JIMI HENDRIX: Cuadragésimo aniversario, 1970-2010

Hendrix, fan de Billy Gibbons (The Moving Sidewalks, ZZTOP). Gibbons, segundo por la derecha.
En 1968 dijo en televisión que era su guitarrista preferido.


Johnny Allen Hendrix
JIMI HENDRIX
Seattle, 1942-Londres, 1970
Guitarrista, cantante y compositor

SUS JOYAS



Are you Experience
RU: Mayo, 1967
EEUU: Agosto, 1967
El album que conmocionó el planeta.
Psicodelia y fusión de los recursos del folk, el rock, el pop y el soul.
Y buenas letras, poético.

Jimi Hendrix
Noel Redding, bajo
Mitch Mitchell, batería
Olympic Studios/CBS Studios/De Lane Lea
Londres, Inglaterra
Chas Chandler, producción




United Kingdom & international editions
Side one:
1."Foxy Lady" – 3:22
2."Manic Depression" – 3:46
3."Red House" – 3:53
4."Can You See Me" – 2:35
5."Love or Confusion" – 3:17
6."I Don't Live Today" – 3:58

Side two:

7."May This Be Love" – 3:14
8."Fire" – 2:47
9."Third Stone from the Sun" – 6:50
10."Remember" – 2:53
11."Are You Experienced?" – 4:17

North American edition
Side one:

1."Purple Haze" – 2:46
2."Manic Depression" – 3:46
3."Hey Joe" – 3:23
4."Love or Confusion" – 3:15
5."May This Be Love" – 3:14
6."I Don't Live Today" – 3:55
Side two:

7."The Wind Cries Mary" – 3:21
8."Fire" – 2:34
9."3rd Stone from the Sun" – 6:40
10."Foxey Lady" – 3:15
11."Are You Experienced?" – 3:55





Axis as Love
RU: Diciembre, 1967
EEUU: Enero, 1968

Mejores composiciones y letras.
Espacial.

Jimi Hendrix
Noel Redding, bajo
Mitch Mitchell, batería
Olympic Studios, London, England.
Chas Chandler, producción

Side one
No. Title Length
1. "EXP"
2. "Up from the Skies"
3. "Spanish Castle Magic"
4. "Wait Until Tomorrow"
5. "Ain't No Telling"
6. "Little Wing"
7. "If 6 Was 9"

Side two
No. Title Length
8. "You Got Me Floatin'"
9. "Castles Made of Sand"
10. "She's So Fine" (Noel Redding)
11. "One Rainy Wish"
12. "Little Miss Lover"
13. "Bold as Love"



Electric Ladyland
RU: Octubre, 1968
EEUU: Septiembre, 1968

Rompiendo los límites del funk y la psicodelia.
Uno de los mejores discos de la historia del rock.

Jimi Hendrix
Noel Redding, bajo
Mitch Mitchell, batería
Olympic Studios, UK/London & Record Plant Studios, NY
Jimi Hendrix, productor.




1. "...And the Gods Made Love"
2. "Have You Ever Been (To Electric Ladyland)"
3. "Crosstown Traffic"
4. "Voodoo Chile"

Side two
5. "Little Miss Strange" Noel Redding
6. "Long Hot Summer Night"
7. "Come On (Let the Good Times Roll)" Earl King
8. "Gypsy Eyes"
9. "Burning of the Midnight Lamp"

Side three

10. "Rainy Day, Dream Away"
11. "1983... (A Merman I Should Turn to Be)"
12. "Moon, Turn the Tides...Gently Gently Away" (instrumental)

Side four

13. "Still Raining, Still Dreaming"
14. "House Burning Down"
15. "All Along the Watchtower" Bob Dylan
16. "Voodoo Child (Slight Return)"


LAS CLAVES

'I want to do with my guitar what Little Richard does with his voice'.
Hendrix, 1966

1. Confianza y conocimiento del instrumento: Durante largos años, fue un desconocido guitarrista de estudio y de directo. Aprendió de grandes estrellas del universo musical de los cincuenta y sesenta.

2. En directo, no sólo tocar es el espectáculo: provoca a la audiencia, quema el instrumento, lo toca puesto en la espalda o engaña al público representando que toca con los dientes.

