Busco ESTE DISCO ¡¡MARTHA VELEZ!!

Perimaggot escribió:¿nadie le conoce?

bueno, así la sorpresa será aun mayor. ya os contaré cuándo llegue el pedido

no estoy seguro ahora
pero yo creo que este tipo ha colaborado en algún disco de los primeros fleetwood mac... si me acuerdo, cuando llegue a casa, lo confirmo u os confieso que lo he flipado

Jano escribió:

Perimaggot escribió:¿nadie le conoce?

bueno, así la sorpresa será aun mayor. ya os contaré cuándo llegue el pedido

no estoy seguro ahora
pero yo creo que este tipo ha colaborado en algún disco de los primeros fleetwood mac... si me acuerdo, cuando llegue a casa, lo confirmo u os confieso que lo he flipado

por ahí deben ir los tiros, porque lo relacionaba con los discos en solitario de Cristine Perfect (posteriormente apellidada McVie jejeje) y de Chicken Shack (aprovecho para recomendarles encarecidamente, sobre todo su discazo IMAGINATION LADY, que es una jodida maravilla del Blues Rock en formato power trio, con el gran Stan Webb a la guitarra y el increible John Glascock, después en Jethro Tull, al bajo)

Lo de Martha Velez es un discazo!
Incluso con los saltos y el maravilloso sonido vinilo.

Ricky! sube más de este estilo ripeados live from vinilo!

Le Bichô escribió:Lo de Martha Velez es un discazo!
Incluso con los saltos y el maravilloso sonido vinilo.

Ricky! sube más de este estilo ripeados live from vinilo!

es que es brutalisimo

Ricky´s Appetite escribió:

Le Bichô escribió:Lo de Martha Velez es un discazo!
Incluso con los saltos y el maravilloso sonido vinilo.

Ricky! sube más de este estilo ripeados live from vinilo!

es que es brutalisimo

estás ganándote la posibilidad que yo, como redactor de el país de las tentaciones bajo seudónimo (alias X.S.) vaya a verte pinchar al monasterio y te haga una crítica...)

Le Bichô escribió:

Ricky´s Appetite escribió:

Le Bichô escribió:Lo de Martha Velez es un discazo!
Incluso con los saltos y el maravilloso sonido vinilo.

Ricky! sube más de este estilo ripeados live from vinilo!

es que es brutalisimo

estás ganándote la posibilidad que yo, como redactor de el país de las tentaciones bajo seudónimo (alias X.S.) vaya a verte pinchar al monasterio y te haga una crítica...)

pero avisa , que me pongo guapo y limpio los cds 8)

Ricky´s Appetite escribió:

Le Bichô escribió:

Ricky´s Appetite escribió:

Le Bichô escribió:Lo de Martha Velez es un discazo!
Incluso con los saltos y el maravilloso sonido vinilo.

Ricky! sube más de este estilo ripeados live from vinilo!

es que es brutalisimo

estás ganándote la posibilidad que yo, como redactor de el país de las tentaciones bajo seudónimo (alias X.S.) vaya a verte pinchar al monasterio y te haga una crítica...)

pero avisa , que me pongo guapo y limpio los cds 8)

cd? pero si eso no es cool! solo vinilo!

Le Bichô escribió:

Ricky´s Appetite escribió:

Le Bichô escribió:

Ricky´s Appetite escribió:

Le Bichô escribió:Lo de Martha Velez es un discazo!
Incluso con los saltos y el maravilloso sonido vinilo.

Ricky! sube más de este estilo ripeados live from vinilo!

es que es brutalisimo

estás ganándote la posibilidad que yo, como redactor de el país de las tentaciones bajo seudónimo (alias X.S.) vaya a verte pinchar al monasterio y te haga una crítica...)

pero avisa , que me pongo guapo y limpio los cds 8)

cd? pero si eso no es cool! solo vinillo!

vale, el Monas hay vinillo bueno , ya te invito yo

Ricky´s Appetite escribió:

Le Bichô escribió:

Ricky´s Appetite escribió:

Le Bichô escribió:

Ricky´s Appetite escribió:

Le Bichô escribió:Lo de Martha Velez es un discazo!
Incluso con los saltos y el maravilloso sonido vinilo.

Ricky! sube más de este estilo ripeados live from vinilo!

es que es brutalisimo

estás ganándote la posibilidad que yo, como redactor de el país de las tentaciones bajo seudónimo (alias X.S.) vaya a verte pinchar al monasterio y te haga una crítica...)

pero avisa , que me pongo guapo y limpio los cds 8)

cd? pero si eso no es cool! solo vinillo!

vale, el Monas hay vinillo bueno , ya te invito yo

venga. yo pongo las aceitunas...

Le Bichô escribió:

Ricky´s Appetite escribió:

Le Bichô escribió:

Ricky´s Appetite escribió:

Le Bichô escribió:

Ricky´s Appetite escribió:

Le Bichô escribió:Lo de Martha Velez es un discazo!
Incluso con los saltos y el maravilloso sonido vinilo.

Ricky! sube más de este estilo ripeados live from vinilo!

es que es brutalisimo

estás ganándote la posibilidad que yo, como redactor de el país de las tentaciones bajo seudónimo (alias X.S.) vaya a verte pinchar al monasterio y te haga una crítica...)

pero avisa , que me pongo guapo y limpio los cds 8)

cd? pero si eso no es cool! solo vinillo!

vale, el Monas hay vinillo bueno , ya te invito yo

venga. yo pongo las aceitunas...

hecho , trae un par de furcias tambien para celebrarlo

Ricky´s Appetite escribió:

Le Bichô escribió:

Ricky´s Appetite escribió:

Le Bichô escribió:

Ricky´s Appetite escribió:

Le Bichô escribió:

Ricky´s Appetite escribió:

Le Bichô escribió:Lo de Martha Velez es un discazo!
Incluso con los saltos y el maravilloso sonido vinilo.

