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0043 HENDRIX JIMI, ELECTRIC LADYLAND. GUITAR.

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HENDRIX JIMI, ELECTRIC LADYLAND. TAB.

Series: Guitar Recorded Version TAB
Artist: Jimi Hendrix

15 songs from the album. The Guitar Recorded Versions edition has been newly revised with a 24-page full-color section. 232 Pages.

All Along The Watchtower
The Burning Of The Midnight Lamp
Come On (Part 1)
Crosstown Traffic
Gypsy Eyes
Have You Ever Been (To Electric Ladyland)
House Burning Down
Little Miss Strange
Long Hot Summer Night
Moon Turn The Tides Gently Gently Away
1983...(A Merman I Should Turn To Be)
Rainy Day Dream Away
Still Raining Still Dreaming
Voodoo Child (Slight Return)
Voodoo Chile

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1412 HENDRIX JIMI, ELECTRIC LADYLAND. BASS TAB.

Euro 21,00

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HENDRIX JIMI, ELECTRIC LADYLAND. BASS TAB.

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1683 HENDRIX JIMI, ELECTRIC LADYLAND. SCORE.

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HENDRIX JIMI, ELECTRIC LADYLAND. SCORE. TAB.

1983... (A Merman I Should Turn To Be)
All Along The Watchtower
And The Gods Made Love
Come On (Part 1)
Crosstown Traffic
Gypsy Eyes
Have You Ever Been (To Electric Ladyland)
House Burning Down
Little Miss Strange
Long Hot Summer Night
Moon, Turn The Tides... Gently, Gently Away
Rainy Day Dream Away
Still Raining Still Dreaming
The Burning Of The Midnight Lamp
Voodoo Child (Slight Return)
Voodoo Chile

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0786 HENDRIX JIMI, EXPERIENCE, THE BEST OF. BAND.

Euro 31,00

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HENDRIX JIMI, EXPERIENCE, THE BEST OF. 370 Pagine, 20 titoli. All Along The Watchtower -Angel -Bold As Love -Castles Made Of Sand -Crosstown Traffic -Dolly Dagger -Fire -Foxey Lady -Freedom -Hey Joe -If Six Was Nine -Little Wing -Manic Depression -Night Bird Flying -Purple Haze -Red House -Star Spangled Banner (Instrumental) -Stone Free -The Wind Cries Mary -Voodoo Child (Slight Return). BAND TAB.

Series: Transcribed Score TAB
Artist: Jimi Hendrix

This matching folio features exact transcriptions for every instrument played on 20 of Hendrix's best, Includes brief intros to each song.

All Along The Watchtower
Angel
Bold As Love
Castles Made Of Sand
Crosstown Traffic
Dolly Dagger
Fire
Foxey Lady
Freedom
Hey Joe
If Six Was Nine
Little Wing
Manic Depression
Night Bird Flying
Purple Haze
Red House
Star Spangled Banner (Instrumental)
Stone Free
Voodoo Child (Slight Return)
The Wind Cries Mary

368 pages

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0827 HENDRIX JIMI, FIRST RAYS OF THE NEW RISING SUN.

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HENDRIX JIMI, FIRST RAYS OF THE NEW RISING SUN. Titles: Angel -Astro Man -Beginnings -Belly Button Window -Dolly Dagger -Drifting -EZY Ryder -Earth Blues -Freedom -Hey Baby (New Rising Sun) -In From The Storm -Izabella -My Friend -Night Bird Flying -Room Full Of Mirrors -Stepping Stone -Straight Ahead. TAB.

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0902 HENDRIX JIMI, HIGHLIGHTS FROM BBC SESSIONS. TABLATURE

Euro 49,99

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HENDRIX JIMI, HIGHLIGHTS FROM BBC SESSIONS. TABLATURE

Series: Guitar Recorded Version TAB
Artist: Jimi Hendrix
TRANSCRIBED BY: DAVE WHITEHILL, JESS GRESS

Guitar transcriptions of 15 tunes taken from Hendrix's live BBC broadcasts. Includes: Day Tripper - Hey Joe - Hound Dog - I Was Made to Love Her - I'm Your Hoochie Coochie Man - Jammin' - Radio One Theme - Sunshine of Your Love, more. Features a 24-page full-color section, and a bonus transcription of the drum part (as performed by Stevie Wonder) on "Jammin'."

