Based on some renewed interest in Jimi Hendrix lately, I figured this would be a good excuse to combine some of my past posts into one thread and include some videos.



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The sonic depth of Electric Ladyland makes Are You Experienced? and Axis: Bold As Love sound like demo recordings.
However all 3 records have their place within the Hendrix lexicon.

To understand the significance of the releases, you have to know what was out there around this time period. The main forces in pop music were the continuing onlsaught of the British Invasion (led by The Beatles and The Rolling Stones), Motown (Supremes, Martha & The Vandellas,The Temptations, The Four Tops, Little Stevie Wonder, etc.), R&B in general (Aretha Franklin, Wilson Pickett, Otis Redding, etc.), Folk-Rock (probably led by Bob Dylan going electric in '65), a thing later called Funk initiated by the James Brown releases of that period and to a lesser degree the Surf sound (Beach Boys, Jan and Dean, Dick Dale).

And then you have this thing that came to be known as "Psychedelic" music. To some a "soundtrack for dopers" or a to use more philosophical terminology, music designed to raise conscienciousness. Some cite folk-rock pioneers like The Byrds tune "Eight Miles High" - '66 (original version '65) as a beginning point because of the trippy lyrics, use of the word "high" and raga-like guitar solo. The album that included this tune, Fifth Dimension also included an up-tempo (kinda goofy sounding) arrangement of "Hey Joe" that every bar-band used (that's until Hendrix rewrote the book on the tune by using an arrangement more befitting the song's storyline).

Eight miles high and when you touch down
You'll find that it's stranger than known

(btw, if you're looking for the antecedent to the "jangly-rock" of groups like Tom Petty and R.E.M. check out The Byrds version of Dylan's Mr. Tambourine Man, especially the intro.)

Others will point to The Shapes of Things by The Yardbirds ('66), Norwegian Wood - lyrics ('65) & Tomorrow Never Knows - sound ('66) or even Good Vibrations by The Beach Boys ('66).

Some will go even deeper by calling out more obscure bands like The Holy Modal Rounders, 13th Floor Elevators or The Charlatans.

The psychedelic genre then explodes into the public consciousness with the flower-power movement, Haight-Ashbury and San Francisco bands like The Jefferson Airplane, The Grateful Dead and Moby Grape.

In terms of the Jazz mood of this period, you'd naturally have to check in on what Miles was doing. "Nefertiti" was his album of the day. A pre-cursor or one of the setup punches for the knockout In a Silent Way which was lurking around the corner. Modal and Free Jazz was also prevalent (Ornette Coleman, Cecil Taylor, John Coltrane, Sun Ra, etc.)

This all leads to the multi-genred outdoor 3 day music festival that was Monterey Pop (June 16,17,18 1967).

Enter Jimi Hendrix.

Who is this black gypsy-garbed guitarist who's muscial range stretched from the controlled but powerful delivery of Dylan's Like A Rolling Stone (featuring stellar rhythm guitar work, an element frequently overlooked in the arsenal) to the show-stopping incendiary (literally) performance art treatment of The Troggs Wild Thing. And during his guitar solo, in true Jazz improv fashion, he incorporates the main musical theme from the Frank Sinatra hit Strangers In The Night. Was this a tip of the hat or firmly placed tongue-in-cheek aside? Who cares. To me it's an indication of unrestricted "big ears" on his part. Those that have seen the performance, must have noticed the reaction shot captured of the look on Mama Cass Elliot's face as an indication of the stunned shocking this performance put on the audience.

If folks were inclined to trip-out when Grace Slick urged them via White Rabbit to, "Feed your head" (2/67), when Jim Morrison told them to "Break on through to the other side" (1/67) or John Lennon's plea to, "Turn off your mind, relax and float down stream" (8/66) little did they know what Jimi Hendrix had in store for them.

That historic Monterey Pop performance had stated loud and clear to the Tune in, turn on, drop out crowd...



...Here I come baby. I'm comin' to gitcha!


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Are You Experienced? (August 1967)
Recording starts on 10/66 and is completed on 4/67.

Who is this Jimi Hendrix?
The question generated by the buzz created by his Monterey Pop performance was answered (and a ton of others generated no doubt) with the release of this album.

