Editing Jimi Hendrix (section)

=== The Jimi Hendrix Experience ===
{{Redirect|The Jimi Hendrix Experience|the album|The Jimi Hendrix Experience (album)}}
[[File:Jimi Hendrix experience 1968.jpg|thumb|upright|left|alt=A black and white photograph of three men, one is sitting on the floor.|Hendrix with the Experience ([[Noel Redding]] and [[Mitch Mitchell]]) in 1968]]
By May 1966, Hendrix was struggling to earn a living wage playing the R&B circuit, so he briefly rejoined Curtis Knight and the Squires for an engagement at one of New York City's most popular nightspots, the [[Cheetah (nightclub)|Cheetah Club]].{{sfn|McDermott|2009|p=17}} During a performance, Linda Keith, the girlfriend of [[The Rolling Stones|Rolling Stones]] guitarist [[Keith Richards]], noticed Hendrix and was "mesmerised" by his playing.{{sfn|McDermott|2009|p=17}} She invited him to join her for a drink, and the two became friends.{{sfn|McDermott|2009|p=17}}

While Hendrix was playing as Jimmy James and the Blue Flames, Keith recommended him to Stones manager [[Andrew Loog Oldham]] and producer [[Seymour Stein]]. They failed to see Hendrix's musical potential and rejected him.{{sfn|McDermott|2009|pp=17–18}} Keith referred him to [[Chas Chandler]], who was leaving [[the Animals]] and was interested in managing and producing artists.<ref name=hendrix2017>{{cite news | url = http://www.chroniclelive.co.uk/news/north-east-news/how-newcastles-chas-chandler-discovered-10386763 | title = How Newcastle's Chas Chandler discovered the best guitarist in the world | first= Barbara|last=Hodgson | date = November 4, 2015 | newspaper = [[Evening Chronicle]] | access-date = April 14, 2017 | quote = He was on his final tour with The Animals in the US when he heard about a talented young guitarist and went along to New York's Cafe Wha to see him in action. | archive-url = https://web.archive.org/web/20170414164302/http://www.chroniclelive.co.uk/news/north-east-news/how-newcastles-chas-chandler-discovered-10386763 | archive-date = April 14, 2017 | url-status = live }}</ref> Chandler saw Hendrix play in [[Cafe Wha?]], a Greenwich Village, New York City nightclub.<ref name=hendrix2017/> Chandler liked the [[Billy Roberts]] song "[[Hey Joe]]", and was persuaded he could create a hit single with the right artist.{{sfn|McDermott|2009|pp=18–21}} Impressed with Hendrix's version of the song, he brought him to London on September 24, 1966,<ref>{{cite web|url=https://www.bbc.co.uk/programmes/p01k8pf4|title=BBC One – imagine..., Winter 2013, Jimi Hendrix: Hear My Train A Comin', Hendrix in London|work=BBC|date=October 24, 2013 |access-date=December 21, 2019|archive-url=https://web.archive.org/web/20190329161248/https://www.bbc.co.uk/programmes/p01k8pf4|archive-date=March 29, 2019|url-status=live}}</ref> and signed him to a management and production contract with himself and ex-Animals manager [[Michael Jeffery (manager)|Michael Jeffery]].{{sfn|McDermott|2009|pp=20–22}} That night, Hendrix gave an impromptu solo performance at [[The Scotch of St James]] and began a relationship with [[Kathy Etchingham]] that lasted for two and a half years.<ref>{{harvnb|Black|1999|pp=181–182}}; {{harvnb|Shadwick|2003|p=82}}.</ref>{{refn|group=nb|Etchingham later wrote an autobiographical book about their relationship and the London music scene during the 1960s.<ref>{{cite book|title=Through Gypsy Eyes|last1=Etchingham|first1=Kathy|last2=Crofts|first2=Andrew|publisher=Orion|year=1998|isbn=978-0-7528-2725-4}}</ref>}}

Following Hendrix's arrival in London, Chandler began recruiting members for a band designed to highlight his talents, the Jimi Hendrix Experience.{{sfn|Shadwick|2003|p=84}} Hendrix met guitarist [[Noel Redding]] at an audition for the New Animals, where Redding's knowledge of blues progressions impressed Hendrix.{{sfn|Shadwick|2003|p=83}} Another important criterion for Hendrix was fashion—according to author Keith Shadwick, "what he really liked was Redding's hairstyle."{{sfn|Shadwick|2003|p=83}} Chandler asked Redding if he wanted to play bass guitar in Hendrix's band; Redding agreed.{{sfn|Shadwick|2003|p=83}} Chandler began looking for a drummer and soon after contacted [[Mitch Mitchell]] through a mutual friend. Mitchell, who had recently been fired from [[Georgie Fame and the Blue Flames]], participated in a rehearsal with Redding and Hendrix where they found common ground in their shared interest in rhythm and blues. When Chandler phoned Mitchell later that day to offer him the position, he readily accepted.<ref>{{harvnb|McDermott|2009|pp=21–22}}; {{harvnb|Shadwick|2003|pp=83–85}}</ref> Chandler also persuaded Hendrix to change the spelling of his first name from ''Jimmy'' to the more exotic ''Jimi''.{{sfn|McDermott|2009|p=22}}

