The (or ) depicts the five consecutive worlds of the sun from Aztec. The stone is not, therefore, in any sense a functioning calendar, but rather it is an elaborately carved solar disk, which for the Aztecs and other Mesoamerican cultures represented rulership. At the top of the stone is a date glyph (13 reed) which represents both the beginning of the present sun, the 5th and final one according to mythology, and the actual date 1427 CE, thereby legitimizing the rule of Itzcoatl (who took power in that year) and creating a bond between the divine and mankind. The stone was discovered in December 1790 CE in the central plaza of Mexico and now resides in the National Museum of Anthropology in that city. The richly carved basalt stone was once a part of the architectural complex of the Mayor and measures 3.58 metres in diameter, is 98 centimetres thick, and weighs 25 tons. The stone would originally have been laid flat on the ground and possibly anointed with blood sacrifices. When it was discovered, the stone was lying flat and upside down, perhaps in an attempt to prevent the final cataclysm - the fall of the 5th and final sun - as the Aztec world fell apart following the attack from the Old World.
On either side of the central face are two jaguar heads or paws, each clutching a heart, representing the terrestrial realm. The band running immediately around the suns is segmented into the 20 Aztec day-names (hence the Calendar Stone name). Then there is a decorative ring surrounded by another ring depicting symbols which represent turquoise and jade, symbols of the equinoxes and solstices, and the colours of the heavens. The two heads at the bottom centre represent fire serpents, and their bodies run around the perimeter of the stone with each ending in a tail. The four cardinal and the inter-cardinal directions are also indicated with larger and lesser points respectively.
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. May 12, 1967 ( 1967-05-12) (UK). August 23, 1967 (US) Format Recorded London, January & April 1967, Length 6: 40 (UK), (US) ' Third Stone from the Sun' (or ' 3rd Stone from the Sun') is a mostly composition by American musician. It incorporates several musical approaches, including and, with brief spoken passages.
The title reflects Hendrix's interest in science fiction and is a reference to Earth in its position as the third planet away from the sun in the solar system. Hendrix developed elements of the piece prior to forming the Experience. His group, recorded versions as early as December 1966, and, in 1967, it was included on their debut album. Several artists have recorded renditions and others have adapted the guitar melody line for other songs. Contents.
Stone From The Sky![]()
Background In the summer of 1966, Hendrix relocated to New York City's. There he explored a sound outside of the musical confines of the scene. While performing with his group at the, Hendrix played elements or early versions of 'Third Stone from the Sun'. He continued to develop it after moving to England with new manager. The two shared an interest in writing, including that of American author. Chandler recalled: I had dozens of science fiction books at home. The first one Jimi read was.
It wasn't a Flash Gordon type, it's an end-of-the-world, new beginning, disaster-type story. He started reading through them all. That where 'Third Stone from the Sun' and ' came from. Music journalist associates it with the 'hazy cosmic jive straight out of the science fiction textbook.' Hendrix chronicler suggests that his reference of a hen may have been inspired by ', a song. Jordan's song was one of the biggest hits of 1946 and was popular with rhythm and blues bands in Seattle, where Hendrix grew up and first performed.
Composition Hendrix biographer Keith Shadwick describes 'Third Stone from the Sun' as 'a structured group performance' composed of several identifiable passages or sections with further subdivisions. The first section opens with guitar chording, which Murray notes as 'sliding. Chords and mock-orientalisms' with 's -influenced drumming. After several bars of the intro, Hendrix moves to a -style octave guitar melody line. It is one of Hendrix's most recognizable guitar figures and is notated in common or time in the: Several writers have noted the jazz influences in the first section. However, Shadwick points out that 'at no point does the band sound merely like a group of musicians imitating other styles.
They have their own musical identity.' Midway, Hendrix adds a bluesy guitar improvisation part with Mitchell and Redding switching to a more standard rock rhythm backing, before returning to the guitar melody.
Around 2:30, Hendrix abruptly changes direction with a swoop, which sets the stage for the second section and his -laden guitar improvisations. Music critic described it as an 'instrumental freak-out jam' and 'a tour de force of psychedelic guitar'. Redding anchors the section with a three-note bass while Mitchell provides rhythmic improvisation.
Shadwick describes Hendrix's solo: This is not an orthodox guitar solo. It is more akin to a soundscape forged from his control of amplified feedback and the way he manipulates the Stratocaster's guitar's physical characteristics, including its switches and vibrato arm. Murray notes that he performs largely independent of rhythm, tonality, or notes and enters into pure sound, which he describes as: Screams, whinnies, sirens, revving motorcycle engines, burglar alarms, explosions, droning buzz-saws, subway trains, the rattling of disintegrating industrial machinery, the howl and the whine of motor shells. To wind down, Hendrix returns to the guitar melody line, although with more distortion and vibrato.
The instrumental concludes with 'what was possibly the Experience's version of Armageddon' and a fade. Spoken sections Spoken sections, often slowed down and otherwise sonically manipulated, run intermittently throughout the piece. Hendrix and Chandler recorded the dialogue, which parodies a scenario. Shadwick notes the joking nature, although Hendrix described it matter-of-factly: These guys come from another planet, you know.