The Burning Of The Midnight Lamp
Can You Please Crawl Out Your Window?
Catfish Blues
Day Tripper
Hear My Train A Comin' (Get My Heart Back Together)
Hey Joe
Hound Dog
I Was Made To Love Her
I'm Your Hoochie Coochie Man
Jammin'
Killing Floor
Radio One Theme
Spanish Castle Magic
Sunshine Of Your Love
Wait Until Tomorrow

152 pages

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0044 HENDRIX JIMI, RADIO ONE. SCORE TABLATURE LAST COPY, OUT OF PRINT

Euro 89,99

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HENDRIX JIMI, RADIO ONE. RECORDED VERSIONS TABLATURE

SCORE:
GUITAR TABLATURE TRANSCRIBED DAVE WHITEHILL
BASS TABLATURE TRANSCRIPTIONS BY STEVE GORENBERG
DRUMS TABLATURE TRANSCRIPTIONS DAVE HERSHEY

AUTHORITATIVE TRANSCRIPTIONS FOR GUITAR, BASS AND DRUMS WITH DETAILED PLAYERS' NOTES AND PHOTOGRAPHS FOR EACH COMPOSITION.

283 PAGES.

RADIO ONE
As performed by the Jimi Hendrix Experience-Jimi Hendrix, Noel Redding, Mitch Mitchell-
on the Rykodisc album, Radio One.

Transcribed for guitarists by Dave Whitehill
Bass Transcriptions by Steve Gorenburg
Drum Transcriptions by Dave Hershey

Detailed player's notes by Dave Whitehill
Introduction by Noe Goldwasser
Photographs by Douglas Kent Hall
Music Editor - John Cerullo
Art Director - Richard Slater
Editorial Director - Noe "the G" Goldwasser
Photo Research by Bill Nitopi
Assisted by Barry Gruber
Released under the supervision of
Alan Douglas for Bella Godiva Music, Inc.
These transcriptions of music from
Radio One are authorized by
the Estate of Jimi Hendrix
All rights controlled and administered by Don Williams Group, Inc.
All compositions published by Bella Godiva Music, Inc. ASCAP except where otherwise noted.
All Rights Reserved. Any unauthorized use of the material herein is a violation of copyright law.
Hal Leonard Publishing Corporation

