Little Wing Jimi Hendrix

Little Wing – Jimi Hendrix Tribute By John Denner
Ernie Ball music Man Axis Guitarist John Denner

This song was inspired by the 1967 Monterey Pop Festival, a concert held during 3 days of the “Summer of Love” 1967 featuring The Who The Byrds Janis Joplin and many others.
Attended by about 200,000 music fans, it happened 2 years before Woodstock. Jimi Hendrix wrote about the atmosphere at the festival as if it was a girl. He described the feeling as “Everybody really flying and in a nice mood.” He named it “Little Wing” because he thought it could just fly away

The guitar on the song is played in a very unique style. Jimi Hendrix frets the roots of chords with his thumb, and then elaborates on them. It often involves shifts of quartile to tertian harmony and vice versa. In theory it is quite similar to the Jazz style of chord melody. (thanks, Ken – Tigard, OR)
The percussion instrument that sounds like a xylophone is a glockenspiel, an instrument popular in marching bands containing steel bars that are stuck with hammers to produce notes.
Jimi ran his guitar through a Leslie speaker to create an unusual sound. The Leslie speaker was designed for organs and contains a rotating paddle that distorts the sound.
In 1963 Jimi recorded a song that may have been a precursor to this. The song “Fox,” which was one of his first recordings was played with sax player Lonnie Youngblood and sounded very similar to this.
This is one of the songs that had to be remixed just before the album was released when one of the master tapes went missing. No one ever found out what happened to the original tape but its been speculated that Jimi either accidentally left the tape in a taxi or purposely disposed of the tape because he wasn’t satisfied with its sound.
This song, along with “Spanish Castle Magic,” are the only songs Hendrix ever performed in concert from his Axis Bold as Love album. He played this live only 8 times. (thanks, Bertrand – Paris, France)
Hendrix has described this as being one of the few he likes from this album. He said “Little Wing” is “like one of those beautiful girls that come around sometimes.” Hendrix enjoyed writing slow songs because it was easier to put emotion into them.
The same day they recorded Layla, Eric Clapton and Duane Allman recorded this as a tribute to Jimi, who was one of their guitar heroes. Jimi Hendrix died 9 days later. He never heard their version of his song, which was released in 1970 on the Derek and the Dominos album, Layla And Other Assorted Love Songs
Irish pop band The Corrs covered this on their Live Unplugged acoustic album. thanks, Nick – Cambridge, England

Tribute to Jimi Hendrix little wing guitar intro by John Denner Ernie BAll Music Man Axis Guitarist

Monte Montgomery

Acabei de achar essa incrível versão de Little Wing, composição do grande Jimi Hendrix, feita por Monte Montgomery, um elétrico-violonista americano, nascido no Alabama em 1966.

O cara toca muito bem, usa seu violão elétrico acompanhado de efeitos típicos de uma guitarra, fazendo um som incrível.

Stevie Ray Vaughan

October 3, 1954 – August 27, 1990

Stevie Ray Vaughan-Pride And Joy

Stevie Ray Vaughan HARD TO BE

HARD TO BE / THE VAUGHAN BROTHERS

Stevie Ray Vaughn/ Crossfire

Stevie Ray Vaughan – Riviera paradise

Cold Shot by Stevie Ray Vaughan

Stevie Ray Vaughan Little Wing

Stevie Ray Vaughan – Texas Flood (Long version!)

Stevie Ray Vaughan Fan Club

STEVIE RAY VAUGHAN BLUES ARTIST OF THE WEEK

But between sets I’d sneak over to the black places to hear blues musicians. It got to the point where I was making my living at white clubs and having my fun at the other places.

I was taught to think the next week or month or year will only get better than it is today. So I just keep waiting to see how great it will get!

Stevie Ray Vaughan Quotes

Vídeo imperdível com cenas de vários Deuses Imortais da Guitarra, incluindo Chuck Berry, B.B. King, Johnny Cash, Albert King, Eric Clapton e, claro, Jimi Hendrix.

Tudo isso ao som de Little Wing, na interpretação clássica de Stevie Ray Vaughan.

Enjoy!

Everyone loves The White Stripes.

They had several singles, critics loved them, blah blah.  They just never really did it for me.  Not entirely sure why, maybe her drumming annoyed me, maybe it was too garage-band sounding for me, maybe I just thought it was lacking the robust sound that Jack White’s guitar could support, I don’t know.  Fortunately for me, a few years ago, Jack formed a new band, The Raconteurs.

The Raconteurs
Approachability: High/Medium

I like to think of The Raconteurs as the band that The White Stripes should have been.  They released their debut album, Broken Boy Soldiers, in 2006, and then released their sophomore album last year, Consolers of the Lonely.

Now I know this isn’t exactly breaking news, but bear with me – I’ll tie it together later.  I definitely consider The Raconteurs old news, but I just can’t remove them from my iPod.  Every time I do, I find myself wanting to listen to them again.  So on the drive back home from Atlantic City this past Sunday, I wanted to listen to something rocking and rolling.  I threw on The Raconteurs and low and behold, after a few songs, Spence (riding with me, and subsequently rocking out too) asked who this was.  I decided then that they needed to be further exposed.

The whole thing is just more complete than The White Stripes (obviously – it’s a full band).  The songs are more polished, but they still maintain Jack’s bluesy, gritty guitar riffs and vocals.  They even have some more intimate, storyteller-esque songs with a keyboard, horns, etc.  The whole album is great.  Enjoy the samples below:

The Raconteurs – Consoler of the Lonely:

Visit their official site at:
http://www.theraconteurs.com/
or their MySpace site (more songs available for streaming!) at:
http://www.myspace.com/theraconteurs

Now to tie it all together.  Today, Jack White put out a new song called the Farm Fly Blues.  It’s great.

Jack White – Farm Fly Blues
Approachability: Medium (Very High though if you dig the blues)

Jack apparently wrote this song on the spot while filming an upcoming guitar documentary It Might Get Loud.  The description posted from his label, Third Man Records:

“First up is a single from Jack White entitled ‘Fly Farm Blues.’ Jack sings and accompanies himself on guitar on a track that was written on the spot during the filming of It Might Get Loud.”

This song really shows the raw talent and emotion he displays on the guitar, and I love how it’s so imperfect.  I personally love the blues, and the sounds out of his guitar are just amazing on this.  I just wish it went on longer.  Enjoy:

Jack White – Farm Fly Blues:

And hey, while you’ve got me talking and thinking about the blues, I’ll include a couple of my all time favorites.  These are truly monumental songs.

