Well, okay, I lied a little. It's not a real interview, but I did have a dream last week I interviewed Jimi Hendrix.
It wasn't a confrontational 60 Minutes interview and it wasn't like a Carson Daly interview. Our meeting was sweet and pleasant, in some funky coffee shop with Little Richard velvet paintings on the wall and Isley Brothers records everywhere.
Here are some of the questions I asked as well as Jimi's thoughts and feelings on music's past and present. There were no tape recorders or cameras, just a sit down with the one of the most creative artists who's ever lived.
Bill Mike: Did the cocky British guitar gods of the '60s crap in their pants when you showed up in London? I heard Pete Townsend called Clapton and said, "We're all out of a job." Part two to this question: I noticed everybody's music in London got a little tougher and more experimental after you showed up. Do you think you had an influence on this?
Jimi Hendrix: I wasn't thinking that way at all actually. I had to leave New York because my thing wasn't hitting home with a lot of people and I was pretty focused on my songwriting and my guitar playing. I did hear that Pete Townsend story and it's true, but really all of those guys are unique and gifted musicians in their own right, and I was always a fan of their music as well. I think my presence as a black blues guitarist in London helped a little bit. Clapton, Harrison, Beck, Page, Townsend, Gilmour, Mayall and Richards were all brought up on blues music and they've helped reintroduce African-American music to the rest of America. They've been very respectful and passionate about promoting the forgotten bluesmen of the USA. I don't know if I toughened up all those cats in London, but we all helped each other play our 'A game.' The years from 1967 to 1970 were pretty magical for us because we all really dug deep and tried to play to our potential.
BM: I still think you scared the shit out of them in a good way. Do you get tired of people copying your style, like everybody who has picked up a rock guitar? What do you think of music impressionists?
JH: I'm flattered Mike McCreedy and John Mayer seem to dig my style. It's cool, but man, sometimes I cringe and think, 'oh, that's a little bit too me, I want to hear you.' I believe everyone has their influences pouring out of them. For me, Buddy Guy would be an example.
As far as impressionists, they're just one type of musician and there are multiple types of musicians. Impressionists flourish and work best when reproducing what has been done before. It fits their personalities – they have great technical skills and have respect for the craft-oriented side of music. It's all good. Unfortunately though, I think the way the majority of music is taught in America is more supportive of this way of thinking. Our creative pioneers had to slowly sneak in and rattle the structure and comfort of commercial art. Through a grassroots effort, they get a little bit of media attention – then boom, a new movement happens. Players who are more exploratory have a disadvantage in the American schooling system. The large majority of music is taught with a very formal western European music system that says 'learn music this way or hit the highway.' It's a giant, spacey creative world out there, with many types of personalities. We can all learn from each other's ideas and concepts because all methods of creating are valid.
BM: You took the craft of songwriting just as seriously as you did guitar playing. Do you think your success is due to your guitar playing or your songwriting?
JH: Man, the guitar is my true voice, but it's just the vehicle. Writing good melodies, interesting rhythms and exploring new sounds really hit people on a larger level. Only guitar players will know if my guitar solo is happening, but if I write a good song, I've done my job and then some. Music has a bigger definition to me – it's everything on the tape, not just the guitar riff.
BM: Do you think the front person promotes their band members enough? A good band always makes the front person better and the songs stronger.
JH: Back in my day, I heard horror stories about Paul Anka, Buddy Rich and bandleaders with some talent, but they were so insecure they'd muscle over their sidemen. A good band brings your songs and ideas to a higher level. You know you have a good band when people like your songs and your playing, but talk about your drummer and bass player just as much as they talk about you. I'm only human, so I struggled with a little jealousy once in a while. Noel Redding and I had a little bit of that; Billy Cox and I didn't. Mitch Mitchell and Billy are still gods among musicians I see. I'm proud of that whole band.
BM: Did you know your estate would be releasing compilation after compilation when you passed away? Do you think there are pure intentions behind what happened?
JH: You have to realize part of being human means accepting that money and business will be a part of our daily adult life. So what you can do as an artist is either fight it, ignore it or play with these biz people a bit. This Moby guy is from your generation; he's a DJ, right? He got a buzz around him and had Madison Avenue all over him to license his music for various car commercials. He said yes, took all the money and gave it to organizations fighting against big oil companies and corrupt business. Now that's a cool cat and a creative thinker.
But back to my estate. Things got messy after my departure and my family didn't own my estate for a number of years. Sad. Even within my family there's ill will and fighting about it. The music has suffered and I don't know when I'll be at peace with that. I've always been amazed and thankful I'm still selling records even though I'm not gigging down there anymore – and I'm glad my music is still entertaining and inspiring people.
BM: Did you ever want to tell the promoters of Woodstock they were spoiled rich kids and you should've gone on at a different time when all the delays kicked in? You were the headlining act, man.
JH: Ha! I woke them up with the heaviest song I know how to play. Yeah, those college boys had a bunch of free bread, but at least their hearts were in the right places – you shouldn't judge them. Me and the Gypsy Sun and Rainbows had a good set.
BM: Sorry.
JH: No worries. Let's play.
BM: Guitar?
JH: Yeah man. I brought a bunch of strats with me. Sotheby's will never find these and you won't see them behind glass.
BM: Have you seen the price of a strat on mother earth lately?
JH: It's ridiculous. Instruments have got to be played, not horded. Okay, now key of E, down tempo.
BM: Gulp!
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