... that were to become his image-the strutting star of the sixstring
who played it upside down, around the back, with his
teeth, and generally with a lot of gusto.
The London of 1967 was, of course, going through its own
peacock transformation. "Swinging London," with its Mods
and Rockers, The Beatles, The Who, and The Rolling Stones,
Mary Quant, Lord Sutch, and Brian Jones, Jimi's stone buddy
in the heyday of flower power and psychedelic society. All of a
sudden, it was Jimi's world, and the lanky left-hander was on
top of it. He was more than just a novelty-a black American
raver cavorting with the cockney pretty things-he became the
mascot of the whole Brit-pop movement.
This accounts for the absolute cheerleading atmosphere that
prevailed in the studios of the "Top Gear" radio show when.
Jimi exhorted them to "get their hearts together" and join him
in a rendition of the blues-drenched "Hear My Train A
Comin'." "I see we got some friends laying around in this
studio," he said, "We're gonna lay some blues on you ...can
you dig that?" Then he sang a few verses of funk and 'Tm
gonna leave this town, leave this town. I'm gonna be big. I'm
gonna make a whole lot of money, baby, and come back to this
town, and 1 might even get a piece of you." That was to
become prophecy as Hendrix exploded like a supernova, and
the exuberant fans in the radio studio audience (as well as the
ones in the listening audience) that night and the others
collected on Radio One would henceforward have something to
tell their grandchildren about.
With Ryko's release of Radio One, bolstered by Joe Gastwirt's
digital mastering and Alan Douglas' wizened ear, the rest of us
will have that pleasure, too. Radio One is a treasure for those of
us who keep track of the limited supply of recorded evidence of
The Master's work, featuring as it does seventeen great versions
of songs we love, half of them selections not often heard on
"official" recorded sets. While "Purple Haze," "Stone Free,"
"Foxy Lady," and "Hey Joe" are interesting as "live" versions of
the same arrangements as on the official records, there are
fascinatingly bent renditions of "Killing Floor," "Love and
Confusion," "Hear My Train A Comin'," "Hoochie Coochie
Man," and "Fire." Thank God the tapes were rolling.
And there are cute vignettes of Jimi Hendrix the showman,
Jimi the evangelist of the Goodvibes Church of the New Rising
Sun, burning the midnight lamp with a cosmic grin. There is
the "Radio One Theme," Hendrix goofing on the role of the
cosmic radio announcer, playing as white as possible, spinning
off a jingle from the top of his head-"Radio One, you're the
only one"-as he inaugurate the event. And the wild
renditions of other people's classics-these are manna from
heaven. Jimi slashes through "Day Tripper" with reckless
abandon, obviously enjoying this romp through John Lennon's
song repertoire. Though Ryko purposely keeps the issue
vague in its position about the controversy about whether
that's John Lennon there doing the choruses and falsetto "day
trippers," Charles Shaar Murray, in his otherwise authoritative
Crosstown Traffic, states unequivocally that it's John Lennon
"joining in on the lead vocals." Alan Douglas says it's not!
What he heard from Noel Redding is that Noel sang it,
accounting for the nasal Brit accent on the tape.
There's nothing white about his version of "Killing Floor,"
though, and it's captured here on tape much as he would have
played it at many of his live shows-with passion. This is the
Jimmy James approach to a Howlin' Wolf classic in an
updated Muddy Waters country blues pattern, with lead and
rhythm integrated firmly. Ouch! There's just some great blues
on this album. There's also a real Muddy Waters tune,
"Catfish Blues." To me, the chance to hear Jimi stretch out in
this live setting with this bluesy material is one of the added
pleasures of Radio One. From the point of view of Jimi's
development as a musician, the time-frame has Jimi at the
peak of his interest in his own musical roots-not the shifty
slickness of soul, but the deeper, Mississippi Delta-born
motherlode of blues, which Jimi approached as a historian,
uncovering more and more gems in his research. "Catfish
Blues" reveals the blues scholar Jimi, having studied the
recorded works of Muddy Waters and John Hammond both,
and taken some from both, ironically pouring out this new
thing----experience.
When a musical genius has been dead for twenty years, the
discovery of a previously unreleased body of work becomes
an awesome event for those of us who study the master's
every nuance. When Radio One came out, it offered guitar
scholars a whole new palette of sounds to investigate,
correlate, appreciate, and imitate. The book you are about to
read will become your indispensible guide to that pursuit.
-Noif "the G" Goldwasser
Hendrix Library Editor

DRIVIN' SOUTH

I WHOLEHEARTEDLY AGREE WITH THE LINER NOTES TO RADIO ONE, BUT HAVE TO SAY THAT THIS HARD ROCKING INSTRUMENTAL IS DEFlNITELY
more than "worth the price of admission." It starts out in high gear and never once down-shifts. In fact, it seems to go into overdrive via an ascending whole-tone modulation from D to the key of E. Besides its entertainment value, there is truly a thorough education available here in the of art of playing blues and rock guitar. The study of Jimi's playing here will be the equivalent of years at the School of Hard Knocks for Aspiring Stringbenders and Licktraders. He uses all the scales common to these musical idioms, such as the "blues" scale ( 1 b3 4 #4 5 b7 ) and major pentatonic ( 1 2 3 5 6 ), plus he plays many of their characteristic riffs and licks, but in his own unique way that always transcends sounding cliched.
Since the dominant seventh chord is the harmonic base here, this chord's related scale, the mixolydian mode ( 1 2345 6 b7), is reflected in the key signatures. However, the notes used in this song aren't restricted to this particular mode, but these additional notes are used in a logical manner, often functioning as what are called chromatic passing tones. For example, during the first two beats of measure 11,he goes from A to G via Ab,the flatted fifth. Four measures later, he does a little more complicated move that involves delaying the resolution of the G note (which could be described, in this context, as a suspended fourth) by using E#as a leading tone into H, the third of the implied D7 chord (D F# A C). You'll also see these two ideas used frequently throughout this song in conjunction with partial chords, which is very pianistic and also fills up the consequential harmonic void when soloing in a power trio.

