Sketch Element

Black Sabbath

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Friday night saw the debut from another exoteric declaration from Jay-Z: "You rappers singing a bit much/ return to rap, you T-Pain-ing too much/ I'm a multi-millionaire/ So how am I the most backbreaking n---a here?"

Upon New York's Hot 97 radio post, Jay premiered afresh song from his approaching Blueprint 3 LP called, "D.O.A.," or "The Death of Auto-Tune."

"This is anti-Auto-Tune, demise of the Ringtone," Hov starts rapping over a track co-produced through Kanye West and No I.D. Hard beats and horns glare as Jay arouses figures of a black John Dillinger holding a fuming Tommy Gun, making a chump ignorant enough to stand in his way. Jay is back to shoot down biting MCs.

"This ain't for iTunes, this ain't for singalongs," he raps afterward in the song. "This is Frank Sinatra at the opera, get a blonde ... My raps don't bear melodies/ It should make jackers commit felonies/ This ain't a #1 record, this is practically assault with a deadly weapon."

Last month, Kanye West told MTV News about Jay-Z's stance against Auto-Tune, the vocal effect used extensively by T-Pain and by West himself on his latest album, 808s and Heartbreak.

"We actually removed all the songs with Auto-Tune off of his album," West said, "to make the point that this is an anti-Auto-Tune album, even though I released an album that has all Auto-Tune!"

Later on Friday night, Jay called into Funkmaster Flex and Mister Cee at Hot 97's studios to explain that he's taking aim at artists who use Auto-Tune as a crutch. He also compared the vocal enhancement usage by rappers to wearing throwback sports jerseys back in the day: Everybody started to wear them and they got played out.

"I think I said something important," he said, adding that he spoke out "only on the aspect of moving [the conversation] forward," and elaborated about who he was not going at.

"The guys who did it, did it great," he explained. "T-Pain, he does great melodies. If you listen to Kanye, great melodies. If you listen to [West's] 'Say You Will' or 'Heartless,' great melodies. [Lil Wayne and T-Pain's] 'Lollipop' was a fantastic melody. Everybody can't do it. Let them guys do it. They got their little niche, let's move on. That's just my opinion. I don't know if everybody feels the same way."

The Brooklyn MC said his intention with the record was to "draw [a] line in the sand."

The Jiggaman confirmed that his long-awaited Blueprint 3 is coming out via a new partnership with Atlantic Records; the album is expected to be released on September 11. They will handle the distribution for the album, which is housed on Hova's Roc Nation.

"I got the foundation and I'm ready to blast off," he said.

"I bought my album back — I overpaid for it," he added about recently ending his long stint with Def Jam Records. "I believe at this point in my career, I wanted to be totally independent and free in what I wanted to do. Def Jam and Universal, they did a beautiful thing in letting me pay. They overcharged me a little bit, but I appreciate all the years they put into my career ... I could never have a [traditional] record deal. I'm working with Atlantic, they gonna distribute the album and they're doing a fantastic job. I get a chance to connect with the people I started my career with. It's almost like poetic justice."

Expect more from Jay soon. DJ Skee took to Twitter to say that the first official single from Blueprint 3 will be "On That," featuring Drake. Jay wasn't asked and didn't speak on that song, but he did talk a little bit about the album's feel.

"The vibe I'm on is, stripping it down and bringing it back classic," Jay said. "I hear people, I gotta get back in my square and really let people know what time it is really quick."

Even as the third incarnation of Black Sabbath - now doing business as Heaven & Hell - prepares to tour to promote its new album, "The Devil You Know," a battle is raging over who should own the Sabbath name.

Frontman Ozzy Osbourne, who left the band in 1979 and returned in 1997 for periodic touring and a live album, is suing guitarist Tony Iommi, accusing him of falsely assuming ownership of the Sabbath name in a filing with the U.S. Patent and Trademark Office. The suit contends that Osbourne's "signature vocals" were responsible for the band's "extraordinary success," noting its decline in popularity after he left the first time. Osbourne is demanding a 50 percent share of the name for himself as well as a split of monies earned while he was not in the band.

