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Contents
Articles
Overview 1
Jimi Hendrix 1
The Jimi Hendrix Experience 31

Members 36
Noel Redding 36
Mitch Mitchell 40
Billy Cox 44
Larry Lee 48
Juma Sultan 50
Gerardo Velez 52
Buddy Miles 54

Discography 62
Jimi Hendrix discography 62
Jimi Hendrix posthumous discography 67

Studio albums 81
Are You Experienced 81
Axis: Bold as Love 88
Electric Ladyland 93
The Cry of Love 100
Rainbow Bridge 102
War Heroes 105
Loose Ends 107
Crash Landing 110
Midnight Lightning 113
Nine to the Universe 116
Valleys of Neptune 120
People, Hell & Angels 126

Live albums 130

Band of Gypsys 130
Historic Performances Recorded at the Monterey International Pop Festival 135
 Experience 137
Isle of Wight 139
Hendrix in the West 140
More Experience 143
The Jimi Hendrix Concerts 144
Jimi Plays Monterey 146
Johnny B. Goode 147
Band of Gypsys 2 149
Live at Winterland 151
Bleeding Heart 153
Woodstock 155
Live at the Fillmore East 156
Live at Woodstock 158
Blue Wild Angel: Live at the Isle of Wight 160
Live at Berkeley 163
Live at Monterey 165

Compilation albums 167

Smash Hits 167
Soundtrack Recordings from the Film Jimi Hendrix 170
Jimi Plays Berkeley 172
Re-Experienced 173
The Essential Jimi Hendrix 175
The Essential Jimi Hendrix Volume 2 177
Stone Free 179
The Singles Album 180
Kiss the Sky 182
Live & Unreleased: The Radio Show 183
Cornerstones: 1967–1970 185
Lifelines: The Jimi Hendrix Story 187
Stages 189
The Ultimate Experience 191
Blues 192
Voodoo Soup 195
First Rays of the New Rising Sun 197
South Saturn Delta 203
Experience Hendrix: The Best of Jimi Hendrix 206
BBC Sessions 208
 The Jimi Hendrix Experience 211
Voodoo Child: The Jimi Hendrix Collection 215
The Singles Collection 217
Martin Scorsese Presents the Blues: Jimi Hendrix 219

Extended play 221

Are You Homeless? 221

Bootlegs 223
Live at the Oakland Coliseum 223
Live at Clark University 225
Morning Symphony Ideas 227
Live in Ottawa 229
The Baggy's Rehearsal Sessions 231
Paris 1967/San Francisco 1968 232
Hear My Music 234
Live at the Isle of Fehmarn 236
Burning Desire 238
Live in Paris & Ottawa 1968 239
Live at Woburn 241

Tributes 242
Electric Chubbyland: Popa Chubby Plays Jimi Hendrix 242
The Hendrix Set 244
The Jimi Hendrix Memorial Concerts 245
Power of Soul: A Tribute to Jimi Hendrix 247
Stone Free: A Tribute to Jimi Hendrix 248

Singles 250
"Hey Joe" 250
"Purple Hare" 260
"The Wind Cries Mary" 264
"Burning of the Midnight Lamp" 266
"Foxy Lady" 269
"Up from the Skies" 272
"All Along the Watchtower" 274
"Crosstown Traffic" 282
"Stone Free" 283
"Fire" 285
 "Stepping Stone" 286
"Voodoo Child (Slight Return)" 288
"Freedom" 291
"Angel" 293
"Gypsy Eyes" 296
"Dolly Dagger" 298
"Johnny B. Goode" 299
"Valleys of Neptune" 305
"Bleeding Heart" 307

Songs 310
"1983... (A Merman I Should Turn to Be)" 310
"Are You Experienced?" 312
"Bold as Love" 314
"Castles Made of Sand" 317
"Come On" 319
"Ezy Ryder" 321
"Have You Ever Been (To Electric Ladyland)" 323
"Highway Chile" 325
"If 6 Was 9" 327
"Little Wing" 329
"Lover Man" 333
"Machine Gun" 334
"Manic Depression" 337
"My Friend" 339
"One Rainy Wish" 340
"Outside Woman Blues" 341
"Performances and adaptations of the Star-Spangled Banner" 343
"Red House" 348
"Spanish Castle Magic" 351
"The Satrs That Play with Laughing Sam's Dice" 353
"Sunshine of Your Love" 355
"Third Stone from the Sun" 360
"Voodoo Chile" 363
"Wait Until Tomorrow" 366
"Wild Thing" 368
"You Got Me Floating" 373
Tours 374
The Cry of Love Tour 374
The Jimi Hendrix Experience French Tour 1966 378

Associated places 380

34 Montagu Square, Marylebone 380
Electric Lady Studios 385

Associated people 387

Monika Dannemann 387
Karl Ferris 389
Douglas Kent Hall 394
Leon Hendrix 407
Michael Jeffrey 408
Curtis Knight 411

Related articles 413

Black Gold 413
Friends from the Beginning – Little Richard and Jimi Hendrix 415
Jimi Hendrix: An Illustrated Experience 417
Chas Chandler 420
Dagger Records 422
Dominant seventh sharp ninth chord 423
Jimi Hendrix 428
The Isley Brothers 430
Radio One 435
Rainbow Bridge 437
Room Full of Mirrors: A Biography of Jimi Hendrix 439
Woke Up This Morning and Found Myself Dead 440

References
Article Sources and Contributors 442
Image Sources, Licenses and Contributors 452

Article Licenses
License 453
 1

Overview

Jimi Hendrix
Jimi Hendrix

Background information

Birth name Johnny Allen Hendrix

Born November 27, 1942

Seattle, Washington, US

Died September 18, 1970 (aged 27)

Kensington, London, England

Genres Psychedelic rock, hard rock, blues rock

Occupations Musician, singer, songwriter

Instruments Guitar, vocals, bass, piano

Years active 1963–1970

Labels Vee-Jay, RSVP, Track, Barclay, Polydor, Reprise, Capitol, MCA

Associated acts The Isley Brothers, Little Richard, the Blue Flame, Curtis Knight, the Jimi Hendrix Experience, Band of Gypsys

Website [1]
www.jimihendrix.com

Notable instruments

Fender Stratocaster
Gibson Flying V

James Marshall Hendrix (born Johnny Allen Hendrix; November 27, 1942 – September 18, 1970) was an
American musician, singer and songwriter. Despite a limited mainstream exposure of four years, he is widely
considered one of the most influential electric guitarists in the history of popular music and one of the most
celebrated musicians of the 20th century.
After law enforcement authorities had twice caught Hendrix riding in stolen cars, he was given a choice between
spending time in prison or serving in the US military: he chose the latter and enlisted in the Army in May 1961.
Inspired musically by American rock and roll and electric blues, during his service Hendrix formed a band called the
Casuals. In June 1962 he was granted an honorable discharge on the basis of unsuitability, and in 1963, he moved to
Clarksville, Tennessee and formed the King Kasuals, playing numerous gigs on the Chitlin' circuit. By early 1964 he
had moved to Harlem, where he earned a spot in the Isley Brothers' backing band. Later that year he found work with
Jimi Hendrix 2

Little Richard, whom he played with through mid-1965. He then joined Curtis Knight and the Squires before moving
to England in late 1966 after having been discovered by bassist Chas Chandler of the Animals. Following his initial
success in Europe with the Jimi Hendrix Experience, he achieved fame in the US after his 1967 performance at the
Monterey Pop Festival. He headlined the Woodstock Festival in 1969 and the Isle of Wight Festival in 1970, before
dying from barbiturate related asphyxia at the age of 27.
Instrumental in developing the previously undesirable technique of guitar amplifier feedback, Hendrix favored
overdriven amplifiers with high volume and gain. He helped to popularize the use of the wah-wah pedal in
mainstream rock, and pioneered experimentation with stereophonic phasing effects in rock music recordings.
Hendrix was the recipient of several music awards during his lifetime and posthumously, and the Jimi Hendrix
Experience was inducted into the US Rock and Roll Hall of Fame in 1992 and the UK Music Hall of Fame in 2005.
Rolling Stone ranked his three non-posthumous studio albums, Are You Experienced, Axis: Bold as Love and Electric
Ladyland among the 100 greatest albums of all time. Rolling Stone ranked him as the greatest guitarist of all time
and the sixth greatest artist of all time.

Genealogy, childhood, and military service

Jimi Hendrix's mixed genealogy included African American, Irish, and Cherokee
ancestors. His paternal great-great-grandmother Zenora was a full-blooded
Cherokee from Georgia who married an Irishman named Moore. They had a son
Robert, who married a black girl named Fanny. In 1883, Robert and Fanny had a
daughter whom they named Zenora "Nora" Rose Moore, Hendrix's paternal
grandmother.[2][3] Nora shared a love for theatrical clothing and adornment,
music, and performance with Jimi. She also imbued him with the stories, rituals
and music that had been part of her Afro-Cherokee heritage and her former life
on the stage. Along with his attendance at black Pentecostal church services,
writers have suggested these experiences may later have informed Hendrix's
thinking about the connections between emotions, spirituality and music.[4]</ref>
The illegitimate son of a black slave woman, also called Fanny, and her white
overseer, Jimi's paternal grandfather, Bertran Philander Ross Hendrix (born Hendrix's paternal grandparents,
1866) was named after his biological father, a grain merchant from Urbana, Ross and Nora Hendrix, pre-1912
Ohio, and one of the wealthiest white men in the area at the time.[5] On June 10,
1919, Hendrix and Moore had a son they named James Allen Ross Hendrix (died 2002); people called him Al.[6]

In 1941, Al met Lucille Jeter (1925–1958) at a dance in Seattle; they married on March 31, 1942.[7] Drafted into the
United States Army to serve in World War II, Al went to war three days after their wedding.[8] The first of Lucile's
five children, Johnny Allen Hendrix was born November 27, 1942 in Seattle, Washington. In 1946, due to being
unable to consult his father Al at the time of birth, his parents changed Johnny's name to James Marshall Hendrix, in
honor of Al and Al's late brother Leon Marshall.[9][10]</ref>[11]</ref>
Stationed in Alabama at the time of Johnny's birth, Al was denied the standard military furlough afforded servicemen
for childbirth and placed by his commanding officer in the stockade to prevent his going AWOL to see his infant son
in Seattle. He spent two months locked-up without trial, and while in the stockade, received a telegram announcing
his son's birth.[12][13] He spent most of his time in the service in the South Pacific Theater, in Fiji.[14]</ref> During
Al's three-year absence, Lucille struggled to raise their son, often neglecting him in favor of nightlife.[15] During this
period he was mostly cared for by family members and friends, especially Lucille's sister Delores Hall and her friend
Dorothy Harding.[16][17] Al received an honorable discharge from the U.S. Army on September 1, 1945. Two months
later, unable to find Lucille, Al went to the Berkeley home of a family friend named Mrs. Champ, who had taken
care of and had attempted to adopt Jimi, and saw his son for the first time.[18][19]
Jimi Hendrix 3

After returning from service Al reunited with Lucille, but his difficulty finding steady work left the family
impoverished. Both he and Lucille struggled with alcohol abuse, and they often fought when intoxicated. His parents'
violence sometimes made Hendrix withdraw and hide in a closet in their home.[20] Jimi's relationship with his
brother Leon (born 1948) was close but precarious; with Leon in and out of foster care, they lived with an almost
constant threat of fraternal separation.[21] In addition to Leon, Jimi had three other younger siblings: Joseph, born in
1949, Kathy in 1950, and Pamela, 1951, all of whom Al and Lucille gave up to foster care and adoption.[22] The
family frequently moved, staying in cheap hotels and apartments around Seattle. On occasion, family would take
Hendrix to Vancouver to stay at his grandmother's. A shy and sensitive boy, Hendrix was deeply affected by these
experiences.[23] In later years, he confided to a girlfriend that he had been the victim of sexual abuse by a man in
uniform.[24]
On December 17, 1951, when Hendrix was nine years old, his parents divorced; the court granted Al custody of Jimi
and Leon.[25] At thirty-three, Lucille had developed cirrhosis of the liver; she died on February 2, 1958 when her
spleen ruptured.[26] Instead of taking Jimi and Leon to attend their mother's funeral, Al gave them shots of whiskey
and told them that was how men are supposed to deal with loss.[26][27]</ref>

First instruments
At Horace Mann Elementary School in Seattle during the mid-1950s, Hendrix's habit of carrying a broom with him
to emulate a guitar gained the attention of the school's social worker. After more than a year of his clinging to a
broom like a security blanket, she wrote a letter requesting school funding intended for underprivileged children
insisting that leaving him without a guitar might result in psychological damage.[28] Her efforts failed, and Al
refused to buy him a guitar.[28][29]</ref>
In 1957, while helping Al with a side-job, Jimi found a ukulele amongst the garbage that they were removing from a
wealthy older woman's home. The woman told him that he could keep the instrument, which had only one string.[30]
Learning by ear, he played single notes, following along to Elvis Presley songs, particularly Presley's cover of Leiber
and Stoller's "Hound Dog".[31][32]</ref> In mid-1958, at age 15, Hendrix acquired his first acoustic guitar, for $5.[33]
Hendrix earnestly applied himself, playing the instrument for several hours daily, watching others and getting tips
from more experienced guitarists, and listening to blues artists such as Muddy Waters, B.B. King, Howlin' Wolf, and
Robert Johnson.[34] The first tune Hendrix learned how to play was the theme from Peter Gunn.[35]
Soon after he acquired the acoustic guitar, Hendrix formed his first band, the Velvetones. Without an electric guitar,
he could barely be heard over the sound of the group. After about three months, he realized that he needed an electric
guitar in order to continue.[36] In mid-1959 his father bought him a white Supro Ozark, his first electric guitar.[36]
His first gig was with an unnamed band in the basement of a synagogue, Seattle's Temple De Hirsch. After too much
showing off, the band fired him between sets.[37] Hendrix later joined the Rocking Kings, which played
professionally at venues such as the Birdland club. When someone stole his guitar after he left it backstage
overnight, Al bought him a red Silvertone Danelectro.[38]
Hendrix completed his studies at Washington Junior High School, but he did not graduate from Garfield High
School.[39] The school later awarded him an honorary diploma and in the 1990s they placed a bust of him in the
school library.[40][41] The school had a relatively even ethnic mix of African, European, and
Asian-Americans.[39]</ref>
Jimi Hendrix 4

Army
Law enforcement authorities twice caught Hendrix riding in stolen cars and when given a choice between spending
time in prison or joining the Army, he chose the latter and enlisted on May 31, 1961.[42] After completing his basic
training at Fort Ord, California, the Army assigned him to the 101st Airborne Division and stationed him at Fort
Campbell, Kentucky.[43]
In November 1961, fellow serviceman Billy Cox walked past the service club and heard Hendrix playing guitar
inside.[44] Cox, intrigued by the proficient playing, which he described as a combination of "John Lee Hooker and
Beethoven", immediately checked-out a bass guitar and the two began to jam.[45] Soon after, they began performing
at the base clubs on the weekends with other musicians in a loosely organized band called the Casuals.[46] On June
29, 1962, Captain Gilbert Batchman granted Hendrix an honorable discharge on the basis of unsuitability.[47][48]
However, in the National Personnel Records Center, which contains 98 pages documenting Hendrix's army service,
including his numerous infractions, the word "homosexual" is not mentioned.[49] Hendrix later spoke of his dislike of
the army and claimed that he had received a medical discharge after breaking his ankle during his 26th parachute
jump.[50]</ref>

Music career

Early years
In September 1963, after Cox was discharged from the Army, he and Hendrix relocated to Clarksville, Tennessee
and formed a new band called the King Kasuals.[51] Hendrix had watched Butch Snipes play with his teeth in Seattle
and by now Alphonso 'Baby Boo' Young, the other guitarist in the band, also performed this guitar gimmick.[52] Not
to be upstaged, it was then that Hendrix learned to play with his teeth, according to Hendrix: "the idea of doing that
came to me in a town in Tennessee. Down there you have to play with your teeth or else you get shot. There's a trail
of broken teeth all over the stage."[53] Although they began playing low-paying gigs at obscure venues, the band
eventually moved to Nashville's Jefferson Street, the traditional heart of Nashville's black community and home to a
thriving rhythm and blues music scene.[54] While in Nashville, they earned a brief residency playing at a popular
venue in town, the Club del Morocco.[55] For the next two years, Hendrix made a living performing at a circuit of
venues throughout the South who were affiliated with the Theater Owners' Booking Association (TOBA), widely
known as the Chitlin' Circuit. In addition to performing in his own band, Hendrix performed in backing bands for
various soul, R&B, and blues musicians, including Wilson Pickett, Chuck Jackson, Slim Harpo, Tommy Tucker,
Sam Cooke, and Jackie Wilson.[56]
In January 1964, feeling he had outgrown the circuit artistically and frustrated by having to follow the rules of
bandleaders, Hendrix decided to venture out on his own. He moved into the Hotel Theresa in Harlem, where he soon
befriended Lithofayne Pridgeon, known as "Faye", she became his girlfriend.[57] Pridgeon, a Harlem native with
connections throughout the area's music scene, provided Hendrix with shelter, support, and encouragement.[58] He
also met the Allen twins, Arthur and Albert.[59][60]</ref> In February 1964, Hendrix won first prize in the Apollo
Theater amateur contest.[61] Hoping to land a gig, he played the club circuit and sat in with various bands. At the
recommendation of a former associate of Joe Tex, Ronnie Isley granted Hendrix an audition that led to an offer to
become the guitarist with the Isley Brothers' back-up band, the I.B. Specials; Hendrix readily accepted.[62]

