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Showing 1-10 of 16 reviews(1 star). Show all reviews
on July 17, 2016
I was really looking forward to blasting some Jimi through my new stereo speakers! Sadly, the vinyl record was unplayable. With every song horribly skipping from the start. Sloppy work; so disappointed.
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on December 14, 2015
Anyone else hear the horrible static in Red House at the 7:43 marker? This 1 second interruption is so noticeable it makes me furious. I understand this is essentially a jam session without professional production applied to it, but a little attention to this glaring error could have saved this album. I also understand this wasn't recorded with the thought of an official release, but none of the other tracks have this problem. Maybe this track should have been left off, if the production crew couldn't remove the horrible static noises. Anyways, how many times do we have to hear this "new" song?
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on March 26, 2010
His too soon dead body rots while a non-blood sister he barely knew picks the carcass clean. For all the good reviews these cuts are dross; ideas and jams Jimi the perfectionist never meant anyone to hear. Even the main cut, 'Valleys of Neptune' was cut up for 'Angel' off Cry of Love. Speaking of Cry of Love; that was the last release with some almost finished cuts and some clunkers. Anything since was never to be heard. And they say they have more of this junk in the vaults. Poor, poor Jimi.
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on March 18, 2010
Really was looking forward to this album, I own almost all other albums released by/on behalf of Jimi, and I hate to say it but this just sounds like a Bootleg/Demo of his Ideas and works in progress. For Sony Corp' & the money loving 'Janie Hendrix Estate' to class this as the '4th' album is an utter disgrace to the genius that is Jimi Hendrix. Jimi was a perfectionist through and through just listen to HIS other 3 albums (amazing!!) and I would of had no doubt that if he were alive to finish this at the time it would stand just as tall as the others because it's full of potential, but that's all. Sony Corp' and Janie Hendrix obviously see this potential in terms of dollars! They're already selling one track singles in the USA of it! Also if you want an idea just how plastic it's getting check out 'Bleeding heart the official video' on Youtube it'll have you squirming. A total let down and a disgrace to the great man (Eddie Kramer you definitely should of known better!)
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on October 30, 2011
This is the worst Hendrix release since Crash Landing & Midnight Lightning-Janie ought to be shameful for putting out such
unfinished crap!!!-Jimi, being the perfectionist he was, would NOT put out this material until it was to HIS liking!!!
After two listens, I threw it in the garbage, what a waste of money!--JANIE, SHAME ON YOU FOR YOUR INEXPERIENCED LACK OF
KNOWLEDGE OF YOUR STEP-BROTHER'S INSIGHT!!!!!!!!!!!--Your work on the "Hendrix in the West" re-issue is disappointing also-
I would start communicating with REAL Hendrix fans before you start screwing anything else up!!!--enuff SAID!!!
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on April 14, 2010
Valleys O Neptune is welcome. Its always great to get more Jimi. But! Its painfully apparent why Jimi didn't release it himself. The chord-lines waffle and go nowhere. The words are un-inspiring and evoke little. The guitar solos are unfocased. Its sad really. With all the thousands of hours of live video/audio taken of Jimi what they are releasing. To qualify my opinions see, and hear; [...] Peace n Love; Tomi Lovelix
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on March 18, 2010
This is absolute rubbish. If I didn't know it was Hendrix, I would have thought it was three guys jamming in their garage wishing they were the Experience. The playing and singing sound like they were heavily influenced by Quaaludes and alcohol. To those who rate this highly, be honest with yourselves. You know this sucks. I feel disappointed, but mostly sad, that the Hendrix family would tarnish his legacy in this way.
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VINE VOICEon April 6, 2010
Only reason to get this disk is to see why lead foot Noel had to go.

Here Hendrix is going places within the BB King idiom with Red house and all Noel can do is drag him down off tempo, like a bass player out of Black Sabbath or KISS (Eddie Kramer's next effort), no idea what Jimi was doing and how to support it underneath, but always acting like a brainless pedestrian stepping on to the tracks of a roaring freight train, holding it down, and stopping it in its tracks. No wonder Jimi just stops the recording altogether instead of getting into the final verse.

To see where Jimi wanted to go, hear the symphonic blues of Red House off In the West recorded live in San Diego. Even there he gets frightened in the quiet segment and whips into overdrive instead.