17 songs on the album of Jimi's live radio studio performance. Includes authoritative transcriptions for guitar, bass and drums with detailed players' notes/tablature and photographs for each composition.

1. Stone Free - WORDS AND MUSIC: JIMI HENDRIX - 1973
2. Radio One Theme - WORDS AND MUSIC: JIMI HENDRIX - 1967
3. Day Tripper - WORDS AND MUSIC: JOHN LENNON, PAUL McCARTNEY - 1965
4. Killing Floor - WORDS AND MUSIC: CHESTER BURNETT - 1973
5. Love or Confusion - WORDS AND MUSIC: JIMI HENDRIX - 1967
6. Drivin' South - WORDS AND MUSIC: CURTIS KNIGHT - 1970
7. Catfish Blues - WORDS AND MUSIC: MUDDY WATERS - 1959
8. Wait Until Tomorrow - WORDS AND MUSIC: JIMI HENDRIX - 1968
9. Hear My Train a Comin' - WORDS AND MUSIC: JIMI HENDRIX - 1973
10. Hound Dog - WORDS AND MUSIC: JERRY LEIBER, MIKE STOLLER - 1956
11. Fire - WORDS AND MUSIC: JIMI HENDRIX - 1967
12. (I'm Your) Hoochie Coochie Man - WORDS AND MUSIC: WILLIE DIXON - 1973
13. Purple Haze - WORDS AND MUSIC: JIMI HENDRIX - 1967
14. Spanish Castle Magic - WORDS AND MUSIC: JIMI HENDRIX - 1968
15. Hey Joe - WORDS AND MUSIC: BILLY ROBERTS - 1962
16. Foxy Lady - WORDS AND MUSIC: JIMI HENDRIX - 1967
17. Burning of the Midnight Lamp - WORDS AND MUSIC: JIMI HENDRIX - 1967

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0850 HENDRIX JIMI, SOUTH SATURN DELTA. TABLATURE LAST COPY, OUT OF PRINT

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HENDRIX JIMI, SOUTH SATURN DELTA. TABLATURE

About South Saturn Delta
By Jimi Hendrix. For guitar and voice. Hal Leonard Guitar Recorded Versions (Authentic note-for-note transcriptions),. Psychedelic Rock, Hard Rock and Classic Rock. Difficulty: medium. Guitar tablature songbook. Guitar tablature, standard notation, vocal melody, lyrics, chord names and guitar chord diagrams. 232 pages.
With guitar tablature, standard notation, vocal melody, lyrics, chord names and guitar chord diagrams. Psychedelic Rock, Hard Rock and Classic Rock.

Matching folio to the recent release of 15 tracks, including lost gems like 'Tax Free,' 'Look Over Yonder,' and 'Pali Gap,' as well as previously unreleased recordings like 'Here He Comes (Lover Man),' 'Message to the Universe' and 'Midnight Lightning,' and more.

POWER OF SOUL

RECORDED: RECORD PLANT, NEW YORK, JANUARY 21, FEBRUARY 3, 1970
ELECTRIC LADY, AUGUST 22, 1970
PRODUCER: JIMI HENDRIX
ENGINEER: BOB HUGHES [RECORD PLANT]
EDDIE KRAMER [ELECTRIC LADY STUDIOS]
MIXED By EDDIE KRAMER
ELECTRIC LADY STUDIOS, JULY 16, 1997
GUITAR, VOCALS: JIMI HENDRIX
BASS: BILLY Cox
DRUMS, PERCUSSION: BUDDY MILES
BACKING VOCALS: JIMI HENDRIX, BILLY Cox, BUDDY MILES
PREVIOUSLY UNRELEASED ALTERNATE VERSION
Recorded three weeks after the grou p'S legendary Fillmore East
concerts, the Band Of Gypsys meticulously crafted this
prototypical illustration of sophisticated funk.
Hendrix would revisit the track on February 3, 1970, overdubbing
guitar parts and creating a rough mix. At that stage, work on "Power Of Soul" drew to
a close. Hendrix instead chose to feature a live version of the song as part of Band or
Gypsys, issued in March 1970.
The January/February 1970 studio recording of "Power Of Soul" was shelved until the
marathon mixing sessions Hendrix staged at Electric Lady Studios in August 1970. As
Jimi reviewed the many contenders for his projected double album First Rays orThe
New Rising Sun, "Power Of Soul" was treated to a new rough mix, resulting in the
unique delay effect heard during the song's opening.
Because "Power Of Soul" had been featured on Band orGypsys, Jimi had not reserved
a position for the song on First Rays orThe New Rising Suno Although considered for
The Cry orLave, the first posthumous album of Jimi's unissued studio material,
"Power Of Soul" remained unavailable until a truncated version was overhauled and
included as part of the controversial 1975 compilation Crash Landing. Inexplicably,
the originai master was edited and remixed to accommodate overdubs recorded in
1974 by session percussionist Jimmy Maeulen. Lasting only 3:15 and retitled "With
The Power", the elaborate introduction and its two soaring lead guitar solos were
scrapped.
The version featured on this compilation discards the posthumous additions, restoring
the full length version with ali of its regal glory intact.