First recordings
In March 1964, Hendrix recorded the two-part single "Testify" with the Isley Brothers. Released in June 1964, it
failed to chart. After touring with the band through the summer of 1964, he quit after a gig in Nashville.[62][63]</ref>
In September 1964, Hendrix joined Little Richard's touring band, the Upsetters.[64][65]</ref> During a stop in Los
Angeles, Hendrix recorded his first and only single with Richard, "I Don't Know What You Got (But It's Got Me)",
written by Don Covay and released by Vee-Jay Records.[66][67]</ref> In July 1965, on Nashville's Channel 5 Night
Jimi Hendrix 5

Train, he made his first television appearance. Performing in Little Richard's ensemble band, Hendrix backed up
vocalists "Buddy and Stacy" on "Shotgun". The video recording of the show marks the earliest known footage of
Hendrix performing.[64] He often clashed with Richard over tardiness, wardrobe, and his stage antics, so in late July
1965, Richard's brother Robert fired him.[68] He then briefly rejoined the Isley Brothers, and recorded a second
single with them, "Move Over and Let Me Dance" backed with "Have You Ever Been Disappointed".[69]
Later that year, Hendrix joined a New York–based R&B band, Curtis Knight and the Squires, after meeting Knight
in the lobby of a hotel where both men were staying.[70] Hendrix performed on and off with them for eight
months.[71] In October 1965, he and Knight recorded the single, "How Would You Feel" backed with "Welcome
Home"[72] and on October 15 Hendrix signed a three-year recording contract with entrepreneur Ed Chalpin. While
the relationship with Chalpin was short-lived, his contract remained in force, which caused considerable problems
for Hendrix later on in his career.[73][74]</ref> During his time with Curtis Knight and the Squires, Hendrix briefly
toured with Joey Dee and the Starliters and worked with King Curtis on several recordings including Ray Sharpe's
two-part single, "Help Me".[75]
In mid-1966, Hendrix recorded with Lonnie Youngblood, a saxophone player who occasionally performed with
Curtis Knight.[76] The sessions produced two singles for Youngblood: "Go Go Shoes"/"Go Go Place" and "Soul
Food (That's What I Like)"/"Goodbye Bessie Mae".[77] Singles for other artists also came out of the sessions,
including the Icemen's "(My Girl) She's a Fox"/ "(I Wonder) What It Takes" and Jimmy Norman's "That Little Old
Groove Maker"/"You're Only Hurting Yourself".[78][79] Many Youngblood tracks without any Hendrix involvement
would later be marketed as "Jimi Hendrix" recordings.[77]</ref> Hendrix earned his first composer credits for two
instrumentals, "Hornets Nest" and "Knock Yourself Out", released as a Curtis Knight and the Squires single in
1966.[80]
In early 1966, Hendrix formed his own band, the Blue Flame, which included Randy Palmer (bass), Danny Casey
(drums), and a 15-year-old guitarist named Randy Wolfe.[81][82] Randy California later co-founded the band Spirit
with his stepfather, drummer Ed Cassidy.[83]</ref> By June 1966, the Blue Flame had begun playing at several clubs
in New York, but their primary venue was a residency at the Cafe Wha? on MacDougal Street in Greenwich
Village.[84] They gave their last concerts at the Cafe au Go Go, as John Hammond Jr.'s backing group.[85][86]</ref>

The Jimi Hendrix Experience

In May 1966, Hendrix, struggling to earn a living wage playing the
R&B circuit, briefly rejoined Curtis Knight and the Squires for an
engagement at one of New York City's most popular nightspots, the
Cheetah Club.[87] During a performance, Linda Keith, the girlfriend of
Rolling Stones guitarist Keith Richards noticed Hendrix. She
commented: "[His] playing mesmerised me".[87] She arranged for him
to join her for a drink, and the two soon became friends.[87]

Keith recommended Hendrix to Stones manager Andrew Loog

The Experience in 1968
Oldham, and producer Seymour Stein. They failed to see Hendrix's
musical potential, and rejected him.[88] She then referred Hendrix to
Chas Chandler, who was leaving the Animals and interested in
managing and producing artists. Chandler liked the song "Hey Joe" and
was convinced he could create a hit single with the right artist.[89]
Impressed with Hendrix's version of the song, Chandler brought him to
London on September 23, 1966, and signed him to a management and
production contract with himself and ex-Animals manager Michael
Jimi Hendrix 6

Jeffery.[90][91] Etchingham later wrote an autobiographical book about their relationship and the London music scene
during the 1960s.[92]</ref> Chandler then helped Hendrix form a new band, the Jimi Hendrix Experience, with
guitarist-turned-bassist Noel Redding and drummer Mitch Mitchell.[93] Chandler also convinced Hendrix to change
the spelling of his first name from "Jimmy" to "Jimi".[94]
Chandler introduced Hendrix to Eric Clapton, who had recently co-founded Cream.[95] On September 30, Chandler
brought Hendrix to the London Polytechnic at Regent Street, where Cream was scheduled to perform, and it was
then that Hendrix and Clapton first met. Clapton commented: "He asked if he could play a couple of numbers. I said,
'Of course', but I had a funny feeling about him."[96] Halfway through Cream's set, Hendrix took the stage and
performed a frantic version of the Howlin' Wolf song "Killing Floor".[96] Clapton described the performance: "He
played just about every style you could think of, and not in a flashy way. I mean he did a few of his tricks, like
playing with his teeth and behind his back, but it wasn't in an upstaging sense at all, and that was it ... He walked off,
and my life was never the same again".[96]

UK success
Clapton was up there doing his stuff in front of all the girlies, and along comes Jimi, who sits in and upsets the whole apple
[97]
cart—playing with his teeth, behind his head, doing almost circus tricks with the guitar.

—Jeff Beck

In mid-October 1966, Chandler arranged for the Experience to accompany Johnny Hallyday as his support act for a
brief tour of France.[94] Their enthusiastically received 15-minute performance at the Olympia theatre in Paris on
October 18 marks the earliest known recording of the band.[94] In late October, Kit Lambert and Chris Stamp,
managers of the Who, signed the Experience to their newly formed record label, Track Records, who released the
Experience's first single on October 23.[98] "Hey Joe", a cover of the Billy Roberts song, which included a female
backing chorus provided by the Breakaways, was backed by Hendrix's first songwriting effort, "Stone Free".[99]
In mid-November, they gave a showcase performance at London's newly opened nightclub the Bag O'Nails, with
Clapton, John Lennon, Paul McCartney, Jeff Beck, Pete Townshend, Brian Jones, Mick Jagger, and Kevin Ayers in
attendance.[100] Ayers described the crowd's reaction as stunned disbelief: "All the stars were there, and I heard
serious comments, you know 'shit', 'Jesus', 'damn' and other words worse than that."[100] The performance's success
earned Hendrix his first interview, published in Record Mirror with the headline: "Mr. Phenomenon".[100] "Now
hear this ... we predict that [Hendrix] is going to whirl around the business like a tornado", wrote Bill Harry, who
asked the rhetorical question: "Is that full, big, swinging sound really being created by only three people?"[101]
Hendrix commented: "We don't want to be classed in any category ... If it must have a tag, I'd like it to be called,
'Free Feeling'. It's a mixture of rock, freak-out, rave, and blues".[102] After appearances on the UK television shows,
Ready Steady Go! and the Top of the Pops, "Hey Joe" entered the UK charts on December 29, 1966, peaking at
number 6.[103] Further success came in March 1967 with the UK number 3 hit, "Purple Haze", and in May with "The
Wind Cries Mary", which remained on the UK charts for eleven weeks, peaking at number 6.[104]
On March 31, 1967, while booked to appear at the London Astoria, Hendrix and Chandler discussed ways in which
they could increase the band's media exposure. Chandler asked journalist Keith Altham for advice, who suggested
that they needed to do something more dramatic than the stage show of the Who, which involved the smashing of
instruments. Hendrix replied: "Maybe I can smash up an elephant", to which Altham replied: "Well, it's a pity you
can't set fire to your guitar".[105] Chandler immediately asked road manager Gerry Stickells to get them some lighter
fluid. Hendrix gave an especially dynamic performance before setting his guitar on fire at the end of his 45-minute
set. In the wake of the notable stunt, London's press labeled Hendrix the "Black Elvis" and the "Wild Man of
Borneo".[106][107]
Jimi Hendrix 7

Are You Experienced

Rolling Stone described the double-platinum Are You Experienced as Hendrix's "epochal debut", and they ranked it
the 15th greatest album of all-time, noting his "exploitation of amp howl", describing his guitar playing as
"incendiary ... historic in itself" and the songs as "soul music for inner space."[108] The founding editor of Guitar
World called it, "the album that shook the world ... leaving it forever changed".[109][110]</ref> Released in the UK on
May 12, 1967, Are You Experienced spent 33 weeks on the charts, peaking at number 2.[111][112]</ref>
On June 4, 1967, Hendrix opened a show at the Saville Theatre in London with his own rendition of "Sgt. Pepper's
Lonely Hearts Club Band", released three days earlier. Beatles manager Brian Epstein owned the Saville at the time,
and both George Harrison and Paul McCartney attended the performance. McCartney described the moment: "It's
still a shining memory for me ... The curtains flew back and he came walking forward playing 'Sgt. Pepper'. It's a
[113]
pretty major compliment in anyone's book. I put that down as one of the great honors of my career." Released in
the US in August by Reprise Records, Are You Experienced, reached number 5 on the Billboard Hot 100.[114][115]
"Red House" is the only original twelve-bar blues written by Hendrix.[116]</ref>

US success
Although popular in Europe at the time, the Experience's first US single, "Hey Joe"/"51st Anniversary", released
May 1, 1967, failed to reach the Billboard Hot 100 chart.[117] Their fortunes soon improved when Paul McCartney
recommended them to the organizers of the Monterey International Pop Festival. McCartney insisted that the festival
would be incomplete without Hendrix, who he called "an absolute ace on the guitar", and he agreed to join the board
of organizers on the condition that the Experience perform at the festival in mid-June.[118]
Introduced by Brian Jones as "the most exciting performer [he had] ever heard", Hendrix opened with a fast
arrangement of Howlin' Wolf's song "Killing Floor", wearing what author Keith Shadwick described as "clothes as
exotic as any on display elsewhere ... He was not only something utterly new musically, but an entirely original
vision of what a black American entertainer should and could look like."[119] The Monterey performance also
included "Hey Joe", a rendition of B.B. King's "Rock Me Baby", and Bob Dylan's "Like a Rolling Stone", as well as
four original compositions: "Foxy Lady", "Can You See Me", "The Wind Cries Mary", and "Purple Haze".[113] The
set ended with Hendrix burning his guitar on stage, then smashing it before tossing pieces out to the audience.
Filmed by D. A. Pennebaker, and later included in the concert documentary Monterey Pop, the performance helped
earn Hendrix the attention of the US public.[120] After the festival, the Experience played a series of concerts at Bill
Graham's Fillmore, with Big Brother and the Holding Company, and Jefferson Airplane, before replacing the latter at
the top of the bill after embarrassing the band by out-performing them musically.[121]
Following their successful West Coast introduction, which included a free open air concert at Golden Gate Park and
a concert at the Whisky a Go Go, they were booked as an opening act for the pop group the Monkees, on their first
American tour.[122] The Monkees asked for Hendrix because they were fans, but their young audience disliked the
Experience, who left the tour after six shows.[123] Chandler later admitted that he had engineered the Monkees tour
to gain publicity for Hendrix.[124]

Axis: Bold as Love

The title track of the second Experience album, Axis: Bold as Love (1967), features the first recording of stereo
phasing.[125][126]</ref> Author Keith Shadwick described the song as "possibly the most ambitious piece on Axis,
the extravagant metaphors of the lyrics suggesting a growing confidence" in Hendrix's songwriting.[127] The album's
opening track, "EXP", featured innovative use of microphonic and harmonic feedback.[128] It also featured a stereo
panning effect in which sounds emanating from Hendrix's guitar move through the stereo image, seeming to revolve
around the listener.[129]
A mishap almost delayed the album's pre-Christmas release: Hendrix lost the master tape of side one of the LP,
leaving it in the back seat of a London taxi. With the release deadline looming, Hendrix, Chandler and engineer
Jimi Hendrix 8

Eddie Kramer had to remix most of side one in a single overnight session, but they could not match the lost mix of
"If 6 Was 9". They soon learned that bassist Noel Redding had a tape recording of this mix, which had to be
smoothed out with an iron as it had gotten wrinkled.[129] Hendrix used a familiar guitar technique during the verses
of the song, doubling his voice with his guitar, which he played one octave lower.[130] The founding editor of Guitar
World described the LP as "a voyage to the cosmos".[131] According to author Peter Doggett, the work "heralded a
new subtlety in Hendrix's work".[132] Mitchell commented: "Axis was the first time that it became apparent that Jimi
was pretty good working behind the mixing board, as well as playing, and had some positive ideas of how he wanted
things recorded. It could have been the start of any potential conflict between him and Chas in the studio."[133]
Hendrix was disappointed that the album had to be re-mixed so quickly, and he felt that it could have been better had
they been given more time.[134] He also expressed dismay regarding the album cover art work, which depicts
Hendrix and the Experience as various forms of Vishnu, incorporating a painting of them by Roger Law, from a
photo-portrait by Karl Ferris. Hendrix stated that the cover would have been more appropriate had it highlighted his
American Indian heritage.[135] Track Records released the album in the UK on 16 December 1967, where it peaked
at number 5, spending 16 weeks on the charts.[104] In February 1968, Axis: Bold as Love reached number 3 in the
US.[136]

Electric Ladyland
Electric Ladyland (1968) was Hendrix's third and final non-posthumous studio album. The double album was also
the first Experience album to be mixed entirely in stereo.[137] Recording began at the newly opened Record Plant
Studios with engineers Eddie Kramer and Gary Kellgren and Chas Chandler as producer.[138]
During recording sessions for the album, Chandler became increasingly frustrated with Hendrix's perfectionism and
his demands for numerous re-takes that Chandler deemed unnecessary. Hendrix also allowed various friends and
guests in join them in the studio, which contributed to a chaotic and crowded environment in the control room,
leading Chandler to sever his professional relationship with Hendrix.[139]
For this album Hendrix began experimenting with different combinations of musicians and instruments. It was the
first Hendrix album to feature the use of a wah-wah pedal, such as on "Burning of the Midnight Lamp".[140] During
production, Hendrix appeared at an impromptu jam with B.B. King, Al Kooper, and Elvin Bishop.[141][142]</ref> In
November 1968, the album reached number 1 in the US, spending two weeks at the top spot.[143] The LP peaked at
number 6 on the UK charts, spending 12 weeks on the chart.[104] The founding editor of Guitar World described the
album as "Hendrix's masterpiece".[144]

Breakup of the Experience

Mitch and I hung out a lot together, but we're English. If we'd go out, Jimi would stay in his room. But any bad feelings came from
us being three guys who were traveling too hard, getting too tired, and taking too many drugs ... I liked Hendrix. I don't like
[145]
Mitchell.