From the now famous intro of Purple Haze to the closing verse of Are You Experienced?...

Trumpets and violins, I can ah, hear in the distance
I think they're callin' our name
Maybe now you can't hear them, but you will (hah, huh)
If you just, take hold of my hand

Ooooh, but Are You Experienced?
Have you ever been Experienced?

Not, necessarily stoned but...beautiful.

WTF just happened?
You were warned to Get Experienced, now you were.

There are a few distinct musical playgrounds established with this record that will be revisited (in varying degrees) and fine tuned in the next two albums. This is important as few of these fusions would become popular full blown genres (specifically Jazz-Rock and Funk-Rock ) in the future.

Rock - Purple Haze, Love or Confusion, I Don't Live Today, Foxey Lady
Jazz Rock - Manic Depression, Third Stone from the Sun
Funk Rock - Fire
Blues Rock - Hey Joe
Space Ballad - May This Be Love, The Wind Cries Mary
(not necessarily a ballad in the traditional sense but slow to mid-tempo imagery filled tunes)

And then there's something that I can only describe as the construction of the Hendrixian Universe. Soundscapes that are uniquely his.
The foundation being laid with tunes like Are You Experienced? & Third Stone from the Sun.

"First off I don't want people to get the idea it's a collection of freak-out material. I've written songs for teeny boppers like "Can You See Me" and blues things. "Manic Depression" is so ugly you can feel it and "May This Be Love" is a kind of "get your mind together" track. Imagination is very important, our music can not be categorised. Free form is the best way to explain our sound, unrestricted and uninhibited creative expression ..."
~Jimi Hendrix


Extra info on specific cuts:

Are You Experienced?
Jimi - piano

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Axis: Bold As Love (January 1968)
Sessions for this record commence one month (5/67) after the final tracks of Are You Experienced? are finished (4/67). The record is completed 10/67.

The themes established in Are You Experienced? are continued

Rock - Spanish Castle Magic, She's So Fine
Jazz Rock - Up from the Skies, If 6 Was 9
Funk Rock - Little Miss Lover, Wait Until Tomorrow, You Got Me Floatin'
Blues Rock - Ain't No Telling
Space Ballad - Little Wing, One Rainy Wish

Hendrixian Universe - The foundation being laid on AYE?, the walls go up with EXP and Bold As Love.

Kramer also recalled when he first figured out how to do stereo phasing - using a pair of 2-track machines - during the recording of Hendrix's Axis: Bold as Love. "We experimented for about two weeks with stereo phasing," he said. "I brought Jimi in the studio one day and said, `Jimi, check this out.' I'm phasing away, and the drums kick in, and Jimi says, `Oh my god, oh my god. That's in my dream!' He was sitting on the couch behind me, and he fell on the floor. He said, `Oh my god, play it again.' And we played it about ten times. He said, `Man, I gotta have that sound on everything.'"
~Eddie Kramer from a 9/1/2000 "Mixing with a Master" interview


With the exception of She's So Fine (written by Noel), this set of tunes shows more sophisticated lyrics and of the 3 albums probably has Jimi's best vocal performances. There's also been a progression in the recording quality of this record overall. Keep in mind that both these records were done on 4-track machines. (Something for all budding musicans to keep in mind.)

Supposedly after tiring mixing sessions, Jimi took the 2 finished tapes with him to a party. On his way back to the studio, he left one of the tapes in the cab. Noel was drafted to scour every cab in town while Jimi, Chas Chandler and Eddie Kramer started mixing the lost cuts again. 11 hours later the remix session was completed.

". . . it was mixed beautifully, but we lost the original mix so we had to re-mix it. Chas and I and the engineer, Eddie Kramer, all of us had to re-mix it the next mormng within 11 hours and it's very hard to do that. We're going to take more time ..."
~Jimi Hendrix


Extra info on specific cuts:

Spanish Castle Magic
Jimi - piano
Noel - Hagstrom 8-string bass

Little Wing
Jimi - glockenspiel

If 6 Was 9
Jimi - wooden flute

Bold As Love
Jimi - harpsichord

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Electric Ladyland (October 1968)
Recording begins on 1/68 with All Along The Watchtower and the album is completed 8/68.

