Aclaración...

Este espacio se reserva el derecho de publicar sobre cualquier tema que parezca interesante a su staff, no solamente referidos a la cuestión musical sino también a lo político y social.
Si no estás de acuerdo con lo expresado podrás dejar tu comentario siempre que no sea ofensivo, discriminador o violento...

Y no te confundas, no nos interesa la piratería, lo nuestro es simplemente desobediencia civil y resistencia cultural a favor del libre acceso al conocimiento (nuestra música es, entre otras tantas cosas, conocimiento).

sábado, 27 de agosto de 2016

Juernes de Blues - Episodio 08 - Repercuciones de Woodstock



JUERNES es tratar el jueves tarde/noche psicologicamente como si fuera viernes. Entonces, intentando hacer la semana más soportable, acelerando la llegada del sábado, el Bar de Mr. Moog abre sus puertas y te brinda  
= 10 Grandes temas en pantalla 10 =
para que te diviertas, refresques tus conocimientos, o aprendas del blues de todas las épocas. 
A nuestros parroquianos les encantó el menú de la semana pasada, y nos han pedido más, así que como nosotros nos debemos a nuestro público repetimos esos deliciosos platillos, jugos exóticos y cockteles misteriosos.


Vistas aéreas tomadas durante el desarrollo del Festival

Sector izquierdo del escenario

Introducción

El Festival de Woodstock representó una fotografía instantánea para los artistas que ahí intervinieron, Para algunos significó una acreditación para comenzar a andar como a Santana, para otros fue el punto culminante de su carrera y nunca más volverían a tener sobre ellos semejante atención. Para otros sería la confirmación de la tarea emprendida como Joe Cocker. Para Ravi Shankar sería un eslabón más en una cadena de prestigiosas participaciones, presentaciones en la que él sería el artista "aprestigiador" de eventos que buscan cierta trascendencia. Para otros artistas sería el lugar que los inmortalizaría dada su próxima desaparición física, aún así con suerte dispar, Janis en vida no quiso que su actuación se difundiera porque le resultó muy pobre, para Hendrix que estaba con toda la adrenalina y la inspiración, solo pudo interactuar con apenas 40.000 personas, cuando el espectáculo llegó a albergar 400.000 almas; su actuación logró la trascendencia no en vivo sino a través de los discos y la película en sus diferentes versiones. A pesar de todo, los que llegaron vivos hasta aquí se han convertido en héroes de una generación como Crosby, Stills, Nash & Young, The Band, Grateful Dead, Canned Heat, Johnny Winter, The Who, y los más radicales han mantenido sus banderas sin claudicaciones como Country Joe, Joan Baez, Neil Young.

Una época de grandes festivales que trataban de emular o superar el éxito obtenido por Woodstock, pero que con diversa suerte no pudieron volver a repetir ese estado mágico del Woodstock original. El punto más bajo fue el concierto de Altamont, organizado por los Rolling Stones en forma gratuita, luego de ser acusados de abusar del precio de las entradas en los shows de todo ese año. A menudo contrasta con el festival de Woodstock que tuvo lugar cuatro meses antes, y marca el final de la era hippie, de la inocencia encarnada por Woodstock, o de facto el fin de la década de 1960. Los críticos lo llaman "La muerte de la nación Woodstock" y nunca más se permitió la realización de un concierto de rock en ese sitio.


Sector frontal y derecho del escenario

Nuestro Play-List:
01. Santana - Black Magic Woman
02. Hooker 'n Heat (John Lee Hooker & Canned Heat) - Let's Make It (Boom, Boom, Boom)

03. Janis Joplin - Me And Bobby McGee (Subtitulado)
04. Joe Cocker - Cry Me A River
05. The Who - Shakin' All Over
06. Ten Years After - I'd love to change the world (Subtitulado)
07. Mountain - Mississippi Queen
08. Johnny Winter And - It's My Own Fault (live)
09. The Butterfield Blues Band - Everything Going to Be Alright
10. Jimi Hendrix - Machine Gun  


1. Santana - Black Magic Woman



Un tema de Peter Green guitarrista de Fleetwood Mac, que si bien en su propia versión había caminado bien, ahora en las manos de Carlos se volvería una locura.

