18. Ending

‘She’s So Fine’ – The Jimi Hendrix Experience

For months I had this ending stuck in my head. Just the final seconds after the drums finish – the bit where the guitar crashes through a few last chords before giving in to that whistling, descending feedback note. I badly wanted to hear it, but I couldn’t remember where it came from, couldn’t tie it back to the song that came before. I was certain of one thing, however: it was early Britpop – Modern Life-era Blur, maybe; possibly a B-side – and those were the songs I kept putting on, trying to find this ending.

It makes sense really. The song I was trying to remember has an unhinged energy about it, rough around the edges, with that single, breakneck tempo. Then there’s Redding’s flat, nasal delivery – Barretty, English – and Jimi’s ludicrous choirboy harmonies. It’s cartoonish in a good way, the way that, say, Supergrass were. It really is very Britpoppy, at least the first flush of Britpop when its model was the Yardbirds scene  in Antonioni’s Blow Up, before the money sloshed in and every song needed an orchestral arrangement.

In the great Jimi Hendrix scheme of things, this song – parochial, whimsical – doesn’t even feature. But as for Noel Redding, his only songs from his time with the Experience are this and Little Miss Strange.  I wish there were more from Britpop’s lost ancestor.

17. Song with a Number in the Title 31 Songs Home  19. A Song that Makes Me Laugh Out Loud