<P> "Wait Until Tomorrow" is a pop song with an R&B guitar riff with Mitchell and Redding singing backing vocals . The fifth track, "Ain't No Telling", is a rock song with a complex structure despite its short length . "Little Wing", as Hendrix himself said, was his impression of the Monterey Pop Festival put into the form of a girl . "If 6 Was 9", the last song on side one, is the album's longest track and arguably the most psychedelic; Gary Leeds (from The Walker Brothers) and Graham Nash use their feet during the outro to make some stomping . The song features prominently on the soundtrack for the 1969 counterculture film, Easy Rider . </P> <P> "You Got Me Floatin"', a rock song opening with a swirling backwards guitar solo (which is absent on the mysterious, differently mixed Polydor version of this LP (only available in stereo), which outside France and the UK was the only one available in Europe), opens the second side of the album . Roy Wood and Trevor Burton from The Move, who toured with Hendrix on a package tour through Britain during winter 1967, supplied backing vocals . The following track, "Castles Made of Sand", is a ballad also making use of a backwards guitar solo . "She's So Fine", Redding's contribution to the album as a composer, a very British pop / rock Who - influenced affair features Redding on lead vocals with help from Mitchell . "One Rainy Wish" begins as a ballad but develops a rock feel during the chorus that is in a different time signature than the verses . </P> <P> The song "Little Miss Lover" was the first to feature a percussive muted wah - wah effect (with the fretboard hand "killing" notes) - a technique that was later adopted by many guitarists . The final song of the album, "Bold as Love", opens very abruptly . With a psychedelic chorus and an extended solo at the end it fades out the album . An early Mellotron instrument can be heard in the outro to the title track as well . In 2005, Rolling Stone ranked "Little Wing" number 366 in their list of the 500 Greatest Songs of All Time . </P> <P> Hendrix composed the album's title track and finale around two verses and two choruses, during which he pairs emotions with personas, comparing them to colors . The song's coda features the first recording of stereo phasing . Numerous attempts at a basic rhythm track were undertaken before a satisfactory one was achieved on the 27th take . Shadwick described the composition as "possibly the most ambitious piece on Axis, the extravagant metaphors of the lyrics suggesting a growing confidence" in Hendrix's songwriting . His guitar playing throughout the song is marked by chordal arpeggios and contrapuntal motion, with tremolo - picked partial chords providing the musical foundation for the chorus, which culminates in what musicologist Andy Aledort described as "simply one of the greatest electric guitar solos ever played". The track fades out on tremolo - picked thirty - second note double stops . In 2011, Guitar World ranked the track number 24 in a list of Hendrix's 100 greatest performances . </P>

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