Ricky! sube más de este estilo ripeados live from vinilo!

es que es brutalisimo

estás ganándote la posibilidad que yo, como redactor de el país de las tentaciones bajo seudónimo (alias X.S.) vaya a verte pinchar al monasterio y te haga una crítica...)

pero avisa , que me pongo guapo y limpio los cds 8)

cd? pero si eso no es cool! solo vinillo!

vale, el Monas hay vinillo bueno , ya te invito yo

venga. yo pongo las aceitunas...

hecho , trae un par de furcias tambien para celebrarlo

hombre! esperaba que eso lo pusieras tu, epi...

Le Bichô escribió:

Ricky´s Appetite escribió:

Le Bichô escribió:

Ricky´s Appetite escribió:

Le Bichô escribió:

Ricky´s Appetite escribió:

Le Bichô escribió:

Ricky´s Appetite escribió:

Le Bichô escribió:Lo de Martha Velez es un discazo!
Incluso con los saltos y el maravilloso sonido vinilo.

Ricky! sube más de este estilo ripeados live from vinilo!

es que es brutalisimo

estás ganándote la posibilidad que yo, como redactor de el país de las tentaciones bajo seudónimo (alias X.S.) vaya a verte pinchar al monasterio y te haga una crítica...)

pero avisa , que me pongo guapo y limpio los cds 8)

cd? pero si eso no es cool! solo vinillo!

vale, el Monas hay vinillo bueno , ya te invito yo

venga. yo pongo las aceitunas...

hecho , trae un par de furcias tambien para celebrarlo

hombre! esperaba que eso lo pusieras tu, epi...

bueno , ya las encontraremos de camino al infierno

Ricky´s Appetite escribió:

Le Bichô escribió:

Ricky´s Appetite escribió:

Le Bichô escribió:

Ricky´s Appetite escribió:

Le Bichô escribió:

Ricky´s Appetite escribió:

Le Bichô escribió:

Ricky´s Appetite escribió:

Le Bichô escribió:Lo de Martha Velez es un discazo!
Incluso con los saltos y el maravilloso sonido vinilo.

Ricky! sube más de este estilo ripeados live from vinilo!

es que es brutalisimo

estás ganándote la posibilidad que yo, como redactor de el país de las tentaciones bajo seudónimo (alias X.S.) vaya a verte pinchar al monasterio y te haga una crítica...)

pero avisa , que me pongo guapo y limpio los cds 8)

cd? pero si eso no es cool! solo vinillo!

vale, el Monas hay vinillo bueno , ya te invito yo

venga. yo pongo las aceitunas...

hecho , trae un par de furcias tambien para celebrarlo

hombre! esperaba que eso lo pusieras tu, epi...

bueno , ya las encontraremos de camino al infierno

joder, no se yo si tendré condones que aguanten tanta temperatura. tu crees que les importará a pelo? si no quieren yo con que me la chupen ya hago...















http://www.nenasdefotolog.com.ar/blog/

Ayer me llegó el pedido.

Joder, el disco de Martha Veléz es LA RECONTRAHOSTIA CON TOMATE!!!!! creo que podría decir, sin temor a equivocarme, en qué temas toca clapton, en cuales toca stan webb y cuáles son las guitarras de Kossoff... Ella, por su parte, es una puta diosa de la canción, que vozarrón, qué barbaridad

en cuánto al otro, al de GORDON SMITH... es cojonudísimo!!!!! casi todo es acústico, blues primario al máximo, recuerda muchísimo a Rory Gallagher cuándo se pone en ese plan (de hecho, al parecer, sus discos ejercieron gran influencia en Rory en aquellos años). Cuenta con la colaboración de Peter Green, John McVie y Mick Fleetwood en varios temas. Una compra cojonuda, oigan

QUE TAL! YO TENGO ESE DISCO EN VINYL REALMENTE ES UNA JOYA! TE LO PUEDO CORRER (GRABAR)CUANDO GUSTES TU DIME?

¡¡aquí está!!

Te ha costado, pero ...

Don "erre" que "erre"

mugu escribió:

Te ha costado, pero ...

Don "erre" que "erre"

he tenido que pedir ayuda a Kim, como de costumbre

http://cernnunos-jtull.blogspot.com/2011/01/martha-velez-friends-angels-1969.html

Este funciona:

http://rapidshare.com/files/423910975/Martha_Velez_1969_Fiends___Angels.rar

Y aquí ripeado de vinilo:

https://rs774tl2.rapidshare.com/#!download|774tl5|209936709|MARTHA_VELEZ.rar|90883|R~572110AD98B7190214333A9A81DC39C2|0|0

Señores. Me deben una muy gorda.
Sin duda, la busqueda más difícil que he hecho hasta ahora:

http://blaxploitationjive.blogspot.com/2011/10/legendary-martha-velez.html

albichuela escribió:Señores. Me deben una muy gorda.
Sin duda, la busqueda más difícil que he hecho hasta ahora:

http://blaxploitationjive.blogspot.com/2011/10/legendary-martha-velez.html

jopetas, sí que es un gran hallazgo!

toma, pues ahí te va la que te debemos, con permiso de Godo...

KIM_BACALAO escribió:

albichuela escribió:Señores. Me deben una muy gorda.
Sin duda, la busqueda más difícil que he hecho hasta ahora:

http://blaxploitationjive.blogspot.com/2011/10/legendary-martha-velez.html

jopetas, sí que es un gran hallazgo!

toma, pues ahí te va la que te debemos, con permiso de Godo...

