The Jimi Hendrix Experience’s “Electric Ladyland”

This week, I’ve been listening to the 1968 album “Electric Ladyland” by the Jimi Hendrix Experience. About six months ago, I spent time with their first album “Are you Experienced?” That album was released just 17 months before this, their third and final album.

They certainly evolved over this short period of time. While I truly enjoyed their debut album, I absolutely loved this one. The first album was more of a psychedelic blues rock. This album takes that sound and launches into the stratosphere, pushing the experimental psychedelic elements. They’ve also folded in some ingredient of soul and funk.

The album opens with intro track  “And the Gods Made Love” which is some slowed down stuff. It’s kind of neat the first couple times and then I found it annoying. I wanted to talk here about the first real song 
Have You Ever Been (To Electric Ladyland),” but I like to include a video link of the songs here and it’s not available on YouTube. Anyway, it is a great track and from the first thirty seconds, I knew I was going to love the album. It’s opens as a rather soulful funk-aware R&B song. Strange things are happening with the rhythms as the song seems to swirl upon itself. Experimental yet immediately accessible.

The Jimi Hendrix Experience recorded a fantastic cover of Bob Dylan‘s song “All Along the Watchtower” for this album. From what I’ve read, Hendrix got ahold of Dylan recording pretty early and liked this song immediately. The Experience worked on their cover for a few months and it was released within a year of Dylan’s original.  As great as Dylan’s lyrics are, the incredible soundscape of Hendrix’s version towers above the words. I know many of the words, but don’t really know what the song is about because what’s happening musically is so amazing. The verses serve more as passing narrative between the real action: Jimi’s lead guitar. 

A twelve-string acoustic guitar strums the chords throughout the song simply.  The lead guitar gives the track much of its psychedelic blues rock flavor. Jimi’s plays his stratocaster through a chorus and fuzz, with expressive filter modulation provided by a wah pedal. This sound of this combination of guitar and effects is all over the album. To see how the wah pedal is used to create these sounds, check out this excellent video by fuzzfaceexp. Some additional use of delay provides depth to the leads as well.

Another great song is “Voodoo Child (Slight Return)” towards the end of the album. Again, the track mostly provides a space for Jimi’s chorus-fuzz-wah lead guitar to soar into wildly expressive explorations of sound. This starts with the opening measures, one of the Hendrix’s most famous riffs. One that I, unfortunately must admit, first hear in middle school as sampled in a 2 Live Crew song. The Hendrix track has a marvelously live jam quality to it; Even though it features use of overdubbing additional tracks, it was initially created as a jam.

I continue my complaint about the Jimi Hendrix Experience and overuse of stereo panning as an effect. Sometimes it adds something to a song, but mostly I find it annoying and distracting. Better, I feel to use panning of a delay effect, but that may not have been as readily an option as it is today.

Overall, I loved the album “Electric Ladyland.” There’s more playful experimentation than found on “Are You Experienced?” as well as a greater sense of skill and experience with their direction and recording.  Great album.

Bob Dylan’s “Blood on the Tracks”

Bob Dylan's "Blood on the Tracks" album cover This week, I’ve been listening to Bob Dylan’s 1975 album “Blood on the Tracks” to improve my craft as a songwriting musician. Each Bob Dylan album so far has been monstrously impressive from a songwriting perspective. His skill to employ metaphor within narrative songs that utilize rhyme is astounding. For me, this album is right up there with “Blonde on Blonde” and I can’t get enough of it now that I’ve spent a week with it.

Finger-picked blues guitar drives the track “Meet Me in the Morning.” At first, I didn’t care for this song due to its repetitive nature. A twelve bar blues progression (I-I-I-I-IV-IV-I-I-V-V-I-I) provides foundation upon which Dylan sings lyrics that follow the twelve-bar blues blues format of one line repeated twice, then a line in response. Like much of the album, the lyrics deal with a struggling relationship.

The first verse opens with the title “Meet me in the morning, 56 and Wabasha. Honey, we could be in Kansas by the time the snow begins to thaw.” I’m not sure why they are meeting to travel, except perhaps as a change of scenery or escape. The next verse tells how some say it’s darkest before the dawn, but the singer is always dark. But, when the morning rooster crows in the third verse, the singer feels mistreated by his lover. He feels persecuted and trapped, and wonders if the love was a curse. “Look at the sun sinking like a ship. Ain’t that just like my heart, babe, When you kissed my lips?”

I loved this catchy song by the end of the week. I like the layers of multiple guitars.  In the right channel , a bright acoustic guitar plays rhythm-lead lines. A fuzzy slide guitar soaked in reverb provides some atmosphere in the background. Another acoustic guitar quietly strums the chords. And yet clean electric guitar joins later to pick some lead lines and also gets in conversation with the fuzz guitar during the outro.

Also, I find it impossible to not sing along to the mellow grooving bassline.

On “Shelter From the Storm,” Dylan sings tenderly of a love lost. The jangly acoustic guitar dances nervously between the bass and vocals. We hear the sound of the pick and/or guitar strap ticking and rattling against the guitar. These additional sounds of guitar-playing unintentionally provide the only percussion. This type of natural imperfections lends a sense of authenticity to the recording. The chord progression throughout is a basic I-V-IV-I, with the melody providing a sense of variation through the verses.