On October 1, 1966, Chandler brought Hendrix to the [[University of Westminster|London Polytechnic]] at Regent Street, where [[Cream (band)|Cream]] was scheduled to perform, and where Hendrix and guitarist [[Eric Clapton]] met.{{sfn|McDermott|1992|p=21}} Clapton later said: "He asked if he could play a couple of numbers. I said, 'Of course', but I had a funny feeling about him."{{sfn|Shadwick|2003|p=84}} Halfway through Cream's set, Hendrix took the stage and performed a frantic version of the Howlin' Wolf song "[[Killing Floor (Howlin' Wolf song)|Killing Floor]]".{{sfn|Shadwick|2003|p=84}} In 1989, Clapton described the performance: "He played just about every style you could think of, and not in a flashy way. I mean he did a few of his tricks, like playing with his teeth and behind his back, but it wasn't in an upstaging sense at all, and that was it&nbsp;... He walked off, and my life was never the same again".{{sfn|Shadwick|2003|p=84}}

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==== UK success ====
In mid-October 1966, Chandler arranged an engagement for the Experience as [[Johnny Hallyday]]'s supporting act during a brief tour of France.{{sfn|McDermott|2009|p=22}} Thus, the Jimi Hendrix Experience performed their first show on October 13, 1966, at the Novelty in [[Evreux]].<ref>{{cite web |url=http://hendrix.free.fr/concerts/1966.htm |title=Concerts 1966 |date=2014 |website=hendrix.free.fr |access-date=December 20, 2014 |archive-url=https://web.archive.org/web/20141220050450/http://hendrix.free.fr/concerts/1966.htm |archive-date=December 20, 2014 |url-status=live }}</ref> Their enthusiastically received 15-minute performance at the [[Olympia (Paris)|Olympia]] theatre in Paris on October 18 marks the earliest known recording of the band.{{sfn|McDermott|2009|p=22}} In late October, [[Kit Lambert]] and [[Chris Stamp]], managers of [[the Who]], signed the Experience to their newly formed label, [[Track Records]], and the group recorded their first song, "Hey Joe", on October 23.<ref>{{harvnb|Shadwick|2003|pp=89–90}}; {{harvnb|Shapiro|Glebbeek|1995|p=524}}.</ref> "[[Stone Free]]", which was Hendrix's first songwriting effort after arriving in England, was recorded on November 2.{{sfn|McDermott|2009|pp=22–24}}

From November 8 to 11, 1966, the Jimi Hendrix Experience had a short residency at the [[Big Apple (club)|Big Apple]] club in [[Munich]], their first gigs in Germany. At this occasion Hendrix had a show experience that would define him from then on: when trying to escape in panic from a frenetic audience that had pulled him off the stage, he smashed his guitar for the first time in a sound explosion on stage, which was perceived by the audience as part of the show.<ref name="redding">{{cite book |title=Are You Experienced? The Inside Story of the Jimi Hendrix Experience. |last1=Redding |first1=Noel |last2=Appleby |first2=Carol |publisher=[[Picador (imprint)|Picador]] |location=London |year=1990 |isbn=0-330-31923-X}}</ref> Observing the audience's reaction, Chandler decided that this show of violence had to become a permanent feature of the Experience's show.<ref name="adams">{{cite book |title=The Grail Guitar: The Search for Jimi Hendrix's Purple Haze Telecaster |last=Adams |first=Chris |publisher=[[Rowman & Littlefield]] |year=2016 |isbn=978-1442246799}}</ref>

