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An excerpt from the outro guitar solo. The sample demonstrates the first recording of stereo phasing.
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The second Experience album,
Axis: Bold as Love, opens with the track "EXP", which innovatively utilized microphonic and harmonic
feedback.
It also showcased an experimental stereo panning effect in which sounds
emanating from Hendrix's guitar move through the stereo image,
revolving around the listener. The piece reflected his growing interest in science fiction and
outer space. He composed the album's
title track and finale around two verses and two choruses, during which he pairs emotions with
personas, comparing them to colors. The song's
coda features the first recording of stereo
phasing.
[151][nb 25] Shadwick described the composition as "possibly the most ambitious piece on
Axis, the extravagant metaphors of the lyrics suggesting a growing confidence" in Hendrix's songwriting. His guitar playing throughout the song is marked by chordal
arpeggios and
contrapuntal motion, with
tremolo-picked partial chords providing the musical foundation for the chorus, which culminates in what
musicologist Andy Aledort described as "simply one of the greatest electric guitar solos ever played". The track fades out on tremolo-picked
thirty-second note double stops.
[155]
The scheduled release date for
Axis was almost delayed when Hendrix lost the master tape of side one of the LP, leaving it in the back seat of a London taxi. With the deadline looming, Hendrix, Chandler, and engineer
Eddie Kramer remixed most of side one in a single overnight session, but they could not match the quality of the lost mix of "
If 6 Was 9". Bassist Noel Redding had a tape recording of this mix, which had to be smoothed out with an iron as it had gotten wrinkled.
[157] During the verses, Hendrix doubled his singing with a guitar line which he played one octave lower than his vocals.
Hendrix voiced his disappointment about having re-mixed the album so
quickly, and he felt that it could have been better had they been given
more time.
The cover of Axis: Bold as Love
Axis featured psychedelic cover art that depicts Hendrix and the Experience as various forms of
Vishnu, incorporating a painting of them by Roger Law, from a photo-portrait by Karl Ferris. The painting was then superimposed on a copy of a mass-produced religious poster.
Hendrix stated that the cover, which Track spent $5,000 producing,
would have been more appropriate had it highlighted his American Indian
heritage. He commented: "You got it wrong ... I'm not that kind of Indian." Track released the album in the UK on December 1, 1967, where it peaked at number five, spending 16 weeks on the charts.
[162] In February 1968,
Axis: Bold as Love reached number three in the U.S.
While author and journalist
Richie Unterberger described
Axis
as the least impressive Experience album, according to author Peter
Doggett, the release "heralded a new subtlety in Hendrix's work".
[164] Mitchell commented: "
Axis
was the first time that it became apparent that Jimi was pretty good
working behind the mixing board, as well as playing, and had some
positive ideas of how he wanted things recorded. It could have been the
start of any potential conflict between him and Chas in the studio."
[165]
Electric Ladyland
Recording for the Experience's third and final studio album,
Electric Ladyland, began at the newly opened
Record Plant Studios, with Chandler as producer and engineers Eddie Kramer and
Gary Kellgren.
[166]
As the sessions progressed, Chandler became increasingly frustrated
with Hendrix's perfectionism and his demands for repeated takes.
Hendrix also allowed numerous friends and guests to join them in the
studio, which contributed to a chaotic and crowded environment in the
control room and led Chandler to sever his professional relationship
with Hendrix. Redding later recalled: "There were tons of people in the studio; you couldn't move. It was a party, not a session." Redding, who had formed his own band in mid-1968,
Fat Mattress, found it increasingly difficult to fulfill his commitments with the Experience, so Hendrix played many of the bass parts on
Electric Ladyland. The album's cover stated that it was "produced and directed by Jimi Hendrix".
[nb 26]
During the
Electric Ladyland recording sessions, Hendrix began experimenting with other combinations of musicians, including Jefferson Airplane's
Jack Casady and
Traffic's Steve Winwood, who played bass and organ, respectively, on the fifteen-minute slow-blues jam, "
Voodoo Chile". During the album's production, Hendrix appeared at an impromptu jam with B.B. King,
Al Kooper, and
Elvin Bishop.