Iommi has not yet responded to the suit, but prior to that he acknowledged to Billboard.com that a desire to avoid "legal issues" was behind adopting the name Heaven & Hell for the currently active lineup that includes himself, original bassist Terry "Geezer" Butler, singer Ronnie James Dio (who replaced Osbourne in 1979) and drummer Vinnie Appice. And whole he acknowledged that having another name for a band that had recorded as Black Sabbath "does get confusing," he maintained that it portrays the current group's repertoire more accurately.

"I think if we went under the Black Sabbath label it would cause problems along the line," Iommi said. "People would expect us to be playing 'Iron Man' and 'Paranoid' and other stuff from (the Osbourne era), and that wasn't the idea with this lineup. The idea was to play all the stuff we've done with Ronnie, and that's why we're using the different name."

Heaven & Hell, which reunited in 2007, is currently on tour in Europe and begins a 15-show North American swing on Aug. 7 in Vancouver.

Osbourne has also reached out to Iommi in a public statement released by his publicist, which reads:

"Since 1997 when Geezer, Bill (Ward, the group's original drummer) and myself rejoined the band, Black Sabbath has returned to its former glory as we headlined sold-out arenas and amphitheatres playing to upwards of 50,000 people at each show around the world. We worked collectively to restore credibility and bring dignity back to the name 'Black Sabbath,' which lead to the band being inducted into the UK and US Rock & Roll Hall of Fames in 2005 and 2006, respectively...Tony, I am so sorry it's had to get to this point by me having to take this action against you. I don't have the right to speak for Geezer and Bill, but I feel that morally and ethically the trademark should be owned by the four of us equally. I hope that by me taking this first step that it will ultimately end up that way. We've all worked too hard and long in our careers to allow you to sell merchandise that features all our faces, old Black Sabbath album covers and band logos, and then you tell us that you own the copyright. We're all in our 60s now. The Black Sabbath legacy should live on long after we have all gone. Please do the right thing."

ijango:
Who says clothes don't make the girl?

Miley Cyrus has just landed a deal with Wal-Mart to produce a clothing line with designer Max Azria of Hervé Léger, BCBG and Max Azria fame. And thanks to the the megastore, tweens can sport their Mileyware at her fall tour.

Hot on the heels of Taylor Swift's Wal-Mart line of l.e.i. sundresses and the Jonas Brothers' sweatervests, the "Miley Cyrus & Max Azria" label will include tops, pants, graphic tees, shoes and accessories all priced allowance-friendly and under $20. The goods will hit shelves, as well as Walmart.com, just in time for back-to-school shopping in early August—and her tour kickoff a few weeks later.

Wal-Mart is sponsoring the Miley Cyrus Live in Concert tour, launching Sept. 14 in Portland, Ore., and winding up 45 stops later in Miami.

As for those duds...

"We're really excited," BCBG Max Azria Group rep Patrick McGregor tells E! News.

"I love creating looks that are all about personal expression and individuality," the recently reupped Hannah Montana said in a statement. "Collaborating with Max Azria has been an amazing experience, and I'm really excited about launching this line with Wal-Mart. There's even more to come!"

In case the idea of Cyrus coming together with the designer sounds familiar, the pair shared a segment during the Nickelodeon Kids' Choice Awards this year that had the starlet and Duane "The Rock" Johnson donning the same red frock. Miley also wore Hervé Léger to the Grammys in February and the London premiere of her movie last month. (Get a better sense of the Disney diva's style in our Fashion Spotlight: Miley Cyrus gallery.)

"Miley Cyrus is talented and approachable, so working with her sparked a line that is authentic and vibrant," the demure fashionisto said in a statement.

Susan Boyle, who became a global star after appearing on a British television talent contest, has left the London clinic where she was being treated for exhaustion, her brother said on Friday. The 48-year-old amateur singer from Scotland, whose performance on "Britain's Got Talent" in April was downloaded nearly 200 million times on the Internet, was admitted to the Priory clinic on Sunday amid concerns for her mental health.

"She's much happier," her brother Gerry told GMTV.

"She seems a lot more like herself. I think things are becoming clearer now and she's much more content. I believe she's in the middle of London, in a flat in London."