In mid-November, they performed at [[the Bag O'Nails]] nightclub in London, with Clapton, [[John Lennon]], [[Paul McCartney]], [[Jeff Beck]], [[Pete Townshend]], [[Brian Jones]], [[Mick Jagger]], and [[Kevin Ayers]] in attendance.{{sfn|Shadwick|2003|p=91}} Ayers described the crowd's reaction as stunned disbelief: "All the stars were there, and I heard serious comments, you know 'shit', 'Jesus', 'damn' and other words worse than that."{{sfn|Shadwick|2003|p=91}} The performance earned Hendrix his first interview, published in ''[[Record Mirror]]'' with the headline: "Mr. Phenomenon".{{sfn|Shadwick|2003|p=91}} "Now hear this&nbsp;... we predict that [Hendrix] is going to whirl around the business like a tornado", wrote [[Bill Harry]], who asked the rhetorical question: "Is that full, big, swinging sound really being created by only three people?"{{sfn|Shadwick|2003|pp=91–92}} Hendrix said: "We don't want to be classed in any category&nbsp;... If it must have a tag, I'd like it to be called, 'Free Feeling'. It's a mixture of rock, freak-out, rave and blues".{{sfn|Shadwick|2003|p=92}} Through a distribution deal with [[Polydor Records]], the Experience's first single, "Hey Joe", backed with "Stone Free", was released on December 16, 1966.{{sfn|McDermott|2009|p=28}} After appearances on the UK television shows ''[[Ready Steady Go!]]'' and ''[[Top of the Pops]]'', "Hey Joe" entered the UK charts on December 29 and peaked at number six.<ref>{{harvnb|Shadwick|2003|p=93}}; {{harvnb|Heatley|2009|p=59}}.</ref> Further success came in March 1967 with the UK number three hit "[[Purple Haze]]", and in May with "[[The Wind Cries Mary]]", which remained on the UK charts for eleven weeks, peaking at number six.{{sfn|Roberts|2005|p=232}} On March 12, 1967, he performed at the Troutbeck Hotel, Ilkley, West Yorkshire, where, after about 900 people turned up (the hotel was licensed for 250) the local police stopped the gig due to safety concerns.<ref>{{Cite web| url = http://www.bbc.co.uk/bradford/content/articles/2006/09/18/hendrix_ilkley_feature.shtml| title = Hendrix plays Ilkley!| website = [[BBC]] Bradford and West Yorkshire| access-date = April 21, 2018| archive-url = https://web.archive.org/web/20180509170014/http://www.bbc.co.uk/bradford/content/articles/2006/09/18/hendrix_ilkley_feature.shtml| archive-date = May 9, 2018| url-status = live}}</ref>

On March 31, 1967, while the Experience waited to perform at the [[London Astoria]], Hendrix and Chandler discussed ways in which they could increase the band's media exposure. When Chandler asked journalist Keith Altham for advice, Altham suggested that they needed to do something more dramatic than the stage show of the Who, which involved the smashing of instruments. Hendrix joked: "Maybe I can smash up an elephant", to which Altham replied: "Well, it's a pity you can't set fire to your guitar".{{sfn|McDermott|2009|p=41}} Chandler then asked road manager Gerry Stickells to procure some [[Naphtha|lighter fluid]]. During the show, Hendrix gave an especially dynamic performance before setting his guitar on fire at the end of a 45-minute set. In the wake of the stunt, members of London's press labeled Hendrix the "Black Elvis" and the "Wild Man of Borneo".{{sfn|McDermott|2009|pp=41–42}}{{refn|group=nb|This guitar has now been identified as the guitar acquired and later restored by [[Frank Zappa]]. He used it to record his album ''[[Zoot Allures]]'' (1971). When Zappa's son, [[Dweezil Zappa]], found the guitar some 20 years later, Zappa gave it to him.<ref>{{cite news|url=http://news.bbc.co.uk/2/hi/entertainment/2219161.stm|title=Hendrix's burnt guitar for sale|work=BBC News|date=August 27, 2002|access-date=January 10, 2013|archive-url=https://web.archive.org/web/20121203102300/http://news.bbc.co.uk/2/hi/entertainment/2219161.stm|archive-date=December 3, 2012|url-status=live}}</ref>}}

