John Allen Hendrix, also known as Jimi Hendrix, was born on November 27, 1942 at Seattle General Hospital in Washington. Despite growing up in a less privileged background, he found solace in playing the guitar. Initially, he played an old acoustic guitar and later transitioned to a cost-effective Silvertone electric guitar. It is important to mention that he configured these guitars as left-handed on right-handed instruments, which ultimately became one of Hendrix’s distinctive characteristics (Murray 34-5).
Jimi’s teenage years were marked by a strong musical influence from artists like Buddy Holly, Muddy Waters, Chuck Berry, and Eddie Cochran. These influences would later shape his own musical style (Wilmer 38). During high school, he joined several bands but left before completing his senior year. After a short period working as a laborer, Jimi realized that his future did not lie in that field. Consequently, in 1959 he decided to enlist in the 101st Airborne (Murray 36).
Jimi’s ethnicity was a mix of white, black, and Cherokee Indian, which he embraced and expressed in his music. In “If 6 was 9” on Axis: Bold As Love, Jimi declared, “I’m gonna wave my freak flag high.” After being honorably discharged from service in 1962, Hendrix began his professional music career. Coming from an R&B background, which was predominantly black at the time, he collaborated with various R&B artists such as Little Richard, King Curtis, Joey Dee and the Starliters, the Isley Brothers, and more (Murray 38-42).
Hendrix developed his own style of music by merging his deep knowledge of the blues, his ethnic background, his experience as an R&B sideman, and his exposure to new musical styles. This evolution of his music can be heard in his four completed studio albums. The transformation of Hendrix’s music as we know it today took place after he relocated to New York City and formed a band called Jimmy James and the Blue Flames. It was during this time that a young producer named Chas Chandler discovered Hendrix’s talent, which now included his famous guitar playing with his teeth and behind his back.
Chandler escorted Jimi to London, a city renowned for its popularity and innovation in blues-based bands such as John Mayall’s Bluesbreakers, The Yardbirds, and Chandler’s previous group, The Animals. They conducted auditions together to create a fresh band named The Jimi Hendrix Experience. Ultimately, they selected a trio comprising of Hendrix as the guitarist and vocalist, Mitchell as the drummer, and Redding as the bassist (Fairchild, “Are You Experienced” 3).
The first album, titled “Are You Experienced?”, was recorded and released in England on May 12, 1967. It achieved initial success there before being released in the United States on August 26, 1967 (Fairchild, “Are You Experienced?” 5-6). This album marked Jimi Hendrix’s debut of his heavy bluesy-rock style and exceptional guitar playing in a studio album. Chandler recognized its embryonic form when he observed it in Greenwich Village. However, due to Chandler’s desire for profit and Hendrix’s lack of experience leading a band, the album also had a commercial touch to it. The single “Hey Joe,” which was the first song recorded for “Are You Experienced?”, was acknowledged by Hendrix as a commercial record but represented only a small part of their overall musical identity (Fairchild, “Are You Experienced?” 7).
Meanwhile, “Red House,” another track on the album, reveals a different side of Jimi Hendrix. This traditional blues song written by Hendrix showcases his talents as both a guitarist and singer. The lyrics tell the story of a man who loses his woman but keeps his guitar, believing that her sister will take her place in his heart. With “Red House,” Hendrix expands his artistic identity to encompass not only being a rock star but also showcasing proficiency in various genres, including blues. In an article called “Hendrix and Clapton” from 1967 Rolling Stone magazine, Jon Landau praises him as an extraordinary guitarist and arranger and states that “Red House” solidifies Hendrix’s position as an absolute master of blues music (18).
According to Jas Obrecht, “Purple Haze” was a popular song in America and considered a breakthrough single for the band (Obrecht 29). The lyrics of the song, such as “Purple haze, all in my brain” and “Got no money, don’t know why,” may be interpreted as references to drugs. However, Electric Gypsy by Harry Shapiro and Caesar Glebbeek suggests that Hendrix’s inspiration for the song may have come from his Native American background and his reading of The Book of the Hopi (Fairchild, “Axis: Bold As Love” 7).
