lot of boxes and failed at the last hurdle in how it was presented. Aw shucks.

Hit: Hey Joe

Hidden Gem: Killing Floor

Rocks In The Attic #337: The Jimi Hendrix Experience – ‘Stone Free’ (1981)

RITA#337I got accused the other day of not listening to enough Jimi Hendrix. The accuser was my wife, and I guess there’s plenty of worse things she could have accused me of (laundry, the rubbish bins, etc). The thing is, with Hendrix, there’s not a great deal of material to listen to, and I think I got it all out of my system in my teens.

Don’t get me wrong, I love the guy, but I’m not going to listen to him endlessly in case I get sick of him. Hendrix is one of the cornerstones of my taste in music, my record collection and my guitar playing. Without him, my taste in music wouldn’t be as refined, there’d be some pretty major gaps in my record collection and my guitar playing would be much more average than it is now (which is pretty average).

I tend to listen to Electric Ladyland more than anything else these days – it’s a bit more of a voyage, with some really eclectic and experimental material. If I want something shorter and more immediate, I tend to go for Are You Experienced?; but of the three, the purity of Axis: Bold As Love will always be my favourite.

I found this compilation in a record shop in Withington, and you know what? Something on it really surprised me. A diehard Hendrix fan, I thought I knew it all. You see, after I devoured the three studio albums, the important live recordings (Monterey, Woodstock, Isle Of Wight, Band Of Gypsys), and a decent mid-‘90s compilation (The Ultimate Experience), I stopped. I didn’t want to dilute my interest by delving into the posthumous studio albums that were released in the late ‘90s.

These albums – First Rays Of The New Rising Sun and South Saturn Delta (both 1997) – were official releases, driven by the Hendrix family, and fully realised with the help of Eddie Kramer in the producer’s chair. They’re cash-in releases, but at least they’re a bit more authentic (and interesting) than your typical grab-bag compilation album.

Ezy Rider, one of the tracks on First Rays Of The New Rising Sun, is a true hidden gem and was included here on this 1981 compilation album, Stone Free. Before I heard it, I thought I knew everything there was to know about Hendrix. Turns out, I didn’t.

I’ve since listened to those two late ‘90s albums, together with two later releases – Valleys Of Neptune (2010) and People, Hell And Angels (2013) – and they’re not great. There’s some interesting material, but the best of the bunch had already seen the light of day on lesser releases like this one.

Hendrix fans should listen to Ezy Rider, if they haven’t already – it really stands up to the quality of material on his three original studio albums. It also proves that the man can still surprise, long after he’s dead.

Hit: All Along The Watchtower

Hidden Gem: Ezy Rider

Rocks In The Attic #226: Jimi Hendrix – ‘Band Of Gypsys’ (1970)

RITA#226The end of the ‘60s captured on vinyl – if only because this was recorded at New York’s Fillmore East on New Year’s Eve in 1969.

This isn’t usually the Hendrix album I reach for first. I’d opt for the three studio albums any day over this, but it’s well recorded and nice to hear Jimi play in a more relaxed setting than the Experience. There are some really nice, laid-back jams on this record – and then songs like Machine Gun which explode into frantic explorations.

As you might expect, it also sounds much blacker than any of the three studio albums, especially due to the soulful backing vocals provided by Buddy Miles. I never really think of Hendrix as a black artist, in the same way that I don’t consider him to be an American musician – mainly because across the three Experience albums, the backing vocals by Noel Redding and Mitch Mitchell are very, very white and very, very British.

As much as I love Hendrix on record, I always struggle to stay interested when I’m listening to him play live. I have the same feeling about Jimmy Page. Both are fantastic guitarists but their fondness for improvisation can sometimes turn me off. There’s a fair bit of that kind of improvisation here, and when you look at the full set-lists for the two New Year’s Eve shows that this was cut from, you can see that they’ve avoided a lot of the three minute pop songs, in favour of material not previously associated with the Experience.

I have the European re-release version of this record. Instead of the six songs included on the original release (two on the first side, and four on the flip side), the reissue I have has nine in total (five on the first side, and four on the flip side). This obviously makes the album much longer, and even the inclusion of Foxy Lady is deceptive – it’s a six minute rendition!