An enduring urban legend in the UK maintains that a possible explanation for the [[Feral parakeets in Great Britain|feral parakeets that have appeared in Great Britain]] since the mid-20th century may derive from a single pair of the birds that were released by Hendrix on [[Carnaby Street]] in the 1960s.<ref name="bbc-wild">{{cite news |title=Wild parrots settle in suburbs |date=July 6, 2004 |website=[[BBC News]] |url=http://news.bbc.co.uk/1/hi/education/3869815.stm |access-date=October 30, 2017 |archive-url=https://web.archive.org/web/20171030111340/http://news.bbc.co.uk/2/hi/uk_news/education/3869815.stm |archive-date=October 30, 2017}}</ref><ref name="telegraph-noisy">{{cite news |last=Copping |first=Jasper |date=April 20, 2014 |title=Noisy parakeets 'drive away' native birds |newspaper=[[The Daily Telegraph|The Telegraph]] |url=https://www.telegraph.co.uk/news/earth/wildlife/10776252/Noisy-parakeets-drive-away-native-birds.html |url-status=live |access-date=October 30, 2017 |archive-url=https://web.archive.org/web/20171030101636/http://www.telegraph.co.uk/news/earth/wildlife/10776252/Noisy-parakeets-drive-away-native-birds.html |archive-date=October 30, 2017}}</ref><ref name="guardian-exotic">{{cite news |last=Oliver |first=Brian |date=July 1, 2017 |title=Exotic and colourful – But should parakeets be culled? ask scientists |newspaper=[[The Observer]] |url=https://www.theguardian.com/environment/2017/jul/01/parakeet-cull-british-farms-birds-vineyards-research-uk |access-date=October 30, 2017 |archive-url=https://web.archive.org/web/20170714175715/https://www.theguardian.com/environment/2017/jul/01/parakeet-cull-british-farms-birds-vineyards-research-uk |archive-date=July 14, 2017}}</ref><ref name = MCooper>{{Cite web|last=Cooper|first=Matthew|date=February 16, 2019|title=Why are there so many parakeets in south Manchester? These are the wild theories that might just be true|url=https://www.manchestereveningnews.co.uk/news/greater-manchester-news/many-parakeets-south-manchester-wild-15642144|access-date=August 1, 2023|website=[[Manchester Evening News]]|language=en}}</ref> According to a study, however, which mapped historical news reports of sightings of the birds, the myth is not true.<ref name = EDLH>{{Cite web|last1=Davies|first1=Ella|last2=Hendry|first2=Lisa| date=November 30, 2021|title=Wild parakeets in the UK: exotic delights or a potential problem?|url=https://www.nhm.ac.uk/discover/ring-necked-parakeets-in-london-and-uk.html|access-date=August 1, 2023|website=[[Natural History Museum, London|nhm.ac.uk]]|language=en}}</ref>

==== ''Are You Experienced'' ====
{{Main|Are You Experienced}}

After the UK chart success of their first two singles, "Hey Joe" and "Purple Haze", the Experience began assembling material for a full-length LP.{{sfn|Heatley|2009|p=64}} In London, recording began at [[De Lane Lea Studios]], and later moved to the prestigious [[Olympic Studios]].{{sfn|Heatley|2009|p=64}} The album, ''[[Are You Experienced]]'', features a diversity of musical styles, including blues tracks such as "[[Red House (song)|Red House]]" and the R&B song "Remember".{{sfn|Stubbs|2003|pp= 29, 31–32, 36–37}} It also included the experimental science fiction piece, "[[Third Stone from the Sun]]" and the post-modern soundscapes of [[Are You Experienced (song)|the title track]], with prominent [[Backmasking|backwards]] guitar and drums.<ref>{{harvnb|Heatley|2009|pp=64–65}}: post-modern soundscapes of "Are You Experienced?"; {{harvnb|Larkin|1998|p=45}}: a diversity of styles; {{harvnb|Unterberger|2009|p=45}}: "Third Stone from the Sun".</ref> "I Don't Live Today" served as a medium for Hendrix's [[guitar feedback]] improvisation and "[[Fire (The Jimi Hendrix Experience song)|Fire]]" was driven by Mitchell's drumming.{{sfn|Heatley|2009|p=64}}

Released in the UK on May 12, 1967, ''Are You Experienced'' spent 33 weeks on the charts, peaking at number two.<ref>{{harvnb|Roberts|2005|p=232}}: UK chart data for ''Are You Experienced''; {{harvnb|Shadwick|2003|p=111}}: UK release date.</ref>{{refn|group=nb|The original version of the LP contained none of the previously released singles or their [[A-side and B-side|B-sides]].{{sfn|Doggett|2004|p=8}}}} It was prevented from reaching the top spot by the Beatles' ''[[Sgt. Pepper's Lonely Hearts Club Band]]''.{{sfn|Cross|2005|p=181}}{{refn|group=nb|As with ''Sgt. Pepper'', ''Are You Experienced'' was recorded using [[Multitrack recording|four-track]] technology.{{sfn|Heatley|2009|p=64}}}} On May 29 he performed at the [[Barbeque 67]] concert in [[Spalding, Lincolnshire]], considered by some to have been the first [[rock festival]]; tickets cost £1.<ref>{{cite news|url=https://www.bbc.com/news/uk-england-lincolnshire-31557062|title=Spalding unveils Jimi Hendrix plaque|work=BBC News |date=20 February 2015}}</ref> On June 4, 1967, Hendrix opened a show at the [[Saville Theatre]] in London with his rendition of ''Sgt. Pepper''{{'s}} [[Sgt. Pepper's Lonely Hearts Club Band (song)|title track]], which was released just three days previous. Beatles manager [[Brian Epstein]] owned the Saville at the time, and both [[George Harrison]] and Paul McCartney attended the performance. McCartney described the moment: "The curtains flew back and he came walking forward playing 'Sgt. Pepper'. It's a pretty major compliment in anyone's book. I put that down as one of the great honors of my career."{{sfn|McDermott|2009|p=52}} Released in the US on August 23 by [[Reprise Records]], ''Are You Experienced'' reached number five on the [[Billboard 200|''Billboard'' 200]].<ref>{{harvnb|McDermott|2009|p=61}}: Release dates for ''Are You Experienced''; {{harvnb|George-Warren|2005|p=429}}: Peak US chart position.</ref>{{refn|group=nb|The US and Canadian versions of ''Are You Experienced'' had a new cover by [[Karl Ferris]] and a new song list, with Reprise removing "[[Red House (song)|Red House]]", "Remember" and "Can You See Me" to make room for the first three single A-sides omitted from the UK release: "Hey Joe", "Purple Haze", and "The Wind Cries Mary".{{sfn|Aledort|1996|p=49}} "Red House" is the only original [[twelve-bar blues]] written by Hendrix.{{sfn|Aledort|1996|p=49}}}}

