Prev Article Next Article

Feature Photo: Photographer: Ary Groeneveld (?) ; Auteursrechthouder: Gemeente Rotterdam (Stadsarchief) CC-0, CC0, via Wikimedia Commons

Jimi Hendrix, born James Marshall Hendrix in 1942, remains one of the most iconic and influential figures in the history of music. Known for his virtuosic guitar skills, innovative studio techniques, and groundbreaking musical compositions, Hendrix redefined rock music in a career that, though tragically brief, left an indelible mark. From his early years playing the chitlin’ circuit with rhythm and blues greats such as Little Richard and the Isley Brothers, to his rise to international stardom with his band the Jimi Hendrix Experience, Hendrix constantly pushed the boundaries of what the electric guitar could achieve.

After moving to England in 1966, Hendrix formed the Jimi Hendrix Experience with bassist Noel Redding and drummer Mitch Mitchell. The trio quickly gained attention with hits like “Hey Joe” and “Purple Haze,” leading to the release of their groundbreaking debut album, Are You Experienced in 1967. This was followed by Axis: Bold as Love later that same year, and the seminal Electric Ladyland in 1968. Hendrix’s performances, including his legendary set at the Monterey Pop Festival and his unforgettable closing act at Woodstock in 1969, solidified his reputation as one of the greatest live performers in rock history. However, behind the fame and the legendary moments were deeper, more complex pieces that demonstrated the full breadth of Hendrix’s creativity.

While many fans and critics have celebrated Hendrix’s well-known hits, there is a vast collection of underrated tracks that reveal another layer of his genius. Songs like “1983… (A Merman I Should Turn to Be)” and “Burning Desire” highlight Hendrix’s ability to merge deeply personal themes with experimental sounds. These compositions reflect his mastery over the studio, as he intricately wove together elements of blues, rock, jazz, and even orchestral arrangements to create truly innovative music. His third and final studio album with the Experience, Electric Ladyland, stands as a testament to Hendrix’s boundary-pushing vision. Tracks such as “House Burning Down” and “The Stars That Play with Laughing Sam’s Dice” showcase his ability to blend lyrical introspection with sonic experimentation, often overshadowed by more radio-friendly hits but deserving of deeper recognition.

This article delves into ten of Jimi Hendrix’s most underrated songs—tracks that may not have topped the charts but are rich in creativity and showcase the full depth of his artistry. While Hendrix’s well-known classics like “Purple Haze” and “All Along the Watchtower” continue to be celebrated, these lesser-known compositions provide insight into his artistic vision and musical journey. For instance, “Once I Had a Woman” reflects his blues roots, while “One Rainy Wish” captures the ethereal, dreamlike quality that permeated much of his later work.

In closing this article, “1983… (A Merman I Should Turn to Be)” perfectly encapsulates Hendrix’s genius for merging storytelling with musical innovation. As the final song on this list, it serves as a fitting reminder that while Hendrix may have been known for his fiery live performances and electric riffs, his talent extended far beyond what most listeners may know. In exploring these underrated tracks, we hope to shine a light on the hidden gems of Jimi Hendrix’s catalog, offering both longtime fans and newcomers a chance to rediscover his music in all its depth and complexity.

# 10 – Peace in Mississippi

“Peace in Mississippi” is one of Jimi Hendrix’s most powerful instrumental tracks, and while it’s often overlooked in favor of his more well-known songs, it delivers an electrifying experience that showcases his raw talent. The version we’re focusing on here is from Crash Landing (1975), and it’s the one we prefer. While the original 1968 recording featured Hendrix alongside drummer Mitch Mitchell and bassist Noel Redding, the Crash Landing version includes overdubbed contributions by other musicians. This altered the song’s original form, with new drum, bass, guitar, and percussion parts added in 1975. Despite these changes, this version retains the high-octane energy that Hendrix was known for and adds a different layer of intensity.

The song has gone through multiple versions over the years. The original version, albeit edited, appeared on Voodoo Soup (1995), and the unedited version was later released as part of the Valleys of Neptune CD single. With its heavy, grinding guitar riffs and fiery improvisation, “Peace in Mississippi” remains a hidden gem in Hendrix’s catalog, providing a glimpse into his unmatched skill as a guitarist and his creative process during the late 1960s.

