Listened to: CDThe true sign of a Hendrix fan is if Electric Ladyland is their favorite album. The composition and creation of this album is just as enthralling and brilliant as the material itself, and that’s saying something. Opening with the ominous “…And The Gods Made Love” leading into the gorgeous falsetto of Jimi asking if we’ve “…ever been to Electric Ladyland?” After those soft, seductive tones, he does a musical 180, cutting into “Crosstown Traffic”, one of the greatest guitar riffs, and a sparkling advertisement for rough sex: “You tell me it’s alright/You don’t mind a little pain”. “Crosstown Traffic” is one of those amazing tracks you just wish you’d written, and it’s stunningly ahead-of-it’s-time utilization of stereo technology (you have to hear it to understand) is phenomenal.
Never one to shy from his roots, Hendrix gives a true blues performance on “Voodoo Chile”, tearing up every solo with the elegance and raw passion only he could channel. His vocals sound like a sexy Muddy Waters, and his playing is unlike anything else in the recorded world. Sue, mit’s 15 minutes long, but it’s an amazing 15 minutes that feels too short. The inclusion of applause seems so perfect it almost demands you clap as well. But in another 180, Hendrix oreded the album that the 15 minute blues jam be followed by “Little Miss Strange”, a two minute ditty written by bassist Noel Redding (even though Hendrix played most of the bass on this album). Is it just me, or does this remind you of “Simply Irresistible” by Robert Palmer? Not a lot, but I just feel a similarity. What makes this track impressive is that Hendrix manages to take what would normally be a throwaway track and makes something magical in his guitar work. “Long Hot Summer Night”, to me, is a track that really takes us from where we were (psychedelic) to where we would be (alt-rock). This could easily be a lost track from hair or a new Wilco track. “Come On”, the second of only three covers on the album, is a meticulously magical piece, “Gypsy Eyes” is simply perfect (though it better be. Reportedly Hendrix did 50 takes).
Rather than critique or comment on “Burning Of The Midnight Lamp”, I’ll simply say my funeral instructions demand this song be played as they bring my coffin in. Enough said there. “Rainy Day, Dream Away” has a real smooth, funky quality that showcases Hendrix’s budding new interests better than any track on the album. “1983...A Mermaid I Should Turn To Be” is one of his most lyrically adventurous, and the second longest track on the album, though it goes by so fast. “Moon, Turn the Tides...Gently Gently Away” is basically a bridge track, and “Still Raining, Still Dreaming” is a very satisfying place to lead. Hendrix solo is almost as frenetic as it’s sonic placement thanks to his continuous play with stereo layouts. “House Burning Down” has such a militaristic charge to it that it could be described as Hendrix’s most political tune (except maybe “Machine Gun”). But it is after this track we get to THE track. “All Along The Watchtower” is Hendrix’s biggest hit, his finest cover, bringing new audiences to him and it’s author, Bob Dylan, and proving to be so good that Dylan plays it Hendrix’s way now. This track is so rich and vibrant it tears up the very air the sound waves flal upon. Hearing this track for the first time is a moment most people never forget (I, for one, was in the 9th grade, and my then-band’s guitarist wanted to cover Voodoo Chile (slight Return), so he lent me this album. I was forever changed). Hendrix yelps out these lyrics with such a force, he from that moment forward owned that song. Only one other time has a cover song been so unanimously agreed upon as better that it overtakes the original (that being Johnny Cash covering Nine Inch Nails’ “Hurt”).
The album ends on “Voodoo Chile (Slight Return)” a heavy motherfucker of a track, almost the summation of what true heavy metal has tried to do. This is undeniably a brilliant track, and highly underrated. I will spare you my 9th grade band’s cover of it. Hendrix’s playing is top-notch on this track, and it’s the perfect ending to a perfect album.
This is obviously Hendrix’s best, and to be honest, even #54 is too low a ranking for it. This is undeniably worth a listen for those who haven’t heard it yet. It will blow your mind. The sonic landscape is amazing, and the musicianship is unbeatable.
-Mike
See you tomorrow for #492: Vitalogy by Pearl Jam
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