Dowdy and unglamorous, the unemployed church volunteer challenged viewers' notion of what a star should be.

Boyle was thrust into the media limelight with camera crews camping outside her home and Larry King and Oprah Winfrey inviting her to appear on their U.S. chat shows.

But as Saturday's final of the popular talent show approached, Boyle, who was starved of oxygen at birth leading to minor brain damage, began to show signs of strain, bursting into tears regularly and threatening to leave the show.

When she failed to win the final, despite overwhelming odds in her favor, she was admitted to the private clinic suffering from emotional exhaustion.
Boyle's financial future is seen as secure despite coming second to dance troupe Diversity, as Britain's Got Talent creator Simon Cowell and his Syco music label are expected to sign her up for an album.

There has also been talk of a Hollywood movie.

"The way forward now is to talk about where her career goes from here," Boyle's brother said.

"She's absorbing the fact that America has a huge appetite for her and she's now beginning to believe that yes, indeed, I will be a singer and there will be a recording career beyond it. It's all she ever wanted to do."

He backed Cowell to manage Boyle's recording career.

"Simon Cowell -- he's been around the dance floor a few times hasn't he? I'm sure that he knows that he's got someone who has broken down the barriers in America before she even gets there and I'm sure Simon will do a good job for her."

Boyle's brother also confirmed reports that Boyle was expecting to perform in front of U.S. President Barack Obama.

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For nine weeks now, I've been meaning to write this column, but I kept getting distracted by stuff like the Keyboard Cat and Pretty Ricky's latest round of furniture-humping histrionics. And that's somewhat fitting, given that this column is about Cobra Starship, a band that has turned messing around on the Internet into an absolute art form.

And I'm not saying that to be dismissive of their success or because hyperkinetic party machine/ frontman Gabe Saporta sort of dresses like a blog, but rather, because, well ... it's true. Cobra Starship are a musical meme, the band equivalent of every groin shot, epic fail and outrageous bit of bodily harm you've ever watched YouTube or e-mailed to a million co-workers. Theirs is a brilliance reserved for the zeitgeist-grabbing Tay Zondays or Chris Crockers of the world. It's stupid smart. Genius dumb. And this is something to be proud of.

Witness CobraCam.tv, an episodic site they launched nine weeks ago to promote their upcoming Hot Mess album (due August 11). This is a very clinical description of it, however, as it is "promotional" only inasmuch as it features the members of Cobra Starship. More correctly, it's a sort of sketch-comedy showcase/ pop-culture blender/ "WTF is going on?" bonanza. It's the kind of thing a million bands (and a billion kids on YouTube) try to do but always fail miserably at, because they are simply not funny — or stupid or clever or dedicated — enough to pull it off. Cobra Starship are all those things, and then some.

Over the course of nine sublimely silly installments, they've spilled gallons of blood, poked fun at Lil Wayne's prodigious face tattoos, grown fake beards, harassed their merch guy, assaulted steaks with axes, attempted to grow breasts (keytarist Vicky Asher won that one by default), hawked cleaning products and cologne, performed surgery, rode a jackalope and wore more costumes than Lady Gaga. They've poked fun at the industry, British people, their fellow bands and, most importantly, themselves. None of it makes very much sense, and lord knows how we're supposed to be gleaning any information about Hot Mess, but none of that matters. Because it's all hilarious. And because, well, it's Cobra Starship. The music is almost secondary.

And if that last line comes off as harsh, well, I'd be willing to bet the guys (and gal) in CS would agree with me. With Cobra, the comedy is the thing. And that's more than evident on CobraCam.

There's a deft comic touch on display here — truly some of the funniest moments come in the throwaway lines or the odd cutaway shot — and a fondness for the bizarre that recalls stuff like "The Kids in the Hall" or the British version of "The Office" (or even, to blaspheme a bit more, "Monty Python's Flying Circus"). There are smart, subtle references to stuff like "The Big Lebowski" and Vince Offer and "St. Elsewhere" and Wes Anderson's slo-mo tracking shots (there's even a nod to "Goodfellas" in episode six, though I'm not sure the band even realizes it). And, of course, a collegiate dedication to getting wasted: Cobra Starship are, at the end of a day, a party band.