Both the Indian version of “Purple Haze” and the classic blues tune “Red House” serve as prime illustrations of Hendrix’s tribute to his heritage on Are You Experienced? The arrangement and lyrics of most songs on the album lay the foundation for gauging the evolution in Hendrix’s style, both in terms of lyrics and music, that would take place until his unfortunate demise in 1970.
The album’s commercial success and positive reviews, which praised Jimi as an “absolute master,” bolstered his confidence and allowed him to explore different styles and experiment with ease. The significance of Are You Experienced? lies in its success and the acceptance of Jimi Hendrix’s sound regardless of whether he played traditional blues, performed “Stone Free,” or covered “Hey Joe.” This album marked the beginning of Jimi Hendrix’s innovative musical journey and solidified his position as a highly influential figure in the music industry.
The release of The Jimi Hendrix Experience’s second studio album, Axis: Bold As Love, marked the true arrival of Jimi Hendrix. With an estimated production cost of ten thousand pounds, the album provided Jimi with the valuable studio time needed for him to further enhance his skills. Out of the total production costs, around three thousand pounds were spent on creating the album sleeve which featured pictures of Jimi and his bandmates surrounded by Indian imagery. Regarding the album cover, Jimi expressed that they had no involvement in its design and initially thought it was great to have an Indian painting but suggested having an American Indian instead (Fairchild, “Axis: Bold As Love” 5).
Axis: Bold As Love represents a clear embrace of Hendrix’s Native American roots. While Are You Experienced? focused more on appealing to a wide audience, Axis had equal significance for both Hendrix and his fans. Hendrix, when questioned about the contrast between these two albums, stated: “The alterations in music between the two records are up to you to determine. We’re simply performing based on our emotions” (Wenner and Wolman 13).
Hendrix explained that the title, Axis: Bold As Love, is inspired by the idea that the axis of the earth can bring about significant changes in civilizations. Similarly, love can have a transformative effect on individuals. The tracks “Little Wing” and “Castles Made Of Sand” incorporate Native American imagery. “Little Wing” specifically draws from a simple American Indian style and features a memorable introduction.
The most appealing aspect of “Little Wing” is its harmonious integration of Native American ideology with guitar playing, which is never perceived as confrontational. The creation and execution of “Little Wing” appears to signify Hendrix’s growing assurance in his abilities as both a songwriter and composer. Regarding “Castles Made Of Sand,” Michael Fairchild asserts that “rock music achieved its delicate and vulnerable depths when Jimi softly sang ‘Castles Made Of Sand,’ an Indian lullabye” (Fairchild, “Axis: Bold As Love” 17).
In his track “If 6 Was 9,” Hendrix conveys his longing for both musical and social liberation. He sings about the judgment he faces from white-collar conservatives and stresses the significance of authenticity and non-harmfulness towards others. Hendrix clarifies that the song is not fueled by anger or negativity towards anyone, but instead serves as an urging for individuals to live their lives freely as long as they do not impede upon him (Fairchild, “Axis: Bold As Love” 16).
During the transition from Are You Experienced? to Axis: Bold As Love, Jimi’s increase in self-confidence was clearly noticed by critics at the time. He emphasized his individuality as a musician, separate from his band or the influence of his producer and record label. In a review by Jim Miller for Rolling Stone on April 6, 1968, he described Axis: Bold As Love as a transformation of white noise into psychedelia, comparing it to Cream. It was a bold and powerful musical experience, and at its core was Hendrix himself, passionately playing his guitar and boldly declaring, “if the mountains fell in the sea, let it be, it ain’t me.” These fearless and confident philosophical statements in pop music deserved recognition. (21)
Axis: Bold As Love marked a significant turning point for Hendrix, as it not only solidified his position as a top-charting artist, but also gained him recognition and praise from the often critical music critics. Miller further described the album as the best fusion of Voodoo elements produced by any rock group at that time. The term “Voodoo” in relation to Hendrix’s music alludes to his incorporation of African and Native American influences. Axis: Bold As Love can be seen as a departure from the mainstream appeal of Are You Experienced?, instead showcasing the more authentic and genuine aspects of Hendrix’s artistry that resonated with audiences. The succeeding album by The Jimi Hendrix Experience was titled Electric Ladyland, with Hendrix explaining that it was inspired by his experiences with groupies whom he referred to as “Electric Ladies.” The entirety of Electric Ladyland is dedicated to them. (Fairchild, “Electric Ladyland”)
On Electric Ladyland, some of the songs, including “Crosstown Traffic” and the cover of Bob Dylan’s “All Along the Watchtower,” deviate from the style established by Jimi Hendrix in Axis: Bold As Love. Hendrix was frustrated that “Crosstown Traffic” was released as a single as it aligned more with the songs on Are You Experienced? Hendrix expressed his dissatisfaction, saying, “See, that LP was in certain ways of thinking… They always take out the wrong ones… People, they don’t give me inspiration except bad inspiration, to write songs like ‘Crosstown Traffic,’ ‘cause that’s the way they put themselves in front of me, the way they present themselves” (Fairchild, “Electric Ladyland”). Despite Hendrix’s disdain for the commercialization of “Crosstown Traffic,” he must have been pleased that his single of “All Along the Watchtower” became The Experience’s most popular U.S. single ever (Murray 51).
