The Untouchables 01.19.06: The Jimi Hendrix Experience
Posted by Stephen Mogan on 01.19.2006
Jimi Hendrix? Who's that? Oh right, the guy with the headband. Was he any good?
There are many bands that are universally recognised as being great, some achieve superstar status, but very few reach the point where the acclaim for them is so intense, that it becomes inconceivable to question their genius. They are The Untouchables….
Hello there, and welcome to this week's Untouchables column. I'm Steve Mogan and I'm your host again as we take a look at another band that has achieved Untouchable status. No column last week as I was away celebrating my birthday but now, I'm back baby! It feels like months since I've been around here actually, I haven't really commented on the new design either, so here goes; it's rad (I love the word "rad", it makes me feel like I'm in Saved By The Bell). I especially like the "411 Family" bit. Who knew that Mr. Burns, the Cookie Monster, numerous robots, Charlie Brown, a small dog, Christian Cage, Tony Almeida, a glum-looking soda cup and Mario doing Princess Peach up the butt were all related? Small world. My profile looks very bare at the moment, save for a hungover blog entry on New Year 's Day (classy!), but rest assured I will do it this week (complete with hilarious picture that I will steal find on the internet somewhere). Anyway, last time out we looked at Rage Against The Machine and decided that they deserve all the praise heaped upon them. I received a couple of emails about the column, but this is the one I want to print because the author makes a very good point. I don't know their real name but the email prefix is aleung10, which I guess means their name is A. Leung. Not wanting to address the author without a name, I did a quick Google search for "aleung". Results returned indicate that the author is either a mathematics professor at the University of Hong Kong, a young lady called Anita who enjoys blogging, or a man who claims that he looks like this:
I guess I found my profile picture!
Any guesses as to which person I hope it's NOT from? He has a web page by the way, which features some stirring background music. In retrospect it would have been easier to simply email the person and ask for their name, but then I wouldn't have got to use that image (which is now the official mascot for the Untouchables column, and will feature at least three times in every issue). Oh yeah, back to the point, Andy (yeah, we're going with "Andy") writes:
Hey, really dig the in depth look into Rage. They're most definitely untouchable, and anyone who tries to remotely copy the Rage sound ultimately look like total idiots (see Limp Bizkit's "The Unquestionable Truth [Part 1]"). I must contend that Audioslave is still just as creative as Rage has been; while Rage was a little more free flowing without the constraints of a melody, Morello's work with Audioslave is nothing short of extraordinary. There are still the odd noises present in his solos, and he now has the opportunity to be creative in other musical aspects which Rage would never have touched. Some of the creativity is more subtle (check out how the solo goes into the bridge in "Gasoline"), while songs like "Getaway Car" and "Doesn't Remind Me" blew me away simply because of the great song writing; these songs really show that Morello is not just a one trick pony. I found that he was getting a little burnt out with the Rage sound when Rage was breaking up, so I for one welcome the evolution into Audioslave with excitement. Keep up the good work!
Well, Andy, it's time for me to come clean. There may have been just the slightest hint of bitterness towards Audioslave in the column, mainly because my brain works on a very basic level. Writing the column reminded me of how much I enjoyed Rage (the band, not the feeling…or the movie) and how upset I am that they split up. Since Zack De La Rocha is now living on a desert island somewhere (befriending a football to hold onto his sanity in case of a possible rescue), the only outlets for my anger are the members of Audioslave. Zack gets booted out, then all of a sudden they have a new singer and a new name like everything's all hunky dory? It's like a bizarre love triangle involving Chris Cornell and that drummer who looks like a woman (*shudder*). Audioslave aren't as bad as I made out, but it's still a shame to see a band that made such groundbreaking music as Rage resort to making more "traditional" rock songs. What happened to "rip the system"? Anyway, I listened to the songs you talked about, Andy, and their work is pretty impressive. It's certainly not as poor as I made out. Whether or not I agree with the change from furious, politically-charged songs to "Like A Stone"-type material is moot really, the band obviously wanted to try something different and they've certainly succeeded in doing just that. Thanks for the email and thanks for reading, Andy! Now for some plugs (there's a column in here somewhere, I swear)…
Jared has a look at remixes in "The Rock Remix Fiasco": Part 1 and Part 2 and, appropriately, recommends an album from the artist we'll be (eventually) covering this week.
Frank Estrada takes a look at chick rock, which brought back horrible memories of the time a friend took me to see Le Tigre. I can honestly say that the reality of being in a room full of lesbians is about as far removed as it possibly could be from any fantasy I may have had. Who knew they could be so scary?