3. No se limita en las escalas clásicas: toma la novena aumentada, la novena mayor y las sextas de los artistas de jazz y las mezcla con la escala de blues pentatónica.

4. Nunca utiliza el dedo índice para poner la cejilla: prefiere utilizar el dedo pulgar por encima de la cuerda, lo que permite hacer los bajos con éste y jugar con cuerdas al aire.

5. Nunca rasgea un acorde: siempre toca las notas, evitando la tercera del acorde para dar ambigüedad al modo.

6. Mezcla ritmo y melodía al mismo tiempo: adorna los acordes con ligados ascendentes (hammer on) y descendentes (pull-off). Impresionante conjunción de la voz con la ejecución guitarrística. Gran control de la respiración.

7. La nota tiene que vibrar: la barra de vibrato de la Stratocaster y los ajustes de volúmen y pastillas le quedaban en la parte superior de la guitarra (al ser zurdo y utilizar una guitarra de diestro dada la vuelta y con las cuerdas cambiadas) y jugaba con ellos sin descanso.

8. Expresividad salvaje: a través del estiramiento de la cuerda hacia arriba, generalmente con el tercer dedo de la mano (bends). Podía hacerlos sobre una cuerda o sobre varias al mismo tiempo.
Otros recursos que utilizaba son los armónicos naturales o los trinos (ligados con cuerdas al aire).

9. Juego e investigación de los efectos de las últimas innovaciones tecnológicas de la época: pedales de distorsión (Fuzz Face), de wah-wah (Cry Baby) o modulación (Octavia).

10. Maestro de la fusión y el uso de influencias opuestas: podía hacer una entrada como John Lee Hocker, a continuación añadir un acorde de Folk y después entrar con una escala de Jazz.


11. Nunca se repetía en directo: un auténtico improvisador, libre sobre una ola de feedback. Nunca tenía que recordar las notas porque siempre las cambiaba sobre la marcha.

12. Diversión: Jimi buscaba pasárselo bien por encima de todo. Como todo en él, un exceso.


CROSSTOWN TRAFFIC
Jimi Hendrix

You jump in front of my car when you,
You know all the time that
Ninety miles an hour, girl, is the speed I drive
You tell me it's alright, you don't mind a little pain
You say you just want me to take you for a ride

You're just like crosstown traffic
So hard to get through to you
Crosstown traffic
I don't need to run over you
Crosstown traffic
All you do is slow me down
And I'm tryin' to get on the other side of town

I'm not the only soul who's accused of hit and run
Tire tracks all across your back
I can see you had your fun
But darlin' can't you see my signals turn from green to red
And with you I can see a traffic jam straight up ahead

You're just like crosstown traffic
So hard to get through to you
Crosstown traffic
I don't need to run over you
Crosstown traffic
All you do is slow me down
And I got better things on the other side of town

CHUCK BERRY: Toronto 1969

Super paso de pato.
On remarque l'élasticité de la jeunesse. Une forme de souplesse digne du roseau penchant-pensant loin de la résistance psycho-rigide et teigneuse du vieux chêne. Cependant que la jeunesse blonde s'amuse, de vieux noirs transpirent !
N'est-ce pas le bonheur ?

T-BONE WALKER, Imperial Recordings 1950-54

Aaron Thibeault Walker 'T-BONE WALKER'
Linden, Texas, 1910
Los Angeles, California, 1975

Pionero de la guitarra eléctrica. El primer solista eléctrico de blues.
Una figura fundamental en la evolución del blues hacia el rock and roll. Chuck Berry o BB King quedaron enganchados a las escalas y acordes de jazz blues del texano.
Fundador del blues de Texas en los años 30.
El origen del paso del pato.



Complete Capitol Black and White Recordings
3 Cds.
Años 40.




The Complete 1950-1954 Imperial Recordings
52 temas.




Gibson ES-250
The ES-250 first appeared in the 1940 Gibson AA catalog with the slogan: "Gibson has created the best electric guitar possible to make." This top-of-the-line instrument was an upgraded version of the popular ES-150. It had significant refinements which distinguished it from the earlier mid-range model. These included a larger body, a more deluxe fingerboard, headstock, tuners and tailpiece, and a bar pickup with individual mini-blades acting as separate polepieces for each string--for "maximum tonal reproduction."