These are some tremendous lyrics. The song is about confusion, loss, frustrations and heartache, but he’s telling it through the sweetness and tenderness. That’s how the song manages to be so powerful.  Rather than talking so much about pain and loss, he talk about promises and what was lost. However, it’s the middle verse that puts everything in perspective.

Now there’s a wall between us, something there’s been lost
I took too much for granted, I got my signals crossed
Just to think that it all began on an uneventful morn
Come in, she said, I’ll give you shelter from the storm

Of course, there’s layers of ambiguity here as other themes become part of the picture. Images of Christ come into play, which could embarrassingly make a martyr out of the speaker, but I prefer to avoid that interpretation.  It’s too mighty a structure of self-pity, and also would be too self-righteous in contrast to other statements in the song.

The brilliant “Tangled Up in Blue” opens the album and remained my favorite song the full week. I rather feel it’s too great of a song to be the first. The opening chords of A and Asus4 play in my head all day. The verses are in a I-VIIb-I-VIIb-I-VIIb-I twice, followed by V-vi-I-IV twice and ends with VIIb-IV-I for the refrain of “Tangled up in blue.”

The first half of each verse is sung in a restrained back-and-forth melody, with the pitch rising for the second half. The percussion and other instruments likewise pick up in energy. This is balanced by the lower-pitched chords of E and F#m. The the refrain anchors the verse back to the tonic on “blue.” It’s interesting the use of chords for this key. The chords are more likely those of a song in the key of G, while the melody is actually in key of A.

As with the whole album, the layering and interplay of instruments is fantastic. Multiple strummed and picked acoustic guitars provide a full atmosphere of sound. Still they are mixed in a way that manages to keep things feeling stripped down.

The lyrics are the most amazing part of the song. A week definitely provides too little time to fully appreciate all he has going on here. At the very basic level, I appreciate the narrative quality of the song. Songs that tell stories, especially about characters and their relationships, get my interest. I especially appreciate tales of that touched on and lost and over-arching tales that narrow in on details. This is especially made poignant by going back to a place while accentuating the distance.

So now I’m going back again,
I got to get to her somehow.
All the people we used to know
They’re an illusion to me now.
Some are mathematicians
Some are carpenter’s wives.
Don’t know how it all got started,
I don’t know what they’re doing with their lives.
But me, I’m still on the road
Heading for another joint
We always did feel the same,
We just saw it from a different point of view,
Tangled up in blue.

Led Zeppelin’s IV

Led Zepplin 4 album coverI’ve been listening to Led Zeppelin’s untitled fourth album from 1971. Each week I devote to an acclaimed album to learn as a songwriting musician. As with “Dark Side of the Moon” by Pink Floyd, I grew up hearing this Led Zeppelin album often. I imagine many of us born in the 70s did. Even with all of that exposure, it’s still a great album with surprises.

The fourth track “Stairway to Heaven” pulls together the greatest qualities of the album into one song. As an unfortunate side effect of being one of the greatest songs ever, it has become amazingly overplayed. I sigh with lack of interest when the song starts. My favorite portion of the song starts at after five and a half minutes. First, the guitars signal a transition through a dramatic series of chords sounding like horns. Jimmy Page then provides a fantastic soulful guitar solo. I like that the they did not distort the rhythm guitar to get a rocking sound. They gave it a sense of being big by double-tracking with some strong spring reverb. There, I talked about “Stairway to Heaven” mostly because I’d feel foolish not mentioning it. Seriously, I skipped it many times this week.

Four Sticks” got my attention this time around. I hadn’t given it much attention in the past, so it still had a little sense of novelty. Also, the unusual rhythm of the song intrigued me. Some research revealed that most of the song is in a very unusual 5/8 time, withe some parts in a more common 6/8. I read that the rhythm of the song was so difficult that they almost gave up on recording the song. I hear a few times on the recording that they do slip up as a result. There’s a vaguely middle-eastern feel to the music. This comes from the combination of odd time signature, droning ascending scales, driving percussion, and energetically strummed acoustics. I sometimes find that songs in odd signatures will feel like they drift or ramble, but the 6/8 sections of this song give a sense of journey.

The seventh track “Going to California” is comparable to “Stairway to Heaven” while being much better. I like the collection of acoustic guitars and mandolin creating musical textures through arpeggios. They are panned mostly hard left and right, leaving space in the middle for the bass and vocals. The lyrics are more relatable than the Tolkeinesque-Rumi vagueness that happens on some of the other tracks like “Stairway.” The first verse is a pair of beautifully written narrative couplets. They get the listeners attention immediately through emotional story-telling:

Spent my days with a woman unkind
Smoked my stuff and drank all my wine.
Made up my mind to make a new start
Going To California with an aching in my heart.

Speaking of Tolkein, my other favorite track is “Misty Mountain Hop.” There’s also something unique about the rhythm of this song. The main riff of the song, which is played on both guitar and electric piano, actually starts an 8th note before the first beat of each measure and least for a full quarter. This song provides an a great example of what I first think of as the Led Zeppelin sound. There’s big loud drums, a heavy bass bottom, a blues-inspired hard grooving guitar riff, and Plant’s high-pitched vocals. The narrative lyrics describe a situation, a certain place and time, written with an ear to both blues and high fantasy balladry.

So I’ve learned a bit about the possibilities of mixing time signatures in a song. Their use of mysticism and fantasy elements is most enjoyable for me for telling real-world narrative. In addition, the way that they double-up on instruments to strengthen a riff is very effective. And you can’t deny the power of big drums.