In 1989, Noe Goldwasser, the founding editor of ''[[Guitar World]]'', described ''Are You Experienced'' as "the album that shook the world&nbsp;... leaving it forever changed".{{sfn|Whitehill|1989a|p=5}}{{refn|group=nb|When Track records sent the master tapes for "Purple Haze" to Reprise for remastering, they wrote the following words on the tape box: "Deliberate distortion. Do not correct."{{sfn|Roby|Schreiber|2010|p=184}}}} In 2005, ''Rolling Stone'' called the double-platinum LP Hendrix's "epochal debut", and they ranked it the 15th greatest album of all time, noting his "exploitation of amp howl", and characterizing his guitar playing as "incendiary&nbsp;... historic in itself".<ref>{{harvnb|George-Warren|2005|p=429}}: ''Are You Experienced'' certified double-platinum; {{harvnb|Levy|2005|p=34}}: Hendrix's "epochal debut".</ref>

==== Monterey Pop Festival ====
{{Main|Monterey Pop Festival}}
[[File:Jimi Hendrix burning his guitar at the Monterey Pop Festival, June 18, 1967.jpg|right|thumb|upright|alt=A color photograph of a man kneeling over a guitar that is on fire|Author Michael Heatley wrote: "The iconic image by Ed Caraeff of Hendrix summoning the flames higher with his fingers will forever conjure up memories of Monterey for those who were there and the majority of us who weren't."{{sfn|Heatley|2009|p=80}}]]

Although popular in Europe at the time, the Experience's first US single, "Hey Joe", failed to reach the [[Billboard Hot 100|''Billboard'' Hot 100]] chart upon its release on May 1, 1967.{{sfn|Shadwick|2003|p=109}} Their fortunes improved when McCartney recommended them to the organizers of the [[Monterey Pop Festival]]. He insisted that the event would be incomplete without Hendrix, whom he called "an absolute ace on the guitar". McCartney agreed to join the board of organizers on the condition that the Experience perform at the festival in mid-June.<ref>{{harvnb|Cross|2005|p=184}}; "an absolute ace on the guitar"; {{harvnb|Shadwick|2003|pp=110–115}}: McCartney insisted that the festival would be incomplete without Hendrix.</ref>

On June 18, 1967,{{sfn|Gelfand|Piccoli|2009|p=1}} introduced by Brian Jones as "the most exciting performer [he had] ever heard", Hendrix opened with a fast arrangement of Howlin' Wolf's song "Killing Floor", wearing what Shadwick described as "clothes as exotic as any on display elsewhere".<ref>{{harvnb|Shapiro|Glebbeek|1995|p=190}}: "the most exciting performer [he had] ever heard"; {{harvnb|Shadwick|2003|p=115}}: "clothes as exotic as any on display elsewhere".</ref> Shadwick wrote: "[Hendrix] was not only something utterly new musically, but an entirely original vision of what a black American entertainer should and could look like."<ref>{{harvnb|Shapiro|Glebbeek|1995|p=190}}: "the most exciting performer [he had] ever heard"; {{harvnb|Shadwick|2003|p=115}}: "He was not only something utterly new musically".</ref> The Experience went on to perform renditions of "Hey Joe", B.B. King's "Rock Me Baby", [[Chip Taylor]]'s "[[Wild Thing (The Troggs song)|Wild Thing]]", and [[Bob Dylan]]'s "[[Like a Rolling Stone]]", and four original compositions: "[[Foxy Lady]]", "Can You See Me", "The Wind Cries Mary", and "Purple Haze".{{sfn|McDermott|2009|p=52}} The set ended with Hendrix [[Instrument destruction|destroying his guitar]] and tossing pieces of it out to the audience.{{sfn|Shadwick|2003|pp=110–115}} ''Rolling Stone''{{'s}} Alex Vadukul wrote:

