Electric Ladyland 50th Anniversary Edition: 5.1 Surround Mix Chords by The Jimi Hendrix Experience

_ [Eb] _ _ _ [F] _ _ [G] _
It's [F] really a [Eb] thrill to be [F] talking about [Eb] _ [G] the [Eb] Electric Ladyland album that Jimmy and [Cm] I did
[Fm] 50 years ago.
[Gm] It's scary and [Fm] _ [Bb] _
sometimes [C] I scratch [D] my head and, _ _ [G] wow, was it [Bb] really 50 years?
[C] It's gone in a flash.
[F] _ _
_ [G] _ _ _ [Gb] _ _ [F] Restoring [Bb] that album [F] in another [Fm] dimension.
This is a [Bb] dimension
that [F] Jimmy and I had probably stumbled on by [Bb] accident.
We [Eb] had [Bb] wandered into this crazy
world [Ab] of four [F]-handed mixing, because there was [Bb] no computers in those [C] days, and _ [Db] phasing
all over the place.
[D] Somehow by accident we stumbled on this wacky [E] sound where all of
a sudden in the left and right image it jumped behind our heads and we looked at each other
and went, how [Dm] did we do that?
I don't know.
So let's keep working. _ _ _
_ _ From that moment the album took really strange turns.
Obviously the crazy effects that we
were doing as well incorporated, but there was this mysterious aura about Electric Ladyland
where [C] sounds would just appear [Dm] behind you.
It was wrong and we knew it.
I knew it was
wrong, but nobody really cared.
When something's out of phase, _ the signals are _ crossed in the
sense that _ one speaker is pushing and the other one is pulling.
_ _ Polarity has been changed.
We did this via two or three tape machines trying to get this flanging, crazy effect,
which we use quite often on many of the songs.
But somehow we managed to stumble into this
sort of stationary, [Bb] out of phase content [F] where the image all of a sudden shifted [C] from the
left to [Bbm] right all the way to the back behind our heads.
[A] _ _ [G] _ _ [Db] Theoretically that's totally incorrect.
If you try to cut a disc without on it, the out of phase information would make the stylus
jump right out of the [Bb] groove. _
So [F] anything [A] that's out of phase in the audio world is
considered a big no-no.
[Eb] _ _ _ _
_ [Cm] _ _ _ _ [F] [Cm] The move to America was [Gm] the first step [Fm] in my _
_ [C] _ [Eb] realization that [Fm] the world is your oyster.
You can do whatever the hell you want.
[Bb] Jimmy,
having moved to America [Ebm] prior to my coming to America, [C] I was invited to come [F] and join
him to help finish Electric [Cm] Ladyland and _ continue my work with Jimmy.
That was the big freedom
for me.
[Bb] Being in America for me was [Eb] like an explosion [Bb] of my [Ab] brain.
I didn't know quite
how to handle it [G] in the beginning, but it was wonderful.
_ [Eb] _ _ _ _ [Cm] _ _
Electric [G] Ladyland presented
itself to us [D] as the [Cm] perfect vehicle [G] [Ab] to make 5-1 out of.
On the original, we're [Cm] panning
from left to right.
[Fm] Lots of movement.
Jimmy [Bb] loved the fact that I could just _ [Ab] roll with
that and just make the thing move from left to right.
But now [F] we have a complete soundscape.
Left center right, left rear right, rear.
The whole circle is involved.
I can make Jimmy's
[Eb] guitar start in one corner, pan [Ab] over the top, go [Bb] back down, around to the left to [G] right,
come behind me.
_ [Eb] It makes [Ab] it so exciting.
_ Every [Fm] time I was doing something like that,
[Cm] I felt, [C] yeah, he would have [Eb] liked that thing spinning around like a [Fm] motorcycle [Cm] just zooming
around your head.
That was the cool [F] part.
The [Ab] challenge was how to make _ [Bb] phasing follow
in 5-1 and all the [G] delays and all the crazy sounds that we were up to.
I go back to _ _ my
2-track and then [Ab] the 5-1.
Always A-B.
[Gm] Every _ [Fm] 10, [Eb] 15 seconds just to make sure whatever
I've done _ [Bbm] relates back to those crazy mixes [D] where we didn't know what the hell we [Eb] were
doing or flying by the seat of our [Bb] pants.
Crazy stuff was going on.
I think if Jimmy
had been there, [Cm] he would have been right on.
Just [C] keep