The outro has a cooling singing part, but the guitar is clearly the high part of this song. Even when Jimi's singing there is a constant guitar soloing. Again this song incorperates background singing, random guitar fills and a solid rythym. Long Hot Summer Night The intro is a nifty guitar riff with Jimi humming softly. It also has some of the most creative guitar fills and solos on the album, backed by a very nice bass groove and Mitch's jazz induced drumming.4.5/5 This track incorperates many layers of guitars with fuzz and wah wah and other effects. Noel has a pretty decent voice and it fits the song well.
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Little Miss Strange The song starts off with Jimi playing a fast acoustic riff then the drums come in and a double tracked electric guitar comes in and does a nice little solo before Noel Redding starts singing. The rest of the song is more jamming and at the end you can here claping and cheering from the people who where at the session.5/5 As this wraps up we go back into the original rythym and Jimi goes back to singing. The bass stays pounding and Mitch changes up the beat making many fills, the guitar and organ both get solo breaks including a call and response sort of thing where they try to copy the other mans fills. After he sings for a bit they go for the jam. As Jimi sings the lyrics with a very nice blues voice, he is accompanied with a heavy blues rythym with guitar and organ fills being thrown around every where. The song is made of Jimi, Mitch from the Experience and Jack Casady on bass and Steve Winwood on the organ. Voodoo Chile As we make the transmission from the short pop/rock song to this 14 min all-star blues jam, the listener now doesnt not know what to expect for the rest of the album. Again no real flashy guitar but the creativity of the tone and the part on the guitar are amazing.5/5 This song proves Mitch Mitchell a tank on the drums as he pretty much pulls the song through the verse. The lyrics are fun, and the backing voacls are amazing again. The song isn't long but is easily one of the catchiest songs on the album. With a fade in guitar and then Jimi wails a riff on the kazoo. Mitch and Noel keep it the rythym section flowing throughoutn the song.4.5/5Ĭrosstown Traffic A change of pace to a more of a rock song. No flashy guitar work is needed just a nice light rythym and a few psyschedelic fills and a nice solo. Jimi's voice is perfect and the backing singing is equally great. Have You Ever Been (to Electric Ladyland) The first track that features Jimi singing starts off with a sound like a clock ticking and with no notice Jimi's voice comes out asking the listener if they have ever been to electric ladyland, no intro nessacary. Many back tracks and delays are put into the the sounds to make them feel like a swirling sound coming out of your speakers. Psyschedelic sounds and deep noises that remotley sound like the voices of gods. Jimi's and Eddie Kramer's mixboard masterpiece opens the album and makes the listener aware that they are not listening to an ordinary album. And the Gods Made Love The opening track starts off with two giant bangs. To top it all of legendary engineer Eddie Kramer would help produce the album adding in effects and multple guitar tracks to make Electric Ladyland just that more mind blowing. Electric Ladyland also features drummer Buddy Miles who would later go on to be in the Band of Gypsies with Hendrix. The album features many other musicians such as Jack Casady from the Jefferson Airplane and Steve Winwood from Traffic. It's was Henrdix's third and final album with the band known as the Jimi Hendrix Experience and arguably his finest. Jimi had all ready realeased an album in 1968 but already had enough material to go ahead and release another album, a double album. This is one aspect of Hendrix's music, then, that shows his deep roots in the blues.October 1968, 15 months after Hendrix had been introduced to the U.S. Through register placement, timbre, articulation, and chordal function, it is intimately tied to the blues idiom, adding a blues tonal element.
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Together these define what might be called a 'sharp ninth sound'. It is not necessarily the fully voiced version of the chord that Hendrix used, but interval combinations drawn from or related to it, with particular timbres and articulations. This paper examines some ways in which Hendrix used this chord by surveying and drawing comparisons between various instances.
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An important feature of Hendrix's music is his characteristic use of the seventh chord with a sharp ninth, or the augmented ninth chord, now often referred to as the 'Hendrix chord'. Jimi Hendrix was often characterised by his exotic appearance and extravagant performance, but underneath these trappings was an extraordinary guitarist who managed to transform some of the key elements of blues and rhythm-and-blues traditions.