{{Blockquote|When Jimi Hendrix set his guitar on fire at the 1967 Monterey Pop Festival he created one of rock's most perfect moments. Standing in the front row of that concert was a 17-year-old boy named [[Ed Caraeff]]. Caraeff had never seen Hendrix before nor heard his music, but he had a camera with him and there was one shot left in his roll of film. As Hendrix lit his guitar, Caraeff took a final photo. It would become one of the most famous images in rock and roll.<ref>{{cite magazine|last=Vadukul|first=Alex|title="Who Shot Rock and Roll" Celebrates the Photographers Behind the Iconic Images|magazine=[[Rolling Stone]]|date=November 13, 2009|url=https://www.rollingstone.com/music/news/who-shot-rock-and-roll-celebrates-the-photographers-behind-the-iconic-images-20091113|access-date=February 1, 2014|archive-url=https://web.archive.org/web/20140409143530/http://www.rollingstone.com/music/news/who-shot-rock-and-roll-celebrates-the-photographers-behind-the-iconic-images-20091113|archive-date=April 9, 2014|url-status=live}}</ref>{{refn|group=nb|According to author Bob Gula, "When Jimi torched his guitar onstage at the Monterey Pop Festival, it became one of, if not the single greatest iconic moment in the first half-century of rock; his image as the psychedelic voodoo child conjuring uncontrollable forces is a rock archetype."{{sfn|Gula|2008|p=121}} Musicologist David Moskowitz wrote: "The image of Jimi kneeling over his burning guitar at Monterey became one of the most iconic pictures of the era."{{sfn|Moskowitz|2010|p=22}}}}}}

Caraeff stood on a chair next to the edge of the stage and took four [[monochrome photography|monochrome pictures]] of Hendrix burning his guitar.<ref name="GB2009">{{cite book|last=Buckland|first=Gail|title=Who Shot Rock and Roll: A Photographic History, 1955–Present|year=2009|publisher= Knopf|isbn=978-0-307-27016-0|url=https://archive.org/details/whoshotrockrollp0000buck |url-access=registration|pages=[https://archive.org/details/whoshotrockrollp0000buck/page/62 62]–63}}</ref>{{refn|group=nb|Earlier in the festival, a German photographer advised Caraeff, who was taking pictures of performers, to save film for Hendrix.<ref name="GB2009" />}} Caraeff was close enough to the fire that he had to use his camera to protect his face from the heat. ''Rolling Stone'' later colorized the image, matching it with other pictures taken at the festival before using the shot for a 1987 magazine cover.<ref name="GB2009" /> According to author Gail Buckland, the final frame of "Hendrix kneeling in front of his burning guitar, hands raised, is one of the most famous images in rock".<ref name="GB2009" /> Author and historian Matthew C. Whitaker wrote that "Hendrix's burning of his guitar became an iconic image in rock history and brought him national attention".{{sfn|Whitaker|2011|p=382}} The ''[[Los Angeles Times]]'' asserted that, upon leaving the stage, Hendrix "graduated from rumor to legend".{{sfn|Shapiro|Glebbeek|1995|p=194}} Author John McDermott wrote that "Hendrix left the Monterey audience stunned and in disbelief at what they'd just heard and seen".{{sfn|Guitar World|2011|p=62}} According to Hendrix: "I decided to destroy my guitar at the end of a song as a sacrifice. You sacrifice things you love. I love my guitar."{{sfn|Hendrix|McDermott|2007|p=28}} The performance was filmed by [[D.&nbsp;A. Pennebaker]] and included in the concert documentary ''[[Monterey Pop]]'', which helped Hendrix gain popularity with the US public.<ref>{{harvnb|Cross|2005|p=184}}; {{harvnb|Moskowitz|2010|p=22}}; {{harvnb|Shadwick|2003|pp=110–115}}.</ref>

