Band : Discography

Main articles: Jimi Hendrix discography and Jimi Hendrix posthumous discography

The Jimi Hendrix Experience

Jimi Hendrix/Band of Gypsys

Band of Gypsys (1970; recorded live)

Posthumous 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 and Angels (2013)

Notes

Zenora "Nora" Rose Moore was a former vaudeville dancer who moved to Vancouver, British Columbia, Canada, from Tennessee after meeting her husband, former special police officer Bertram Philander Ross Hendrix, on the Dixieland circuit.^[3] Nora shared a love for theatrical clothing and adornment, music, and performance with Hendrix. 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 his thinking about the connections between emotions, spirituality, and music.^[6]
Author Charles R. Cross in Room Full of Mirrors writes "He [Hendrix's paternal grandfather, Bertran Philander Ross Hendrix] was born out of wedlock, and from the biracial coupling of his mother, a former slave, and a white merchant who had once owned her."^[9]
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.^[13] As a young child, friends and family called Hendrix "Buster". His brother Leon claims that Jimi chose the nickname after his hero Buster Crabbe, of Flash Gordon and Buck Rogers fame.^[14]
Al Hendrix completed his basic training at Fort Sill, Oklahoma.^[15] He spent most of his time in the service in the South Pacific Theater, in Fiji.^[16]
According to Hendrix'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.^[27]
Hendrix saw Presley perform in Seattle on September 1, 1957.^[30]
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."^[26]
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.^[33] The school had a relatively even ethnic mix of African, European, and Asian-Americans.^[34]
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."^[53] 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.^[53]
The Allen twins performed as backup singers under the name Ghetto Fighters on Hendrix's song "Freedom".^[63]
According to authors Steve Roby and Brad Schreiber, Hendrix was fired from the Isleys in August 1964.^[69]
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.^[73]
Several songs and demos from the Knight recording sessions were later marketed as "Jimi Hendrix" recordings after he had become famous.^[81]
In mid-1966, Hendrix recorded with Lonnie Youngblood, a saxophone player who occasionally performed with Curtis Knight.^[84] The sessions produced two singles for Youngblood: "Go Go Shoes"/"Go Go Place" and "Soul Food (That's What I Like)"/"Goodbye Bessie Mae".^[85] 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".^[86] 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.^[87] Many Youngblood tracks without any Hendrix involvement would later be marketed as "Jimi Hendrix" recordings.^[85]
So as to differentiate the two Randys in the band, Hendrix dubbed Randy Wolfe "Randy California" and Randy Palmer "Randy Texas".^[89] Randy California later co-founded the band Spirit with his stepfather, drummer Ed Cassidy.^[90]
Singer-guitarist Ellen McIlwaine and guitarist Jeff Baxter also briefly worked with Hendrix during this period.^[93]
Etchingham later wrote an autobiographical book about their relationship and the London music scene during the 1960s.^[100]
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.^[115]
The original version of the LP contained none of the previously released singles or their B-sides.^[120]
As with Sgt. Pepper, Are You Experienced was recorded using four-track technology.^[116]
The US and Canadian versions of Are You Experienced had 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".^[124] "Red House" is the only original twelve-bar blues written by Hendrix.^[124]
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."^[126]
According to author Bob Gula, "When Jimi torched his guitar onstage at the Monterey Pop Festival, it became one of, if not the single greatest iconic moment in the first half-century of rock; his image as the psychedelic voodoo child conjuring uncontrollable forces is a rock archetype."^[135] Musicologist David Moskowitz wrote: "The image of Jimi kneeling over his burning guitar at Monterey became one of the most iconic pictures of the era."^[136]
Earlier in the festival, a German photographer advised Caraeff, who was taking pictures of performers, to save film for Hendrix.^[137]
As with their previous LP, the band had to schedule recording sessions in between performances.^[152]
The double LP was the only Experience album to be mixed entirely in stereo.^[169]
In March 1968, Jim Morrison of the Doors joined Hendrix onstage at the Scene Club in New York.^[171]
Hendrix and Etchingham ended their relationship in early 1969.^[181]
Gold and Goldstein filmed the Royal Albert Hall shows, but as of 2013 they have not been officially released.^[183]
Hendrix agreed to receive $18,000 in compensation for his set, but was eventually paid $32,000 for the performance and $12,000 for the rights to film him.^[200]
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".^[208]
The Woodstock lineup appeared together on two subsequent occasions, and on September 16 they jammed for one last time; soon afterward, Lee and Velez left the band.^[209]
In an effort to finance the studio, Hendrix and Jeffrey secured a $300,000 loan from Warner Bros. As part of the agreement, Hendrix was required to provide Warner Bros. with another album, resulting in a soundtrack for the film Rainbow Bridge.^[240]
A live recording of the concert was later released as Live at the Isle of Fehmarn.^[247]
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. The relation has been recognized by the Swedish courts and Sundquist received a monetary settlement from Experience Hendrix LLC.^[285]
Two of Hendrix's final recordings included the lead guitar parts on "Old Times Good Times" from Stephen Stills' eponymous album (1970) and on "The Everlasting First" from Arthur Lee's new incarnation of Love. Both tracks were recorded during a brief visit to London in March 1970, following Kathy Etchingham's marriage.^[292]
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 occasional auctions. These materials surfaced after two employees, under the instructions of Mike Jeffery, removed items from Hendrix's Greenwich Village apartment following his death.^[299]
While Hendrix had previously owned a 1967 Flying V that he hand-painted in 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.^[308]
During their second rehearsal, the Experience attempted to destroy the Burns amps that Chandler had given them by throwing the equipment down a flight of stairs.^[310]
The wah pedals that Hendrix owned were designed by the Thomas Organ Company and manufactured in Italy by JEN Elettronica Pescara for Vox.^[319]
His heavy use of the tremolo bar often detuned his guitar strings, necessitating frequent tunings.^[341] During the last three years of his life, he abandoned the standard concert pitch and instead tuned his guitar down one minor second, or a half step to E♭. This not only made string bending easier, but it also dropped the guitar's pitch, making it easier to accompany himself vocally.^[342]
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".^[344]