Hit: Foxy Lady

Hidden Gem: Who Knows

Rocks In The Attic #150: The Jimi Hendrix Experience – ‘Axis: Bold As Love’ (1967)

Ten reasons why I love this album:

1. The Songs

Of the three studio albums released by Hendrix before his death, this comes across as the most personal. Are You Experienced is hook-driven and full of perfect three-minute pop songs, Electric Ladyland finds Hendrix immersed in the New York scene of barflies and hangers-on, but Axis catches him in full songwriter mode.

Hendrix’s lyrics are often overlooked, but he can really paint a picture with words. Axis showcases his love of science-fiction and his vivid imagination on tracks such as Spanish Castle Magic and Little Wing. Other songwriters can sound banal when they tell a story with lyrics – Paul McCartney commonly makes this mistake – but Hendrix seems to effortlessly get you on his side. His lyrics for Wait Until Tomorrow and Castles Made Of Sand are heartbreaking, and far from the sort of expectations set by the simplistic tone of Fire and Foxy Lady only a matter of months prior.

2. The Guitar Sound

I love the fuzz on Hendrix’s guitar throughout Are You Experienced.  The fade-in to Foxy Lady has to be one of the best sounds captured on a rock album – but Hendrix playing a clean tone on his guitar is even better. Thankfully this album is full of it.

The introduction to Little Wing is stunningly beautiful, and wouldn’t be quite the same if there was any overdrive involved. There’s a big difference between playing a guitar to chug away on some barre chords, and using it as a virtuoso instrument. It’s a really delicate piece, complimented perfectly by the addition of a glockenspiel – something that would usually be very much out of place on a rock album.

When I started learning to play the guitar, the first music book I bought was Electric Ladyland – there’s nothing like throwing yourself into the deep end. I didn’t last long with the book – I think I sold it to a friend as it was far too advanced for my skill level at the time. It always rankled me though, and eventually learning to play Little Wing gave me the confidence to go back and learn some of his other songs. I can play Hendrix’s stuff on the guitar reasonably well, but there are always a million subtleties that I overlook.

3. The Cover

If there’s one thing I hate about the late-‘60s, it’s the look associated with psychedelia. When The Beatles jumped on the bandwagon with Sgt. Pepper’s, they brought that look to a worldwide commercial level. People rave on about how timeless the Sgt. Pepper’s sleeve is, but I can’t stand it. It’s garish and like most record sleeves of that time, it dates it to a period when designers could get away with murder – as long as they painted their criminal efforts with as many colours as they had available to them.

The Sgt. Peppers sleeve is probably to blame for opening the doors of possibility for a number of visual crimes – The Rolling Stones’ terrible Their Satanic Majesties Request and Cream’s vomit-inducing Disraeli Gears immediately spring to mind. One other album sleeve to be thrown into that mix is Axis: Bold As Love. Quite simply though, I love it.

Rumour has it that the record company found out about Hendrix’s Cherokee ancestry. This got lost somewhere in translation, and the subsequent cover featured Hendrix amidst the wrong kind of Indians.

I’m sure most people would argue that the cover is just as offensive, wild and garish as anything produced around those times, but I truly see it as a piece of art – one of the nicest gafefold sleeves in my collection.

4. The Drum Intro To Little Miss Lover

Mitch Mitchell is oft-overlooked for his contribution to rock music. John Bonham and Keith Moon are always seen as the best drummers from the late ‘60s and early ‘70s, but Mitchell is a master player. He just suffers from having his parts overshadowed by Hendrix – and what a problem to have.

One of his standout moments across all three Hendrix studio albums is this funk-driven introduction to Little Miss Lover. Unfortunately, it’s so good that somewhere along the way it caught the ears of the Master of Mediocrity, Noel Gallagher – who used the sample as the basis for Fuckin’ In The Bushes from their Standing On The Shoulder Of Giantsalbum.

This meant that for a distinct period of time, Oasis fans claimed themselves a bit of credibility because of the Hendrix connection. I already despised Oasis and their legion of numbskull fans; I loathed them even more now.

5. Walking Down The Aisle

When I got married in 2011, my wife walked down the aisle to Little Wing.