Me la esperaba mayor xD

LA HISTORIA, EN SUS PROPIAS PALABRAS

Martha Velez - Fiends and Angels/Eric Clapton
22 de agosto de 2009 a la(s) 1:19

Like a Hollywood Dream
I had met a guy on the subway whom I’d known from the Village.. barely knew him. He asked me if I would cut the demos for a group of songs he had written. He was looking for a songwriting deal – I don’t remember his name- would love to thank him. At the time, I was playing the lead in the Broadway show, Hair. I said, “Sure. I could do his songs, but it would have to be in the afternoon.” I had Studio experience from being with a folk group a few years earlier called the Gaslight Singers. We recorded for Mercury Records, so my recording chops were still there. However, these songs were wild and psychedelic, they really brought out another voice that I had not yet tapped into. I let loose at the demo session and had a great experimental time… as luck would have it, Richard Gottehrer and Seymour Stein were there. They were just launching Sire Records and they signed me pretty much on the spot. It was crazy. I had the lead in Hair and they wanted me to record. When I mentioned that I loved the Cream and groups that were doing the blues, earthy but filled with the energy and innovation of the time, they immediately contacted Mike Vernon, a noted Producer of British Blues like Fleetwood Mac and Ten Years after. I guess he heard the songwriter’s demo, lined up the British greats and the next thing I knew, I was taking a leave of absence from Hair and flying off to London to meet with some of the most extraordinary players of the day in that genre.

When I was singing folk music with the Gaslight Singers right out of college, I always gravitated to bluesy style tunes. I actually started off singing opera with some opera scholarships I got in Junior High School and during my years at the High School of Performing Arts. However rooted music was always what moved me, i.e folk, blues, Howlin’ Wolf, Muddy Waters, Pete Seeger, the Weavers, the fabulous Odetta and eventually Taj Mahal (my son’s namesake) and, of course, later in the Reggae genre, Bob Marley, whom I had the privilege of working with as the only American artist for whom he ever produced an album. Blues with players like Clapton, Bruce, Mitchell etc. was a natural place of synchronicity and I was grateful to work with that caliber of musician that Mike Vernon brought to the mix. Once Mike Vernon showed interest in my voice we ran with it.
I met Mike Vernon for the first time when I got to London. Thankfully, he turned out to be a very calm, but diligent producer who really regarded the artist. He was very encouraging to me. He looked like a rock star too, with a great A&R business brain and an acute vigilance for the blues, ergo his Blue Horizon Record Label. Before we went into the studio, Mike Vernon and I went through a ton of his blues records collection to see what songs might work for me…what I could get into emotionally, psychically and musically. From that batch we honed it down to a few. I had brought with me from the States, Drive Me Daddy, Fool For You, Tell Mama, Let The Good Times Roll, It Takes A Lot To Laugh, It Takes a Train to Cry (Dylan was eventually my neighbor when I lived in Woodstock). The songs I ended up choosing in London were Feel So Bad, I’m Going to Leave You and In My Girlish Days while we were working the album. Before the sessions began, I locked myself in a hotel room for about a week just rehearsing, singing with the original records of a bunch of songs. I sang them a million times before I decided which songs to present to Mike and which songs would jive with the musician lineup we had. I wrote the lyrics to Swamp Man from a groove that Paul Kossoff wound up at the recording session …and then, Sweet Man which came as an extemporaneous blues…pretty much written on the spot.
For the most part, I wanted to find a way to make the old songs my own – tried to give them my take. I was singing these songs so intensely and ferociously, day and night, that many times the Hotel manager knocked on my door, saying he liked the music, but people were trying to get some sleep. I just sang softer until I just konked out!

All of the musicians on “Fiends and Angels” were Mike Vernon’s buddies or at least players he had worked with to help create their originating mark on the music world. Every time another amazing musician walked into the studio, I was wide-eyed and gleeful. Everything about the sessions was magical…gathering with these players, the producer, the engineer, all of it was so transcendent, I was happy for the experience. The first time I heard I’m Gonna Leave You on the radio, I was in San Francisco. I was concentrating on something else, when Clapton’s intro guitar lick came on and I heard myself and suddenly it all congealed like a surreal recollection. But then, there it was, I was on the radio…it was a great kick.
What happened at the recording sessions was extraordinary. Musicians who command admiration by virtue of their musical abilities seem larger than life. I was not so much intimidated, but very grateful to these young men for responding to the call. I was a bit awkward with them at first, but London musicians really have a yen for the American sound, and that’s where we coalesced. They listened to some playbacks, thought it sounded really immediate and cool, and spread the word. Jimmy Page came by, wanting to play…actually, I ran into him on the street as he was coming to the studio. I was standing outside of Decca Studios, with Clapton, Bruce and Mitchell, Jimmy Page walked up and said he would love to play. As luck would have it, we had just finished for the day and he was heading out on tour or some other place….or, he too would have added his vibe.

The album title, “Fiends and Angels” came to me because everyone was such a fiend, ferocious, dangerous, mad about playing, that is when they played, and sweet, pristine, shy and innocent angelic when they were not playing. As far as I remember there were no tracks recorded that were left off the album.

Although this was early in the career of Clapton, Bruce, Jim Capaldi and Mitch Mitchell, the image in my head had created these rather larger than life individuals. When we met that day in Decca Studios that image was ameliorated by reality. They came in. We met – both Eric Clapton and Jack Bruce were soft spoken and polite. Clapton was almost shy. I’m a rather tall girl, and in those days, I was into wearing these suede patchwork boots, so I felt like a towering lanky tree branch gazing down at these pristine pale-faced boys. They were trim with tight hipped bell bottoms and snug silk tee shirts. Their hair was long enough for the era’s cool mode, their demeanor did not betray any secrets they held about impending destructive habits at the hand of narcotics. They were simply beautiful young men at the precipice of greatness in the music of the day. Clapton cast his eyes down when he spoke with this urgency to be shielded by his instrument and staved off his shyness by speaking through the language of his guitar. Bruce was more talkative and talked about his recently born son….and, if I remember this correctly said he had named him Joe, “a good cab driver’s name” he said. We told each other quick quipping stories of our respective music deals. We laughed a lot at the language of the “suits”, but were grateful for them and their ways of seeing us as more than talented but business partners in this magic of music. Clapton had this thing about looking around the room checking out the people there, slightly leaning forward like a telescope, searching out any discrepancies. That day, there was a very young girl that Clapton had brought with him to the session. She was quite beautiful, but the most astounding part of her presence were the sparkles that she had somehow put on her cheeks…Later, I found out that she was some British Lord’s daughter who was barely 15 years old. She never uttered a word…I know now why she was so discreet. Eric played for her and gazed from the fire in his guitar to her serene very still sparkled baby face. As they set down to play, Clapton, who was rather shy and careful, seemed to caress his guitar, passed a soft cloth over it, and appeared to caress it as a shield of personal discretion. The musicians and I got down to the business of making music together. Most of the tunes were “head arrangements”, ideas that came on the spot. I had practiced the tunes on my own, so when the players arrived, I had an idea as to what my thoughts were on the songs, how they could be sung, but only imaginings as to how they could work with these players. They, of course, had their musicianship flowing and after a few rehearsal run throughs, we hit the songs running.