“Valleys of Neptune” is a posthumously released song by Jimi Hendrix, featured on the 2010 album Valleys of Neptune. Written and produced by Hendrix, the track was originally recorded between 1969 and 1970 during a period of transition for the musician. It first began to take shape under the working title “Gypsy Blood” in February 1969, with Hendrix recording early versions at Olympic Sound Studios in London. The song’s lyrics, which were influenced by the writings of Edgar Cayce and the myth of Atlantis, were written in June of that year. Following the departure of bassist Noel Redding from the Jimi Hendrix Experience in June 1969, the track began to evolve further.

Several recording sessions followed, including one at the Hit Factory in New York on September 6, 1969, with bassist Billy Cox, drummer Mitch Mitchell, and percussionist Juma Sultan. Hendrix later experimented with different lineups, including collaborations with Stephen Stills, Buddy Miles, and John Sebastian. By May 1970, Hendrix laid down the instrumental master track for “Valleys of Neptune” but never fully completed the song to his satisfaction before his death in September 1970. The version that appears on the 2010 album was compiled from these various takes. Accompanying the release of the song, a music video featuring a painting by Hendrix premiered in 2010, visually capturing the mystical and otherworldly themes of the track.

# 8 – Night Bird Flying

“Night Bird Flying” is a powerful and complex rock song by Jimi Hendrix, showcasing his ability to blend multiple guitar styles and explore intricate compositions. Written in 1970, the track reflects Hendrix’s fascination with an idealized feminine figure, a theme he had previously touched upon in his iconic song “Little Wing.” Musically, “Night Bird Flying” is notable for its rich layering of guitar parts, with Hendrix skillfully intertwining different rhythms and melodies. The song was recorded during the summer of 1970 at Hendrix’s newly built Electric Lady Studios, where he worked alongside longtime collaborators Mitch Mitchell on drums and Billy Cox on bass.

Originally intended for Hendrix’s unreleased fourth album, Night Bird Flying is one of the tracks considered largely complete by the time of his passing. The song went through extensive development, with early rhythm elements traced back to Hendrix’s jams at TTG Studios in Los Angeles in 1968. It eventually took shape in 1969 as “Ships Passing in the Night” before being fully realized during recording sessions at Electric Lady in June 1970. The final master was completed after 32 takes, with additional overdubs recorded in July and August, culminating in a final mix on August 24, 1970. Hendrix himself was reportedly very pleased with the result, and the song was played at the studio’s grand opening just two days later.

# 7 – The Stars That Play With Laughing Sam’s Dice

“The Stars That Play with Laughing Sam’s Dice” (often abbreviated as “STP with LSD”) is the B-side to Jimi Hendrix’s 1967 single “Burning of the Midnight Lamp” and remains one of his more experimental and lesser-known tracks. This song is filled with playful, psychedelic imagery and chaotic soundscapes that highlight Hendrix’s creativity in both music and lyrics. The song was later included on various compilations, such as Smash Hits and the posthumous releases Loose Ends and South Saturn Delta.

The track was recorded over several sessions, starting in June 1967 at Houston Studios in Los Angeles, before the final version was completed on July 19 and 29 in New York City. The Experience, along with a group of session musicians known as the “Milky Way Express,” contributed to the song’s unconventional sound, featuring distorted guitars, wah-wah effects, and a variety of whistles, backing vocals, and odd sounds, possibly including contributions from Frank Zappa. Hendrix was the first to use his now-iconic wah-wah pedal on this track, marking an important evolution in his guitar style.

At the time of its release, the song was somewhat dismissed by critics as a lighthearted B-side to fill space, but in retrospect, “The Stars That Play with Laughing Sam’s Dice” holds more significance as a snapshot of Hendrix’s experimental side. The song dives into cosmic and surreal imagery, reflecting the psychedelic atmosphere of the late 1960s. The chaotic structure, filled with random dialogue and nonsensical lyrics, can be interpreted as an intentional departure from Hendrix’s more straightforward rock hits. It’s a glimpse into his ability to break musical conventions and let his creative instincts run wild. Lyrically, the song reflects a trippy, fantastical journey through space.