—Noel Redding on the break-up of the Experience

After a year based in the US, Hendrix temporarily moved back to London and into his girlfriend Kathy Etchingham's
rented Brook Street flat, next door to the Handel House Museum, in the West End of London. During this time, the
Jimi Hendrix Experience toured Scandinavia, Germany, and included a final French concert. They later performed
two sold-out concerts at London's Royal Albert Hall on February 18 and 24, 1969, which were the last European
appearances of this line-up of the Jimi Hendrix Experience. Gold and Goldstein filmed these shows; however, as of
2012, they have not seen an official release.[146]
Redding formed his own band Fat Mattress, allowing him to play his preferred instrument, the guitar. He spent less
time with Hendrix, which resulted in Hendrix playing many of the bass parts on Electric Ladyland.[citation needed]
Fruitless recording sessions at Olympic in London; Olmstead and the Record Plant in New York that ended on April
9, which produced a remake of "Stone Free" for a possible single release, were the last to feature Redding. Hendrix
Jimi Hendrix 9

then flew Billy Cox to New York and started recording and rehearsing with him on April 21 as a replacement for
Noel.[147]
The last Experience concert took place on June 29, 1969 at Barry Fey's Denver Pop Festival, a three-day event held
at Denver's Mile High Stadium that was marked by Denver police using tear gas to control the audience as the band
played "Voodoo Chile (Slight Return)". They narrowly escaped from the venue in the back of a rental truck which
was partly crushed by fans trying to escape the tear gas. The next day, Redding quit the Experience and returned to
London. He blamed Hendrix's plans to expand the group without allowing for his input as a primary reason for
leaving.[148]
After the departure of Noel Redding from the group, Hendrix rented the eight-bedroom 'Ashokan House' in the
hamlet of Boiceville near Woodstock in upstate New York, where he spent some time in mid-1969.[149] Manager
Michael Jeffery, who owned a house in Woodstock, arranged the stay, with hopes that the respite would produce a
new album. To replace Redding as bassist, Hendrix had been rehearsing and recording with Billy Cox, his old and
trusted Army buddy, since April 21.[147] Mitchell was unavailable to help fulfill Hendrix's commitments at this time,
which included his first appearance on US TV – on the Dick Cavett show – where he was backed by the studio
orchestra, and an appearance on The Tonight Show where he appeared with his new bass player Billy Cox, and
session drummer Ed Shaughnessy sitting in for Mitchell.[150]

Woodstock
Hendrix performed at the Woodstock Music Festival, along
with many of the most popular rock bands of the time. It took
place on farmland rented from Max Yasgur, in Bethel, New
York, from August 15 to 18, 1969. Although much of
Hendrix's music had been written for a power trio of guitar,
bass, and drums, he wanted to expand his sound so he added
rhythm guitarist Larry Lee and conga players Juma Sultan and
Jerry Velez. With Mitch Mitchell, Hendrix called this new
lineup, "Gypsy Sun and Rainbows". They rehearsed for less
than two weeks before the festival, and according to Mitchell
never really meshed. In addition, although Woodstock would
become famous and mythologized through the documentary
film of the same name, by the time of his performance,
Hendrix had been up for three days, and his band was short on
sleep as well, contributing a rawness to their filmed
[151][152]
performance.

Before Hendrix arrived at the festival, he started to hear media

reports that the crowds of kids showing up for the festival
The Fender Stratocaster Hendrix played at Woodstock.
were swelling to biblical proportions, in addition to the
emerging logistical problems being reported at the site. This
gave Hendrix cause for concern since he did not like performing in front of very large crowds.[153] Since he was
considered an important draw for the festival, and because of his manager's negotiations, Hendrix was getting paid
more than the other performers, (US$18,000, plus US$12,000 for rights to film him). As the scheduled time slot of
Sunday night at midnight drew closer, Hendrix indicated that he would rather wait and close the show. A substantial
rainstorm that day had delayed the schedule of performers, so when Hendrix insisted on being the closing headliner,
it pushed back the time when they finally hit the stage – which ended up being 8:30 am Monday morning. The
Jimi Hendrix 10

audience which had peaked at an estimated 400,000 people during the festival, was now reduced to about 30–40,000
by that point; many of whom merely waited to catch a glimpse of Hendrix before leaving during his show.[153] This
reflected the reality that by the third day attendees had been sleeping in muddy conditions with limited food.
Hendrix and his band were introduced by the festival MC, Chip Monck, as "the Jimi Hendrix Experience", but once
on stage Hendrix clarified, saying, "We decided to change the whole thing around and call it Gypsy Sun and
Rainbows. For short, it's nothin' but a 'Band of Gypsys'".[154] He then launched into a two-hour set, the longest of his
career.
Hendrix's rendition of the U.S. national anthem, "The Star-Spangled Banner" occurred about 3/4 into their set (after
which he morphed into "Purple Haze"). The song had actually been part of his set for over a year and he had already
performed it at at least 28 different concerts and recorded a studio version. During the number, Hendrix used
feedback and sustain on his guitar to recreate the sound of wails and falling rockets. Although pundits quickly
branded the song as a political manifesto against the Vietnam War, Hendrix himself never explained its meaning
other than to say at a press conference three weeks later, "We're all Americans ... it was like 'Go America!'... We play
[155]
it the way the air is in America today. The air is slightly static, see". The song would become "part of the sixties
[156]
Zeitgeist" as it was captured forever in the Woodstock film; Hendrix's image performing this number during the
day wearing a blue-beaded white leather jacket with fringe and a red head scarf, has since been regarded as a
defining moment of the 1960s.[153][157][158]</ref>
Hendrix performed "Hey Joe" as the encore to finish off their set which concluded the 3½ day Woodstock Music
Festival. Upon leaving the stage, Hendrix collapsed from exhaustion.[156] After Woodstock, this particular lineup of
the band appeared on only two more occasions. The first was a street benefit in Harlem where, in a scenario similar
to the festival, most of the audience had left and only a fraction remained by the time Hendrix took the stage. Within
seconds of Hendrix arriving at the site two youths had stolen his guitar from the back seat of his car, although it was
later recovered. The band's only other appearance was at the Salvation club in Greenwich Village, New York. After
some studio recordings, Hendrix disbanded the group. Some of this band's recordings can be heard on the MCA
Records box set The Jimi Hendrix Experience and on South Saturn Delta. Their final session together before Lee and
Velez left the band took place on September 16.[159]

Band of Gypsys
In 1968, a contractual dispute arose in relation to a previous agreement Hendrix had entered into with producer Ed
Chalpin. The resolution for the dispute included Hendrix having to record an LP of new material for Chalpin's
company. For the agreed upon album, Hendrix chose to record the live LP, Band of Gypsys.[160]
Against the backdrop of widespread social upheaval in the United States that included the African-American Civil
Rights Movement, the escalation of the Vietnam War, the growing Black Power movement, and several notable
assassinations, Hendrix created a new all-black band with Billy Cox and drummer Buddy Miles (formerly with
Wilson Pickett, the Electric Flag and the Buddy Miles Express). Critic John Rockwell described Hendrix and Miles
as jazz-rock fusionists and their collaboration as pioneering.[161]
Hendrix had been recording with Cox since April and jamming with Miles since September. He wrote and rehearsed
material which they then performed at a series of four concerts over two nights, New Year's Eve and New Year's
Day at Fillmore East. Recordings of these concerts became the material for the Band Of Gypsys LP, produced by
Hendrix.[162] The album contains the track, "Machine Gun", described by musicologist Andy Aledort as the pinnacle
of Hendrix's career, and "the premiere example of Hendrix's unparalleled genius as a rock guitarist ... In this
performance, Jimi transcended the medium of rock music, and set an entirely new standard for the potential of
electric guitar."[163]
[164]
The most brilliant, emotional display of virtuoso electric guitar that I have ever heard."

—Concert promoter Bill Graham, on the Band of Gypsys shows

Jimi Hendrix 11

Some have thought that the creation of the band was Hendrix's efforts to appease overtures from the Black Power
movement and others in the black communities asking him to become more militant in using his fame to speak up
for civil rights.[165] In 1967, Hendrix told Open City, a Los Angeles-based underground newspaper: "Quite naturally
I don't like to see houses being burnt", referring to the Watts Riots that had occurred in 1965.[165] He clarified: "I
don't have much feeling for either side right now ... Maybe I'll have more to say later, when I get more political."[165]
The Band of Gypsys album was the only official live, complete LP of Hendrix's music released during his lifetime. A
couple of tracks from Woodstock and one side of an LP of tracks from his Monterey show were also released, later,
in his lifetime. The album reached the top ten in both the US and the UK in April 1970.[164] The band also released a
single "Stepping Stone", which was given no publicity and failed to sell, and recorded three other studio songs slated
for Hendrix's future LP. In 1999, the tapes from the four Fillmore concerts were remastered and additional tracks and
edits were released as Live at the Fillmore East. Litigation with Chalpin ended in 2007 after the "singularly
uncredible witness" was fined nearly US$900,000 for failure to abide by contractual limitations and failure to pay
Experience Hendrix L.L.C. its court ordered royalties.
On January 26 and 27, 1970, Mitch Mitchell and Noel Redding flew into New York and signed contracts with
Jeffery for the upcoming Jimi Hendrix Experience tour. The next day, a second and final Band of Gypsys appearance
occurred at a twelve-act show in Madison Square Garden which was a benefit for the anti-Vietnam War Moratorium
Committee, titled the "Winter Festival for Peace". Similar to Woodstock, set delays forced Hendrix to take the stage
at an inopportune 3 am, only this time he was obviously in no shape to play. He played "Who Knows" before
snapping a vulgar response at a woman who shouted a request for "Foxy Lady". He played a second song, "Earth
[166]
Blues", he then told the audience: "That's what happens when earth fucks with space—never forget that". He
then sat down on the drum riser for a minute and then walked off stage. Various unverifiable assertions have been
proffered to explain this bizarre scene. Buddy Miles claimed that manager Michael Jeffery dosed Hendrix with LSD
in an effort to sabotage the current band and bring about the return of the Experience lineup,[167] but none of
Hendrix's other close associates verifies his statement.

Cry of Love tour

A week after the botched Band of Gypsys show, Hendrix, Mitch Mitchell and Noel Redding gave an interview to
Rolling Stone for the upcoming tour dates as a reunited Experience. However, Redding never made the time to
rehearse, as Hendrix continued to work with Billy Cox. Noel was not told he was not going to be playing until the
pretour rehearsals. Fans refer to this final "Jimi Hendrix Experience" lineup as the "Cry of Love" band, named after
the Cry of Love Tour to distinguish it from the original. Billy Cox has countered on several occasions that this lineup
considered themselves "the Jimi Hendrix Experience" before they even went on tour and that any other title is bogus.
Billing, adverts, tickets etc. on the tour used "Jimi Hendrix Experience" or occasionally, as previously, just "Jimi
Hendrix".
Two of his later recordings were the lead guitar parts on "Old Times Good Times" from Stephen Stills hit
eponymous album (1970), and on "The Everlasting First" from Arthur Lee's new incarnation of Love, not so
successful and aptly named LP False Start both tracks were recorded with these old friends on a fleeting and
[168]
unexplained visit to London in March 1970, following Kathy Etchingham's marriage.
Hendrix spent the next four months of 1970 working on his next LP tentatively titled First Rays of the New Rising
Sun, recording during the week and playing live on the weekends. The Cry of Love tour, launched that April at the
L.A. Forum, was partly undertaken to earn money to repay the Warner Bros. loan for completing his Electric Lady
Studios. Performances on this tour featured Hendrix, Cox, and Mitchell playing new material alongside older
audience favorites. The American leg of the tour included 30 performances and ended at Honolulu, Hawaii, on
August 1, 1970. A number of these shows were recorded and produced some of Hendrix's most memorable live
performances. At one of them, the second Atlanta International Pop Festival (1970), on July 4, Hendrix played to the
largest American audience of his career.[169][170]</ref>
Jimi Hendrix 12

Electric Lady Studios

In 1968, Hendrix and Jeffery had invested jointly in the purchase of the Generation Club in Greenwich Village.
Their initial plans to reopen the club were changed when the pair decided that the investment would serve them
much better as a recording studio. After the exorbitant studio fees incurred during the lengthy Electric Ladyland
sessions, Hendrix was seeking a recording environment that suited him. In August 1970, Electric Lady Studios was
opened in New York.
Designed by architect and acoustician John Storyk, the studio was made specifically for Hendrix, with round
windows and a machine capable of generating ambient lighting in a myriad of colors. It was designed to have a
relaxing feel to encourage Hendrix's creativity, but at the same time provide a professional recording atmosphere.
Engineer Eddie Kramer upheld this by refusing to allow any drug use during session work.
Hendrix spent only two and a half months recording in Electric Lady, most of which took place while the final
phases of construction were still ongoing. Following a mastering session at Sterling Sound on August 26, they held
an opening party later that day for Electric Lady Studios. Hendrix left for London after the party and never returned
to the newly finished studio.[171] He boarded an Air India flight for London with Billy Cox, joining Mitch Mitchell
to perform at the Isle of Wight Festival.[172]

European tour
When the Experience commenced the European leg of their tour, Hendrix, longing for his new studio and creative
outlets, was not eager to fulfill the commitment. In Aarhus, Hendrix abandoned the performance after only three
songs, remarking: "I've been dead a long time".[173] On September 6, 1970, his final concert performance, Hendrix
was greeted with some booing and jeering by fans at the Isle of Fehmarn Festival in Germany, due to his
non-appearance at the end of the previous night's bill (due to the torrential rain and risk of electrocution). Several
acts played after he left the stage; later, part of the stage was burnt during the first stage appearance of Ton Steine
Scherben. Billy Cox quit the tour and headed home to Memphis, Tennessee, reportedly suffering paranoia after
taking LSD or being given it unknowingly, earlier in the tour.[174] A live recording of the concert was later released
as Live at the Isle of Fehmarn.
Hendrix returned to London, where he reportedly spoke to Chas Chandler, Eric Burdon, and others about leaving his
manager, Michael Jeffery. Hendrix's last public performance was an informal jam at Ronnie Scott's Jazz Club in
Soho with Burdon and his latest band, War. Much of this was recorded on a Sony cassette recorder by Bill Baker, of
Shepherds Bush, London, then aged 20, who was present throughout the entire performance. Two Hendrix tracks
from this recording, "Mother Earth" and "Tobacco Road", were later included, without permission from Baker, on a
bootleg LP, Can You Please Crawl Out Your Window?, produced in the 1970s, and on an audio tape of poor quality.
In 2009, the entire recording entered general circulation within the collecting community. Remastered in California
in December 2010, it includes tracks from the same night's performance by Eric Burdon's War. It is Hendrix's last
known recording; he died less than 48 hours later.[175]
Jimi Hendrix 13

Death, post-mortem, and burial

Though the details of his last day and death are unclear and widely disputed,
Hendrix spent much of September 17 in London with Monika Dannemann, the
only witness to his final hours.[176] Dannemann said she prepared a meal for them
at her apartment in the Samarkand Hotel, 22 Lansdowne Crescent, Notting Hill,
sometime around 11 p.m., when they shared a bottle of wine.[177] She drove
Hendrix to the residence of an acquaintance at approximately 1:45 a.m., where he
remained for about an hour before she picked him up and drove them back to her
flat at 3 a.m.[178] Dannemann said they talked until around 7 a.m., when they went
to sleep. She awoke around 11 a.m., and found Hendrix breathing, but unconscious
and unresponsive. She called for an ambulance at 11:18 a.m.; they arrived on the
scene at 11:27 a.m.[179] Paramedics then transported Hendrix to St Mary Abbot's
The Samarkand Hotel where
Hospital where Dr. John Bannister pronounced him dead at 12:45 p.m., on
Hendrix spent his final hours
September 18, 1970.[180]

To determine the cause of death, coroner Gavin Thurston ordered a post-mortem examination on Hendrix's body,
which was performed on September 21 by Professor Robert Donald Teare, a forensic pathologist.[181] Thurston held
the inquest on September 28, and concluded that Hendrix aspirated his own vomit and died of asphyxia while
intoxicated with barbiturates.[182] Citing "insufficient evidence of the circumstances", he declared an open
verdict.[183] Dannemann later stated that Hendrix had taken nine of her prescribed Vesparax sleeping tablets, 18
times the recommended dosage.[184]
On September 29, Hendrix's body was flown to Seattle, Washington.[185] After a service at Dunlop Baptist Church
on October 1, he was interred at Greenwood Cemetery in Renton, Washington, the location of his mother's
gravesite.[186] Hendrix's family and friends traveled in twenty-four limousines. More than two hundred people
attended the funeral, including several notable musicians such as original Experience members Mitch Mitchell and
Noel Redding, as well as Miles Davis, John Hammond and Johnny Winter.[187]

Drug use and violence

Widely associated with the use of psychedelic drugs, particularly lysergic acid diethylamide (LSD), Hendrix had
never taken psychedelic drugs until the night he met Linda Keith, but had smoked cannabis. Hendrix also used
amphetamines, especially during tours.[188] Friends and bandmates reported that Hendrix would often become angry
and violent when he drank too much alcohol.[189] Though illicit drugs alone did not seem to produce a significant
negative effect on him, when he mixed them with alcohol, he would often become incendiary.[190] Hendrix friend,
Herbie Worthington, explains: "You wouldn't expect somebody with that kind of love to be that violent ... He just
[191]
couldn't drink ... he simply turned into a bastard." A girlfriend of Hendrix's, Carmen Borrero, required stitches
after he hit her above her eye with a vodka bottle during a drunken, jealous rage.[191]
In January 1968, the Experience travelled to Sweden for a one-week tour of Europe. During the early morning hours
of the first day, Hendrix became engaged in a drunken brawl in the Hotel Opalen in Stockholm, smashing a
plate-glass window and injuring his right hand, for which he received medical treatment.[191] The incident
culminated in his arrest, though the authorities released him pending a court appearance on the 16th.[192] The
remainder of the tour was uneventful, though Hendrix had to spend some time in Sweden awaiting his trial, which
resulted in a large fine.[193] After the burglary of his house in Benedict Canyon, California, while under the influence
of drugs and alcohol, he punched his friend Paul Caruso and accused him of the theft. Hendrix then chased Caruso
away from the residence while throwing stones at him.[194]
Jimi Hendrix 14

On May 3, 1969, while checking through Canadian customs at Toronto Pearson International Airport, authorities
arrested Hendrix for drug possession after finding a small amount of heroin and hashish in his luggage. After being
released on a CAN$10,000 cash bail the same day, only four hours before his show was scheduled to begin, the
Experience performed at Maple Leaf Gardens that night. The courts required Hendrix to appear before a judge at a
later date. In his trial defense Hendrix claimed that a fan had slipped the drugs into his bag without his knowledge;
he was acquitted of the charges.[195]

Recordings and posthumous releases

Hendrix's recordings were originally released in North America on Reprise
Records, a division of Warner Communications, from 1967 until 1993 and
were released internationally on Polydor Records. Capitol Records released the
Band of Gypsys album in the US and Canada. British releases of his albums up
to and including The Cry of Love were first issued on the independent label
Track Records, which was originally created by the managers of the Who.
Polydor later absorbed the label.

