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The climate of valleys is synonymous with extremes of temperatures. In summer these places are rather hot, in winter bitterly cold. The following is a short description of this type of climate.
Valleys record extremes of temperatures in summer and winter. The more deep a valley is ,the more the fluctuation of temperature. This means that the valleys which are surrounded by very high mountains are susceptible to very huge changes in temperature. The typical station of special interest both for holiday manufacturers and meteorologists is the world widely known and esteemed Gilgit Valley in Northern Areas of Pakistan located not far away from the Shin door Pass, the centre of Annual Polo Festival. It is surprising to note that though it has a high latitude of with regards to 36 degrees North, and an elevation of with regards to 5000 feet above sea level but still temperatures up to 113 F (45 C) are common. During the night notwithstanding the temperature falls to 60 F (16 C), a fall of 31 degrees Celsius! This is because Gilgit is surrounded by very high mountains which reach in height up to 20,000 feet. At night when the sky is clear, the surfaces of the mountains becomes much cooler due to re radiation of heat to the atmosphere which they have absorbed for the duration of the day. As the surface becomes cooler and cooler for the duration of the night, the air touching the slopes becomes very cold too. It also becomes dense and heavier as equated to the surrounding air. Under the action of gravity, the cold air is pulled down the slopes until it is gathered in the deep valleys. This wind is the Katabatic wind, normally known as the mountain wind. As this wind arrives from mountains located high up, so it is very cold and brings down the temperature of the valleys considerably. Hence the nights of the valleys proceeds to be cool even in mid-summer. In the day, however, since the valleys are located at low elevations as equated to the mountains, and these areas have a very clear atmosphere, they become rather hot by mid-day, exceptionally when there is no cool air coming from any side.
In winter due to same effect, the valleys record temperatures which are assorted degrees underneath zero and are bitterly cold. It is usual for Gilgit to record temperatures up to 20 F in winter.
In short, it follows from the above discussion that the valleys have a big diurnal as well as seasonal range of temperatures. So next time you plan to visit these places in summer, be prepared to face exceedingly hot winds and chilly nights in the same season.
Album DescriptionThis brand-new, completely unreleased studio album features 12 antecedently unreleased studio recordings totalling over 60 minutes of unheard Jimi Hendrix. Ten of these recordings were made amidst February and May, 1969, as the Jimi Hendrix Experience set out to fabricate the sequel to their groundbreaking 1968 double-album Electric Ladyland. The album features “Valleys Of Neptune,” one of the most sought after of all of Hendrix’s commercially unavailable recordings, and includes stimulating 1969 arrangements of the classic signature songs “Red House,” “Fire,” and “Stone Free.” Also includes unheard studio versions of Hendrix’s inspired interpretations of “Bleeding Heart” (Elmore James) and Cream’s “Sunshine Of Your Love.” Mixed by Eddie Kramer, the engineer for all of Hendrix’s albums all around the guitarist’s lifetime. Produced by Janie Hendrix, Eddie Kramer, and John McDermott, the team behind all of the acclaimed Jimi Hendrix CD and DVD releases since 1996.
VALLEYS OF NEPTUNE: Track by Track
All of the 12 recordings featured on the album have never before been freed on a CD/LP. The songs document the pivotal time amount of time after Electric Ladyland and before Electric Lady Studios and the recordings made there that would later take form as Cry of Love and First Rays.
Valleys of Neptune documents both the final studio recordings Jimi made in 1969 with the firstborn Jimi Hendrix Experience and the basi attempts with new bassist Billy Cox. As a number of the song titles will be intimate to fans and buyers alike, the following details the key characteristics of each of the tracks on Valleys of Neptune.
“Stone Free”: The introductory 1966 recording by the introductory Jimi Hendrix Experience is best known as one of Jimi’s signature songs. The Jimi Hendrix Experience box set (2000) featured a new remake by the introductory group. Hendrix, Mitch Mitchell, and Billy Cox recorded this version in May 1969. It is a dissimilar recording entirely.
“Valleys of Neptune”: This track was recorded in September, 1969, and May, 1970. This full-band version has never been released. An extract of a demo Hendrix made of this song — featuring just Mitchell on drums and percussionist Juma Sultan — was portion of the short-lived Reprise/Polydor album Lifelines, which was in the marketplace amongst 1990 to 1992.
“Bleeding Heart”: This cover of the classic blues song by Elmore James is dissimilar completely from the versions featured on South Saturn Delta and (originally) on War Heroes. This recording has never been issued and features Jimi, Billy Cox, and drummer Rocky Isaac. It was recorded in April, 1969.
“Hear My Train A Comin’”: This electric, full-band version is dissimilar from the famous 12-string acoustic version that was featured in the 1973 documentary Jimi Hendrix and subsequently on the album Jimi Hendrix: Blues.
