Jimi Hendrix
Biography
In his brief four-year reign as a superstar, Jimi Hendrix expanded the vocabulary of the electric rock guitar more than anyone before or since. Hendrix was a master at coaxing all manner of unforeseen sonics from his instrument, often with innovative amplification experiments that produced astral-quality feedback and roaring distortion. His frequent hurricane blasts of noise and dazzling showmanship -- he could and would play behind his back and with his teeth and set his guitar on fire -- has sometimes obscured his considerable gifts as a songwriter, singer, and master of a gamut of blues, R&B, and rock styles.
When Hendrix became an international superstar in 1967, it seemed as if he'd dropped out of a Martian spaceship, but in fact he'd served his apprenticeship the long, mundane way in numerous R&B acts on the chitlin circuit. During the early and mid-'60s, he worked with such R&B/soul greats as Little Richard, the Isley Brothers, and King Curtis as a backup guitarist. Occasionally he recorded as a session man (the Isley Brothers' 1964 single "Testify" is the only one of these early tracks that offers even a glimpse of his future genius). But the stars didn't appreciate his show-stealing showmanship, and Hendrix was straight-jacketed by sideman roles that didn't allow him to develop as a soloist. The logical step was for Hendrix to go out on his own, which he did in New York in the mid-'60s, playing with various musicians in local clubs, and joining white blues-rock singer John Hammond, Jr.'s band for a while.
It was in a New York club that Hendrix was spotted by Animals bassist Chas Chandler. The first lineup of the Animals was about to split, and Chandler, looking to move into management, convinced Hendrix to move to London and record as a solo act in England. There a group was built around Jimi, also featuring Mitch Mitchell on drums and Noel Redding on bass, that was dubbed the Jimi Hendrix Experience. The trio became stars with astonishing speed in the U.K., where "Hey Joe," "Purple Haze," and "The Wind Cries Mary" all made the Top Ten in the first half of 1967. These tracks were also featured on their debut album, Are You Experienced?, a psychedelic meisterwerk that became a huge hit in the U.S. after Hendrix created a sensation at the Monterey Pop Festival in June of 1967.
Are You Experienced? was an astonishing debut, particularly from a young R&B veteran who had rarely sung, and apparently never written his own material, before the Experience formed. What caught most people's attention at first was his virtuosic guitar playing, which employed an arsenal of devices, including wah-wah pedals, buzzing feedback solos, crunching distorted riffs, and lightning, liquid runs up and down the scales. But Hendrix was also a first-rate songwriter, melding cosmic imagery with some surprisingly pop-savvy hooks and tender sentiments. He was also an excellent blues interpreter and passionate, engaging singer (although his gruff, throaty vocal pipes were not nearly as great assets as his instrumental skills). Are You Experienced? was psychedelia at its most eclectic, synthesizing mod pop, soul, R&B, Dylan, and the electric guitar innovations of British pioneers like Jeff Beck, Pete Townshend, and Eric Clapton.
Amazingly, Hendrix would only record three fully conceived studio albums in his lifetime. Axis: Bold as Love and the double-LP Electric Ladyland were more diffuse and experimental than Are You Experienced? On Electric Ladyland in particular, Hendrix pioneered the use of the studio itself as a recording instrument, manipulating electronics and devising overdub techniques (with the help of engineer Eddie Kramer in particular) to plot uncharted sonic territory. Not that these albums were perfect, as impressive as they were; the instrumental breaks could meander, and Hendrix's songwriting was occasionally half-baked, never matching the consistency of Are You Experienced? (although he exercised greater creative control over the later albums).
The final two years of Hendrix's life were turbulent ones musically, financially, and personally. He was embroiled in enough complicated management and record company disputes (some dating from ill-advised contracts he'd signed before the Experience formed) to keep the lawyers busy for years. He disbanded the Experience in 1969, forming the Band of Gypsies with drummer Buddy Miles and bassist Billy Cox to pursue funkier directions. He closed Woodstock with a sprawling, shaky set, redeemed by his famous machine-gun interpretation of "The Star Spangled Banner." The rhythm section of Mitchell and Redding were underrated keys to Jimi's best work, and the Band of Gypsies ultimately couldn't measure up to the same standard, although Hendrix did record an erratic live album with them. In early 1970, the Experience re-formed again -- and disbanded again shortly afterward. At the same time, Hendrix felt torn in many directions by various fellow musicians, record-company expectations, and management pressures, all of whom had their own ideas of what Hendrix should be doing. Coming up on two years after Electric Ladyland, a new studio album had yet to appear, although Hendrix was recording constantly during the period.