The lines “The stars up above that play with laughing Sam’s dice / They make us feel the world was made for us” illustrate the otherworldly theme, with Hendrix using stars and cosmic symbols to evoke a sense of wonder and exploration. The references to astrological and galactic imagery pair with the loose, improvised feel of the music, giving listeners the sense of embarking on a surreal journey. The spoken word sections of the track add a humorous, almost stream-of-consciousness vibe, with mentions of butterfly roller skates and warnings not to open doors, which mirrors the whimsical and unpredictable tone of the song.

In comparison to other tracks on this list, such as “Peace in Mississippi” and “Valleys of Neptune,” this song emphasizes Hendrix’s interest in the abstract and unconventional, making it a unique addition to the collection of his most underrated tracks. While some of Hendrix’s work relies on raw emotion or guitar virtuosity, “The Stars That Play with Laughing Sam’s Dice” taps into his playfulness and love for the unexpected, securing its place as an intriguing piece in Hendrix’s catalog.

# 6 – House Burning Down

“House Burning Down” is a powerful and politically charged track from Electric Ladyland, the third and final studio album by the Jimi Hendrix Experience, released in October 1968. It captures Hendrix’s fiery guitar work, innovative production techniques, and social consciousness, making it one of the standout, yet often overlooked, songs from the legendary double LP. Written and produced by Hendrix himself, “House Burning Down” touches on the themes of violence, destruction, and civil unrest, all set against the turbulent backdrop of the late 1960s.

“House Burning Down” was recorded in 1968 at Record Plant Studios in New York City, with Hendrix in full creative control of the production process. Eddie Kramer and Gary Kellgren engineered the sessions, working alongside Hendrix to bring his ambitious musical vision to life. The track, like much of Electric Ladyland, was an example of Hendrix’s studio perfectionism. His attention to detail is evident in the layered guitar effects, including the use of wah-wah pedals and feedback, which create a chaotic yet controlled soundscape to match the incendiary lyrics. Alongside Hendrix on guitar and vocals, Mitch Mitchell contributed drums, and although Noel Redding was still officially part of the band, Hendrix himself played many of the bass parts on the album, which might include this track.

Upon its release, “House Burning Down” did not receive as much attention as the album’s lead singles like “All Along the Watchtower” or “Crosstown Traffic.” However, over time, critics have come to appreciate the track’s biting social commentary and innovative sonic landscape. It reflects Hendrix’s frustration with the violence and unrest in American society at the time, particularly in the context of the civil rights movement and the political turbulence of the late 1960s. With its relentless energy and unflinching lyrics, the song was ahead of its time in confronting societal issues through rock music.

Lyrically, “House Burning Down” is vivid and apocalyptic, with Hendrix narrating a scene of destruction where the sky turns “a hell fire red” and houses are set ablaze. The lyrics seem to allude to the riots and protests that were occurring across the U.S. during this era, but Hendrix also inserts a message of learning and hope: “Try to learn instead of burn.” The narrator’s plea is directed at a generation grappling with anger and injustice, urging them to channel their frustration into positive change rather than self-destruction. The surreal imagery towards the end of the song, with “a giant boat from space” taking the dead away, adds a sense of otherworldly devastation, reflecting Hendrix’s unique blend of social realism and psychedelic imagination.

“House Burning Down” stands out on this list of underrated Jimi Hendrix songs not only for its bold social message but for its complex, layered sound. Its combination of aggressive guitar work and visionary lyrics places it in the same league as earlier tracks on this list, like “Peace in Mississippi” and “Valleys of Neptune.” However, “House Burning Down” distinguishes itself with its overtly political nature, making it a bold artistic statement that deserves recognition as one of Hendrix’s most profound compositions.

# 5 – Things I Used To Do

Jimi Hendrix’s version of “The Things That I Used to Do” is a deep dive into the blues roots that profoundly influenced his music. Originally written and recorded by Guitar Slim in 1953, Hendrix’s rendition of this classic captures the spirit of the original while adding his signature electric style, making it an excellent choice for this list of underrated Hendrix tracks. This version, which features a raw and impromptu feel, was recorded during a jam session with Johnny Winter on slide guitar in 1969. Released posthumously on Both Sides of the Sky in 2018, Hendrix’s take on the song highlights his deep respect for the blues and its pioneers, while showcasing his unique ability to infuse the genre with psychedelic flair.