Stevie Ray Vaughan – Little Wing:

-WJ

Unplugged…. MTV Unplugged….

mungkin kata itu yang sering kita dengar

sebuah sajian musik menggunakan instrumen akustik

tanpa pickup, tanpa efek…..

murni suara alat musik itu sendiri

Sejak 90an MTV banyak mengadakan acara-acara Unplugged ini, yang membuat versi-versi akustik dari lagu-lagu pop / rock terkenal di dunia. Umumnya versi akustik ini hanya dilengkapi gitar akustik, piano akustik, atau alat-alat lainnya.

Versi tanpa kabel ini bisa dibilang lebih bagus, atau malah lebih buruk. Tergantung selera pendengar tentunya.

Banyak penyanyi yang membuat versi tanpa kabel lagu mereka, atau bahkan mengikuti acara MTV Unplugged khusus. Beberapa artis yang ikut antara lain Nirvana, Alice In Chains, Pearl Jam (Grunge semua ??), Paul McCartney, Elton John, The Corrs,… dan masih banyak lagi. Bisa dibilang ini adalah sebuah jenis musik lintas genre. Dari yang keras sampai lembut~santai ada versinya unpluggednya sendiri.

Sekarang masuk ke bagian yang lebih pribadi

Malam ini di dalam playlist Winampku ada sederetan lagu dari album The Corrs – Unplugged. Berikut playlistnya :

1. Only When I Sleep
2. What Can I Do
3. Radio
4. Toss the Feathers (tradisional Irlandia)
5. Runaway
6. Forgiven not forgotten
7. At Your Side
8. Little Wing (Jimi Hendrix)
   
9. No Frontiers
10. Queen of Hollywood
11. Old Town
12. Lough Erin Shore (tradisional Irlandia)
13. So Young
14. Everybody Hurts (R.E.M)

yah, sejauh ini albumThe Corrs – Unplugged adalah salah satu album terbaik yang pernah kudengar.

Musiknya, hmm, ….sangat tradisional, sangat Irlandia, Celtic, abad pertengahan.. itulah kesan yang terus muncul saat mendengar lagu-lagu di album ini. Gesekan biola, tiupan irish tin whistle, tepukan bodhran, semuanya membawa khayalanku kembali ke jaman-jaman abad pertengahan.

Mungkin karena saat pertama kali mendengar album ini, aku juga sedang menikmati Trilogi Lord of the Rings. Kesan abad pertengahannya begitu terasa.

Bagi beberapa orang album ini terdengar biasa saja, atau malah lebih menyukai Enya untuk musik-musik tradisonal Riverdance atau sejenisnya. Namun, bagiku album ini tetap terasa begitu spesial.

Lagu-lagu yang cukup berkesan adalah lagu-lagu instrumental seperti Toss The Feathers dan Lough Erin Shore. Mereka begitu indah dan menggambarkan keceriaan dan ketengan alam Eropa nun jauh di sana.

Lagu-lagu The Corrs sendiri dapat diaransemen ulang dengan sangat baik di album ini. Mulai dari Only When I Sleep, What can i do, dan seterusnya. Bahkan menurutku versi unplug ini lebih bagus dari versi rekamannya, terutama Runaway, gesekan biola Sharon begitu indah…

Beberapa lagu cover juga tidak kalah bagus. Little Wing dan Everybody Hurts, yang merupakan cover dari Jimi Hendrix dan R.E.M. Lagu Everybody Hurts agak mirip dengan versi aslinya, dibawakan dengan tempo yang lambat, dan vokal yang dominan. Namun, Little Wing versi The Corrs begitu berbeda dari versi Jimi Hendrix. Versi aslinya sarat dengan nuansa Rock / Blues sementara The Corrs membawakan versinya sendiri, yang menurutku sangat sangat bagus.

Instrumen – instrumen seperti biola, irish whistle, piano, dan lainnya benar-benar memberikan suasana berbeda. Sangat indah.

Aku tidak tahu kata apa yang dapat kugunakan untuk menggambarkan lagu ini.

Yah, kalau soal musik kembali lagi pada selera

Mungkin lagu ini malah kurang bagus ? menodai versi aslinya ? bisa juga. Telinga, hati, dan perasaan kita menentukan semuanya.

Haha…

mungkin agak berlebihan, yah ini hanya ungkapan perasaan tenang dan damai saat mendengarkan album ini. Apalagi di tengah malam, saat mengerjakan tugas-tugas, merenung, atau berkhayal…. seperti ada efek tambahan saat didengar di malam hari.

Baiklah, mungkin akan lebih enak kalau kubagi saja beberapa penenang jiwa ini….

(dari Youtube semua, bisa diunduh sendiri)

• The Corrs – Little Wing Unplugged
• The Corrs – Lough Erin Shore Unplugged
• The Corrs – Runaway Unplugged

“What’s your favorite song?”

I never liked that question. Why should I have to pick one?

My answer was always Layla because I am and have always been a big fan of Eric Clapton, and it was an easy answer to give. I mean, you can’t really argue with an answer like Layla, Stairway to Heaven, or Here Comes the Sun, right?

Over the last year or so I have been reflecting on that dumb question… what was my favorite song?

During one of these pointless mental wanderings I realized that the question wasn’t, “What’s your favorite recording,” or “What’s your favorite performance.” If I was looking for a favorite song, it would have to be a song that is performed brilliantly by at least two different artists.

The Classics

Jimi Hendrix

That’s when it hit me. Little Wing, the Hendrix classic off of Axis: Bold as Love (1967).

(The pseudo artistic editor who defiled this video by layering surf over Jimi should suffer an eternity of punishment.)

My only complaint with this song is that there isn’t more of it.

Derek & the Dominos

It was covered by Eric Clapton and Duane Allman when Derek & the Dominos released Layla and Other Assorted Love Songs (1970). Sadly Hendrix died before he could hear Clapton & Allman’s reinvention.

(The original studio recording.)

(In March of 2009, Clapton played two nights with the Allman Brothers Band at the Beacon Theatre. I would have traded important body parts to see one of these shows live.)

Stevie Ray Vaughan

Stevie Ray Vaughan created a new interpretation of the song without vocals on his 1985 album, Soul to Soul.