While outside parties did contribute to bogging down Hendrix's studio work, it also seems likely that Jimi himself was partly responsible for the stalemate, unable to form a permanent lineup of musicians, unable to decide what musical direction to pursue, unable to bring himself to complete another album despite jamming endlessly. A few months into 1970, Mitchell -- Hendrix's most valuable musical collaborator -- came back into the fold, replacing Miles in the drum chair, although Cox stayed in place. It was this trio that toured the world during Hendrix's final months.
It's extremely difficult to separate the facts of Hendrix's life from rumors and speculation. Everyone who knew him well, or claimed to know him well, has different versions of his state of mind in 1970. Critics have variously mused that he was going to go into jazz, that he was going to get deeper into the blues, that he was going to continue doing what he was doing, or that he was too confused to know what he was doing at all. The same confusion holds true for his death: contradictory versions of his final days have been given by his closest acquaintances of the time. He'd been working intermittently on a new album, tentatively titled First Ray of the New Rising Sun, when he died in London on September 18, 1970, from drug-related complications.
Hendrix recorded a massive amount of unreleased studio material during his lifetime. Much of this (as well as entire live concerts) was issued posthumously; several of the live concerts were excellent, but the studio tapes have been the focus of enormous controversy for over 20 years. These initially came out in haphazard drabs and drubs (the first, The Cry of Love, was easily the most outstanding of the lot). In the mid-'70s, producer Alan Douglas took control of these projects, posthumously overdubbing many of Hendrix's tapes with additional parts by studio musicians. In the eyes of many Hendrix fans, this was sacrilege, destroying the integrity of the work of a musician known to exercise meticulous care over the final production of his studio recordings. Even as late as 1995, Douglas was having ex-Knack drummer Bruce Gary record new parts for the typically misbegotten compilation Voodoo Soup. After a lengthy legal dispute, the rights to Hendrix's estate, including all of his recordings, returned to Al Hendrix, the guitarist's father, in July of 1995.
With the help of Jimi's step-sister Janie, Al set up Experience Hendrix to begin to get Jimi's legacy in order. They began by hiring John McDermott and Jimi's original engineer, Eddie Kramer to oversee the remastering process. They were able to find all the original master tapes, which had never been used for previous CD releases, and in April of 1997, Hendrix's first three albums were reissued with drastically improved sound. Accompanying those reissues was a posthumous compilation album (based on Jimi's handwritten track listings) called First Rays of the New Rising Sun, made up of tracks from the Cry of Love, Rainbow Bridge and War Heroes.
Later in 1997, another compilation called South Saturn Delta showed up, collecting more tracks from posthumous LPs like Crash Landing, War Heroes, and Rainbow Bridge (without the terrible '70s overdubs), along with a handful of never-before-heard material that Chas Chandler had withheld from Alan Douglas for all those years.
More archival material followed; Radio One was basically expanded to the two-disc BBC Sessions (released in 1998), and 1999 saw the release of the full show from Woodstock as well as additional concert recordings from the Band of Gypsies shows entitled Live at the Fillmore East. 2000 saw the release of the Jimi Hendrix Experience four-disc box set, which compiled remaining tracks from In the West, Crash Landing and Rainbow Bridge along with more rarities and alternates from the Chandler cache.
The family also launched Dagger Records, essentially an authorized bootleg label to supply harcore Hendrix fans with material that would be of limited commercial appeal. Dagger Records has released several live concerts (of shows in Oakland, Ottawa and Clark University in Massachusetts) and a collection of studio jams and demos called Morning Symphony Ideas. ~ Richie Unterberger & Sean Westergaard, All Music Guide
Selected Discography