[nb 27] Electric Ladyland was released on October 25, and by mid-November it had reached number one in the U.S., spending two weeks at the top spot.
[172] The
double LP was Hendrix's most commercially successful release and his only number one album. It peaked at number six in the UK, spending 12 weeks on the chart.
Electric Ladyland included Hendrix's cover of Bob Dylan's song, "
All Along the Watchtower",
which became Hendrix's highest-selling single and his only U.S. top 40
hit, peaking at number 20; the single reached number five in the UK.
[174] "
Burning of the Midnight Lamp", which was his first recorded song to feature the use of a
wah-wah pedal, was added to the album.
[175] It was originally released as his fourth single in the UK in August 1967 and reached number 18 in the charts.
[177]
In 1989, Noe Goldwasser, the founding editor of
Guitar World magazine, described
Electric Ladyland as "Hendrix's masterpiece".
According to author Michael Heatley, "most critics agree" that the
album is "the fullest realization of Jimi's far-reaching ambitions."
In 2004, author Peter Doggett commented: "For pure experimental genius,
melodic flair, conceptual vision and instrumental brilliance,
Electric Ladyland remains a prime contender for the status of rock's greatest album." Doggett described the LP as "a display of musical virtuosity never surpassed by any rock musician."
Break-up of the Experience
The white building (left) is 23 Brook Street; the building on the right is the
Handel House Museum.
In January 1969, after an absence of more than six months, Hendrix
briefly moved back into his girlfriend Kathy Etchingham's Brook Street
apartment, which was next door to the
Handel House Museum in the West End of London.
[180][nb 28] During this time, the Experience toured Scandinavia, Germany, and gave their final two performances in France. On February 18 and 24, they played sold-out concerts at London's
Royal Albert Hall, which were the last European appearances of this line-up.
[nb 29]
By February 1969, Redding had grown weary of Hendrix's unpredictable
work ethic and his creative control over the Experience's music.
[184]
During the previous month's European tour, interpersonal relations
within the group had deteriorated, particularly between Hendrix and
Redding.
In his diary, Redding documented the building frustration during early
1969 recording sessions: "On the first day, as I nearly expected, there
was nothing doing ... On the second it was no show at all. I went to the
pub for three hours, came back, and it was still ages before Jimi
ambled in. Then we argued ... On the last day, I just watched it happen
for a while, and then went back to my flat."
The last Experience sessions that included Redding—a re-recording of
"Stone Free" for use as a possible single release—took place on April 14
at Olmstead and the Record Plant in New York.
[186] Hendrix then flew bassist Billy Cox to New York; they started recording and rehearsing together on April 21.
The last performance of the original Experience line-up took place on June 29, 1969, at Barry Fey's
Denver Pop Festival, a three-day event held at
Denver's
Mile High Stadium that was marked by police using tear gas to control the audience.
The band narrowly escaped from the venue in the back of a rental truck,
which was partly crushed by fans who had climbed on top of the vehicle.
Before the show, a journalist angered Redding by asking why he was
there; the reporter then informed him that two weeks earlier Hendrix
announced that he had been replaced with Billy Cox. The next day, Redding quit the Experience and returned to London.
He announced that he had left the band and intended to pursue a solo
career, blaming Hendrix's plans to expand the group without allowing for
his input as a primary reason for leaving.
[191]
Redding later commented: "Mitch and I hung out a lot together, but
we're English. If we'd go out, Jimi would stay in his room. But any bad
feelings came from us being three guys who were traveling too hard,
getting too tired, and taking too many drugs ... I liked Hendrix. I
don't like Mitchell."
Soon after Redding's departure, Hendrix began lodging at the eight-bedroom Ashokan House, in the hamlet of Boiceville near
Woodstock in upstate New York, where he had spent some time vacationing in mid-1969.
Manager Michael Jeffery arranged the accommodations in the hope that
the respite might encourage Hendrix to write material for a new album.
During this time, Mitchell was unavailable for commitments made by
Jeffery, which included Hendrix's first appearance on U.S. TV—on
The Dick Cavett Show—where he was backed by the studio orchestra, and an appearance on
The Tonight Show where he appeared with Cox and session drummer Ed Shaughnessy.