“The Things That I Used to Do” was recorded in 1969, during an impromptu session with Johnny Winter, a blues guitarist known for his fiery slide guitar work. The session captured an authentic blues jam, with Hendrix on lead guitar and vocals, Winter providing the slide guitar textures, and backing musicians contributing to the rhythm section. This particular track stands out for its loose and natural recording, offering a glimpse into Hendrix’s more spontaneous side, outside of the polished studio productions of his better-known albums.

Although the song did not receive the same level of attention as Hendrix’s more famous recordings, it has since been hailed as a gem in his posthumous catalog. Guitar Slim’s original was a groundbreaking blues hit, known for its early use of distorted electric guitar. Hendrix, a longtime fan of Slim’s work, brings that legacy full circle with this rendition. The track not only pays tribute to the origins of electric blues but also shows Hendrix’s reverence for the genre’s pioneers. His guitar playing is both restrained and expressive, complementing Winter’s slide work without overshadowing it, creating a perfect balance of traditional blues and Hendrix’s otherworldly tone.

Lyrically, “The Things That I Used to Do” is a classic blues narrative of regret, betrayal, and resolution. Hendrix remains faithful to the original message, delivering the verses with soulful emotion and just the right amount of grit. “I used to search all night for you baby / But my search would all end in vain” captures the heartbreak and frustration that are quintessential elements of the blues. Musically, the song maintains a slow and steady groove, punctuated by Hendrix’s nuanced guitar work. While the original version by Guitar Slim was known for its clean, gospel-influenced sound, Hendrix takes the track in a different direction, using overdriven tones and dynamic phrasing that add depth to the emotions conveyed by the lyrics.

Compared to the other tracks on this list, “The Things That I Used to Do” shares the bluesy backbone that defines “Peace in Mississippi” and “Valleys of Neptune,” but it stands out for its more spontaneous, live-jam feel. Hendrix’s love for the blues is evident throughout the song, making it a fitting inclusion on this list of underrated Hendrix gems, showing just how deeply intertwined his playing was with the genre that shaped rock music.

# 4 – One Rainy Wish

“One Rainy Wish” is a standout track from Axis: Bold as Love, the second album by the Jimi Hendrix Experience, released in 1967. Written by Hendrix, the song reflects his ability to translate his vivid dreams into music, as it was inspired by a dream he had about a sky filled with “a thousand stars” and “eleven moons.” The song is a lush, dreamy blend of Hendrix’s guitar mastery and poetic lyricism, marked by its gentle yet complex musical arrangements. While not as widely known as some of his other tracks, “One Rainy Wish” offers a glimpse into Hendrix’s more introspective and imaginative side.

“One Rainy Wish” was recorded during the sessions for Axis: Bold as Love, with production by Chas Chandler at Olympic Studios in London. The Experience lineup featured Jimi Hendrix on guitar and vocals, Noel Redding on bass, and Mitch Mitchell on drums. The song’s soft introduction transitions into a more assertive rhythm, showcasing Hendrix’s dexterity in blending smooth, melodic tones with intense, dynamic guitar work. The song was later released as the B-side to “Up from the Skies” in February 1968, further extending its reach beyond the album.

Though often overshadowed by other tracks on Axis: Bold as Love, such as “Little Wing” or “If 6 Was 9,” “One Rainy Wish” stands out for its dreamlike quality and the way it captures a sense of fleeting beauty. Critics have praised the track for its blend of jazz-like chord progressions with Hendrix’s psychedelic rock sound. The song also highlights his skillful use of dynamics, with the tempo shifting from tranquil, almost ethereal passages to more robust sections that allow Hendrix to flex his guitar prowess.

Lyrically, “One Rainy Wish” is rich with dreamlike imagery, with Hendrix painting a surreal landscape where the sky holds “a thousand stars” and “eleven moons” that dance across rainbows. The recurring mention of the “golden rose” ties into the idea of something beautiful but fleeting, adding a layer of melancholy to the song. Musically, the track’s opening is gentle and atmospheric, with Hendrix using a clean tone and subtle vibrato to create a calming mood. This softness is soon contrasted by the song’s shift into a more energetic section, where his guitar work becomes more assertive, showcasing his ability to blend emotional nuance with technical brilliance.

Compared to other songs on this list, such as “Valleys of Neptune” or “Nightbird Flying,” “One Rainy Wish” leans more into Hendrix’s softer, more reflective side. It reveals a different dimension of his artistry, one that focuses on dreamscapes and inner reflections, making it a truly underrated gem in his catalog.

