November 27, 1942, Seattle, WA
DIED: September 18, 1970, London, England
In his brief four-year reign as a superstar, Jimi Hendrix expanded the vocabulary of the
electric rock guitar more than anyone before or since.
Hendrix was a master at coaxing all
manner of unforeseen sonics from his instrument, often with innovative amplification
experiments that produced astral-quality feedback and roaring distortion.
hurricane blasts of noise, and dazzling showmanship has sometimes obscured his
considerable gifts as a songwriter, singer, and master of a gamut of blues, R&B, and
rock styles. Why? Because he could and would play behind his back and with his
teeth, and set his guitar on fire!
When Hendrix became an international superstar in 1967, it seemed as if
he'd dropped out of a Martian spaceship. But in fact he'd served his apprenticeship the
long, mundane way in numerous R&B acts on the chitlin circuit.
During the early and
mid-'60s, he worked with such R&B/soul greats as Little Richard, the Isley Brothers,
and King Curtis as a backup guitarist.
Occasionally he recorded as a session man (the Isley Brothers' 1964 single "Testify" is the only one of these early tracks that
offers even a glimpse of his future genius).
But the stars didn't appreciate his
show-stealing showmanship, and Hendrix was straightjacketed by sideman roles that didn't
allow him to develop as a soloist. The logical step was for Hendrix to go out on his own,
which he did in New York in the mid-'60s, playing with various musicians in local clubs,
and joining White blues-rock singer John Hammond, Jr.'s band for a while.
It was in a New York club that Hendrix was spotted by Animals bassist Chas Chandler.
The first lineup of the Animals was about to split, and Chandler, looking to move into
management, convinced Hendrix to move to London and record as a solo act in England. There
a group was built around Jimi, also featuring Mitch Mitchell on drums and Noel Redding on
bass, that was dubbed the Jimi Hendrix Experience.
The trio became stars with astonishing
speed in the U.K., where "Hey Joe," "Purple Haze," and "The Wind
Cries Mary" all made the Top 10 in the first half of 1967. These tracks were also
featured on their debut album, Are You Experienced?, a psychedelic meisterwerk that became
a huge hit in the U.S. after Hendrix created a sensation at the Monterey Pop Festival in
June of 1967.
Are You Experienced? was an astonishing debut, particularly from a young R&B
veteran who had rarely sung, and apparently never written his own material, before the
Experience formed. What caught most people's attention at first was his virtuosic guitar
playing, which employed an arsenal of devices, including wah-wah pedals, buzzing feedback
solos, crunching distorted riffs, and lightning, liquid runs up and down the scales.
Hendrix was also a first-rate songwriter, melding cosmic imagery with some surprisingly
pop-savvy hooks and tender sentiments. He was also an excellent blues interpreter and
passionate, engaging singer (although his gruff, throaty vocal pipes were not nearly as
great assets as his instrumental skills). Are You Experienced? was psychedelia at its most
eclectic, synthesizing mod pop, soul, R&B, Dylan, and the electric guitar innovations
of British pioneers like Jeff Beck, Pete Townshend, and Eric Clapton.
Amazingly, Hendrix would only record three fully conceived studio albums in his
lifetime. Axis: Bold as Love and the double-LP Electric Ladyland were more diffuse and
experimental than Are You Experienced? On Electric Ladyland in particular, Hendrix
pioneered the use of the studio itself as a recording instrument, manipulating electronics
and devising overdub techniques (with the help of engineer Eddie Kramer in particular) to
plot uncharted sonic territory.
Not that these albums were perfect, as impressive as they
were; the instrumental breaks could meander, and Hendrix's songwriting was occasionally
half-baked, never matching the consistency of Are You Experienced? (although he exercised
greater creative control over the later albums).
The final two years of Hendrix's life were turbulent ones musically, financially, and
personally. He was embroiled in enough complicated management and record company disputes
(some dating from ill-advised contracts he'd signed before the Experience formed) to keep
the lawyers busy for years. He disbanded the Experience in 1969, forming the Band of
Gypsies with drummer Buddy Miles and bassist Billy Cox to pursue funkier directions. He
closed Woodstock with a sprawling, shaky set, redeemed by his famous machine-gun
interpretation of "The Star-Spangled Banner."
The rhythm section of Mitchell and
Redding were underrated keys to Jimi's best work, and the Band of Gypsies ultimately
couldn't measure up to the same standard, although Hendrix did record an erratic live
album with them. In early 1970, the Experience re-formed again -- and disbanded again
At the same time, Hendrix felt torn in many directions by various
fellow musicians, record-company expectations, and management pressures, all of whom had
their own ideas of what Hendrix should be doing. Coming up on two years after Electric Ladyland, a new studio album had yet to appear, although Hendrix was recording constantly
during the period.
While outside parties did contribute to bogging down Hendrix's studio work, it also
seems likely that Jimi himself was partly responsible for the stalemate, unable to form a
permanent lineup of musicians, unable to decide what musical direction to pursue, unable
to bring himself to complete another album despite jamming endlessly. A few months into
1970, Mitchell -- Hendrix's most valuable musical collaborator -- came back into the fold,
replacing Miles in the drum chair, although Cox stayed in place. It was this trio that
toured the world during Hendrix's final months.
It's extremely difficult to separate the facts of Hendrix's life from rumors and
speculation. Everyone who knew him well, or claimed to know him well, has different
versions of his state of mind in 1970. Critics have variously mused that he was going to
go into jazz, that he was going to get deeper into the blues, that he was going to
continue doing what he was doing, or that he was too confused to know what he was doing at
The same confusion holds true for his death: contradictory versions of his final days
have been given by his closest acquaintances of the time. He'd been working intermittently
on a new album, tentatively titled First Ray of the New Rising Sun, when he died in London
on September 18, 1970, from drug-related complications.
Hendrix recorded a massive amount of unreleased studio material during his lifetime.
Much of this (as well as entire live concerts) was issued posthumously; several of the
live concerts were excellent, but the studio tapes have been the focus of enormous
controversy for over 20 years. These initially came out in haphazard drabs and drubs (the
first, The Cry of Love, was easily the most outstanding of the lot). In the mid-'70s,
producer Alan Douglas took control of these projects, posthumously overdubbing many of
Hendrix's tapes with additional parts by studio musicians.
In the eyes of many Hendrix
fans, this was sacrilege, destroying the integrity of the work of a musician known to
exercise meticulous care over the final production of his studio recordings. Even as late
as 1995, Douglas was having ex-Knack drummer Bruce Gary record new parts for the typically
misbegotten compilation Voodoo Soup. After a lengthy legal dispute, the rights to
Hendrix's estate, including all of his recordings, returned to Al Hendrix, the guitarist's
father, in July of 1995.