OPO hendrix

you really think so? i find his drumming boring and pedestrian, kind of like ?uestlove. i keep waiting for him to break out of his set patterns or vary them in some way or something. mitchell, on the other hand, really stretches himself (often to the point where he can't keep time, which i've been told is why other drummers hate him). check the 'jam back at the house' (i think?) track in the woodstock set, again, he really does some interesting things.

Miles keeps it simple most of the time, but his time feel and big sound makes that worth listening to for me. He's a much more 'grounded' player than Mitchell, more r&b based I think. And when he does throw something in, it's often very cool.

mitch mitchell over buddy fatso miles any time for me too.

Also it has rainy in the title!

The Jim Morrison thing is also on a bootleg called "Woke Up this Mornign And Found Myself Dead". I lvoe the bit where Jimi asks someone to remove Jimbo's comatose drunk body.

Machine Gun live at the Filmore with the Gypsies (can't say which version tho) over Wait Till Tommorrow.

he was going for that invisibly funky al jackson thing, he wasn't trying to be flashy

bu yeah, mitchell suited hendrix better

Mitch Mitchell WAY over Buddy Miles!

"Power of Soul"
"Third Stone from the Sun"
"Dolly Dagger"
"1983 (A Merman I Shall Be)"
"Manic Depression"

One of my favorite songwritahs evah!

LP: Are You Experienced?, simply because it's got the best collection of songs (as opposed to "compositions" or "sonic experiments" or "mere riffs disguised as songs") the man ever wrote. (His other LPs had good songs too, just not as many as AYE?)

Song: "Machine Gun"

And I've never understood all the "Mitch Mitchell vs. Buddy Miles: Who Was Better?" handwringing debates myself. They were BOTH great, only different. People have their preferences, that's all. To say that Mitchell was flashier but Miles was funkier is a simplification but a reasonably accurate one. (FWIW, I prefer Mitchell.)

Fillmore East is so fucking beautiful and sick

he comes out, congratulates the USC Trojans for winning their bowl game to which the audience gives some really weak applause, and then he just gets fucking revolutionary all night

Room Full of Mirrors

"Voodoo Chile" -- the longer jam session version with Casady and Winwood

this first rays boot mix might be the best hendrix album

it is so rad!

I'd like to think that if Jimi and Gil got together, the results would be more along the lines of There Comes A Time--the original LP, or the radically extrapolated CD edition, one of the very first CDs I bought, in a longbox, with Gil's furrowed Canadian brow quietly welcoming me to the brain-jelly jungle (some sylvan glades in there too). An exemplary do-over--I thought a lot of CDs were gonna be like that.

For some unknown reason I never bothered to get the tracklist for First Rays. Does anyone still have the list handy so I could append them to my 4 tracks? Hindsight is a wonderful thing.

Message to the Universe>Izabella>Power of Soul>Astro Man>Valleys of Neptune>Angel

Slow Version>Night Bird Flying>Trashman>EZY Rider>Pali Gap>Hey Gypsy Boy

Message to Love>Roomful of Mirrors>Villanova Junction>Dolly Dagger>Burning Desire>Freedom>South Saturn Delta>Drifter's Escape

Stepping Stone>Somewhere>Burning Desire>Hey Baby>Drifting

!! thanks!! you have my eternal devotion :)

Little Wing came on the random playlist yesterday, prompting Emma to say "why do we like Hendrix? We don't really like any other widdly-widdly guitar muso shit from that era". He's just better than Led Zep or Pink Floyd or whoever, isn't he? But how? Why?

The best explanation I can think of is this anecdote from Robert Wyatt in Charles Shaar Murray's Crosstown Traffic:

Robert Wyatt, whose Soft Machine toured the US as opening act with Hendrix for over a year, recalls, "I saw [Larry] Coryell once -- he was one of the few people who ever got up and tried to cut Hendrix. It was at the old Scene Club in New York, and he was leaping backwards and forwards, his fingers flying, and Hendrix -- when it came to his solo -- just went 'ba-WO-O-O-OWWWW' and it just erased the last ten minutes [laughs] with one note. It was silly for Coryell even to try. It was like walking into a blowtorch . . . the fool!"

why don't you listen to widdly-widdly guitar muso shit?

Well I don't particularly like it, and my wife fucking hates it (apart from Hendrix).

It seems pretty reductive. They're three profoundly different bands.

similar mainly in a "classic rock radio" kinda way. hendrix was on another level musically though, probably better to compare him to an instrumentalist like charlie parker than jimmy page...

yeah he had an awesome jazz feel for improvisation, ... but he also has this killer bluesman way of making his riffs sound like an emotion rather than *just* sounding like guitar widdly widdly wankery. everything he does is in service of the soul of the song, it's never really about hey look how amazing I am. At least I don't think so.

and I think he's a lovely soulful singer as well. I think it's harder to dismiss him because he brought more than just straight guitar shredding.

The Experience gave him that nice tight platform for him to play around on too, and they could go pretty much anwhere he went and make it work. They really helped to elevate his music and take it where it needed to go to make it reallllly fucking great.

okay I'm done

:D

but he also has this killer bluesman way of making his riffs sound like an emotion rather than *just* sounding like guitar widdly widdly wankery. everything he does is in service of the soul of the song, it's never really about hey look how amazing I am. At least I don't think so.

OTM

this is and old thread now but i don't even think of hendrix as particularly widdly-widdly. of course he could do that, and did. i think what made him great is his ability to slip between roles & methods of playing seamlessly and instantly. there isn't any division between his chord playing, low-register delta-ish riff playing, mid-register r&b backing type playing, and albert/bb-king-ish lead stuff. he had a really big physical vocabulary on the neck and could do whatever, whenever

That sums it up very well, goole.

yeah great post, goole

People, Hell and Angels is very satisfying, btw. Nice to hear him play funky guitarslinging sideman to Lonnie Youngblood and the Ghetto Fighters. Plus yet another "Hear My Train a-Comin'" for us train-a-comin'-spotters

izabella

I wish someone had told me earlier that Stepping Stone was not the Monkees/Minor Threat song.Probably my favorite of his rave-ups now.

Machine Gun

Would be Machine Gun but for 1983

yea 1983

or third stone

WATCHTOWER

May This Be Love for me, but I'm a huge fan of 1983 as well.

I think Isabella @ Woodstock is still my fav, but 1983 also a strong contender and lately I love this:

https://www.youtube.com/watch?v=Ki5AfK0sFrs

btw are we including "Moon Turn the Tides" in "1983" or treating that as a separate song, bc those two combined probably did the most to open up my idea of what recorded music could sound like at a formative age

After that probably Electric Ladyland or Power of Soul

'Dolly Dagger'

i'm gonna change my vote

..

...

...

to "LITTLE MISS STRANGE"

NOEL REDDING YALL

man fuck that guy

can anyone confirm the rumor that jimi played bass on "third stone?" it seems too good to be noel

yea 1983

― marcos, Thursday, 12 April 2018 14:49 (fifty-three minutes ago) Bookmark Flag Post Permalink

or third stone

― marcos, Thursday, 12 April 2018 14:52 (forty-nine minutes ago) Bookmark Flag Post Permalink

These strike me as good answers.

"If 6 Was 9"

I feel like 1983/Moon Turn sounds like it was probably the inspiration for In A Silent Way

my short list

third stone > machine gun > 1983 > bold as love

Burning of the Midnight Lamp yo

oh that tune is SO good

castles made of sand

“Anger/he smiles…”

watchtower

WATCHTOWER

Spanish castle ftw