Decca Studios in London, where we recorded, was a vintage studio owned by London Records. What made it so appealing and memorable, was that the whole studio was set in tiers for orchestral recordings. Above these tiers was the control booth where Mike Vernon and the engineer, Derek Taylor, lorded over the music. I was on the tier just below them, but above the player’s tier, with the old Sennheiser microphone on a stand and no headphones. No one used headphones, this way it all felt live, urgent and in the moment. They played, I just wailed away …and, hoped for the best. A batch of the songs were recorded live on the spot…vocals and instrumentals. I realize now how the sounds were bleeding into each other…I think the drums had baffles around them, but the players and I were not separated by baffles or in separate control booths, we just played. Certainly, the Eric Clapton, Jack Bruce, Mitch Mitchell cuts, were recorded on the spot, so were the Chicken Shack cuts. Some tracks were overdubbed - the harp, the organ .etc. But, the challenge was to make music on the spot, back to that “rooted” notion. Finding the reality of the song, finding the raw spirit and adding whatever each artist in the room came to deliver to that moment of time. A time that has become a pivotal experience of my history. It was amazing that it worked and has lasted these many decades. Maybe it is because the spontaneity, the reality of it all was captured almost like a time capsule…something that probably could never be repeated…at least not with the chemistry of that instant in time… we used this approach when I later recorded with Bob Marley and Wailers, with Lee Perry in the control room at Harry J. in Jamaica. Musicians who are used to that live energy, used to hearing each other in the instant, seem to work best in the urgency of performing. We approached that album, Escape From Babylon much like Fiends and Angels. I have been really lucky to play with such incredible people.

.. ..Stan Webb had a crazy energetic violent style. He scratched and clawed on his guitar like it was the last day ever that he’d get to play. He was a great scrappy character, very funny, very ready to fly on his guitar. Christine McVie, she was Christine Perfect then, was a very disciplined keyboard player. Quiet, pretty and sweet. But, when it came to playing she transformed into a road house babe on the keyboards. Paul Kossoff was a different breed. He was impatient, brooding, smart, wanted to make more of an impression. He was extremely creative and gave a lot of original input to the sessions in Sweet Man and Swamp Man. Don’t remember who “Bellinger” is. He’s credited with co-writing Swamp Man…Yikes! Brain cells have lapsed on that image over time.....

I recorded “Very Good Fandango” For my parents, they really wanted me to stick to Opera, not Blues & Rock…so, it was an homage. ....

I sat in with Clapton, Bruce and Mitchell at a club called, I think, the Speakeasy. It was dark and smoke filled, they were on the bandstand when they saw me at the foot of the stage they called me up to sing an impromptu blues in E…I got up, made up lyrics and had a blast…but, I had to leave early because I had a morning session the next day with Chicken Shack. It would have been a night to remember, but I could have blown the session the next day…and no one counting on me would have appreciated that move. Also, I had gone to London alone. When I recorded future albums, I did the same thing, finding it easier to operate solo. But that also meant that at 1 am London, leaving the Speakeasy as a lone lass I needed to get myself to the hotel safely on my own….However, that evening sits in my memory as one of those very smokey nights. Just 3 musicians on stage, Clapton, Mitchell (instead of Ginger Baker) and Jack Bruce on bass. They weren’t playing Cream songs or Jimi Hendrix music. They were simply jamming on the Blues. Eric and Jack were trading off on verses – half the lyrics sounded made up, impromptu…it was one of those nights when they were inventing, exploring sounds – wish I could have stayed longer.....

After the recording sessions were over, I got to catch some of the Fiends musicians and other groups live. Chicken Shack were great…If memory serves me, Peter Green was playing with the early version of Fleetwood Mac also amazing…Clapton, Bruce, Ginger Baker, Cream – woodshedding at small clubs in London…don’t remember the name. I kept in touch with some of the musicians sporadically. I caught some of their concerts, they caught some of my shows…Mitch did come to my gigs. He was friendly with my brother, the incredible percussionist, Gerardo Velez. Gerardo and Mitch had played with Jimi Hendrix at Woodstock and were gigging the East Coast getting their repertoire going. I ran into Christine McVie on the road in Boston …that’s another tale.....

I never gigged live with the Fiends players – everyone was making different circles around the world, however, Jimi Hendrix and Mitch Mitchell were preparing for a “little” festival called Woodstock. Jimi asked me if I wanted to come up and sing with them at Woodstock, because I had just come back from London, and clearly, this goes in the annals of career faux pas, I said, “Oh, no, that’s O.K.” What was I thinking???....

“Dangerous” comes to mind. There was so much urgency, so many performances that I didn’t think I could take on the road with me, so much kick-ass singing and playing…hard to replicate. When I returned to the states, I was living in Woodstock and formed a band with some members of the Butterfield Blues Band, Keith Johnson, Buzzy Feiten and the great Saxophonist, David Sanborn, along with my brother Gerardo Velez ( played with Jimi Hendrix, Spyro Gyra, Patti LaBelle) along with a wonderful gospel based singer named Jerry Moore, who was also incredibly fierce. We were a family with music we took pride in playing. ....

