Artist: Jimi Hendrix. 7.38 MB Little Wing. Artist: Jimi Hendrix. 4.22 MB Little Wing. Artist: Jimi Hendrix. 2.61 MB Little Wing. Artist: Jimi Hendrix. 2.82 MB Little Wing. Artist: Jimi Hendrix. Little Wing Chords by Jimi Hendrix Learn to play guitar by chord and tabs and use our crd diagrams, transpose the key and more.
Rock and Roll Hall of Fame Established 1983 Location 1100 Rock and Roll Boulevard (East Ninth Street at ), 44114 United States Visitors 441,290 (2013) President Greg Harris Public transit access () Website The Rock and Roll Hall of Fame, located on the shore of in,, recognizes and archives the history of the best-known and most influential artists, producers, engineers, and other notable figures who have had some major influence on the development of rock and roll. The Rock and Roll Hall of Fame Foundation was established on April 20, 1983, by founder and chairman. In 1986, was chosen as the Hall of Fame's permanent home. Since opening in September 1995, the 'Rock Hall' – part of the city's redeveloped – has hosted more than 10 million visitors and had a cumulative economic impact estimated at more than $1.8 billion.
Contents • • • • • • • • • • • • • • • • • • • • • Foundation and museum [ ] Founder Ahmet Ertegun assembled a team that included attorney Suzan Evans, Rolling Stone magazine editor and publisher, attorney, and record executives,, and Noreen Woods. The Foundation began inducting artists in 1986, but the Hall of Fame still had no home. The search committee considered several cities, including Philadelphia (home of and ), Memphis (home of and ), Detroit (home of ), Cincinnati (home of ), New York City, and Cleveland.
[ ] Cleveland lobbied for the museum, citing that disc jockey both coined the term ' and heavily promoted the new genre—and that Cleveland was the location of Freed's, the first major rock and roll concert. In addition, Cleveland cited radio station, which played a key role in breaking several major acts in the U.S.
During the 1970s and 80s, including artist, who began his first U.S. Tour in the city,,, and among many others. Cleveland was also one of the premier tour stops for most rock bands.
Civic leaders in Cleveland pledged $65 million in public money to fund the construction. A petition drive was signed by 600,000 fans favoring Cleveland over Memphis, and Cleveland ranked first in a 1986 USA Today poll asking where the Hall of Fame should be located.
On May 5, 1986, the Hall of Fame Foundation chose Cleveland as the permanent home of the Rock and Roll Hall of Fame and Museum. Sam Phillips of Sun Studios fame and many others were stunned and disappointed that it ended up in Cleveland. 'The hall of fame should've been in Memphis, certainly,' wrote, author of an acclaimed two-volume Elvis Presley biography. Cleveland may also have been chosen as the organization's site because the city offered the best financial package. As The Plain Dealer music critic Michael Norman noted, 'It was $65 million. Cleveland wanted it here and put up the money.'
Co-founder Jann Wenner later said, 'One of the small sad things is we didn't do it in New York in the first place,' but then added, 'I am absolutely delighted that the Rock and Roll Hall of Fame and Museum is in Cleveland.' During early discussions on where to build the Hall of Fame and Museum, the Foundation's board considered the Cuyahoga River. Ultimately, the chosen location was along East Ninth Street in downtown Cleveland by, east of. At one point in the planning phase when a financing gap existed, planners proposed locating the Rock Hall in the then-vacant May Company Building, but finally decided to commission architect to design a new building.
Initial CEO Dr. Facilitated I. Pei in designs for the site. Pei came up with the idea of a tower with a glass pyramid protruding from it. The museum tower was initially planned to stand 200 ft (61 m) high, but had to be cut down to 162 ft (49 m) due to its proximity to. The building's base is approximately 150,000 square feet (14,000 m2).
The groundbreaking ceremony took place on June 7, 1993.,,,,, of, of the and of all appeared at the groundbreaking. The museum was dedicated on September 1, 1995, with the ribbon being cut by an ensemble that included and, among others, before a crowd of more than 10,000 people.
The following night an all-star concert was held at the stadium. It featured,,,,,,,,, and many others. In addition to the Hall of Fame inductees, the museum documents the entire history of rock and roll, regardless of induction status. Hall of Fame inductees are honored in a special exhibit located in a wing that juts out over Lake Erie. Economic impact [ ] Since 1986, the Rock and Roll Hall of Fame has selected new inductees. The formal induction ceremony has been held in New York City 26 times (1986–92, 1994–96, 1998–2008, 2010–11, 2014, 2016 and 2017); twice in Los Angeles (1993 and 2013); and four times in the Hall of Fame's home in Cleveland (1997, 2009, 2012 and 2015).