Tragically, of the four legendary guitarists who recorded the most well known versions of Little Wing, Clapton is the only one who survived.

Legacy

There are literally hundreds of covers of Little Wing. They range from jazz odysseys, to shred metal, and everything in between. Some of the bands that have covered this song will shock you… but regardless of who is performing the song, it is almost always good.

These are some of the more interesting covers I uncovered:

Skid Row

This one stunned me for two reasons. 1 – Skid Row covered Little Wing. 2 – It’s actually pretty good (But is doesn’t really offer up anything original).

Steve Vai

If it absolutely, positively, must be over done… choose Vai.

The Corrs

A magnificent acoustic, Celtic folk rock rendition. That was a mouthful.

Kirk Hammett (Metallica)

This one surprised me… but it also doesn’t do much for me.

Final Thoughts

The best versions of Little Wing leave room for the subtle details. There is a lot going on in this song that I don’t think most people hear. When I listen to it, it immediately makes my mind wander; I feel happy, sad and a sense of wonder all at the same time.

I hope you’ve enjoyed my little tour of Little Wing. I will leave you with one final recording of Eric Clapton, Sheryl Crow, and saxophonist David Sanborn.

Probably one of the most beautiful Hendrix Ballads.

Too often is Jimi Hendrix viewed as the fire-breathing, guitar smashing menace.

There’s a lot more to the story.

Hendrix organized some of the most beautiful chordal melodies that music as ever seen. Some examples include “Little Wing”, “Bold As Love” and of course, “Angel”.

The production of these tracks was so unique that the mixing style itself played into these songs almost as another instrument. If you listen to “Little Wing”, you’ll notice that swirling guitar rhythm as well as how the song ends in a spiraling spidery solo — the 2 minute song epitomizes the psychedelic age, both in lyric, rhyme, melody and production.

Fly on my sweet Angel, Fly on through the sky

Fly on my sweet Angel, Together we will always be high.

Latest guitar video for your delectation is me playing Jimi Hendrix’ ‘Little Wing” at the Mabs Hotel (now demolished) in Wigan, 2003.

Guitar used was my Fender Strat Plus and the amp was, if my memory serves me well, an Ashdown combo which was bleedin’ loud.

Guten Abend allerseits, bin endlich wieder zuhause und werde heute Abend noch den ersten Teil hochladen. Muss aber ehrlich gestehen, dass Ich nicht soviel geschafft habe, wie Ich hoffte :-\ Auf jeden Fall poste Ich (wie versprochen) den ersten Teil über Eric Clapton. Dafür habe Ich mich mit seinen Songs beschäftigt und seid nicht zu enttäuscht, dass Ich nicht genauer auf irgendwelche Sachen eingehe (dafür ist mir die Resonanz auf meinen Blog noch zu gering ). Heute schreibe Ich nur was zu den ersten beiden Songs auf dem Laylaalbum, da Ich ehrlich gesagt nicht zu mehr gekommen bin (hatte endlich mal wieder Motivation, was für mein eigenes Album zu tun und das hat für mich momentan Vorrang gegenüber diesem Blog ). Nun gut, der erste Song ist “I looked Away”. Dafür einmal hier das Grundschema des Songs (Lyrics und Akkorde zum mitschrammeln):

I LOOKED AWAY- Derek and the Dominos

C  G  F  C  G  C  G  F

C            Dm  G7            E   E7 Am G   F
She took my hand and tried to make me understand
D7/F#    G    D7  G7
That she would always be there
C             Dm  G7             E   E7  Am G F
But I looked away then she ran away from me today
D/F#  G
I’m such a lonely man

CHORUS #1:
E Am               Bb        Fm9
It came as no surprise to me
Am                          Bb  Fm9
That she’d leave me here in misery
Am                  Bb    Fm9
It seemed like only yesterday
Bb        Fm9 Bb         Fm9 Bb Fm9 C
She made a vow she’d never run     away

REPEAT FIRST VERSE

CHORUS #2:
And if it seemed a sin
To love another man’s woman, babe
I guess I’ll keep on sinning
Loving her ohh till my very last day

(FIRST PART OF VERSE WITHOUT WORDS)

But I looked away and she ran away from me today
I’m such a lonely man

C  G  F  C  G  C  G  F    C

Wer wissen will wie diese Akkorde gespielt werden, solle mich kontaktieren. Ich habe das ganze nochmal als PDF-Datei vorbereitet (DAS war ‘ne Kackarbeit). Daher möchte Ich hier nur auf die Pattern eingehen, die Clapton hier spielt.

Das Bild sagt eigentlich nichts darüber aus, welche Töne Clapton im Intro spielt (bin doch keine Tabseite, wer wissen will, wie man den Song spielt, möge hier nachgucken. Da habe Ich auch die Lyrics und Akkorde her, wenn es interessiert …). Nun, was sieht man auf dem Bild ? Ganz einfach, das Intro ist nicht auf einer Tonleiter oder sonstigem aufgebaut, sondern Akkorden. Besonders interessant ist das nun wirklich nicht (und auch nicht besonders kenntnisreich), aber nun gut. Die einzige Erkenntnis, die man bekommen könnte ist, dass innerhalb des Intros [relativ] viele verschiedene Töne von ihm gespielt werden (doofe Umschreibung, Ich weiss). Die Strophe hingegen ist deutlich spärlicher:

Ich würde hier auch allgemein den Tipp geben (wenn man den Song üben/lernen will), dass Clapton hier häufiger Zweitöne gleichzeitig spielt und dabei Saiten auslässt. Das schreit nach Fingerpicking. Auf diesem Bild könnte man durch raten schön fast die ganze Strophe nachspielen. Ist das nicht wunderbar ? Wie sie genau gespielt wird, verrate Ich nicht (nachgucken=mogeln). Versucht es rauszuhören, dadurch dass Ich schon Töne vorgegeben habe, ist es nicht mehr so schwer

Ich muss aber auch zugeben, dass dieser Song nicht besonders reizend ist, da gibt es deutlich bessere von Clapton. Dies sind noch die Töne der ersten Solophrasierung und damit beende Ich diesen Song heute, vielleicht wenn Ich irgendwann mal mehr Lust habe, bearbeite Ich ihn weiter. Wesentlich interessanter ist hingegen “Bell Bottom Blues” (hat leider nichts mit Bikini Bottom zu tun, musste aber fast die ganze Zeit daran denken, ist ja mal höchste Zeit, dass es ‘nen Bikini Bottom Blues gibt). Dieser Song ist wesentlich bekannter (nicht nur, weil er als Single rauskam, sondern auch, weil Clapton ihn immer noch spielt).