After the festival, the Experience was booked for five concerts at [[Bill Graham (promoter)|Bill Graham's]] [[The Fillmore|Fillmore]], with [[Big Brother and the Holding Company]] and [[Jefferson Airplane]]. The Experience outperformed Jefferson Airplane during the first two nights and replaced them at the top of the bill on the fifth.{{sfn|Shadwick|2003|p=116}} Following their successful West Coast introduction, which included a free open-air concert at [[Golden Gate Park]] and a concert at the [[Whisky a Go Go]], the Experience was booked as the opening act for the first American tour of [[the Monkees]].{{sfn|McDermott|2009|pp=54–56}} The Monkees requested Hendrix as a supporting act because they were fans, but their young audience disliked the Experience, who left the tour after six shows.{{sfn|Shadwick|2003|pp=116–117}} Chandler later said he engineered the tour to gain publicity for Hendrix.<ref>{{harvnb|McDermott|1992|p=103}}: the Monkees tour as publicity for Hendrix; {{harvnb|Potash|1996|p=89}}: the Monkees asked for Hendrix.</ref>

==== ''Axis: Bold as Love'' ====
{{Main|Axis: Bold as Love}}
{{listen|filename="Bold as Love" by the Jimi Hendrix Experience.ogg|title="Bold as Love" |description=An excerpt from the outro guitar solo. The sample demonstrates the first recording of stereo [[Phaser (effect)|phasing]].}}

The second Experience album, ''[[Axis: Bold as Love]]'', opens with the track "EXP", which uses microphonic and harmonic [[Audio feedback|feedback]] in a new, creative fashion.{{sfn|Whitehill|1989b|p=6}} 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.{{sfn|McDermott|2009|p=76}} The piece reflected his growing interest in science fiction and [[outer space]].{{sfn|Moskowitz|2010|p=28}} He composed the album's [[Bold as Love (song)|title track]] and finale around two verses and two choruses, during which he pairs emotions with [[persona]]s, comparing them to colors.{{sfn|Moskowitz|2010|p=33}} The song's [[coda (music)|coda]] features the first recording of stereo [[Phaser (effect)|phasing]].<ref>{{harvnb|Heatley|2009|p=87}}; {{harvnb|McDermott|2009|pp=74–75}}.</ref>{{refn|group=nb|As with their previous LP, the band had to schedule recording sessions in between performances.{{sfn|Mitchell|Platt|1990|p=76}}}} 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.{{sfn|Shadwick|2003|p=125}} His guitar playing throughout the song is marked by chordal [[arpeggio]]s and [[contrapuntal motion]], with [[tremolo]]-picked partial chords providing the musical foundation for the chorus, which culminates in what [[musicology|musicologist]] Andy Aledort described as "simply one of the greatest electric guitar solos ever played".{{sfn|Aledort|1996|pp=68–76; 71: "one of the greatest electric guitar solos ever"}} The track fades out on tremolo-picked [[thirty-second note|32nd note]] [[double stop]]s.<ref>{{harvnb|Aledort|1996|pp=68–76}}; {{harvnb|Whitehill|1989b|p=124}}.</ref>

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.{{sfn|Shadwick|2003|p=130}} 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]]". Redding had a tape recording of this mix, which had to be smoothed out with an iron as it had gotten wrinkled.<ref>{{harvnb|Heatley|2009|p=86}}; {{harvnb|McDermott|2009|p=76}}.</ref> During the verses, Hendrix doubled his singing with a guitar line which he played one octave lower than his vocals.{{sfn|Whitehill|1989b|p=52}} 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.{{sfn|Shadwick|2003|p=130}}

''Axis'' featured psychedelic cover art that depicts Hendrix and the Experience as various [[Dashavatara|avatars]] of [[Vishnu]], incorporating a painting of them by [[Roger Law]], from a photo-portrait by [[Karl Ferris]].{{sfn|Unterberger|2009|pp=146–147}} The painting was then superimposed on a copy of a mass-produced religious poster.{{sfn|Heatley|2009|p=87}} Hendrix stated that the cover, which Track spent $5,000 producing, would have been more appropriate had it highlighted his American Indian heritage.{{sfn|Cross|2005|p=205}} He said: "You got it wrong&nbsp;... I'm not that kind of Indian."{{sfn|Cross|2005|p=205}} Track released the album in the UK on December 1, 1967, where it peaked at number five, spending 16 weeks on the charts.<ref>{{harvnb|McDermott|2009|p=79}}: UK release date for ''Axis: Bold As Love''; {{harvnb|Roberts|2005|p=232}}: peak UK chart position for ''Axis: Bold As Love''.</ref> In February 1968, ''Axis: Bold as Love'' reached number three in the US.{{sfn|Heatley|2009|p=99}}

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".<ref>{{harvnb|Doggett|2004|p=15}}; {{harvnb|Unterberger|2009|p=68}}.</ref> Mitchell said: "''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."<ref>{{harvnb|Mitchell|Platt|1990|p=76}}: (primary source); {{harvnb|Shadwick|2003|p=127}}: (secondary source).</ref>