Gibson ES-5 Switchmaster
Desde 1949


The ES-5 combines the acclaimed features of the L-5 with the finest method of electronic guitar amplification. Three separately controlled, adjustable magnetic pickups reproduce the full, rich tones and harmonics to make the ES-5 truly ‘the instrument of a thousand voices.'" — Gibson catalog, circa 1951

The Gibson ES-5 Switchmaster was truly a guitar ahead of its time. First introduced in 1949, the ES-5 Switchmaster was the first ES guitar to be fitted with three pickups, and was initially intended solely for jazz players. It was dubbed the “supreme electronic version” of Gibson’s L-5 and offered a unique four-knob control circuitry that allowed players to manage pickup selection by adjusting the volume of each pickup, thus eliminating the pickup selector switch. Yet despite its pioneering circuitry and three-pickup layout, the ES-5 Switchmaster was not immediately embraced by jazz players while competing guitar manufacturers rushed to introduce their own similar models, including the Epiphone Zephyr Emperor of the early 1950s and the Fender Stratocaster in 1954.





Gibson Barney Kessell model





Fender Tweed 4x100 Bassman
The ’50s Fender Bassman was the pro bassist’s answer to amplifying a great new invention: the Fender Precision Bass® guitar. This powerful 50-watt rig could easily compete with the common instrumentation of the day: horns, piano, four-piece drum kit with calfskin heads, and maybe even an electric guitar through a nice, new 10-watt amp! By the ’60s and ’70s, the original all-tube “Tweed” 4x10 Bassman was popular with rock, country and blues guitarists as a reliably great-sounding and easy-to-use guitar amp. Even some emerging British amp designers of the day copied its circuitry for use in their most celebrated designs.

In the 1990s, Fender released an affordable reissue of the now-collectible ’59 Bassman amplifier to massive acclaim. Many guitarists, tired of experimenting with preamps, equalizers, and effects racks, rediscovered the simple pleasure of plugging into a Fender tube amp. The Bassman’s wide stage coverage, touch-sensitive dynamics and full-frequency “swirl” make it the perfect vehicle for building a great tone with almost any guitar or effect. The reissue Bassman continues to be a staple of the Fender guitar amp line to this day.




Gibson EH-150




Gibson EH-150
Galería de amplificadores anteriores a la Guerra Mundial.



Frases:

'When I heard T-Bone Walker play the electric guitar I had to have one. He had a touch that nobody has been able to duplicate."--B.B. King

"All the things people see me do on the stage I got from T-Bone Walker." --Chuck Berry

"When T-Bone Walker came, I was into that. That was the sound I was looking for." --Albert King

"No one else can touch T-Bone in the blues on guitar."--Jimmy Witherspoon

"He was the first man that made the electric guitar popular."--John Lee Hooker

LONNIE MACK, The Wham of That Memphis Man! 1964

ROCK AND BLUES
Lonnie Mack
Harrison, Indiana




The Wham of That Memphis Man!
1964

El primer disco del guitarrista blanco de Indiana (EEUU). Magnífico vibrato y endiablada velocidad en los fraseos.
Versiones instrumentales de R&B (‘Memphis’, ‘Suzie Q’, ‘The Bounce’) y temas de soul (‘Father Down The Road’) y blues acelerado (‘Wham!) aderezadas con sección de viento y órgano Hammond.
Desde entonces, eterna carrera de bluesman volador con su Flying V.

Seguidores: Roy Buchanan, Jimi Hendrix, Steve Ray Vaughan, Johnny Winter, Duane Eddy.





La única Gibson Flying V con Bigsby. 1993-1994
Diseño especial sobre una Flying V de 1959.
$2600-$3500 ( lonnie mack flying v )

JOHN LEE HOOKER, Plays and Sings the Blues 1961

BOOGIE BLUES, DETROIT BLUES
John Lee Hooker
Clarksdale, Mississippi, 1917
Los Altos, California, 2001



Plays and Sings the Blues
Caviar de 1951 y 1952.
Chess, 1961



Cantante, compositor y guitarrista de Mississippi (EEUU). Blues hipnótico sobre un mismo acorde que se mueve al ritmo de Boogie primitivo. Una voz poderosa, cruda e irrepetible. No mezclar con sustancias alucinógenas.
El trabajo incluye 'Mad Man Blues' y 'Baby Please Don´t Go'. Material propio, único e irrepetible.