Beginning in 2018, the induction ceremonies will alternate each year between Cleveland and New York. The 2009 and 2012 induction weeks were made possible by a between the City of Cleveland, the State of, the Rock and Roll Hall of Fame, and local foundations, corporations, civic organizations and individuals. Collectively these entities invested $5.8 million in 2009 and $7.9 million in 2012 to produce a week of events, including free concerts, a gospel celebration, exhibition openings, free admission to the museum, and induction ceremonies filled with both fans and VIPs at Public Hall. Millions viewed the television broadcast of the Cleveland inductions; tens of thousands traveled to Ohio during induction week to participate in Induction-related events. The economic impact of the 2009 induction week activities was more than $13 million, and it provided an additional $20 million in media exposure for the region. The 2012 induction week yielded similar results.
The Rock and Roll Hall of Fame (left) sits on the shore next to the (right) in Cleveland's. There are seven levels in the building. On the lower level is the Exhibition Hall, the museum's main gallery. It includes exhibits on the roots of rock and roll (,, and, and ). It also features exhibits on cities that have had a major impact on rock and roll:,, London and,, Los Angeles, New York and.
There are exhibits about, the Fifties,,,, Cleveland's rock and roll legacy, the music of the Midwest, rock and roll radio and dee-jays, and the many protests against rock and roll. This gallery also has exhibits that focus on individual artists, including,, and others. Finally, the Ahmet M. Ertegun Exhibition Hall includes two theaters, one of which features a film about the roots of rock and roll and one that features films on various subjects. The first floor of the museum is the entrance level. It includes a cafe, a stage that the museum uses for various special performances and events throughout the year, and a section called 'Backstage Stories.'
The second floor includes several interactive kiosks that feature programs on and the Songs That Shaped Rock and Roll. This level also includes a gallery with artifact-filled exhibits about,, and the evolution of audio technology. Visitors enter the Hall of Fame section of the museum on the third floor. This section includes 'The Power of Rock Experience,' which includes one of 's final works, a film shown in the Connor Theater. The film includes musical highlights from some of the Hall's induction ceremonies. Visitors exit the Hall of Fame section on the fourth floor.
That level features the Foster Theater, a state-of-the-art 3-D theater that is used for special events and programs. Finally, the top two levels of the Rock and Roll Hall of Fame feature large, temporary exhibits. Over the years, numerous exhibits have been installed on these two levels, including exhibits about,,,,,,,, Women Who Rock, and the Rolling Stones. Architecture [ ]. This section needs additional citations for. Unsourced material may be challenged and removed. (January 2017) () Since 1997, the Rock and Roll Hall of Fame has featured numerous temporary exhibits that range in size from major exhibits that fill the top two floors of the museum to smaller exhibits that are often installed in the main exhibition hall on the lower level.
The museum's first major exhibit opened on May 10, 1997. It was called I Want to Take You Higher: The Psychedelic Era, 1965 – 1969. It included artifacts from numerous artists, including,,,, and, as well as artifacts related to the and. That exhibit was followed by Elvis is in the Building, an exhibit about the 'King of Rock and Roll', which ran from August 8, 1998, to September 5, 1999. This year-long tribute was the first ever special exhibit devoted to a single artist, Elvis Presley, the first inductee into the RRHOF in 1986. Graceland supplied a significant selection of representative artifacts for this special tribute spanning Elvis' life and legendary career.
(see Larry G. Keeter, 'Elvis Is In the Building,' 'Elvis International Forum,' Summer 2000, pp. 28–29) Next, the museum curated Roots, Rhymes and Rage: The Hip-Hop Story. That was the first major museum exhibit to focus on hip-hop. It ran from November 11, 1999, to August 6, 2000. It was followed by Rock Style, an exhibit that focused on rock and roll and fashion. It featured clothing from to, from to and from to. After it closed in Cleveland, Rock Style traveled to other museums in the U.S.
The former Annex in Soho in New York City (now closed) Other temporary exhibits have included Lennon: His Life and Work, which ran from October 20, 2000, to January 1, 2003. It was followed by In the Name of Love: Two Decades of and then Reflections: The Supreme Legacy Collection.
A major exhibition on display during the Republican National Convention in Cleveland in 2016 was Louder than Words: Rock, Power, Politics. Other large temporary exhibits have focused on ( Revolution Rock: The Story of the Clash), ( Break on Through: The Lasting Legacy of the Doors), 's ( Tommy: The Amazing Journey), and ( From Asbury Park to the Promised Land: The Life and Music of Bruce Springsteen). Another thematic temporary exhibit focused on the role of women in rock and roll ( Women Who Rock: Vision, Passion, Power).