Davis would later request that guitarists in his bands emulate Hendrix.^[354]

References

"Biography of the Jimi Hendrix Experience". Rock and Roll Hall of Fame. Retrieved February 25, 2013.
George-Warren 2001, p. 428.
Hendrix, Janie L. "The Blood of Entertainers: The Life and Times of Jimi Hendrix's Paternal Grandparents". Blackpast.org. Retrieved November 15, 2012.
Cross 2005, pp. 11–12:
Shapiro & Glebbeek 1995, pp. 5–6, 13, 746–747.
Whitaker 2011, pp. 377–385.
Hendrix 1999, p. 10: (primary source); Shapiro & Glebbeek 1995, pp. 5–7: (secondary source).
Brown 1992, pp. 6–7.
Cross 2005, p. 16.
Hendrix 1999, p. 10: Jimi's father's full name; Shapiro & Glebbeek 1995, pp. 8–9: Al Hendrix' birthdate; Shapiro & Glebbeek 1995, pp. 746–747: Hendrix family tree.
Hendrix 1999, p. 32: Al and Lucille meeting at a dance in 1941; Hendrix 1999, p. 37: Al and Lucille married in 1942.
Cross 2005, p. 20: Al went to basic training three days after the wedding. (secondary source); Hendrix 1999, p. 37: Al went to war three days after the wedding. (primary source).
Shapiro & Glebbeek 1995, pp. 13–19.
Hendrix & Mitchell 2012, p. 10: (primary source); Roby & Schreiber 2010, pp. xiii, 3: (secondary source).
Shapiro & Glebbeek 1995, p. 13.
Cross 2005, p. 23.
Cross 2005, pp. 22–25.
Lawrence 2005, p. 368; Roby & Schreiber 2010, p. 1.
Cross 2005, pp. 25–27; Roby & Schreiber 2010, p. 2.
Cross 2005, p. 32.
Black 1999, p. 11: Leon's birthdate; Roby & Schreiber 2010, p. 2: Leon, in and out of foster care.
Shapiro & Glebbeek 1995, pp. 20–22.
Cross 2005, pp. 32, 179, 308.
Cross 2005, pp. 50, 127.
Stubbs 2003, p. 140.
Roby & Schreiber 2010, p. 5.
Black 1999, pp. 16–18.
Hendrix & Mitchell 2012, pp. 56–58.
Black 1999, pp. 16–18: Hendrix playing along with "Hound Dog" (secondary source); Hendrix 1999, p. 100: Hendrix playing along with Presley's version of "Hound Dog" (primary source); Hendrix & Mitchell 2012, p. 59: Hendrix playing along with Presley songs (primary source).
Hendrix & McDermott 2007, p. 9: Hendrix seeing Presley perform; Black 1999, p. 18: the date Hendrix saw Presley perform.
Roby & Schreiber 2010, p. 4.
Lawrence 2005, pp. 17–19: Hendrix did not graduate from James A. Garfield High School; Shapiro & Glebbeek 1995, p. 694: Hendrix completed his studies at Washington Middle School.
Cross 2005, pp. 73–74.
Lawrence 2005, pp. 17–19.
Heatley 2009, p. 18.
Hendrix 1999, p. 126: (primary source); Roby & Schreiber 2010, p. 6: (secondary source).
Hendrix 1999, p. 113: (primary source); Heatley 2009, p. 20: (secondary source).
Heatley 2009, p. 19.
Cross 2005, p. 67.
Heatley 2009, p. 28.
Hendrix & Mitchell 2012, p. 95: Hendrix choosing the Army over jail; Cross 2005, p. 84: Hendrix' enlistment date; Shadwick 2003, p. 35: Hendrix was twice caught in stolen cars.