“Mr. Bad Luck”: Like “Valleys of Neptune”, a dissimilar version of this song was share of Lifelines in (1990). Jimi would later formulate this song as “Look Over Yonder,” issued as portion of South Saturn Delta.
“Sunshine of Your Love”: A stage favored for the group for the duration of the 1969 amount of time which has never been released.
“Lover Man”: Jimi recorded galore dissimilar arrangements of this song, including the versions on both the Jimi Hendrix Experience box set (2000) and South Saturn Delta. This is an completely dissimilar recording made in February, 1969.
“Ships Passing Through the Night”: A never-before-released track taken from the last recording session by the initial Jimi Hendrix Experience on 4/14/69.
“Fire/Red House”: Both of these songs by the initial Jimi Hendrix Experience were recorded at the same February, 1969, session. They feature the expanded stage arrangements Jimi had produced and are not alternate takes of the introductory 1967 recordings.
“Lullaby for the Summer/Crying Blue Rain”: These April, 1969, recordings by the initial Jimi Hendrix Experience have never been released.
Valleys Photo
Valleys Photo
Valleys Picture
Valleys Pic
Most helpful client reviews
156 of 168 humans found the following review helpful.
 ALTRUISTIC RELEASE OR MONEY MAKING VENTURE? STILL SOME GOOD HENDRIX
By Stuart Jefferson
61 minutes (unless you purchased the edition with extra tracks) in length approximately. The sound is good,especially taking into account these tracks were recorded with,possibly,no prompt thought of release. The disc snaps in inside the fold-out cardboard holder. The further and added data (who plays what and when recorded) and color and b&w photos in the enclosed 22 page booklet are well done and nice to have,especially for the price. The entire background story of all the tracks (except the 2 “bonus” tracks) is laid out pretty well. Speaking of that,there is an edition out there with 2 extra tracks-”Slow Version”,and “Trash Man”,both instrumentals (more likely not finished backing tracks) from 1969 available through Target. The tracks are similar to the regular set available everywhere,but for the same cash listeners get 12 or so extra minutes of Hendrix,but if you’ve already purchased the regular edition-don’t fret,you’re not missing a whole lot. There’s info on these two tracks in the “snap-in” part (behind the CD) of the cardboard holder.
Well,here it is,the “new” Jimi Hendrix album. It comprises of tracks,mostly recorded in 1969,put together by the Hendrix family. In that respect it’s much like “First Rays of the New Rising Sun”,or “South Saturn Delta”. And while the tracks are antecedently unreleased,a number of titles will be intimate to Hendrix listeners. And,while having another look into the musical world of Jimi Hendrix may still be an stimulating thing,somehow this release (along with assorted other re-releases of introductory amount of time albums-now with a DVD included,and all at a new low price) feels much like a strictly money-making venture. Maybe it’s to advertize the cooperative relationship with Sony Music. Maybe it’s to introduce a lot of of his finest albums to a younger generation. Maybe it’s both. And I say this from the perspective of somebody who’s lucky (and old) sufficient to have primary heard Hendrix on vinyl. Who witnessed Hendrix live,both at the Fillmore,and in my home town (parts of “Hendrix In The West” supposedly),and came away astounded. So Hendrix listeners will have to determine what is worth purchasing-again.
This album does comprise numerous good music,even intimate tracks (“Stone Free”,”Sunshine of Your Love”,”Red House”-even though the fadeout is irritating) have something to offer the long time (like me) Hendrix listener. And to at long last have an officially freed version of “Valleys of Neptune” is in truth nice. As for “Mr. Bad Luck”, “Lullaby For The Summer”,and “Crying Blue Rain”,listeners will have to make up their own minds if these tracks (among others) ought to have been released. And (again like me) long time listeners will have a list of tracks that could have been freed in place of a heap of of these tracks. Maybe in the future-we may only hope. But overall,the talent of Hendrix is woven allround this set,and like most long time listeners,the more Hendrix (up to a point) the better-because we have only a few chances,here and there,to listen to any musical talent at work. And the price (again,low to entice buyers) does make this set attractive.
So,is this album worth purchasing? Absolutely. The “finished”/unfinished tracks all have their intensities and weaknesses. In that respect it’s similar to other posthumously freed studio tracks-an aural clear or deep perception into the music of Jimi Hendrix. It’s a working snapshot of songs,over a amount of time of time,that Hendrix might have freed sometime in the future. But it’s not the album to reach for when you want to listen the real-deal musical affirmations of a genius. For the real Jimi Hendrix “experience”,the albums he freed in his lifetime are still the best.
26 of 28 people found the following review helpful.
 The Unfinished Symphony
By Dawoud Kringle
The other day I stood in a record store and listened as they played the new Hendrix release.
I remunerated particular attention to the title track. There are two main impressions I got from it.
