The Wind Cries Mary
by Douglas J. Noble

"The Wind Cries Mary" (S005) from Are You Experienced? was recorded on 11 January 1967 at De Lane Lea Music studios during the same recording session as the basic track for "Purple Haze" (S003).

  "The Wind Cries Mary" begins with three chromatically ascending 'five' chords played in second inversion, each chord played as a four note voicing at approximately concert pitch - "Eb5/Bb E5/B F5/C". A 'five' chord consists of the root and the fifth but no third - this makes the chord neither major nor minor and gives it an 'open' or 'bare' sound. A second inversion chord is one in which the lowest note is the fifth as opposed to the more common root position chord in which the lowest note is the root - the second inversion chord is less 'stable' sounding than a root position chord. The chromatic sequence these chords are played in slightly confuses the ear until one's musical perception realizes the third chord of "F5/C" is the key chord. The opening chords are played in a syncopated rhythm of quaver, crotchet, then quaver-tied-to-crotchet. The combination of chromaticism and syncopated rhythm produces a pleasantly unsettling and disorientating musical sensation only appreciable on first hearing - not only is the listener unsure of the key but also unsure about where the down beat of the bar is. This gives "The Wind Cries Mary" an instantly recognisable intro.

The first six bars of the verse are based on a "C Bb F" progression, Jimi playing melodic fills using chord fragments. The first fill with the "F" chord is based on a four note voicing of "F" on the bottom string, first fret (fretted with the thumb), "F" on the fourth string, third fret (third finger), "A" on the third string, second fret (second finger) and "C" on the second string, first fret (first finger) - Jimi lifts the second finger and sounds open "G" string in conjuction with other notes from the "F" chord producing a 'chiming' effect; then hammers-on and resolves the mild dissonance. This is followed by a "G Bb" chord progression with Jimi briefly adding the sixth of the chord, as he does in the main chord riff from "Purple Haze" (S003). This ingeniously leads back into the intro "Eb5/Bb E5/B F5/C" progression, the lowest note in "Eb5/Bb" being the same as the lowest note in the preceding "Bb" chord (ie, a "Bb" note). Jimi repeats the "G Bb" progression, and then plays the whole of the intro's two-bar chord riff. The verse is an unusual length of eleven bars and the second verse follows a similar pattern to the first.

This three chord progression is echoed by a further succession of three chromatically ascending chords played in the same rhythm; the chords this time being first inversion major triads. A first inversion chord is one in which the lowest note is the third - the third being the note that makes a chord either major or minor. The third of each of these chords is preceded by an 'acciaccatura' grace note (an acciaccatura grace note is played as quickly as possible), the grace note being the second degree of the chord/scale conveniently fingered in this case by a barré, Jimi then hammering-on the third of the chord. This two-bar chord sequence is repeated with Jimi playing a fill on the third and fourth beats of the fourth bar which leads into the verse.

The JHE follow the solo with the third and fourth verses. The fourth verse is followed by a reprise of the intro riff although without the fill as played at the beginning of the song; this time Jimi plays some overdubbed melodic fills over the riff. This is followed by a final accented statement of the "Eb5/Bb E5/B F5/C" chords, Jimi playing a similarly concluding sounding fill on the lead guitar. Speculation has arisen that Jimi may have used an Octavia on "The Wind Cries Mary" - if he did he's using it very discreetly and the lack of documented evidence makes it very difficult to say for sure one way or the other.

The overdubbed solo in "The Wind Cries Mary" is especially interesting. The first six bars are played over a progression of "F Eb Bb Ab" with Jimi using the "F" Pentatonic major scale ("F G A C D F"). The clashes of using this scale over the "Eb" and "Ab" chords are potentially disastrous, yet Jimi instinctively avoids them. As explained by transcriber Dave Whitehill in the performance notes of the Are You Experienced? transcription book: "Basically, what he does is only use tones common to this scale and the chord in question." These six bars are firmly rooted in the key of "F" major, so the two non-diatonic chords of "Eb" and "Ab" can be seen as chromatic chords within the key of "F" major. This is followed by an ascending chord progression of "G Bb Db F5", the root notes of these chords rising a minor third each time. Jimi treats each chord as a new key, using the "G" Pentatonic major scale over the "G" chord, an embellished "Bb" major chord fragment over the "Bb" chord, the 1st position "Db" Blues scale over the "Db" chord and the "F" Pentatonic major with the addition of a passing "Bb" note over the "F5" chord. Like the verses, the solo is eleven bars long.