Here Noel's over dominant and mindless thumping with a few meaningless white bread fills to nowhere kill it. If Kramer is so great, how did he let this travesty of mismixing through? Couldn't he have put that bass in the background just a bit more?

One reason why alone Noel had to go, never mind all his racial slurs and challenged personality, thinking himself the star and not the backup, this former back up for british cocktail lounge crooners like Englebert Humperdink who had no idea at all what the blues, and Jimi Hendrix, were all about.

There is nothing here Hendrix approved for public release and with a reason. Most of the tracks, in particular the first two, have vocals that would have been redone entirely, off tune in the first with no echo (if Kramer is such a whizz bang button pusher, why couldn't he have mixed this better instead of just going around claiming to be the brains and guts of Hendrix?), just a flat reading of Stone Free (the album version is better no matter what the brochure sales material here claims), and mostly mumbling echoing behind the guitar in the second title track, which would have had lyrics rewritten, vocals redone, without all of the throat music, and the second guitar redone which here only explores the sound of the guitar effect without going anywhere. In fact one would think that is not Hendrix but a studio guy brought in to posthumously to beef up this remnant of a beginning demo outline, which would never have been released to the public.

Bleeding Heart would have had the vocals redone as well, simply not up to a finished product.

Hear my train almost gets a finish on it, but hear the Jimi Plays Berkeley instead. OR for a glimpse of what Jimi could actually play before the british burned him out, see the twelve string version. What we have here on this mis-disk is still more of a practice session to learn the parts, the movements, to teach Noel how to play, rather than anything for public release.

Anyway, Billy Cox got it infinitely better.

Sunshine has an interesting scratch guitar section which speaks with the percussionist and is reminiscent of Santana of the time breaking down into a long percussion celebration, but nervous Noel kills it with his lead foot stomping all around aimlessly, mindlessly after Noel thinks some actual bass needs to come in but has nowhere to go and no clue what to do.

Jimi needed that bass player from Santana seen in Woodstock: 3 Days of Peace & Music Director's Cut (40th Anniversary Ultimate Collector's Edition with Amazon Exclusive Bonus Disc), not a clueless british cocktail lounge guitarist.

Hendrix needed Mingus Ah Um, or Stanley Clarke, or better, Bootzilla, even that weird guy from Weather Report, maybe any of James Brown's fired bass players, or of course Bass on Top, not this brainfree british bloke.

But he got Billy Cox, and that was a miracle.

Basically this Sunshine is just a jam and not ready for public release, but in the brief percussive section it shows Hendrix playing the guitar as a percussion instrument, wonderful, until Noel kills it.

Fire is okay. This is one of the tunes that Buddy Miles fell apart on during the Band of Gypsies New Year's concert, during the drum fills, he could not keep up and so Jimi swaps out to a Buddy Miles style choral vocal break to get him back on track, see the clip on you tube, and here it is just like a standard pulled out to warm up the frozen Noel. Didn't work.

Red House really needs Noel turned way down to the back all of the way. Friends who went to concerts at the time all say the bass was all they heard, and that early New York tape is all you hear. Here it is too loud and muddy and leaden foot, and kills where ever the guitar wants to go, with brainless white boy BS fills until Jimi has to call it quits instead of suffering through the final verse of his signature song, knowing Noel had already killed it. Another take was not done. Noel had again flunked his screen test.

The weird thing is that bassist Chas Chandler had the rhythm section return to re-record their parts twenty years later, and Noel still stinks.

If only Bootsy had been on tap then, Hendrix could have roared, and flown free, like The Gil Evans Orchestra Plays the Music of Jimi Hendrix wanted to set up, as he had doen for Miles Davis. If only George Clinton - Greatest Hits had been producing instead of Kramer's believing he was the producer instead of just the guy pushing the buttons on the board.

If only John Hammond Jr. had brought his dad along to record those Greenwich Village shows, Jimi never would have had to go to London to get his clown show together and get worked to death, with no time to really record, except those few immortal albums he did manage to release more or less to his satisfaction. Get them instead of this dog: Are You Experienced? [Vinyl], Axis Bold As Love (Vinyl) and Electric Ladyland (2 Vinyl) and hear them again.

Not this.

Only reason to get this disk is to see why the no-talent, leaden footed, british lounge player Noel had to go. Far too late but better late than never.