I love the guitar lead in that Eric Clapton plays on I’m Gonna Leave You. My favorite song on the album though, is In My Girlish Days …it is such a great Road House shuffle recorded with Chicken Shack.....

I think “Fiends and Angels” wasn’t a bigger album due to lack of follow-through, timing and strategy. I think the only thing I would have done differently is that I would have stayed in London for at least a year to promote the album there and have the advantage of performing with the players with whom I had recorded. Then, I would have returned to the U.S. with a different energy – having had established a presence in Great Britain and played LIVE with the players with whom I had worked. I had personal family commitments at the time and I was contracted to return to Hair on Broadway, so, hindsight, you know what they say…....

I didn’t have a management team, so there was no follow through. The timing would have been to do a London tour and strategize getting to all the radio stations at that time that would have played this music….or, simply hitchhike naked on the Highway like Madonna did and get some unavoidable attention. Needless to say, none of these things were done, especially the naked Highway hitchhiking. But truly the biggest problem was management. I did not have the kind of team people have today. I strategized with Richard Gotterher and Seymour Stein the heads of Sire Records. They believed in me. We recorded 5 albums for the label and a compilation CD.....

It makes me proud and happy of the alignment of the Universe in that moment in time…and, No, I could have never predicted its longevity. I have to thank people like you who appreciate all that coalesced musically in those London sessions in 1969.....

OTRO CAPÍTULO:

Martha Velez - Jimi Hendrix
22 de agosto de 2009 a la(s) 1:18

When I came back from London after recording “Fiends and Angels” with Eric Clapton, Jack Bruce and Paul Kossoff of Free and Mitch Mitchell of The Jimi Hendrix Experience. I moved up to Woodstock to start my band. The town, pre-Woodstock Festival - was filled with musicians because, Albert Grossman, who managed Bob Dylan, Janis Joplin etc., lived there. So, the energy up there, since it had always been an Artist’s community, was filled with creativity. It was the place to woodshed your music.

Jimi Hendrix had rented a house near Woodstock for the summer where he housed his musicians and rode horses. Anyway, I’d just returned from London, Jimi and his band were in a town just outside of Woodstock where Jimi could have a lot of acreage - a big ole country house. The instruments were set in the living /dining area which was a wide open space and the drum kit could be permanently set up there as well. My brother had invited me to come and hang out - I guess it was sometime in July of 69, and I went to hang out. There was a lot of laughing, talking and I was always the lone girl music maker. On this day, there was only Jimi, my brother Gerardo and Mitch Mitchell. Mitch was at the drum kit, just playing some light grooves. My brother was playing some very light percussion, and Jimi was sitting at the head of this very long rough hewed oak dining room table. It could sit about 20 people. I was sitting to his right…he was dealing with some substances that will remain nameless. I just watched him do his thing for a while, not sure of what to say. His course of action at that moment was not really my thing, so I just politely observed. He was a very calm person– very soulful and genuine as he sat there. He was a beautiful young man, who sat in full regalia even on a quiet country afternoon - a visual contradiction to the wooded/country/earthy environment which surrounded him. He had a glittery wide bandana on his head. His shirt was white, light and loose with some kind of gold tassels hanging from the end of the sleeve that made it hard for him to service the focus of that moment. He kept pulling the sleeves up, they kept dipping back into his stuff. He had a sweet, gentle laugh about it. I stifled what might have turned into a big guffaw. It was funny. Big rock star with tassels whisking between him and his cravings. Yet, his nature, his inherent spirit was of a very gentle soul. He laughed, finally mastering the necessary move. Frankly, I didn’t know what to talk about in that moment, but, Mitch who was always much more verbose and energetic, piped up with “You know I just worked with Eric and Jack on Martha’s album…It’s really cool.” .. Some words to that affect. Jimi responded with, “I know. I heard it.” That took me aback, because I was not sure what his opinion would be…and it mattered to me. Someone in the room played some music.I don’t remember the name of, but, it might have been “A Love Supreme” by Coltrane, because in those days, musicians played the artists who were in the stratospheres and not just their contemporaries. After a while, Jimi turned to me, out of the blue and asked if I wanted to play at this festival that was coming up in August- Woodstock….I said, “Oh no that’s O.K.”

I wish I could have photographed the look of contained amazement on his face…It wasn’t that I was rejecting his offer, it was that I was too insecure to take it up. For me he was in the stratosphere.

My Brother and Jimi Hendrix
My brother Gerado was a ball of fire in those days and he still is. He was always up and happy and ready to play. Percussion instruments, at that point in his life, were relatively new to him, but he was a fearless dude and played at a drop of a hat. He met Jimi Hendrix by going to a club in New York called Steve Paul’s Scene. Jimi would go there to work out new tunes and sounds without a large audience. It was really a dark small club. Gerardo would ask if he could sit in and just play away. Sometimes he would just set up his congas at the edge of the low stage and simply begin to play - to positive response by whomever was on the stage. I think he may have done that with Jim Morrison of the Doors as well. Playing with Jimi, he connected and ended up playing in Woodstock. His version of this historical point may vary, however, it is just by degrees.

I was at Woodstock with Keith Johnson, trumpet player for the Butterfield Blues Band at the time, later my ex-husband and father of my son, Taj Johnson. We were flown in by helicopter with the band. The sight from up in the air was beyond belief. It was locusts of humans hovering tightly together, the music was blaring so loudly through the fields, we could hear the rumblings of the bass woofers from the humongous Marshall speakers over the helicopter propellers as we landed. The Butterfield Blues Band was performing, so we got to hang out in the performers tent. The whole thing was like a miracle of joyous madness. People, swarms of people, were just outside the tent. The tent was to the side of the bandstand, so that when you stood in the wings it looked out, it looked like heads, bodies, arms, feet, torsos all entangled with one another, one massive body of humanity, spirited, in love with each other, for that moment in time–Aquarius.