Many of these exhibits travel to other museums after closing in Cleveland. The museum's current major temporary exhibit is about the history of the magazine. The Rock and Roll Hall of Fame also curates many smaller temporary exhibits. Over the years, these exhibits have focused on such topics as the,, Woodstock's 40th anniversary,, the,,,,,, and. The museum also devotes exhibits to photography and artwork related to rock and roll. Among the photographers whose work has been featured at the Hall of Fame are George Kalinsky, Alfred Wertheimer, Tommy Edwards, Kevin Mazur, Janet Macoska, Lynn Goldsmith, Mike McCartney, Robert Alford, and George Shuba.
The museum also featured the artwork of Philip Burke in one of its temporary exhibits, and a later exhibit featured Herb Ritts. Public programs [ ] The Rock and Roll Hall of Fame and Museum produces numerous public programs, including concerts, interviews, lectures, film screenings, and other events that help tell the story of rock and roll. Every February, the museum celebrates by hosting concerts, film screenings and lectures that illustrate the important role African-Americans have played in the history of rock and roll. Since the program began in 1996, such artists as,,,,,,, and have appeared at the museum during Black History Month. Another program is the Hall of Fame Series. This series began in April 1996 and features interviews with Hall of Fame inductees in a rare and intimate settings, most often in the Museum's Foster Theater. The interviews are usually followed by a question-and-answer session with the audience and, often, a performance by the inductee.
Among the inductees who have taken part in this series are Darryl 'DMC' McDaniels of.,,,, of,,, Ann and Nancy Wilson of, and of the. A similar program is the Legends Series. The only real difference between this program and the Hall of Fame Series is that it features artists who have not yet been inducted into the Hall of Fame.
Of, of,, and are among the artists who have participated in the Legends Series. The Rock and Roll Hall of Fame and Museum's most acclaimed program is the annual American Music Masters series. Each year the museum celebrates one of the Hall's inductees with a week-long series of programs that include interviews, film screenings, and, often, a special exhibit. The celebration ends with an all-star concert held at a Cleveland theater. The concerts include a diverse mix of artists, from Hall of Fame inductees to contemporary musicians. The American Music Masters series began in 1996 with Hard Travelin': The Life and Legacy of Pete Seeger. Since then, the programs have honored the following inductees: (1997), (1998), (1999), (2000), (2001), (2002), (2003), (2004), (2005), (2006), (2007), (2008), (2009), and (2010), (2011), and (2012).
Songs That Shaped Rock and Roll [ ] Hall of Fame museum curator James Henke, along with 'the museum's curatorial staff and numerous rock critics and music experts', created an unordered list of '500 Songs That Shaped Rock and Roll'. The list is part of a permanent exhibit at the museum, and was envisioned as part of the museum from its opening in 1995. It contains songs recorded from the through the 1990s. With seven songs was the most represented on the 500–song list. The oldest song on the list is ', written circa 1882 and credited to J. Since then, however, an additional 155 songs have been added, and the list is now simply referred to as 'The Songs That Shaped Rock and Roll.' The most recent songs on the list are 's ' and 's ',' both released in 2006.
The Beatles and the Rolling Stones are the most represented on the 655–song list, with eight songs each. Artists with four or more songs [ ] • 8 • 8 • 7 • 5 • 5 • 5 • 5 • 5 • 5 • 4 • 4 • 4 • 4 • 4 • 4 • 4 • 4 • 4 • 4 • 4 • 4 • 4 • 4 25th anniversary concert [ ] The Rock and Roll Hall of Fame celebrated its 25th anniversary with a concert series over two days on October 29 and 30, 2009 at in New York. The celebration included performances by,,, &,,,,,,,,,,,,,,,,,, and. The first night ran almost six hours with & closing the concert with special guests,,,,,, and. Inductees [ ]. See also: Artists are inducted into the Rock and Roll Hall of Fame at an annual induction ceremony. Over the years, the majority of the ceremonies have been held at the in New York City.
However, on January 12, 1993, the ceremony was held in Los Angeles, and was held there again in 2013. On May 6, 1997, about a year and a half after the opening of the Rock and Roll Hall of Fame and Museum, the ceremony was held in Cleveland. It returned to Cleveland in 2009 and again in 2012.
Current plans call for the ceremony to be in Cleveland every three years. Generally, the number of inductees ranges from about a half-dozen to a dozen. Virtually all living inductees have attended the ceremonies, and they are presented with their Hall of Fame award by an artist who was influenced by that inductee's music. Both the presenter and the inductee speak at the ceremonies, which also include numerous musical performances, by both the inductees and the presenters.