This is the record that Hendrix finally gets to take the reins as producer and attempt to create his 1st true concept record. His solo flight as pilot, with a few instances of turbulence, was a successful voyage suffering no crash landing.

It's amazing that even with the success of the first 2 albums, he still cannot get the full cooperation of the record company as evidenced by them thwarting his request for specific things regarding the record's artwork and layout.

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Dear Sirs,
Here are the pictures we would like for you to use anywhere on the LP cover.
Preferably inside and back. Without the white frames around some of the B/W ones. And with most of them next (aside) to each other in different sizes and mixing the color prints at different points.

For instance:
Please use color picture with us and the kids on the statue for front or back cover - (outside cover) and the other back or front side, (outside cover) please use three good pictures of us. In B/W or color.



---
We would like to make an apologize for takeing so very long long to send this but we have been working very hard indeed doing shows and recording.
(...)
Please, if you can, find a nice place and lettering for the few words I wrote named "Letter to the room full of mirrors" on the L.P. cover.
The scetch on the other page is a rough idea of course ...



but please use the pictures and the words - any other drastic change from these directions would not be appropriate according to the music and our group's present stage - and the music is most important. And we have enough personal problems without haveing to worry about this simple yet effective layout. Thank you.

Jimi Hendrix
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The Record Plant's 12-track recorder allows The Masterpiece to be realized.



With the recording of the Electric Ladyland album, Hendrix turns the recording studio itself into an instrument. This is the biggest and broadest sounding record of the 3.



"Some of the mix came out kind of muddy, not exactly muddy, but kind of bassy, because we didn't get a chance to do it completely till the end. We mixed it all and produced it and all this mess. But then when it was time for them to press it quite naturally they screwed up, 'cause they didn't know what we wanted. There's 3-D sound on there that's been used that you can't appreciate because like they didn't know how to cut it properly. They thought it was out of phase!"
~Jimi Hendrix


The "Hendrixian Universe" lives. While listening to ...And The Gods Made Love, you are transported to its very center, Electric Ladyland itself...

Have you ever been (have you ever been) to Electric Ladyland?
The magic carpet waits, for you. So don't you be late

Once again the main themes are apparent though not so easily categorized because of the seamless synthesis of styles within a single song.

Rock - Voodoo Child (Slight Return), All Along The Watchtower, Little Miss Strange
Jazz Rock - Rainy Day, Dream Away, Still Raining, Still Dreaming
Funk Rock - Crosstown Traffic, Long Hot Summer Night
Blues Rock - Come On, Voodoo Chile, Gypsy Eyes
Space Ballad - Have You Ever Been (To Elecric Ladyland)
Hendrixian Universe - ...And The Gods Made Love, , 1983..., Moon, Turn The Tides..., Burning Of The Midnight Lamp, House Burning Down

Quite a few tunes can fall into multiple categories.

The tunes groove better on this album.
Part of this can be attributed to the fact that Hendrix himself ends up laying many of the bass tracks (along with a few other instruments).



"There were some things where it was just faster to work just Jimi and myself. Some were cut guitar and drums, some just bass and drums, there was no set gauge for that."
~Mitch Mitchell

When asked if Jimi playing drums and organ on record based on pics...



"Not organ, but he did play harpsichord on Electric Ladyland, and he was pretty good on the piano. Drums he would play on demos, but not actually on a finished product. He sounded a bit like Stevie Wonder on drums."
~Eddie Kramer


The sound of his guitar on Voodoo Chile is the best i've heard on any of the 3 records.
It's nice to get to hear him display his rhythm chops with someone to play off of for a change.
Recorded live in the studio (at least the band was), Stevie Winwood's organ gives him the chance to be a looser, responsive player and not have to carry the full load.

"Out in the corridor were all these musicians waiting to be given their chance to play. Jimi came out and said "Hi, come in." There were no chord sheets, no nothing. He just started playing. It was a one-take job, with him singing and playing at the same time."
~Steve Winwood


Outside of the album's opening 4 tunes, the heart of this album starts with Burning of the Midnight Lamp and continues with the conceptually perfect Rainy Day, 1983, Moon Turn The Tides..., Still Raining dream sequence...



