Jimi Hendrix adoratietopic #2

Jimi Hendrix: The Greatest Guitarist of All Time
The bridge between the blues and modern sounds
By Pete Townshend


I feel sad for people who have to judge Jimi Hendrix on the basis of recordings and film alone, because in the flesh he was so extraordinary. He had a kind of alchemist's ability; when he was on the stage, he changed. He physically changed. He became incredibly graceful and beautiful. It wasn't just people taking LSD, though that was going on, there's no question. But he had a power that almost sobered you up if you were on an acid trip. He was bigger than LSD.
What he played was fucking loud but also incredibly lyrical and expert. He managed to build this bridge between true blues guitar -- the kind that Eric Clapton had been battling with for years and years -- and modern sounds, the kind of Syd Barrett-meets-Townshend sound, the wall of screaming guitar sound that U2 popularized. He brought the two together brilliantly. And it was supported by a visual magic that obviously you won't get if you just listen to the music. He did this thing where he would play a chord, and then he would sweep his left hand through the air in a curve, and it would almost take you away from the idea that there was a guitar player here and that the music was actually coming out of the end of his fingers. And then people say, "Well, you were obviously on drugs." But I wasn't, and I wasn't drunk, either. I can just remember being taken over by this, and the images he was producing or evoking were naturally psychedelic in tone because we were surrounded by psychedelic graphics. All of the images that were around us at the time had this kind of echoey, acidy quality to them. The lighting in all the clubs was psychedelic and drippy.

He was dusty -- he had cobwebs and dust all over him. He was a very unremarkable-looking guy with an old military jacket on that was pretty dirty. It looked like he'd maybe slept in it a few nights running. When he would walk toward the stage, nobody would really take much notice of him. But when he walked off, I saw him walk up to some of the most covetable women in the world. Hendrix would snap his fingers, and they followed him. Onstage, he was very erotic as well. To a man watching, he was erotic like Mick Jagger is erotic. It wasn't "You know, I'd like to take that guy in the bathroom and fuck him." It was a high form of eroticism, almost spiritual in quality. There was a sense of wanting to possess him and wanting to be a part of him, to know how he did what he did because he was so powerfully affecting. Johnny Rotten did it, Kurt Cobain did it. As a man, you wanted to be a part of Johnny Rotten's gang, you wanted to be a part of Kurt Cobain's gang.

He was shy and kind and sweet, and he was fucked up and insecure. If you were as lucky as I was, you'd spend a few hours with him after a gig and watch him descend out of this incredibly colorful, energized face. There was also something quite sad about watching him. There was a hedonism about him. Toward the end of his life, he seemed to be having fun, but maybe a little bit too much. It was happening to a lot of people, but it was sad to see it happen to him.

With Jimi, I didn't have any envy. I never had any sense that I could ever come close. I remember feeling quite sorry for Eric, who thought that he might actually be able to emulate Jimi. I also felt sorry that he should think that he needed to. Because I thought Eric was wonderful anyway. Perhaps I make assumptions here that I shouldn't, but it's true. Once -- I think it was at a gig Jimi played at the Scotch of St. James [in London] -- Eric and I found ourselves holding each other's hands. You know, what we were watching was so profoundly powerful.

The third or fourth time that I saw him, he was supporting the Who at the Saville Theatre. That was the first time I saw him set his guitar on fire. It didn't do very much. He poured lighter fluid over the guitar and set fire to it, and then the next day he would be playing with a guitar that was a little bit charred. In fact, I remember teasing him, saying, "That's not good enough -- you need a proper flame-thrower, it needs to be completely destroyed." We started getting into an argument about destroying your guitar -- if you're going to do it, you have to do it properly. You have to break every little piece of the guitar, and then you have to give it away so it can't be rebuilt. Only that is proper breaking your guitar. He was looking at me like I was fucking mad.