Zuerst wieder die Akkorde und der Text:

Bell Bottom Blues

Intro: C    E/B    Am    C/G    F    G    F C G

Verse 1:

C          E/B     Am
Bell bottom blues, you made me cry
C/G               F                G    F C G
I don’t wanna lose this feelin’, oh
C        E/B      Am
And if I could choose a place to die
C/G             F            G
It would be in your arms, yeah

Pre-Chorus 1:
A                   E                      F#m    D    E
Do you wanna see me crawl across the floor to you?

A                    E                    F#m
Do you wanna hear me beg to take me back?
D                E
I’d gladly do it because

Chorus 1:
A             Amaj7     A7
I don’t wanna fade away
D                E
Give me one more date please
A             Amaj7     A7
I don’t wanna fade away

D                E         D A E
In your heart I wanna stay

Verse 2:
It’s all wrong but it’s all right
The way that you treat me baby, oh
Once I was strong, hmmm but I lost the fight
And you won’t find a better loser, no
Repeat Pre-Chorus 1

Repeat Chorus 1

Break: C    E/B    Am    C/G    F    G Over lead (Not tabbed)

Pre-Chorus 2:
Do you wanna see me crawl across the floor to you? Oh baby
Do you wanna hear me beg you take me back?
Lord I’d glady do it ’cause

Repeat Chorus 1

Verse 3:
Bell bottom blues, don’tcha ya say goodbye

We’re surely gonna meet again, yeah
And if we do, don’tcha be suprised
If you find me with another lover, oh

Pre-Chorus 3:
Do you wanna see me crawl across the floor to you?
Do you wanna hear me beg you to take me back?
Lord I’d glady do it ’cause

Hingegen dem ersten Song sind selbst im Intro bestimmte Pattern deutlich erkennbar (mich als alten Freund von C-Dur freuen solche Songs schon). Dieser Song selbst hat aber ein, zwei ganz gemeine Dinge: Zum einen sind seine einzelnen Parts in unterschiedlichen Tonarten geschrieben und teilweise spielen diese gleichzeitig.

Fast vergessen, die Phrasierung, die am Ende des Intros und (glaube Ich jeder Strophe gespielt wird):

Jetzt kommt endlich die Strophe:

Wie ?? Nur fünf Töne ?? Hä ?? Dazu muss Ich sagen: Ja. Ja. Wäh. Clapton spielt seine Stärken der Phrasierung sehr bewusst aus und überlässt den Hauptteil der Melodie der Gesangsstimme (welche seine ist. Geschickt, oder ?). Aber der Chorus ist dann doch etwas komplexer und dazu muss Ich dann doch etwas mehr sagen/schreiben.

Hier wird eine Sache deutlich, die Ich schön früher innerhalb dieses Artikels geschrieben habe. Es spielen innerhalb des Choruses mehr als eine Gitarre gleichzeitig (sie spielen auch unterschiedliche Dinge, werden als nocht gedoppelt, was gerne gemacht wird, damit der Klang voller ist). Wie in den oberen Teilen ist die erste Gitarre, die Ich eingetragen habe “Rot”. Die zweite war “Blau” (und wo diese beiden gemeinsame Töne haben, wurde es violett). Die nächste wurde “Gelb” etc. (Die blaue spielt die Endphrasierung btw). Das wirkt alles sehr konfus, aber nun gut, man muss die einzelnen Gitarren zu den gleichen Zeiten analysieren und nicht den Part als ganzes. Das funktioniert hier nicht (war mir auch vorher bewusst, doch hätte Ich dann andauernd Fragen bekommen, warum Ich nur das Solo analysieren würde).

Das Solo … da schwärmt doch fast jeder Leadgitarrist. Für viele die sschönsten ~ 30 Sekunden des Songs.

Hier spielten wiedermals zwei Gitarren teilweise gleichzeitig, was durch die unterschiedlichen Farben deutlich gemacht wurde. Habe auch den Pre-Chorus noch mit reingenohmen. Das interessante hier ist, dass ein deutliches Muster sehbar ist (Ich will jetzt nicht A-Moll schreihen, aber nun gut). Wenn es interessiert: Die roten Punkte machen die Tonart deutlich. Ksnn auch sein, dass Ich mich in der Tonart irre, bin gerade nicht selber 100%ig sicher, aber A-Moll kam mir zuerst in de Sinn. Sicherlich würde es einige interessieren, warum Ich hier nicht Songs wie “Layla” oder “Little Wing” analysiert habe, der Grund ist relativ simpel: “Layla” ist ein Monstrum und verdient einen eigenen Eintrag, “Little Wing” hingegen werde Ich demnächst mal machen, um es mit dem Original und der Version von Vaughan zu vergleichen. Melde mich nächste Woche entweder mit ‘nen paar Led Zep Klassikern oder wieder mit Clapton (habe hier noch ein paar Sachen, mit denen Ich nicht fertig wurde). Mal gucken und bis demnächst

It is the 42nd aniversary of Jimi Hendrix’s American release of ‘Axis: Bold as Love’ recording.  This often overlooked powerful contemporary groundbreaking artistry is unique and shows Hendrix at his best with both the poetry of his lyrics and powerful and emoting guitar antics that made him the innovator that to this day, no one has come close to copying, even with all of the advancement in electronics. He among others such as Jeff Beck, used the natural feedback of overdriven amplifiers to produce harmonic overtones and controlled them to produce sounds unheard of for that time. not to mention playing with his teeth, behind his back and setting his guitar on fire..but when Eric Clapton came to see him in England – (as he wasn’t accepted here in the States in the beginning of his career). Their chance came when Paul McCartney recommended the group to John Phillips of the Mamas and Papas, one of the principal organizers of the Monterey International Pop Festival) – Hendrix asked Clapton to tune his guitar for him, because he always had a hard time doing it himself. Bending those strings so violently would always cause them to go out of tune. Note: In an interview Clapton recalled this incident and was ‘embarrassed’ to do so in front of the audience.