Roby & Schreiber 2010, pp. 13–14: Hendrix completed eight weeks of basic training at Fort Ord, California; Shadwick 2003, pp. 37–38: the Army stationed Hendrix at Fort Campbell, Kentucky.
Roby & Schreiber 2010, p. 14.
Heatley 2009, p. 26; Roby & Schreiber 2010, p. 14.
Roby & Schreiber 2010, pp. 15–16.
Shapiro & Glebbeek 1995, p. 51.
Cross 2005, pp. 90–91.
Cross 2005, p. 92.
Roby & Schreiber 2010, pp. 18–25.
Roby & Schreiber 2010, pp. 24–25.
Roby & Schreiber 2010, p. 26.
Cross 2005, p. 94: Hendrix claimed he had received a medical discharge; Roby 2002, p. 15: Hendrix's dislike of the Army.
Roby & Schreiber 2010, p. 25.
Cross 2005, pp. 92–97.
Cross 2005, p. 97.
Shapiro & Glebbeek 1995, p. 66.
Shadwick 2003, pp. 39–41.
Shadwick 2003, pp. 40–42.
Roby & Schreiber 2010, pp. 225–226.
Shadwick 2003, p. 50.
Shadwick 2003, pp. 59–61.
Shapiro & Glebbeek 1995, pp. 93–95.
Shapiro & Glebbeek 1995, p. 537; Doggett 2004, pp. 34–35.
Hendrix & McDermott 2007, p. 13.
McDermott 2009, p. 10.
McDermott 2009, pp. 10–11.
George-Warren 2001, p. 217: for the peak chart position of "Mercy Mercy"; McDermott 2009, p. 10: Hendrix played on "Mercy Mercy"; Roby 2002, pp. 32–35: Hendrix played on "Mercy Mercy"; Shadwick 2003, p. 53: "Mercy Mercy" was recorded on May 18, 1964.
Heatley 2009, p. 53; Shadwick 2003, p. 54.
Roby & Schreiber 2010, p. 85.
McDermott 2009, p. 13.
McDermott 2009, p. 12: recording with Richard; Shadwick 2003, pp. 56–57: "I Don't Know What You Got (But It's Got Me)" recorded in Los Angeles.
McDermott 1992, p. 345.
Shadwick 2003, p. 57.
Shadwick 2003, p. 55.
Shadwick 2003, pp. 56–60.
Shapiro & Glebbeek 1995, p. 571; Shadwick 2003, pp. 60–61.
Shapiro & Glebbeek 1995, p. 95.
Cross 2005, p. 120.
McDermott 2009, p. 15.
Brown 1997, p. 100; Cross 2005, pp. 120–121.
McDermott 2009, pp. 14–15.
McDermott 2009, pp. 14–15; Roby & Schreiber 2010, pp. 207–208; Shadwick 2003, p. 69.
Roby & Schreiber 2010, p. 210.
Shadwick 2003, pp. 66–71.
Shadwick 2003, p. 71.
Shadwick 2003, p. 70.
McDermott 2009, pp. 16–17.
Roby 2002, pp. 47–48.
Shadwick 2003, pp. 76–77.
Shapiro & Glebbeek 1995, p. 102.
Shadwick 2003, pp. 76–79.
Roby 2002, pp. 54–55.
Roby 2002, pp. 53–56.
McDermott 2009, p. 17.
McDermott 2009, pp. 17–18.
McDermott 2009, pp. 18–21.
"BBC One – imagine..., Winter 2013, Jimi Hendrix: Hear My Train A Comin', Hendrix in London". BBC.
McDermott 2009, pp. 20–22.
Black 1999, pp. 181–182; Shadwick 2003, p. 82.
Etchingham, Kathy; Crofts, Andrew (1998). Through Gypsy Eyes. Orion. ISBN 978-0-7528-2725-4.
Shadwick 2003, p. 84.
Shadwick 2003, p. 83.
McDermott 2009, pp. 21–22; Shadwick 2003, pp. 83–85.
McDermott 2009, p. 22.
"Concerts 1966". hendrix.free.fr. 2014. Retrieved December 20, 2014.
Shadwick 2003, pp. 89–90; Shapiro & Glebbeek 1995, p. 524.
McDermott 2009, pp. 22–24.
Shadwick 2003, p. 91.
Shadwick 2003, pp. 91–92.