Bob Dylan wrote “All Along the Watchtower,” a song that Jimi Hendrix admired so much that he once said, “Sometimes I do a Dylan song and it seems to fit me so right that I figure maybe I wrote it. I felt like ‘Watchtower’ was something I’d written but could never get together. I often feel that way about Dylan” (Fairchild, “Electric Ladyland 20). This song served as a protest against the Vietnam War, the draft, and the government during the late 1960s when music became an influential platform for dissent. Hendrix, who had previously worn a military jacket during his performances in 1967, recorded “All Along the Watchtower” (Fairchild, “Electric Ladyland”).
The military jacket symbolized Jimi Hendrix’s endorsement of soldiers during the Vietnam War and also functioned as a form of protest against the war. Electric Ladyland, his album, featured a cover of “Come On” by Earl King, which was influenced by the five-day anti-Vietnam demonstrations and riots that took place at the 1968 Democratic National Convention in Chicago (Fairchild, “Electric Ladyland” 12-13).
Despite the other tracks on the album, Electric Ladyland included several original compositions by Hendrix that were revolutionary. The song that best exemplifies the personal transformation he was undergoing is the blues track called “Voodoo Chile.” Hendrix uses this song as a declaration of his own heritage and a rejection of self-denial, dedicating it to his friends from West Africa.
According to Charles Shaar Murray, who wrote about Hendrix in the book Crosstown Traffic, “Voodoo Chile” represents a connection between the blues and Voodoo, which stems from West African religious and mystical practices. This relationship has been extensively studied in a comprehensive book, but within the context of Jimi Hendrix’s life and art, it is important to emphasize that identifying as the Voodoo Chile symbolizes his black identity. It is a way for him to claim a territory that white blues musicians could never understand or appropriate.
Regardless of whether Hendrix meant “Voodoo Chile” to explicitly challenge Western rationalism and black American Christian culture, the important fact remains that he was clearly and unequivocally declaring his true identity, as noted by Murray (147). Murray also describes the eleventh track on Electric Ladyland, “1983…(A Merman I Should Turn To Be),” as rock’s foremost work of science fiction and labels Hendrix as the music’s original and grooviest cyberpunk (216).
“Merman” was the ultimate result of Hendrix’s production skills, making Electric Ladyland his first self-produced album. The lyrics of “Merman” indicate that Hendrix was growing increasingly agitated with the condition of the world. In a November 9, 1968 review by Tony Glover for Rolling Stone, he characterizes “Merman” as Hendrix’s depiction of a future in which a war-devastated world teeters on the edge of destruction, while he and his companion walk along the sea and imagine a life immersed in water.
The songs on Electric Ladyland mark a significant change for Hendrix as he becomes more comfortable with his own skills and heritage. However, this also highlights how his belief in the world starts to crumble due to the Vietnam War and his realization that personal success does not necessarily fix everything. Electric Ladyland is notable for its unprecedented social consciousness, going beyond the minimal references to social and cultural dissatisfaction found in Hendrix’s previous two albums like Axis: Bold As Love’s “If 6 Was 9.” By the time the next album was ready to be recorded, The Jimi Hendrix Experience had broken up, with Noel Redding and Mitch Mitchell pursuing separate projects. Hendrix then formed a new band called Band of Gypsys, which included Buddy Miles on drums and Billy Cox on bass (Alterman 10).