In 1994, the Hendrix family prevailed in its long standing legal attempt to gain
control of his music, and subsequently licensed the recordings to MCA
Records (later Universal Music) through the family-run company Experience
Hendrix. In August 2009, Experience Hendrix announced that it had entered a
new licensing agreement with Sony Music Entertainment's Legacy Recordings
Hendrix statue outside Dimbola Lodge,
division which would take effect in 2010.
Isle of Wight
Reports that Hendrix's tapes for a concept album Black Gold had been stolen
and lost from the London flat, are incorrect. Hendrix gave those tapes to Mitch Mitchell at the Isle of Wight Festival
[196]
three weeks prior to his death. WP:NOTRS They are now in the possession of Experience Hendrix LLC.
Hendrix's unfinished album was partly released as the 1971 title The Cry of Love. The album was well received and
charted in several countries. However, the album's producers, Mitchell and Kramer, would later complain that they
were unable to make use of all the tracks they wanted. This was due to some tracks being used for 1971's Rainbow
Bridge and 1972's War Heroes for contractual reasons. Material from The Cry of Love was rereleased in 1997 as
First Rays of the New Rising Sun, along with the rest of the tracks that Mitchell and Kramer wanted to include.
Many of Hendrix's personal items, tapes, and many pages of lyrics and poems are now in the hands of private
collectors and have attracted considerable sums at the occasional auctions. These materials surfaced after two
employees, under the instructions of Mike Jeffery, removed items from Hendrix's Greenwich Village apartment
[197]
following his death.
In 2010, Legacy Recordings and Experience Hendrix LLC launched the 2010 Jimi Hendrix Catalog Project, starting
with the release of Valleys of Neptune in March.[] Legacy has also released deluxe CD/DVD editions of the Hendrix
albums Are You Experienced, Axis: Bold As Love, Electric Ladyland and First Rays of the New Rising Sun, as well
as the 1968 compilation album Smash Hits.[]
Jimi Hendrix 15

Musical influences
I don't happen to know much about jazz. I know that most of those cats are playing nothing but blues, though—I know that much.
[198]

—Hendrix on jazz music

As an adolescent during the 1950s, rock and roll artists such as Elvis Presley, Little Richard and Chuck Berry earned
Hendrix's interest.[199] In 1968, he told Guitar Player magazine that electric blues artists including Muddy Waters,
Elmore James and B.B. King influenced him during the beginning of his career, he also cited Eddie Cochran as an
early influence.[200] In 1970, he told Rolling Stone that he was a fan of western swing artist Bob Wills, and while he
lived in Nashville, the television show, the Grand Ole Opry.[201] Of Muddy Waters, the first electric guitarist of
which Hendrix became aware, he said: "I heard one of his records when I was a little boy and it scared me to death
because I heard all of these sounds."[202]
Band of Gypsys bassist, Billy Cox, stated that during their time serving in the US military, he and Hendrix listened
to mostly southern blues artists such as Jimmy Reed, B.B. King and Albert King. According to Cox, "Albert King
was a very, very powerful influence" on Hendrix.[200] Howlin' Wolf also influenced Hendrix, who performed Wolf's
"Killing Floor" as the opening song to the set of his US debut at the Monterey Pop Festival.[203] Soul guitarist Curtis
Mayfield also significantly influenced Hendrix.[204]
In early 1967, when asked what he thought about the music of the Beatles, Hendrix replied: "Oh, yes. I think its
good. They're one group you can't really put down because they're just too much."[205] During the same interview,
when asked if he had ever seen Pink Floyd perform, Hendrix replied: "I've heard they have beautiful lights but they
don't sound like nothing."[206] In 1970, during his final interview he commented: "They're doing a different type of
music. They're doing more of a space type of thing, I mean inner space".[207]

Equipment

Guitars
Hendrix owned and used a variety of guitars during his career. However, his
guitar of choice (and the instrument that became most associated with him), was
the Fender Stratocaster. He started playing the model in 1966 and thereafter used
it prevalently in his stage performances and recordings. The original Fender
Stratocaster Sunburst that Hendrix burnt onstage at the Astoria in 1967 was
restored by him and kept as a souvenir. The next year Hendrix subjected the
guitar to fire again at the Miami Pop Festival in 1968.[208] It was in Miami that a
Hendrix roadie gave the guitar to Frank Zappa. Once in Frank Zappa's hands,
Zappa had it restored again and used it himself. As well as playing it, it was this
guitar that Zappa chose to be photographed with for the cover of the January
[]
1977 edition of Guitar Player. Zappa commented: "I had it hanging on the wall
in my basement for years until last year when I gave it to Rex [Brogue] and said,
'Put this sucker back together,' because it was all tore up," the late Zappa told
journalist Steve Rosen in a feature interview inside the magazine.[] "The neck
Hendrix's Gibson Flying V guitar
was cracked off, the body was all fired, and the pickups were blistered and
bubbled. That's the one that's got the Barcus-Berry in the neck. A lot of people
thought I had Hendrix's guitar from Monterey, but it was from Miami; the one at Monterey was white and this one is
sunburst." As the years passed, Zappa only remembered having it after his son, Dweezil Zappa, found it dismantled
near his father's studio in the early 1990s.[]
Jimi Hendrix 16

"It's a very inspiring guitar," Dweezil Zappa told BBC News, "because it has such a unique history, one that can
never be recreated."[] Subsequent to having it carefully restored by the late master guitar maker, Rex Brogue,[209]
Dweezil Zappa put the guitar up for auction in 2002.[][210] The highest bid for the restored guitar was £300,000, but
Zappa changed his mind and kept it.[211]
Hendrix used right-handed guitars, turned upside down and restrung for left-hand playing.[212] This had an important
effect on his guitar sound: because of the slant of the Strat's bridge pickup, his lowest string had a bright sound while
his highest string had a mellow sound, the opposite of the Stratocaster's intended design.[213] Heavy use of the
tremolo bar necessitated frequent tuning; Hendrix often asked the audience for a "minute to tune up", as heard on
many live bootlegs of his performances.
In addition to Stratocasters, Hendrix was also photographed playing Fender Jazzmasters, Duosonics, two different
Gibson Flying Vs, a Gibson Les Paul, three Gibson SGs, a Gretsch Corvette he used at the 1967 Curtis Knight
sessions and miming with a right-strung Fender Jaguar on the Top of the Pops TV show, as well as several other
[214]
brands. Hendrix borrowed a Fender Telecaster from Noel Redding to record "Hey Joe" and "Purple Haze",[215]
used a white Gibson SG Custom for his performances on The Dick Cavett Show in the summer of 1969, and the Isle
of Wight film shows him playing his second Gibson Flying V. While Jimi had previously owned a Flying V that he
had painted with a psychedelic design, the Flying V used at the Isle of Wight was a unique custom left-handed guitar
with gold plated hardware, a bound fingerboard and "split-diamond" fret markers that were not found on other
1960s-era Flying Vs.
On December 4, 2006, one of Hendrix's 1968 Fender Stratocaster guitars with a sunburst design was sold at a
Christie's auction for US$168,000.[] Described as the first guitar Hendrix set fire to, another of his Stratocasters was
sold at an auction for a record price in London two years later in 2008. Daniel Boucher, an American collector from
Boston, paid £280,000 ($497,500) for the guitar.[216][217][218] This guitar was set aflame at the end of the Astoria
concert in March 1967. Hendrix's action "sent roadies rushing to put out the flames and left Hendrix needing
treatment for minor burns."[] Rescued by Hendrix's press officer, Tony Garland, it was his nephew who came
forward in 2007 and put the guitar up for auction. The guitar had been forgotten in Tony Garland's parents' garage
for some forty years. In 2009, some experts in Hendrix's guitars questioned whether the guitar Boucher bought was
in fact an elaborate forgery.[219]

Amplifiers and effects

Hendrix was a catalyst in the development of modern guitar effects pedals. His high volume and use of feedback
required robust and powerful amplifiers. For the first few rehearsals he used Vox and Fender amplifiers. Sitting in
with Cream, Hendrix played through a new range of high-powered guitar amps being made by London drummer
turned audio engineer Jim Marshall, and they proved perfect for his needs. Along with the Stratocaster, the Marshall
stack and amplifiers were crucial in shaping his heavily overdriven sound, enabling him to master the use of
feedback as a musical effect, and he created a "definitive vocabulary for rock guitar".[220]
Hendrix most likely first heard a wah-wah pedal used with an electric guitar in Cream's "Tales of Brave Ulysses",
released in May 1967.[221] In July, while playing sets at the Scene club in New York City, Hendrix met Frank Zappa,
whose Mothers of Invention were playing the adjacent Garrick Theater. Hendrix immediately became fascinated by
Zappa's use of a wah-wah pedal and Hendrix used one later that evening while recording overdubs in a studio.[222]
Although Hendrix typically used the Dallas Arbiter Fuzz Face and a Vox wah-wah pedal,[223] he also experimented
with other guitar effects. He had a fruitful association with engineer Roger Mayer who later went on to make the
Axis fuzz unit, the Octavia octave doubler and several other devices based on units Mayer had created or tweaked for
Hendrix. The Japanese-made Uni-Vibe, designed to simulate the modulation effects of the rotating Leslie speaker,
provided a rich phasing sound with a speed control pedal, and is heard on the Band of Gypsys track "Machine Gun",
which highlights use of the Uni-Vibe, Octavia and Fuzz Face.
Jimi Hendrix 17

The Hendrix sound combined high volume and high power, feedback manipulation, and a range of cutting-edge
guitar effects. He was also known for his trick playing, which included playing with only his right (fretting) hand and
using his teeth or playing behind his back and between his legs. Hendrix had large hands and characteristically used
his thumb to fret bass notes, leaving his fingers free to play melodic lines on top. A clear demonstration of this
thumb technique can be witnessed in the Woodstock video; during the song "Red House" there are closeups of
Hendrix's fretting hand.

Guitar rig and signal flow

Hendrix's usual signal flow for live performance involved first plugging his guitar into a Vox Wah-Wah pedal, then
into an Arbiter Fuzz Face, and then into a Uni-Vibe, before connecting to a Marshall amplifier.[224]

Legacy

Musical
He changed everything. What don't we owe Jimi Hendrix? For his monumental rebooting of guitar culture "standards of tone",
technique, gear, signal processing, rhythm playing, soloing, stage presence, chord voicings, charisma, fashion, and composition? ...
[225]
He is guitar hero number one."

—Guitar Player, May 2012

His Rock and Roll Hall of Fame biography states: "Jimi Hendrix was arguably the greatest instrumentalist in the
history of rock music. Hendrix expanded the range and vocabulary of the electric guitar into areas no musician had
ever ventured before. His boundless drive, technical ability and creative application of such effects as wah-wah and
distortion forever transformed the sound of rock and roll."[226] Musicologist Andy Aledort described Hendrix as
"one of the most creative musicians of all time."[227]
Instrumental in developing the previously undesirable technique of guitar amplifier feedback, Hendrix favored
overdriven amplifiers with high volume, gain and treble.[102] He helped to popularize use of the wah-wah pedal in
mainstream rock, which he often used to deliver tonal exaggerations in his solos, particularly with high bends,
complex guitar playing,[228]Wikipedia:Citing sources and use of legato.[229][230][231][232] On most of his recordings,
Hendrix rejected the standard barre chord fretting technique in favor of fretting the low 6th string root notes with his
thumb.[233] He pioneered experimentation with stereophonic phasing effects in rock music recordings.[234] Rolling
Stone comments: "Hendrix pioneered the use of the instrument as an electronic sound source. Players before him had
experimented with feedback and distortion, but Hendrix turned those effects and others into a controlled, fluid
vocabulary every bit as personal as the blues with which he began."[235] Hendrix also played keyboard instruments
on several recordings, including piano on "Are You Experienced?", "Spanish Castle Magic" and "Crosstown
Traffic", and harpsichord on "Bold as Love" and "Burning of the Midnight Lamp".[236]
Hendrix synthesized many styles in creating his musical voice and his guitar style was unique, later to be abundantly
imitated by others. Despite his hectic touring schedule and notorious perfectionism, he was a prolific recording artist
and left behind numerous unreleased recordings.[237] Hendrix did much to further the development of the electric
guitar's repertoire, establishing it as a unique sonic source, rather than merely an amplified version of the acoustic
guitar. Likewise, his feedback, wah-wah and fuzz-laden soloing moved guitar distortion well beyond mere novelty,
incorporating other effects pedals and units specifically designed for him by his sound technician Roger Mayer (such
as the Octavia and Uni-Vibe) with dramatic results.
He affected popular music with similar profundity; along with earlier bands such as the Who and Cream, he
established a sonically heavy yet technically proficient bent to rock music as a whole, significantly furthering the
development of hard rock and paving the way for heavy metal. He took blues to another level. His music has also
had a great influence on funk and the development of funk rock especially through the guitarists Ernie Isley of the
Isley Brothers and Eddie Hazel of Funkadelic; Prince; John Frusciante, former member of the Red Hot Chili
Jimi Hendrix 18

Peppers; and Jesse Johnson of the Time. His influence even extends to many hip hop artists, including Questlove,
Chuck D of Public Enemy, Ice-T (who covered "Hey Joe" with his heavy metal band Body Count), El-P and Wyclef
Jean. Miles Davis was also deeply impressed by Hendrix and compared his improvisational skills with those of
saxophonist John Coltrane,[238] and Davis would later want guitarists in his bands to emulate Hendrix.[239] Hendrix's
guitar style also had significant influence upon Texas guitar legend Stevie Ray Vaughan,[240] and later on Metallica
guitarist Kirk Hammett and Pearl Jam's Mike McCready, among others. Hendrix's influence is also evident in the
musical styles of many prominent bassists such as Stanley Clarke,[241] Jaco Pastorius,[242] Billy Sheehan,[243] and
Les Claypool.[244]
His career and death grouped him with Janis Joplin, Jim Morrison and Brian Jones as one of the 27 Club, a group
including 1960s rock performers who suffered drug-related deaths at the age of 27 within a two-year period, leaving
legacies in death that have eclipsed the popularity and influence they experienced during their lifetimes.[245]
Electric church
"Electric Church" was Hendrix's quasi-spiritual belief that electric music brings out emotions and creative ideas in
people, and encourages spirituality. On the Dick Cavett Show in 1969, Hendrix said that he designed his music so
that it would be able to go "inside the soul of the person, and awaken some kind of thing inside, because there are so
many sleeping people". Promoting his third album Electric Ladyland, Jimi Hendrix said "the influence the
psychedelics have on one is truly amazing, and I only wish more people appreciated this belief and genre". When
asked why he didn't name the album "Electric Church" instead of "Electric Ladyland", Hendrix said some women
were "electric too".[246]

Fashion
Hendrix was well known for his sense of fashion and wardrobe and his
Dylan-esque hairstyle; a set of hair curlers was one of the few possessions
that he took with him to England in 1966.[247] When his first advance check
arrived, Hendrix immediately took to the streets of London in search of
clothing at famous boutiques like I Was Lord Kitchener's Valet and Granny
Takes a Trip;[citation needed] both specialized in vintage fashion. He bought at
least two army dress uniform jackets including "his famous Crimean War-era
Royal Hussars regimental coat" or pelisse, adorned with tasseled ropes.[248] A
group of policemen once ordered him to remove the other, a Royal Veterinary
Corps dress jacket, saying it was an offense to the men who had worn it.[249]

With their mutton-chop sideburns, droopy moustaches and flowing

hair, English rock stars were effectively spoofing the Victorian officer
class whose finery they donned. But a grinning, crazy-haired Hendrix
in hussar's jacket suggested something else entirely—a redskin brave
showing off the spoils of a paleface scalp, perhaps, or a negro "buffalo
soldier" fighting on the side of the anti-slavery Yankee forces in the US
Civil War.[250] —Neil Spencer, Editor, NME (1978–1985)