There were tons of musicians in the tent. Jimi Hendrix, Janis Joplin, Country Joe and the Fish, Butterfield Band…it was in that moment that I realized I had blown that moment in history. I should have accepted Jimi’s invitation to come and sing with him. The massive crowd was so embracing, it would have been such a monumental moment for me. It may be the biggest regret of my life, but hey..I was at the 20th Woodstock Anniversary reunion - the 40th might be too filled with ghosts.

Jimi was to go on at 9pm on Saturday night. He did not perform until 10 am Sunday morning. Everyone was spent. There was no place to sleep and no way to get out before performing. So we all just partied all night, enjoying every performer that got up on stage. The rains were cleansing and the mud was a warm blanket to the crowds. We were fortunate under the tent. We could see that the potential for the spectacle to become a disaster was possible, but the spirit was indomitably kind.
Finally, when Jimi got up to perform, he, his band and the audience had gotten a second wind. All of us who were back stage were re-enlivened when Jimi began to play. I had this phenomenal view from the wings, right in front of the lip of the stage, stage right, where Jimi played, the Star Spangled Banner. It was genius, fortitude, deliverance, magic, transcendental. Of course, I had bruises on my leg from kicking myself for not having participated. Still, I got a front row seat to the exquisite!
This was Gerardo’s first professional gig as a percussionist and it was with Jimi Hendrix at Woodstock. If you see videos of the day, he was exhausted and exhilarated. When they came off the stage, the crowd was wild, Jimi looked like a man who had stared God in the face and had been transformed. He was very quiet, they way one is when they have just genuflected in church. Everyone stood several feet away, absorbing the majesty.

When my brother played at Woodstock, I was beyond proud. It was like a phenomenon. He couldn’t believe it and had permanent glee whipped on his face. I too, was smiling, a wrap around smile…we were on parallel paths, but he always was more eager to jump into the pool — I always needed to know that there was at least some water in it. Thankfully, one of the Velez’s performed at Woodstock and one got to take it all in. There was no doubt that this colossal event was a pivotal time in history. There was no doubt that something life altering had occurred that day for everyone involved. Of course, my very middle class parents were not impressed. I was supposed to be singing Opera and my brother was supposed to be finishing college. Regardless of that, my parents were the most supportive, loving, kind people you would ever want to meet. They didn’t fully understand our path, but they were always there to catch and love us on the journey. Ultimately, they both got to see us perform in our separate milieus. Dad feel asleep during a Spyro Gyra concert, and my Mom told me I should sing sweeter songs like when I was with the Gaslight Singers. Both parents are gone now.They died at ripe old ages. Dad at 85. Mom at 91. Dad laughed till his final breath. Mom danced till hers. What I wouldn’t give today to sing an aria for my parents with my brother playing gentle percussion sounds while our parents laughed and danced. They were beautifully married for 54 years. They were music.

Y he aquí el disco completo, por si alguien quiere echarle una oreja



::: TRACKLIST :::
1. I'm Gonna Leave You
Eric Clapton Lead guitar, Jack Bruce Bass, Mitch Mitchell (probably) Duster Bennett harp
2. Swamp Man
Paul Kossoff Lead guitar, Jim Capaldi drums
3. Fool for You
Paul Kossoff Lead guitar, Jim Capaldi drums, Christine McVie(?) piano (She was Christine Perfect at the time-shy girl -- the only other female musician at the sessions)
4. In My Girlish Days
Chicken Shack: Stan Webb Lead Guitar, Christine McVie Piano, Andy Silvester bass, Dave Bidwell drums
5. Very Good Fandango
Martha Velez Opera Vocal Only No Instruments
6. Tell Mama
Rick Hayward lead guitar
7. Feel So Bad
Eric Clapton Lead guitar, Jack Bruce Bass & Harmonica, Mitch Mitchell drums
8. Drive Me Daddy
Eric Clapton. Lead Guitar, Brian Auger organ
9. It Takes a Lot to Laugh, It Takes a Train to Cry
Chicken Shack: Stan Webb Lead Guitar, Christine McVie Piano, Andy Silvester bass, Dave Bidwell drums
10. Come Here Sweet Man
Paul Kossoff Lead Guitar, Chris Wood Flute, Jim Capaldi drums
11. Let the Good Times Roll
Chicken Shack Stan Webb Lead guitar, Christine McVie Keyboards, Andy Silvester bass, Dave Bidwell drums

Perimaggot escribió:Y he aquí el disco completo, por si alguien quiere echarle una oreja



::: TRACKLIST :::
1. I'm Gonna Leave You
Eric Clapton Lead guitar, Jack Bruce Bass, Mitch Mitchell (probably) Duster Bennett harp
2. Swamp Man
Paul Kossoff Lead guitar, Jim Capaldi drums
3. Fool for You
Paul Kossoff Lead guitar, Jim Capaldi drums, Christine McVie(?) piano (She was Christine Perfect at the time-shy girl -- the only other female musician at the sessions)
4. In My Girlish Days
Chicken Shack: Stan Webb Lead Guitar, Christine McVie Piano, Andy Silvester bass, Dave Bidwell drums
5. Very Good Fandango
Martha Velez Opera Vocal Only No Instruments
6. Tell Mama
Rick Hayward lead guitar
7. Feel So Bad
Eric Clapton Lead guitar, Jack Bruce Bass & Harmonica, Mitch Mitchell drums
8. Drive Me Daddy
Eric Clapton. Lead Guitar, Brian Auger organ
9. It Takes a Lot to Laugh, It Takes a Train to Cry
Chicken Shack: Stan Webb Lead Guitar, Christine McVie Piano, Andy Silvester bass, Dave Bidwell drums
10. Come Here Sweet Man
Paul Kossoff Lead Guitar, Chris Wood Flute, Jim Capaldi drums
11. Let the Good Times Roll
Chicken Shack Stan Webb Lead guitar, Christine McVie Keyboards, Andy Silvester bass, Dave Bidwell drums

Wow, yeah, discazo, no lo conocía.