If these were Noel's audition tapes, he would't have made it into Spinal Tap, let alone the Jimi Hendrix Experience. Sounds like Sid Barrett's band on a bad night (did they ever have a GOOD night or too weighted down by the drugs?). Sounds like the bass foot dragger from Black Sabbath failing on Iron Man, or that fake tongue guy from KISS.

Not someone supporting the greatest African-Cherokee-American guitar player ever.

Sounds like someone with no clue what Black American music sounds like.

Proof here Noel had to go, like these tapes, straight into the dumpster instead of reeking making money for the vultures now, again, and again, and rehashed again.

We used to buy this junk hopefully from the discount cut out bin in the early seventies, and now they fork this slop to us again?

Back away from this disk. Get the in-his-lifetime officially released stuff instead, not all this posthumous grave rakings.

Like, here Hendrix is going places within the BB King idiom with Red house and all Noel can do is drag him down off tempo, like a dopey bass player out of Black Sabbath or KISS (Eddie Kramer's next effort), no idea what Jimi was doing and how to support it underneath, but always acting like a brainless pedestrian stepping on to the tracks of a roaring freight train, holding it down, and stopping it in its tracks. No wonder Jimi just stops the recording altogether instead of getting into the final verse.

Noel cannot dance and so Jimi cannot fly. Jimi tries to start up a number of quiet passages of blues and a number of explorations, but Noel believes he is the dominant star, can't accept he is working for a black man, doesn't know where to go, gets scared, but takes over and kills it.

To see where Jimi wanted to go, hear the symphonic blues of Red House off In the West recorded live in San Diego. Even there he gets frightened in the quiet segment and whips into overdrive instead, cause he knew otherwise Noel would kill it, live.

Here Noel's over dominant and mindless thumping with a few meaningless white bread fills to nowhere kill it. If Kramer is so great, how did he let this travesty of mismixing through? Couldn't he have put that bass in the background just a bit more?

And if Chandler had them all back in the studio twenty years later to redo their parts, how come they still couldn't do any better than this?

And why is it on the market at all??

To make more money off the unobjecting corpse, whose spirit would burn these tapes.

Here alone is one more reason alone why Noel had to go, never mind all his racial slurs and challenged personality, thinking himself the star and not the backup, this former back up for british cocktail lounge crooners like Englebert Humperdink who had no idea at all what the blues, and Jimi Hendrix, were all about. This is Spinal Tap.

There is nothing here Hendrix approved for public release and with a reason. Most of the tracks, in particular the first two, have vocals that would have been redone entirely, off tune, off key, in the first with no echo (if Kramer is such a whizz bang button pusher, why couldn't he have mixed this better instead of just going around claiming to be the brains and guts of Hendrix? If Kramer was such a whiz bang button pusher believing himself the PRODUCER, why couldn't he have miked the percussion of Jerry Velez and Jorma at Woodstock who banged their hearts out for hours that morning?), just a flat reading of Stone Free, off key and behind the music, like for a demo tap being laid down to be redone, (the album version is better no matter what the brochure sales material here claims), and mostly mumbling echoing behind the guitar in the second title track, which would have had lyrics rewritten, vocals redone, without all of the throat music, and the second guitar redone which here only explores the sound of the guitar effect without going anywhere, trying t reliably reproduce what was then a new sound on new technology, an open wail. In fact one would think that is not Hendrix but a studio guy brought in to posthumously to beef up this remnant of a beginning demo outline, which would never have been released to the public.

Bleeding Heart would have had the vocals redone as well, simply not up to a finished product.

Hear my train almost gets a finish on it, but hear the Jimi Plays Berkeley instead. OR for a glimpse of what Jimi could actually play before the british burned him out, see the twelve string version. What we have here on this mis-disk is still more of a practice session to learn the parts, the movements, to teach Noel how to play, rather than anything for public release.

But Noel could not play. Most of the studio stuff is Jimi playing the bass, anyway.

Anyway, Billy Cox got it infinitely better.

Sunshine has a real interesting scratch guitar section which speaks with the percussionist and is reminiscent of Santana of the time breaking down into a long percussion celebration, but nervous Noel kills it with his lead foot stomping all around aimlessly, mindlessly after Noel thinks some actual bass needs to come in but has nowhere to go and no clue what to do.