But here's another one to throw at you: Cobra Starship are also a comedy troupe. Each member has a role (Saporta is the boozing lout, Asher the silent straight-woman, etc.), and as is the case with all great troupes, there is one breakout star. In Cobra's case, it's guitarist Ryland Blackington, a gangly, rubber-faced combination of "SNL"-era Chevy Chase and "Kids in the Hall"-era Kevin McDonald who positively carries the majority of the CobraCam stuff (check episodes two, six and nine for proof). Of course, bassist Alex Suarez and drummer Nate Novarro are pretty good too. Say what you will about Cobra Starship, but they definitely have the funniest rhythm section in the business.

And that's sort of the point of all this, I suppose. As a band, Cobra Starship are a really great sketch-comedy troupe, and CobraCam is the proof. Their dedication — and, make no bones about it, to keep churning out episodes of quality stuff takes dedication — to the stupid, the insane and the subtle is what sets them apart from their contemporaries, and it's all on display here. I'm not sure how any of this will help Hot Mess (do "funny" bands sell records? We Are Scientists sure didn't), though that probably doesn't matter. Love them or hate them, CS have always been fun-first, music-second, and that's why kids pack their shows and throw the fangs in the air. In fact, it's a sort of brilliant niche they've carved out, if you think about it. They've quietly become the court jesters of pop music. More proof that you've got to be pretty smart to be this stupid.

It's one of the darkest, goriest songs on an album positively oozing with dark and gory songs. That's why Travis Barker knew he had to record a version of Eminem's "3 A.M."

"I first heard it on some blogs, and right away, I was like, 'Oh, damn, this is demonic,' and I love stuff like that." Barker laughed. "So I spoke to [Blink-182 and Eminem manager] Paul Rosenberg and said I wanted to do a remix of it, then Em and I spoke and discussed putting a rock twist on the song, and I got to it."

So, over the course of four very short days — during breaks from rehearsals for Blink's upcoming tour — Barker and a pair of his engineer pals laid down live guitar and bass tracks (and, of course, a healthy dose of his patented precise-yet-pounding drums). He sent them to Em for some tweaking, then put the finished product up on YouTube, and the rest is history.

"There's not many songs I hear and trip out on, but this was one of them. The song is really dark and moody, and so that's what I wanted the remix to be," Barker said. "And it was cool, because I got to work with Eminem the producer, which is something that I don't think a lot of people get to do. He listened to it, made some tweaks and gave it the OK."

And for Barker, it was a welcome return to the world of remixing — a world he's dominated over the past years with his takes on Flo Rida's "Low" and Soulja Boy's "Crank That." He had to take a break from remixing while recovering from the dozens of surgeries he endured after walking away from a fiery South Carolina plane crash last year.

"I hadn't done one since I was out of the hospital, so it was time, you know?" Barker said. "This was a dope-ass song, and when things come at me that I love, I pursue them. I was due for one, and it won't be the last."

About the Author

Which Black Sabbath Albums (1970-1978) do you think were the best?

I think Black Sabbath, Paranoid, Master of Reality, and Vol. 4 were their best albums. Everything seemed to change with Sabbath Bloody Sabbath and beyond. What do you think?

I agree with you, and the self titled is awesome.
Fav song is probably Fairies wear boots.
Iommi is a rif god, just like Page.

Iron Man-Black Sabbath-Lyrics Included

Rock Band

Rock Band 2 Ringtones | Rock Band 2 - Ringtones

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Rock Band 2 is one of the most popular games in the world right now. Rock Band 2 is a music video game developed by Harmonix Music Systems, as the sequel to Rock Band and the second title in the Rock Band series. The game software was released in North America for the Xbox 360 on September 14th along with individual instrument peripherals. The software/hardware bundle for the Xbox 360 was made available on October 19th, the same date that the PlayStation 3 versions of the software, hardware, and bundle of the two were released. Versions of the game for the Wii and PlayStation 2 platforms will be released later in the year.