Cojones, esta tía es como una versión acelerada y hard-rockera de Janis Joplin y Karen Dalton.

ya, ya, pero tú entrabas por aquí a ver si era pariente de tu paisano el innombrable jajajajajajajajaa

jajajajajajajaja

atención a la jugada, Refrescos... estoy flipando en colores

Jose Carlos, YAY!!! Wow, I LOVE your music, your band, and your performances. You are a terrific performer and powerful singer. How exciting to be on the same planet at the same time in history! Let's do some MUSIC.....and see what happens....talk more on private message re: CD's etc. Will send you my email address...btw - your daughter and wife are beautiful...Congratulations on a life well navigated!!!! Martha

Perimaggot escribió:jajajajajajajaja

atención a la jugada, Refrescos... estoy flipando en colores

Jose Carlos, YAY!!! Wow, I LOVE your music, your band, and your performances. You are a terrific performer and powerful singer. How exciting to be on the same planet at the same time in history! Let's do some MUSIC.....and see what happens....talk more on private message re: CD's etc. Will send you my email address...btw - your daughter and wife are beautiful...Congratulations on a life well navigated!!!! Martha

JOder, ¿pero es la Vélez?
Madre mía, momentazo.

Perimaggot escribió:

KIM_BACALAO escribió:no sé quién es Martha Velez...

el resto...          

si lo encuentras, nos avisas, porfa

Martha Velez es la solista del disco. Este es su primer disco... y por algún motivo contó con esa gente para grabarlo. Sólo he escuchado dos temas en mi vida, el día que tocamos por primera vez en la Mardi Grass, de Coruña, por la noche pincharon el single, y salí disparado a la cabina para preguntar de quién se trataba. Flipé en colores, y desde entonces llevo buscandolo infructuosamente.

Jano me ha pasado este enlace, pero aquí en el curro no puedo comprobarlo ni utilizarlo... a ver si es el bueno

MARTHA VELEZ: "FRIENDS AND ANGELS"
http://malware-site.www/ccfc00

Que grande ver que continua tu gran pasión musical, de la que da gusto escucharte en persona, cuando he tenido la suerte de poder hacerlo. Todavía recuerdo ese día, hace casi 12 años, que era la primera vez que iba a un concierto vuestro. Y fue después de vuestra prueba de sonido: estabas recogiendo y ordenando tus cosas, cuando escuchaste el single, y rápidamente fuiste junto al Dj a preguntarle por la canción que había puesto.

Si todo va bien y no me surge ningún contratiempo personal, estaré por Madrid para ver a Milana por primera vez. Así que aunque no te vea en esa ocasión, espiritualmente estaré cerca tuya, hasta que tenga la suerte de poder volver a verte en persona.

Mucha suerte con tus cosas personales y que no pierdas tu gran pasión músical

Refrescospepito escribió:

Perimaggot escribió:jajajajajajajaja

atención a la jugada, Refrescos... estoy flipando en colores

Jose Carlos, YAY!!! Wow, I LOVE your music, your band, and your performances. You are a terrific performer and powerful singer. How exciting to be on the same planet at the same time in history! Let's do some MUSIC.....and see what happens....talk more on private message re: CD's etc. Will send you my email address...btw - your daughter and wife are beautiful...Congratulations on a life well navigated!!!! Martha

JOder, ¿pero es la Vélez?
Madre mía, momentazo.

Perimaggot escribió:jajajajajajajaja

atención a la jugada, Refrescos... estoy flipando en colores

Jose Carlos, YAY!!! Wow, I LOVE your music, your band, and your performances. You are a terrific performer and powerful singer. How exciting to be on the same planet at the same time in history! Let's do some MUSIC.....and see what happens....talk more on private message re: CD's etc. Will send you my email address...btw - your daughter and wife are beautiful...Congratulations on a life well navigated!!!! Martha

Muy interesante el texto que has puesto en el que habla de su relación con Hendrix. Es divertido cómo Mitchell parece querer hacer rabiar a Hendrix diciéndole que ha tocado con Clapton y Jack Bruce.

La verdad es que conocía su nombre por ser la hermana de Jerry Velez que tocó con Hendrix en Woodstock, y por el acojonante nombre de los músicos que tocaron en su Fiends and Angles, por el que siempre he tenido mucha curiosidad por saber cómo sonaba.
Pero nunca había escuchado el disco, que además es difícil encontrar una copia y las que hay son caras de cojones. Así que gracias por el enlace, luego me lo pongo sin falta.

JE_Galicia escribió:

Perimaggot escribió:

KIM_BACALAO escribió:no sé quién es Martha Velez...

el resto...          

si lo encuentras, nos avisas, porfa

Martha Velez es la solista del disco. Este es su primer disco... y por algún motivo contó con esa gente para grabarlo. Sólo he escuchado dos temas en mi vida, el día que tocamos por primera vez en la Mardi Grass, de Coruña, por la noche pincharon el single, y salí disparado a la cabina para preguntar de quién se trataba. Flipé en colores, y desde entonces llevo buscandolo infructuosamente.

Jano me ha pasado este enlace, pero aquí en el curro no puedo comprobarlo ni utilizarlo... a ver si es el bueno

MARTHA VELEZ: "FRIENDS AND ANGELS"
http://malware-site.www/ccfc00

Que grande ver que continua tu gran pasión musical, de la que da gusto escucharte en persona, cuando he tenido la suerte de poder hacerlo. Todavía recuerdo ese día, hace casi 12 años, que era la primera vez que iba a un concierto vuestro. Y fue después de vuestra prueba de sonido: estabas recogiendo y ordenando tus cosas, cuando escuchaste el single, y rápidamente fuiste junto al Dj a preguntarle por la canción que había puesto.

