![]() ![]() In recent years, directors have used it to describe the political changing landscapes in America. Instead, he went for ‘All Along The Watchtower’, a shrill rocker that was so banal it wound up in countless commercials. Better still, he could have gone for ‘The Wind Cries Mary’, a jangly, esoteric ballad that demonstrated Hendrix at his most elliptical and his most accessible. Or he could have chosen ‘Foxy Lady’, a licentious rocker that pre-empted the immediacy of punk by 10 years. He could have gone for ‘Voodoo Child (Slight Return)’, a deeply-atmospheric rocker that enriches the romanticism of the words with a cutting guitar solo that pivots across the audios in a dazzling ten-minute exercise of ingenuity. ![]() Iommi was clearly enamoured enough with Hendrix’s playing to pay tribute to him, but his choice demonstrates a blandness that wasn’t in keeping with Hendrix’s more avant-garde sensibilities. ![]()
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