Just as little from Are You Experienced hinted at the next installment, Axis: Bold As Love seems almost pedestrian and conservative compared to the staggering triumph of style and sound that is Electric Ladyland.
This is Hendrix’s masterpiece, and it is on this double album that practically every trick in his oversized bag is employed to its fullest extent. The storytelling skills are displayed on tracks like “Crosstown Traffic”, “Long Hot Summer Night” and “House Burning Down”. The compositional prowess is evident in every note, most especially on the song suite that covers side three and spills over to side four. What Hendrix was able to achieve, despite the contemporary limitations of old-fashioned recording equipment is, on a song like “1983… (A Merman I Should Turn To Be)”, heroic. It also offers the best evidence we have of what he saw and heard inside his always-teeming imagination.
What remains vital, and compelling, all these years later is the way Hendrix appropriates blues music, creating a template that copycats are still trying, in vain, to emulate. “Voodoo Child (Slight Return)” and the live-in-the-studio riot of “Voodoo Chile” are rock music touchstones, and nothing anyone has attempted has come particularly close to them. Hendrix himself puts it best when he boasts “Well I stand up next to a mountain/And chop it down with the edge of my hand.” That is exactly what he did, and he remains king of the mountain he scaled, and then razed.
From “Purple Haze” to “Rainy Day, Dream Away” in less than two years still seems inconceivable, even impossible. But it happened. And, of course, Hendrix continued to broaden his scope and incorporate more styles and sonic experiments (check out the full, funky brass accompaniment on the title track from South Saturn Delta), pushing past the boundaries he had already blown away. The material collected on First Rays of the New Rising Sun represent many of the songs Hendrix was assembling for another double album in the summer over 1970, just before his death. Noel Redding is gone and Billy Cox, having already worked with Mitchell and Hendrix during the Valley of Neptune sessions, is a liberating presence that allows the band to spread out and chase the guitarist as he soars above, around and beneath them. With all due respect to Noel Redding—and nevermind the rumors that Hendrix simply played all the bass parts himself—one of the tantalizing prospects remains what avenues would have continued to open with Cox freeing Mitchell to incorporate his jazz stylings into the mix.
Back to the genius thing and how to wrap our minds around the extent of Hendrix’s gifts: Eddie Kramer analyzes “Dolly Dagger” and uses the console to demonstrate the fastidious attention Hendrix devoted to every second of every song, down to his ability to multi-track his own vocals, knowing in advance exactly where each note and inflection was meant to go. When Kramer isolates the guitar tracks on “Night Bird Flying”, it’s not just a matter of how great each one sounds and the ways they complement each other; it’s more the uncanny way each one could easily and convincingly stand alone as a fully formed statement. Many of the songs, like “Izzabella”, “Stepping Stone”, “My Friend”, “Straight Ahead” and “Astro Man” are loose and as light as Hendrix had been since some of the tracks on Axis: Bold As Love. Then there are irrepressible gems like “Ezy Ryder”, “Dolly Dagger” and “Belly Button Window” that bring the band directly into a new decade. Most of the material has a fresh and unfettered sound: much less overdubbing and Hendrix’s infatuation with “phasing”—which he took to its logical limits on Electric Ladyland (think “Moon, Turn the Tides…Gently Gently Away”)—is now discarded in favor of a more straightforward assault. This direction is nicely encapsulated in the instrumental “Beginnings” where there are no frills or tricks, only a scorching a workout that showcases Hendrix’s ability to create fire with any smoke.
Of course, there are also a handful of tracks that elevate themselves above the rest and go to that other place. “Freedom”, the perfect album opener, is just a clinic of where rock and roll had gone, and where it might have continued to go; “Room Full of Mirrors” is a tour de force of multi-tracked guitar bliss (including cowbell!) and “Hey Baby (New Rising Sun)” is, or will have to be, as suitable a farewell statement (“May I come along?”) as we could hope for. And finally, the one-two punch of “Drifting” and “Angel”, that, not that it’s necessary to quantify, might represent the most beautiful work Hendrix ever recorded. Inevitably, some measure of outright hyperbole is unavoidable: if there is such a thing as beyond perfection, it is achieved on “Angel” and “Drifting”.
And then he was gone. The magnitude of his loss remains unfathomable. There is no question, absolutely no doubt whatsoever, that he had years and years of untapped magic to explore and nourish. On the other hand, perhaps Hendrix did live and record for four decades; he just crammed it into four years. Hendrix and the gift of his music are subjects that can never be exhausted: the songs hold up, they should be studied and dissected, and above all they should be savored. They are, like the man who made them, incapable of ever being forgotten.