...sssssmmmmp...Yeah I see what you mean brother. Lay back and groove.


On tunes like Burning of the Midnight Lamp, Rainy Day, Still Raining and Voodoo Child he certainly laid down the law on wah-wah guitar playing.

In true mystical psychedelic form this trip ends with the apologetic and eerily prophetic lines from Voodoo Child...

I didn’t mean to take up all your sweet time
I’ll give it right back to ya one of these days
I said I didn’t mean to take up all your sweet time
I’ll give it right back one of these days
If I don’t meet you no more in this world
I’ll meet ya on the next one and don’t be late

Don’t be late

Quite fitting that this would be the last studio recording that he had complete control over.
However, I always felt that he was just getting started and had a few more surprises in store.

When asked in 2001 what he thought Hendrix would be doing now if he were alive...

"Here's my take: He'd probably be the president of his own record label. He'd be directing movies. He'd have absorbed some of the hip-hop dance techniques, sampling. Since he was such a maverick and leader and well ahead of his time, he would have been ahead of the curve before hip-hop even occured! Certainly jazz and fusion were part of his vocabulary, but classical music and hearing his own music performed by a large orchestra were also possibilities."
~Eddie Kramer


Extra info on specific cuts:
. . . And The Gods Made Love
Jimi - Tympani

Have You Ever Been (To Elecric Ladyland)
Jimi - bass

Crosstown Traffic
Jimi - piano, kazoo (explanation on the kazoo can be found on the VH-1 Classic Albums DVD)

Little Miss Strange
Jimi - guitar solos
Noel - guitar, bass, acoustic guitar

Long Hot Summer Night
Jimi - bass

Gypsy Eyes
Jimi - bass

A song written about his Mother...



...Lucille (coincidentally, that's my Mom's name also)

1983 . . . (A Merman I Should Turn To Be)
Jimi - bass, percussion

House Burning Down
Jimi - bass

Burning Of The Midnight Lamp
Jimi - harpsichord, mellotron

"Jimi was a musical sponge, and I often remember going up to his hotel room to deliver tapes and spying Bach, Handel and Mozart on the player. He got inspiration from the stuff."
~Eddie Kramer

All Along The Watchtower
Jimi - bass
Dave Mason - acoustic guitar

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This post has gone on much longer than i'd intended (don't they all).
So even though there's more I could add i'll end it by saying based on my personal tastes, at no time up to this point had the combination of unbridled energy, innovation, freedom, creativity and musicianship been allowed to be categorized as mainstream. Quite remarkable.

Kramer spoke reverently about Hendrix and let the students in on some interesting inside observations. Despite his drugged-out public persona, for example, Hendrix was all business when he was recording. He had a keen musical mind and knew precisely what he was doing in the studio. "He knew before he walked in the studio exactly where each note was going," said Kramer. "He was so prepared. Every detail was in his mind. It was the antithesis of what you would think Jimi Hendrix is all about."
~Eddie Kramer from a 9/1/2000 "Mixing with a Master" interview




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My Essential Hendrix audio recordings:










Are You Experienced? August '67
Axis: Bold As Love January '68
Electric Ladyland October '68
Smash Hits July '69
Live At Woodstock August '69 (performance date)
Band Of Gypsys December '69 (performance date)
Cry Of Love March '71
First Rays of the New Rising Sun April '97
South Saturn Delta October '97



My Essential Hendrix Videos:





The Jimi Hendrix Experience: Live at Monterey
Jimi Hendrix: Live at Woodstock
Classic Albums: Jimi Hendrix - Electric Ladyland
a film about JIMI HENDRIX (Deluxe Edition)


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Some of my fav Hendrix tunes (not necessarily the ones that generally get posted).




...Are You Experienced?




...Love or Confusion




...May This Be Love




...Third Stone From The Sun




...Stone Free




...51st Anniversary




...Spanish Castle Magic




...You Got Me Floatin'




...EXP/Little Miss Lover/One Rainy Wish




...The Stars That Play With Laughing Sam's Dice
(at around the 44 sec mark, you nWo fans should recognize the guitar lick)




...Crosstown Traffic




...Voodoo Chile




...Long Hot Summer Night




...Burning of the Midnight Lamp




...The poster did a very nice job editing Rainy Day, Dream Away & Still Raining, Still Dreaming together.