 The lyrics reflect emotional ideas in terms of color- Hendrix stated, in explanation of his color-emotion interpretations, “Jealousy is purple; I’m purple with rage…”, paralleling the lyrical reference to the “purple armor” of a personified anger. ‘Little Wing’ is the Indian name of Hendrix’s guardian angel. Jimi himself said that it was his impression of the Monterey Pop Festival put into the form of a girl. It was also one of Hendrix’s most covered songs by other artists such as Eric Clapton, Stevie Ray Vaughn, Phish, Kirk Hammett of Metallica, Skid Row, Sting and the Irish band The Corrs.

Here in full from 1967 are the lyrics to the title song ‘Bold as Love.’

Bold As Love

Anger he smiles, towering in shiny metallic purple armor

Queen jealousy, envy waits behind him

Her fiery green gown sneers at the grassy ground

Blue are the life giving waters taking for granted

They quietly understand.

Once happy Turquoise armies lay opposite ready

But wonder why the fight is on

But they’re all bold as love they’re all bold as love

they’re all bold as love

 Just ask the Axis

My Red is so confident

He flashes trophies of war and ribbons of euphoria

Orange is young, full of daring But very unsteady for the first go round

My Yellow in this case is not so mellow

In fact I’m trying to say that it’s frightened like me

 And all this emotions of mine keep holding me from giving my life to a rainbow like you

 But I’m, yeah, I’m bold as love

Well, I’m bold, bold as love I’m bold as love

Just ask the Axis, he knows everything, yeah, yeah, yeah……….

 and just for the fun of it from the same album ‘If a 6 Was a 9′

If 6 Was 9 If the sun refuse to shine I don’t mind I don’t mind

If the mountains fell in the sea, Let it be It ain’t me

Got my own world to look thru, And I ain’t gonna copy you

Now if 6 turned out to be 9, I don’t mind I don’t mind

If all the hippies cut off all their hair, I don’t care I don’t care

Dig it Got my own world to look thru, And I ain’t gonna copy you

White collared conservative flashing down the street

Pointing their plastic fingers at me

They’re hoping soon my kind will drop and die

But I’m gonna wave my freak flag high, high

Fall mountain, just don’t fall on me Hello, Mr. Businessman, why you ain’t dressed like me?

I’m the one who has to die when it’s time for me to die

So let me live my life the way I want to

Sing on, brother,

Play on, drummer

Guten Tag @ all und ein schönes Wochenende

Ich möchte heute ein weiteres Claptonalbum vorstellen (schon das zweite nach seinem “Unplugged”). Diesmal möchte Ich euch “Layla and Other Assorted Love Songs” näher bringen, da dieses ein wahrer Klassiker des Electric Blues und der Slide Guitar ist. Die Vorgeschichte zum Album ist wirklich lesenswert und ausführlich in der englischsprachigen Wikipedia nachzulesen. Dieses Album als Liebeserklärung an Patty Boyd, die damalige Ehefrau von George Harrison, war auch der Grund, warum Clapton auch in eine Alkohol- und Dorgensucht geriet (enttäuscht darüber, dass sein wohl bestes Werk nicht die entspechende Beachtung bekam). Dieses Album steht auch musikalisch als Wendepunkt in der Karriere des Eric Clapton dar: Es ist das letzte reguläre Studioalbum, das er nicht unter seinem Namen veröffentlicht hat (Musste gerade an “Chinese Democracy” denken, obwohl dieses Album mit der Ursprungsbesetzung von Guns N’ Roses nur noch Axl Rose gemein hat ist es ein Gemeinschaftswerk, so ist es hier auch: Dieses Album ist ein Gemeinschaftswerk und nicht wie von manchen Leuten angenohmen eine Soloplatte von Clapton mit guten Studiomusikern). Die Trackliste:

1. I Looked Away (Clapton, Whitlock)
2. Bell Bottom Blues (Clapton)
3. Keep on Growing (Clapton)
4. Nobody Knows You When You’re Down and Out (Cox)
5. I Am Yours (Clapton, Nizami)
6. Anyday (Clapton, Whitlock)
7. Key to the Highway (Broonzy, Segar)
8. Tell the Truth (Clapton, Whitlock)
9. Why Does Love Got to Be So Sad? (Clapton, Whitlock)
10. Have You Ever Loved a Woman (Myles)
11. Little Wing (Hendrix)
12. It’s Too Late (Willis)
13. Layla (Clapton, Gordon)
14. Thorn Tree in the Garden (Whitlock)

Wie zu sehen ist, besteht die Songauswahl zum Teil aus bekannte Songs (Bluesklassikern oder auch einem der Hendrixsongs schlechthin), wie auch aus extra für das Album geschriebenen Liedern. “Little Wing” ist nicht wie zu vermuten lässt als Hommage an Hendrix aufgenohmen wurden, sondern entstand schon eine Woche vor seinem Tod. Dieses Album ist wirklich hörenswert, wobei es relativ schwierig ist, Anspieltipps zu geben … man sollte sich auch zu Gemüte ziehen, dass dieses Album über 76 Minuten lang ist, weswegen man es beim ersten Durchhören besser in Teilen hören sollte. Anbieten würden sich da 20 Minutenblöcke, warum wohl

Guitar Hero(R) Catalog Expands With New Music From Rock ‘n’ Roll Icons Queen and Jimi Hendrix This Month

–Six Additional Tracks from Countries throughout

SANTA MONICA, Calif., March 3, 2009 /PRNewswire-FirstCall via COMTEX News Network/ — Six Additional Tracks from Countries throughout Europe and the James Bond Theme Song Further Add to Guitar Hero World Tour’s Downloadable Content Set List

This month, gamers will again be able to expand their virtual set lists with over a dozen new downloadable tracks for Activision Publishing, Inc.’s (Nasdaq: ATVI) Guitar Hero(R) World Tour. With over 37 million songs downloaded for the franchise to date, Guitar Hero(R) fans will soon be able to experience more awesome music – from the likes of English rock ‘n’ roll icons Queen, guitar legend Jimi Hendrix, a host of European superstars and more – which will join the more than 550 songs rocking the Guitar Hero catalog already.

On March 5th, Guitar Hero World Tour’s global music library will continue to grow with three additional tracks from some of Europe’s greatest bands. The third European Track Pack, which includes the hit song “Break It Out” by Italian pop punk band Vanilla Sky and “In the Shadows” by one of Finland’s most successful bands, The Rasmus, will also contain “C’est Comme Ca” the top single from French pop rock duo Les Rita Mitsouko’s 1986 album The No Comprendo.