Many photographs of Hendrix show him wearing various scarves, rings, A pair of Hendrix's bell-bottoms on
medallions, and brooches, and in the early days occasionally badges (pins or display at the Hard Rock Cafe,
buttons) that professed his support for the hippie movement or his fascination Hollywood

with Bob Dylan. He initially wore a dark suit and plain silk shirts that
progressively became "louder" and more psychedelically patterned. He later favored a bright blue velvet suit, then a
bright red one, antique military dress jackets, a very broadly striped suit, psychedelically patterned silk jackets,
various exotic waistcoats and brightly colored flared trousers. At Monterey, he wore a silk jacket hand-painted by
Jimi Hendrix 19

Mick Jagger's brother Chris and a bright pink feather boa. In late 1967 he started to wear a wide-brimmed Western
style hat.[251] It was adorned with a narrow purple band and various brooches, as shown in the original Jimi Plays
Monterey film. This hat was stolen in 1968, and replaced later with another, crowned variously with a longer purple
scarf, a star-like brooch in front and a set of silver bangles, sometimes with an angled feather, though he went hatless
for protracted periods after this.
From late 1968 he began tying scarves to one leg and one arm, and in mid-1969 he gave up the hat for bandanas. He
started wearing increasingly fantastic custom-made stage costume with long trailing sleeves, culminating in his
African-styled "Fire Angel" outfit that he wore throughout most of his final "Cry Of Love" tour, until it began to
come apart during the Isle of Wight concert. He appeared in this outfit only once more (in just the jacket) at the
disastrous concert in Aarhus, Denmark. His only non-work-related vacation was a two-week trip to Morocco in July
1969 with friends Colette Mimram, Stella Benabou (the then-wife of producer Alan Douglas), and Deering Howe.
Upon his return Hendrix decorated his Greenwich Village apartment with Moroccan objets d'art and fabrics.
Mimram and Benabou created some of Hendrix's most memorable later attire, the shortened blue kimono-style jacket
that he wore in three TV appearances and the white fringed jacket, ornamented with blue glass beads, he wore at the
Woodstock Festival.[252]WP:NOTRS

Financial and legal

Al Hendrix died of congestive heart failure in 2002. In his will, he stipulated that Experience Hendrix LLC was to
exist as a trust designed to distribute profits to a list of Hendrix family beneficiaries. Upon his death, it was revealed
that Al had signed a revision to his will which removed Hendrix's brother Leon Hendrix as a beneficiary. A 2004
probate lawsuit merged Leon's challenge to the will with charges from other Hendrix family beneficiaries that Janie
Hendrix, Al's adopted daughter, was improperly handling the company finances. The suit argued that Janie and a
cousin of Jimi's, Robert Hendrix, paid themselves exorbitant salaries and covered their own mortgages and personal
expenses from the company's coffers while the beneficiaries went without payment and the Hendrix gravesite in
Renton went uncompleted.
Janie and Robert's defense was that the company was not yet profitable, and that their salary and benefits were
justified given the work that they put into running the company. Leon charged that Janie tricked Al Hendrix, then old
and frail, into signing the revised will, and sought to have the previous will reinstated.[253] The defense argued that
Al willingly removed Leon from his will because of Leon's problems with alcohol and gambling. In early 2005,
presiding judge Jeffrey Ramsdell handed down a ruling that left the final will intact, but replaced Janie and Robert's
role at the financial helm of Experience Hendrix with an independent trustee.
On October 5, 2011 the U.S. Supreme Court heard arguments in a case Golan v. Holder concerning the 1994 U.S.
federal law that protected foreign copyrights. At stake in the outcome of this case is whether previously unprotected
foreign works could be suddenly copyrighted and withdrawn from public domain. In a hypothetical argument Justice
John Roberts asked "what about Jimi Hendrix?" and if Hendrix's rendition of the "Star Spangled Banner" at
Woodstock violated copyright protection or was protected under public domain. Solicitor General Donald Verrilli,
[254]
who defended the 1994 law, stated "maybe Jimi Hendrix could claim fair use".
Jimi Hendrix 20

Alleged progeny
Hendrix performed in Sweden frequently throughout his career, and his only son James Daniel Sundquist was born
there in 1969 to a Swede, Eva Sundquist, recognized as such by the Swedish courts and paid a settlement by
Experience Hendrix LLC.[255]

The Jimi Hendrix Foundation

In 1987, Leon Hendrix commissioned the James Marshall Hendrix Foundation. This foundation is based in Renton,
Washington. Though run for some time by Jimi's brother Leon Hendrix, in August 2006 Leon asked a childhood
friend of Jimi Hendrix – James Williams, to take control of the Foundation.[]

Recognition and awards

In September 1967, readers of Melody Maker voted Hendrix the Top World Musician.[256] The award was the first of
many Hendrix received during his lifetime, but many more were given posthumously. Although he received neither a
Grammy Award or nomination during his lifetime, posthumously, he and the Jimi Hendrix Experience received a
collective total of seven Grammy awards (see table below) including one Hendrix received for Lifetime
Achievement.
Rolling Stone ranked his three non-posthumous studio albums, Are You Experienced (1967), Axis: Bold as Love
(1967) and Electric Ladyland (1968) among the 500 Greatest Albums of All Time.[257] They ranked Hendrix number
one on their list of the 100 greatest guitarists of all time, and number six on their list of the 100 greatest artists of all
time.[258] Guitar World's readers voted six of Hendrix's solos among the top 100 Greatest Guitar Solos of All Time:
"Purple Haze" (70), "The Star-Spangled Banner" (52; live version from Live at Woodstock), "Machine Gun" (32; live
version from Band of Gypsys), "Little Wing" (18), "Voodoo Child (Slight Return)" (11) and "All Along the
Watchtower" (5).[259] Rolling Stone placed seven of his recordings in their list of the 500 Greatest Songs of All
Time: "Purple Haze" (17), "All Along the Watchtower" (47) "Voodoo Child (Slight Return)" (102), "Foxy Lady"
(153), "Hey Joe" (201), "Little Wing" (366), and "The Wind Cries Mary" (379).[260] Additionally, they included
three of Hendrix's songs in their list of the 100 Greatest Guitar Songs of All Time: "Purple Haze" (2), "Voodoo
Child" (12), and "Machine Gun" (49).[261]
The recipient of several prestigious rock music awards during his lifetime and posthumously, the Jimi Hendrix
Experience was inducted into the US Rock and Roll Hall of Fame in 1992, and the UK Music Hall of Fame in
[262]
2005. A star for Hendrix on the Hollywood Walk of Fame was dedicated on November 14, 1991, at 6627
Hollywood Boulevard.[][] In 1999, readers of Rolling Stone and Guitar World ranked Hendrix among the most
important musicians of the 20th century.[263] In 2005, his debut album, Are You Experienced, was one of 50
recordings added that year to the United States National Recording Registry in the Library of Congress, "[to] be
preserved for all time ... [as] part of the nation's audio legacy."[] The English Heritage blue plaque that identifies his
former residence at 23 Brook Street, London, was the first the organization ever granted to a pop star.[264]
It was a direct result of Kathy Etchingham's efforts, Hendrix's former girlfriend who lived with him at the flat. She
wrote to English Heritage first in 1992 and her request, along with all those received from other writers, was
declined.[] She persisted and asked others to write.[265] Finally the Committee gave its approval. There "had been
talk of carrying it out in purple," Sue Ashworth, one of the plaque makers remembers, but it was eventually done in
the traditional blue.[] "We needed a guitar player to do this," Pete Townshend said, at the plaque's unveiling in
September 1997. Noel Redding, and Kathy Etchingham, looked on with several other rock luminaries and hundreds
of other people in the street. "And I'm so proud to be able to pull this bit of string [to unveil the plaque]. I have to tell
you, I am so proud," Townshend added.[266]WP:NOTRS
A memorial statue of Hendrix playing a Stratocaster stands near the corner of Broadway and Pine Streets in Seattle.
In May 2006, the city renamed a park near its Central District in his honor.[267]
Jimi Hendrix 21

Year

1968 Artist of the Year[268] Billboard

1968 [269] Melody Maker

Pop Musician of the Year

1968 [270] Rolling Stone

Performer of the Year

1968 [citation needed] Rolling Stone

Rock Album of the Year

1968 [271] City of Seattle

Key to the City

1969 [272] Rolling Stone

Performer of the Year

1969 World Top Musician[273] Disc & Music Echo newspaper (London, UK)

1970 Rock Guitarist of the Year[274] Guitar Player

1983 Lifetime Achievement[citation needed] Guitar Player

1992 Lifetime Achievement Award[275] Grammy

1999 Are you Experienced? (Reprise, 1967)*[] Grammy Hall of Fame (Rock, Album)

1999 Electric Ladyland (Reprise, 1968)[] Grammy Hall of Fame (Rock, Album)

2000 Purple Haze (Reprise, 1967)*[] Grammy Hall of Fame (Rock, Single)

2001 All Along the Watchtower (Reprise, 1968)*[] Grammy Hall of Fame (Rock, Single)

2005 Are you Experienced[] National Recording Registry, Library of Congress

2006 Axis: Bold as Love (Reprise, 1968)*[] Grammy Hall of Fame (Rock, Album)

2009 The Star-Spangled Banner (Cotillion, 1970)[] Grammy Hall of Fame (Rock, Track)

Asterisk in the table indicates the award was for the Jimi Hendrix Experience.

Discography
The Jimi Hendrix Experience
• Are You Experienced (1967)
• Axis: Bold as Love (1967)
• Electric Ladyland (1968)
Jimi Hendrix/Band of Gypsys
• Band of Gypsys (1970; recorded live)
Posthumous studio albums
• The Cry of Love (1971)
• Rainbow Bridge (1971)
• War Heroes (1972)
• Loose Ends (1974)
• Crash Landing (1975)
• Midnight Lightning (1975)
• Nine to the Universe (1980)
• Radio One (1988)
• First Rays of the New Rising Sun (1997)
• South Saturn Delta (1997)
• Valleys of Neptune (2010)
• People, Hell & Angels (2013)
Jimi Hendrix 22

Notes
[1] http:/ / www. jimihendrix. com/
[2] Shapiro & Glebbeek 1995, pp. 5–6, 13.
[3] A key member of the Hendrix family, Jimi's paternal grandmother, Zenora "Nora" Rose Moore was a former vaudeville dancer who moved to
Vancouver, Canada, from Tennessee after meeting her husband, former special police officer Bertram Philander Ross Hendrix, on the
Dixieland circuit.<ref>
[4] Whitaker 2011, pp. 377–385.
[5] : (primary source); : (secondary source).
[6] : Jimi's father's full name; : Al Hendrix' birthdate; : Hendrix family tree.
[7] : Al and Lucille meeting at a dance in 1941; : Al and Lucille married in 1942.
[8] : Al went to war three days after the wedding. (secondary source); : Al went to war three days after the wedding. (primary source).
[9] Shapiro & Glebbeek 1995, pp. 13–19.
[10] Authors Harry Shapiro and Caesar Glebbeek speculate that the change from Johnny to James may have been a response to Al's knowledge
of an affair Lucille had with a man who called himself John Williams.<ref name="FOOTNOTEShapiroGlebbeek199513–19">Shapiro &
Glebbeek 1995, pp. 13–19.
[11] As a young child, friends and family called James "Buster". Jimi's brother Leon claims that Jimi chose the nickname after his hero Buster
Crabbe, of Flash Gordon and Buck Rogers fame.<ref>: (primary source); : (secondary source).
[12] Shapiro & Glebbeek 1995, p. 13.
[13] Al Hendrix completed his basic training at Fort Sill, Oklahoma.<ref name="FOOTNOTEShapiroGlebbeek199513">Shapiro & Glebbeek
1995, p. 13.
[14] Cross 2005, p. 23.
[15] Cross 2005, pp. 22–25.
[16] Roby & Schreiber 2010, p. 1.
[17] Lawrence 2005, p. 368.
[18] Cross 2005, pp. 25–27.
[19] Roby & Schreiber 2010, p. 2.
[20] Cross 2005, p. 32.
[21] : Leon's birthdate; : Leon, in and out of foster care.
[22] Shapiro & Glebbeek 1995, pp. 20–22.
[23] Cross 2005, pp. 32, 179, 308.
[24] Cross 2005, pp. 50, 127.
[25] Stubbs 2003, p. 140.
[26] Roby & Schreiber 2010, p. 4.
[27] In 1967, Hendrix revealed his feelings in regard to his mother's death during a survey he took for the UK publication, New Musical Express.
Hendrix stated: "Personal ambition: Have my own style of music. See my mother again."<ref
name="FOOTNOTERobySchreiber20105">Roby & Schreiber 2010, p. 5.
[28] Roby & Schreiber 2010, p. 5.
[29] According to Jimi's cousin, Diane Hendrix, in August 1956, when Jimi stayed with her family, he put on shows for her, using a broom to
mimic a guitar while listening to Elvis Presley records.<ref name="FOOTNOTEBlack199916–18">Black 1999, pp. 16–18.
[30] Hendrix & Mitchell 2012, pp. 56–58.
[31] : Hendrix playing along with "Hound Dog" (secondary source); : Hendrix playing along with Presley's version of "Hound Dog" (primary
source); : Hendrix playing along with Presley songs (primary source).
[32] Hendrix saw Presley perform in Seattle on September 1, 1957.<ref>: Hendrix seeing Presley perform; : the date Hendrix saw Presley
perform.
[33] Heatley 2009, p. 18.
[34] : (primary source); : (secondary source).
[35] : (primary source); : (secondary source).
[36] Heatley 2009, p. 19.
[37] Cross 2005, p. 67.
[38] Heatley 2009, p. 28.
[39] Lawrence 2005, pp. 17–19.
[40] Cross 2005, pp. 73–74.
[41] In the late 1960s, after he had become famous, Hendrix told reporters that racist faculty expelled him from Garfield for holding hands with a
white girlfriend during study hall. Principal Frank Hanawalt says that it was due to poor grades and attendance problems.<ref
name="FOOTNOTECross200573–74">Cross 2005, pp. 73–74.
[42] : Hendrix choosing the Army over jail; : Hendrix' enlistment date; : Hendrix was twice caught in stolen cars.
[43] Shadwick 2003, pp. 37–38.
[44] Shapiro & Glebbeek 1995, p. 51.
Jimi Hendrix 23

[45] Cross 2005, pp. 90–91.