They observe Earth for a while and they think the smartest animal on the whole Earth is chickens and there's nothing else there, so they just blow it up at the end. The dialogue opens with a mock communication between alien space explorers slowed to half-speed, which makes it mostly unintelligible. So to you I shall put an end And you'll never hear surf music again. At half-speed That sounds like a lie to me Come on man, let's go home Music journalist notes the irony of the reference. In 1970, business manager committed Hendrix to contributing to the soundtrack for; his music is heard during surfing scenes with and others. Pioneer surf guitarist, who claimed to have met Hendrix in Los Angeles in 1964, believed the mention was Hendrix's way of encouraging his recuperation when Dale was seriously ill. Recording.
Barnes, London, 2008. 'Third Stone from the Sun' was one of the earliest recordings attempted by the Experience. They recorded a demo version at studios in London on December 13, 1966. However, because of a dispute over studio fees, it was left unfinished. On January 11, 1967, several takes were recorded at in London, but a master was not realized. Work on the track resumed on April 4, 1967, at in London. Session recalls that the original recording was largely abandoned and replaced with new overdubs.
The master for the track was finally completed on April 10, 1967, also at Olympic. At this session, the spoken sections and sound effects were recorded and the final took place. Several takes were required since Hendrix and Chandler were joking and laughing throughout the session. Hendrix biographer and later producer John McDermott notes that it shows the camaraderie enjoyed by the two during the early days of the Experience. The instrumental makes novel use of recording and mixing. Hendrix contributed to the by moving his headphones around the microphone to alter the sound of his whispers and breathing. In preparing the final mix, Kramer experimented with the track's or an instrument's apparent placement, but was limited by the existing technology.
He later explained: That song was like a watercolor painting. To create a sense of movement within the overall sound, I pushed Mitch's drummer Mitch Mitchell's cymbals forward in the mix and panned the four tracks on the finished master. Each track was composed of four, fairly dense, composite images. With four track recording, you were restricted to panning these multiple layers of sound, whereas now, with twenty-four and forty-eight track recording, what you can pan is unlimited. Releases and performances.
US Reprise album cover, 1967 'Third Stone from the Sun' was released on the Experience's debut album,. It appears as the third track on side two of the. Issued the album in the UK on May 12, 1967, using '3rd Stone from the Sun' as the title. It also used a mix, which includes an extra line, 'War must be war'. Issued the album in the US on August 23, 1967, with a stereo mix. In 1982, the instrumental was included on the UK Voodoo Chile and the following (1983). It also appeared on compilations, such as (1975), (1978), (1984), and (2001 UK bonus track).
In 2000, a version with some different overdubbed dialogue (and without sound processing) was released on boxed set. Mitchell recalled that the instrumental was only played live occasionally.
A performance at Blaise's club in London shortly after the December 1966 release of 'Hey Joe' was reviewed by music journalist for. It was the only original piece among several songs he mentioned in the article. Hendrix played some of the guitar melody line during ' at the in Toronto, Canada, shortly after his on May 3, 1969. Hendrix biographer Steven Roby identifies a 1969 concert recording, possibly from Germany in January, as the only recorded complete performance of 'Third Stone from the Sun'. None of the live recordings have been officially released. Reception and influence Music writers have described the instrumental's jazz elements and Murray questions whether Hendrix's approach was studied or more organic.
Bassist felt that Hendrix's impact on jazz was obvious: 'All I got to say is. 'Third Stone from the Sun'. And for anyone who doesn't know about that by now 1982, they should have checked Jimi out a lot earlier.'
Shadwick feels that the freak-out sections may have inspired countless less-imaginative imitators. In a song review for, Unterberger saw the potential for a more fully realized piece: 'Third Stone from the Sun' suffers from too much electronic trickery, too much convoluted ambition in its freaky turns and twists, and not enough follow-through from the quite good guitar riffs that surface from time to time., pp. 77, 80. Retrieved September 20, 2016. Retrieved September 20, 2016. Rolling Stone (August 5, 1971). Retrieved September 24, 2016., pp. 104–105., pp. 26–27., pp. 27–28, 32. ^, pp. 44–45., pp. 50, 61.
(Album notes). LP Side 2 label. Jimi Hendrix: Voodoo Chile (Record notes). Retrieved July 18, 2016., pp. 28, 29. Retrieved September 24, 2016. Adams, Bret. Retrieved September 24, 2016.
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Stone From The Dominican Republic
Black Gold: The Lost Archives of Jimi Hendrix. New York City:. Roby, Steven; Schreiber, Brad (2010). Cambridge, Massachusetts:. Shadwick, Keith (2003). Jimi Hendrix: Musician. San Francisco:.; Glebbeek, Cesar (1991).
Third Stone From The Sun Lyrics
Jimi Hendrix: Electric Gypsy. New York City:.
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