Woodstock and breakthroughAhead of Woodstock, Bill Graham was asked to help with logistics and planning. Bill agreed to lend his help only if a new band he was championing, an unknown band called Santana was added to the bill. Santana was announced as one of the performers at the Woodstock Festival. The band started recording their 1969 debut album Santana in May 1969 and finished it in a month.
Santana performed at the festival. Later that month, they released their debut album, which peaked at number 4 on the US Billboard 200 pop chart with the single "Evil Ways" being a top 10 single in the US.
Abraxas and Santana IIISantana went on tour to promote their debut LP and started work on their next, Abraxas. Work began in mid-April 1970 at Wally Heider Studios in San Francisco and was completed in early May 1970. The album, highlighted by a reworking of Fleetwood Mac's "Black Magic Woman" (written by Fleetwood Mac founder Peter Green) that peaked at number 4 on the US Billboard Hot 100, was released in September 1970 and rose to number 1 on the US Billboard 200.
From January to July 1971 Santana worked on Santana III. Released in September 1971, the album also reached number 1 on the US Billboard 200. At the peak of the band's popularity, the album was the last to feature its classic Woodstock era line-up.


02. Hooker 'n Heat (John Lee Hooker & Canned Heat) - Let's Make It (Boom, Boom, Boom)



Luego de Woodstock el grupo sacaría el álbum Future Blues, con su polémica tapa en la que aparecen los integrantes del grupo vestidos de astronautas en la Luna sosteniendo la bandera americana en la misma pose de la famosa foto de Iwo Jima, pero la bandera enarbolada está "cabeza abajo" lo cual resultaba un triple insulto! También ese año sacarían Live in Europe. Taylor agotado deja la banda para juntarse con el inglés John Mayall que se acababa de mudar a Laurel Canyon, seguidamente Mandel también los dejará. En 1971 su principal proyecto fue grabar un disco doble junto a John Lee Hooker, de este disco recatamos el último tema, que será como una despedida para Alan Wilson y su poderosa armónica acompañando a Hooker ya que meses después morirá de una sobredosis de  barbitúricos.

With Taylor and Mandel gone, Vestine returned on guitar, accompanied by bassist Antonio de la Barreda who had played with de la Parra for five years in Mexico City and was previously a member of the groups Jerome and Sam & the Goodtimers.
This lineup went into the studio to record with John Lee Hooker the tracks that would yield the double album, Hooker 'n Heat. The band had originally met Hooker at the airport in Portland, Oregon, and discovered they were fans of each other's work. Hooker and Canned Heat became good friends and Hooker had stated that Wilson was "the greatest harmonica player ever". The planned format for the sessions called for Hooker to perform a few songs by himself, followed by some duets with Wilson playing piano or guitar. The rest of the album featured Hooker with some backing by the group (sans Bob Hite, who co-produced the album along with Skip Taylor). The album was finished after Wilson's passing and became the first album in Hooker's career to make the charts, topping out at #73 in February 1971. Hooker 'n Heat would unite again in 1978 and record a live album at the Fox Venice Theatre in Los Angeles, released in 1981 as, Hooker 'n Heat, Live at the Fox Venice Theatre, under Rhino Records. Also in 1989, Canned Heat (and many others) guested on John Lee Hooker's album The Healer.
Shortly after the original Hooker 'n Heat sessions, the eccentric Alan "Blind Owl" Wilson, who had always suffered from depression, was said by some to have attempted suicide by driving his van off the road near Bob Hite's home in Topanga Canyon. Unlike other members of the band, Wilson did not have much success with women and was deeply upset and frustrated by this. His depression also worsened over time; environmental themes were often reflected in his lyrics. On September 3, 1970, just prior to leaving for a festival in Berlin, the band was shattered when they learned of Wilson's death by barbiturate overdose; his body was found on a hillside behind Bob Hite's Topanga home. De la Parra and other members of the band believed that his death was a suicide. Wilson died at the age of 27, just weeks before the deaths of Janis Joplin and Jimi Hendrix.
Canned Heat - Future Blues