Similares: Ray Charles, Lightnin´Hopkins, JB Lonoir, Cannet Heat, The Animals, Nick Cave, Jon Spencer, Seasick Steve.

Música:
THE DETROIT YEARS (recordings 1948-1955)
THE CHICAGO YEARS (recordings 1955-1964)
THE FOLK YEARS (recordings 1959-1963)
THE ABC YEARS (recordings 1965-1974)
THE ROSEBUD YEARS (recordings 1975-2001)




EPHIPHONE 64' John Lee Hooker Sheraton
$3,194.

The Epiphone Sheraton: An Upscale Version of a Gibson Classic

In 1957, Gibson purchased the Epiphone Company, which up until that time had been one of its fiercest rivals – particularly in the area of hollowbody archtop guitars. Prompted by a stern memo from Ted McCarty to hurry up and introduce some new Epiphone models at the upcoming NAMM show in 1958, Gibson introduced a completely new line of Epiphones, highlighted by the now-legendary Sheraton.

While some of the new Epis had familiar names, such as the Emperor and Deluxe, the Sheraton represented a first for Epi – not just in name but in its semi-hollowbody construction as well. Although Gibson’s ES-335 garnered more publicity from its 1958 debut, the Sheraton offered the same revolutionary body style but with a more stylish look, highlighted by its Emperor-style V-block fingerboard inlays and vine inlay on the peghead.

The Sheraton was an immediate hit, the unique voice of its mini-humbuckers soon made it the instrument of choice for many professional artists of the time, including blues legend John Lee Hooker. Today Epiphone continues the Sheraton legacy by offering three versions of this classic guitar icon.

LINK WRAY, and the Wraymen 1960

Frederick Lincoln Wray
1929-2005




Link Wray and The Wraymen
1960

Surf y Rock and Roll desde Carolina del Norte (EEUU).
Wray jugaba con el feedback (acople de la guitarra en el amplificador) y las distorsiones (Fuzz, Reverb). Contiene los éxitos ‘Ramble’ y ‘Caroline’, entre otros temas instrumentales.


Seguidores: Duane Eddy, Dick Dale, The Ventures, Syd Barrett, Jeff Beck, The Who, Brian Setzer.




Danelectro de fantasía



Danelectro Silvertone

MUDDY WATERS, At Newport 1960

CHICAGO BLUES
Muddy Waters
Rolling Fork, MS, 1915
Chicago, IL, 1983



At Newport
1960

Muddy Waters cambió la historia del Rock and Roll desde la orilla del blues del Mississippi. Junto con Otis Span, versionó temas clásicos de Willie Dixon o Big Bill Bronzy ofreciéndolos más eléctricos e intensos desde Chicago.



1950



DeArmond Jet Star
Basada en la 60's Guild Thunderbird




Gibson Gold Top.
La utilizó a principios de los 50.
P-90 pickups.







Sonriente con su Telecaster.
La usó desde finales de los 50 hasta su muerte en 1983.



Fender Telecaster Muddy Waters
La usó en los 50.




Amplificador:
Fender Super Reverb combo.
40-watt tube amp


Similares: Junior Wells, BBKing, Magic Sam, Howlin´Wolf, Elmore James, Son House, Johnny Winter, Robert Johnson.

BO DIDDLEY, Bo Diddley 1957

ROCK AND ROLL
Bo Diddley
McComb, Mississippi, 1928
Archer, Florida, 2008

El rocker del Mississipi y su famoso ritmo –bomp, ba-bomp-bomp, bomp-bomp- no pasó desapercibido para los hombres de Chess Records. El padre prehistórico del rap inventó sus propias guitarras (¡una Gretsch roja rectangular!). Fuzz, distorsión y rock and roll.




Bo Diddley
1987



Go Bo Diddley
1959






Guitarra: GRETSCH G6198 Bo Diddley

For five decades, Bo Diddley has been turning heads with his great chops, incredible showmanship and outrageous guitars. Now it's your turn! The G6138 is a faithful reproduction of the famous rectangle-shaped guitar Gretsch built for Bo back in 1958.