[46] Cross 2005, p. 92.
[47] Roby & Schreiber 2010, p. 26.
[48] According to authors Steven Roby and Brad Schreiber, "It has been erroneously reported that Captain John Halbert, a medical officer,
recommended that Jimi be discharged primarily for admitting to having homosexual desires for an unnamed soldier."<ref
name="FOOTNOTERobySchreiber201025">Roby & Schreiber 2010, p. 25.
[49] Roby & Schreiber 2010, p. 25.
[50] : Hendrix claimed he had received a medical discharge; : Hendrix's dislike of the Army.
[51] Cross 2005, pp. 92–97.
[52] Cross 2005, p. 97.
[53] Shapiro & Glebbeek 1995, p. 66.
[54] Shadwick 2003, pp. 39–41.
[55] Shadwick 2003, pp. 40–42.
[56] Roby & Schreiber 2010, pp. 225–226.
[57] Shadwick 2003, p. 50.
[58] Shadwick 2003, pp. 59–61.
[59] Shapiro & Glebbeek 1995, pp. 93–95.
[60] The Allen twins performed as backup singers under the name Ghetto Fighters on Hendrix's song "Freedom".<ref>; .
[61] Hendrix & McDermott 2007, p. 13.
[62] McDermott 2009, p. 10.
[63] In March 1964, Hendrix provided guitar instrumentation for the Don Covay song, "Mercy Mercy". Issued by Rosemart Records and
distributed by Atlantic, the track reached number 35 on the Billboard chart.<ref>: for the peak chart position of "Mercy Mercy"; : for Hendrix
recording with Covay in March 1964.
[64] McDermott 2009, p. 13.
[65] During a stop in Los Angeles in early 1965, he played a session for Rosa Lee Brooks on her single "My Diary".<ref
name="FOOTNOTEShadwick200355">Shadwick 2003, p. 55.
[66] : recording with Richard; : "I Don't Know What You Got (But It's Got Me)" recorded in Los Angeles.
[67] Three other songs were recorded during the sessions, "Dancin' All Over the World", "You Better Stop", and "Every Time I Think About
You", but Vee Jay did not release them at the time due to their poor quality.<ref name="FOOTNOTEShadwick200357">Shadwick 2003,
p. 57.
[68] Shadwick 2003, pp. 56–60.
[69] ; .
[70] Shapiro & Glebbeek 1995, p. 95.
[71] Cross 2005, p. 120.
[72] McDermott 2009, p. 15.
[73] ; .
[74] Several songs and demos from the Knight recording sessions were later marketed as "Jimi Hendrix" recordings after he had become
famous.<ref name="FOOTNOTEMcDermott200914–15">McDermott 2009, pp. 14–15.
[75] ;;.
[76] Shadwick 2003, pp. 66–71.
[77] Shadwick 2003, p. 71.
[78] Shadwick 2003, p. 70.
[79] As with the King Curtis recordings, backing tracks and alternate takes for the Youngblood sessions would be overdubbed and otherwise
manipulated to create many "new" tracks.<ref name="FOOTNOTEMcDermott200916–17">McDermott 2009, pp. 16–17.
[80] Roby & Schreiber 2010, p. 210.
[81] Shadwick 2003, pp. 76–77.
[82] So as to differentiate them in the band, Hendrix dubbed Wolfe "Randy California" and Palmer "Randy Texas".<ref
name="FOOTNOTEShadwick200376–77">Shadwick 2003, pp. 76–77.
[83] Shapiro & Glebbeek 1995, p. 102.
[84] Shadwick 2003, pp. 76–79.
[85] Roby 2002, pp. 53–56.
[86] Singer-guitarist Ellen McIlwaine and guitarist Jeff Baxter also briefly worked with Hendrix during this period.<ref
name="FOOTNOTERoby200253–56">Roby 2002, pp. 53–56.
[87] McDermott 2009, p. 17.
[88] McDermott 2009, pp. 17–18.
[89] McDermott 2009, pp. 18–21.
[90] McDermott 2009, pp. 20–22.
[91] On September 24, the first night Hendrix arrived in London, he gave an impromptu solo performance at the Scotch-Club. That night, he
began a relationship with Kathy Etchingham that lasted until February 1969.<ref name="FOOTNOTEShadwick200382">Shadwick 2003,
Jimi Hendrix 24

p. 82.
[93] ; .
[94] McDermott 2009, p. 22.
[95] Shadwick 2003, pp. 83–84.
[96] Shadwick 2003, p. 84.
[97] di Perna 2002, p. 21.
[98] ; .
[99] McDermott 2009, pp. 22–24.
[100] Shadwick 2003, p. 91.
[101] Shadwick 2003, pp. 91–92.
[102] Shadwick 2003, p. 92.
[103] ; .
[104] Roberts 2005, p. 232.
[105] McDermott 2009, pp. 41.
[106] McDermott 2009, pp. 41–42.
[107] This guitar has now been identified as the guitar acquired and later restored by Frank Zappa. He used it to record his album, Zoot Allures
(1971). When Zappa's son, Dweezil Zappa, found the guitar some twenty years later, Zappa gave it to him.Shapiro & Glebbeek 1995, pp. 5–6,
13.
[108] : Are You Experienced certified double-platinum; : Hendrix's "epochal debut".
[109] Whitehill 1989a, p. 5.
[110] When Track records sent the master tapes for "Purple Haze" to Reprise for remastering, they wrote the following words on the tape box:
"Deliberate distortion. Do not correct."<ref name="FOOTNOTERobySchreiber2010184">Roby & Schreiber 2010, p. 184.
[111] : UK chart data for Are You Experienced; : UK release date.
[112] The original version of the LP contained none of the previously released singles or their B-sides.<ref
name="FOOTNOTEDoggett20048">Doggett 2004, p. 8.
[113] McDermott 2009, p. 52.
[114] : Release dates for Are You Experienced; : Peak US chart position.
[115] The US and Canadian versions of Are You Experienced featured a new cover by Karl Ferris and a new song list, with Reprise removing
"Red House", "Remember" and "Can You See Me" to make room for the first three single A-sides omitted from the UK release: "Hey Joe",
"Purple Haze", and "The Wind Cries Mary".<ref name="FOOTNOTEAledort199649">Aledort 1996, p. 49.
[116] Aledort 1996, p. 49.
[117] Shadwick 2003, p. 109.
[118] ; "an absolute ace on the guitar"; : McCartney insisted that the festival would be incomplete without Hendrix.
[119] : "the most exciting performer [he had] ever heard"; : "He was not only something utterly new musically".
[120] ; ; .
[121] Shadwick 2003, p. 116.
[122] McDermott 2009, pp. 54–56.
[123] Shadwick 2003, pp. 116–117.
[124] : The Monkees tour as publicity for Hendrix; : The Monkees asked for Hendrix.
[125] McDermott 2009, pp. 74–75.
[126] As with their previous LP, the band had to schedule recording sessions in between performances.<ref
name="FOOTNOTEMitchellPlatt199076">Mitchell & Platt 1990, p. 76.
[127] Shadwick 2003, p. 125.
[128] Whitehill 1989b, p. 6.
[129] McDermott 2009, p. 76.
[130] Whitehill 1989b, p. 52.
[131] Whitehill 1989b, p. 5.
[132] Doggett 2004, p. 15.
[133] : (primary source); : (secondary source).
[134] Shadwick 2003, p. 130.
[135] Cross 2005, p. 205.
[136] Heatley 2009, p. 99.
[137] Heatley 2009, p. 103.
[138] : Recording began with Chandler and Kramer; : Kellgren.
[139] Heatley 2009, p. 102.
[140] Shadwick 2003, p. 118.
[141] Shadwick 2003, p. 146.
[142] In March 1968, Jim Morrison of the Doors joined Hendrix onstage at the Scene Club in New York.<ref
name="FOOTNOTEBlack1999137">Black 1999, p. 137.
Jimi Hendrix 25

[143] Rosen 1996, p. 108.

[144] Whitehill 1989c, p. 5.
[145] Fairchild 1991, p. 92.
[146] McDermott 2009, pp. 142–144.
[147] McDermott 2009, p. 151.
[148] McDermott 2009, pp. 165–166.
[149] Shapiro & Glebbeek 1995, p. 375.
[150] Shadwick 2003, p. 191.
[151] Shadwick 2003, pp. 193–196.
[152] Cross 2005, pp. 267–272.
[153] Shapiro & Glebbeek 1995, pp. 384–385.
[154] Cross 2005, p. 270.
[155] Cross 2005, p. 271.
[156] Cross 2005, p. 272.
[157] Inglis 2006, p. 57.
[158] In 2010, when a federal court of appeals decided on whether online sharing of a music recording constituted a performance, they cited
Hendrix in their decision stating: "Hendrix memorably (or not, depending on one's sensibility) offered a 'rendition' of the Star-Spangled
Banner at Woodstock when he performed it aloud in 1969".<ref>
[159] McDermott 2009, pp. 174–176.
[160] Shadwick 2003, pp. 156, 214.
[161] Murray 1989, p. 202.
[162] McDermott 2009, pp. 189–193.
[163] Aledort 1998, p. 40.
[164] Shadwick 2003, p. 214.
[165] Unterberger 2009, p. 95.
[166] Roby 2002, p. 159.
[167] Roby 2002, pp. 159–160.
[168] : Working with Lee on "The Everlasting First"; : Working with Stills on "Old Times Good Times"; : General detail.
[169] Schinder & Schwartz 2007, p. 250.
[170] According to authors Scott Schinder and Andy Schwartz, as many as 500,000 people watched Hendrix perform at the concert.<ref
name="FOOTNOTESchinderSchwartz2007250">Schinder & Schwartz 2007, p. 250.
[171] : Opening Electric Lady Studios for recording; : Opening party.
[172] McDermott 2009, pp. 245–246.
[173] Black 1999, p. 241.
[174] Shadwick 2003, p. 240.
[176] : Hendrix spending most of September 17 with Dannemann and Dannemann as the only witness to Hendrix's final hours; : the disputed
details of Hendrix's final hours and death; : uncertainty in the specific details of his final hours and death.
[177] Hendrix & McDermott 2007, p. 59.
[178] Cross 2005, pp. 331–332.
[179] ;.
[180] Moskowitz 2010, p. 82.
[181] Brown 1997, pp. 158–159.
[182] : Coroner Gavin Thurston's September 28 inquest : Hendrix's September 21 autopsy.
[183] Brown 1997, pp. 172–174.
[184] ;.
[185] Brown 1997, p. 165.
[186] Shapiro & Glebbeek 1995, p. 475.
[187] Cross 2005, pp. 338–340.
[188] Redding & Appleby 1996, p. 60.
[189] Roby & Schreiber 2010, pp. 28, 51, 87, 127, 163, 182–183.
[190] Cross 2005, p. 236.
[191] Cross 2005, p. 237.
[192] McDermott 2009, p. 86.
[193] Shapiro & Glebbeek 1995, pp. 238–240.
[194] Cross 2005, pp. 236–237.
[196] Benjamin Franklin studios, Appendix C, The Black Gold Suite.
[197] Shapiro & Glebbeek 1995, p. 477.
[198] Shadwick 2003, p. 103.
[199] Unterberger 2009, p. 228.
Jimi Hendrix 26

[200] Shadwick 2003, p. 39.

[201] Shadwick 2003, p. 62.
[202] Hendrix & McDermott 2007, p. 9.
[203] Unterberger 2009, p. 229.
[204] Unterberger 2009, pp. 228, 231: Curtis Mayfield.
[205] Barker 2012, p. 6.
[206] Barker 2012, p. 9.
[207] Brown 1997, pp. 80–81: final interview, 84: Pink Floyd quote.
[208] Heatley 2009, p. 160.
[212] Shapiro & Glebbeek 1995, pp. 37–38.
[214] Heatley 2009, pp. 168–171.
[219] Heatley 2009, pp. 82–85.
[220] Trynka 1996, p. 18.
[221] Heatley 2009, p. 104.
[222] Shadwick 2003, p. 117.
[223] Heatley 2009, p. 73: Dallas Arbiter Fuzz Face; 104–105: Vox wah-pedal.
[224] Shapiro & Glebbeek 1995, p. 689.
[225] GP staff 2012, p. 50.
[227] Aledort 1991, p. 4.
[228] Talevski 2006, p. 538 or 700.
[229] Marshall 1995, p. 74: Hendrix's use of legato.
[230] Halbig 1997, p. 13.
[231] Stern & Askold 1996, p. 61.
[232] Unterberger 2009, p. 216.
[233] Aledort 1995, p. 59.
[234] Stix 1992, p. 10.
[235] George-Warren 2001, p. 428.
[236] Shapiro & Glebbeek 1995, pp. 526: "Are You Experienced?", 527: "Burning of the Midnight Lamp", 528: "Spanish Castle Magic" and
"Bold as Love", 530: "Crosstown Traffic".
[237] Moskowitz 2010, p. 85.
[238] Davis & Troupe 1989, pp. 282–283.
[239] Davis & Troupe 1989, pp. 319–320; 374.
[242] Shapiro & Glebbeek 1995, pp. 497–498.
[245] ; .
[247] Henderson 2008, p. 107.
[248] For his famous Crimean War-era Royal Hussars regimental coat see: ; secondary source)
[250] Boot, Adrian & Salewicz, Chris (eds.) The Ultimate Experience, Macmillan, 1995, p. 195, cited in Peter Braunstein & Michael William
Doyle (eds.) Imagine Nation: The American Counterculture of the 1960's and 70's Routledge, 2002, p. 196.
[252] A film about Jimi Hendrix, from the ukelele to the strat.
[255] Cross 2005, pp. 342–343.
[256] Shadwick 2003, p. 121.
[257] Levy 2005, p. 222.
[258] : 100 greatest artists; : 100 greatest guitarists.
[260] Wenner 2010, p. 120.
[262] Hendrix & McDermott 2007, p. 60.
[263] Roby 2002, p. 1.
[264] For the first blue plaque ever granted to a pop star see: ; For its entry in the English Heritage Blue Plaque database see:
[266] Jimi Hendrix's Blue Plaque Unveiling at Brook Street, London (http:/ / www. youtube. com/ watch?v=xbuGt7ayzfw& feature=related)
YouTube video, uploaded by Zanderjas, May 17, 2009.
[268] Farber & Bailey 2001, p. 208.
[269] Williams 1993, p. 752.
[270] Hamilton 2006, p. 420.
[272] Heatley 2009, p. 113.
[273] Shapiro & Glebbeek 1995, p. 722.
[274] Waksman 1999, p. 277.
Jimi Hendrix 27

Citations

Sources
• Aledort, Andy (1998). Jimi Hendrix: Band of Gypsys. Hal Leonard. ISBN 978-0-7935-9432-0.
• Aledort, Andy (1995). "Jimi Hendrix Lesson: Message to Love". In Tolinski, Brad. Guitar School 7 (3).
• Aledort, Andy (1996). Jimi Hendrix: A Step-by-Step Breakdown of his Guitar Styles and Techniques. Hal
Leonard. ISBN 0-7935-3659-6.
• Aledort, Andy (1991). "Performance notes: Jimi Hendrix, 'All Along the Watchtower'". In Pollock, Bruce; Stix,
John. Guitar Classics IV by Guitar: For the Practicing Musician.
• Barker, Steve (2012) [1967]. "Jimi Hendrix talks to Steve Barker" (http://books.google.com/
books?id=JFJ5tE1vP1QC&dq). In Roby, Steven. Hendrix on Hendrix: Interviews and Encounters with Jimi
Hendrix. Chicago Review Press. ISBN 978-1-61374-322-5.
• Black, Johnny (1999). Jimi Hendrix: The Ultimate Experience. Thunder's Mouth Press.
ISBN 978-1-56025-240-5.
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• Cross, Charles R. (2005). Room Full of Mirrors: A Biography of Jimi Hendrix (http://books.google.com/
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• Davis, Miles; Troupe, Quincy (1989). Miles: The Autobiography (http://books.google.com/
books?id=xgAVXHhuNYgC&dq). Picador. ISBN 978-0-330-31382-7.
• di Perna, Alan (2002) [2000]. Wild Thing. In Kitts, Jeff. "Jimi Live!". Guitar Legends (57).
• Doggett, Peter (2004). Jimi Hendrix: The Complete Guide to his Music. Omnibus. ISBN 978-1-84449-424-8.
• Fairchild, Michael (April 1991). "The Experience of a Lifetime". Guitar: For the Practicing Musician 8 (6).
• Farber, David R.; Bailey, Beth L. (2001). The Columbia Guide to America in the 1960s (http://books.google.
com/books?id=a6fs9Bo25HEC&dq). Columbia University Press. ISBN 978-0-231-11373-1.
• George-Warren, Holly, ed. (2001). The Rolling Stone Encyclopedia of Rock & Roll (2005 revised and updated
ed.). Fireside. ISBN 978-0-7432-9201-6.
• GP staff (May 2012). "Hendrix at 70". Guitar Player 46 (5).
• Halbig, Erik (1997). Mastering Rock Guitar. Alfred Music Publishing. ISBN 978-0-7390-2641-0.
• Hamilton, Neil A. (2006). The 1970s. Facts On File. ISBN 978-0-8160-5778-8.
• Heatley, Michael (2009). Jimi Hendrix Gear: The Guitars, Amps & Effects that Revolutionized Rock 'n' Roll
(http://books.google.com/books?id=fpUuXZU9-1QC). Voyageur Press. ISBN 978-0-7603-3639-7.
• Henderson, David (2008) [1978]. 'Scuse Me While I Kiss the Sky. Jimi Hendrix:Voodoo Child (http://books.
google.com/books?id=UlDZcIpBYuoC&dq). Atria. ISBN 978-0-7432-7400-5.
• Hendrix, James A. (1999). My Son Jimi. AlJas Enterprises. ISBN 978-0-9667857-0-8.
• Hendrix, Janie L.; McDermott, John (2007). Jimi Hendrix: An Illustrated Experience. Atria.
ISBN 978-0-7432-9769-1.
• Hendrix, Leon; Mitchell, Adam (2012). Jimi Hendrix: A Brother's Story (http://books.google.com/
books?id=So8PMCSl2mAC&dq). St. Martin's Press. ISBN 978-0-312-66881-5.
• Inglis, Ian (2006). Performance and Popular Music: History, Place and Time (http://books.google.com/
books?id=I7Pyrk-Koq4C&dq). Ashgate. ISBN 978-0-7546-4056-1.
• Lawrence, Sharon (2005). Jimi Hendrix: The Intimate Story of a Betrayed Musical Legend (http://books.google.
com/books?id=mHHBvh_5ZL8C&dq). Harper. ISBN 978-0-06-056301-1.
• Levy, Joe, ed. (2005). Rolling Stone's 500 Greatest Albums of All Time (First Paperback ed.). Wenner Books.
ISBN 978-1-932958-61-4.
• Marshall, Wolf (1995). "Wild Thing". In Marshall, Wolf. Wolf Marshall's Guitar One 2.
• Mayer, John (2011). "Jimi Hendrix" (http://www.rollingstone.com/music/lists/
100-greatest-artists-of-all-time-19691231/jimi-hendrix-20110420). In Brackett, Nathan. Rolling Stone: The 100
Jimi Hendrix 28

Greatest Artists of All Time. Rolling Stone.