An instrumental studio outtake of "The Wind Cries Mary" from the same recording session can be heard on Out Of The Studio: Demo's From 1967. Unlike S005, in this version of "The Wind Cries Mary" (S1065) Mitch cues the band with a drum beat. There are two rhythm guitars playing similar but not identical parts - it's interesting to hear the two semi-improvised parts interweave, occasionally doubling each other as Jimi plays the same fill in both guitar parts. For the solo section, the guitar mixed towards the left channel takes the solo. The solo follows a similar pattern to that in S005 although overall it is slightly 'busier' than the solo in S005 and not as subtly phrased. In the final two bars of the solo Jimi seems to find himself ahead of the beat and repeats himself in order to take the solo to the end of the bar.

At Monterey on 18 June 1967 Jimi tests his sound by quietly playing the intro of "The Wind Cries Mary" (L079) before he introduces the song, as can be heard on Jimi Plays Monterey. Jimi gives the song a plug -Next single here, I hope- as he plays the intro riff (not included in the video which omits the first two bars of this song). Tuned down by approximately a semitone, Jimi plays the first six bars of the solo similar to that in S005, elaborating slightly at the end of each two phrase, probably to compensate for the lack of a rhythm guitar. Interestingly, Jimi plays these six bars at or above the twelfth fret using strings two to five (the exception being the initial double stop and hammer-on which is played on the top two strings) rather than lower down the fretboard on strings one to four.

Jimi changes this approach to the next two bars from that in S005, playing a chordal fill based on a "G" chord fragment using the suspended fourth of the chord, then playing a 1st position "Bb" Blues scale lick over the implied "Bb" chord. He then uses the 1st position "Db" Blues scale for the fill over the "Db" chord and returns to the "F" Pentatonic major scale for the last two bars over the implied "F" chord, as in S005. Jimi plays the final two bars in a different position from what one would expect, again playing at or above the twelfth fret on strings two to five.

The JHE play the third verse relatively softly, then Jimi increases the volume for the fill preceding the fourth verse, similarly accenting the fill after Will the wind ever remember? - this use of dynamics adds interest to the song. Jimi combines lead and rhythm parts for the song's ending.

Recorded on 27 August 1967 at the Saville Theatre in London, "The Wind Cries Mary" (available as audience tape only) is again played at approximately one semitone lower than concert pitch. Jimi precedes the solo with a lick from the "F" Pentatonic major scale, bending "G" on the third string, twelfth fret up to "A" at the fourteenth fret, sustaining this note whilst playing "C" on the second string, thirteenth fret followed by three notes on the third string - "G" at the twelfth fret, then a pull-off to "F" at the tenth fret then a hammer-on back to "G" at the twelfth fret. Jimi's solo stays close to the studio version with some slight variations. Unfortunately the present available recording isn't complete, so it fades out during the eighth bar of the solo on the "Bb" chord.

For "The Wind Cries Mary" (L954) from EXP Over Sweden recorded on 4 September 1967 in Stockholm, Jimi is tuned approximately two semitones lower than concert pitch - Jimi tunes up to an "F" chord rather than an "E" before starting the song, "F" major being the key of the song. Again, the JHE stick closely to the original studio version. Jimi makes subtle use of the wah-wah pedal on the lick over the implied "Db" chord. At the end of the third verse Jimi plays an "F" Pentatonic major lick - he bends "G" on the third string, twelfth fret up two frets to "A" at the fourteenth fret, then plays "C" on the second string, thirteenth fret and "F" on the top string, thirteenth fret, sustaining these three notes to sound a first inversion "F" major triad. He then restrikes the "C" on the second string, then releases the bend on the third string and plays "G" at the twelfth fret, then slides down the fretboard.

Jimi plays a couple of interesting fills in the fourth verse - after the names it has blown in the past - he plays a bass run using semi-pinched harmonics, then after the following line of And with this crutch, it's old age and its wisdom, he plays a phrase beginning with a unison bend, sounding "C" on the second string, first fret, whilst simultaneously bending the third string from 'Bb' at the third fret up to "C" at the fifth fret. Jimi also uses semi-pinched harmonics for a couple of bass runs in the outro section.

The JHE play "The Wind Cries Mary" (L506) the next day (5 September 1967) in Stockholm, as included on Stages. Again, Jimi is tuned approximately two semitones below concert pitch and stays close to the original studio version. Jimi precedes the solo with another "F" Pentatonic major lick, bending "G" on the third string, twelfth fret up two frets to "A" at the fourteenth fret whilst sounding "C" on the second string, thirteenth fret. Jimi then releases the bend on the third string back down to "G" at the twelfth fret, followed by a pull-off to "F" at the tenth fret, followed by "D" on the fourth string, twelfth fret. Jimi ends the solo in an unusual manner - for the second phrase over the "F" chord he appears to move the shape down two frets but plays a very similar phrase to the one he normally uses, the overall effect sounding like an experiment that doesn't quite work.