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The game allows players to perform in virtual bands by providing up to four players with the ability to play three different peripherals modeled after music instruments (a guitar peripheral for lead guitar and bass guitar gameplay, a drum peripheral, and a microphone). These peripherals are used to simulate the playing of rock music by hitting scrolling notes on-screen. In addition to the 84 songs included on the game disc and 20 free downloadable songs, hundreds of additional downloadable songs are being released for the Xbox 360, Wii, and PlayStation 3 versions; all of these songs, existing and future, are compatible with all Rock Band titles. To get Rock Band 2 Ringtones for your phone, click on the link below and sign up now:

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About the Author

Click Here to Download BONUS Ringtones for Your Phone

What are the three holes on my Rock Band 2 drumset?

I've had Rock Band 2 for about eleven months, and I still don't know the answer.
On my Rock Band 2 drumset there are three holes under where you plug in the bass pedal. One is green, one is yellow, and the other is blue, they are all the same size, about the size of the holes that you plug the bass pedal into, and they are all about one inch apart. What do these three wholes do?

Three holes simply plugged in the bass pedal - BS...

Rock Band - Welcome to the jungle

Carmine Appice

Jeff Beck Tickets - Still Bringing Up Tons Of 'emotion & Commotion'

He loves to stir up commotion, and now Jeff Beck is doing so with his aptly titled set and tour Emotion & Commotion. The veteran guitar slinger who really knows how to sling those chords recently added a few more dates to his headlining jaunt for April and June. Throughout the tour, which sees opening act in Grammy winner Joss Stone, Beck will make an appearance at Eric Clapton's Crossroad Guitar Festival and Bonnaroo Festival in June.

The outing, which jumps out April 16th in San Francisco, will hit big city arenas like Los Angeles' Nokia Theatre, Houston's Verizon Wireless Theater, St. Louis' Fox, Boston's Bank of America Pavilion and Atlanta's Chastain Park, among others. There isn't a moment to miss for the spring/summer Commotion Tour, so get <a href="http://www.stubhub.com/jeff-beck-tickets/">Jeff Beck tickets</a> now from http://www.stubhub.com.

Emotion & Commotion was recorded in Beck's home country with producers Steve Lipson and Trevor Horn at the helm. The album, which is due out in April, also included session work by collaborators Vinnie Colaiuta on drums, Jason Rebello on keys and Tal Wilkenfeld on bass. Additionally, Emotions & Commotions features a 64-piece orchestra, while two singles – "I Put a Spell on You" and "There's No Other Me" - feature Beck's opener, Joss Stone, on vocals. The set comes at a perfect time in terms of commercial exposure, as his single "A Day in the Life" recently earned Beck his fifth Grammy for Best Rock Instrumental Performance and the single is also featured on last year's Performing this Week…Live at Ronnie Scott's.

Beck is fresh off his co-headlining tour with Eric Clapton, and many critics thought that Beck outshined his Yardbirds counterpart (he replaced Clapton in the legendary rock group in '65). The Wallington, England native continues to see fame years after he debuted his sound. "For my parents, who lived through the war, music was a source of comfort to them. Life was tense and music helped them forget about their troubles," he said on his website. "I'm sure that made an impression on me." The guitarist we know today first started after a stint with London's Wimbledon Art College.

Amazingly enough, even though Beck had played guitar for years his first work with a real musical outfit was with the Yardbirds in 1965. However, just two years later Beck left the group to form his own band – the Jeff Beck Group – which released two albums together (Truth and Beck- Ola)before disbanding. Though the outfit remained unsteady for the next decade, they released two more albums, 1971's Rough and Ready and 1972's The Jeff Beck Group.

Beck's guitar expertise didn't limit him to just one genre, and miraculously enough after finishing up a rock album with the trio Tim Bogert and Carmine Appice, Beck turned to jazz-fusion. The instrumental sets demolished any stereotypes experts might have on Beck's musical intentions, as the albums Blow by Blow and Wired remain some of the best-selling instrumental pieces of all time.

Beck continued to record in the studio, returning with 1980's There and Back, 1985's Flash and 1989's Jeff Beck's Guitar Shop with Terry Bozzio and Toy Hymas. He has continued to release albums sporadically through the most recent decades, retaining his status as one of rock music's most valuable guitarists.

