Vague Visages’ Electric Lady Studios review contains minor spoilers. John McDermott’s 2024 documentary features Jimi Hendrix, John Storyk and Eddie Kramer. Check out the VV home page for more film reviews.

The most obvious approach to a documentary about Electric Lady Studios in New York City would be to interview the array of celebrities who have recorded there. Countless incredible musicians have been impacted by Jimi Hendrix’s vision of creating a warm and inviting studio, rather than a cold and impersonal corporate-like environment. The late American musician envisioned Electric Lady Studios as a homey, funky space that felt more like a night club than an office — a true haven for artistic inspiration where creative juices could flow. The roster of musical geniuses who flocked there certainly attests to the success of Hendrix’s idea. 

There’s a deeper and far more interesting story in Electric Lady Studios besides all the successful artists that have taken advantage of Hendrix’s innovative space. Director John McDermott explores how the setting came to be, as well as the behind-the-scenes efforts of those who transformed the building, and the struggles they faced along the way.

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The series of talking head interviews in Electric Lady Studios takes viewers on a journey from Hendrix’s purchase of Generation, a basement blues club in Greenwich Village, to the evolution of his professional recording studio. The iconic guitarist not only wanted his production studio to avoid exorbitant fees for lengthy sessions, but he also wanted one with a more artsy aura.

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Thus, Electric Lady Studios was born. Former staff members paint a tense picture of bringing the production space to life: permit delays, floods and, above all, financial issues. In the early days, many staff members were uncertain about their paychecks from week to week. While Hendrix wanted to keep his instruments permanently in one of the rooms at Electric Lady Studios, his team needed to rent out all the spaces to generate more revenue.

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The most interesting aspect of Electric Lady Studios is the inclusion of John Storyk, the architect of Hendrix’s production area. He talks about having to learn how music functions in particular spaces — constructing walls to minimize sound leakage, carefully selecting materials to enhance acoustics and incorporating round windows that create a greater sense of openness and harmony. Electric Lady Studios also features many fascinating insights from music professionals such as Eddie Kramer, Dave Palmer, Kim King, John Jansen and Shimon Ron, all of whom illuminate the complex nuances of producing an amazing song. 

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One of Electric Lady Studios’ best moments emerges when Kramer, Palmer and King listen to the last tracks that Hendrix recorded, including “Freedom” and “Dolly Dagger.” They discuss the importance of the room’s sound architecture, but what truly stands out is their deep appreciation for their late collaborator’s creativity and soul. There’s also plenty of Hendrix archival footage — featuring the artist’s industry-changing blues rock and virtuosic guitar skills — that will satisfy aficionados.

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Electric Lady Studios is the first recording studio owned by a musician, and it completely transformed music production standards and the relationship between artists and the recording process. The aforementioned Kramer believes Hendrix’s spirit still lingers in the walls of his studio, overseeing various international artists who come to celebrate a collaborative music-making process. In many ways, Electric Lady Studios’ legacy matches that of Hendrix’s groundbreaking music. He created a much-needed space for not only for his own work to flourish but also for future generations. With Electric Lady Studios, McDermott artfully explores intriguing stories about hard-working music professionals who experienced first-hand what it was like to make a dream come true.

Electric Lady Studios: A Jimi Hendrix Vision premiered at The Quad in New York on August 9, 2024.

Caroline Madden (@crolinss) is the author of Springsteen as Soundtrack. She’s also a film critic who has written for Screen Queens, Reverse Shot, IndieWire and more. Caroline is the editor-in-chief of Video Librarian.

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