==== ''Electric Ladyland'' ====
{{Main|Electric Ladyland}}

Recording for the Experience's third and final studio album, ''[[Electric Ladyland]]'', began as early as December 20, 1967, at Olympic Studios.{{sfn|McDermott|2009|p=81}} Several songs were attempted; however, in April 1968, the Experience, with Chandler as producer and engineers Eddie Kramer and [[Gary Kellgren]], moved the sessions to the newly opened [[Record Plant Studios]] in New York.<ref>{{harvnb|Heatley|2009|pp=102–103}}: Recording began with Chandler and Kramer; {{harvnb|McDermott|2009|pp=95–97}}: Kellgren.</ref> As the sessions progressed, Chandler became increasingly frustrated with Hendrix's perfectionism and his demands for repeated takes.{{sfn|Heatley|2009|p=102}} 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.{{sfn|Heatley|2009|p=102}} Redding later recalled: "There were tons of people in the studio; you couldn't move. It was a party, not a session."{{sfn|Shadwick|2003|p=157}} 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''.{{sfn|Heatley|2009|p=102}} The album's cover stated that it was "produced and directed by Jimi Hendrix".{{sfn|Heatley|2009|p=102}}{{refn|group=nb|The [[Double album|double LP]] was the only Experience album to be mixed entirely in stereo.{{sfn|Heatley|2009|p=103}}}}
During the ''Electric Ladyland'' recording sessions, Hendrix began experimenting with other combinations of musicians, including Jefferson Airplane's [[Jack Casady]] and [[Traffic (band)|Traffic's]] [[Steve Winwood]], who played bass and organ, respectively, on the 15-minute slow-blues jam, "[[Voodoo Chile]]".{{sfn|Heatley|2009|p=102}} During the album's production, Hendrix appeared at an impromptu jam with B.B. King, [[Al Kooper]], and [[Elvin Bishop]].{{sfn|Shadwick|2003|p=146}}{{refn|group=nb|In March 1968, [[Jim Morrison]] of [[the Doors]] joined Hendrix onstage at the Scene Club in New York.{{sfn|Black|1999|p=137}}}} ''Electric Ladyland'' was released on October 25, and by mid-November it had reached number one in the US, spending two weeks at the top spot.<ref>{{harvnb|McDermott|2009|pp=126–127}}: US release date; {{harvnb|Rosen|1996|p=108}}: peak chart position.</ref> The [[Double album|double LP]] was Hendrix's most commercially successful release and his only number one album.{{sfn|Murray|1989|p=51}} It peaked at number six in the UK, spending 12 weeks on the chart.{{sfn|Roberts|2005|p=232}} ''Electric Ladyland'' included Hendrix's cover of a Bob Dylan song, "[[All Along the Watchtower]]", which became Hendrix's highest-selling single and his only US top 40 hit, peaking at number 20; the single reached number five in the UK.<ref>{{harvnb|Heatley|2009|p=102}}: "All Along the Watchtower" was Hendrix's only US top 40 hit single; {{harvnb|Murray|1989|p=51}}: "All Along the Watchtower" was Hendrix's highest-selling single; {{harvnb|Roberts|2005|p=232}}: peak UK chart position for Hendrix's cover of "All Along the Watchtower"; {{harvnb|Whitburn|2010|p=294}}: peak US chart position for Hendrix's cover of "All Along the Watchtower".</ref> "[[Burning of the Midnight Lamp]]", his first recorded song to feature a [[wah-wah pedal]], was added to the album.<ref>{{harvnb|Shadwick|2003|p=118}}: "Burning of the Midnight Lamp" was Hendrix's first recorded song to feature the use of a wah-wah pedal.</ref> It was originally released as his fourth single in the UK in August 1967{{sfn|Shapiro|Glebbeek|1995|pp=526–527}} and reached number 18 on the charts.<ref>{{harvnb|Roberts|2005|p=232}}: peak UK chart position for "Burning of the Midnight Lamp".</ref>

In 1989, Noe Goldwasser, the founding editor of ''Guitar World'', described ''Electric Ladyland'' as "Hendrix's masterpiece".{{sfn|Whitehill|1989c|p=5}} According to author Michael Heatley, "most critics agree" that the album is "the fullest realization of Jimi's far-reaching ambitions."{{sfn|Heatley|2009|p=102}} In 2004, author Peter Doggett wrote: "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."{{sfn|Doggett|2004|p=19}} Doggett described the LP as "a display of musical virtuosity never surpassed by any rock musician."{{sfn|Doggett|2004|p=19}}