As a follow-up to the third European Track Pack, rockers from the Netherlands, Germany and Spain will also be contributing to Guitar Hero World Tour’s increasing catalog of downloadable content. On March 19th, the Dutch symphonic rock/metal band Within Temptation takes the virtual stage with “What Have You Done,” the first single off their fourth studio album The Heart of Everything. Joining them are German punk band Die Toten Hosen, who made their debut appearance in Guitar Hero(R) III: Legends of Rock, playing an encore as part of the full band experience with their 1988 hit “Hier Kommt Alex” and Spanish rock band M-Clan with their classic song “Carolina.”

Already appearing as an in game playable character; on March 19th, guitar savant and music legend Jimi Hendrix returns to Guitar Hero World Tour’s stage once again with an extraordinary three song Track Pack that will set fans fingers ablaze as they strive to keep up with his intense guitar riffs and insane solos. The second Jimi Hendrix Track Pack features “Freedom” and “Angel,” two hit singles off of his First Rays of the New Rising Sun album, and a one of a kind 1969 live from Woodstock recording of the timeless classic “Foxey Lady.” Additionally, the songs from the first Jimi Hendrix Track Pack – “If 6 was 9,” “Little Wing” and “Fire” – will also be available on March 19th as downloadable singles for Wii(TM).

Rock and Roll Hall of Fame inductees Queen, one of the greatest and most influential bands of all-time, take center stage on March 26th with downloadable content for Guitar Hero World Tour. The three song Queen Track Pack contains some of the band’s most iconic tracks including the power ballad, “We Are The Champions,” which has become one of the most common anthems celebrating the ultimate victory, as well as “Fat Bottomed Girls” from the 1978 album Jazz and “C-lebrity,” from their 2008 album with Paul Rodgers, The Cosmos Rocks.

On March 26th, Bond aficionados and Guitar Hero rockers alike will have another reason to celebrate as Guitar Hero World Tour releases a new recording of the classic James Bond theme song as downloadable content.

The two European Track Packs, Jimi Hendrix Track Pack and Queen Track Pack will be available on Xbox LIVE(R) Marketplace for the Xbox 360(R) video game and entertainment system from Microsoft for 440 Microsoft Points and on the PlayStation(R)Store for the PLAYSTATION(R)3 computer entertainment system for $5.49. The songs in the two European Track Packs, Queen Track Pack plus the James Bond Track will be released as downloadable singles for Xbox 360 for 160 Microsoft Points, PLAYSTATION 3 system for $1.99 and Wii(TM) for 200 Wii Points each. The Jimi Hendrix tracks will be available as downloadable singles for Wii for 200 Wii Points.

Guitar Hero World Tour transforms music gaming by expanding Guitar Hero’s signature guitar gameplay into a cooperative band experience that combines the most advanced wireless controllers with new revolutionary online* and offline gameplay modes including Band Career and 8-player “Battle of the Bands,” which allows two full bands to compete head-to-head online. The game features a slick newly redesigned guitar controller, drum kit controller and a wired microphone, as well as an innovative Music Studio music creator that lets players compose, record, edit and share their own rock ‘n’ roll anthems. Music creators are also able to share their recordings with their friends online through GHTunes(SM) where other gamers can download and play an endless supply of unique creations.

Guitar Hero World Tour is now available for Xbox 360, PLAYSTATION 3 computer entertainment system, the Wii home video game system from Nintendo and the PlayStation(R)2 computer entertainment system. The game is rated “T” for Teen by the ESRB. For more information on Guitar Hero World Tour, please visit worldtour.guitarhero.com.

Well shes walking through the clouds
With a circus mind that’s running round
Butterflies and zebras and moonbeams and fairy tales
That’s all she ever thinks about
Riding with the wind.

When Im sad, she comes to me
With a thousand smiles, she gives to me free
Its alright she says its alright
Take anything you want from me, anything
Anything.

Fly on little wing,
Yeah yeah, yeah, little wing

Like a lot of people, I first heard about the Chapman stick when Tony Levin started waving one around with Peter Gabriel and King Crimson in the Eighties. Last week I bought the December issue of Guitar Player in order to read the tributes to the late Les Paul, and found a profile of Stick creator Emmett Chapman that showed he may yet earn himself a place in the pantheon alongside the great player and inventor.

Does the Log lead inevitably to the Stick? Here’s Bob Culbertson playing “Little Wing” on an acoustic Stick:

How about something bluesy on an electric Stick?

Taking it back to the beginning (for me, anyway) here’s Levin leading his solo band through “Elephant Talk,” which helped launch the reconfigured Eighties edition of King Crimson into the stratosphere.

Adrian Belew sounded a bit like David Byrne when he sang the original version. To my ears, Levin occasionally veers toward Sacha Baron Cohen doing King Julien. But the man does make his fingers sing.

Viikon biisinä Jimi Hendrixin paljon versioitu Little Wing, tässä suosikkiversioni irkkusisarusbändi The Corrsin akustinen live.

A revista Time fez recentemente uma lista com os 10 melhores guitarristas de todos os tempos. A lista é a seguinte:

01. Jimi Hendrix
02. Slash
03. B.B. King
04. Keith Richards
05. Eric Clapton
06. Jimmy Page
07. Chuck Berry
08. Les Paul
09. Yngwie Malmsteen
10. Prince

Estas coisas das listas dos melhores de sempre, têm sempre muito que se lhe diga. Eu tenho a certeza absoluta que o critério principal foi o gosto pessoal de quem fez a lista. Todos os rankings de guitarristas que vi até agora, têm o Jimi Hendrix no topo. E sempre será. Mas analisando as coisas friamente, ele é o melhor guitarrista de sempre? Eu nem me atrevo a contestar isto, é um lugar-comum. Se ele merece? Provavelmente sim, pôs a guitarra na ribalta e isso é muito. Aquilo que mais aprecio no Jimi hendrix são duas coisas que me faltam: um sentido rítmico apuradíssimo e a forma como misturava ritmos e melodia, criando assim uma harmonia extraordinária, poucos conseguem criar tanta riqueza musical apenas com uma voz e guitarra. Em baixo estão dois exemplos daquilo que acabo de dizer. O segundo “Little Wing” é das minhas músicas preferidas, é de um bom gosto incrível e tem um solo que derrama feeling, como é de costume no Jimi Hendrix.