# 3 – Once I Had A Woman

“Once I Had a Woman” is a slow-burning blues track featured on Blues, a posthumous 1994 compilation album that showcases Jimi Hendrix’s deep connection to the blues. This track, recorded in 1969, captures the raw emotion and unparalleled guitar work for which Hendrix became known. With its unhurried tempo and wrenching guitar lines, the song embodies the heartbreak and longing often central to blues music. While it may not have the widespread recognition of some of his rock hits, “Once I Had a Woman” stands as an essential piece for understanding Hendrix’s profound skill in the blues tradition.

“Once I Had a Woman” was recorded during sessions in 1969, a period when Hendrix was experimenting with a range of musical influences, including deep explorations into blues. Accompanied by Billy Cox on bass and Buddy Miles on drums, the song’s arrangement is minimalist, allowing Hendrix’s guitar to take center stage. His playing alternates between biting, distorted solos and soulful, mournful bends, capturing the essence of a heartbroken man in search of the woman he lost. This track, produced by Alan Douglas for the Blues compilation, gives listeners insight into Hendrix’s versatility and deep respect for the blues genre.

Though “Once I Had a Woman” didn’t become a mainstream hit, it has been lauded by blues aficionados for its authenticity and emotional depth. The song’s slow, deliberate pace mirrors the heartache of its lyrics, allowing Hendrix’s guitar to serve as an extension of his voice. Critically, the track has been praised for showcasing Hendrix’s ability to strip away the psychedelic rock elements for which he was famous and deliver a deeply intimate and emotive performance. Many reviewers consider Blues one of the best posthumous compilations of Hendrix’s work, and “Once I Had a Woman” exemplifies his mastery of the blues.Lyrically, “Once I Had a Woman” taps into classic blues themes of lost love and longing. Hendrix sings, “Lord, I had a woman, Lord knows she was good to me in every way,” reflecting a deep sense of regret and sorrow over the absence of his woman. His voice, filled with yearning, complements the melancholic tone of the song. T

he repetition of lines like “I’m searching for my woman” emphasizes the emotional weight of the loss. Musically, Hendrix’s guitar work shines through, using expressive bends and sustained notes to reflect the desperation of the lyrics. His technique throughout the track captures both the pain and beauty of the blues, making “Once I Had a Woman” a standout performance.

This track, when compared to others on this list like “Nightbird Flying” or “The Stars That Play with Laughing Sam’s Dice,” shows a more restrained, focused side of Hendrix’s artistry. While the other songs venture into psychedelic rock or experimental sounds, “Once I Had a Woman” remains firmly rooted in the blues, offering a testament to Hendrix’s versatility and depth as a musician.

# 2 – Burning Desire

“Burning Desire” is an explosive and passionate track by Jimi Hendrix, recorded during the late 1969 and early 1970 sessions with drummer Buddy Miles and bassist Billy Cox of the Band of Gypsys. Released posthumously on the Burning Desire album in 2006, the song combines Hendrix’s signature fiery guitar work with intense, emotionally charged lyrics, showcasing both his musical prowess and his ability to convey deep feelings through his voice.

The song was recorded at the Record Plant Studios in New York City during the same sessions that produced the Band of Gypsys album. Hendrix, in this phase of his career, was experimenting with fusions of rock, funk, and blues, and “Burning Desire” captures this evolving sound. Alongside Buddy Miles on drums and Billy Cox on bass, Hendrix pushes the boundaries of rhythm and melody, blending these elements into a searing, dynamic piece. The track, like many others from this era, reflects Hendrix’s growing comfort with more extended, jam-based structures, allowing his guitar to take center stage while still giving room for powerful vocal expression.

The lyrics of “Burning Desire” depict an overwhelming sense of yearning and intensity, with phrases like “Burning desire sets my soul on fire” speaking directly to the emotional heat that the music conveys. Hendrix’s voice channels this raw passion, but it’s his guitar work that elevates the song’s message, translating the burning emotional landscape into searing riffs and vibrant solos. The chorus, “Burning desire hotter than an electric chair,” further intensifies the urgency of the track, blending metaphors of love and pain with electric, fiery imagery.