The first group of inductees, inducted on January 23, 1986, included,,,,,,, the,, and.,, and were inducted as Early Influences, received the Lifetime Achievement Award and and were inducted as Non-Performers. Performers [ ] A nominating committee composed of rock and roll historians selects names for the 'Performers' category (singers, vocal groups, bands, and instrumentalists of all kinds), which are then voted on by roughly five hundred experts across the world. Those selected to vote include academics, journalists, producers, and others with music industry experience. Artists become eligible for induction 25 years after the release of their first record. Criteria include the influence and significance of the artists' contributions to the development and perpetuation of rock and roll.
To be selected for induction, performers must receive the highest number of votes, and also greater than 50% of the votes. Around five to seven performers are inducted each year. In 2012, six additional groups,,,,,, and, were inducted as performers by a special committee due to the controversial exclusions when their lead singer was inducted. 'There was a lot of discussion about this,' said Terry Stewart, a member of the nominating committee.
'There had always been conversations about why the groups weren't included when the lead singers were inducted. Very honestly, nobody could really answer that question – it was so long ago. We decided we'd sit down as an organization and look at that.
This is the result.' Early Influences [ ] Early Influences includes artists from earlier eras, primarily,, and, whose music inspired and influenced rock and roll artists. Other notable artists that have been inducted as Early Influences include &, country musicians and, blues musicians and, and jazz musicians and. After and in 2000, no one was inducted in this category until 2009, when rockabilly singer was selected. Unlike earlier inductees in this category, Jackson's career almost entirely took place after the traditional 1955 start of the 'rock era'. Ahmet Ertegun Award for Lifetime Achievement [ ] Formerly the 'Non-Performers' award, this category encompasses those who primarily work behind the scenes in the music industry, including record label executives, songwriters, record producers, disc jockeys, and. This category has had at least one inductee every year except 2007 and 2009.
Following the death of the Hall of Fame's co-founder, this award was renamed in his honor in 2008. Award for Musical Excellence [ ] Formerly the 'Sidemen' award, this category was introduced in 2000 and honors veteran and concert players who are selected by a committee composed primarily of producers. The category was dormant from 2004 through 2007 and re-activated in 2008. This honor was renamed the 'Award for Musical Excellence' in 2010. According to Joel Peresman, the president of the Rock and Roll Hall of Fame Foundation, 'This award gives us flexibility to dive into some things and recognize some people who might not ordinarily get recognized.' Library and archives [ ]. The Rock and Roll Hall of Fame in Cleveland, Ohio November 2015 The Rock and Roll Hall of Fame and Museum's Library and Archives is the world's most comprehensive repository of materials related to the history of rock and roll.
The Library and Archives is located in a new building on the Metro Campus of Cuyahoga Community College in Cleveland's. The Library and Archives' mission is to collect, preserve and provide access to these materials. The Library and Archives operates on two levels: people may come into the library and read the books and magazines, listen to music and other recordings, and watch videos and films. More serious scholars, historians and journalists may also make an appointment for access to the archival collections under the supervision of the staff archivists. The library is composed of books, academic dissertations, and other references.
It also includes popular magazines, scholarly journals and trade publications; commercial audio and video recordings, and research databases. The archival collections include music-business records from record executives, artist managers, labels, historic venues, recording studios, specialists in stage design and lighting, and long-running concert tours. The collections also contain important individual items, such as personal letters penned by and, handwritten working lyrics by and, papers from music journalists such as, and rare concert recordings from in the 1970s. Criticism [ ] The most frequent criticism of the Hall of Fame is that the nomination process is controlled by a few individuals who are not themselves musicians, such as founder (co-founder and of magazine), former foundation director Suzan Evans, and writer, reflecting their personal tastes rather than the views of the rock world as a whole. A former member of the nominations board once commented that 'At one point Suzan Evans lamented the choices being made because there weren't enough big names that would sell tickets to the dinner.
That was quickly remedied by dropping one of the groups being considered in favor of a 'name' artist. I saw how certain pioneering artists of the '50s and early '60s were shunned because there needed to be more name power on the list, resulting in '70s superstars getting in before the people who made it possible for them. Some of those pioneers still aren't in today.' Is often considered 'The Godmother/Grandmother of Rock & Roll', but was not chosen for induction until 2017.
