Missionaria Protectiva

        There’s likely a lot of listeners who know Eddie only for his iconic improvised solo in the middle of Michael Jackson’s “Beat It,” but there is no question the impact he has had on rock guitar. Eddie Van Halen gets the most credit for making guitar playing an athletic event in the ’80s. His bag of tricks is hardly original. His signature two handed tapping technique was actually lifted from Harvey Mandel the guitarist of Canned Heat that Eddie caught in the ’70s. His use of volume swells was borrowed from Genesis guitarist Steve Hackett. It was the charisma these were packaged in and the fire in which they were performed that brought Edward’s bombastic virtuosic playing to mainstream audiences.       More rock ‘n’ roll than metal, Eddie Van Halen’s style of playing influenced many metal guitarists, with everyone from Pantera to Morbid Angel claims Van Halen as an influence. The test of time has shown Eddie’s skill, as a forger of golden riffs is dependent on chemistry. The Roth

        STUART "WOOLLY" WOLSTENHOLME rose to prominence as a founder member of melodic Prog band BARCLAY JAMES HARVEST in the late 1960s. Teaching himself to play keyboards, he soon became a pioneer of the Mellotron rivalling Mike Pinder (The Moody Blues) as one of the instrument's leading exponents, though his trademark lush orchestrations and very English proggish sensibilities brought him into musical conflict with the rest of the band who wished to pursue more commercial territories. In 1979 he ventured on a solo career with the blueprint album "Mæstoso" which established him as the natural heir to BJH's Proggier side. "Mæstoso" was a critical success but sadly a commercial failure, and, after a couple of tours, recording of a follow-up was abandoned as a disillusioned Woolly retired from the music business. BARCLAY JAMES HARVEST Baby James Harvest Harvest,1972 https://www.sendspace.com/file/64x2h4

        When Santana took the stage on the second day of the Woodstock Festival, sandwiched between Country Joe McDonald and John Sebastian, they faced an ocean of listeners who had never heard a note of their music, since the group's debut LP had yet to hit shelves. But from the opening note of "Waiting," the audience was mesmerized by the band's unique fusion of infectious Latin rhythms and explosive psychedelic rock. Holding it all together was 20-year-old drummer Michael Shrieve, the youngest performer at the entire festival. With conga player Michael Carabello on one side and timbales player Jose "Chepito" Areas on the other, Shrieve laid down a tumbling, jazz-infused solo midway through "Soul Sacrifice" that remains absolutely stunning nearly 50 years on. Santana would shed nearly all of his original bandmates just two years later when he embraced fusion and other non-commercial styles, but Shrieve stuck by his side and even co-produced 1973&