  Following the third verse Jimi plays a "F" Pentatonic major fill similar to that used in L954, except this time Jimi follows it with a reverse rake, dragging the plectrum back through the strings. As at Monterey, the JHE noticeably increase the volume for the beginning of the fourth verse and then quieten down again. Following the outro end Jimi moves down the fretboard to finger an "F5 add 9" chord shape - from bottom to top string, "F C F G C F", using his thumb for the low "F"; then hammers-on to "A" on the third string, second fret, making an "F" chord and using the vibrato arm.

Recorded on 29 January 1968 at the Paris Olympia and included on Stages, the audience greet Jimi's introduction of "The Wind Cries Mary" (L546) with enthusiastic applause; then again cheer after the intro riff, and cheer yet again as Jimi sings and the clowns have all gone to bed - perhaps something visual was happening on stage? At the end of the first verse Jimi plays a fill with a muted backwards rake, then uses the vibrato arm for the following "F/A" chord at the end of the "Eb/G E/G# F/A" progression - sounding particularly Hawaiian.

Jimi seems to turn his volume control up immediately preceding the solo, obtaining a more distorted tone. Jimi leads in to the solo with a similar "F" Pentatonic major lick to those used in L954 and L506. Normally Jimi would stick to the "F" Pentatonic major scale for the first six bars of the solo, but this time he also uses the minor third of the key on beats three and four of the second bar of the solo - he plays "G" on the third string, twelfth fret, bends up one fret to 'Ab' (the minor third), releases the bend down to "G", pulls-off to "F" on the third string, tenth fret, then plays "D" on the fourth string, twelfth fret. Jimi plays a similar lick at the end of the sixth bar of the solo - it may be a small change but very effective nonetheless.

  The last known recorded performance of "The Wind Cries Mary" appears to be from Montreal on 2 April 1968 (available as audience tape only). There Jimi precedes "The Wind Cries Mary" by tuning up to an "F" chord - slightly lower than concert pitch but not as much as a semitone. Jimi and Noel play the opening three chords and then stop - perhaps Mitch wasn't quite ready. Second time around, Mitch cues the band with a couple of drum beats, Jimi joining him with a muted rake on strings damped with his fretting hand. Jimi precedes the solo with a "F" Pentatonic major lick, bending "G" on the third string, twelfth fret up two frets to "A" at the fourteenth fret, then holding this "A" note whilst playing "F" on the top string, thirteenth fret. In bars two and six of the solo Jimi plays two phrases using the minor third of the key (an "Ab" note in the key of "F" major) - very similar to the phrases played in bars two and six in the solo from L546. In bar nine of the solo Jimi uses sixths intervals over strings three and one for the end of the phrase over the implied "Db" chord.

During the third verse after shine their emptiness down on my bed, Jimi plays a suitably scending lick beginning with interval jumps rather than playing a fill based on chord fragments. He plays "A" on the top string, fifth fret; followed by "D" on the second string, third fret; then "F" on the top string, first fret and "C" on the second string, first fret. Between the third and fourth verses Jimi plays an "F" Pentatonic major lick similar to that preceding the solo. In the fourth verse after and with this crutch, its old age and its wisdom, Jimi plays a phrase beginning with the same notes as the previously mentioned descending, interval-jumping lick.

The last live performance of "The Wind Cries Mary" could have taken place on 15 July 1968 in Palma de Mallorca, Spain, although there is no known audience tape of this concert available for confirmation. "The Wind Cries Mary" was not really a song suitable for extended improvisation and all of the aforementioned live performances remain close to the original studio arrangement. Consequently, it's perhaps not surprising that "The Wind Cries Mary" was dropped from the live set in favour of new material.

Discographical details from Jimi Hendrix: Electric Gypsy book p. 524:
THE WIND CRIES MARY b/w HIGHWAY CHILE - Track 604004 [ENG] - Released 05/05/67 - Single Charts - entry: 27 (11/05/67); top position: 6; weeks in chart: 11 - Also on: Polydor 59078 [GER]; Barclay 060840 [FRA]
S005: The Wind Cries Mary - Jimi (gs, vo), Mitch (dr), Noel (ba). Rec: DLL, 11/01/67. Engi: Dave. Prod: Chas. Jimi Hendrix: "Mary is a girlfriend of mine. She is a girl who is slightly taken to talking about me to her friends, you know. One moment she will talk about me like I was a dog, and the next moment she says the complete opposite... We did that number in about two takes, we never do more than four or five takes in a recording studio, it's too expensive..."
S006: Highway Chile - Jimi (gi, vo), Mitch (dr), Noel (ba). Rec: OLY, 03/04/67. Prod: Chas.