A bit of a twist with my regular Showdown posts, this time a cover version of a song faces off against the original-  oh yes, I’m going there!  Jimi Hendrix’ original version, found on his final studio album Electric Ladyland, vs. the Stevie Ray Vaughan cover found on his second album, Couldn’t Stand The Weather.  Both versions highlight some of the best playing from each player but only one here will come out on top-  just who wore it best?  Err…  which version is the best?  Well, let’s not say “best”; just stick to which version is my personal favorite.

The Jimi Hendrix Experience was riding high in the late sixties- Hendrix himself was arguably at his creative peak at this time, tossing out a double album in Electric Ladyland that contained his unique amalgam of psychedelic blues and heavy rock.  His version of “Voodoo Child (Slight Return)” is a swirling mass of guitar that is heavily distorted and panned hard left and right in the mix; a psychedelic swath of feedback, wah wah pedal, screaming bent notes, hammer ons…  you name it.  Hendrix dug deep into his bag of tricks to pull out a winner that’s a bit more ferocious than his previous hits, acting more as a guitar tour de force than anything else.  Bassist Noel Redding and drummer Mitch Mitchell are almost non-existent here, laying waaaay back as the rhythm section yet diving in with more force during the chorus and then pulling back the reins to let Jimi weave the guitar magic that he is well known for.

Come Couldn’t Stand The Weather, Stevie Ray Vaughan was already well known as the latest blues guitar sensation on the block and was primed and ready to push the elements come record number two.  Come this album the band’s confidence was already sky high and it shows, especially on their incredible version of “Voodoo Child (Slight Return)”, which exhibits a bit more band interplay than the Hendrix version.  A lot of that is likely courtesy of the mix, although there appears to be a bit more push and pull between all instruments rather than all the focus being on the guitar.  Vaughan’s version not only showcases his killer playing but demonstrates the tightness of the rhythm section and the interactions between all three instruments.  Bassist Tommy Shannon and drummer Chris Layton provide a solid foundation; Shannon’s sleek bass runs and rumblings bob and weave alongside Vaughan’s guitar, and Layton’s kitwork shines as he capably moves from a groovy drive to solid thump as he keeps the trio in line.  How the three play off each other (and on live versions) is a sweet blend of magic and feel that is truly sublime.

What about Vaughan’s guitar work?  The key difference between his version and Hendrix’ is that Vaughan is relying more on straight ahead playing into the amp with no effects whereas Jimi’s version relies on more studio trickery.  Nothing wrong with that in Hendrix’ incredible version, but Vaughan’s feels more live and in your face as if he and Double Trouble hit the record button and captured a hot live take.  Vaughan’s tone is fairly dry yet he is able to wrench out various notes and tones akin to Hendrix but also adding his own flavor-  more muscular bends, tighter rhythms, and a more menacing punch ‘n drive throughout.  Sure, Vaughan owes a huge debt to Hendrix in his own guitar stylings but he was able to take elements of his playing (as well as a host of others) and confidently and fearlessly push things even further into the sonic stratosphere.  When SRV was on, he was on and then some.

The win in this showdown post goes to Stevie Ray Vaughan & Double Trouble!