Muito disto passa pelo problema em homenagear pessoas vivas, ou que ainda estão a construir a lenda, tais como Steve Vai e Joe Satriani. Estes dois são absolutamente incontornáveis. Não se pode fazer uma lista dos melhores de sempre sem os incluírem. A questão passa muito pelo critério, que além do goisto pessoal, é a influência noutros músicos. Certamente o Hendrix é a maior referência nesse domínio. O próprio Satriani o admite e o elege como o melhor. Mas então próprio Satriani não é uma influência? Absolutamente. Nem se questiona. A maior da minha geração, e essa quando fizer uma lista dos melhores guitarristas, vai incluir esse nome de certeza. Eu até uso uma guitarra do modelo dele, palhetas da mesma marca, cordas, etc. Não imito o som porque não tenho ouvido, talento e material para isso.

E quanto ao Steve Vai, é difícil ser influencia porque ninguém consegue tocar como ele. O Satriani é mais alcançável, não digo tecnicamente porque isso é outro campeonato, mas as harmonias, o uso de frases com muitos pull-off’s e hammer-on’s, o uso modo lidío que também é muito usado pelo Steve Vai, o qual confere um sabor exótico nas músicas, coisas que podem ser absorvidas, menos mirabolantes, o Satch distingue-se muito pela dimensão em termos de composição que consegue dar à guitarra. Pois é, este senhor Satriani fundiu este exotismo com o rock,juntando aquele som único e uma técnica magistral (O Hendrix não tinha tanta, lamento, mas é mesmo assim) criou um estilo que influenciou muita e muita gente. Está para os guitarristas da actualidade como o Hendrix para os hippies, mas com uma grande diferença. O Jimi Hendrix estava associado a um movimento de libertação cultural, uma mensagem de liberdade e paz numa altura conturbada. Isso é fundamental para a criação de um ídolo, uma referência, não critico isso, a música serve para isso e o Hendrix transmitia essa cultura a cada nota que atacava.

Este artigo fala de uma coisa muito importante. A injustiça de compara guitarristas de estilos muito diferentes, blues, flamenco, heavy, jazz, etc. São campeonatos diferentes, o Paco de Lucia certamente tem lugar nesta lista. Sou grande adepto do Slash, mas um segundo lugar parece-me esticar um bocado a corda. Rolling Stone também elaborou uma lista do género onde classificou o Kurt Cobain como o 12º melhor guitarrista de sempre. Eu sem exagero, consigo pensar em 50 guitarristas melhor que ele. Mas uma coisa eu não posso negar, se calhar se forem contabilizadas as tentativas de aprendizes de guitarra em tentar tocar o riff inicial da “Come Has You Are”, e comparando com as tentativas em tocar os riffs daqueles 50 em que estou a pensar, provavelmente o Kurt Cobain ganha por “quinjajero”. É uma geração inteira com guitarras cheias de autocolantes a ouvir o “MTV Unplugged in New York” e a passar um charro à gaja que gostam. No fim, são essas coisas que contam. Que se lixe o Satriani…

Na lista da Time, consta um nome que diz muito, Yngwie Malmsteen. Eu não o colocaria no top ten, porque foi alguém que se perdeu no tempo, a qualidade da música foi-se perdendo gradualmente e é um tipo cheio de “manias”. Mas uma coisa é certa, o primeiro álbum dele, Rising Force, continua a ser dos melhores de sempre do heavy neo-clássico. Uma mistura espectacular entre heavy-metal e o barroco, dois estilos que assentam como uma luva um no outro. Porquê? Virtuosismo. Essa é a qualidade principal que os executantes do dois estilos devem possuir. Muitos outros guitarristas fizeram o mesmo, Rhandy Roads (Ozzy Osbourne), Jason Becker, Marty Friedman (Megadeth), Kiko Loureiro (Angra), Ritchie Blackmore (Rainbow & Deep Purple), Tony Macalpine, Michael Angelo Batio.

Este guitarrista sofre de uma doença degenerativa rara que o deixou impossibilitado de tocar, ainda compõe com o auxilio de um computador. Esta é a sua virtuosíssima versão do 5º Capricho de Paganini.

Mas existe sempre uma coisa que impressiona os leigos da guitarra, o “show off”. E o maior especialista nessa matéria é o Michael Angelo. Tem uma técnica e habilidade impressionantes, toca com guitarras de dois braços ao mesmo tempo e faz assim umas trocas de mãos alucinantes e coisas do género. Mas é apenas circo, pois a música é completamente desprovida de feeling.

Eu não discordo que o Prince e o Keith Richards constem da lista, mas consigo pensar em melhores guitarristas, mas o Prince é muito bom e a maioria das pessoas desconhecem esse facto. A presença de Les Paul (falecido recentemente) também compreendo, inventou o modelo Les Paul, absolutamente famoso em todo o mundo guitarrístico, além de ser ele próprio um bom guitarrista. O Chuck Berry é considerado o criador do rock & roll. O Jonh Lennon disse que se houvesse outro nome para o rock & roll seria Chuck Berry. Aqueles riffs de guitarra são reconhecíveis de imediato e a presença em palco com os movimentos de pernas que deram origem à postura rock dos guitarristas. Fica aqui o vìdeo da sua famosíssima “Johnny B. Goode”.

E este é um dos seus famosos “moves”, o “duckwalk”, mais tarde imitado pelo Angus Young dos ACDC.

Há guitarristas que se destacam pela elegância da sua musica. Exemplos disso são o Eric Jonhson e o Steve Morse. O Eric tem dos melhores sons de guitarra que já ouvi e um técnica extremamente subtil. Um primeiro convidado dos G3, um grupo de 3 guitarristas onde 2 são o Satriani e o Vai e outro é um convidado. Uma cimeira dos 3 grandes. Fica a qui uma das suas preciosidades, “Manhattan”.

O Steve Morse é outro exemplo de elegância, mais ainda, de versatilidade. Uma çao de bom gosto e de domínio técnico de todas as técnicas de guitarra. Fica aqui um vídeo de um solo maravilhoso, feito nos Deep Purple, pois ele é o guitarrista dessa banda, em detrimento do Malmsteen, é bem melhor do que ele.