Trying to work out how he affected me at my ground zero, the fact is that I felt like I was robbed. I felt the Who were in some ways quite a silly little group, that they were indeed my art-school installation. They were constructed ideas and images and some cool little pop songs. Some of the music was good, but a lot of what the Who did was very tongue-in-cheek, or we reserved the right to pretend it was tongue-in-cheek if the audience laughed at it. The Who would always look like we didn't really mean it, like it didn't really matter. You know, you smash a guitar, you walk off and go, "Fuck it all. It's all a load of tripe anyway." That really was the beginning of that punk consciousness. And Jimi arrived with proper music.

He made the electric guitar beautiful. It had always been dangerous, it had always been able to evoke anger. If you go right back to the beginning of it, John Lee Hooker shoving a microphone into his guitar back in the 1940s, it made his guitar sound angry, impetuous, and dangerous. The guitar players who worked through the Fifties and with the early rock artists - James Burton, who worked with Ricky Nelson and the Everly Brothers, Steve Cropper with Booker T. -- these Nashville-influenced players had a steely, flick-knife sound, really kind of spiky compared to the beautiful sound of the six-string acoustic being played in the background. In those great early Elvis songs, you hear Elvis himself playing guitar on songs like "Hound Dog," and then you hear an electric guitar come in, and it's not a pleasant sound. Early blues players, too -- Muddy Waters, Buddy Guy, Albert King -- they did it to hurt your ears. Jimi made it beautiful and made it OK to make it beautiful.

The 100 Greatest Guitarists of All Time
The 100 Greatest Guitarists of All Time

1Jimi Hendrix
2 Duane Allman of the Allman Brothers Band
3 B.B. King
4 Eric Clapton
5 Robert Johnson
6 Chuck Berry
7 Stevie Ray Vaughan
8 Ry Cooder
9 Jimmy Page of Led Zeppelin
10 Keith Richards of the Rolling Stones
11Kirk Hammett of Metallica
12 Kurt Cobain of Nirvana
13 Jerry Garcia of the Grateful Dead
14 Jeff Beck
15 Carlos Santana
16 Johnny Ramone of the Ramones
17 Jack White of the White Stripes
18 John Frusciante of the Red Hot Chili Peppers
19 Richard Thompson
20 James Burton
21 George Harrison
22 Mike Bloomfield
23 Warren Haynes
24 The Edge of U2
25 Freddy King
26 Tom Morello of Rage Against the Machine and Audioslave
27 Mark Knopfler of Dire Straits
28 Stephen Stills
29 Ron Asheton of the Stooges
30 Buddy Guy
31 Dick Dale
32 John Cipollina of Quicksilver Messenger Service
33 & 34 Lee Ranaldo, Thurston Moore of Sonic Youth
35 John Fahey
36 Steve Cropper of Booker T. and the MG's
37 Bo Diddley
38 Peter Green of Fleetwood Mac
39 Brian May of Queen
40 John Fogerty of Creedence Clearwater Revival
41 Clarence White of the Byrds
42 Robert Fripp of King Crimson
43 Eddie Hazel of Funkadelic
44 Scotty Moore
45 Frank Zappa
46 Les Paul
47 T-Bone Walker
48 Joe Perry of Aerosmith
49 John McLaughlin
50 Pete Townshend
51 Paul Kossoff of Free
52 Lou Reed
53 Mickey Baker
54 Jorma Kaukonen of Jefferson Airplane
55 Ritchie Blackmore of Deep Purple
56 Tom Verlaine of Television
57 Roy Buchanan
58 Dickey Betts
59 & 60 Jonny Greenwood, Ed O'Brien of Radiohead
61 Ike Turner
62 Zoot Horn Rollo of the Magic Band
63 Danny Gatton
64 Mick Ronson
65 Hubert Sumlin
66 Vernon Reid of Living Colour
67 Link Wray
68 Jerry Miller of Moby Grape
69 Steve Howe of Yes
70 Eddie Van Halen
71 Lightnin' Hopkins
72 Joni Mitchell
73 Trey Anastasio of Phish
74 Johnny Winter
75 Adam Jones of Tool
76 Ali Farka Toure
77 Henry Vestine of Canned Heat
78 Robbie Robertson of the Band
79 Cliff Gallup of the Blue Caps (1997)
80 Robert Quine of the Voidoids
81 Derek Trucks
82 David Gilmour of Pink Floyd
83 Neil Young
84 Eddie Cochran
85 Randy Rhoads
86 Tony Iommi of Black Sabbath
87 Joan Jett
88 Dave Davies of the Kinks
89 D. Boon of the Minutemen
90 Glen Buxton of Alice Cooper
91 Robby Krieger of the Doors
92 & 93 Fred "Sonic" Smith, Wayne Kramer of the MC5
94 Bert Jansch
95 Kevin Shields of My Bloody Valentine
96 Angus Young of AC/DC
97 Robert Randolph
98 Leigh Stephens of Blue Cheer
99 Greg Ginn of Black Flag
100 Kim Thayil of Soundgarden (Posted Aug 27, 2003)