The problem is, he interrupted "The Dream Sequence" in the middle...



...1983...(A Merman I Should Turn To Be) & Moon, Turn the Tides...Gently Gently Away





...Gypsy Eyes




...House Burning Down




...Power To Love




...Machine Gun




...Dolly Dagger




...Pali Gap




...Tax Free




...Room Full of Mirrors




...Freedom (poster clipped the ending but did a good job with the graphics)




...Drifting




...Ezy Rider (poster decided to mix in some surf noise)




...Angel



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Hendrix and That Noise

In Hendrix's day he was making the difference between noise and sound - that was the threshold Hendrix was on and by organising feedback, he moved noise all the way into sound...

Kodwo Eshun (More Brilliant than the Sun : Adventures in Sonic Fiction)

http://www.fringecore.com.../m7-2.html

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On New Year's Day of 1970, turmoil was the best word to sum up American society. There were riots in the cities, unrest on campuses, an unpopular war being fought on the other side of the world -- and the days of peace and love seemed long ago. It was in this atmosphere of anxiety that Jimi Hendrix unleashed his composition "Machine Gun."

For over 12 minutes, Hendrix used "Machine Gun" to paint an unblinking portrait of the horror of conflict. Using a complex chain of guitar effects -- Vox wah pedal to Roger Mayer Axis Fuzz to Fuzz Face to UniVibe to Roger Mayer Octavia -- Hendrix became the master of a tone so massive that it remains unequaled today.

The stage was set by Jimi's lyrics of war -- "The same way you shoot me down, you'll be going just the same, three times the pain" -- before words yielded to pure sound as Hendrix began his harrowing journey across a sonic battlefield. Notes cloaked in other-worldly tonal garb arched from Jimi's amplifiers, soaring high and then diving into detonations of grumbling feedback and howling agony. Never does Hendrix' electronic manipulation become mere noise -- every disturbing second was a controlled expression that stands as one of the most direct and powerful communications of an artist's deepest visions ever captured in any media.

~Frank Moriarty

http://mywebpages.comcast...b/bold.htm
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The great innovator, however, was undoubtedly Jimi Hendrix, who constructed a whole catalogue of noise effects, using them with virtuosity in his blues-inspired rock compositions.

The Aesthetics of Noise - Torben Sangild

http://www.ubu.com/papers/noise.html

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Jeff Beck once recalled the first time he saw Jimi Hendrix play guitar. Indeed, it was something he would never forget. "He did 'Like a Rolling Stone,'" Beck recalled, "and when it was over, smoke was pouring out of his amp. I looked at the ground and thought, 'F--- it, I better go home and think about what I'm gonna do with my life.'"

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To listen to Hendrix today is constantly to be reminded of his gifts. His precise and rapid picking, his recognizance of sound and noise (from the most common blues rhythm guitar run, to the walls of distortion he created, to his ability to range between pure blues and avant-garde jazz forms), and more importantly his improvisational ability - all point out the totality of his delivery.

But if one feat of his remains paramount it would be his ability to play with feedback, control it, and make it melodic. I had heard Peter Townsend of the Who say that he had pioneered the use of feedback. I spent a few hours going through all of the Who's shit without ever hearing anything that approached Hendrix's control or melodic use of feedback within a song.

David Henderson - 'Scuse Me While I Kiss The Sky

http://www.findarticles.c...i_17534777
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More than any other musician, Jimi Hendrix realized the fullest range of sound that could be obtained from an amplified instrument. Many musical currents came together in his playing. Free jazz, Delta blues, acid rock, hardcore funk and the songwriting of Bob Dylan and the Beatles all figured as influences. Yet the songs and sounds generated by Hendrix were original, otherworldly and virtually indescribable. In essence, Hendrix channeled the music of the cosmos, anchoring it to the earthy beat of rock and roll.

Rock and Roll Hall of Fame Museum
http://rockhall.com/exhib...asp?id=955


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Music for adventurous listeners


tA

Tribal Disorder

http://www.soundclick.com...dID=182431
[Edited 9/30/10 11:46am]

Jimication 101!
[Edited 11/16/09 6:48am]

I'm gonna put a clause in my will someday that these songs MUST be played the the day I die and at my funeral lol






[Edited 11/16/09 7:59am]

This thread is essential.