03. Janis Joplin - Me And Bobby McGee (Subtitulado)


Wikipedia nos ilustra
Los músicos de la Kozmic Blues Band eran sólo profesionales, y Janis quería que su banda fuese como una familia, como en Big Brother. Con el único que acabó conectando fue con el saxofonista Cornelius "Snooky" Flowers. A finales de 1969 Janis estaba ya destrozada y demasiado enganchada a la heroína y al alcohol, así que decidió tomarse un descanso y abandonar la banda. A finales de ese año la banda se separó. Su último concierto fue en el Madison Square Garden en Nueva York en la noche del 19 y 20 de diciembre de 1969.
En febrero de 1970, se fue de viaje con una amiga a Río de Janeiro por carnaval, a desintoxicarse, por lo menos, de la heroína. Allí conoció a David Niehouse y se enamoraron, estuvieron unos meses por la selva de Brasil viajando como dos viejos beatniks en la carretera y al volver a San Francisco, David se instaló en casa de Janis.
Albert Grossman, le propuso a Janis una nueva banda, la Full Tilt Boogie Band, y Janis, ya desenganchada de la heroína, pero no del alcohol, aceptó. David Niehouse quería seguir viajando por el mundo y le ofreció que se marcharan juntos, pero ella prefirió quedarse con su audiencia y su música. Así, Janis congenió muy bien con todos los miembros de la banda, ellos la querían y ella los quería.
En verano de ese año, Janis y su banda participaron en el Festival Express, junto con otros artistas importantes de la época cómo The Grateful Dead, Buddy Guy y The Band.
En una fiesta de los Hell's Angels de San Francisco, ese mismo verano, conoció a Seth Morgan y se enamoró de él. En septiembre de 1970, se trasladó a Los Ángeles a grabar Pearl. El 4 de octubre de 1970 había sido un buen día en el estudio, y para celebrarlo salió de copas con sus compañeros y se emborrachó. Según el estudio forense, murió a la 1:40 por sobredosis de heroína. Janis ya había pasado por experiencias similares y había salido con vida, pero esta vez no había nadie para ayudarla. Su cuerpo fue descubierto unas 18 horas después. Todos quedaron sorprendidos, pues pensaron que Janis ya no consumía, y estaba en la mejor época de su vida.
En 1971, seis semanas después de su muerte, salió el disco Pearl; fue un éxito y se mantuvo en el número uno de ventas durante 14 semanas. Como homenaje, se dejó el tema «Mercedes Benz» a capella, ya que fue la última canción que Janis grabó; también se incluyó la canción «Buried Alive in the Blues» sólo con música, sin la voz de Janis.
El sencillo «Me and Bobby McGee», compuesto por Kris Kristofferson (con quien la cantante tuvo un romance) y Fred Foster, representó su mayor éxito, al ser la única canción de Janis Joplin en alcanzar el Nº 1 en el Billboard Hot 100, por una semana en marzo de 1971.
En 2003, Pearl se colocó en el lugar 122 de los 500 mejores álbumes de todos los tiempos.





04. Joe Cocker - Cry Me A River 



Original by Arthur Hamilton 1953

Now you say that you're lonely
Hate to being so untrue

I want you to cry (Cry me a river)
Want you cry (Cry me a river)
All over me (Cry me a river)
I want you to cry (Cry me a river)
Yeah, over me (Cry me a river)
Hey, yeah, cry (Cry me a river)
Yeah I cried a river over you

Now you say that you're sorry
Oh, for bein' so unkind

I want you to cry (Cry me a river)
Cry for me (Cry me a river)
Oh! (Cry me a river)
Over me (Cry me a river)
Want you to cry (Cry me a river)
Right on me, yeah (Cry me a river)
Oh, I cried a river over you

You drove me nearly drove me out of my head
Never shed a tear
Remember, I remember all that you said
Told me love was too plebeian
You were through with me

(Cry me a river)
Oh yeah (Cry me a river)
Want you to cry (Cry me a river)
Oh yeah (Cry me a river)
Oh, cry (Cry me a river)
Cry me a river (Cry me a river)
Oh, I cried a river over you

Now you say you love me
Well, just to prove you do

You drove me nearly drove me out of my head
Oooh, never shed a tear
Remember, I remember all that you said
Told me love was too plebeian
You were through with me

(Cry me a river)
Yes (Cry me a river)
I want you to cry (Cry me a river)
Cry me a river (Cry me a river)
Ah (Cry me a river)
Cry me (Cry me a river)
Oh, I cried a river over you

Yeah, I cried a river over you
(I cried a river over you)
Over you (I cried a river over you)
Over you (I cried a river over you)
Ah!