Shadwick 2003, p. 92.
Shadwick 2003, p. 93; Heatley 2009, p. 59.
Roberts 2005, p. 232.
McDermott 2009, pp. 41.
McDermott 2009, pp. 41–42.
"Hendrix's burnt guitar for sale". BBC News. August 27, 2002. Retrieved January 10, 2013.
Heatley 2009, p. 64.
Stubbs 2003, pp. 29, 31–32, 36–37.
Heatley 2009, pp. 64–65: post-modern soundscapes of "Are You Experienced?"; Larkin 1998, p. 45: a diversity of styles; Unterberger 2009, p. 45: "Third Stone from the Sun".
Roberts 2005, p. 232: UK chart data for Are You Experienced; Shadwick 2003, p. 111: UK release date.
Doggett 2004, p. 8.
Cross 2005, p. 181.
McDermott 2009, p. 52.
McDermott 2009, p. 61: Release dates for Are You Experienced; George-Warren 2001, p. 429: Peak US chart position.
Aledort 1996, p. 49.
Whitehill 1989a, p. 5.
Roby & Schreiber 2010, p. 184.
George-Warren 2001, p. 429: Are You Experienced certified double-platinum; Levy 2005, p. 34: Hendrix's "epochal debut".
Heatley 2009, p. 80.
Shadwick 2003, p. 109.
Cross 2005, p. 184; "an absolute ace on the guitar"; Shadwick 2003, pp. 110–115: McCartney insisted that the festival would be incomplete without Hendrix.
Shapiro & Glebbeek 1995, p. 190: "the most exciting performer [he had] ever heard"; Shadwick 2003, p. 115: "clothes as exotic as any on display elsewhere".
Shapiro & Glebbeek 1995, p. 190: "the most exciting performer [he had] ever heard"; Shadwick 2003, p. 115: "He was not only something utterly new musically".
Shadwick 2003, pp. 110–115.
Vadukul, Alex (November 13, 2009). ""Who Shot Rock and Roll" Celebrates the Photographers Behind the Iconic Images". Rolling Stone. Retrieved February 1, 2014.
Gula 2008, p. 121.
Moskowitz 2010, p. 22.
Buckland, Gail (2009). Who Shot Rock and Roll: A Photographic History, 1955–Present. Knopf. pp. 62–63. ISBN 978-0-307-27016-0.
Whitaker 2011, p. 382.
Shapiro & Glebbeek 1995, p. 194.
Guitar World 2011, p. 62.
Hendrix & McDermott 2007, p. 28.
Cross 2005, p. 184; Moskowitz 2010, p. 22; Shadwick 2003, pp. 110–115.
Shadwick 2003, p. 116.
McDermott 2009, pp. 54–56.
Shadwick 2003, pp. 116–117.
McDermott 1992, p. 103: the Monkees tour as publicity for Hendrix; Potash 1996, p. 89: the Monkees asked for Hendrix.
Whitehill 1989b, p. 6.
McDermott 2009, p. 76.
Moskowitz 2010, p. 28.
Moskowitz 2010, p. 33.
Heatley 2009, p. 87; McDermott 2009, pp. 74–75.
Mitchell & Platt 1990, p. 76.
Shadwick 2003, p. 125.
Aledort 1996, pp. 68–76; 71: "one of the greatest electric guitar solos ever".
Aledort 1996, pp. 68–76; Whitehill 1989b, p. 124.
Shadwick 2003, p. 130.
Heatley 2009, p. 86; McDermott 2009, p. 76.
Whitehill 1989b, p. 52.
Unterberger 2009, pp. 146–147.
Heatley 2009, p. 87.
Cross 2005, p. 205.
McDermott 2009, p. 79: UK release date for Axis: Bold As Love; Roberts 2005, p. 232: peak UK chart position for Axis: Bold As Love.
Heatley 2009, p. 99.