His first album, "Are You Experienced?" is one of the greatest examples of stalwart songs being hung under a new moniker and his third and final studio album, "Electric Ladyland", is the full and awesome realization of Jimi's world and a huge boost to the idea of rock concept albums.

And his second album, "Axis: Bold as Love" is the bridge that successfully links these awesome wonders.

I don't believe anyone in recorded music history can compare to this astonishing triumvirate right out of the gate.

Everything has been covered well in this thread so we'll add some alternate videos and of course RARE Jimi.

[Edited 11/16/09 10:59am]

Who ya think would play in his "Cry Of Love" band if he lived today?

Ernie Isley (Guitar/Drums/Percussion)



Pistol Pete



Jellybean Johnson(Guitar/Drums)



Robert "Fonksta" Bacon



Eric Gales(Guitar/Vocals)


Jesse Johnson(Guitar/Bass/Keys/Vocals)


[Edited 11/16/09 12:10pm]
[Edited 11/16/09 12:14pm]
[Edited 11/16/09 12:18pm]

What a great thread!
(for some of us, there isn't a 'renewed interest'... will love him always! )

indeed

[Print page...]

Jimi was one of my musical teachers an inspiration while my fingers are not what they used to be i will start playing again

Graycap23 said:

Thanks, I like that.


Music for adventurous listeners

tA

Tribal Disorder

http://www.soundclick.com...dID=182431

diamondpearl1 said:

A great example of how to incorporate classic R&B rhythm guitar playing into a Rock setting.



Music for adventurous listeners


tA

Tribal Disorder

http://www.soundclick.com...dID=182431

...

CLassic Thread, as usual!!!

I was just thinking ...way back in the day ('72-'73?), I remember finding a beat-up copy of Are You Experienced that someone had given my dad, back in his air force days. I took it out investigate....
... and for some reason, I let the needle drop on "May This Be Love" before anything else...and I just realized that since that was my early impression, that's always been my aural recollection anytime someone mentions Hendrix-those are the first sounds my mind conjures up--the otherwordly, mellow tones and shifting phases, rather than the pyrotechnics...
I always come back to that feel....





...
[Edited 11/17/09 7:39am]

Audience, I'm trying to get some work done here and you proceed to post this incredible thread. Ahh, talk about distractions. I will set aside an hour this evening to give this thread the attention it deserves.

Awesome thread!

theAudience said:

I'm working on making up 4 lost time.

Jimi's always been on the short list for me of the G.O.A.T., but I have recently experienced a new Jimaissance after having not listened to him much for a couple years.

A friend of mine suggested since I'm the only guitar player in my band that I should make like Jimi and play more fills while I sing, less chunky chords, blurring the lines between lead & rhythm.

Thanks for the suggestion! Just be more like Jimi, eh?
[Edited 11/17/09 13:46pm]

One of my favorite non-hits

Night Bird Flying

theAudience said:

Now, Jeff Beck is incredibly creative as a guitar player, one of the all time greats on the instrument. Comparable to Jimi, even.

But where the similarities end is when you talk about songwriting, singing, performing, lyrics--all the aspects that Jimi never needed to be good at but was anyway.

One of my favorite stories is from Pete Townsend who said Eric Clapton asked him to go see Jimi when he first arrived on the scene. Pete said he wasn't even really friends with Eric at the time, but that they were basically in the same boat with this new guy trying to steal their thunder.

Pete said that at one point while they watched Jimi, Eric grasped his hand.

I assume it was out of some mixture of fear, jealousy, and delight. For all the sense that Eric might be losing some of his spotlight to this new guy, Eric is a huge fan of music and guitar playing in particular, and it must have felt nice to discover not only a kindred spirit but someone to look up to, even, and inspire you.