Jimi Hendrix
In 1966, he arrived in London an unknown. A week later, he was a superstar
By CHARLES R. CROSS


Jimi Hendrix took his first footsteps on British soil on Saturday, September 24th, 1966, arriving at Heathrow at nine in the morning. As he walked off the plane, he carried a small bag that contained a change of clothes, his pink plastic hair curlers and a jar of Valderma cream for the acne that still marred his twenty-three-year-old face. These few items, along with his precious guitar, were all he owned.
Escorting Jimi was Chas Chandler, formerly the bassist for the Animals, who was launching himself as a manager. Chandler had come upon Jimi in a Greenwich Village club and spilled a milkshake on himself, convinced that Jimi was his ticket to riches. Jimi was penniless at the time, having spent the previous three years as a backup musician on the chitlin circuit. Though Jimi had been born in Seattle, and didn't even begin to play guitar until he was fifteen, by the time Chandler met him he had already toured the nation with countless R&B combos, including Little Richard and the Isley Brothers. In Greenwich Village, fueled by both LSD and Bob Dylan's Blonde on Blonde, Jimi was attempting to re-create himself as a solo act. He was playing to twenty teenagers when Chandler arrived, yet Jimi still only agreed to follow him to England if he promised to introduce him to Eric Clapton.

Once in England, Chandler immediately set out to turn Jimi into a star. On the way from the airport, they stopped by the house of bandleader Zoot Money. Jimi attempted to play his Stratocaster through Money's stereo, and when that failed, he grabbed an acoustic guitar and began to wail. Andy Summers, who a dozen years later would help form the Police, lived in the basement and heard the commotion. When he came upstairs to join the informal party and found himself mesmerized by how Jimi's huge hands seemed at one with the instrument's neck, he became the first of Britain's guitar players to be awed by Jimi's phenomenal skill.

Also rooming in the house was twenty-year-old Kathy Etchingham, who would soon also be smitten by Jimi. She worked as a part-time DJ and had dated Brian Jones, Keith Moon and a few other rock stars. Money's wife tried to wake her to tell her about the new sensation in the living room. She said, "Wake up, Kathy. You've got to come and see this guy Chas has brought back. He looks like the Wild Man of Borneo." The tag would later end up as one of Jimi's nicknames in the tabloids, a consequence of his unkempt physical appearance and his race, both of which were so unusual on London's music scene that he might as well have been a new anthropological discovery. The name was racist, of course, and the description would never have been used for a white musician. Still, Jimi enjoyed the nickname, as it sounded mysterious and foreign, qualities he hoped to cultivate.

Etchingham was too tired to take a peek at the so-called wild man, but later that evening she went for a drink at a club and discovered Jimi onstage. As he started to play blues tunes, the club went silent and the crowd watched in a sort of shared rapture. "He was just amazing," Etchingham recalled. "People had never seen anything like it." Eric Burdon of the Animals was one of the many musicians at the club that night. "It was haunting how good he was," Burdon said. "You just stopped and watched."