(I cried a river over you)
Let me (I cried a river over you)
(I cried a river over you)
Cry me a river (I cried a river over you)
Over the mountain (I cried a river over you)
(I cried a river over you)
Let me (I cried a river over you)
Let me cry a river over you (One, two, three, four)

(Cry me a river, cry me a river)
(Cry me a river, cry me a river)
Yeah (Cry me a river, cry me a river)
(Cry) Cry a river over you

Wikipedia
Directly after Woodstock, Cocker released his second album, Joe Cocker!. Impressed by his cover of "With a Little Help from My Friends", Paul McCartney and George Harrison allowed Cocker to use their songs "She Came In Through the Bathroom Window" and "Something" for the album. Recorded during a break in touring in the spring and summer, the album reached number 11 on the US charts and garnered a second UK hit with the Leon Russell song, "Delta Lady". A fin de año disuelve la Grease Band.
An American tour had already been booked so he had to quickly form a new band in order to fulfill his contractual obligations. It proved to be a large group of more than 20 musicians, including pianist and bandleader Leon Russell, three drummers - Jim Gordon, Jim Keltner, and Chuck Blackwell, and backing vocalists Rita Coolidge and Claudia Lennear. Denny Cordell christened the new band "Mad Dogs & Englishmen", after the Noël Coward song of the same name. Cocker's music evolved into a more bluesy type of rock, compared to that of the Rolling Stones.
During the ensuing Mad Dogs & Englishmen tour (later described by drummer Jim Keltner as "a big, wild party"), Cocker toured 48 cities, recorded a live album, and received very positive reviews from Time and Life for his performances. However, the pace of the tour was exhausting. Russell and Cocker had personal problems; Cocker became depressed and began drinking excessively as the tour wound down in May 1970. Meanwhile, he enjoyed several chart entries in the United States with "Feelin' Alright" by Traffic and "Cry Me a River". His cover of the Box Tops' hit "The Letter", which appeared on the live album and film, Mad Dogs & Englishmen, became his first US Top Ten hit. After spending several months in Los Angeles, Cocker returned home to Sheffield where his family became increasingly concerned with his deteriorating physical and mental health. 




05. The Who - Shakin' All Over

Otro poderoso cover de la banda


The Who participó en el mítico Festival de Woodstock en la madrugada del 16 de agosto. Esta aparición ayudó a que la popularidad de Tommy creciera enormemente. Durante su presentación, el líder yippie Abbie Hoffman interrumpió el concierto para dar un discurso de protesta en contra del encarcelamiento de John Sinclair, que había sido condenado a 10 años de cárcel por traficar marihuana con dos policías encubiertos. Townshend, molesto con la interrupción, golpeó a Hoffman con su guitarra exclamando «¡Lárgate! ¡Lárgate de mi jodido escenario!», provocándole una aparatosa caída hacia el público, lugar donde posteriormente desaparecería entre la multitud. Townshend posteriormente comentó que estaba de acuerdo con Hoffman, pero que de todos modos lo hubiese derribado sin importar el mensaje.
El grupo apareció en Pop Go The Sixties, un especial de televisión de la BBC con la revisión de la mejor música en la década de los sesenta, interpretando «I Can See For Miles» en vivo, en un espectáculo grabado por la BBC One el 1 de enero de 1970. En febrero de aquel año, The Who grabó Live at Leeds, considerado por muchos críticos como el mejor álbum de rock en vivo de todos los tiempos. Fue lanzado originalmente con 8 canciones, de las cuales, se incluía «Summertime Blues», cover de Eddie Cochran y único sencillo del álbum. En ediciones posteriores, se amplió el número de canciones, debido a limitaciones técnicas en la grabación original, que con el tiempo se remediaron. Se añadieron la interpretación de los primeros sencillos de la banda, comentarios de los integrantes en el concierto y algunos temas de Tommy, hasta la remasterización por completo de aquel disco en la presentación, que se incluye en la edición deluxe de 2001. La Universidad de Leeds fue parte de la gira de Tommy, que no sólo incluyó conciertos en teatros de ópera europeos, sino que también, en el Metropolitan Opera House de Nueva York, siendo el primer espectáculo de rock en aquel recinto. En marzo, The Who publicó «The Seeker», que alcanzó el Top 20 en las listas del Reino Unido.
La banda también participó en el Festival de la Isla de Wight de 1970. Esa presentación fue editada en 1996 como un álbum doble (Live at the Isle of Wight Festival 1970).
Lifehouse y Who's Next
Después del enorme interés que la banda generó tras el nuevo concepto de ópera rock plasmado en Tommy, Townshend comenzó a pensar en otro ambicioso proyecto, llamado Lifehouse. Un argumento futurista, en el proyecto el grupo conviviría con un grupo de espectadores. Pero Townshend no tenía exactamente en claro el argumento, el tiempo pasó, los recursos se utilizaban pero no había avances significativos, finalmente el proyecto fue abortado y en su reemplazo se utilizaron algunas de sus canciones para el álbum Who's Next.
 Lanzado en 1971, Who's Next contenía nueve temas, incluyendo canciones como "Baba O'Riley" y "Won't Get Fooled Again", que se destacaban por el uso de sintetizadores, que solían establecer ritmos repetitivos (o se usaban para diversos efectos, como en "Bargain" y "The Song Is Over", y que iban a ser uno de los aspectos más importantes de "Lifehouse". El sonido es radicalmente distinto al de los discos anteriores de la banda: la voz de Daltrey había evolucionado y sonaba como un poderoso rugido, mientras que el sonido de la batería de Keith Moon había cambiado. Esto, sumado a los sintetizadores y la impecable producción, hicieron que Who's Next comenzara a ser considerado como uno de los primeros álbumes de arena rock, ya que era mucho más grandilocuente y ampuloso que sus antecesores.
Algunas de las canciones de "Lifehouse" (incluyendo "Pure and Easy" y "Naked Eye") aparecieron en el compilado Odds & Sods, y más tarde fueron agregadas como bonus tracks en versiones posteriores de Who's Next. El paso siguiente sería otro enorme salto de la banda: Quadrophenia (1973).

