Van Duerm

music and sustaining a mood of hope and renewal that would define their generation.

Only some 80,000 people remained from an overwhelming 400,000 that Monday,

August 18, 1969 at Max Yasgur' s dairy farm in Bethel, New York (Piccoli 112).

They awaited Jimi Hendrix and his band as they prepared to close the Woodstock

Music and Arts Festival. The event was becoming a special memory that no future

event would ever quite be able to match in its mixture of music, magic, misery,

spontaneity, and history. Those who had left before the finale would live to realize

their regret. The last act walked onto the stage under a streaky morning sky with his

white Fender Stratocaster slung over one shoulder and his wild black hair bound in a

red headband (Piccoli 11-12). The group eventually began and tore into the classic hit

"Fire" followed by an ensemble of prime works of "Isabella", "Hear My Train A

-Comin’,” and the proclaimed new American anthem of "Voodoo Chile” (Wadleigh

60). Plagued by a bad sound system, due to rain and electrical storms, a s

. . .
He is still running and he is still free. Through it all the music is just as fresh now as it was then with

its grasp of emphatic technique and bluesy lyricism that people just keep coming back

to. Due to this hindrance, it is nothing short of remarkable

that his meteoric rise in the music took place in just four short years (Pesant 1). He

intently reformed the music of his forefathers and elders of Rob Johnson, Muddy

Waters, Charlie Christian, and Chuck Berry, into electrifying future soul and balladry. They too began to view rock with the grasping eye

for detail. " Hendrix's impressive rhythm guitar and lead flourishes showed

Van Duerm 11

evidence of an already unique style. Chandler was stunned by his fierce sound, look, and stage presence. On

September 23, 1966 Hendrix flew to England to persue fame. “Jimi Hendrix’s music keeps me going, I’ve recorded some great people in my life,

but when I first heard Jimi, my past was over,” commented producer Alan Douglas on

his influence of Hendrix’s music (Ressner 94). This

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was the only album released in his lifetime in which he had total artistic and conceptual

control over, it was a sprawling but compelling self portrait of the young artist as a

seeker (Frick 45). "The first two albums are tremendous landmarks, but Electric

Ladyland is more of a complete statement,” commented engineer Eddie Kramer on the

album who was Hendrix's studio partner from Axis on (Frick 45). But, as

Hendrix embarked on a European tour in the early months of 1970 to raise money for

the construction of his dream studio, he would never return.

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Approximate Word count = 2582
Approximate Pages = 10 (250 words per page double spaced)

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