In the esteemed pantheon of Jimi Hendrix live albums, May 1970’s Magic Boy is one of the best. The deeper he got into recording—at this point in his career, he only toured on weekends, spending the rest of his time building Electric Lady Studios in New York—the looser and more intense his live shows got, a yin and yang he explored until his death. Consequently, the longest and most digressive stuff here is also the best, including versions of “Hear My Train a Comin’” and “Machine Gun” so slow and heavy you can hear doom metal taking shape on the horizon, and an “Ezy Rider” that captures the same deep black intensity Miles Davis was onto a year or so later. “Is it too loud out there?” he asks at one point, in his airy, gentle way—to which he gets a loud, collectively shouted “NO.”