  

Contratapa original

Tapa edición en 2 cds con versión de Tommy en vivo

Contratapa edición en 2 cds con versión de Tommy en vivo



06. Ten Years After - I'd love to change the world (subtitulado)



In 1970, Ten Years After released "Love Like a Man", the group's only hit in the UK Singles Chart, where it peaked at #10. It was the first record issued with a different playing speed on each side: a three-minute edit at 45rpm, and a nearly eight-minute live version at 33rpm.[citation needed] This song was on the band's fifth album, Cricklewood Green. In August 1970, Ten Years After played the Strawberry Fields Festival near Toronto, and the Isle of Wight Festival 1970.
In 1971, the band switched labels to Columbia Records and released the hit album A Space in Time, which marked a move toward more commercial material. It featured the group's biggest hit, "I'd Love to Change the World". In late 1972, the group issued their second Columbia album Rock & Roll Music to the World.
Ten Years After had success, releasing ten albums together, but by 1973, Lee was feeling limited by the band's style. Moving to Columbia Records had resulted in a radio hit song, "I'd Love To Change the World", but Lee preferred blues-rock to the pop to which the label steered them. He left the group after their second Columbia LP. With American Christian rock pioneer Mylon LeFevre, along with guests George Harrison, Steve Winwood, Ronnie Wood and Mick Fleetwood, he recorded and released On the Road to Freedom, an acclaimed album that was at the forefront of country rock. Also in 1973 he sat in on the Jerry Lee Lewis double album The Session...Recorded in London with Great Artists recorded in London featuring many other guest stars including Albert Lee, Peter Frampton and Rory Gallagher. 




07. Mountain - Mississippi Queen



Wikipedia

Soon after Woodstock, Smart was replaced by Canadian Laurence "Corky" Laing, who was the drummer on the classic Climbing!, which was released in March 1970. It led off with what became the band's signature song, "Mississippi Queen", which reached #21 in the Billboard Hot 100, and was featured in the 1971 cult film Vanishing Point, while the album reached #17 in the Billboard Top 200.

Mountain began a hectic touring schedule in the middle of which they recorded a follow-up album, Nantucket Sleighride, released in January 1971. This album reached #16 but failed to yield a hit single. The title track was used in the UK as the theme to ITV's Sunday political program Weekend World. After these early releases the band continued to receive a certain measure of critical acclaim but never again achieved great commercial success.

After Nantucket Sleighride, the band produced Flowers of Evil (November 1971) consisting of one side of studio material and one live side, culled from a concert at New York's Fillmore East.

