| Electric Ladyland (released in October 1968) is widely | | | | reminds him of his current loneliness. Whether due to |
| considered The Jimi Hendrix Experience's crowning | | | | the personal lyrics or unique instrumentation and sound, |
| achievement and focuses attention on Hendrix's | | | | Hendrix was particularly proud of this song. His |
| abilities as singer, songwriter, guitarist, and producer. | | | | attachment is evidenced by the decision to include it on |
| This stunning collection provides the earliest insight into | | | | Electric Ladyland over a year after first releasing it. |
| Hendrix's "Sky Church" concept with featured guest | | | | "Rainy Day, Dream Away" and the later reprise "Still |
| appearances by Steve Winwood, Jack Casady, Al | | | | Raining, Still Dreaming" are laid-back jazz-blues tracks |
| Kooper, Chris Wood, and Buddy Miles. | | | | which show the versatility of Jimi's guitar playing. "1983 . |
| The first time I picked up this album, I knew it was | | | | . . (A Merman I Should Turn to Be)" is a fantastic |
| something very special. It really conveys all the | | | | dreamy journey into another world. It is self-indulgent |
| different nuances of the Hendrix style. Firstly, the | | | | and is designed to take you away and it does so, with |
| soulful "Have You Ever Been (To Electric Ladyland)", is | | | | great effect. The song details a science fiction |
| a great example of Jimi at his thoughtful best with his | | | | scenario of an apocalyptic war and the protagonist |
| guitar sounding very mellow. However, this soon is | | | | Hendrix' desire to "take our last walk through the noise |
| overtaken by the still soulful but rougher-edged sounds | | | | to the sea" with his female companion. |
| of "Crosstown Traffic". This song is about a girl who is | | | | "House Burning Down" is a classic sizzling Hendrix |
| hard to get rid of. Getting through to her that she's not | | | | track which really typifies the overtly aggressive |
| wanted is like getting through crosstown traffic. Again, | | | | Hendrix style. Finally, "All Along the Watchtower", |
| the guitar riffs here are smooth and soulful, displaying | | | | written by Bob Dylan, highlights another aspect of |
| Hendrix's unique ability to be tender with a rough-edge | | | | Hendrix's work, where he really 'talks' emotion through |
| at the same time. | | | | his guitar. Hendrix's obsessive re-working of the song |
| "Voodoo Chile" (and the reprise "Voodoo Child - Slight | | | | totally transformed it from a quiet acoustic ballad to a |
| Return") is an epic, what can I say? It is 15 minutes of | | | | pyrotechnic display of Hendrix's guitar virtuosity. Dylan |
| blues-drenched Jimi at his best. While the track sounds | | | | has described his reaction to hearing Hendrix's version: |
| like a live recording, the crowd noise was actually | | | | "It overwhelmed me, really. He had such talent, he |
| recorded afterwards. Some twenty people were | | | | could find things inside a song and vigorously develop |
| brought to the studio to record appropriate background | | | | them. He found things that other people wouldn't think |
| noise. Nevertheless, the audience sounds are very well | | | | of finding in there. He probably improved upon it by the |
| integrated into the track. "Little Miss Strange" and "Long | | | | spaces he was using. I took license with the song from |
| Hot Summer Night" are interesting tracks, the first | | | | his version, actually, and continue to do it to this day" |
| sounding like a typical 1960s pop song, and the second | | | | (Interview with Bob Dylan: 09/29/95, Fort Lauderdale |
| sounding again, a bit rougher-edged. | | | | Sun Sentinel). A great tribute indeed. |
| Then come my favourite tracks on the album, the old | | | | Details of credits for the album are as follows: |
| Earl King track "Come On (Let the Good Times Roll)" | | | | Jimi Hendrix - electric guitar, bass guitar (on tracks 2, 6, |
| where Jimi shows off his best guitar work. This is | | | | 8, 11, 14 and 15), electric harpsichord (on track 9), |
| bluesy and quite over the top as Jimi just attacks his | | | | percussion, lead vocals (on all non-instrumental tracks |
| guitar in a real rock n'roll style. Another favourite is | | | | except 5 in which Mitch and Noel sing), background |
| "Gypsy Eyes" which has a sizzling, aggressive guitar | | | | vocals, kazoo made of comb and paper (track 3), a |
| sound. Fantastic! "The Burning of the Midnight Lamp" | | | | slide used in "All Along the Watchtower" is actually a |
| follows which has a much more mellow sound. The | | | | cigarette lighter. |
| song's lyrics are about the loss of relationship. Scenes | | | | Mitch Mitchell - drums (on all tracks except 10 and 13), |
| of loneliness are described with attention to detail, | | | | percussion, background vocals, lead vocals (with |
| including seeing an earring left behind and how it | | | | Redding on track 5). |