Stanlio

All tracks are by Jimi Hendrix.

Side A
1 - Freedom - 3:24
2 - Drifting - 3:46
3 - Ezy Ryder - 4:09
4 - Night Bird Flying - 3:50
5 - My Friend - 4:40

Side B
6 - Straight Ahead - 4:42
7 - Astro Man - 3:37
8 - Angel - 4:25
9 - In from the Storm - 3:42
10 - Belly Button Window - 3:34

Musicians:
Jimi Hendrix: vocals, guitar, backing vocals on tracks 3 and 9, piano on track 1, production for all tracks except track 5
Billy Cox: bass on all tracks except 5 and 10
Mitch Mitchell: drums on all tracks except 3, 5, and 10, posthumous production
Juma Sultan: percussion on tracks 1, 4, and 7
Buddy Miles: drums on track 3
Noel Redding: bass on track 5

Other musicians:
The Ghetto Brothers: choir on track 1
Buzzy Linhart: vibraphone on track 2
Billy Armstrong: percussion on track 3
Steve Winwood: choir on track 3
Chris Wood: choir on track 3
Kenny Pine: 12-string guitar on track 5
Jimmy Mayes: drums on track 5
Stephen Stills: piano on track 5
Paul Caruso: harmonica on track 5
Emeretta Marks: backing vocals on track 9

(... continues the twist)
Of the full text, which has been lost, there exists only a Polish translation, for over a century now, the faithfulness of which we cannot ascertain. Jan Potocki, the author of this book, is a Polish nobleman, belonging to the cosmopolitan high society of the late eighteenth century, at home in all the capitals of Europe, a curious and observant traveler who spends a long time in Morocco and even ventures, following a Russian embassy, to the borders between Mongolia and China. An enlightened politician, connected to Jacobin circles, later a private counselor to Tsar Alexander I, an indefatigable scholar of antiquities, author of lucid travel reports and historical-ethnographic works (he is now considered one of the founders of Slavic archaeology), Potocki expressed the exquisitely morbid undercurrent of his temperament in the Manuscript Found in Saragossa, a work of imagination that occupied him during the last twelve years of his life, until his suicide in 1815.
The Manuscript is a series of ghost stories, encapsulated within one another like Chinese boxes: “a black Decameron,” one might call it, which however detaches itself from the superficial and gratuitous decorative style of romantic “horror” to reach the hallucinatory suggestion of great indecipherable symbols. Within it are found all the elements of black romanticism: outlaws and gypsies, gallows and cabalists, mysterious caves and disreputable inns, scandalous loves and diabolical apparitions; but the attentive reader will not fail to notice how this traditional armamentarium succumbs to the author’s underlying ambivalence, who, on one hand, feels the attraction of the magical and even the macabre, while on the other feels the “enlightenment” need to liberate himself from it. In this intimate tension, a visionary force creates figures and fables that resonate deeply with us, cutting through situations that are frankly comical, farcical, often purely libertine. The surprising effects that emerge from it, perhaps also due to the Spanish atmosphere pervading the stories, vividly evoke in our minds the name of Goya, whom Potocki knew and to whom a portrait of his is attributed.
Pushkin was fascinated by the Manuscript, so much so that he began a translation in verse. But it is only today, after Caillois’s rediscovery, that this book has revealed itself to us as one of the most precious links in that chain of narrative which, starting from Galland's One Thousand and One Nights, and passing through Beckford's Vathek, arrives at the unrestrained fantasies of Hoffmann and the dream-like literature of our days.

writes Maria Giovanna Assumma on Facebook: A book that is more books like Russian nesting dolls! A journey through all genres: coming-of-age novel, picaresque, erotic, fantastic, noir... Wonderful!

"A book that is more books like Russian nesting dolls! " I hope the esteemed Assumma won't take offense, but the concept could not have been expressed in a worse form.

In fact, you’re not entirely wrong; even the phrase "A journey through all genres:" seems a bit too pretentious to me, as I don’t believe it touches on every single genre, but if someone who teaches says so, it must be possible... I found this description on ibiskoseditricerisolo.it after she published her first book, which describes her as follows:
Maria Giovanna Assumma was born in Airola, in the province of Benevento.
She has taught Italian and Latin at the Classical High School and has always dedicated herself to the study and deepening of the humanities and visual arts.
She lives in Naples and Verso l’orizzonte is her first publication.

Let’s hope that the concepts expressed in her book are less unfortunate...

Well done to talk about it, this is Jerry's best with 'The Red and The Black' from 7 years earlier.

Jimi Hendrix: guitars, vocals
Billy Cox: bass on Born Under a Bad Sign, Mannish Boy, Once I Had a Woman, Bleeding Heart, Jelly 292, and Hear My Train a Comin' (Electric)
Noel Redding: bass on Red House, Catfish Blues, and Electric Church Red House
Buddy Miles: drums on Born Under a Bad Sign, Mannish Boy, Once I Had a Woman, Bleeding Heart, and Electric Church Red House
Mitch Mitchell: drums on Red House, Catfish Blues, Voodoo Chile Blues, Jelly 292, Electric Church Red House, and Hear My Train a Comin' (Electric)
Jack Casady: bass on Voodoo Chile Blues
Steve Winwood: organ on Voodoo Chile Blues
Sharon Layne: organ on Jelly 292
Lee Michaels: organ on Electric Church Red House

Track listing (All compositions by Jon Hassell):

1. "Power Spot" - 7:07
2. "Passage D.E." - 5:25
3. "Solaire" - 6:49
4. "Miracle Steps" - 4:21
5. "Wing Melodies" - 7:33
6. "The Elephant and the Orchid" - 11:08
7. "Air" - 5:20