Walking out of the club, Jimi -- unaware that British cars drove on the left side of the street -- stepped in front of a taxi. "I managed to grab him and pull him back, and the taxi just brushed him," Etchingham said. Later, Jimi asked her to come to bed with him. She found him charming and handsome, and consented. They would stay together for the next two years, and Etchingham would be one of Jimi's longest-term girlfriends. She knew everyone on the scene, and she became his entree into Swinging London and friendships with the Who, the Rolling Stones and many other bands.

Jimi had been in England less than twenty-four hours and he'd already wowed a key segment of London's music scene, bedded his first English "bird" and narrowly avoided death. He had spent twenty-three years of his life struggling in an America where black musicians were outcasts within rock music. In one single day in London, his entire life had permanently been recast.

Chas Chandler's partner was Michael Jeffrey, the Animals' manager and a former British intelligence officer who did little to defuse sinister rumors that he had killed people as a spy. They placed a "musicians wanted" ad in Melody Maker, which drew in a twenty-year-old guitar player named Noel Redding. He had never before played bass, but Jimi liked Redding's frizzy hair, which reminded him of Dylan, and he was hired.

Even after Redding was hired, Chandler phoned Brian Auger, who led the blues-based jazz band the Brian Auger Trinity, and proposed a radical idea. "I've got this really amazing guitar player from America," Chandler told him. "I think it would be perfect if he fronted your band." Auger declined. As a fallback, Chandler asked if Jimi could at least jam with the Trinity at a show that evening. To this, Auger agreed.

The Trinity's guitarist, Vic Briggs, was setting up his gear when Jimi came onstage. Briggs was using one of the first Marshall amplifiers, an experimental model that had four six-inch speakers -- smaller than the later Marshall stacks but still capable of tremendous power. When Jimi plugged his guitar into the amp, he turned the amplifier volume knobs to their maximum, much to Briggs' amazement. "I had never had the controls up past five," Briggs said. Seeing Briggs' look of horror, Jimi said, "Don't worry, man, I turned it down on the guitar." He shouted out four chords and began.

The sound was a wall of feedback and distortion, which itself was enough to turn every head in the club; the moment also marked the beginning of Jimi's love affair with Marshall amplifiers. "Everyone's jaw dropped to the floor," Auger said. "The difference between him and a lot of the English guitar players like Clapton, Jeff Beck and Alvin Lee was that you could still tell what the influences were in Clapton's and Beck's playing. There were a lot of B.B. King, Albert King and Freddie King followers around in England. But Jimi wasn't following anyone -- he was playing something new."

Just a week after Jimi landed in England, Cream were playing a show at the Polytechnic in central London. Chandler bumped into Clapton a few days before and told him he'd like to introduce Jimi sometime. Meeting Clapton, of course, was the one promise Chandler had made to Jimi before they left New York. Clapton mentioned the Polytechnic gig and suggested Chandler bring his protege. In all likelihood, Clapton meant he would be glad simply to meet Jimi, but Jimi nonetheless arrived with his guitar. Chandler, Jimi and their girlfriends stood in the audience during the first half of the show, and Chandler called up to the stage and summoned Clapton over to ask if Jimi might jam. The request was so preposterous that no one in Cream -- Clapton, Jack Bruce or Ginger Baker -- knew quite what to say: No one had ever asked to jam with them before; most would have been too intimidated by their reputation as the best band in Britain. Bruce finally said, "Sure, he can plug into my bass amp."

Jimi plugged his guitar into a spare channel and immediately began Howlin' Wolf's "Killing Floor." "I'd grown up around Eric, and I knew what a fan he was of Albert King, who had a slow version of that song," recalled press agent Tony Garland, who was at the show. "When Jimi started his take, though, it was about three times as fast as Albert King's version, and you could see Eric's jaw drop -- he didn't know what was going to come next." Remembering the show later, Clapton said, "I thought, 'My God, this is like Buddy Guy on acid.' "

When Bruce told his version of the fabled event, he focused on Clapton's reaction and alluded to graffiti in London that proclaimed, "Clapton is God." "It must have been difficult for Eric to handle," Bruce said, "because [Eric] was 'God,' and this unknown person comes along and burns." Jeff Beck was in the audience that night, and he, too, took warning from Jimi's performance. "Even if it was crap -- and it wasn't -- it got to the press," Beck later said. Jimi had been in London for eight days and he had already met God, and burned him.