Live At Monterey
2007

Martin Scorsese Presents The Blues: Jimi Hendrix
2003

Blue Wild Angel: Jimi Hendrix Live At The Isle Of Wight
2002

Voodoo Child
2001

Experience Hendrix - The Best Of Jimi Hendrix
1998

Blues
1994

Band Of Gypsys (Live)
1970

Electric Ladyland
1968

Axis: Bold As Love
1967

Are You Experienced!
1967
Dragonforce makes my ears bleed. Theres nothing "better" about playing scales as fast as you can. There wouldnt be music heard the way it is today, without Hendrix. Dragonforce. .. in ten years people wont know who that is, the radio wont be playing Dragonforce 40 years from now. Get real.
|
||
its sad that people tried to jack his unreleased songs after he died. good thing his father finally got the rights to all jimi's recordings.
|
||
Jimi's mind eye, comes through his music..... beautiful... . . . thanks brother, god bless!!
|
||
RED HOUSE - HOLY S**T !!
CANT BEAT IT FOR HENDRIX ELECTRIC BLUES - OR ANY ELECTRIC BLUES - I HAVE ABOUT 150 VERSIONS FROM EVERY GREAT ELECTRIC BLUES GUITARIST EVER - FIND ANOTHER BLUES SONG THAT YOU CAN SAY THAT ABOUT ! |
||
His message was so simple, beautiful, and most importantly, human. Luckily, he'll never really die, seeing as his message will live on.
|
||
Simply "The Master Of Sound", The combination of Power, Effects, Feedback, Playing, and Imagination. Unique, unmatched, inventive. With his example, they should all be better! If you want to hear his best stuff,e-mail me at LLiley@msn.c o m and I'll send you a copy of some of his most impressive songs or give you the names of them. I think a couple of guitarist have surpassed his ability, but after he showed us what was possible, they should have done more. i e. Jimmy Page, Stevie Ray V. .....
|
||
well said Gator Gar. It is what it is, it was what it was, and it shall be what it shall be
|
||
For the younger gen. It was a crossroads of attitudes, drugs, and technology, and politics, and you can't leave out just one variable or it wouldn't have happened the way it did, and how could it have been better than it was? It couldn't! I don't think he cheated anyone including himself, he lived in his time! He was a trail blazer and that was his life good and bad.
|
||
No talent? Listen to Jimi's raw, acoustic blues recordings like Red House. He had as much blues soul in his 20's as Buddy Guy in his 50's. Drug problem? Yeah, he cheated us and himself with that, but jcook you otta simmer down!
You're dismissive! |
||
hendrix was nothing more than a glorified noise maker with no talent and a drug problem
|
||
and by the I like nirvana there isn't anything wrong with kurt but he aint even in the same ball park as jimi
|
||
and besides hendrix didn't just influence rock guitarist he influenced funk guitarist to. there for having a large im pact on funk and r&b.
|
||
even eric clapton is on record saying he envied hendrix's playing. and even metal player such as joe satriani were heavily influenced by jimi
|
||
and jimi hendrix is the greatest guitarist of all time. there is not a single rock guitarist out there that has not been influenced by him weather directly or indirectly. he even greater than those that influenced him, because HE revolutioniz e d what was thought to be possible with the guitar he brought the wah wah into the world (along wit clapton) could do almost anything with the guitar. there may be people better with technical stuff and wut have you now but there will never be anyone greater
|
||
Machine Gun from Band of Gypsys live at the Fillmore says it all. Just ask the guitarists of his time and they will tell you there wasn't anyone in his league. If that's not enough try Red House from SanDiego, Johnny B Goode from Berkeley or In From the Storm at Isle of Wight. No one in the same building. Slash or Eddie give me a break!
|
||
you guys wanna hear something jimi hendrix never ever liked his own voice he was constantly trying to find someone else to sing his songs but I happen to like his voice I find it soothing
|
||
this is one bad a** jam.> HEAR my train a coming
|
||
Cobain was a horrible singer and guitarist, but he was a great songwriter.
|
||
to be so talanted in so many styles, rock, blues, r&b, sets Hendrix apart...he is an icon, never will there be as influential a guitarist EVER again...and Mitch Mitchell is the shi!
|
||
If I could stand his voice I might be able to appreciate his music. Honestly, the only CD I've ever removed from the player and snapped in my hand. If you ever wanted to use psychologica l warfare against me, play some Hendrix. Why do some of the best guitarists get it in their head that they should sing? Just shut your cakehole and play the guitar.
|
||
| report abuse |




