Jimi Hendrix was already deep into his recording career when he participated in an interview in 1968. The article lacks an author’s byline and does not contextualize Hendrix’s career by referencing his released albums or notable titles.
Nonetheless, the interview offers a fascinating retrospective, providing insight into Hendrix’s frustrations with his band, The Experience—which included bassist Noel Redding and drummer Mitch Mitchell—as well as his challenges with the Fender Stratocaster, his electric guitar of choice. It’s important to remember that, at this time, most U.S. readers were largely unfamiliar with Hendrix, let alone his unique approach to guitar playing and songwriting. Even decades later, the interview remains a significant read.
“When Jimi Hendrix plays, the house comes down. It doesn’t crumble in small pieces; it collapses in chunks, engulfing the audience while lifting them up,” he says, recalling a performance at Winterland in San Francisco. “That’s the magic of it.”
Hendrix explains that all his songs come together spontaneously. “All my songs happen on the spur of the moment,” he shares, conveying sincerity in his words. When asked if he compensates for this spontaneity with gimmicks, he responds:
“On some records, you hear all this clash and bang and fanciness, but we’re simply laying down guitar tracks and adding echoes here and there. We don’t rely on fake electronic enhancements. We utilize the same tools as anyone else, but with imagination and common sense. For example, in ‘House Burning Down,’ we made the guitar sound as if it was on fire. It’s constantly evolving, and my lead guitar cuts through it all.”
For Hendrix, the most critical aspect is connecting with the audience. While he is often thought to be flamboyant on stage, he asserts that his presence is typically composed, with emotions flowing genuinely. “When I don’t say ‘thank you’ or turn my back to the audience, it’s not a slight against them; I’m doing that to express what I need to convey. I might be tense about the guitar being out of tune or something similar. My feelings have to come through immediately.”
He acknowledges a significant issue with his instruments, noting, “The two guitars I have now have been around for a while and don’t stay in tune. They can slip out of tune right in the middle of a song, and I have to fight to bring them back. We tune up between every song because it’s not a Flash Gordon show—all neat and rehearsed. We aim to convey our music in the best way possible, which means doing it naturally, like tuning before songs.”
Hendrix reflects on the dynamics within the trio, discussing his collaborations with Mitch Mitchell and Noel Redding. “Sometimes they might want to tell me something, and I might not understand, which can be frustrating. When creating a song, I want to infuse my personal touch along with the group’s. We don’t compromise much—each member sticks to their perspective.”
He admits that the trio doesn’t engage in extensive practice. “Most of our preparation involves thinking. They might visualize the same tune I have in mind, picturing the fingerboard. Then, when we get to the studio, I might provide a rough idea, and Mitch and I will lay down a track ourselves before adding the rest. During shows, we try to listen to one another.”
“I keep my music in my head,” he continues. “It doesn’t come out to the others until we reach the studio. Sometimes, if I have a new song or the guys want a break, I might go to the studio alone and create a rough recording for drums, guitar, bass, and vocals. Other times, I’ll come in playing the guitar and singing a new song. We strive to put our own stamp on every piece we perform.”
When asked about how he views other musicians, Hendrix states, “When I see a band, I look for feeling, not just the energetic kind. Then I look for togetherness and communication among the musicians. Originality is important, but it comes later.”
The night of the interview marked the second anniversary of the trio. Jimi, born in Seattle, Washington, 21 years prior, had left school early to join the Army Airborne. “I’ve played with countless groups, often supporting artists who have since found success.”
He cites influential figures such as Muddy Waters, Elmore James, Eddie Cochran, and B.B. King but emphasizes that his style is uniquely his own. “I write songs to express frustration. I enjoy playing lead to convey my feelings. My approach to lead playing is raw; it comes naturally.”
While Hendrix’s technique may feel instinctive to him, it diverges from that of most guitarists. He plays an upside-down guitar, holding the neck with his right hand and positioning the bass strings at the bottom and the high strings at the top.
Primarily, he uses a Stratocaster fitted with light-gauge Fender strings, along with two Gibsons. “Some tracks on our new LP feature a Gibson,” he mentions, referring to Electric Ladyland, released in October 1968. He prefers Sunn guitar amps, stating, “The size of the amps doesn’t matter as long as I know I have them. I’m not trying to be loud; I aim for impact. I avoid using mics; the right sound comes from a combination of both amp and fretting.”
Hendrix favors light-gauge strings, as they don’t scratch the fingerboard excessively. He believes in keeping an open mind about new possibilities. “You can’t become rigid in your approach to guitar; you need to use some imagination and break away from the conventional. There are countless instruments out there—horns, guitars, everything. Music is continuously evolving, and the goal now is not to complicate things but to express yourself.”
“Music needs to progress. We can extract as much emotion as possible from a three-piece group, and things will happen organically. We have about four unreleased tracks, one featuring a simple rhythm with a funky horn pattern and a touch of echo for clarity. It all flows naturally, like when you hear something that calls for strings. However, we haven’t been able to finalize these pieces because of our touring schedule.”
When prompted about advice for aspiring musicians still striving for success, Hendrix replies, “It’s hard to give advice, but if they’re deeply committed and have received positive feedback from mothers and friends, they should try to connect with established musicians or have a record label representative attend one of their performances. But tell them to avoid signing anything too quickly and to seek legal counsel. Managers may not know everything, but lawyers understand what’s right.”
“You have to persevere,” he concludes. “Sometimes you’ll feel so frustrated that you might want to give up on the guitar. But all of this is part of learning; if you stick with it, you’ll be rewarded.”
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