Was Jimi Hendrix Out of Control During His Final Days in the Studio? Evidence Emerges on 'People, Hell and Angels'
Was Hendrix out of control during his final days? Evidence emerges on People, Hell and Angels.
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This is an excerpt from the April 2013 issue of Guitar World magazine. For the rest of this story, plus two other Jimi Hendrix features and the tab for "Dolly Dagger," check out the issue at the Guitar World Online Store.
Was Jimi Hendrix spinning out of control during his final days in the studio, or on the verge of a new breakthrough? New evidence emerges on People, Hell and Angels, a new album of previously unreleased studio recordings.
Bassist Billy Cox has fond memories of his final days in the studio with Jimi Hendrix, recording at New York’s famed Record Plant in 1969. But trips to and from the studio with Hendrix were another matter entirely. Cox recalls that the legendary guitarist was something of a reckless driver. A jaunt across Manhattan in Jimi’s silver Corvette could be a hair-raising experience.
“We’d go into the studio around eight o’clock in the evening,” Cox remembers, “and a lot of times we didn’t come out until noon the next day. When we came out of the studio, he’d have his guitar, I’d have my bass…and the Corvette was a two-seater. So we take off, and my face is hangin’ out the window, along with one of my legs, and Jimi’s got his guitar in the back. We’re goin’ through traffic, and I’m sayin, ‘Oh, lord, you gon’ run into somebody!’ He scared me. I’d get out at the hotel and say, ‘Whew, man! I made it safe and sound.’ ”
As fate would have it, it was drug-and-alcohol-related asphyxiation, not reckless driving, that claimed Hendrix’s life not long after the scene Cox relates. But by then, Jimi had already vastly enriched rock guitar’s lexicon of licks, tricks and aesthetics. He raised the bar for rock guitar heroism. Or as Cox puts it, “Here we are 42 years later, and we’re still celebrating his genius.”
Hendrix never got to finish the album he was working on at the time, leaving fans, rock historians and pop culture geeks perpetually wondering what he was up to in the studio during the final year and a half of his life. Back at the tail end of the Sixties, some said he’d lost the plot, that the glory days of Are You Experienced, Axis: Bold as Love and Electric Ladyland were behind him, and never to return.
Then again, there were those who said that he was on the verge of creating some new progressive form of music exponentially more revolutionary than what had come before. There was talk of a collaboration with Miles Davis arranger Gil Evans, although there’s not even a hint of that among the mountain of unfinished tapes Hendrix left behind.
“Jimi was frustrated before he died, because I think the public didn’t understand him,” says Eddie Kramer, the recording engineer who worked most extensively with Hendrix throughout his years of fame. “He was so confused as to which way to go.”
So was Hendrix on a crash course with musical disaster, wasted on dope and wasting tape while the studio clock ticked off dollars? Or was there some grand, redeeming vision that would have turned the whole thing into another Sgt. Pepper’s, Bitches Brew or Exile on Main Street?
Elucidating the musical truth of Hendrix’s final recordings has been the almost 20-year mission of Kramer, archivist/producer/historian John McDermott, and Janie Hendrix, who is Jimi’s half sister and the head of Experience Hendrix, the company that manages the late guitarist’s estate.
In 1997, they released their best educated guess as to what that final album might have been. It was called First Rays of the New Rising Sun, the name that they conjecture was at the top of Hendrix’s list of tentative titles for his work-in-progress. They followed it up in 2010 with Valleys of Neptune, another scoop from Hendrix’s deep barrel of end-game demos, work tapes, jam tapes, party tapes, unfinished masters and so on. McDermott, Kramer and Experience Hendrix recently dropped another glimpse of Hendrix’s final days at work in the studio, People, Hell & Angels.
Photo: Getty Images
For the remainder of this story (and two more Hendrix features and the tab for "Dolly Dagger"), check out the April 2013 issue of Guitar World magazine, which is available now at the Guitar World Online Store.

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dtguitar
March 13, 2013 at 1:51am
I certainly wasnt there, but It was my undertanding that Jimi H. didnt get a lot of extended time in the studio because he was constantly (and unreasonably) being pulled away from recording to play gigs/travel to "pay" for the construction of Electric Ladyland studios among other things.Its a wonder he got any recordings finished if that is the case.It would explain the mountain of unfinished tapes. It would be interesting to see what people who were there like Eddie Kramer think of this.As I recall, it was mitch mitchell, the drummer, who eluded to this years later [that Jimi's gig scedule was not reasonable on the verge of abuse]. Anyway, neat that there are more unheard Jimi musical ideas (as long as they dont use session players to fill in the blanks-yuk!!)
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RickB
March 12, 2013 at 9:04pm
This article is poorly researched and trying to create controversy where there is none. Jimi was always known as a bad driver due to his poor eyesight, not because he was always blazed out. This was documented as early as his Army days.
The perpetuation of the falsehood of Jimi accidentally overdosing himself to death should come to a halt too. It's clearly evident that he was killed by Michael Jeffery for insurance money. Anyone with even mediocre knowledge of the death scene details can figure that out.
We don't know why jimi's music was all over the place before his death. Maybe he was frustrated. Maybe he had too many ideas at once. The only one with the real answer is buried six feet down in Seattle.














