"Jimi... He was the gov'nor and that's it. He was brilliant, wasn't he?"
About this Quote
Calling Hendrix "the gov'nor" is British musician shorthand for an awkward truth: there are hierarchies even in a culture that pretends to hate them. Ritchie Blackmore, himself a virtuoso with a famously uncompromising streak, isn’t offering a flowery tribute or a fan’s gush. He’s issuing a verdict. The clipped certainty of "and that's it" does the heavy lifting: it closes debate, shrinks the room, dares any guitarist within earshot to object.
The line also carries a protective self-awareness. Blackmore came up in an era when guitarists were building entire identities around mastery, tone, speed, and swagger. To admit someone is "the governor" is to place a ceiling above your own ambition and then live with it. That’s why the praise lands as both generous and slightly fatalistic: Hendrix wasn’t just great, he rewrote the job description. Technique becomes secondary to authority, not the authority of ego but of invention - the sense that the instrument’s future showed up early and fully formed.
Then there’s that tag question: "He was brilliant, wasn't he?" It’s less uncertainty than a social gesture, a hand extended to the listener. Blackmore’s not asking permission; he’s asking for recognition, like pointing at a landmark everyone claims to know but few have actually looked at closely. The subtext is a cultural memory check: before the gear talk, the rankings, the mythology, there was a singular shock of possibility. Hendrix still governs because the revolution he sparked never really ended.
The line also carries a protective self-awareness. Blackmore came up in an era when guitarists were building entire identities around mastery, tone, speed, and swagger. To admit someone is "the governor" is to place a ceiling above your own ambition and then live with it. That’s why the praise lands as both generous and slightly fatalistic: Hendrix wasn’t just great, he rewrote the job description. Technique becomes secondary to authority, not the authority of ego but of invention - the sense that the instrument’s future showed up early and fully formed.
Then there’s that tag question: "He was brilliant, wasn't he?" It’s less uncertainty than a social gesture, a hand extended to the listener. Blackmore’s not asking permission; he’s asking for recognition, like pointing at a landmark everyone claims to know but few have actually looked at closely. The subtext is a cultural memory check: before the gear talk, the rankings, the mythology, there was a singular shock of possibility. Hendrix still governs because the revolution he sparked never really ended.
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| Topic | Music |
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