About the Author

This article is sponsored by StubHub.com and was written by Meaghan Clark.  StubHub.com is a leader in the business of selling <a href="http://www.stubhub.com/jeff-beck-tickets/">Jeff Beck tickets</a>, sports tickets, concert tickets, theater tickets and special events tickets.

Match the musician with the band Part III?

Here's a list of musicians and a list of bands. First one to get them all correct gets the points.

Hey Walrus, chance to shine!!!

Musicians

Grace Slick
Kim Simmonds
Jimmy Carl Black
Jorma Koukanan
Rick Nelson
Paul Simon
Eric Burden
Jon Cippolina
David Crosby
Chevy Chase
Carmine Appice

Bands

Stone Canyon Band
The Byrds
Tom and Jerry
Steely Dan
The Great Society
Hot Tuna
Quicksilver
WAR
Vanilla Fudge
Savoy Brown
Mothers of Invention
Darth, that's pretty considerate of you!!! LOL. I GUARANTEE you dont have all of those albums. One of them never MADE one.
Lola, you got the really TOUGH one with Tom and Jerry!!!

Okay, the ones i know for sure are:

Grace Slick-The Great Society
Kim Simmonds-Savoy Brown
Jorma Koukanan-Hot Tuna
Rick Nelson-The Stone Canyon Band
Paul Simon-Tom and Jerry
Eric Burden-WAR
David Crosby-The Byrds
Carmine Appice-Vanilla Fudge

(I have a weird memory when it comes to names lol)

carmine appice drum solo london 1976

Hendrix Smash

So you want to learn how to use a compressor? Well good luck. It takes years to get even a decent feel for a compressor. I'm just now getting where I feel that a compressor will tolerate me playing with it's settings. In the past, it was just laughing and mocking me because I just didn't understand how to use it to improve my recordings.

So let's talk about how a compressor can make an audio tracker louder. Ironically, a compressor actually knocks the volume down on a track, but then has a makeup gain knob that boosts it back up. To understand how a compressor can make something louder, you need to understand the difference between peak loudness and average loudness (also called RMS). A peak is just what it says it is. It's a spike. The signal starts very low and goes very high. A good example of peak loudness is a snare drum hit. Average loudness is sound that occurs over time. Imagine hitting a low E on a bass guitar and letting it sustain. This is an almost constant sound.

One other concept is the volume ceiling. In other words, in digital audio we have a volume limit. It's called zero. For whatever reason they measure volume in negative numbers with 0dB being the absolute loudest. If a track has a peak that jumps up to zero, we can not push the volume up on that track even if the other portions of the track are very low in volume (without volume automation).

Now let's take an audio track that can be both peaky and constant. A vocal track is a great example. A vocal can jump up very quickly but it can also sustain. Let's say it hits 0db at one point, but most of the track is sitting well below that. You'll find that when the vocal is set at maximum gain before clipping, the many of the words are unintelligible. This is because they are simply too quite. Assuming there are no extreme problems, the first thing I'll usually do is grab a compressor. I'm go ahead and smash those peaks down and then I'll push the volume back up with the make up gain on the compressor. Now the vocal is evened up quite a bit. The vocal will sit in the track much better and will sound fuller.

When mastering a record, compression is almost always used to make the volume of the cd louder. Most of the time, the cd is already hitting zero, so it's peak volume will not increase. However, it's RMS or average volume can increase substantially. When we put a compressor on stereo mix, we can smash the song down into a smaller dynamic range. It uses up less volume. While this can be a bad thing as the dynamics are decreased, these days overall volume seams to be more important (I'm not sure who decided this). After the compressor does it's thing, the makeup gain is used to boost the level of the track up the desired amount.

When you are learning the audio mixing process, I recommend using more compression than you think you need. Hit everything very hard. If it sounds distorted, back off. I think that compression is the opposite of reverb. While many beginning home recording enthusiasts will use too much reverb, they often times, do not use as much compression as the big boys. Experiment. This is different for everyone.