Measuring 17-3/4" x 9-1/4" x 2" and made of alder and 5-ply maple, the eye catching Firebird red semi-hollow body features two FilterTron pickups, a Tune-O-Matic bridge, Gretsch "G" tailpiece, and plenty of gold hardware. The 3-piece rock maple neck has an ebonized rosewood fingerboard with "dot" pearl inlays, a 1957 style headstock, and a special Bo Diddley signature on the truss rod cover.




Seguidores: The Rolling Stones, Stray Cats, The Pretty Things, Esquerita, The Yardbirds, Dr. Fellgood, Eric Burdon

CHUCK BERRY, Is on Top 1958

ROCK AND ROLL
Chuck Berry
San José, California
¿Un hombre de color que triunfa entre los blancos? Hendrix encontró su objetivo en San José, California, y se llamaba Charles Edward Anderson Berry. ‘Maybellene’, ‘Carol’, Sweet Little Rock and Roller’, ‘Little Queenie’... la jukebox echa humo y Berry haciendo el paso del pato mientras descarga una rápida escala mayor.




Chuck Berry Is On Top
1958
Maybellene, Carol, Sweet Little Rock&Roller...
Perfecto.



St. Louis to Liverpool
1964
The Beatles y The Rolling Stones estaban machacando su reperterio.
Ahora edita un disco con más energía que nunca.
No Particular Place to Go, You Two, Little Marie...
Lección magistral.




The Chess Box 1955-1973
1988
LA CAJA.
Todas las grabaciones con Chess.




Guitarra:
Gibson ES-335





Traje de 1987






CHARLES EDWARD ANDERSON BERRY.
Seguidores: The Blasters, The Dave Clark Five, Led Zeppelin, The Who, The Velvet Underground, Eric Clapton, Johnny Thunders

LITTLE RICHARD, Here´s... 1957

ROCK AND ROLL
Guitarras: Edgar Blanchard, Justin Adams
Little Richard
St. Louis, MO, 1935





Here´s Little Richard
1957

El excéntrico de San Louis tocaba el piano, pero el fuego musical que provocaba en cada actuación iluminaron a Hendrix. Fue la primera gran estrella del rock and roll. Muchas versiones y un ‘Keep a Knockin’ con su firma iluminan este trabajo. Justin Adams toca las seis cuerdas en el mítico ‘Tutti Frutti’ y Blanchard, en la mayor parte del disco.

Seguidores: ,
Esquerita, The Beatles, Funkadelic, Otis Redding, The Standells, Ringo Starr, Status Quo, Lazy Cowgirls, The 13th Floor Elevators

CHARLIE CHRISTIAN, padre del jazz 1939

SWING JAZZ
Charlie Christian
Dallas, Texas, 1916
New York, 1942




1939

Guitarrista eléctrico de Dallas (EEUU). Influyó en todos los guitarristas de jazz desde 1940 a 1965. Fluidez, confianza y ‘swing’ son sus credenciales.

Similares: Chet Atkins, Wes Montgomery, BBKing, T-Bone Walker, Tommy Emmanuel, Scotty Moore, Les Paul.

ROBERT JOHNSON, padre del blues 1938

Robert Johnson
Greenwood, Mississippi




Complete Recordings
1938

Una figura mítica en la historia del blues del Mississippi y de la guitarra. Sus misteriosas afinaciones todavía están por descifrar. Un catálogo de composiciones muy corto pero con una influencia masiva en el rock y el blues de todos los tiempos.


Similares: Mississippi John Hurt, Louisiana Red, Willie Dixon, Nick Drake, BBKing, Angus Young, Jimmy Page.



Robert Johnson L-1
Gibson
2.793 dólares.





Gibson Acoustic’s Robert Johnson L-1 guitar captures the haunting, timeless sound of the man whose legacy and contributions to the blues are unmatched. Though he died tragically in 1938 at the age of 27, Johnson’s historic blues recordings have inspired countless generations of blues artists and guitarists. The Robert Johnson L-1 guitar is tribute to his instrument of choice. It features Gibson’s traditional L-1 body design, exactly as it was on the first L-1 in 1926.