Something tribal that Mickey Hart or Peter Gabriel would have died for, Spinal Tap Noel kills.

Jimi needed that bass player from Santana seen in Woodstock: 3 Days of Peace & Music Director's Cut (40th Anniversary Ultimate Collector's Edition with Amazon Exclusive Bonus Disc), not a clueless british cocktail lounge guitarist.

Hendrix needed Mingus Ah Um, or Stanley Clarke, or better, Bootzilla, even that weird guy from Weather Report, maybe any of James Brown's fired bass players, or of course Bass on Top, not this brainfree british bloke.

But he got Billy Cox, and that was a miracle.

Basically this Sunshine is just a jam and not ready for public release, but in the brief beautiful percussive section it shows Hendrix playing the guitar as a percussion instrument, wonderful, until Noel kills it. It hints at what the extended dance versions at an Isley Bothers concert with Jimi Hendrix might have been all about. Too bad no one recorded them.

Fire is okay. This is one of the tunes that Buddy Miles fell apart on during the Band of Gypsies New Year's concert, during the drum fills, he could not keep up and so Jimi swaps out to a Buddy Miles style choral vocal break to get him back on track, see the clip on you tube, and here it is just like a standard pulled out to warm up the frozen Noel. Didn't work. Noel froze, and kills it.

Red House really needs Noel turned way down to the back all of the way. Friends who went to concerts at the time all say the bass was all they heard, and that early New York stadium tape it is all you hear. Here it is too loud and muddy and leaden foot, and kills where ever the guitar wants to go, with brainless white boy BS fills until Jimi has to call it quits instead of suffering through the final verse of his beloved signature song, knowing Noel had already killed it. Another take was not done. Noel had again flunked his screen test. And killing it we never heard it again. Worked to death by his gangster British management (damagement), a week without sleep, he was too tired for it on the Isle of Wright.

The weird thing is that bassist Chas Chandler had the rhythm section return to re-record their parts twenty years later, and Noel still has no clue.

If only Bootsy had been on tap then, Hendrix could have roared, and flown free, like The Gil Evans Orchestra Plays the Music of Jimi Hendrix wanted to set up for him, as he had done for Miles Davis. If only George Clinton - Greatest Hits had been producing instead of Kramer's believing he was the producer instead of just the guy pushing the buttons at the board.

If only John Hammond Jr. had brought his dad along to record those Greenwich Village shows, Jimi never would have had to go to London to get his ill clown show together and get worked to death, with no time to really record, except those few immortal albums he did manage to release more or less to his satisfaction. Get them instead of this dog: Are You Experienced? [Vinyl], Axis Bold As Love (Vinyl) and Electric Ladyland (2 Vinyl) and hear them again.

If only Les Paul had stuck around that New Jersey nightclub and discovered Jimi Hendrix before the british colonialized him, worked him to death, exploited him and left him out on the trash heap to die like all of their colonial acquisitions.

And we are left with only this, not the new rising sun he foresaw, if he were free.

The only book worth reading about his life was called Jimi Hendrix: Voodoo Child of the Aquarian Age retitled 'Scuse Me While I Kiss the Sky: Jimi Hendrix: Voodoo Child.

Get that, not these warmed over discarded tapes profitting the leeches and the vulture, who put out two versions of this in order to double their profits from the truly obsessed. I mean, here we are "blessed" with trashman and a Slow Version?

Hear House Burnin' Down instead . . .
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on April 27, 2010
My VERY FIRST recording review... I was moved to write this.

A heard 'Red House' on XM radio, on the way home from work.
I must have been in a rare mood, for I rushed in the house and ordered this CD from Amazon.
I'm SORELY disappointed; this tape belongs back on the cutting room floor;
there's good reason why Jimi didn't allow this material to be released.

At the same time, I'm utterly amazed that so many people gave favorable reviews to this release.
Far be it for me to comment on other peoples' taste... but this CD will be sent to a friend,
who calls himself 'Jimi Fan', so as to add to his archives; I hope he isn't offended.

Not worth a second listen, to me.
(and wishing I had my $10 back)
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on April 6, 2010
The CD was a huge disappointment. These are just jam-songs that sound like practice sessions of a bar band. Nothing new here, just out takes that should have remained out takes. The biggest let down is that there is hardly any virtuoso acid guitar playing from one of the greatest of all time. I got fooled again.
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