![]() In an era where punk bands though it was funny to do ironic covers of 60s and 70s classics, Hüsker Dü took the greatest song of the 1960s, and simultaneously destroyed and rebuilt it. There is nothing about Hüsker Dü’s “Eight Miles High” that isn’t masterful, right down the image on the picture sleeve. Note the aforementioned augmented 2nd interval between the G and A# in the last bar.Ladies and Gentlemen, welcome to the greatest cover song ever.īetter than The Clash’s “I Fought The Law.” Better than The Beatles “Twist and Shout.” Better than The Who’s “Summertime Blues.” Better than The English Beat’s “Tears of A Clown.” Better than Jimi Hendrix’s “All Along The Watchtower.” But you can take off your thinking cap and mellow out to Ex. In “White Rabbit,” Kaukonen employs F# Phrygian-dominant (F#, G, A#, B, C#, D, E), the 5th mode of B harmonic minor (B, C#, D, E, F#, G, A#). This is the note that will sound like “home.” The term “5th mode” simply means that Phrygian-dominant’s root is the 5th degree of the harmonic minor scale. Note how this creates an unusual augmented 2nd interval (one and one half steps) between the 6th and 7th degrees. Harmonic minor (1, 2, b3, 4, 5, b6, #7) is nearly identical to natural minor (1, 2, b3, 4, 5, b6, b7), the only difference being its raised 7th scale degree. Harmonic minor (1, 2, b3, 4, 5, b6, #7) is nearly identical to natural minor (1, 2, b3, 4, 5, b6, b7), the only difference being its raised 7th scale degree Kaukonen navigates these chords using the 5th mode of harmonic minor, commonly referred to as Phrygian-dominant. While the song is broadly in the key of A major, the intro and verses center around a chord progression of F# to G, which is technically out of key. Kaukonen accomplishes this by deftly employing an exotic scale, another element of the psychedelic sound. It often sounded as if Jimi’s guitar was tearing apart at the seams. ![]() This pedal, designed specifically for Jimi by his sound technician, Roger Mayer (opens in new tab), doubled every note one octave higher, while adding fuzz. Note that I’ve added an octave-up doubling effect to further capture Jimi’s sound, as this is something he employed frequently via his Octavia pedal (opens in new tab). With the song “Fire,” from the Jimi Hendrix Experience’s debut 1967 album, Are You Experienced (opens in new tab), he introduced himself with a guitar solo consisting of a veritable onslaught of stinging string bends and vibratos.Įx. Hendrix regularly summoned, as if by magic, all manner of new sounds from his guitar. Jimi somehow managed to control, at will, the beast that is amplifier feedback, creating new tripped-out sonic journeys for his audience. His trippy songwriting combined R&B-influenced rhythm playing with soaring guitar solos, steeped in blues and drenched in fuzz. ![]() The next stop on our magical musical tour brings us to the legendary Jimi Hendrix.
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