It's interesting that when I go away for my birthday, Berry and Ian Wright don't post columns either. Coincidence? I think not. Let the conspiracy theories begin! (Seriously, where are those two? I need my indie dammit, it's all metal metal metal around here this week. Just reading the band names makes my head hurt; "Busted Spleen", "Dick Spit", "Satan's Vagina", it makes my brain swell. Come back soon guys!)
And now, after much ado, I give to you this week's subject…
The Jimi Hendrix Experience
The Band:
I'm not gonna cover Jimi's entire career here (because we all have jobs and homes to go to), just that of "The Experience". Besides, the man hardly needs an introduction (though for the uninitiated; Hendrix was beamed down to earth by aliens in 1942 to teach the world how to use a guitar. He started with a mandolin, and worked his way up through bigger and bigger stringed instruments until his fateful attempt to play a guitar the size of a building at Woodstock led to the mothership beaming him back up; it was felt he'd gotten too big for his space-boots). The Jimi Hendrix Experience was formed in 1966 in merry old England. Hendrix himself already had a record deal due to his aforementioned extra-terrestrial guitar-playing abilities, he just needed a couple of guys who could keep up with him in order to make an album. Those two guys turned out to be Noel Redding (bass) and the cleverly-named "Mitch" Mitchell (drums). Prior to their debut album, the band had three UK top ten hits ("Purple Haze", "The Wind Cries Mary" and "Hey Joe"). Jimi's distorted, psychedelic and sometimes bluesy guitar was like nothing many people had heard before. This assured the critical success of the album, "Are You Experienced?", released in 1967. Unfortunately, at this point, America was a different story altogether. Having a much lower profile than in the UK, the band was asked to open for The Monkees, of all people (the freakin' Monkees…again!), and their teenage audience didn't take too well to The Experience's live show that usually involved Jimi setting his guitar on fire and playing it with his teeth (no, not in that order. I bet he could've if he'd wanted to though). The group was unceremoniously (and unsurprisingly) thrown off the tour. This was actually the best thing that could have happened, with the media outcry ("Fire-Guitar Playing Demon Eats Acceptable Pop Group's Hair!!" the tabloids might very well have screamed) ensuring that The Experience reached a new level of public exposure (no, not in that way. I bet Jimi could've gotten away with it if he'd wanted to though).
Album number 2, "Axis: Bold As Love" followed later in 1967 and continued the pioneering work began by the group's debut. On tour, however, The Experience appeared to be falling apart. Hendrix was detained in a Swedish prison for trashing a hotel room, and rumours were abound of a falling-out with Redding. Still, the band managed to record a double album, "Electric Ladyland", for release in 1968. This was a more eclectic offering, featuring Hendrix's blues and jazz influences more prominently. The record features classic songs such as "Voodoo Chile", "Crosstown Traffic" and "All Along The Watchtower", and is considered by many to be the pinnacle of Jimi's recorded output (though just as many will argue that "Are You Experienced?" holds that honor. "Electric Ladyland", however, featured naked women on the front and is, therefore, superior). Redding was absent for much of the recording of "Ladyland", and officially quit the band in 1969. The Experience was later officially disbanded when Jimi appeared at Woodstock later in the year with his new band, Gypsy Sun and Rainbows. Their performance that day, particularly Jimi's, would go down in history as an extraordinary spectacle. Unfortunately, it would prove to be the pinnacle of Hendrix's career. Following an abortive attempt at a tour with yet another new band in 1970, Hendrix was found dead in his London apartment on September 18th.
The Albums:
Are You Experienced? (1967)
The opening riff to this album is one of those indelible sounds that you'll instantly recognise for the rest of your life after hearing it once. "Purple Haze" is just classic Hendrix guitar, whilst Mitch's drumming is sharp and punchy. The line "'Scuse me while I kiss the sky" still sounds like the coolest thing anybody has ever said, and just about sums up the confidence with which the band crafted this entire album. It's an awesome song and a fantastic way to open your debut. "Manic Depression" follows and, like the first track, is about exactly what you think it's about. The song is characterised by Mitch's scattershot drumming that almost sounds like it's duelling with Hendrix's guitar at points. This feels more restrained than the opener, but the sheer self-belief that the band had is evident. Considering that they'd never made an album before, to create something as deliberately left-field as this was impressive in itself. To do it with such skill was something else. I'd love to have been around in 1967; taking off my Monkees record and putting "Are You Experienced?" on there for the first time and watching my mind explode. Of the tracks on the album, "Manic Depression" is certainly one of the most "out there", whilst simultaneously sounding tuneful (which is almost certainly down to the near-telepathic understanding between the band members). The song is followed by "Hey Joe", another single and another classic Hendrix track; it's a tale of love and betrayal. More laidback than either of its predecessors, the song benefits from the ethereal backing vocals. This isn't particularly one of my own favourite Hendrix songs, but I can see its appeal. The following two songs "Love Or Confusion" and "May This Be Love" are the weakest on the album, but both still have catchy riffs and excellent solos.