In the weeks running up the wedding, she couldn’t decide between that and Led Zeppelin’s Over The Hills And Far Away. She wanted both played at the wedding – one to walk down the aisle to, and the other to walk back up the aisle to, as a married couple.

I convinced her that Little Wing worked much better as a down-the-aisle song, as the section in Over The Hills And Far Away where the bass and drums kick in, a minute and a half into the song, seemed more apt to mark a joyous occasion.

The beautiful Little Wing was used to soundtrack a beautiful moment.

6. Fulfilling The Record Contract

Hendrix was tied to a really bad record contract from day one, and never really made any money before he died. His estate now makes millions off his name, and it’s sad that his business affairs were always in such dire straits during his short tenure as a rock star.

The initial contract Hendrix signed with Track Records tied the Experience to release two LPs during 1967. Are You Experiencedhad already landed in May of that year, so surely another release would be of an inferior quality. Most bands would knock something out quickly, but Hendrix turns around and delivers a masterpiece.

7. Three Copies And Counting

Of all the albums in my vinyl collection, this is the one I own the most copies of. I bought two second hand copies while I was still living in Manchester – neither of which had a gatefold sleeve. About a year ago I bought brand new copy of the 2010 reissue from Real Groovy in Auckland. This is a heavyweight vinyl release, and also features the full gatefold sleeve, together with a booklet containing photos and an essay on the album.

You can say what you want about the Experience Hendrix releases – yes, they may be cashing in on Hendrix – but they’re supremely well packaged, and give his music the justice it deserves. If you don’t like the endless re-releasing of his albums, don’t buy them. It’s that simple.

8. The Production.

Electric Ladyland, would perfect the direction that Hendrix wanted to go but his first soundscapes came along on the title song of Are You Experienced, and were cemented here on Axis.

The wall of rolling feedback that symbolises the sound of a UFO taking off, on the album’s comedic opener EXP, leads the way into a set of songs where production really is as important as the songwriting. Axis would be the second and final album that Hendrix would record with Chas Chandler on production duties, and you definitely get a feeling that these sessions were fun. Electric Ladyland, on the other hand, can sound very serious at times and just a bit too heavy. Man.

9. The Font.

Hendrix’s handwriting is easily identifiable- his handwritten lyrics happily pop up all over the liner notes of the Experience Hendrix releases.

This font of his handwriting style cleverly takes the name of the album – Axis Bold.

10. Spanish Castle Magic.

Purple Haze, Foxy Lady and Fire always get their dues when it comes to their place in the rock riff canon. For some reason, Spanish Castle Magic gets lost in the dust.

It has a wealth of riffs – the stuttering overdrive of the intro, the main arpeggiated riff, and the descending, syncopated power-chords of the verses all combine to provide a really heavy guitar assault.

Hit: Little Wing

Hidden Gem: Bold As Love

Rocks In The Attic #105: The Police – ‘Outlandos d’Armour’ (1978)

Rocks In The Attic #105: The Police - ‘Outlandos d’Armour’ (1978)As far as debut records go, this has to be one of my favourites. It’s a little bit punk, a little bit reggae, and all wrapped up in a minimalist pop recording. People don’t tend to like The Police because of Sting’s later crimes against music, but I prefer to ignore his faux-bohemian noodlings and concentrate on his work in this band.

They’re just a perfect band: in Sting, you have a bass-playing, pop song-writing vocalist (with an unmistakable, high-register voice that’s very difficult to emulate); in Stewart Copeland, you have a jazz inflected drummer, who’s not scared to try something new (his timing and beat on Roxanne takes it uncharted territory for a pop song); and in Andy Summers, you have a slightly older guitarist (he played on stage with Hendrix, and counted The Animals as one of his former bands!), with a very progressive approach to chord progressions.

Those sort of attributes can sometimes weigh a band down – but probably because they’re all as equally talented, you don’t really hear anything too weighty or self-indulgent. I’ve heard David Fricke from Rolling Stone magazine say that after the assassination of John Lennon, the next big event in pop music to have a global impact on the youth of the day was when The Police split up in the mid-80s. Although they became a watered-down version of themselves on their later albums, you can understand, with this debut, how they made such an impact.

Hit: Roxanne

Hidden Gem: Next To You