• McDermott, John (2009). Ultimate Hendrix: An Illustrated Encyclopedia of Live Concerts and Sessions (http://
books.google.com/books?id=o6ty_6SqPE4C&dq). BackBeat Books. ISBN 978-0-87930-938-1.
• McDermott, John (1992). In Lewisohn, Mark. Hendrix: Setting the Record Straight. Grand Central.
ISBN 978-0-446-39431-4.
• Mitchell, Mitch; Platt, John (1990). Jimi Hendrix: Inside the Experience. St. Martin's Press.
ISBN 978-0-312-10098-8.
• Morello, Tom (December 8, 2011). Jimi Hendrix (http://www.rollingstone.com/music/lists/
100-greatest-guitarists-20111123/jimi-hendrix-20120705). In Wenner, Jann. "Rolling Stone: The 100 Greatest
Guitarists of All Time". Rolling Stone (1145).
• Moskowitz, David (2010). The Words and Music of Jimi Hendrix (http://books.google.com/
books?id=dzUlWk-RvfgC&dq). Praeger. ISBN 978-0-313-37592-7.
• Murray, Charles Shaar (1989). Crosstown Traffic: Jimi Hendrix and the Rock 'n' Roll Revolution (http://books.
google.com/books?id=CiWtlIxnQ6gC&dq) (First US ed.). St. Martin's Press. ISBN 978-0-312-04288-2.
• Palacios, Julian (2010). Syd Barrett and Pink Floyd: Dark Globe (http://books.google.com/
books?id=DvgH58uEPFAC&dq). Plexus. ISBN 978-0-85965-431-9.
• Potash, Chris, ed. (1996). The Jimi Hendrix Companion. Omnibus. ISBN 978-0-7119-6635-2.
• Redding, Noel; Appleby, Carol (1996). Are You Experienced? (http://books.google.com/
books?id=KUJQzI7EvXgC&dq). Da Capo Press. ISBN 978-0-306-80681-0.
• Roberts, David, ed. (2005). British Hit Singles & Albums (18 ed.). Guinness World Records Limited.
ISBN 978-1-904994-00-8.
• Roby, Steven (2002). Black Gold: The Lost Archives of Jimi Hendrix (http://books.google.com/
books?id=y5s5jcOE7xAC&dq). Billboad Books. ISBN 978-0-8230-7854-7.
• Roby, Steven; Schreiber, Brad (2010). Becoming Jimi Hendrix: From Southern Crossroads to Psychedelic
London, the Untold Story of a Musical Genius. Da Capo. ISBN 978-0-306-81910-0.
• Rosen, Craig (1996). The Billboard Book of Number One Albums. Billboard. ISBN 978-0-8230-7586-7.
• Rufus, Anneli; Lawson, Kristan (2009). The Scavengers' Manifesto (http://books.google.com/
books?id=DHQKbpK848QC). Penguin. ISBN 978-1-58542-717-8.
• Schinder, Scott; Schwartz, Andy (2007). Icons of Rock: An Encyclopedia of the Legends Who Changed Music
Forever, Volume 1 (http://books.google.com/books?id=q-ET5tnh0MUC&dq). Greenwood.
ISBN 978-0-313-33846-5.
• Shadwick, Keith (2003). Jimi Hendrix: Musician (http://books.google.com/books?id=sbiSD1jXeaMC&dq).
Backbeat Books. ISBN 978-0-87930-764-6.
• Shapiro, Harry; Glebbeek, Caesar (1995) [1990]. Jimi Hendrix: Electric Gypsy (http://books.google.com/
books?id=JB1W2dn31rwC&dq) (New and Improved ed.). St. Martin's Press. ISBN 978-0-312-13062-6.
• Stern, Mike; Askold, Buk (1996). Ultimate Play-Along for Guitar (http://books.google.com/
books?id=Xyv8AxldPWcC&dq). Alfred Music Publishing. ISBN 978-1-57623-404-4.
• Stix, John (1992). Eddie Kramer: Off the Record. In Stix, John. "Jimi Hendix/Stevie Ray Vaughan". Guitar
Presents (57).
• Stubbs, David (2003). Voodoo Child: Jimi Hendrix, the Stories Behind Every Song (http://books.google.com/
books?id=PB0lf73vPGsC&dq). Thunder's Mouth Press. ISBN 978-1-56025-537-6.
• Talevski, Nick (2006). Knocking on Heaven's Door: Rock Obituaries (http://books.google.com/
books?id=DykffzkFALoC&dq). Omnibus Press. ISBN 978-1-84609-091-2.
• Trynka, Paul (1996). Rock Hardware. Hal Leonard. ISBN 978-0-87930-428-7.
• Unterberger, Richie (2009). The Rough Guide to Jimi Hendrix (http://books.google.com/
books?id=HDrIjd5FQ8QC&dq). Rough Guides. ISBN 978-1-84836-002-0.
Jimi Hendrix 29

• Waksman, Steve (1999). Instruments of Desire: The Electric Guitar and the Shaping of Musical Experience
(http://books.google.com/books?id=-DWxyYapaBwC&dq). Harvard University Press.
ISBN 978-0-674-00065-0.
• Wenner, Jann (2010) [2004]. 500 Greatest Songs of All Time (http://www.rollingstone.com/music/lists/
the-500-greatest-songs-of-all-time-20110407). Rolling Stone. OCLC  641731526 (http://www.worldcat.org/
oclc/641731526).
• Wilkerson, Mark; Townshend, Pete (2006). Amazing Journey: The Life of Pete Townshend (http://books.google.
com/books?id=b03CYc9UWSIC&dq). Bad News Press. ISBN 978-1-4116-7700-5.
• Williams, Michael Warren (1993). The African American Encyclopedia. Marshall Cavendish Corp.
ISBN 978-1-85435-545-4.
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books.google.com/books?id=RSGhEUq5bp0C&dq) 1. Greenwood. ISBN 978-0-313-37642-9.
• Whitehill, Dave (1989a). Hendrix: Are You Experienced. Hal Leonard. ISBN 978-0-7119-3654-6.
• Whitehill, Dave (1989b). Hendrix: Axis: Bold As Love. Hal Leonard. ISBN 978-0-7935-2391-7.
• Whitehill, Dave (1989c). Hendrix: Electric Ladyland. Hal Leonard. ISBN 978-0-7935-3385-5.

Further reading
• Brown, Tony (1992). Jimi Hendrix: A Visual Documentary -His Life, Loves and Music. Omnibus Press.
ISBN 978-0-7119-2761-2.
• Geldeart, Gary; Rodham, Rodham (2008). Jimi Hendrix from the Benjamin Franklin Studios. Jimpress.
ISBN 978-0-9527686-7-8.
• Halfin, Ross; Tolinski, Brad (2004). Classic Hendrix. Genesis Publications. ISBN 978-0-904351-90-3.
• Knight, Curtis (1974). Jimi: An Intimate Biography of Jimi Hendrix. Praeger. ISBN 978-0-275-19880-0.
• Kruth, John (2000). Bright Moments: The Life & Legacy of Rahsaan Roland Kirk. Welcome Rain Publishers.
ISBN 978-1-56649-105-1.
• Matesich, Ken; Armstrong, Dave (1982). Jimi Hendrix: A Discography. Purple Haze Archives.
• Roby, Steven (2012). Hendrix on Hendrix: Interviews and Encounters with Jimi Hendrix. Chicago Review Press.
ISBN 978-1-61374-322-5.
• Whitburn, Joel (1988). Joel Whitburn's Top R&B Singles, 1942–1988. Record Research, Inc.
ISBN 978-0-89820-068-3.
• Whitburn, Joel (2010). The Billboard Book of Top 40 Hits, 1955–2009 (9 ed.). Billboard Books.
ISBN 978-0-823-08554-5.
Documentaries
• Joe Boyd, John Head, Gary Weis (Directors) (2005) [1973] (in English Dolby Digital 2.0 Surround and Dolby
Digital 5.1) (Closed-captioned, Color, NTSC, Original recording remastered, Subtitled, Widescreen). Jimi
Hendrix (DVD). Warner Home Video. ASIN  B0009E3234 (http://www.amazon.com/dp/B0009E3234).
• Roger Pomphrey (Director) (2005) (Color, Dolby, NTSC). Classic Albums - The Jimi Hendrix Experience -
Electric Ladyland (DVD). Eagle Rock Entertainment. ASIN  B0007DBJP0 (http://www.amazon.com/dp/
B0007DBJP0).
• Bob Smeaton (Director) (2012) (in English Dolby Digital 2.0 Stereo) (Widescreen). West Coast Seattle Boy: Jimi
Hendrix: Voodoo Child (Blu-ray DVD). Sony Legacy. ASIN  B007ZC92FA (http://www.amazon.com/dp/
B007ZC92FA).
Jimi Hendrix 30

External links
• Official website (http://www.jimihendrix.com)
• The Jimi Hendrix Foundation (http://www.jimihendrixfoundation.com/)
• Jimi Hendrix Memorial Project (http://www.jimihendrixmemorial.com/)
• Jimi Hendrix Exhibition (http://www.theweek.co.uk/pictures/28879/jimi-hendrix-40th-anniversary) –
slideshow by The First Post
• "Jimi Hendrix: 'You never told me he was that good'" (http://www.guardian.co.uk/music/2010/aug/08/
jimi-hendrix-40th-anniversary-death) Ed Vulliamy, The Guardian
• Jimi Hendrix (http://topics.nytimes.com/top/reference/timestopics/people/h/jimi_hendrix/index.html)
collected news and commentary at The New York Times
• Works by or about Jimi Hendrix (http://worldcat.org/identities/lccn-n50-27216) in libraries (WorldCat catalog)
• Restoration of Jimi Hendrix-Frank Zappa Stratocaster (http://www.dweezilzappaworld.com/articles/
10-the-jimi-hendrix-frank-zappa-strat) With images, video and first-hand account of the experience, by Dweezil
Zappa.
• Hallelujah Hendrix A BB2 documentary about the granting, construction & unveiling of Hendrix's blue plaque
Part I (http://www.youtube.com/watch?v=_f_8armMerU) & Part II (http://www.youtube.com/
watch?feature=endscreen&NR=1&v=pQRhNS3cw24)
The Jimi Hendrix Experience 31

The Jimi Hendrix Experience

The Jimi Hendrix Experience

The Jimi Hendrix Experience performing for Dutch television in 1967. From left to right: Jimi Hendrix, Noel Redding and Mitch Mitchell.

Background information

Origin London, United Kingdom

Genres Psychedelic rock, acid rock, blues rock, hard rock

Years active 1966–1970

Labels Track (United Kingdom)

Reprise (North America)
Polydor (Europe)
Barclay (France)
MCA (post-breakup)

Associated acts Gypsy Sun and Rainbows

Website [1]
www.jimihendrix.com

Past members Jimi Hendrix

Mitch Mitchell
Noel Redding
Billy Cox

The Jimi Hendrix Experience was an English-American psychedelic rock band that formed in Westminster,
London in October 1966. Composed of eponymous singer, songwriter, and guitarist Jimi Hendrix, bassist and
backing vocalist Noel Redding, and drummer Mitch Mitchell, the band was active until June 1969. In this time the
group released three successful studio albums. After Redding left the band, Hendrix and Mitchell stayed together
through other projects. The Experience 'reunited' in 1970 with Billy Cox dubbed "The Cry of Love", until Hendrix's
death in September 1970. Redding died in 2003, and Mitchell became the last original member of the band to die, in
November 2008.
Widely recognized as hugely influential on the development of hard rock and heavy metal in the late-1960s and
beyond, The Experience were best known for the skill, style and charisma of frontman Hendrix, who has been voted
one of the greatest guitarists by various music publications and writers. All three of the band's studio albums, Are
You Experienced (1967), Axis: Bold as Love (1967) and Electric Ladyland (1968), were featured in the Rolling Stone
list of The 500 Greatest Albums of All Time - each within the top 100 - at positions 15, 82 and 54 respectively. In
The Jimi Hendrix Experience 32

1992, The Jimi Hendrix Experience were inducted into the Rock and Roll Hall of Fame.

History
Jimi Hendrix arrived in England in September 1966[] and with his new manager Chas Chandler formed a backing
band with bassist Noel Redding and drummer Mitch Mitchell.[] Mitchell was a seasoned London drummer formerly
with Georgie Fame and the Blue Flames who brought Jazz chops and a lead style of playing to the band. He would
prove to be Hendrix's most valuable musical partner. Redding was chosen because Hendrix liked his attitude towards
music and hairstyle. It was the first time that he had ever played bass in a band, as he was a guitarist. The name "The
Jimi Hendrix Experience" was coined by their business manager Mike Jeffery.[1] The first official appearance of
"The Jimi Hendrix Experience" (invited by French singer Johnny Hallyday) was at the Novelty in Évreux (France) on
October 13, 1966.[2] Six days later the band played their first UK gig as a private showcase at Scotch of St James.
Though initially conceived as Hendrix's backing band, The Experience soon became much more than that. Following
the lead of Cream, they were one of the first groups to popularize the "power trio" format, which stripped a rock
[3]
band line-up down to guitar, bass and drums. This smaller format also encouraged more extroverted playing from
the band members, often at very high volumes. In the case of The Experience, Hendrix combined lead and rhythm
guitar duties into one, while also making use of guitar effects such as feedback, and later the wah-wah pedal, to an
extent that had never been heard before. Mitchell played hard-hitting jazz-influenced grooves that often served a
melodic role as much as they did timekeeping. Redding played deceptively simple bass lines that helped to anchor
the band's sound. Visually, they set the trend in psychedelic clothes and, following his band-mates' Bob Dylan
1966-style hairdos, Mitchell got himself a permed copy. On January 11, 1967 the band conquered London when they
appeared at The Bag O'Nails nightclub. In attendance that night were John Lennon, Ringo Starr, Brian Epstein, Lulu,
The Hollies, Small Faces, Pete Townshend, John Entwistle, Mick Jagger, Brian Jones, Donovan, Georgie Fame,
Denny Laine, Terry Reid, Jeff Beck, and Eric Clapton who rarely missed any of Hendrix's London gigs. Townshend
admitted, "[Jimi] changed the whole sound of electric guitar and turned the rock world upside down". Clapton
agreed, "after Pete Townshend and I went to see him play, I thought that was it, the game was up for all of us, we
may as well pack it in."[4] The group came into prominence in the US only after the June 1967 Monterey Pop
Festival,[] one of the first major rock music festivals.[] The band's performance ended with Hendrix famously setting
his psychedelically painted Fender Stratocaster on fire.[5] After the festival they were asked to go on tour with The
Monkees. They joined the tour on July 8, 1967, in Jacksonville, Florida, the second act on a three-band bill, opened
by The Sundowners. Less than two weeks later, and after only a handful of engagements, they left the tour,
reportedly frustrated by audience response. The last Hendrix/Monkees concert was performed at Flushing Meadows
in Queens, New York – Chas Chandler later said that it was all a publicity stunt.[6]
The Jimi Hendrix Experience 33

With the band, Hendrix recorded his five hit singles "Hey Joe", "Purple
Haze",[] "The Wind Cries Mary", "Burning of the Midnight Lamp" and
"All Along the Watchtower", and his three most successful albums,
Are You Experienced, Axis: Bold as Love and Electric Ladyland. By
April 1969, however, the band was beginning to splinter. Hendrix's
deteriorating relations with Redding were coming to a head, and
Hendrix also felt his musical development was hampered by the trio
format. Hendrix had also begun to experiment with depressants and
psychedelic drugs. He was prone to mood swings, which created
conflicts within the band.[7] The original group held together long
enough to fulfill their existing engagements, culminating in the Denver
Pop Festival on June 29, 1969. From the stage, Hendrix made the
infamous announcement: "This is the last gig we'll be playing
together". The original Experience was dissolved.

Hendrix experimented with a larger band line-up known as Gypsy Sun

and Rainbows for his Woodstock concert in August 1969, but would Publicity photo of the band in 1968.

revert to the trio format with the Band of Gypsys. But by 1970,
Hendrix had disbanded the Band of Gypsys – it has been claimed this was due to the desire of Michael Jeffery (now
Hendrix's only manager) to reform the original Experience line-up, but as Trixie Sullivan, Jeffery's assistant,
testified, Hendrix did exactly as he felt musically and Jeffery just handled the business side, as usual. Also,
according to Gypsys bassist Billy Cox, the all-black power trio was mainly a one-off to help Hendrix fulfill an
outstanding obligation to Ed Chaplin by recording a one-off live LP. Jeffery called Redding and Mitchell about
reforming the Experience. Both agreed to participate in what would seem to be a great money maker of a tour;
Mitchell and Redding could use the cash, and the tour would also get Hendrix out of the financial problems he was
in at the time partly due to the building of Electric Lady Studios. Hendrix was open to have Mitchell rejoin, but
reluctant to bring Redding back into the fold.

