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Jimi Hendrix - All Along The Watchtower Pt.2 - Verse - Guitar Lesson

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Jimi Hendrix - All Along The Watchtower Pt.2 - Verse - Guitar Lesson

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Jimi Hendrix - All Along The Watchtower Pt.2 - Verse guitar lesson video
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All Along The Watchtower Pt.2 - Verse

"All Along The Watchtower Pt.2 - Verse" is a section of Jimi Hendrix's landmark cover of Bob Dylan's original composition. Hendrix transformed Dylan's folk-rooted song into a defining moment in electric guitar history, layering expressive bends, dynamic phrasing, and inventive tone across the arrangement. For electric guitar players, studying this verse section offers direct insight into Hendrix's signature approach to melody, feel, and how a guitarist can reinterpret a song far beyond its original form.

  • Dylan's original version was written and recorded first, but Hendrix's electric guitar interpretation became the more widely recognized rendition.
  • Breaking down the song verse by verse helps guitarists isolate Hendrix's phrasing techniques and understand how he builds tension and release.
  • The piece is a strong study in expressive vibrato and string bending, two of Hendrix's most imitated and distinctive electric guitar characteristics.
Fender Stratocaster
Guitar

Fender Stratocaster

Hendrix's reversed left-handed Strats with stock single-coils delivered bright, articulate tone with pronounced string separation that sang when driven through cranked tubes. The in-between pickup positions created his signature quack tones, while the volume knob let him dynamically shape fuzz in real time.

Marshall Plexi (1959 Super Lead)
Amp

Marshall Plexi (1959 Super Lead)

Hendrix pushed the Marshall 1959's power tubes to natural saturation, generating thick, harmonically rich overdrive that became his signature sound. The amp's aggressive breakup complemented his single-coils perfectly, delivering singing sustain without compressing his dynamic touch.

Fender Twin Reverb
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Fender Twin Reverb

In the studio, Hendrix used the Twin Reverb's cleaner headroom to capture sparkling, articulate tones and explore different breakup characteristics than the Marshall. Its built-in reverb added spaciousness to tracks like 'Little Wing' without relying on external effects.

Dunlop Cry Baby Wah
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Dunlop Cry Baby Wah

Hendrix treated the Cry Baby as an expressive tone-shaping tool, rocking it rhythmically mid-riff on 'Voodoo Child' rather than just switching it on and off. The pedal's resonant sweep perfectly complemented his fuzz textures and added vocal-like expressiveness to his soloing.

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