Mountain disbanded in February 1972 after a tour of the UK. West has since cited a combination of drug abuse within the band and Pappalardi's road weariness and burgeoning hearing impairment as primary factors. A live album, Mountain Live: The Road Goes Ever On, was issued in April 1972.
Pappalardi returned to studio work, while West and Laing formed West, Bruce and Laing with former Cream bassist Jack Bruce. Their first American performance was a Carnegie Hall concert, prompting a bidding war that Columbia Records won, and the new trio cut two studio albums and a live release over the next two years. After Bruce suddenly pulled out of the trio in 1973, West and Laing continued on briefly as Leslie West's Wild West Show. (Después de 1974 el grupo se reuniría intermitentemente)





08. Johnny Winter And - It's My Own Fault (live)


Un poderoso momento de Johnny de los muchos que tendrá a lo largo de su carrera con el tema de B.B. King.


In 1970, when his brother Edgar released a solo album Entrance and formed Edgar Winter's White Trash, an R&B/jazz-rock group, the original trio disbanded. Johnny Winter then formed a new band with the remnants of the McCoys—guitarist Rick Derringer, bassist Randy Jo Hobbs, and drummer Randy Z (who was Derringer's brother, their family name being Zehringer). Originally to be called "Johnny Winter and the McCoys", the name was shortened to "Johnny Winter And", which was also the name of their first album. The album included Derringer's "Rock and Roll, Hoochie Koo" and signaled a more rock-oriented direction for Winter. When Johnny Winter And began to tour, Randy Z was replaced with drummer Bobby Caldwell. Their mixture of the new rock songs with Winter's blues songs was captured on the live album Live Johnny Winter And. It included a new performance of "It's My Own Fault", the song which brought Winter to the attention of Columbia Records.

Winter's momentum was throttled when he sank into heroin addiction during the Johnny Winter And days. After he sought treatment for and recovered from the addiction, Winter was courageously put in front of the music press by manager Steve Paul to discuss the addiction candidly. By 1973, he returned to the music scene with the release of Still Alive and Well, a basic blend between blues and hard rock, whose title track was written by Rick Derringer. His comeback concert at Long Island, New York's Nassau Coliseum featured the "And" line-up minus Rick Derringer and Bobby Caldwell. Also performing on stage was Johnny's wife Susie. Saints & Sinners and John Dawson Winter III, two albums released in 1974, continue in the same direction. In 1975, Johnny returned to Bogalusa, Louisiana, to produce an album for Thunderhead, a Southern rock band which included Pat Rush and Bobby "T" Torello, who would later play with Winter. A second live Winter album, Captured Live!, was released in 1976 and features an extended performance of "Highway 61 Revisited". (Los pasos siguientes en su carrera sería la producción de discos para Moody Waters que le darían un prestigio enorme a través de los Grammies que se iría a ganar).


 






09. The Butterfield Blues Band - Everything Going to Be Alright






El álbum doble en vivo Live (1970) arranca con esta impecable versión del tema de Walter Jacobs. Un álbum que merece toda nuestra atención y análisis obtendremos muy agradables momentos.

Wikipedia informa

The album Keep On Moving, with only Butterfield remaining from the original lineup, was released in 1969. It was produced by veteran R&B producer and songwriter Jerry Ragovoy, reportedly brought in by Elektra to turn out a "breakout commercial hit". The album was not embraced by critics or long-time fans; however, it reached number 102 in the Billboard album chart.

A live double album by the Butterfield Blues Band, Live, was recorded March 21–22, 1970, at the The Troubadour, in West Hollywood, California. By this time, the band included a four-piece horn section in what has been described as a "big-band Chicago blues with a jazz base". Live provides perhaps the best showcase for this unique "blues-jazz-rock-R&B hybrid sound". After the release of another soul-influenced album, Sometimes I Just Feel Like Smilin' in 1971, the Paul Butterfield Blues Band disbanded. In 1972, a retrospective or their career, Golden Butter: The Best of the Paul Butterfield Blues Band, was released by Elektra.