In early February 1970, it seemed as if the original Experience was reformed. Manager Michael Jeffery even set up
an interview with Rolling Stone magazine to announce the return of the group, published on 19 March 1970 in
Rolling Stone as "J.H.: The End of a Beginning Maybe" (and reprinted in Guitar Player magazine five years after
Hendrix's death). While the interview gave the impression that the old wounds were healed and the future seemingly
bright for the Experience, it was far from the truth. Redding was waiting for weeks to hear back about rehearsals for
the upcoming tour, and when he finally spoke with Mitchell's girlfriend, he learned that he had been replaced by
Billy Cox. Before it started, Hendrix "called this tour The Cry of Love, because that's what it is" in an interview; this
is the only mention of that name, prior to the posthumous LP of that name (1971), and the group itself was still
referred to in all ads, articles, promos, bookings, introductions, etc. as the "Jimi Hendrix Experience" or just "Jimi
Hendrix". So after a break of nearly ten months (during which he only played six dates) the "Jimi Hendrix
Experience" hit the road for one last tour. Hendrix felt the band should stay in America and record for the next LP,
while Mike Jeffery wanted a tour of Europe. The European tour was a bad decision from the start. Hendrix had a
cold, was not getting rest, and was still affected by the change of climate. His disdain for the management and his
financial situation accumulated stress, and by the European leg it was evident Hendrix was unhappy and unfit for
tour. Mitchell reported that Hendrix was not even doing sound checks before the performances.
During this period, before the Isle of Wight festival, Hendrix spoke to his friend Richie Havens about his troubles.
Havens recollects, "He was terribly unhappy, extremely depressed, and asked for my help. 'I'm having a real bad
time with my managers and lawyers' Jimi said. 'They're killing me; everything is wired against me and it's getting so
bad I can't eat or sleep...'". There is an interview with Richie Havens (produced by Will Scally), where Richie
Havens discusses this very same meeting with Hendrix. The filmed interview has not as yet been broadcast. Any
The Jimi Hendrix Experience 34

further information can be obtained from Barry Levene.

During a break in the tour later that year, Hendrix died on September 18, 1970 in controversial circumstances.[] In
1992, The Experience was inducted into the Rock and Roll Hall of Fame.[]
Noel Redding was found dead in his home in Ireland on May 11, 2003.[8] Will Scally, produced and directed the
Redding Experience dvd(MNVDISCS), Noel discusses the history of the band in full detail.
While touring in the US, Mitch Mitchell was found dead on November 12, 2008 in his room at the Benson Hotel in
Portland, Oregon.[9] He was the last surviving member of the original Jimi Hendrix Experience while Billy Cox
remains the only surviving additional member.

Members
• Jimi Hendrix – lead vocals, guitar[10] (1966–1970)
• Mitch Mitchell – drums (1966–1970)
• Noel Redding – bass guitar, backing vocals[11] (1966–1969)
• Billy Cox – bass guitar, backing vocals (1969–1970)

Discography
• Are You Experienced (1967)
• Axis: Bold as Love (1967)
• Electric Ladyland (1968)

Notes
1. ^ As well as his regular position on lead vocals and guitar, Jimi Hendrix also played bass on Electric
Ladyland; backing vocals on "Foxy Lady", "She's So Fine", "Long Hot Summer Night", "Mastermind",
"Changes" and "We Gotta Live Together"; piano on "Are You Experienced?", "Spanish Castle Magic" and
"Crosstown Traffic"; glockenspiel on "Little Wing"; flute on "If 6 Was 9"; harpsichord on "Bold as Love" and
"Burning of the Midnight Lamp"; mellotron on "Burning of the Midnight Lamp"; and percussion on "1983...
(A Merman I Should Turn to Be)".
2. ^ As well as his regular position on bass and backing vocals, Noel Redding also played electric guitar and
acoustic guitar on "Little Miss Strange" and lead vocals on "She's So Fine" and "Little Miss Strange".

Sources
• Lawrence, Sharon (2005). Jimi Hendrix: The Intimate Story of a Betrayed Musical Legend (2006 ed.). New York,
N.Y.: Harper. ISBN 0-06-056301-X.

References
[2] A plaque in Évreux, France commemorating Jimi Hendrix and the Experience's first official show October 13, 1966. (http:/ / www.
musictrekker. com/ rockpop/ jimihendrix/ jimi_hendrix. html)
[3] Saunders, William (2010) Jimi Hendrix London Roaring Forties Press ISBN 978-0-9843165-1-9
[4] '3 is the Magic Number' by Matt Snow for Mojo Magazine (Nov 2006), pp. 81-82
[7] Mitch Mitchell and John Platt, The Hendrix Experience,(London: Hamlyn, 1990), pp. 88–96, 48–149.
[8] Vintage Amps Bulletin Board • View topic - Hendrix Bassist Noel Redding Dead At 57 (http:/ / vintageamps. com/ plexiboard/ viewtopic.
php?f=4& p=293590)
[9] Jimi Hendrix drummer dies at 61 just days after tribute tour (http:/ / www. dailymail. co. uk/ tvshowbiz/ article-1085282/
Jimi-Hendrix-drummer-dies-61-just-days-tribute-tour. html). Daily Mail. Retrieved 16 June 2012
[10] http:/ / en. wikipedia. org/ wiki/ The_Jimi_Hendrix_Experience#endnote_1
[11] http:/ / en. wikipedia. org/ wiki/ The_Jimi_Hendrix_Experience#endnote_2
The Jimi Hendrix Experience 35

External links
• Jimi Hendrix official website (http://www.jimihendrix.com/)
• The Jimi Hendrix Experience (http://musicbrainz.org/artist/33b3c323-77c2-417c-a5b4-af7e6a111cc9.html)
discography at MusicBrainz
• The Jimi Hendrix Experience (http://www.life.com/image/first/in-gallery/40682/
the-jimi-hendrix-experience) – slideshow by Life magazine
• Works by or about The Jimi Hendrix Experience (http://worldcat.org/identities/lccn-nr89-9143) in libraries
(WorldCat catalog)
 36

Members

Noel Redding
Noel Redding

Noel Redding in 1967

Background information

Birth name David Noel Redding

Born 25 December 1945

Folkestone, Kent, England

Died 11 May 2003 (aged 57)

Clonakilty, County Cork, Ireland

Genres Rock, psychedelic rock, blues rock, hard rock, folk rock

Instruments Bass guitar, guitar, vocals, mandolin, violin

Years active 1966–2003

Associated acts The Jimi Hendrix Experience, Fat Mattress, Road, the Noel Redding Band

Notable instruments

• Fender Jazz Bass

• Fender Bass VI
• Gibson EB-2

Noel Redding (25 December 1945 – 11 May 2003) was an English rock bassist and guitarist best known for his
work as bassist with the Jimi Hendrix Experience.

Biography
Born as David Noel Redding in Folkestone,[1] he was selected by Chas Chandler to join Hendrix's band at its
inception in 1966 and left in 1969. Although he played in other bands before, after, and even during his stint with the
Experience, he never achieved a similar level of success and retired to Clonakilty, Ireland, in 1972.
At age nine, Redding played violin at school and then mandolin and guitar. His first public appearances were at the
Hythe Youth Club then at Harvey Grammar School where he was a student.
His first local bands, in which he played lead guitar, were:
• The Strangers: with John "Andy" Andrews (bass)
Noel Redding 37

• The Lonely Ones: 1961 - John Andrews (bass), Bob Hiscocks (rhythm guitar), Mick Wibley (drums), Pete
Kircher (vocals and in '62, drums). The Lonely Ones made a privately pressed EP at the Hayton Manor Studio in
Stanford, Kent, in 1963, with Derek Knight on vocals, Trevor Sutton on drums, Noel Redding on lead guitar and
John Andrews on bass. First recordings: "Some Other Guy"; "Money"; "Talking About You"; "Anna".
• The Loving Kind: 1966 with Pete (Kircher) Carter (drums); Jim Leverton (bass); and Derek Knight (vocals).
At 17 Redding went professional and toured clubs in Scotland and Germany with Neil Landon and the Burnettes
(formed in late 1962) and The Loving Kind (formed in November 1965). In addition, The Lonely Ones reunited in
September 1964, and Redding remained with them a year before taking his leave.[2]
Redding switched from guitar to bass on joining the Jimi Hendrix Experience. He was the first person to join the
Experience, and the first to leave. His final concert with them was in June 1969.[3] With the band, he helped create
the 3 landmark albums Are You Experienced, Axis: Bold as Love, and Electric Ladyland, as well as performing in
some of Hendrix's most celebrated concerts. His playing style was distinguished by the use of a pick, a mid-range
"trebly" sound, and in later years the use of fuzz and distortion effects through overdriven Sunn amps. His role in the
band was that of a time-keeper. This was evident in the Experience's version of "Come On (Baby Let the Good
Times Roll)". He would typically lay down a bass groove which Hendrix and drummer Mitch Mitchell would
loosely play on top of. He wrote two album tracks, "Little Miss Strange" and "She's So Fine". He played the bass line
on "Red House" using the bass strings on a normal six-string guitar.[4]
In 1968, Redding formed the group Fat Mattress with another Kent musician, Neil Landon (born as Patrick Cahill,
27 July 1941, Kindford, Sussex), on vocals. The band also included Jim Leverton (born 1946, Dover, Kent) on bass
and keyboards and Eric Dillon (born 1950, Swindon) on drums. Redding played guitar and vocals, and a key part of
the Fat Mattress sound was the vocal harmonies between him, Landon, and Leverton. The band initially toured in
support of the Jimi Hendrix Experience, requiring Redding to play two full sets each night. He left Fat Mattress after
only one album with them, though some of his compositions would appear on their second album.[5]
Hendrix's manager, Michael Jeffery, attempted to reunite the Jimi Hendrix Experience months after the Woodstock
event. The three were interviewed by Rolling Stone magazine, but no shows or recordings resulted. Redding soon
went on to other projects. While living in Los Angeles he formed Road,[6] a three-piece in the same psychedelic hard
rock vein as the Experience, with Rod Richards (born as Rod Cox; ex Rare Earth) on guitar and Les Sampson on
drums, and Redding himself switching back to bass. They released one album, Road (1972), with the three members
taking turns on lead vocals.
Noel Redding moved to Ireland in 1972. He formed The Noel Redding Band with Eric Bell from Thin Lizzy, Dave
Clarke, Les Sampson, and Robbie Walsh. Despite the band's name, Redding shared songwriting and lead vocal
duties equally with Clarke. They released two albums for RCA, three tours of the Netherlands, two tours of England,
one tour of Ireland, and a 10 week tour in the US. The band dissolved after a dispute with their management
company. Tracks recorded for a third unreleased album were later released as The Missing Album on Mouse
Records.
In his book Are You Experienced? (co-authored with Carol Appleby) he spoke openly about his disappointment in
his being cut off from the profits of the continued sale of the Hendrix recordings. He was forced to sign away his
royalties in 1974 and later had to sell the bass guitar he used during that time. Redding had received $100,000
[7]
(equivalent to about $465,520 in today's funds ) as a one-off payment after he had been told that there would be no
more releases of Jimi Hendrix Experience material. (This was before the advent of CDs and DVDs.) Right up until
his death, Redding had been planning legal action against the Hendrix estate for payment estimated at £3.26 million
for his part in Hendrix's recording and for ongoing royalties.[8]
Redding was married to Danish schoolteacher Susanne Redding.
Redding recorded and toured sporadically through the years, occasionally doing session work for other artists,
including Thin Lizzy and Traffic. He performed with the rock band Phish in 1993. He also formed Shut Up Frank
with Dave Clarke, Mick Avory of The Kinks and Dave Rowberry of The Animals. They toured extensively and
Noel Redding 38

recorded several albums. . Frankie_LaRocka was back playing drums for a New York band Hot Monkey Love and
with Noel Redding on a 2002 live album recorded at Prague.

Death
Redding was found dead in his home in Clonakilty on 11 May 2003.[9] A post mortem was carried out on 13 May at
Cork University Hospital in Wilton, Cork. The report concluded that Redding died from "shock haemorrhage due to
oesophageal varices in reaction to cirrhosis of the liver".[10] He was 57 years old. In the village of Ardfield, local
people erected a plaque to his memory.
A compilation CD and record entitled The Experience Sessions was released by Experience Hendrix, LLC in 2004.
Along with the released tracks ("She's So Fine" and "Little Miss Strange") the collection contains rare and
unreleased Redding-penned songs recorded by The Jimi Hendrix Experience. Most of the tracks are outtakes from
Axis: Bold As Love and Electric Ladyland, and feature Redding predominantly on guitar (with Hendrix on bass). It
also features a live version of Hendrix's "Red House" with Redding on rhythm guitar.

Discography
With The Loving Kind
• "Accidental Love"/"Nothing Can Change This Love" (Piccadilly 7N 35299) 1966.
• "Love The Things You Do"/"Treat Me Nice" (Piccadilly 7N 35318) 1966.
• "Ain't That Peculiar"/"With Rhyme And Reason" (Piccadilly 7N 35342) 1966.
With The Jimi Hendrix Experience
• Are You Experienced (1967) Polydor.
• Axis: Bold as Love (1967) Track.
• Electric Ladyland (1968) Track.
• Smash Hits (1968) Track.
• Radio One (1989) Castle Communications.
• BBC Sessions (1998) MCA.
• The Experience Sessions (2004) Image Entertainment.
• Valleys of Neptune (2010) Sony Legacy.
With Fat Mattress
• Fat Mattress (1969) Polydor.
• Fat Mattress II (1970) Polydor.
• "Naturally"/"Iridescent Butterfly" (Polydor 56352) 1969.
• "Magic Lanterns"/"Bright New Way" (Polydor 56367) 1969.
• "Highway"/"Black Sheep Of The Family" (Polydor 2058 053) 1970. (Does not perform on either track, but
co-wrote the a-side)
With Road
• Road (1972) Natural Resources (a division of Motown); not to be confused with another band named The Road
that had 2 LPs on Kama Sutra
With Noel Redding Band (aka The Clonakilty Cowboys)
• Clonakilty Cowboys (1975) RCA.
• Blowin' (1976) RCA.
• "Roller Coaster Kids"/"Snowstorm" (RCA 2662).
• "Take It Easy"/"Back On The Road Again" (RCA PB 9026).
With Lord Sutch and Heavy Friends
Noel Redding 39

• Lord Sutch and Heavy Friends (1970) Atlantic.

References
[1] Noel Redding Bassist with Jimi Hendrix (http:/ / www. independent. co. uk/ news/ obituaries/ noel-redding-730294. html)
www.independent.co.uk
[3] Noel Redding biodata (http:/ / www. telegraph. co. uk/ news/ main. jhtml?xml=/ news/ 2003/ 05/ 14/ db1403. xml)
[4] Shapiro H, Glebbeek C (1991). Jimi Hendrix: Electric Gypsy, William Heinemann Ltd
[7] Staff. Consumer Price Index (estimate) 1800–2012 (http:/ / www. minneapolisfed. org/ community_education/ teacher/ calc/ hist1800. cfm).
Federal Reserve Bank of Minneapolis. Retrieved March 31, 2013.
[10] UniVibes, Issue 46, December 2003

Sources
• Lord Sutch and Heavy Friends
• Noel Redding and Friends 2009 New Album - "Thank You, Goodnight and Gud'luck" (http://www.noelredding.
net/)
• Obituary from Billboard.com (http://www.billboard.com/articles/news/71102/
hendrix-bassist-noel-redding-dead-at-57)
• Noel Redding (http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=7435531) at Find a Grave
Mitch Mitchell 40

Mitch Mitchell
Mitch Mitchell

Background information

Birth name John Ronald Mitchell

Born
9 July 1947
[1]
Ealing, London, England

Died 12 November 2008 (aged 61)

Portland, Oregon, United States

Genres Rock, psychedelic rock, blues rock, jazz fusion, hard rock

Instruments Drums, vocals, percussion

Years active 1962–2008

Associated acts The Coronets, Johnny Harris and the Shades, The Pretty Things, Georgie Fame, The Riot Squad, The Jimi Hendrix Experience,
Gypsy Sun and Rainbows, Gypsy Sun Experience, The Dirty Mac, Ramatam, The Who

John Ronald "Mitch" Mitchell (9 July 1947 – 12 November 2008) was an English drummer, best known for his
work in The Jimi Hendrix Experience.

Biography

Early career
Early in his career, Mitchell gained considerable musical experience touring and as a session musician. He also had
an acting background, and had starred in a children's television programme, Jennings and Derbyshire, when he was a
teenager.[2] He became a musician through working for Jim Marshall at his drum shop on Saturdays while still at
school.[3] Pre-Experience bands included Frankie Reid and the Casuals (1962), Johnny Harris and the Shades, The
Pretty Things, Bill Knight & The Sceptres, The Riot Squad, Georgie Fame and the Blue Flames, and The Who as a
session drummer while the band was deciding on a replacement (Keith Moon) for Doug Sandom.[4]