For laid-back Hendrix, however, you can't beat "The Wind Cries Mary". A great little guitar riff provides the most minimal (for a Hendrix song anyway) backing, whilst Jimi's lament is one of his better vocal performances. It sounds both spooky and relaxing at the same time, a whimsical song that is truly captivating. Next we have the (almost) instrumental "Third Stone From The Sun". This is a great track, featuring the immortal line "And you'll never hear surf music again". I say almost instrumental; the track has vocals that are slowed down and distorted to begin with, an example of the band's willingness to experiment in the studio. The track is good, but feels more like a tone-setter for the following bombast of "Fire". This is a truly great song, a straightforward rock ‘n' roll classic that has a wonderful riff and urgent vocals from Hendrix. Just awesome; guaranteed to make you want to get up and throw yourself around. Finally, the album closes with "Are You Experienced?", and instrumental track that is another example of the experimentation I talked about earlier, with its backwards riffs. The track is sublime, and has to be heard to be believed. An excellent way to end the album just as it started; on a high (heh).
Axis: Bold As Love (1967)
Opening with the bizarre skit "EXP", which begins with a spoken word piece about aliens before breaking out into wailing guitar feedback (intended to sound like aliens, presumably), The Experience's second album is certainly less straightforward than their debut. This is exemplified by the first track proper, "Up From The Skies". Over a wah-wah guitar backing that borders on dub/reggae, Hendrix delivers his trademark free ‘n' easy vocals. The song is unlike anything they'd done before at this point and is a laidback Hendrix classic awaiting discovery. "Spanish Castle Magic" has us in more familiar territory; a powerhouse riff and stop-start drumming. I'm guessing this one is about drugs, since Jimi talks about flying on the back of a dragonfly. The track also features a piano that rumbles along underneath the chorus almost undetected; another example of how the band were trying to expand their sound. An excellent track, that shows both a nod towards, and a progression from, "Are You Experienced?". "Wait Until Tomorrow" is a slow, funky track that showcases Jimi's ability as a jazz guitarist. It's a good song but seems slightly out of place on the album. The backing vocals on the chorus are pretty dire too. Not awful, but my no means essential. "Ain't No Telling" is a short, fast track that hits the spot after the slower songs that have dominated the album thus far. Again, this sounds like a real progression for the band despite being similar in style to their usual material. The track wins the vote for the song on the album most likely to soundtrack a chase scene in a 70's cop movie. "Little Wing" is a little slow and sentimental for my tastes, to be honest, so I usually skip on through to "If 6 was 9" with its epic guitar intro. The song builds up slowly for about 2 minutes before it turns into a showcase for Jimi's guitar skills, as he switches from riff to riff in a furious fashion. The song breaks down again and then pretty much goes nuts at the end, as the squealing of feedback washes over any sense of tunefulness the song once had. Weird, and very good.
"You Got Me Floatin'" is a skipper (with more awful backing vocals), but "Castles In The Sand" is breath of fresh air to the album. Another relaxed delivery from Jimi, reminiscent of "The Wind Cries Mary", but with backwards guitar solos that set the song apart in terms of sonic invention. The fact that Jimi tried such a difficult technique in the days when the equipment was obviously far less advanced than it is now if one thing; the fact that it sounded so damn good is quite another. "One Rainy Wish" is another lament with excellent guitar work, whilst "Little Miss Lover" is the dictionary definition of "funk". From the porn star guitar riffs to the "Awww sock it to me!" line, this is the musical equivalent of strutting down the street in your best pimp outfit (well not your best, it obviously works better if you imagine Jimi in the role). That's the last straightforward song on the album, as the closer "Bold As Love" revels in it's technological trickery to produce oddball sonic effects. The song starts off as the archetypal "slow Jimi Hendrix song" before exploding into a mix of guitar solos, with phasing and sweeping effects all over the place. Again, I have to stress that this sort of innovation was lacking in 1967, and it's a miracle that the band could actually produce half of those effects (though judging by what Jimi could do with a guitar we really shouldn't be surprised). It's a great way to close the album, and links it back to the intro with all the strange "alien" noises.