Si todo va bien y no me surge ningún contratiempo personal, estaré por Madrid para ver a Milana por primera vez. Así que aunque no te vea en esa ocasión, espiritualmente estaré cerca tuya, hasta que tenga la suerte de poder volver a verte en persona.

Mucha suerte con tus cosas personales y que no pierdas tu gran pasión músical

en mayo vamos milana y alias a Galicia, eh

lo de Martha Velez me ha superado... ahora mismo estoy en shock... Tú, que conoces la historia por haberla vivido desde el principio, te puedes imaginar cómo me siento ahora mismo. Joder, que me dice que hagamos música juntos!!!!!

Perimaggot escribió:jajajajajajajaja

atención a la jugada, Refrescos... estoy flipando en colores

Jose Carlos, YAY!!! Wow, I LOVE your music, your band, and your performances. You are a terrific performer and powerful singer. How exciting to be on the same planet at the same time in history! Let's do some MUSIC.....and see what happens....talk more on private message re: CD's etc. Will send you my email address...btw - your daughter and wife are beautiful...Congratulations on a life well navigated!!!! Martha

Coño

Starsailor escribió:Muy interesante el texto que has puesto en el que habla de su relación con Hendrix. Es divertido cómo Mitchell parece querer hacer rabiar a Hendrix diciéndole que ha tocado con Clapton y Jack Bruce.

La verdad es que conocía su nombre por ser la hermana de Jerry Velez que tocó con Hendrix en Woodstock, y por el acojonante nombre de los músicos que tocaron en su Fiends and Angles, por el que siempre he tenido mucha curiosidad por saber cómo sonaba.
Pero nunca había escuchado el disco, que además es difícil encontrar una copia y las que hay son caras de cojones. Así que gracias por el enlace, luego me lo pongo sin falta.

el disco se reeditó en CD hace unos cinco años (no lo sé, está casi retransmitido en directo en este topic jajajajaja) y en amazon me costó 9 pavos. Imagino que aún hay copias

Starsailor escribió:

Perimaggot escribió:jajajajajajajaja

atención a la jugada, Refrescos... estoy flipando en colores

Jose Carlos, YAY!!! Wow, I LOVE your music, your band, and your performances. You are a terrific performer and powerful singer. How exciting to be on the same planet at the same time in history! Let's do some MUSIC.....and see what happens....talk more on private message re: CD's etc. Will send you my email address...btw - your daughter and wife are beautiful...Congratulations on a life well navigated!!!! Martha

Coño

todo eso entre el jueves y hoy en mi facebook... flipo mucho

Perimaggot escribió:

Starsailor escribió:Muy interesante el texto que has puesto en el que habla de su relación con Hendrix. Es divertido cómo Mitchell parece querer hacer rabiar a Hendrix diciéndole que ha tocado con Clapton y Jack Bruce.

La verdad es que conocía su nombre por ser la hermana de Jerry Velez que tocó con Hendrix en Woodstock, y por el acojonante nombre de los músicos que tocaron en su Fiends and Angles, por el que siempre he tenido mucha curiosidad por saber cómo sonaba.
Pero nunca había escuchado el disco, que además es difícil encontrar una copia y las que hay son caras de cojones. Así que gracias por el enlace, luego me lo pongo sin falta.

el disco se reeditó en CD hace unos cinco años (no lo sé, está casi retransmitido en directo en este topic jajajajaja) y en amazon me costó 9 pavos. Imagino que aún hay copias

Sí, acabo de mirar por amazon, gracias...pero está bastante más caro

Yo tuve la suerte de pillarlo en vinilo hace meses muy bien de precio. No esta en las mejores condiciones, la carpeta desgastada y en una canción me salta un par de veces ( tengo que reconocer que no lo he limpiado a fondo ), pero me salio por 25 creo con gastos incluidos, y suena que te cagas

Perimaggot escribió:

JE_Galicia escribió:

Que grande ver que continua tu gran pasión musical, de la que da gusto escucharte en persona, cuando he tenido la suerte de poder hacerlo. Todavía recuerdo ese día, hace casi 12 años, que era la primera vez que iba a un concierto vuestro. Y fue después de vuestra prueba de sonido: estabas recogiendo y ordenando tus cosas, cuando escuchaste el single, y rápidamente fuiste junto al Dj a preguntarle por la canción que había puesto.

Si todo va bien y no me surge ningún contratiempo personal, estaré por Madrid para ver a Milana por primera vez. Así que aunque no te vea en esa ocasión, espiritualmente estaré cerca tuya, hasta que tenga la suerte de poder volver a verte en persona.

Mucha suerte con tus cosas personales y que no pierdas tu gran pasión músical

en mayo vamos milana y alias a Galicia, eh

lo de Martha Velez me ha superado... ahora mismo estoy en shock... Tú, que conoces la historia por haberla vivido desde el principio, te puedes imaginar cómo me siento ahora mismo. Joder, que me dice que hagamos música juntos!!!!!

                         Allí estaré también. Espero que pronto lo podáis anunciar vuestra gira gallega, para saber los días y lugares donde vais a tocar. En principio, salvo lo de ir a Madrid a ver a Milana, no tengo planeado moverme de Galicia en mayo, así que podre estar en vuestros conciertos gallegos cuando sean.

Me alegro mucho por ti, que estés viviendo este gran momento. Y espero que lo puedas culminar haciendo música con ella. Mucha suerte.

brutal peri, mantennos informados! ahora ya le puedes pedir el disco que te falta(ba)!

mr_mojorising escribió:brutal peri, mantennos informados! ahora ya le puedes pedir el disco que te falta(ba)!

hay algo mucho más gordo entre manos, a ver si sale bien... aún no me lo creo