The album called Band of Gypsys signifies the smallest amount of growth Jimi Hendrix achieved between any two albums. According to Murray, Band of Gypsys was the final album that Hendrix would create and release in its entirety during his lifetime. Murray reports that Hendrix had mixed feelings about the album, stating, “Hendrix was always uncertain about the…album, Band of Gypsys” (54). The album consisted of newly recorded songs from the New Year’s Eve celebration in 1969 at New York City’s Fillmore East (Murray 54).
According to Lorraine Alterman, a writer for Rolling Stone who attended the party, the only song that stood out as truly exciting was “Machine Gun.” Alterman stated that Hendrix dedicated the song to soldiers in Detroit, New York, Chicago, and Vietnam. She also noted that the rest of the songs sounded very similar to Hendrix’s earlier work, specifically “Purple Haze” (Alterman 10).
Through the explicit anti-war song “Machine Gun,” one can gain insight into Hendrix’s mindset while planning that particular track. The title itself reveals the meaning of the song, as Hendrix abandoned subtlety. Additionally, Hendrix’s new all-black band alongside this song led his manager at the time, Mike Jeffery, to believe that Hendrix was on the verge of joining the Black Panther Party (Murray 54-55).
There were numerous rumors circulating at the time that supported this myth. Lorraine Alterman stated that Hendrix was involved with militant blacks and that this may be the reason why he now had an all-black group and abandoned the gimmicks of his act (10). Hendrix decided to quit after a few shows with his new band. He described the Band of Gypsies as “outasite” and explained that it was a result of going through head changes, but he couldn’t really tell or explain it (Burks 42). In the midst of 1970, Hendrix reunited with The Experience, but they never recorded another album (Burks 40).
The Band of Gypsys was Hendrix’ unsuccessful attempt to become a black rock superstar with an all-black band. He believed that being in an all-black band was the only way for him to be truly acknowledged for his greatness, especially in a time when black superstars in rock music were rare. Despite his previous albums’ success, it was not as significant as the recognition he received when his band included two white members. However, looking back on history, Hendrix’s praise has been both unbiased in terms of his influence on contemporary rock musicians and influenced by his ethnicity when he is commended as a blues and R&B guitarist.
The albums of Jimi Hendrix were shaped by various factors, including his love for the blues, his experience as an R&B guitarist, his time spent in Greenwich Village, his trip to London, the Vietnam War, and the years of protest against war and racial injustice. All of these influences are evident in Jimi’s albums.
Are You Experienced? showcases the early commerciality and undeveloped form of Hendrix’ later song-writing and playing. Meanwhile, on the second album Axis: Bold As Love, Jimi expresses his ethnic individuality, expands his musical repertoire, and begins voicing his malcontent. Electric Ladyland and Axis: Bold As Love represent the peak of Jimi Hendrix’ short career, combining the pure perfect blues of earlier tracks like “Red House” with the pinnacle of his lyrically and musically creative side displayed in songs such as “1983…(A Merman I Should Turn To Be).”
Despite the fact that his next album, Band of Gypsys, was perceived as lacking in quality, it undoubtedly showcases a period of Jimi Hendrix’s artistic development. This phase was marked by the immense pressure of fame and the numerous societal challenges that surrounded him. His unfortunate demise in 1970, attributed to him choking on his own vomit (Anonymous 1), seemingly conveyed a sense of indifference from Hendrix. Reflecting on his discography, a clear pattern emerges, highlighting both personal growth and decline. These fluctuations were undoubtedly influenced by the external events and internal struggles experienced by the iconic musician known as Jimi Hendrix.
Hendrix’s music accurately reflects the external and internal experiences he was going through at different points in his career. Initially a timid sideman in R&B, he transformed into a flamboyant guitarist who performed behind his back. However, as time went on, he became increasingly disturbed by the social, cultural, and personal issues surrounding him.
Jimi Hendrix’s personal growth involved embracing his racial heritage, encompassing culture and music, while also becoming more aware of societal issues. Although this sequence of events ultimately resulted in his demise, we can still observe and track this journey today through his intricate and sublime music. Hendrix’s visionary nature is evident in the four albums he completed before his passing.