Also, the influential soul/funk group has not yet been honored. Drummer has dismissed the Hall of Fame as the 'Hall of Lame'. There is also controversy in the lack of transparency in the selection process. Janet Morrissey of wrote: 'With fame and money at stake, it's no surprise that a lot of backstage lobbying goes on. Why any particular act is chosen in any particular year is a mystery to performers as well as outsiders – and committee members say they want to keep it that way.' , the chairman of the nominating committee, says they prefer it that way.
'We've done a good job of keeping the proceedings nontransparent. It all dies in the room.' According to, petitions with tens of thousands of signatures were also being ignored, and some groups that were signed with certain labels or companies or were affiliated with various committee members have even been put up for nomination with no discussion at all. The committee has also been accused of largely ignoring certain genres. According to author, 'entire genres get passed over, particularly, '60s, New Orleans and a whole lot of.'
In contrast, since the mid-2000s (decade), numerous artists have been inducted, including (class of 2017), (class of 2016) and (class of 2007). Another criticism is that too many artists are inducted. In fifteen years, 97 different artists were inducted. A minimum of 50% of the vote is needed to be inducted; although, the final percentages are not announced and a certain number of inductees (five in 2011) is set before the ballots are shipped. The committee usually nominates a small number of artists (12 in 2010) from an increasing number of different genres. Several voters, including, himself a former member of the nominating committee, did not submit their ballots in 2007 because they did not feel that any of the candidates were truly worthy.
Members of the British band, inducted in 2006, refused to attend the ceremony, calling the museum 'a piss stain' and 'urine in wine'. In 's Annual Lecture in 2013, the singer accused the museum of, stating, 'Out of 295 acts and artists in the Rock n' Roll Hall of Fame, 259 are entirely male, meaning that 's part in makes them one of the 36 female acts.' In fact, the actual percentage of woman inductees is 8.5%. Combining all the categories, there have been 719 inductees, out of which only 61 have been women, none of which has been inducted more than once or awarded the Lifetime Achievement. 2007 vote controversy [ ] On March 14, 2007, two days after that year's induction ceremony, Roger Friedman of published an article claiming that should have been the fifth inductee, as they had more votes than inductee.
The article went on to say 'Jann Wenner used a technicality about the day votes were due in. In reality, The Dave Clark Five got six more votes than Grandmaster Flash. But he felt we couldn't go another year without a rap act.' The Rock and Roll Hall of Fame Foundation would later deny fixing the vote, although they did not deny that late votes were received, saying, 'No. There is a format and rules and procedure. There is a specific time when the votes have to be in, and then they are counted.
The bands with the top five votes got in.' The Dave Clark Five was subsequently nominated again and then inducted the following year. The Monkees controversy [ ] In June 2007, Monkee complained to the that Wenner had blackballed, commenting: [Wenner] doesn't care what the rules are and just operates how he sees fit.
It is an abuse of power. I don't know whether the Monkees belong in the Hall of Fame, but it's pretty clear that we're not in there because of a personal whim. Jann seems to have taken it harder than everyone else, and now, 40 years later, everybody says, 'What's the big deal? Everybody else does it.' [Uses studio artists or backing bands.] Nobody cares now except him. He feels his moral judgment in 1967 and 1968 is supposed to serve in 2007.
In a Facebook post, fellow Monkee stated that he does not know if the Monkees belong in the Hall of Fame because he can only see the impact of the Monkees from the inside, and further stated: 'I can see the HOF (Hall of Fame) is a private enterprise. It seems to operate as a business, and the inductees are there by some action of the owners of the Enterprise.
The inductees appear to be chosen at the owner's pleasure. This seems proper to me.
It is their business in any case. It does not seem to me that the HOF carries a public mandate, nor should it be compelled to conform to one.' Various magazines and news outlets, such as, NPR radio, The Christian Science Monitor, Goldmine magazine, Yahoo Music and MSNBC have argued that the Monkees belong in the Rock and Roll Hall of Fame. See also [ ] • • • References [ ]. Rock and Roll Hall of Fame and Museum. Archived from (pdf) on March 6, 2015.
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For the 2016 Finnish film, see. 'Little Wing' by from the album Released • December 1, 1967 ( 1967-12-01) (UK) • January 15, 1968 (US) Format Recorded October 25 & 28, 1967, London Length 2: 26 • (UK) • (US) ' Little Wing' is a song written by and recorded by in 1967. It is a slower tempo, -inspired ballad featuring Hendrix's vocal and guitar with recording studio effects accompanied by bass, drums, and. Lyrically, it is one of several of his songs that reference an idealized feminine or -like figure. At about two and a half minutes in length, it is one of his most concise and melodically-focused pieces. The origins of 'Little Wing' have been traced back to the 1966 recording of '(My Girl) She's a Fox', an R&B song which features Hendrix playing -influenced guitar accompaniment.
