Category: electric ladyland

The Jimi Hendrix Experience “Electric Ladyland” released 50 years ago today (in the US), October 16th, 1968. Considered one of the best rock albums of all-time, Hendrix’s third and final studio LP is a masterpiece, a mix of psychedelic rock, blues and funk with virtuosic guitar. It hit #1 on the US album chart and went to #6 in the UK. Hendrix released three singles from Electric Ladyland: the cover of Bob Dylan’s “All Along the Watchtower” (#20 US, #5 UK), “Crosstown Traffic” (#52 US, #37 UK) and “Voodoo Chile” (UK-only after Hendrix’s death when it went to #1; it is the same track that is listed as “Voodoo Child (Slight Return)” on Electric Ladyland). I love those songs (particularly “Crosstown Traffic” as it reminds of me of my college roommate, especially the lyric “tire tracks all across your back/I can see you had your fun” – it’s an inside joke) but I love the Noel Redding penned and led “Little Miss Strange,” the epically psychedelic and melancholy “1983…(A Merman I Should Turn to Be)” that features Chris Wood from Traffic on flute, the rockin’ rhythm and blues on “Come On (Part 1)” and the funked blues of “Gypsy Eyes.” 

From Allmusic: “Jimi Hendrix’s third and final album with the original Experience found him taking his funk and psychedelic sounds to the absolute limit. The result was not only one of the best rock albums of the era, but also Hendrix’s original musical vision at its absolute apex. When revisionist rock critics refer to him as the maker of a generation’s mightiest dope music, this is the album they’re referring to. But Electric Ladyland is so much more than just background music for chemical intake. Kudos to engineer Eddie Kramer (who supervised the remastering of the original two-track stereo masters for this 1997 reissue on MCA) for taking Hendrix’s visions of a soundscape behind his music and giving it all context, experimenting with odd mic techniques, echo, backward tape, flanging, and chorusing, all new techniques at the time, at least the way they’re used here. What Hendrix sonically achieved on this record expanded the concept of what could be gotten out of a modern recording studio in much the same manner as Phil Spector had done a decade before with his Wall of Sound. As an album this influential (and as far as influencing a generation of players and beyond, this was his ultimate statement for many), the highlights speak for themselves: “Crosstown Traffic,” his reinterpretation of Bob Dylan’s “All Along the Watchtower,” “Burning of the Midnight Lamp,” the spacy “1983…(A Merman I Should Turn to Be),” and “Voodoo Chile (Slight Return),” a landmark in Hendrix’s playing. With this double set, Hendrix once again pushed the concept album to new horizons.”