Post by Soutpeel on Mar 15, 2017 18:55:06 GMT 7
Nearly five decades on from his death, Hendrix’s guitar playing is still electrifying. Here are 10 key songs by a musician never equalled
Jimi Hendrix introduced himself to the world in December 1966, when he turned Hey Joe, a Los Angeles garage rock standard that had been a hit for the Leaves, into a murder ballad with some wild guitar pyrotechnics. He quickly followed it up with the self-composed Purple Haze, a psychedelic stomper showcasing the devil’s chords (the flatted fifths of the intro were known in medieval times as the diabolus de musica and strictly interdict). As monumental and monolithic as Purple Haze is, 51st Anniversary on the B-side is more nuanced and sassier. . The song continues a theme already explored – albeit somewhat gracelessly – in Stone Free, about Hendrix’s fear of commitment. He did err into misogyny now and again, though 51st Anniversary lays out a balanced case for and against marriage, envisioning the gold, pearl, china and tin anniversaries, and vivid recollections of the cheatin’ third, where nobody gets any presents. While the conjugal subjects can’t wait for the 51st to roll around, earlier marriage milestones are beset with troubles, infidelities and frequent visits to the whiskey house. With the traditional rocky verses juxtaposed against staccato choruses, and the subtle harmonic phrases at the end of each line in the first verse contrasting with the discordant conclusions in the second, Hendrix gives us the good side followed by the bad (and naturally the downside outweighs all the pluses). On tracks such as the gorgeous Drifting, right at the end of his career, Hendrix exhibits a tenderness regarding relationships that was sorely absent early on.
www.theguardian.com/music/musicblog/2017/mar/15/jimi-hendrix-10-of-the-best
Jimi Hendrix introduced himself to the world in December 1966, when he turned Hey Joe, a Los Angeles garage rock standard that had been a hit for the Leaves, into a murder ballad with some wild guitar pyrotechnics. He quickly followed it up with the self-composed Purple Haze, a psychedelic stomper showcasing the devil’s chords (the flatted fifths of the intro were known in medieval times as the diabolus de musica and strictly interdict). As monumental and monolithic as Purple Haze is, 51st Anniversary on the B-side is more nuanced and sassier. . The song continues a theme already explored – albeit somewhat gracelessly – in Stone Free, about Hendrix’s fear of commitment. He did err into misogyny now and again, though 51st Anniversary lays out a balanced case for and against marriage, envisioning the gold, pearl, china and tin anniversaries, and vivid recollections of the cheatin’ third, where nobody gets any presents. While the conjugal subjects can’t wait for the 51st to roll around, earlier marriage milestones are beset with troubles, infidelities and frequent visits to the whiskey house. With the traditional rocky verses juxtaposed against staccato choruses, and the subtle harmonic phrases at the end of each line in the first verse contrasting with the discordant conclusions in the second, Hendrix gives us the good side followed by the bad (and naturally the downside outweighs all the pluses). On tracks such as the gorgeous Drifting, right at the end of his career, Hendrix exhibits a tenderness regarding relationships that was sorely absent early on.
www.theguardian.com/music/musicblog/2017/mar/15/jimi-hendrix-10-of-the-best
