an experimental stereo panning effect in which sounds emanating from Hendrix's guitar move through the stereo image, revolving around the listener. The piece reflected his growing interest in science fiction and outer space. Author Keith Shadwick described the track as "some of the wildest music Hendrix ever released". "Wait Until Tomorrow" is a pop song with an R&B guitar riff and 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. Hendrix said that "Little Wing" 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; some of the percussive effects were created by Gary Leeds (from the Walker Brothers) and Graham Nash stomping their feet. "You Got Me Floatin'", a rock song opening with a swirling backwards guitar solo, 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. According to Wood, he and Burton were in the studio next door while the song was being recorded, and Redding came by and asked them if they would like to sing on it. The following track, "Castles Made of Sand", is a ballad that also includes a backwards guitar solo. "She's So Fine", Redding's contribution to the album as a composer, a very British pop/rock Who-influenced piece, features Redding on lead vocals with help from Mitchell. "One Rainy Wish" begins as a ballad waltz, but develops a rock feel during the chorus that is in a different time signature from the verses. The song "Little Miss Lover" has elements of funk, while the final song of the album, "Bold as Love", with an extended guitar solo at the end, closes out the album. In 2004, Rolling Stone ranked "Little Wing" number 357 in its list of the 500 Greatest Songs of All Time. 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