Gibson L-1’s will forever be associated with bluesman Robert Johnson, who was holding a circa 1929 L-1 in his famed Hooks Brothers studio portrait. The 1928 L-1 pictured here is identical to Johnson’s guitar, except that by 1929, Gibson moved the guitar slightly down market by eliminating the binding on the fingerboard and soundhole.



In several ways, this guitar sits at a Gibson guitar-development crossroads. Gibson’s earliest flattops were built with ladder bracing, and the company didn’t fully embrace X-bracing until around 1930. This L-1 has what Gibson connoisseurs call “A-bracing”—just the lower half of the X (see X-ray photo). The result produces the bark of a ladder-braced guitar tempered with some of the warmth of an X-braced guitar. The flattop L-1 was built with the same body molds that Gibson used in its small L-1, L-2, and L-3 archtops of the 1920s. These early Gibson flattops also have dramatically radiused tops and backs, making them resemble their archtop cousins. This L-1 is constructed with an Adirondack spruce top, Honduras mahogany back and sides, and Brazilian rosewood fingerboard and bridge. Like many Gibsons of this era, it bears tiny, mandolin-size frets. With its comfortable 13.5-inch-wide body, this guitar is the perfect blues box. Bending strings is a breeze due to the very short 24.25-inch scale, and the 13/4-inch nut width and 23/8-inch string spacing make it a fingerpicking delight.

This Gibson is the sort of guitar you’ll want to take to the intersection of highways 61 and 49 in the Mississippi Delta when you follow in the footsteps of Johnson. You’ll attain instant blues prowess, but the price, of course, will be your soul

THE BIRDS, Mr. Tamborine Man 1965

FOLK ROCK
Roger McGuinn
The Byrds



Mr. Tamborine Man
1965

El primer trabajo de la banda de Los Angeles (EEUU). Los fraseos de las guitarras eléctricas son inconfundibles (la Rickenbaker de 12 cuerdas de McGuinn) y las armonías espectaculares. Versión de Dylan para comenzar y dar nombre al disco. Luego otras cuatro repartidas en las dos caras. 18 temas para enmarcar. Composiciones de Clark (I’ll fell a Whole Lot Better, Here Without you), de McGuinn con Clark (You Won´t Have to Cry, It´s No use) y versiones de Pete Seeger y DeShannon.

Similares: Jerry García, The Animals, Moby Grape, Neil Young, The Flamin¡ Groovies, The Mamas and the Papas, The Electric Prunes, Wilco.


The Byrds
• Jim McGuinn - lead guitar, vocals
• Gene Clark - rhythm guitar, tambourine, vocals
• David Crosby - rhythm guitar, vocals
• Chris Hillman - electric bass
• Michael Clarke - drums

LYNYRD SKYNYRD, Pronounced Leh-Nerd Skin-Nerd, 1973

ROCK SUREÑO
Gary Rossington, Allen Collins, Ed King
Lynyrd Skynyrd
Pronounced Leh-Nerd Skin-Nerd
1973

Jacksonville, Florida, EEUU. Tres figuras de la guitarra se reparten los punteos en este clásico del rock. La voz y las letras las pone Ronnie Van Zant. Los pilares del rock sureño: blues, country, garaje y poesía de muchos quilates desde el sur de EEUU.

Similares: Allman Brothers, The Marshall Tucker Band, Johnny Winter, Grand Funk Railroad, Eagles, The Black Crowes

NEIL YOUNG, Everybody Knows This Is Nowhere, 1969

FOLK ROCK
Neil Young y Danny Whitten
Neil Young and Crazy Horse



Everybody Knows This Is Nowhere
1969

Segundo trabajo del canadiense y el primero con Crazy Horse. Diez minutos de improvisación en ‘Cowgirl in the Sand’, voces de Young más confiadas, dejando atrás el falseto. Otras joyas: ‘Cinnamon Girl’ y ‘Down by The River’, que establecen los cánones en los juegos de guitarra eléctrica entre la pareja.

Similares: The Long Ryders, Lynyrd Skynyrd, Kings of Leon, Hacienda Brothers.