The introductory is that it is unfinished. If Hendrix lived long sufficient to release it, and chose to do so,the song would not sound like it does. Consider the amount of time it was done: 1969. The influence of “Axis: Bold as Love” was still strong in his music. “Axis” was an crucial work in that Hendrix mastered the art of using the recording studio itself as a musical instrument. With “Valleys” he’d laid down a foundation; like a background in a painting. What was necessitated was the subject. The lyrics / singing formed only a portion of this. What was necessitated were the melodic ornaments, the sonic arabesques Hendrix was so brilliant at. A good example would be “Castles Made of Sand” from “Axis”. We have the rhythmic foundation (listen to the bass drum part: pure hip hop!), the lyrics / poetry, and then the guitar parts weaving in and around the other elements of the song. This later is what’s missing from “Valleys” – and as it stands now, not anyone may finish it. The only man capable of doing so is gone forever.
The second is the lyric. The firstborn two verses are pure psychedelia. It may be interesting to dissect whatsoever symbolism may be cross referenced with arcane schemes of knowledge. But as the song progresses, Hendrix starts speaking when it comes to what may be described as near-prophetic visions. Massive changes in the world and in humane society that are troublesome. What is in truth arousing and attention holding is that now, closely 40 years after Hendrix’ death, these things are starting to take place in the world. It’s rather like in another track from “Axis”: “Up From the Skies.” In that song, he spoke of being here “before the days of ice” – the ice age? – and returning to “find the stars misplaced and the smell of a world that had burned. Well possibly it’s just a alter of climate.” And of course, now this is happening in the world. Could it be Hendrix was “tuned in” to something?
The saddest portion of all this, the new releases, considerateness of Hendrix’ biography, and the world we live in, is that few realize Hendrix’ true historical significance. I oftentimes wonder who is / will pick up the gauntlet that Hendrix threw down when he died. Who will proceed where he left off. Now, I don’t mean the popular potpourri of “Jimi Clones.” I mean that all inclusive, transcendental approach to music. Hendrix showed us what could be done – and like the Buddhist admonishment, the finger pointed toward the moon, and most people look with fixed eyes at the finger.
The posthumous release “First Rays of the New Rising Sun” was probably among the best that came out. It was produced and engineered by Eddie Kramer; who was there with Hendrix when he recorded the tracks. And much of it was music Hendrix himself had approved. There were a heap of others: Cry of Love and Rainbow Bridge were marvelous. War Heros had a few moments. But most of it is just us picking through the scraps, attempting to find concealed gems.
Of course, since Hendrix is now an historical figure, analysis of his music is useful. And he must be remembered. But most times I wonder if a better way to honor Hendrix would be to cultivate those musicians and artists (and whoever else may have been influenced by him: his affect can not be confined to music alone) who will pick up where he left off, and take their work to the realms Hendrix pointed us toward. Once that is done, Hendrix may rest peacefully, knowing his life’s work made a utile affect on humanity – even more so than we already enjoy.
43 of 50 persons found the following review helpful.
Lullaby For Jimi
By Andre S. Grindle
Well here we have another Jimi Hendrix album of unreleased material from later in his career. This is in a literal sense what?The fifth,sixth time this has happened following his death? Yet at the same time there’s a huge divergence among talking about the music on this album and plainly having an sentiment on it. This album comes from a very awkward amount of time in Jimi’s sadly short musical career. Most of these songs feature Noel Redding but here you also see the transition to Billy Cox (the liner notes explain what happened for the duration of that time) and interestingly enough,as the bassists modify you also observe a divergence in in the way Hendrix’s rhythmic patterns work. By the way the versions of “Stone Free” and “Fire” here are not the to a considerable degree psychedelic versions as staged antecedently but rather very different,more concetrated versions of the song that have a more live in the studio type of flavor to them. In speaking of Hendrix’s music Miles Davis ofttimes referred to what he called “hillbilly/country music” influences in the sound Jimi had when he was with the Experience and on the album closer you may definately here that country-blues style of playing in the bridge. Now if this album had come out in it’s day it would’ve been the Experience’s follow up to Electric Ladyland and accordingly followed a somewhat harder groove centered sound on “Bleeding Heart”,”Mr.Bad Luck” and a great and for the most part instrumental take on “Sunshine Of Your Love” and these likewise make another point for the album. Aside from the very radio friendly title song none of the songs on this album genuinely focus as much on songwriting as the development of Hendrix’s guitar work and his rhythm section. So there’s more musically said here than in the composition necessarily. So if you like Jimi’s music as I do and want to listen galore things you never heard from him before,this is a good place to go to get it. If you are just getting into him this would’nt be the place to commence either. It is,as with any pothumous Hendrix volume designed for the fan and severe gatherer and that must be taken duely into note before you buy this.
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