He developed the song while performing in New York City's Greenwich Village prior to his involvement with producer. After being inspired by events at the 1967, Hendrix completed the song in October 1967, when it was recorded by the Experience during the sessions for their second album. 'Little Wing' was released with the Axis album in December 1967 in the UK and the following month in the US. As one of only two songs from the album to become part of the Experience's concert repertoire, the Experience often performed it live and recordings were issued on early Hendrix posthumous albums in 1972 and in 1982. More recently, demo versions have been released as well as additional live renditions. 'Little Wing' is one of Hendrix's most popular songs and has become a standard, with interpretations recorded by musicians in a variety of styles.
It is ranked number 366 on Rolling Stone magazine's list of the '500 Greatest Songs of All Time'. Contents • • • • • • • • Background [ ] Jimi Hendrix began his career as a rhythm and blues guitarist and performed and recorded with several popular R&B artists, including,, and.
He learned from other R&B guitarists, including, who was known for his understated rhythmic fills and chording. Hendrix toured as a support act with Mayfield in 1963. He described the experience: 'The best gig was with Curtis Mayfield and. Curtis was a really good guitarist. I learned a lot in that short time. He probably influenced me more than anyone I'd ever played with up to that time, that sweet sound of his, you know'.
In 1966, Hendrix recorded a song titled '(My Girl) She's a Fox' with the Icemen, an R&B duo. Hendrix biographer has described it as 'paced and phrased in the style of Curtis Mayfield, [that] is virtually a blueprint for 'Little Wing'. Later Hendrix producer John McDermott called his contribution to 'She's a Fox' (included on the 2010 ) 'perhaps the strongest of his pre-Experience career. Hendrix's Curtis Mayfield-influenced guitar styling is the song's strongest attribute'. According to Hendrix, 'Little Wing' came from an idea he had originally developed while playing in, when he was fronting his band in the summer of 1966. He later explained that he was further inspired during the Experience's performance at the 1967: I got the idea like, when we were in Monterey and I was just looking at everything around.
So I figured that I take everything I see around and put it maybe in the form of a girl maybe, somethin' like that, you know, and call it 'Little Wing', and then it will just fly away. Everybody's really and they're really in a nice mood, like the police and everybody was really, really great out there. So I just took all these things an put them in one very, very small little matchbox, you know, into a girl and then do it. It was very simple, but I like it though. Recording and composition [ ]. Jimi Hendrix Experience promotional photo circa 1968 In October 1967, recording sessions for the second album began at in London. On October 25, after recording the strongly R&B-oriented ', the Experience recorded an instrumental version of 'Little Wing'.
It followed the same chord progression as the later master recording, but had a more forceful rock feel. After another take in the same vein, Chandler called for a different approach. Recording engineer explained, 'Chas knew right away what was needed. He had Jimi slow the tempo down and try it again'. After the basic track was completed, Hendrix and Kramer recorded overdubs on October 28, 1967.
For his recordings, Hendrix expended considerable effort to achieve the optimal tone for his guitar tracks. For his rhythm guitar, he had set his pickup selector to a nonstandard position between the neck and middle settings to achieve a 'hollow' tone, sometimes mistakenly referred to as 'out-of-phase'. However, for the lead, Kramer later fed the guitar signal through a makeshift, which was normally used for electric organs. By rotating the sound, Leslie speakers produce - and -like effects, i.e., a pulsing or quivering addition to the sound (Hendrix later popularized the use of the, which can be set to get a roughly similar effect). Next, Hendrix added a straight ('dry, without any effects') to underscore his vocal and guitar.
According to Kramer, 'Jimi always kept an eye out for odd instruments that would be lying about the studio' and found the glockenspiel in Studio A. Last to be recorded was his vocal, which was treated with sound processing techniques to give it an airy sound. These have been variously described as (ADT),, Pultec filter, and processing with a Leslie speaker. Regarding the song's arrangement, Shapiro commented, 'Musically, 'Little Wing' is structured to lay a gossamer touch across the whole song from the arresting opening statement and the haunting glockenspiel to the use of a Leslie speaker cabinet for the guitar'. According to 's Matthew Greenwald, it is based on a 'gentle, soulful chord progression [which] guides the melody and is an accurate mirror of the title and lyrics'. The song has been notated in time with one bar in 2/4 at a slow rock (70–72 ) tempo and is built on a without a section: Em G Am Em Bm–B ♭ Am–C G–F add9 2 4 C 4 4 D rest After an instrumental introduction, there are two verses, followed by a guitar solo, which has been described as 'richly melodic' by biographer Keith Shadwick. Shapiro noted the song's brevity: 'The song fades on a magical solo after only two minutes and twenty-five seconds.