Os guitarristas de blues Peter green, Eric Clapton, Stevie Ray Vaughan, B.B. King, Albert King, Albert Collins, etc. Não consigo nomea-los todos, são muitos e muito bons. Estes influenciaram outros guitarristas de todos os estilos. No metal não há muito guitarristas, dos bons, que não tenham influências destes artistas e utilizam escalas de blues nos seus solos.

Na fusão proliferam geniais músicos. Fusão é um estilo que mistura jazz com outros estilos diferentes, rock, blues, e frequentemente música do mundo. Da parte dos guitarristas há muito bons exemplos como Pat Metheney, Al di Meola, Frank Gambale, etc. Já tive oportunidade de ver Meola ao vivo e tenho um cd autografado, é genial, mistura flamenco e latino com outras. O Gambale é um guitarrista que tem muitos livros publicados e é fenemonal na ´tecnica de sweep picking, ou seja, varrer as cordas com a palheta e fazer aperggios.

Este vídeo é de uma música do Meola, “Mediterranean Sundance”, ele toca com o Paco de Lucia e faz parte de um disco obrigatório para qualquer guitarrista. O “Friday Night in San Francisco”.

Este é o Frank Gambale, num vídeo a mostrar como se fazem arpeggios, atençaõ também ao baixista, Jeff Berlin.

Bem, eu podia continuar a falar de guitarristas, mas vou abreviar e passar a um estilo do qual sou profundo admirador, o Heavy-Metal. Aqui abundam grandes músicos. A dupla de guitarristas dos Iron Maiden é disso exemplo. O Dave Murray e o Adrian Smith definem o que é o metal. Nem vou entrar em detalhes, eles têm tudo, os om, a personalidade, a humidade e a técnica…Fica aqui uma das minhas preferidas e muito underrated, “Stranger in a Strange Land”.

Eles são tantos, que até parece mal falar deles só de passagem, já referi alguns, mas o Angus Young dos ACDC tem de merecer um reparo especial, são muitos riffs famosos e muito bom gosto. O Alex Skolnick dos Testament, um dos melhores guitarristas do thrash e a aluno do Satriani,um dos meus preferidos. O Dimebag Darrel dos Pantera, que reinventou o metal, o Criss Oliva dos Savatage, e por aí fora. Não me lembro de mais, mas são muitos. Ah, e não me posso esquecer do Brian May, apesar de não ser metal, Queen tem um guitarrista com um estilo único que tocava com uma moeda, que tinha um som que muitos tentaram imitar sem sucesso.

Vou finalizar esta extensa enumeração de guitarristas com um dos que mais me tocou, o Jonh Petrucci dos Dream Theater. Técnica e feeling desta maneira é uma coisa única. Um marco na história do metal. Nem vale a pena dizer mais nada é único. E não aparece na patética lista da Rolling Stone dos melhores 100 guitarristas do mundo, é mesmo isso, conseguíram fazer um alista sem o incluir, nem a ele nem ao Satriani…

O que me mete mais nojo nisto tudo, é o facto do Satriani ser conhecido pela história com os palermas do Coldplay. Experimentem escrever satriani no g0ogle e vejam qual é a palavra que aparece a seguir. Em relação à suposta imitação desses gajos, eu até acho que fazem coisas interessantes, não ouço, se é para ouvir pop, ouço U2 que é muitíssimo melhor. Mas o pessoal fica todo contente com aquela música “Viva la Vida” que supostamente é uma cópia da “If I Could Fly”. Se é ou não, não sei, mas uma coisa é certa, nem é do melhor de Satriani, longe disso.

ps: Faltam aqui imensos nomes (Santana…:D), eu também não me atreveria a fazer uma lista dos 100 melhores, simplesmente uma dos meus 100 preferidos, e não passam disso estas listas, sejam elas sobre guitarristas, álbuns ou bandas. E já agora, estou aberto a críticas, com sempre.

Actualização

Bem, lembrei-me agora de alguns nomes que não de forma alguma ser esquecidos, Santana, Eddie Van Halen e Nuno Bettencourt.

Já agora algumas uma curiosidades em relação a este video. O pormenor do Santana a desviar a guitarra quando pressente o feedback do amplificador (1:17) dá um ar caótico ao concerto. Genial, quando vejo este concerto e outros em woodstock, dá-me a impressão que foi simplesmente um grupo de pessoas que se juntou para tocar música “Hey, queres vir tocar uns acordes? Não tenho grande equipamento, mas vai estar lá um pessoal fixe e tal, Hendrix, Santana, The Who, Janis Joplin, Joe Cocker.” O baterista que toca com o Santana, Mickaël Shrieve, foi o músico mais novo que tocou nesse festival, e destacou-se pelo solo que faz nesta música. Obrigado Sal, por este vídeo

Como é que me esqueci do Van Halen?! Acho que poucos guitarristas popularizaram uma técnica como o Van Halen com o tapping. É uma técnica onde se utiliza a mão que segura a palheta para “martelar” directamente na corda na casa pretendida. Dá um efeito espectacular, e é a foram mais fácil de fazer coisas rápidas. Mas não é só por isso que ele se destaca, tem um sentido rítmico excelente, e os acompanhamentos dele são de um bom gosto tremendo. E sempre cheio de pinch harmonics lá pelo meio, assim grosseiramente, são os “gritos” que se ouvem a sair da guitarra. Algo que é usado e abusado no heavy-metal, Zack Wilde, Glen Tipton (Judas Priest), são bons exemplos.

Também me olvidé de falar dos guitarristas portugueses. E começo já pelo açoriano Nuno Bettencourt, imigrou para os EUA e foi considerado o herdeiro do Van Halen em termos estilísticos. Aquilo que falei do Van Halen em termos técnicos aplica-se ao Nuno, mas o português envereda um pouco mais pelo funk. Eu só não percebo é porque é que este tipo é tão pouco conhecido em Portugal, guitarrista dos Extreme, os autores da famosíssima “More Than Words”. Fica aqui um grande solo, lindo mesmo, pleno de técnica e sentimento, e eu não me canso de frisar o quanto estas duas características são importantes para um guitarrista.

Mas há outros, o Gonçalo Pereira, cheio de técnica e com um estilo muito próprio, também desconhecido em Portugal. Mas posso dar mais exemplos, Pedro Jóia; Joel Xavier, Paulo Barros. Todos eles muito bons. Este último é o guitarrista dos Tarântula, uma banda de Heavy-Metal portuguesa.