In summary, a compressor is used to to knock off the top (loudest parts) of an audio signal and then uses it's makeup gain to push the volume back up. It takes lots of time to master using a compressor. Keep in mind that you can do much more with a compressor than make things louder. As always, don't be afraid to experiment.

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The Epic Battle Of The Jimi Hendrix Experience & The Who?

This is the third "epic battle" thing I've done. Here we go!

1. The Jimi Hendrix Experience or The Who
2. Debuts: Are You Experienced or The Who Sings My Generation
3. "Purple Haze" or "My Generation"
4. Who was better at Monterey Pop
5. Who was better at Woodstock
6. Noel Redding or John Entwistle
7. Mitch Mitchell or Moony
8. Electric Ladyland or Who's Next
9. Townshend or Hendrix
10. Singing: Roger Daltrey or Jimi Hendrix
11. Better live band
12. More influential (measuring may be hard)
13. Who smashed guitars better
14. Better band name
15. "Voodoo Child (Slight Return)" or "Won't Get Fooled Again"
16. Better Cover: Hendrix doing Dylan's "All Along The Watchtower" or The Who doing Mose Allison's "Young Man Blues"

This one's quite boring!

1. The Jimi Hendrix Experience or The Who
This is hard for me--I like both equally. But, if I had to tip it one way or the other... I would say the Jimmy Hendrix Experience.
2. Debuts: Are You Experienced or The Who Sings My Generation
Are You Experienced. I have grown an immense liking for it. I guess I just listen to it more than I listen to the Who Sings My Generation.
3. "Purple Haze" or "My Generation"
My Generation.
4. Who was better at Monterey Pop
Eh... the Who.
5. Who was better at Woodstock
Jimi Hendrix. I mean, come on. I thought the Who were wonderful and great, but Jimi Hendrix... wow.
6. Noel Redding or John Entwistle
John Entwistle.
7. Mitch Mitchell or Moony
Moony. He is one of my favorite drummers.
8. Electric Ladyland or Who's Next
Electric Ladyland. I listen to it most nights before I go to sleep.
9. Townshend or Hendrix
Hendrix. Townshend is a great guitar player, but... Jimi was amazing.
10. Singing: Roger Daltrey or Jimi Hendrix
Roger Daltrey. I think that Jimi's voice was good, but I think he is much better at guitar than vocals. Roger's voice is very powerful, and I think it suits the songs well.
11. Better live band
Well.
After some consideration, I must say the Jimi Hendrix Experience.
12. More influential (measuring may be hard)
I do not know how to go about deciding that...
13. Who smashed guitars better
Pete Townshend.
14. Better band name
The Who. The Jimi Hendrix Experience is a mouth full when I am trying to say something quickly, and I hate abbreviating band names. The Who is just so easy to say.
15. "Voodoo Child (Slight Return)" or "Won't Get Fooled Again"
"Lord knows I'm a voodoo child..."
16. Better Cover: Hendrix doing Dylan's "All Along The Watchtower" or The Who doing Mose Allison's "Young Man Blues"
All Along the Watchtower

Jimi Hendrix Smash Hits LP Vinyl- Side 1- All Along the Watchtower

Rock Guitar Licks

Was Hendrix the greatest guitarist ever in rock N Roll ?

1.Page,Eddie Van Halen,Joe Satriani were all great guitarists yet they never sang or had No 1"s with their written material even Pete Townsend had Roger Adultery sing his songs.

2. If so state why or why not ?

3. Hendrix was a pioneer in feedback and guitar techniques

4. His guitar licks are timeless and so distinctive Hendrixesque sound,
no one sounds like him since,the only bloke that came close was Stevie Ray Vaughan

No doubt Hendrix was AMAZING
but you can't really call him a rock N roll guitarists he was more...i guess you could say a heavy psycadelic blues. but he is the father of most modern music. He is the most important to rock history, but Randy Rhoads, the original Ozzy guitarist is my choice for the best, no one has come close to him. He was ALWAYS improving himself. He had almost no social life, he just played guitar.

50 Rock Guitar Licks You MUST Know - Lick #22: Rolling Hammers - Chris Buono