TAX FREE

RECORDED: OLYMPIC STUDIOS, LONDON, JANUARY 26,28, 1968
REcoRD PLANT, NEW YORK, MAY l, 1968
PRODUCER: CHAS CHANDLER
ENGINEER: EDDIE KRAMER
MIXED By EDDIE KRAMER AND JOHN JANSEN
ELECTRIC LADY STUDIOS, JANUARY 26, 1972
GUITAR: JIMI HENDRIX
BAss: NOEL REDDING
DRUMS: MITCH MITCHELL
ORIGINALLY ISSUED AS PART OF WAR HEROES.
Written by Bo Hansson and Jan Carlsson, "Tax Free" was
recorded at the outset of sessions for Electr;c Ladyland.
Despite its relative obscurity, the Experience discovered
the song during an earlier tour of Sweden. Hendrix, in
particular, relished the song's freewheeling arrangement
and intricate time changes.
Under Chas Chandler's direction, the Experience
record ed the basic track for "Tax Free" at Olympic
Studios on January 26, 1968. Additional work was
completed two days later, including the recording of the
distinctive rhythm guitar part fed through a Leslie organ
speaker, but the song was not yet complete. When
production for Electr;c Ladyland shifted to the Record
Plant, work on "Tax Free" continued. On May l,1968,
Jimi finally turned the corner, enhancing the final master
via a series of guitar overdubs.
Though "Tax Free" was not incl uded as part of Electric
Ladyland, the grou p often performed the song duri ng
their 1969 American and European tours. Eddie
Kramer, the originai engineer on both the Olympic and
Record Plant session dates, would later remix the song
with John Jansen in January 1972 so that it would be
included as part of the posthumous compilation War
Heroes.

THE STARS THAT PLAY WITH LAUGHTING SAM'S DICE

RECORDED: MAYFAIR STUDIOS, NEW YORK, JULY 19, 1967
PODUCER: CHAS CHANDLER
E GI EER: GARY KEllGREN
IXED By EDDIE KRAMER AND JOHN JANSEN
E~ECTRIC LADY STUDIOS, JANUARY 27, 1972
GUITAR, VOCALS: JIMI HENDRIX
oUMS: MITCH MITCHEll
BASS: NOEL REDDING
B CKING VOCALS: JIMI HENDRIX, MITCH MITCHEll, NOEL REDDING
ORIGINAllY ISSUED AS PART OF LOOSE ENDS.
erhaps the most outlandish of all of Jimi's studio
recordings, "The Stars That Play With Laughing Sam's
Dice" is laced with his searing guitar work and unique
humor. Recorded at New York's Mayfair Studios shortly
a er the Experience's triumphant US debut at the
onterey Pop Festival in June 1967, the sessions for
bo h "Burning Of The Midnight Lamp" and "The Stars
That Play With Laughing Sam's Dice" were among the
oup's first to utilize eight-track technology. Apart from
Is whimsical lyrics, the song's most prominent
characteristics were the sounds Jimi obtained from
s omping on customized tone pedals designed by Roger
ayer, a London based electron ics maven. Mayer, who
e riended Hendrix shortly after his arrival in London ,
as famed for the creation of such devices as the
Octavia, a tone pedal which allowed Hendrix to jump
octaves on the guitar with a simple flip of a switch.
Originally issued as the B-side of the 1967 Track
ecords UK "Burning Of The Midnight Lamp" single,
"The Stars That Play With Laughing Sam's Dice" was
la er added to the 1968 UK compi lation Smash Hits.
The version included here was remixed by Eddie
ramer and John Jansen in January 1972. It would
a er be featured on the 1973 compi lation Loose Ends,
hich has never been released in America.

