Released Electric Ladyland (in October 1968) is widely considered The Jimi Hendrix Experience coronation and draws attention to Hendrix abilities as a singer, songwriter, guitarist and producer. This impressive collection represents the first insight into Hendrix's Sky Church "concept presented with guest appearances by Steve Winwood, Jack Casady, Al Kooper, Chris Wood, and Buddy Miles.
The first time I took from this album, I knew it was something verySpecial. It really gives all the different shades of Hendrix-style. First, the soulful "Have You Ever Been (To Electric Ladyland)", is a great example of Jimi in his thoughtful best with his guitar sounds very soft. But soon it by the still soulful but outdated rough edges sounds of "Crosstown Traffic". This song is about a girl who's hard to get rid of. First steps towards her that she did not, as always, by Crosstown Traffic. Again, the guitar riffshere are smooth and soulful, displaying unique Hendrix to be able to offer with a rough edge at the same time.
"Voodoo Chile" (and the reprise "Voodoo Child - Slight Return") is an epic, what can I say? It is 15 minutes from blues-soaked Jimi at his best. While the title sounds like a live recording, the crowd noise was actually recorded later. About twenty people were brought into the studio to record appropriate background noise. Nevertheless, the audience hears are very wellintegrated into the track. "Little Miss Strange" and "Long Hot Summer Night" are interesting title, the first sounds like a typical 1960s pop song, the second again sounds a little rough edges.
Then came my favorite tracks on the album, the old Earl King song "Come On (Let the Good Times Roll)", where Jimi shows his best guitar work. This is very bluesy and over the top as Jimi only attacks his guitar in a real rock n'roll style. Another favorite is "Gypsy Eyes"has made a sizzling, aggressive guitar sound. Fantastic! "The Burning of the Midnight Lamp" follows, which has a much softer sound. The song's lyrics about the loss of the relationship. Scenes of solitude are lovingly described to detail, including an earring, you look behind them and how it reminds him of his current loneliness. Whether because of personal lyrics and unique instrumentation and sound, Hendrix was particularly proud of this song. Its attachment is detected by theDecision to have it on Electric Ladyland more than a year after the first re-release.
"Rainy Day, Dream Away" and the later Reprise "Still Raining, Still Dreaming" are laid-back jazz-blues songs played by the versatility of the guitar Jimi show. "1983 ... (A Merman I Should Turn To Be)" is a fantastic dreamlike journey into another world. It is self-indulgent and is designed to take you away and she does so with great effect. The song details a science-fiction scenario of an apocalyptic warand the protagonist / Hendrix's "desire" to our last walk through the noise of the sea "with his girlfriend.
"House Burning Down" is a sizzling classic Hendrix track that actually typical of the aggressive Hendrix-style. Finally, "All Along the Watchtower" written by Bob Dylan, highlights another aspect of the work of Hendrix, where he speaks truly 'emotion through his guitar. Hendrix obsessive re-working of the song completely transformed from a quiet acoustic ballad to aFireworks Hendrix guitar virtuosity. Dylan has his reaction to hearing Hendrix's version is described as follows: "It had overwhelmed me, really. He such a talent, he could see things in a song and vigorously develop them. He found out what other people are not too to find in it would think. He probably improved it through the rooms, which he used. I took license with the song from his version, actually, and continue to do so until the present day "(interview with Bob Dylan: 09 / 29/95, Fort LauderdaleSun Sentinel). A great tribute indeed.
Details of credit for the album are as follows:
Jimi Hendrix - electric guitar, bass guitar (on tracks 2, 6, 8, 11, 14 and 15), electric harpsichord (track 9), percussion, lead vocals (on all non-instrumental tracks except 5 in which Mitch and Noel sing), has background vocals, kazoo use of the comb and paper (Title 3), a slide in "All Along the Watchtower" is actually a lighter.
Mitch Mitchell - Drums (on all tracksexcept 10 and 13), percussion, background vocals, lead vocals (with Redding on the right track 5).
Noel Redding - bass (on tracks 3, 5, 7, 9, 11 and 16), background vocals, acoustic guitar (on track 5), lead vocals (with Mitchell on the right track 5)
Extras included:
Jack Casady - bass (on track 4)
Larry Faucette - congas (on tracks 10 and 13)
Mike Finnigan - organ (on tracks 10 and 13)
Al Kooper - piano (on track 6)
Dave Mason - guitar (on track 15),Vocals (on track 3)
Buddy Miles - drums (on tracks 10 and 13)
Freddie Smith - tenor saxophone (on tracks 10 and 13)
Steve Winwood - organ (on track 4)
Chris Wood - flute (on track 11)
Cissy Houston and The Sweet Inspirations - background vocals (track 9)
Brian Jones - drums on track (13)
Production
Producers - Jimi Hendrix and Chas Chandler
Engineers - Eddie Kramer and Gary Kellgren
Mixed by - Jimi Hendrix and EddieKramer
Arranged by Jimi Hendrix
Liner Note by Jimi Hendrix
American Cover Design - Karl Ferris
U.S. cover in Photos - Linda Eastman (McCartney) and David Sygall
U.S. art direction - Ed Thrasher
UK cover design - David King, Rob O'Connor
UK cover in Photos - Richard Montgomery
1. Remaster by Allan Douglas
Remastering - Joe Innkeeper
Liner notes - Michael Fairchild
2. Remaster Experience Hendrix
Remastering supervisors --Janie Hendrix, John McDermott
Remastering - Eddie Kramer & George Marino
Art Direction - Vartan
Liner notes - Jeff Leve
Essay - Derek Taylor
RECOMMENDATION: 10/10
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