vind niemand die verhalen niet interessant ofzo? want er zijn nog geen reacties

die lijst is waarschijnlijk de 100 meest geliefde gitaristen denk ik want okeey hendrix op 1 snap ik maar (om een voorbeeld te noemen) kurt cobain op 12 t is een toffe gozer hoor maar dus echt neit dat ik zeg van woow wat een gitarist teminste ik heb nog nooit moeilijke solo's van hem gehoord

over de top 10 ben ik het wel eens alleen had bijv. van halen randy rhoads buddy guy richie blackmore wat hoger gemogen en waar zijn steve vai en joe satriani gebleven.

als het een lijst zou zijn van meest invloedrijke gitaristen dan zou het zijn denk ik hoor

1.Robert johnson
2.Jimi Hendrix
3.BB king
4.Charlie christian
5.T-bone Walker
6.Elmore James
7.Missisippi John Hurt
8.Eddie Van Halen
9.Eric Clapton
10.SRV

quote:

Op maandag 29 augustus 2005 01:35 schreef horned_reaper het volgende:
die lijst is waarschijnlijk de 100 meest geliefde gitaristen denk ik want okeey hendrix op 1 snap ik maar (om een voorbeeld te noemen) kurt cobain op 12 t is een toffe gozer hoor maar dus echt neit dat ik zeg van woow wat een gitarist teminste ik heb nog nooit moeilijke solo's van hem gehoord

ik weet hoe deze lijst tot stand gekomen is er zijn genoeg gitaristen die kurt kobain wegspelen

voor mensen die geen optredens hebben gezien kunnen hier kijken

http://www.jimihendrix.dk/index.php?lang=da&page=videoer.php

daar zijn oa. te bekijken.

1.Hey Joe/Sunshine Of Your Love, Lulu Show
2.Foxy Lady, Hakaluka
3.Purple Haze, Interlude & Villa Nova Junction
Woodstock
4.Hear My Train A Coming rah
5.Hey Joe monterey
6.Voodoo Chile
Woodstock
7.Wild Thing, Monterey
8.Foxy Lady rah
9.Johnny B. Goode berkeley
10.Fire - Woodstock
11.I Don't Live Today rah
12.Voodoo Chile, Lulu show
13.Red House
Woodstock
14.Lover Man rah
15.Purple Haze Marquee Club
16.Interview
17.Star Spangled Banner
Woodstock
18.Stone Free Atlanta
19.Izabella - Woodstock
20.Foxy Lady - Atlanta
21.Jam Back at the House
Woodstock
22.Se video Wild Thing, London rah
23.The Wind Cries Mary stockholm

Wel interssant dus want de atlanta, the lulu show en van royal albert hall vind je niet zo snel

quote:

Op maandag 29 augustus 2005 21:52 schreef hendrixfan het volgende:
over de top 10 ben ik het wel eens alleen had bijv. van halen randy rhoads buddy guy richie blackmore wat hoger gemogen en waar zijn steve vai en joe satriani gebleven.

als het een lijst zou zijn van meest invloedrijke gitaristen dan zou het zijn denk ik hoor

1.Robert johnson
2.Jimi Hendrix
3.BB king
4.Charlie christian
5.T-bone Walker
6.Elmore James
7.Missisippi John Hurt
8.Eddie Van Halen
9.Eric Clapton
10.SRV

Ik denk sowieso dat Clapton boven van halen hoort, evenals Blackmore. Maarja, dit zijn allemaal van die persoonlijke mening lijstjes. Kun je niet veel mee.

Big boss man ik had je gemaild over een album heb je em niet ontvangen?