MIDNIGHT

RECORDED: OLMSTEAD STUDIOS, NEW YORK, APRil 1,3, 1969
PRODUCER: JIMI HENDRIX
ENGINEER: EDDIE KRAMER
MIXED By EDDIE KRAMER AND JOHN JANSEN
ELECTRIC LADY STUDIOS, JANUARY 28, 1972
GUITAR: JIMI HENDRIX
BASS: NOEL REDDING
DRUMS: MITCH MITCHEll
ORIGINAllY ISSUED AS PART OF WAR HEROES.
Following a difficult and unproductive series of sessions
at Olympic Studios in February 1969, the Experience
did not return to the recording studio as a unit until
April, when they gathered at New York's Olmstead
Studios to try and recapture their momentum.
One of the most promising songs to emerge from these
early April 1969 sessions was the extended instrumental
"Midnight". Jimi had originally designated "Midnight
Lightning" as the song's title, before it was shortened
simply to "Midnight". "Midnight", like "Tax Free", was
hardly the result of an impromptu jam session. Instead,
the Experience devoted considerable time to
establishing the song's intricate rhythm pattern. With
that properly established, Hendrix carefully labored over
a series of inspired lead guitar lines.
The break-up of the Experience in June 1969 relegated
"Midnight" to the sidelines, where it joined a growing
stockpi Ie of original material the group had earmarked for
their fourth album. As a result, "Midnight" would remain
unreleased until it was mixed and put forward as part of
the posthumous compilation War Heroes in 1972.

BLEEDING HEART

RECORDED: RECORD PLANT, NEW YORK, MARCH 24, 1970
ELECTRIC LADY STUDIOS, NEW YORK, JUNE, 1970
PRODUCER: JIMI HENDRIX
ENGINEER: JACK ADAMS [RECORD PLANT]
EDDIE KRAMER [ELECTRIC LADY]
MIXED By EDDIE KRAMER AND JOHN JANSEN
ELECTRIC LADY STUDIOS, MARCH 11, 1971
GUITAR, VOCALS: JIMI HENDRIX
BASS: BILLY COX
DRUMS: MITCH MITCHELL
ORIGINALLY ISSUED AS PART OF WAR HEROES.
Like "Room Full Of Mirrors", "Bleeding Heart"
began as a twelve-bar bl ues before evolvi ng as an
uptempo Hendrix original.
As Jimi had transformed B.B. King's "Rock Me
Baby" into his own "Lover Man", "Bleeding Heart"
was modeled first on the original recording by the
legendary slide guitarist Elmore James. Both the
Experience and Band Of Gypsys performed
exceptional stage interpretations of the blues
classic in its original form. Yet, beginning with the
April 1969 Olmstead Studios sessions, Jimi began
to tinker with the song's structure, modifying its
elements unti I he had rei nvented it as h is own.
Hendrix maintained the song's blues heritage, but
altered the arrangement to accommodate new,
original lyrics and a faster tempo.
With Electric Lady Studios still under construction
and unavailable to him, Hendrix entered the Record
Plant on March 24, 1970 and captured the basic
track for "Bleeding Heart" with the last of four
inspired takes.
Like "Ezy Ryder", "Stepping Stone", "Izabella" and
many other Record Plant recordings from this
period, the master reel for "Bleeding Heart" would
be transferred to Electric Lady in May 1970.
Additional guitar parts would be overdubbed at the
new facility and Mitch Mitchell replaced the existing
percussion tracks with new drum parts. A rough mix
by Hendrix and Kramer encompassing these
improvements was made before the guitarist's
death, but no final master was achieved.