THE SONICS, Here are The Sonics, 1965

GARAJE ROCK
Larry Parypa
The Sonics



Here Are The Sonics.
1965

Tacoma, Washington. Establecieron los puntos básicos del garaje: Los tres acordes simples del rock and roll tocados a toda velocidad y de forma rudimentaria acompañados por un saxofón en llamas y los punteos salvajes de Larry Parypa. Himnos como ‘Strychnine’, ‘Psycho’ o ‘ The Witch’ les convierten en los abuelos del punk.

Similares: The Wailers, The Kingsmen, The Drastics, The Dynamics, Paul Revere and The Raiders, The Standells, ¿ and The Mysterians, The Trashmen

DICK DALE AND THE DEL-TONES, Surfers' Choice 1962

SURF
Dick Dale and the Del-Tones
¿Hombre o Astrohombre?
Boston, Massachusetts.
Surfer´s Choice. 1962
DICK DALE & THE DEL-TONES.



Surfers´Choice
1962

El ‘Rey de la guitarra Surf’ y el ‘Padre del Heavy Metal’ (Boston, EEUU) impresionó a un jovencísimo Hendrix. Simpre buscó los límites sonoros de la Fender Stratocaster y los amplificadores.

Misirlou es una canción popular griega interpretada por Michalis Patrinos en 1927, y significa algo así como Egipcio. Dick Dale apostó a que podía tocarla a todo meter sobre una sola cuerda , ganó y triunfó.


Similares: Original Surfaris, The Beach Boys, Pyramids, The Surfaris, Link Wray, The Ventures, The Astronauts, The A-Bones, Syd Barrett, Los Coronas.

VAN HALEN, Van Halen 1978

HEAVY METAL
Eddie Van Halen
Van Halen

Noche de nube.
EDDIE
En erupción.
Nijmegen, The Netherlands.
Eduard Lodewij Van Halen
Pasadena, California
...Van Halen LP. 1978




Van Halen
1978

Primer trabajo de la banda californiana liderada por David Lee Roth. Un revolución para los jóvenes guitarristas de los 80. Eddie deja atónitos a propios y extraños por su monumental técnica e impresionante velocidad sobre el mástil. Pura erupción.




Similares: Judas Priest, Kiss, Bon Jovi, Scorpions, Joe Satriani, Ratt, Whitesnake, Cinderella, Mötley Crüe.

THE ROLLING STONES, 12 x 5 1964

Las notas de Londres.



12x5, 1964
INVASION BRITÁNICA
Keith Richard y Brian Jones
The Rolling Stones
12 X 5
1964

Segundo trabajo del quinteto de Londres. Keith Richard sigue las notas de Chuck Berry (Around and Around) y aplica el pedal de distorsión fuzz. La pareja Jagger-Richards comienza a soltar sus primeras composiciones (Empty Heart, Good Times Bad Times) entre un buen puñado de versiones (Susie Q, Time Is On My Side).

Seguidores: Hüsker Dü, Pussy Galore, Lou Reed, T. Rex, Urge Overkill, Mott The Hoople, Steppenwolf, Mudcrutch

Otras joyas:

Now, 1965
Aftermath, 1966
Between The Buttons, 1967
...Beggars Banquet, 1968
Let It Bleed, 1969
Sticky Fingers, 1971
Exile on Main St., 1972
Some Girls, 1978

THE ROLLING STONES

PHILIP SAYCE, Innerevolution 2010

Gales-canadiense afincado en Los Ángeles (California)
Enganchado a Hendrix.
Fender Stratocaster '63

Fuzz Face Díaz Texas Square Face, Mu-Tron, Kr Megabive Bob Sweet, Echoplex EP-3 delay, Chicago Iron Octavian, Vox Cry Baby, Keely Lopper.

Marshall '68 Super Bass Plexi, Mystique Amp Tommy Cougar, Vox AC30




INNEREVOLUTION, 2010
Guitarrista de origen galés afincado en Los Ángeles (EEUU)y contagiado por la química de Stevie Ray Vaughan y Hendrix. En 2010 ha sido el telonero durante la gira de ZZTop.

Similares: Robert Cray, Jeff Healey, Lenny Kravitz, Joe Bonamassa, SRV, Eric Johnson, Popa Chubby.

PHILIP SAYCE.