Electric Ladyland (1968)
First off, no I didn't use the naked lady cover because there might be kids reading (kids who are probably now asking their parents for the latest Satan's Vagina CD, but what the hell). The final album for The Experience was a double one, and took a different route to their previous two offerings. Whereas "Axis" was all about experimentation in the sense that the band used instruments and effects to produce sounds that hadn't been created before, this album was all about taking on different musical styles and branching out the group's sound into areas they had yet to fully explore. The album continues the tradition began on "Axis", with its opening of whirling feedback and distorted voices. This soon fades out into the opening track proper, "Have You Ever Been (To Electric Ladyland)?", a smooth funk track that's unlike anything the band had attempted before. Hendrix sings in a high falsetto for this one, and pulls it off admirably. After only two minutes though, the song fades out and we're back in familiar territory with "Crosstown Traffic". This is pure Hendrix; a powerful riff, cool vocals and a definite pop touch. This is one of the band's best-known numbers, and deservedly so. Next, however, we have a real departure. "Voodoo Chile" is a long, drawn-out jazz jam that lasts 15 minutes. Not many artists could pull off such a long, slow-tempoed track like this and retain the listener's interest, but The Experience manage it with ease. It doesn't lend itself readily to description, but it's a definite high-point of the album. Kudos to the band for putting a song like this and a song like "Crosstown Traffic" next to each other on the album, almost as if they were proving a point ("Hey, we can do it all baby!").
The songs that follows take on a mixture of different styles; from straight 60's-pop ("She's Strange") to what appears to be The Experience's take on good-time boogie-woogie rock ("Come On (Let The Good Times Roll"). These experiments are unquestionably a success, with the instrumental portion of the latter being something very special. The band even experiments with Doors-style organs on "Burning Of The Midnight Lamp", which sound oddly at home next to Jimi's powerful, dramatic delivery (though I must admit it's a very welcome moment when the guitar gets busted out towards the end). We also have a couple of songs that comprise a suite, "Rainy Day, Dream Away" and "Still Raining, Still Dreaming". These two are very different stylistically; the former a laidback jazz track, the latter straightforward rock with wailing guitars and military drumming. Both songs are excellent, and it's becoming increasingly difficult to criticise this album whatsoever. If pressed, I'd say that "Gypsy Eyes" and "Long Hot Summer Night" are both filler, but only two average tracks on a double album isn't bad going (especially when you consider the greatness of what surrounds those two songs). The album finishes off in a big way. First, we have the instrumental "House Burning Down", that combines organs and guitars in a similar fashion to "Burning Of The Midnight Lamp". The song is actually a continuation of sorts of "Still Raining, Still Dreaming" and is a dramatic way to set up the final two tracks. First up is "All Along The Watchtower", which I don't have to comment much on. Simply amazing, so good that Dylan changed the way he plays it live because he felt Jimi's version superior. Finally, we close out with "Voodoo Chile (Slight Return)". The song features one of the most recognisable riffs in history, and is simply a powerhouse. It's a masterclass in rock musicianship, a must-listen for anyone who picks up a guitar (well, just anyone actually). A fine end to a near-perfect album.
Their Influence:
What can I say? In terms of his willingness to embrace technology, in addition to his pure skill, Hendrix has influenced pretty much anybody who has picked up a guitar since. He was one of the first to master the wah-wah pedal, now a rock staple. Any band who uses effects to beef up or distort their guitar sounds owes a debt to Hendrix (U2, I'm looking in your direction). For some, Hendrix's influence may be subtle. Others are more overt about it (Prince, Lenny Kravitz, anyone?), but the simple fact is you'd struggle to find a rock guitarist around who hasn't had their perceptions of what could be done with guitar changed forever by Jimi Hendrix. I know I'm supposed to be talking about the band here, but Jimi was the star of the show no matter what vehicle he was in at the time. He left behind a legacy that will last for generations, and a list of artists he influenced that I could devote an entire article to. I wonder if he'd have achieved all of this if he'd stuck to the mandolin?
The Verdict:
I really didn't think this column was going to be as one sided as it turned out. I mean, even if the music was good I could always criticise Jimi's voice right? That was the theory anyway. Truth is, I haven't once spoken negatively about his voice, because his style and delivery was perfect for the music the band created. Damn, Jimi was a cool mofo. And, contrary to popular belief, the rest of the band were extremely skilled as well. And considering I've said almost nothing negative so far, it's pretty clear that The Jimi Hendrix Experience deserves its Untouchable status. I'm just glad that every artist I've looked at hasn't been this frickin' good, otherwise this'd be one boring column.
What Now?
In addition to Jimi, Noel has also passed away. He died in 2003, at his home in Ireland. Mitch formed a new band and supported ELP a couple of times but hasn't done anything since. Well that was a depressing section. At least Mitch is still alive, I guess. I need something to lighten the mood…
Aaaaaaaaah...
Well, that's all for this week. Enjoyed it? Hated it? Think this was just one long Jimi Hendrix advert planted here by those in charge of his estate? Send me an email! Any suggestions of future acts to cover in the column are always welcome, and I'll be back next week with another Untouchables. Take it easy,
