You’d be hard pressed to find ANYONE in music today that would not recognize and appreciate the pure genius of Jimi Hendrix. We’re talking exceedingly accomplished guitarists like Eric Clapton, BB King, Joe Satriani, Jimmy Page, Tom Morello, Prince, Slash, Carlos Santana, and many more, all of who would probably gush at the massive influence Jimi had on music and culture in such a short time.
Dark Hall Mansion also greatly appreciates Jimi’s influences and they are beyond proud to be working closely with Authentic Hendrix (the official Jimi Hendrix Family/ Estate licensor) to bring music fans everywhere a set of fantastic, officially licensed prints by artist Max Dalton.
Max had this to say about the legend….Jimi Hendrix. I’m not sure when I discovered Hendrix. It’s something that seems to have been always there. Like your belly button. But what I do remember well is that I wanted to sound like him when I started to play the guitar at the age of eleven. I also remember having a video tape of the Moneterrey Pop concert and watching it over and over again, and then trying to play those songs on my dad’s old acoustic guitar. I think “Wild thing” was one of the first songs I’ve ever learned to play. But, who would know, I didn’t sound like him at all, so I thought “it must be this crappy guitar”. With the time and after lots of summers working at a local supermarket I finally could get my first strat, really hoping that Jimi’s sound will magically come to me. It didn’t.
Many years later I realized his supreme sound is not in his guitar, or in his amps or even on his exclusively made effects. There’s something on him that will always remain absolute. Still don’t know what it is and, as far as I know, nobody still could match him. So, since that magic can’t be drawn, I chose to make this poster, showing all his paraphernalia, just to validate my many years of research. To sound close to him I’ve given up long time ago.
Max was kind enough to take some time out of his busy schedule to give us a few words about himself and the project as well as some process shots. Once you read this and see the final result, I think you will find that he was the perfect choice for this project.
BLURPPY – GIVE US SOME BACKGROUND ON HOW YOU GOT STARTED DOING ART FOR A LIVING.
MAX DALTON – I’ve been painting since I was a little kid – I am mostly self-taught and never stopped since then, always thinking that I wanted to be an artist. But for many reasons like fear, pressure from my parents, pressure from society in general, etc. I felt that being an artist was a silly fantasy that only a few illuminates could achieve. So, after high school I went into the design school to become a graphic designer, which was the closest I could get to make a living by doing what I liked. But it was a mistake, that wasn’t even close to what I expected, so I thought it was better to drop the pencils already. Then I went to music school and stayed there for five years, trying to become a professional musician.I worked here and there meanwhile, doing everything but art. Finally I started working at the art department of an ad agency in Buenos Aires, but I wasn’t happy at all either. I thought that if I continued doing that, I would kill myself briefly. By that time I read something an ancient painter said, that “an artist must travel the world at least for two years to become a master”. That sentence made a lot of sense to me and I had nothing to lose so I dropped everything I had, sold my guitars except one and with that money I bought a ticket to Paris. Over there I spent the most wonderful time, painting all day and playing the guitar to make some money. I only could afford to eat dried pasta and cheese once a day, but even so, I was very happy. Everything changed when I sold a few paintings to a renowned American collector. Then champagne, sport cars, drugs and prostitutes, which is more or less the life I’m having since then.
Early W.I.P for this project by Max
BLURPPY – IN GENERAL, WHOSE WORK DO YOU FOLLOW OR ADMIRE?
MAX DALTON – For the classic painters, I like Pieter Bruegel The Elder, The Pre-Raphaelite- especially Waterhouse, Felicien Rops. For the illustrators, Winsor McCay, John Tenniel, Ed Gorey, Miroslav Sasek. And for the still active and new artists R. Crumb, Chris Ware, Ralph Steadman, Scott Campbell, Jonathan Burton, Tim Doyle. There are more, but those are the ones I can remember right now.
BLURPPY – BEING A HUGE FAN OF HENDRIX, WHAT WAS IT LIKE OFFICIALLY WORKING WITH THE JIMI HENDRIX ESTATE?
MAX DALTON – Wonderful. I felt free to say whatever I wanted, which is very rare to find in commissions. Also, having access to the very exclusive and unseen pictures of Hendrix, and his handwritten songs was something really amazing.
BLURPPY – I SEE YOU HAVE YOUR OWN WALL OF GUITARS, WHICH ONE DO YOU ABSOLUTELY LOVE PLAYING THE MOST?
MAX DALTON – Definitely my ’55 Strat. Nothing beats that tone and that feeling. At least not for a traditionalist guy like me, whose reference for the best guitar sound comes from a strat and a twin amp.
BLURPPY – DO YOU HAVE A FAVORITE JIMI HENDRIX SONG?
MAX DALTON – Hard to say. Probably it’s “Bold as Love.” The moment when he enters the solo is glorious.
BLURPPY – WHICH JIMI GUITAR FROM THE PRINT IS YOUR FAVORITE AND WHY?
MAX DALTON – I guess the strat set on fire, because it represents a lot. It also gives the image a funny touch, it’s just silly to have a guitar in flames hanging on the wall -actually I don’t recommend doing that. It would ruin your wallpaper.
Jimi only set two or three guitars on fire, as far as I know, but surprisingly he will be always remembered for that. Maybe because he was the fire himself. Can you imagine other artist doing that? Well, maybe Jerry Lee. I also always liked the shape of the inverted Gibson Firebird. It’s a very cool guitar and I love watching it.
1 – ’68 Black Fender Stratocaster.
2 – Gibson Firebird
3 – 68’ Martin D-45
4 – Fender Stratocaster
5 – Mosrite double neck
6 – 65 Fiesta Red Fender Stratocaster
7 – ’59 Fender Duo-Sonic
8 – Gibson ES-335
9 – Fender Stratocaster with Tele neck
10 – 60’ Zemaitis 12
11 – ’60 Supro Ozark
12 – ’64 Olympic White Fender Stratocaster
13 – ’67 Gretsch Corvette
14 – ’67 Epiphone FT-79
15 – ’67 Gibson Flying V painted by Jimi
16 – Another Martin D-45
17 – Gibson Les Paul Special
18 – Danelectro 3021
19 – ’55 Gibson Les Paul Custom
20 – ’69 Gibson Flying V
21 – ‘67Gibson SG Custom
22 – ’64 Fender Stratocaster “Monterrey” painted by Jimi
23 – Fender Jaguar
24 – Acoustic Black Widow Spider
25 – ’66 Black Fender Stratocaster.
26 – ’64 Fender Jazzmaster
27 – ’65 Black Fender Stratocaster burned at The Astoria
28 – ’68 Olympic White Fender Stratocaster “Woodstock”
29 – Epiphone Wilshire
30 – Gretsch 6118 Anniversary- belonged to The Monkeys
31 – ’67 Sunn Coliseum 100W Amp
32 – Marshall 1959 Super Lead 100W Amp 4×12 cabinets
33 – Roger Mayer Octavia Fuzz
34 – Vox V846 Wah
35 – Dallas Arbiter Fuzz Face
36 – Univox Uni-Vibe
After many months of planning and working closely with the Authentic Hendrix , it’s clear that Dark Hall Mansion’s passion for finding JUST the right artist for this special project has paid off. Click the link below to see Max’s work and find out how and when you can purchase these prints from Dark Hall Mansion.
CLICK HERE to see Max Dalton’s official work with Dark Hall Mansion and Authentic Hendrix ! ! !