PALI GAP

RECORDED: ELECTRIC LADY STUDIOS, NEW YORK, JULY 1, 1970
PRODUCER: JIMI HENDRIX
ENGINEER: EDDIE KRAMER
MIXED By EDDIE KRAMER AND JOHN JANSEN
ELECTRIC LADY STUDIOS, MAY 12, 1971
GUITAR: JIMI HENDRIX
BASS: BillY COX
DRUMS: MITCH MITCHELL
PERCUSSION: JUMA SULTAN
ORIGINAllY ISSUED AS PART OF RAINBOW BRIOGE.
Recorded on what was perhaps his most productive night at Electric
Lady Studios, "Pali Gap" originally began as the instrumental jam
immediately following the master take of "Dolly Dagger."
Originally marked on the tape box as "Slow Part", "Pali Gap" actually
began as the recording of the basic track for "Dolly Dagger" drew to a
close. "As 'Dolly Dagger' began to come apart," explains Eddie
Kramer, "Billy Cox started playing the bass line to 'Gimme Some
Lovin',' the Spencer Davis Group song, and that developed into a jam
lasting nearly ten minutes."
Nearly three minutes into the jam, Hendrix shifted gears into "Pali
Gap" and the group fell in behind in full stride. "When the jam started,
Jimi was just [messing] around," remembers Kramer. "The tone he
was using was just his quiet jam tone, with the'amplifier turned down
some, and not the full-bore Marshall sound he had used to cut the
basic track for 'Dolly Dagger'. Afterwards, he overdubbed a second
guitar and new solo, with the Marshall back at full volume. He did
these with the Uni-Vibe, as well as a Leslie at the end."
While Hendrix never officially named this recording, the title "Pali Gap"
was coined after the guitarist's death by his manager, Michael Jeffery.
One of the producers of the ill-fated hippie docudrama Rainbow Bridge,
Jeffery hoped the new title "Pali Gap" would further wed the song to the
movie's Hawaiian locale. An edited version of the instrumental was
issued as part of the 1971 Rainbow Bridge film and its accompanying
soundtrack album.

DRIFTER'S ESCAPE

RECORDED: ELECTRIC LADY STUDIOS, NEW YORK, JUNE 17, JULY 19, 20, AUGUST 22, 1970
PRODUCER: JIMI HENDRIX
ENGINEER: EDDIE KRAMER
MIXED By JIMI HENDRIX AND EDDIE KRAMER
ELECTRIC LADY STUDIOS, AUGUST 22, 1970
GUITAR, VOCALS: JIMI HENDRIX
BASS: BILLY COX
DRUMS: MITCH MITCHELL
PERCUSSION: JUMA SULTAN
PREVIOUSLY UNRELEASED ALTERNATE VERSION.
The last of several inspired interpretations of Bob Dylan's
catalog by Jimi, "Drifter's Escape" ranked as a strong contender
for First Rays Of The New Rising Sun. The song's basic track was
achieved during an enthusiastic June 17, 1970 session. Hendrix
was intent on perfecting a series of lead guitar overdubs before the
song would be deemed complete. This master features additional
guitar parts recorded on July 19 and 20 as Jimi made a number of
attempts to try and realize a specific sound and tone for his lead guitar.
Unlike the track posthumously mixed by John Jansen and included as part of
Loose Ends, this version of "Drifter's Escape" was mixed by Hendrix and Kramer
during the lengthy overdub and mixing sessions staged at Electric Lady in the days
prior to the guitarist's departure for the August 1970 Isle Of Wight Festival in England.

About Guitar Recorded Versions:
Guitar Recorded Versions are note-for-note transcriptions of guitar music taken directly off recordings. This series, one of the most popular in print today, features some of the greatest guitar players and groups from blues, rock, and heavy metal. Guitar Recorded Versions are transcribed by the best transcribers in the business. Every book contains notes and tablature.

Contents:

LOOK OVER YONDER - WORDS AND MUSIC: JIMI HENDRIX - 1971
LITTLE WING - WORDS AND MUSIC: JIMI HENDRIX - 1968
HERE HE COMES (LOVER MAN) - WORDS AND MUSIC: JIMI HENDRIX - 1971
SOUTH SATURN DELTA (INSTRUMENTAL) - MUSIC: JIMI HENDRIX - 1973
POWER OF SOUL - WORDS AND MUSIC: JIMI HENDRIX - 1970
MESSAGE TO THE UNIVERSE (MESSAGE TO LOVE) - WORDS AND MUSIC: JIMI HENDRIX - 1970
TAX FREE - WORDS AND MUSIC: BO INGVAR HANSSON, JAN HUGO CARLSSON - 1973
ALL ALONG THE WATCHTOWER - WORDS AND MUSIC: BOB DYLAN - 1968
THE STARS THAT PLAY WITH LAUGHING SAM'S DICE - WORDS AND MUSIC: JIMI HENDRIX - 1970
MIDNIGHT (INSTRUMENTAL) - MUSIC: JIMI HENDRIX - 1971
SWEET ANGEL (ANGEL) - WORDS AND MUSIC: JIMI HENDRIX - 1972
BLEEDING HEART - WORDS AND MUSIC: JIMI HENDRIX - 1972
PALI GAP - WORDS AND MUSIC: JIMI HENDRIX - 1971
DRIFTER'S ESCAPE - WORDS AND MUSIC: BOB DYLAN - 1968
MIDNIGHT LIGHTNING - WORDS AND MUSIC: JIMI HENDRIX - 1971

Availability:

1684 HENDRIX JIMI, STONE FREE A TRIBUTE TO HENDRIX, for GUITAR & BASS. Per chitarra e per Basso. TAB. LAST COPY, OUT OF PRINT

Euro 26,95

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HENDRIX JIMI, STONE FREE A TRIBUTE TO HENDRIX, for GUITAR & BASS. Per chitarra e per Basso. TAB.

Musical tributes to Jimi Hendrix as performed on the 1993 release by such artists as Eric Clapton, The Cure, Pat Metheny, The Pretenders, PM Dawn, Seal, and Jeff Beck, plus special appearances by Mike McCready (Pearl Jam), Slash (Guns N' Roses), Buddy Miles and Billy Cox (Band Of Gypsys). Features tablature and lyrics to 13 songs on the original album.

Twelve songs transcribed for guitar and bass with detailed players' notes and photographs for each composition, with notes and tab. 144 pages.

Purple Haze - THE CURE
Stone Free - ERIC CLAPTON
Spanish Castle Magic - SPIN DOCTORS
Red House - BUDDY GUY
Hey Joe - BODY COUNT
Manic Depression - JEFF BECK, SEAL
Bold as Love - THE PRETENDERS
You Got Me Floatin' - P.M. DAWN
I Don't Live Today - BAND OF GYPSYS, PAUL RODGERS, SLASH
Are You Experienced? - BELLY
Crosstown Traffic - LIVING COLOUR
Third Stone from the Sun - PAT METHENY
Hey Baby (Land of the New Rising Sun) - M.A.C.C.

Availability:

0176 HENDRIX JIMI, VARIATIONS ON A THEME. TABLATURE

Euro 20,00

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HENDRIX JIMI, VARIATIONS ON A THEME: RED HOUSE. Dopo il Festival pop di Monterey; Brian Jones dei Rolling Stones si recò appositamente al concerto per presentarlo; Hendrix fu ingaggiato dal celebre promoter e faccendiere della musica rock Bill Graham. Bill nato a Berlino da genitori Russi il cui vero nome è Wolfgang Grajonca, fuggì in America durante in nazismo e prima di creare in un certo qual modo il business della musica rock californiana degli anni sessanta, fece molti mestieri. Nel 1965 aprì il celeberrimo Fillmore Auditorium, nel 1967 sempre a San Francisco rinnovò un vecchio locale chiamandolo il Fillmore West, nel '68 nell'altra costa degli Stati Uniti a New York ricavò il Fillmore East. In questi teatri si sono esibiti tutti i maggiori nomi della scena di quegli anni come ci confermano i numerosi album in essi registrati. Poi il camaleontico vecchio Bill, dopo la chiusura dei Fillmores, mutò lavoro nuovamente: manager e produttore. Jimi dopo lo scioglimento della sua banda "experience", registrò insieme a Billy Cox alla chitarra basso e Buddy Miles alla batteria, l'abum "band of gypsys" dal vivo nel 1970 al Fillmore East. Questa edizione della collana "Jimi Hendrix Reference Library" presenta le trascrizioni complete del blues dalla coloritura espressionista "red house", nelle tre magnetiche versioni del Newport pop festival, dell'Albert hall, e Winterland auditorium. Una lunga presentazione e vari esempi aggiuntivi sono a completamento del libro. Per chitarra, basso e batteria. TABLATURE

Availability:

CHITARRA LAMPO