Musically, the song’s progression builds into a powerful climax, with the band driving the tempo and energy higher as the song progresses. Hendrix’s guitar solos in the song’s final sections are particularly notable, giving the track an edge that perfectly matches the lyrics’ intensity. This song is a masterful example of how Hendrix blended his vocals and instrumentation to create a cohesive emotional experience, especially evident in the passionate closing moments of the song.

“Burning Desire” might not have been one of Hendrix’s commercially released songs during his lifetime, but it is undeniably one of the most underrated tracks in his catalog. It showcases Hendrix’s deep connection to blues and rock while demonstrating his growing interest in funk and soul influences during this period. The song’s raw energy and the interplay between its lyrics and music create a visceral listening experience. While tracks like “Gypsy Eyes” and “All Along the Watchtower” are often hailed as key highlights, “Burning Desire” is a hidden gem that deserves to be heard and appreciated.

In the context of this list of underrated Hendrix songs, “Burning Desire” stands out for its combination of lyrical intensity and musical innovation, and its fiery, dynamic ending leaves an unforgettable impression.

# 1 – 1983… (A Merman I Should Turn to Be)

As the closing song in this article, 1983… (A Merman I Should Turn to Be) is a profound and surreal exploration of escapism and rebirth, delivered by Jimi Hendrix on his Electric Ladyland album in 1968. The track is notable not only for its length—clocking in at over 13 minutes—but also for its intricate production, groundbreaking use of studio techniques, and haunting lyrics. Written and produced by Hendrix, the song features drummer Mitch Mitchell and flutist Chris Wood from Traffic, as well as Hendrix himself on guitars, bass, and vocals. The song is a masterpiece of psychedelic rock, showcasing Hendrix’s vision of a world reborn underwater, free from the chaos and destruction of modern society.

The recording of 1983… (A Merman I Should Turn to Be) took place over several months in 1968, with sessions at Sound Center Studios and the Record Plant in New York City. Hendrix meticulously worked on this track, experimenting with studio effects such as backwards guitars and manipulated sounds to create a rich, underwater atmosphere. The song features a distinct soundscape, with flute embellishments, seagull-like effects produced through feedback, and an eerie, dreamlike quality that reflects Hendrix’s increasing interest in studio wizardry during this period. The result is one of the most innovative compositions in Hendrix’s catalog, representing his journey from raw blues-influenced rock to a more orchestrated, conceptual approach to music.

Lyrically, the song tells the story of a man who, disillusioned by the devastation of war and destruction on Earth, decides to escape with his lover to an underwater world. Lines like “Alive but the war is here to stay” and “Giant pencil and lipstick tube-shaped things continue to rain and cause screaming pain” evoke apocalyptic imagery, reflecting Hendrix’s growing disenchantment with the state of the world. The protagonist, rejecting the destruction on land, turns to the sea as a place of rebirth and renewal, with the repeated refrain of “down and down we go” symbolizing the descent into a new, aquatic life.

The song also conveys a sense of resignation, as the narrator and his partner leave behind their friends who refuse to join them in this underwater escape. Lines such as “The machine that we built would never save us” emphasize the failure of human technology and progress to bring peace and harmony. Yet there is a sense of optimism as the couple makes their final journey to a mystical, welcoming Atlantis, where they are greeted with cheer and a sense of belonging. The imagery of the sea, starfish, and mermaids underscores the song’s ethereal, otherworldly quality, where love and nature remain intact, offering solace amidst the chaos above.

Though 1983… (A Merman I Should Turn to Be) wasn’t released as a single and didn’t garner the same radio attention as other Electric Ladyland tracks, it remains one of Hendrix’s most ambitious and visionary compositions. The song’s length and experimental nature may have contributed to it being overlooked by mainstream audiences, but critics and Hendrix enthusiasts alike have praised its innovative production, poetic lyrics, and rich textures. As the closing entry in this list of underrated Hendrix songs, it perfectly encapsulates the depth and range of Hendrix’s musical genius, standing as a testament to his creativity and ability to push the boundaries of rock music.

This song, like the others in this list, showcases a side of Hendrix that ventures beyond the commercial hits—delving into his more profound and introspective works. It’s fitting to conclude the article with 1983… (A Merman I Should Turn to Be), as it represents Hendrix’s dream of transcendence and escape, much like his own musical legacy that continues to rise above time.

Read More: Jimi Hendrix Albums Ranked