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Jimi Hendrix - All Along The Watchtower Pt.3 - Solos Two & Three - Guitar Lesson

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Jimi Hendrix - All Along The Watchtower Pt.3 - Solos Two & Three - Guitar Lesson

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Jimi Hendrix - All Along The Watchtower Pt.3 - Solos Two & Three guitar lesson video
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Jimi Hendrix Psychedelic Rock 1968 C# minor
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All Along The Watchtower Pt.3 - Solos Two & Three

"All Along The Watchtower Pt.3 - Solos Two & Three" by Jimi Hendrix focuses on the iconic solo sections of one of rock guitar's most studied performances. Hendrix's reinterpretation of Bob Dylan's composition is widely regarded as a masterclass in electric guitar expression, blending slide-influenced bends, controlled feedback, and lyrical phrasing. For electric guitarists, breaking the solos into parts like this offers a practical way to study Hendrix's tone, technique, and improvisational approach in detail.

  • Hendrix's solos on this track are frequently cited as essential study material for understanding expressive electric guitar bending and vibrato.
  • The song features multiple distinct solo sections, making a segmented learning approach useful for guitarists working through the full performance.
  • Jimi Hendrix's version of this Dylan composition is widely considered to have surpassed the original in terms of guitar-driven musical impact.
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)
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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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