Waar kan ik een DVD kopen van Jimi Hendrix op Woodstock?
Ik heb hier een CD en een videoclip, zou hier erg graag een DVD van willen hebben

quote:

Op dinsdag 30 augustus 2005 17:14 schreef super-muffin het volgende:
Waar kan ik een DVD kopen van Jimi Hendrix op Woodstock?
Ik heb hier een CD en een videoclip, zou hier erg graag een DVD van willen hebben

free record shop bol.com van leest

quote:

Op dinsdag 30 augustus 2005 17:14 schreef super-muffin het volgende:
Waar kan ik een DVD kopen van Jimi Hendrix op Woodstock?
Ik heb hier een CD en een videoclip, zou hier erg graag een DVD van willen hebben

Als je een beetje rond shopt bij MM, Van Leest, Plato kun je 5 euro in de zak stelen. Zit nogal een prijsverschil in.

Hendrix and Dylan

They became famous playing very different music, but there are remarkable similarities between Bob Dylan and Jimi Hendrix. Both grew up in backwater locales — Bob in Hibbing, Minnesota and Jimi in Seattle, Washington. Each was immersed in 1950s rock 'n' roll — Jimi loved Elvis Presley and Bob Dylan was a big fan of Buddy Holly.
I used to play rock and roll a long time ago, before I even started playing old-fashioned folk.

— Bob Dylan, 1965 (Bob Dylan: In His Own Words by Christian Williams, © 1993 Omnibus Press).


After leaving their respective small towns, both young musicians eventually found their way to New York's thriving Greenwich Village club scene, which each was able to use as a springboard to international acclaim.

The first time I saw him, he was playing with John Hammond (Jr.). He was incredible then. I'd already been to England and beyond, and although he didn't sing, I kinda had a feeling he figured into things…

— Bob Dylan, from the liner notes to the Biograph CD box set, © 1985 CBS Inc.


Though Dylan and Hendrix eventually followed different musical paths, both artists spoke unique musical languages and were ahead of their time. Dylan made his name as a post–beat generation poet/folk rebel, whereas Hendrix combined Chitlin' Circuit showmanship with psychedelic blues and extreme volume to form a new type of music altogether.

Though they were not close friends, Jimi was a huge fan of Bob Dylan and covered at least four of his tunes, both live and in the studio. These tracks include "Like a Rolling Stone," "All Along the Watchtower," "Drifter's Escape" and "Can You Please Crawl Out Your Window?" In addition, Dylan's free-form lyrical style had a profound influence on Jimi's original material. Hendrix songs such as "Angel," "The Wind Cries Mary" and "Little Wing" all show a distinct Dylan-esque approach. Jimi had an effect on Bob's music as well, as evidenced by the live version of "All Along the Watchtower" from Dylan's 1974 live album Before the Flood. When comparing this later version with the original from 1967's John Wesley Harding LP, it is immediately apparent that Bob and his band had been listening to and implementing the structure of Jimi's interpretation of the song.

I love Dylan. I only met him once, about three years ago, back at the Kettle of Fish [a folk-rock era hangout] on MacDougal Street. That was before I went to England. I think both of us were pretty drunk at the time, so he probably doesn't remember it.

— Jimi Hendrix, Rolling Stone magazine interview, November 15, 1969.


He did a lot of my other songs too from that period… "Drifter's Escape," "Like a Rolling Stone," "Crawl Out Your Window"…

— Bob Dylan, from the liner notes to the Biograph CD box set, © 1985 CBS Inc.


Sometimes I do a Dylan song and it seems to fit me so right that I figure maybe I wrote it. Dylan didn't always do it for me as a singer, not in the early days, but then I started listening to the lyrics. That sold me.

— Jimi Hendrix, from Beat Instrumental magazine, 1969.

Like a Rolling Stone

"Like a Rolling Stone" was a huge hit for Bob Dylan in 1965. It was also the first track on an album that defined a generation, Highway 61 Revisited. Until Dylan released that album, rock 'n' roll's aim had been pure fun, periodically interrupted with a song or two about sappy heartache. Rock was music to dance to — catchy tunes that sounded great on your car's AM radio. Generally speaking, music containing personal and social commentary had been left to folk artists such as Woody Guthrie. However, "Like a Rolling Stone" changed all that. Here was a guy singing words he wrote himself, about things he really felt, with a big thumping rock beat behind it. Jimi picked up on it in a big way, and quite possibly, it could have been the very moment he first dropped the needle on the copy of that 1965 LP pictured here.

