Sure, many might not agree, asserting that the first, the experience, is Hendrix's greatest auditory experience, absolutely agree: but where does the genius find the expansion that truly befits him? Answer: in "Electric Ladyland".
"Electric Ladyland" came out in '68, but even by that time Hendrix was traveling towards infinite space, drugs were taking him down, and this is the definitive testament of the genius. The taste for a certain Caribbean flavor mixed with acid ula-hop parties must have gone to Hendrix's head as he increasingly tried to move away from the debut towards those infinite spaces. Hendrix himself said he could no longer hear guitar music and that he heard that music in his head, and if he picked up a guitar, the whole thing crumbled for him. The pieces are expanded, the vision for the song itself vanishes, and the dance that dazes and hypnotizes takes form, "Voodoo Chile" lasts 15 minutes, for example, with a robust organ that even surpasses the guitar.
It is electric church music that shocks, here we are already beyond the extreme boundaries of the Blues, the stellar Blues here expands into the perception of the listener, a total Sound inspired by the timeless abysses of space and ocean, psychedelia from the distant future that ignites the Dylan-like landscape of "All Along the Watchtower" and unleashes the cosmic dance of the senses in the incandescent wind of "Voodoo Chile," a piece that, after listening to it, reveals two things to you, first that beyond this piece Hendrix could never have gone, second, that while Hendrix's distorted slashes on "Voodoo Chile" close the album you might as well close your life with a shot to the head from a .44 Magnum because you won't hear anything better on an electric guitar.
His defiance of genres; and it is precisely in this album... that his personality is reflected.
An epochal album that lays bare Hendrix’s true soul: that creativity that eludes every scheme.
Those notes seem to have been etched onto a tombstone by gods making love.
This magnificent art gallery is nothing but Psychedelia, a manifestation of the soul.
Magic. Hendrix was magic, above all else.
Electric Ladyland could be considered Hendrix's Blonde on Blonde, the ultimate musical testament of a genius.
The prolonged sessions had the primary objective (successfully achieved!) of researching and ultimately recording a pretentious combination of psychedelia, blues, and a vigorous sonic expressiveness to seal it all.
Voodoo Chile as a delectable jam session that leaves Hendrix an infinite freedom of creation-expression through his gleaming Stratocaster, presenting himself as the Van Gogh of the seven notes.