| A great list published back in April 2009 over @ pastemagazine.com.
Here is top 9 & the final part of this series of blogposts. -> Part 1 is here |
Continue reading The 9 Best Bob Dylan Covers – according to Paste Magazine (Video & Audio)
“Sometimes I do a Dylan song and it seems to fit me so right that I figure maybe I wrote it. Dylan didn’t always do it for me as a singer, not in the early days, but then I started listening to the lyrics. That sold me.”
– Jimi Hendrix, Beat International 1969
Though they were not close friends, Jimi Hendrix was a huge fan of Bob Dylan and covered five of his songs (to my knowledge), both live and in the studio. These tracks are “Like a Rolling Stone,” “All Along the Watchtower,” “Drifter’s Escape” , “Can You Please Crawl Out Your Window?” and “Tears of Rage” (by Dylan and Richard Manuel)
“I like his Blonde On Blonde and Highway 61 Revisited. His country stuff is nice too, at certain times. It’s quieter, you know.”
– Jimi Hendrix (1970, Hendrix on Hendrix)
“One day that fall [Howe] was walking down Eighth Street in New York City with Jimi when they spied a figure on the other side of the road. “Hey, that’s Dylan,” Jimi said excitedly. “I’ve never met him before; let’s go talk to him.” Jimi darted into traffic, yelling “Hey, Bob” as he approached. Deering followed, though he felt uneasy about Jimi’s zeal. “I think Dylan was a little concerned at first, hearing someone shouting his name and racing across the street toward him,” Deering recalled. Once Dylan recognized Jimi, he relaxed. Hendrix’s introduction was modest enough to be comic. “Bob, uh, I’m a singer, you know, called, uh, Jimi Hendrix and…” Dylan said he knew who Jimi was and loved his covers of “All Along the Watchtower” and “Like a Rolling Stone.” “I don’t know if anyone has done my songs better,” Dylan said. Dylan hurried off, but left Jimi beaming. “Jimi was on cloud nine,” Deering said, “if only because Bob Dylan knew who he was. It seemed very clear to me that the two had never met before.””
– Charles Cross (Room Full of Mirrors)
“undoubtedly a rock album, albeit rock on the point of evolving into something else.”
– David Stubbs“one of the greatest double-albums in rock.”
– John Perry
Electric Ladyland is the third and final album of new material by the Jimi Hendrix Experience, released in October 1968 on Reprise Records. It is the only Hendrix studio album professionally produced under his supervision. It topped the Billboard 200 album chart for two weeks in November 1968.
| Released | October 25, 1968 (some sources says October 16…worth celebrating anyhow) |
|---|---|
| Recorded | Olympic Studios, London and Record Plant Studios, New York, July and December 1967, January 1968, April–August 1968 |
| Genre | Psychedelic rock, blues rock, acid rock, hard rock |
| Length | 75:47 |
| Label | Reprise, Track, Barclay, Polydor |
| Producer | Jimi Hendrix |
All along the watchtower, the best Dylan cover of all time! (live, Isle of Wight):
This is a perfect Hendrix album. It is poppy and funky and original at the same time, and what a great soul singer Hendrix was! I also think it is very inventive, sonically speaking. Jimi Hendrix really searched for “new sounds” on this record, he produced an album that has stood the test of time marvelously.
Continue reading October 25: Electric Ladyland by The Jimi Hendrix Experience was released in 1968
“I’m the one that’s got to die when it’s time for me to die, so let me live my life the way I want to.”
― Jimi Hendrix“Music is a safe kind of high.”
― Jimi HendrixOh, I loved… I loved Jimi Hendrix.
~Bob Dylan (Verona press conference, May 1984)
Neil Young inducts Jimi Hendrix Experience Rock and Roll Hall of Fame inductions 1992:
All Along The Watchtower (live):
Continue reading September 18: Jimi Hendrix passed away in 1970
By 1969, Hendrix was the world’s highest-paid rock musician. In August, he headlined the Woodstock Music and Art Fair that included many of the most popular bands of the time. For the concert, he added rhythm guitarist Larry Lee and conga players Juma Sultan and Jerry Velez. The band rehearsed for less than two weeks before the performance, and according to Mitchell, they never connected musically. Before arriving at the engagement, he heard reports that the size of the audience had grown to epic proportions, which gave him cause for concern as he did not enjoy performing for large crowds. He was an important draw for the event, and although he accepted substantially less money for the appearance than his usual fee he was the festival’s highest-paid performer. As his scheduled time slot of midnight on Sunday drew closer, he indicated that he preferred to wait and close the show in the morning; the band took the stage around 8:00 a.m. on Monday.