NDRU said:

Just a week after Jimi landed in England, Cream were playing a show at the Polytechnic in central London. Chandler bumped into Clapton a few days before and told him he'd like to introduce Jimi sometime. Meeting Clapton, of course, was the one promise Chandler had made to Jimi before they left New York. Clapton mentioned the Polytechnic gig and suggested Chandler bring his protege. In all likelihood, Clapton meant he would be glad simply to meet Jimi, but Jimi nonetheless arrived with his guitar. Chandler, Jimi and their girlfriends stood in the audience during the first half of the show, and Chandler called up to the stage and summoned Clapton over to ask if Jimi might jam. The request was so preposterous that no one in Cream -- Clapton, Jack Bruce or Ginger Baker -- knew quite what to say: No one had ever asked to jam with them before; most would have been too intimidated by their reputation as the best band in Britain. Bruce finally said, "Sure, he can plug into my bass amp."

Jimi plugged his guitar into a spare channel and immediately began Howlin' Wolf's "Killing Floor." "I'd grown up around Eric, and I knew what a fan he was of Albert King, who had a slow version of that song," recalled press agent Tony Garland, who was at the show. "When Jimi started his take, though, it was about three times as fast as Albert King's version, and you could see Eric's jaw drop -- he didn't know what was going to come next." Remembering the show later, Clapton said, "I thought, 'My God, this is like Buddy Guy on acid.' "
When Bruce told his version of the fabled event, he focused on Clapton's reaction and alluded to graffiti in London that proclaimed, "Clapton is God." "It must have been difficult for Eric to handle," Bruce said, "because [Eric] was 'God,' and this unknown person comes along and burns." Jeff Beck was in the audience that night, and he, too, took warning from Jimi's performance. "Even if it was crap -- and it wasn't -- it got to the press," Beck later said. Jimi had been in London for eight days and he had already met God, and burned him.

http://www.rollingstone.c...rix/page/3



Music for adventurous listeners

tA

Tribal Disorder

http://www.soundclick.com...dID=182431

theAudience said:

That jolt helped Eric and the boys to write the psychedelic lemon tree we call "Sunshine Of Your Love".Ya know the same thing happened to "The Beatles", when a week after they dropped "Sgt Peppers", the band went to one of Jimi's shows and the 1st song he played was "Sgt Peppers" lol Man I would've loved 2 have grown up in that era tradin records, goin 2 shows, gettin high before, during,and after and puttin it all in to my axes a Fender Strat and Bass.
[Edited 11/17/09 15:21pm]

carlcranshaw said:

Thanks for the very cool adds.


Music for adventurous listeners

tA

Tribal Disorder

http://www.soundclick.com...dID=182431

Brendan said:

Thanks Brendan.


Music for adventurous listeners

tA

Tribal Disorder

http://www.soundclick.com...dID=182431

diamondpearl1 said:

I'm thinking Jimi would've moved on musically and would be into something totally different.


Music for adventurous listeners

tA

Tribal Disorder

http://www.soundclick.com...dID=182431

theAudience said:

I agree. It seemed like he didn't want to be like everyone else, so he would have been looking for something else as the imitators kept coming...

theAudience said:

lol So if he was still playin 2day who would u wanna see backin him up?

diamondpearl1 said:

Not necessarily anyone still living but I always wished he and Miles Davis had gotten together...

Miles wanted his music to get more basic, more in touch with a blues feeling. In his autobiography he states "See, when I used to listen to Muddy Waters in Chicago down on 33rd and Michigan every Monday when he played there and I would be in town, I knew I had to get some of what he was doing up in my music. You know, the sound of the $1.50 drums and the harmonicas and the two-chord blues". At this point he started to focus in on the more modern and aggressive sounds that would inform the rest of his works. His girlfriend Betty Mabry introduced him to Jimi Hendrix, and the two of them hit it off immediately. Miles appreciated the power in what Jimi was doing, as well as appreciating its grounding in blues and other black forms. Sly Stone and James Brown were also by Miles’ account big influences on what was about to become his new sound. Things were about to get a lot more African. "My Funny Valentine" was about to go out the window.

http://www.furious.com/pe...miles.html

...It almost happened but money got in the way.


Music for adventurous listeners

tA

Tribal Disorder

http://www.soundclick.com...dID=182431

Lammastide said:

You might want to do a reprint, I corrected a few typos.


Music for adventurous listeners


tA

Tribal Disorder

http://www.soundclick.com...dID=182431