10. Jimi Hendrix - Machine Gun  


Esta grabación de Machine Gun pertenece al concierto realizado en L.A. Inglewood Forum 1970

Wikipedia cuenta:
Hendrix decided that they would record the LP, Band of Gypsys, during two live appearances. In preparation for the shows he formed an all-black power-trio with Cox and drummer Buddy Miles, formerly with Wilson Pickett, the Electric Flag, and the Buddy Miles Express. Critic John Rockwell described Hendrix and Miles as jazz-rock fusionists, and their collaboration as pioneering. Others identified a funk and soul influence in their music. Concert promoter Bill Graham called the shows "the most brilliant, emotional display of virtuoso electric guitar" that he had ever heard. Biographers have speculated that Hendrix formed the band in an effort to appease members of the Black Power movement and others in the black communities who called for him to use his fame to speak-up for civil rights.
Hendrix had been recording with Cox since April and jamming with Miles since September, and the trio wrote and rehearsed material which they performed at a series of four shows over two nights on December 31 and January 1, at the Fillmore East. They used recordings of these concerts to assemble the LP, which was produced by Hendrix. The album includes the track "Machine Gun", which musicologist Andy Aledort described as the pinnacle of Hendrix's career, and "the premiere example of [his] unparalleled genius as a rock guitarist ... In this performance, Jimi transcended the medium of rock music, and set an entirely new standard for the potential of electric guitar." During the song's extended instrumental breaks, Hendrix created sounds with his guitar that sonically represented warfare, including rockets, bombs, and diving planes.
The Band of Gypsys album was the only official live Hendrix LP made commercially available during his lifetime; several tracks from the Woodstock and Monterey shows were released later that year. The album was released in April 1970 by Capitol Records; it reached the top ten in both the U.S. and the UK. That same month a single was issued with "Stepping Stone" as the A-side and "Izabella" as the B-side, but Hendrix was dissatisfied with the quality of the mastering and he demanded that it be withdrawn and re-mixed, preventing the songs from charting and resulting in Hendrix's least successful single; it was also his last.
During the first half of 1970, Hendrix sporadically worked on material for what would have been his next LP. Many of the tracks were posthumously released in 1971 as The Cry of Love. He had started writing songs for the album in 1968, but in April 1970 he told Keith Altham that the project had been abandoned. Soon afterward, he and his band took a break from recording and began the Cry of Love tour at the L.A. Forum, performing for 20,000 people. Set-lists during the tour included numerous Experience tracks as well as a selection of newer material. Several shows were recorded, and they produced some of Hendrix's most memorable live performances. At one of them, the second Atlanta International Pop Festival, on July 4, he played to the largest American audience of his career. According to authors Scott Schinder and Andy Schwartz, as many as 500,000 people attended the concert. On July 17, they appeared at the New York Pop Festival; Hendrix had again consumed too many drugs before the show, and the set was considered a disaster. The American leg of the tour, which included 32 performances, ended at Honolulu, Hawaii, on August 1, 1970. This would be Hendrix's final concert appearance in the U.S.
Death of Jimi Hendrix
Although the details of Hendrix's last day and death are widely disputed, he spent much of September 17, 1970, in London with Monika Dannemann, the only witness to his final hours. Dannemann said that she prepared a meal for them at her apartment in the Samarkand Hotel, 22 Lansdowne Crescent, Notting Hill, sometime around 11 p.m., when they shared a bottle of wine. She drove Hendrix to the residence of an acquaintance at approximately 1:45 a.m., where he remained for about an hour before she picked him up and drove them back to her flat at 3 a.m. Dannemann said they talked until around 7 a.m., when they went to sleep. She awoke around 11 a.m., and found Hendrix breathing, but unconscious and unresponsive. She called for an ambulance at 11:18 a.m.; they arrived on the scene at 11:27 a.m. Paramedics then transported Hendrix to St Mary Abbot's Hospital where Dr. John Bannister pronounced him dead at 12:45 p.m. on September 18, 1970.
To determine the cause of death, coroner Gavin Thurston ordered a post-mortem examination on Hendrix's body, which was performed on September 21 by Professor Robert Donald Teare, a forensic pathologist. Thurston completed the inquest on September 28, and concluded that Hendrix aspirated his own vomit and died of asphyxia while intoxicated with barbiturates. Citing "insufficient evidence of the circumstances", he declared an open verdict. Dannemann later revealed that Hendrix had taken nine of her prescribed Vesparax sleeping tablets, 18 times the recommended dosage.



Y así llegamos al final de de otro episodio más de esta serie, el Bar de Mr. Moog espera  que la hayas pasado tan bien como nosotros¡Hasta el JUERNES!

Tu opinión es valiosa,  siempre a tus órdenes, pide lo que quieras.

Y recuerda, la mejor manera de aprender, es enseñar.

Dark-ius, blusero & hippie

(el Flower Power al Poder)



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