Even live, 'Little Wing' was hardly any longer – he said what he wanted to say and stopped'. Hendrix's use of guitar chords for the song involves unconventional finger positions and approach to the fretboard.
Guitarist explained: He had the tendency to play with his fingers very flat [on the guitar's fretboard], and he had a very long thumb, so he could come over the top of the neck to play bass notes. That left his fingers in a likely position to do all this chordal-type stuff. Playing with his fingers so flat also got him that double-string effect every time, like in ' or 'Little Wing'. That's an R&B thing. A reference work by compares it to a pianist's approach, with Hendrix's 'thumb fret[ting] the bass notes, functioning in almost the same manner as a keyboardist's left hand, and the fingers of his fretting hand can be likened to a pianist's right hand'.
Leonard also adds that guitarist describes the technique as a 'lost art'. Lyrics and interpretation [ ] In discussing his lyrics, Jimi Hendrix was characteristically enigmatic. In a 1967 interview, he explained 'Most ballads come across in different ways. Sometimes you see things in different ways than other people see it. So then you write it in a song.
It could represent anything'. In different interviews, he acknowledged an American Indian-influence on his songs ', ', and 'Little Wing'.
He described 'Little Wing' as being 'based on a very, very simple Indian style', perhaps referring to some in which inhabit nature and animals, including birds. In one interview, he saw it as self-explanatory: 'That's exactly what it's about, like 'She's walking through the clouds'. With a circus mind that's running wild Butterflies and zebras, and moonbeams and fairy tales That's all she ever thinks about, riding with the wind Music journalist likens the figure to a feminine ideal: 'Sometimes she is a spirit, sometimes a fantasy, sometimes a woman as solidly, palpably physical as he is'. The figure first appears as 'Waterfall' in 'May This Be Love', where she offers solace and hope, and as 'a soulful, loving ' in 'Little Wing'.
However, other writers have suggested that the figure is similar to the guardian angel associated with Christianity, which is clearly what she represents in Hendrix's later song '. Hendrix's brother,, interpreted 'Little Wing' (and 'Angel') as a general tribute: 'He wrote it for his girlfriends, our aunties, and especially for our mama, who looked over us from high above in the afterlife'. Hendrix's hand-written lyrics for 'Angel' (with the note, 'Finished January 14, 1968') use the title 'My Angel Catherina (Return of Little Wing)', which suggests that he saw a connection between the two songs. At the time, Hendrix had just finished a short tour of Scandinavia, where he had performed 'Little Wing' in concert for the first time. At some point he responded to a question, 'Love? I know a girl, Katerina, in Sweden.'
In a later 1969 interview, Hendrix described his relationships while he was on tour: 'So like 'Little Wing' is like one of these beautiful girls that come around sometimes. She was a very sweet girl that came around that gave me her whole life and more if I wanted it. And me with my crazy ass couldn't get it together, so I'm off here and there and off over there.' Releases [ ]. Axis: Bold as Love album cover (front) 'Little Wing', along with the rest of the tracks for Axis: Bold as Love, was mixed October 31, 1967. Because some of the masters had been lost, stereo remixes were prepared on November 1 (it is not clear if 'Little Wing' was among those remixed).
On November 2, 1967, a monaural mix was prepared, making Axis the last Hendrix album specifically mixed in mono (subsequent mono albums were electronically 'folded' from the stereo mixes). When recording engineer Kramer was preparing the album for a new mono reissue, he commented on the differences: 'Perhaps the most unique track was 'Little Wing'. Jimi's guitar and vocals were much drier while the drum reverb was much more present. It was experimentation.
The entire [mono] album was all mixed in one day!' The album was issued by in the UK on December 1, 1967, and on January 15, 1968, in the US.
The song appears on subsequent reissues of Axis: Bold as Love, which continues to be a best selling Hendrix album. It has also been included on numerous Hendrix compilation albums, including,,,, and. Live performances [ ] 'Little Wing' was one of only two songs from Axis that the Experience regularly performed in concert, the other being '. Except for the glockenspiel and the song's ending, their live performances generally follow the studio arrangement. Since the Axis recording ends on a fade, Hendrix needed to devise a different live ending. Early recordings show a progression to an open chord, while later ones have more elaborate single-string guitar improvisation with effects, such as, before a chiming final chord. For one 1968 performance in San Francisco, Hendrix's guitar signal was routed through a Leslie speaker.