Doggett 2004, p. 15; Unterberger 2009, p. 68.
Mitchell & Platt 1990, p. 76: (primary source); Shadwick 2003, p. 127: (secondary source).
Heatley 2009, pp. 102–103: Recording began with Chandler and Kramer; McDermott 2009, pp. 95–97: Kellgren.
Heatley 2009, p. 102.
Shadwick 2003, p. 157.
Heatley 2009, p. 103.
Shadwick 2003, p. 146.
Black 1999, p. 137.
McDermott 2009, pp. 126–127: U.S. release date; Rosen 1996, p. 108: peak chart position.
Murray 1989, p. 51.
Heatley 2009, p. 102: "All Along the Watchtower" was Hendrix's only U.S. top 40 hit single; Murray 1989, p. 51: "All Along the Watchtower" was Hendrix's highest-selling single; Roberts 2005, p. 232: peak UK chart position for Hendrix's cover of "All Along the Watchtower"; Whitburn 2010, p. 294: peak U.S. chart position for Hendrix's cover of "All Along the Watchtower".
Shadwick 2003, p. 118: "Burning of the Midnight Lamp" was Hendrix's first recorded song to feature the use of a wah-wah pedal.
Shapiro & Glebbeek 1995, pp. 526–527.
Roberts 2005, p. 232: peak UK chart position for "Burning of the Midnight Lamp".
Whitehill 1989c, p. 5.
Doggett 2004, p. 19.
Black 1999, pp. 181–182: Etchingham stated that she ended the relationship on March 19; Shadwick 2003, pp. 169–170: Etchingham's Brook Street apartment, which was next door to the Handel House Museum.
Shadwick 2003, p. 154.
McDermott 2009, pp. 134–140.
McDermott 2009, pp. 142–144.
McDermott 2009, p. 140; Hendrix's unpredictable work ethic; Moskowitz 2010, pp. 39–40: Hendrix's creative control over the Experience's music.
McDermott 2009, p. 140.
Shadwick 2003, pp. 182–183: the last Experience session to include Redding; McDermott 2009, pp. 147–151: Recording sessions at Olmstead and the Record Plant.
McDermott 2009, p. 151.
Roby & Schreiber 2010, p. 180.
McDermott 2009, pp. 165–166.
Shadwick 2003, p. 191.
McDermott 2009, pp. 165–166: Redding blamed Hendrix's plans to expand the group; Shadwick 2003, p. 191: Redding intended to pursue his solo career.
Fairchild 1991, p. 92.
Shapiro & Glebbeek 1995, p. 375.
Moskowitz 2010, p. 59.
Cross 2005, p. 255; Shapiro & Glebbeek 1995, p. 220.
Cross 2005, p. 255; McDermott 2009, p. 169: Hendrix headlined Woodstock; Shapiro & Glebbeek 1995, p. 220.
Cross 2005, pp. 267–272; Shadwick 2003, pp. 193–196.
Shapiro & Glebbeek 1995, pp. 384–385.
Murray 1989, p. 53.
Roby 2002, p. 133.
McDermott 2009, pp. 169–170: Hendrix requested to close the show in the morning; Roby 2002, p. 133: the band took the stage around 8:00 am on Monday.
Cross 2005, pp. 267–272.
Cross 2005, p. 270.

Shadwick 2003, p. 249: feedback, distortion, and sustain; Unterberger 2009, pp. 101–103: Hendrix replicated the sounds made by rocke

Band

Thursday, April 6, 2017

Discography

See also

Notes

References

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