Jimi's incendiary version of "Like a Rolling Stone" from Live at Monterey starts with a few thrashing chords, and then settles into a nice groove — one that even he enjoys enough to ask the audience to "excuse me for a minute, just let me play my guitar!" Just before the first verse, he introduces the song as a "little thing by Bob Dylan… and that's his Grandma over there," jokingly referring to bass player Noel Redding. Listening to Jimi's version of the first chorus, it's hard not to wonder if he didn't relate closely to Dylan's lyrics:

How does it feel
How does it feel
To be on your own
No direction home
Look at you, a complete unknown
Yeah, like a rolling stone

The Monterey gig was the first performance of the Jimi Hendrix Experience on US soil after he took England and the rest of Europe by storm. Prior to this epic performance, Jimi was virtually unknown to the US music audience, having only previously worked as an almost invisible sideman in various American R&B bands throughout the mid-sixties. But by the time the final notes of "Wild Thing" (the set's closing number, played on Jimi's hand-painted Stratocaster, to which he then set fire and destroyed) faded into the Monterey night, Jimi had transformed himself into a bona fide international rock sensation.

All Along the Watchtower

Hendrix was able to truly transform a cover tune and make it his own. This is particularly evident on "All Along the Watchtower" from 1968's Electric Ladyland. It is remarkable that Jimi was able to extract original, flowing guitar melody lines out of Bob's relatively skeletal harmonica part. Listen carefully to the very beginning of each version of the song.
Bob Dylan's "All Along the Watchtower"

Jimi Hendrix's "All Along the Watchtower"

In Dylan's version from 1967's John Wesley Harding, a slight harmonica part wafts in and out as the song builds momentum. In the Hendrix version, Jimi deftly appropriates a melody from Dylan's original harmonica line and sends it to the stratosphere. His confident lead guitar lines weave their way through the tune, making it hard to imagine that the song wasn't Jimi's all along. What was definitely Jimi's all along was the copy of John Wesley Harding pictured here, which comes from the guitarist's personal record collection

Drifter's Escape


On "Drifter's Escape," Jimi Hendrix takes a different approach entirely. Dylan's original features the tried and true formula of drums, bass, and acoustic guitar — with the odd harmonica riff thrown in between each verse. Jimi, however, recorded the song as an all-out funk-rock assault, rife with searing lead guitars which begin during the first verse and don't let up until the song's blistering finale.
Bob Dylan's "Drifter's Escape" http://www.emplive.org/au(...)rifters_verse_56.asx



Jimi Hendrix's "Drifter's Escape"
http://www.emplive.org/au(...)rifters_verse_56.asx



This previously unreleased track was originally recorded at Electric Lady Studios in July of 1970 and can now be heard on 1997's South Saturn Delta. Like "All Along the Watchtower," Dylan's original take of "Drifter's Escape" comes from the album John Wesley Harding. The EMP Collection happens to contain Jimi Hendrix's handwritten lyrics to "Drifter's Escape" and one can imagine Jimi jotting down the lyrics as he played the cut over and over from his copy of the LP.

Can You Please Crawl Out Your Window?

"Can You Please Crawl Out Your Window?" as performed by Hendrix on BBC Sessions follows Dylan's original take fairly closely. The Experience rarely performed this track live, and they seem to be enjoying a leisurely blast through the up-tempo tune during a late 1967 BBC radio session.
Bob Dylan's "Can You Please Crawl Out Your Window?"
http://www.emplive.org/au(...)_crawl_chorus_56.asx

Jimi Hendrix's "Can You Please Crawl Out Your Window?"
http://www.emplive.org/au(...)_crawl_chorus_56.asx

Jimi changes a few lyrics around on this one — during the chorus he adds a word: "Please come crawl out your window" and exchanges "arms and legs" for "hands and legs" during the second line of the chorus.