Writer Dave Rubin commented, 'the real Leslie played outdoors [out of the studio] like this really gives a very delicate, gentle swirl to the chords and helps the chordal embellishments in the intro'. This version was also rendered at a slower (56 bpm) tempo, making it somewhat longer (4:01). On January 8, 1968, the Experience debuted the song at the in Stockholm, Sweden, recordings of which have appeared on. Other live versions appear on ( Paris, January 29, 1968), ( San Francisco, October 12, 1968), and ( London, February 24, 1969). These recordings have been reissued on,, and box set. The 1969 Royal Albert Hall live recording was included on singles issued in the UK and US in 1972.
A March 17, 1968, instrumental jam with Hendrix and members of the and is built around 'Little Wing'. Hendrix recorded it for his personal use around the time he began recording tracks for at the studio in New York. This tape from the, along with others from the Generation Club and in New York, was later stolen from his apartment and has appeared on several bootleg albums over the years. Eric Clapton adaptation [ ] English guitarist and singer has performed 'Little Wing' throughout his career, beginning in 1970 with. He explained in an interview: I found that his lyricism when he was writing ballads, like ' or 'Little Wing,' was so different, in a way, that it was powerfully attractive to me. [It was] much more structured than some of his other things, and more melodic, too.
['Little Wing'] stands up so well that anyone could do it. Derek and the Dominos performed the song in London at the ten days after their live debut at the on June 14, 1970. With on second guitar, the group recorded 'Little Wing' at in Miami, during the sessions for shortly before Hendrix's death on September 18, 1970.
Clapton biographer Michael Schumacher notes, 'Clapton had intended it as a tribute to a living legend, but now that Hendrix was gone, the song hit on a different emotional level.' Issued the song on a single as the B-side to ' and included it on Layla and Other Assorted Love Songs.
Critics' comments on Derek and the Dominos' rendition range from 'exquisitely arranged' ( ) to 'bombastic'( Legends of Rock Guitar). The group performed the song during their tour and a recording from the in New York City on October 23, 1970, was released on the album in 1994. After the break up of Derek and the Dominos, Clapton continued to perform 'Little Wing'. Live recordings appear on (1973), (1974, released 1996), (DVD with 1999), (2007, released 2016), (with 2008, released 2009). Recognition and legacy [ ] In 2004, magazine included 'Little Wing' on its list of the ' at number 366.
As one of Jimi Hendrix's most popular songs, 'Little Wing' has been interpreted by many musicians. Recorded an instrumental version in 1984 that was released on in 1991.
In 1987, recorded it for his second solo album, with an arrangement. Notes [ ] Footnotes. • A third recording date, October 31, 1967, has also been suggested. • 'Little Wing' is so sad yet so hopeful, a ballad not of any particular category, yet blending perfectly between lyric and melody'.
• Other R&B guitar influences include in-demand session guitarist, with whom Hendrix shared guitar duties while touring with in 1966 and with /. • '(My Girl) She's a Fox' was written by brothers Richard and Robert Poindexter, who later wrote '. • Underground chemist, who perfected the mass production of before it was made illegal, was present 'freely handing out LSD to musicians backstage'. Hendrix was surprised to learn that the purple tabs had been nicknamed 'purple haze' by some after his song. • On October 14 or 15, 1967, Hendrix and drummer recorded an early instrumental demo which was apparently labeled 'Little Wing' on the tape box, although Shadwick claims that it was a mistake, because of its much closer resemblance to Hendrix's later song '.
• As with most Hendrix songs, his guitar is tuned down one-half step, resulting in a lower pitch. • ' was issued as a single and on the album six months after his death. • Biographer ' sometimes controversial includes an unreferenced statement that 'he [Hendrix] later told his brother Leon that both songs were about their mother, Lucille'; however, this is not mentioned in Leon's biography. • Reprise Records held up its US release of Axis: Bold as Love because of the December release of Get That Feeling, the album on that was designed to look like a current Jimi Hendrix album. • 42 years after its first US release, Axis: Bold as Love reached number five on Biilboard's 'Catalog Albums' chart. • The original Hendrix in the West liner notes listed the venue as the. •, pp. 16–17.
• ^, pp. 224–225. • ^, pp. 110–111. • ^ Greenwald, Matthew... Retrieved March 25, 2014.
•, pp. 133–142. •, pp. 135–136. •, pp. 219–220. Retrieved February 14, 2017. Retrieved March 30, 2014. • Westergaard, Sean... Retrieved May 14, 2014.
• (Album liner notes).. Burbank, California:. Inside gatefold. • ^, pp. 523–562.
•, pp. 596–597. •, pp. 144–146. •, pp. 57–58. •, pp. 113–114.
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