All Along the Watchtower '74


In closing, a comparison must also be made between Dylan's original studio version of "All Along the Watchtower" and his live version recorded with The Band on 1974's Before the Flood. The most notable difference is that the 1974 version is a 100–mile–per–hour barnburner when compared with the mid-tempo original. Robbie Robertson's furious lead guitar and Garth Hudson's synthesizer can be heard copping Hendrix's guitar solo parts throughout the song.
Bob Dylan's live version of "All Along the Watchtower"
http://www.emplive.org/au(...)tchtower_solo_56.asx

Jimi Hendrix's "All Along the Watchtower"
http://www.emplive.org/au(...)tchtower_solo_56.asx

"All Along the Watchtower" became a US Top 20 hit for Jimi Hendrix during the fall of 1968, and by 1974 it had become an FM radio staple. Had his version become the quintessential representation of the song? Could it be that by that time even Dylan wasn't able to separate the two versions? He answers these questions in the following quote:

I liked Jimi Hendrix's record of this and ever since he died I've been doing it that way. Funny though, his way of doing it and my way of doing it weren't that dissimilar, I mean the meaning of the song doesn't change like when some artists do other artists' songs. Strange though how when I sing it I always feel like it's a tribute to him in some kind of way.

— Bob Dylan, from the liner notes to the Biograph CD box set, © 1985 CBS Inc.

ik heb weer wat albums erbij

27 June 1970 Hendrix/ Cox/ Mitchell Boston Garden

1. Stone Free
2. Lover Man
3. Red House
4. Freedom
5. Foxy Lady
6. Purple Haze
7. Star Spangled Banner
8. All Along The Watchtower
9. Message To Love
10. Fire
11. Spanish Castle Magic
12. Voodoo Child (slight return)

Jimi Hendrix
Ellis Auditorium Amphitheatre
Memphis,TN april 18 1969

Aud reel-tape > ?gen cass > CDwave > Flac6

51:21 min

01 Fire
02 I Don't Live Today
03 Hear My Train A Comin'
04 Sunshine Of Your Love (cut very end) *
05 Stone Free
06 Foxy Lady
07 Star Spangled Banner >
08 Purple Haze **
09 Voodoo Chile (Slight Return)

Jimi Hendrix Experience

New York Rock Festival
Singer Bowl, Flushing Meadow Park,
Queens, New York

August 23, 1968

1. Are You Experienced ?
2. Fire
3. Red House
4. I Don't Live Today
5. Foxy Lady
6. Like A Rolling Stone
7. Purple Haze
8. Star Spangled Banner
9. Hey Joe
10. Wild Thing

Jimi Hendrix - Woodstock Rehearsals July-September1969
Jimi's rented house
Shokan, NY
Artist: Jimi Hendrix
Source: SB recordings

Tracks
01. izabella 4.35
02. izabella 4.35
03. message to love 5.51
04. the dance 11.53
05. sundance 2.22
06. jam back at the house 6.42
07. jam in E 4.26
08. jam back at the house 10.20
09. machine gun 0.50
10. if six was nine 2.03
11. izabella 3.52
12. izabella 4.38

Jimi's rented house
Shokan, NY

This material was recorded at Jimi's house on Traver Hollow Road, Shokan sometime between July
and September in 1969. These tracks are usually referred to as 'The Woodstock Rehearsals.'
There are are other tracks from these sessions in circulation, some having little or no
involvement by Jimi

Jimi Hendrix Experience
Maple Leaf Gardens
Toronto, Ontario, Canada
May 3, 1969


1. Fire
Hear My Train A Comin
Spanish Castle Magic >
Third Stone From The Sun >
Little Miss Lover
Red House
2. Foxy Lady
Room Full of Mirrors >
Crash Landing >
Keep On Groovin >
Gypsy Eyes
Purple Haze
Voodoo Chile (slight return)

dus ik heb de komende tijd wel wat te luisteren

quote:

Op zaterdag 10 september 2005 14:07 schreef Big_Boss_Man het volgende:
Waar vind jij al die dingen??

Begint met een t en eindigt op een t