Читать книгу Living the Blues - Adolfo de la - Страница 5

Fuck Woodstock, leave me alone.

It was the dawn of the Age of Aquarius--literally--and I was damn well not going to get up to greet it. Screw the band's manager trying to pull me out of bed and the cocaine camel he rode in on.

If I weren't too exhausted to think about anything but sleep, I should have been one happy dude. I had made my boyhood dream come true. The little kid from Mexico City who idolized Chuck Berry, Bill Haley and John Lee Hooker, who used to beat out rock rhythms on cookie tins with sticks, had scuffled and pounded his way into a gig as drummer for Canned Heat, one of the legendary bands of rock's golden age. I was a rare non-English foreign recruit in the legion of an American art form that was bursting out with raw, powerful new growth every day. I had rave reviews, roadies, groupies and a rising mountain of dollars and dope.

I was also a 5-foot-7, 135-pound foreigner, who could manage only a little rudimentary English, plunked down in a brotherhood of mad geniuses boogieing down a long dark road to ruin, misery and death.

It was only about 6 A.M., maybe three hours after I went to bed. I was crying from exhaustion, begging.

"Leave me the fuck alone."

With my accent, it came out "dee fawk."

Our manager, Skip Taylor, wrapped his arms around my waist and dug in his heels, trying to break my grip on the bedpost in my room at the Warwick Hotel in New York.

"Please, Skip, please. Don't do this to me. Or fire me. I don't give a shit."

Skip pulled harder.

"Fito, listen to the radio for Christ's sake--there's half a million people out in this fucking field. There are thousands more showing up every hour. We had no idea this thing was going to be this big. There are people dying there. There are babies being born. It's all over every TV station in the country. The band has got to be part of this."

"It's so damn big the cops have closed all the highways. I sent the roadies up with the equipment truck after the gig last night. I've been up all night trying to find a plane or helicopter or something and if you don't get up right now we're screwed."

By now he's bending my thumbs back.

"I don't care what kind of troubles you guys have, you gotta play this one. This is going to be one of the most famous gigs ever."

I'm pulling on my Levis and a T-shirt, my head cracking with fatigue and despair. "Fuck this. I hate it."

Canned Heat's rocket is still rising fast but already there are flames shooting out the sides.

In the previous 34 hours, I played a devastating gig at the Fillmore West in San Francisco where the band's nuclear-pile cast started coming apart, then another at the Fillmore East in New York with a brand new lead guitarist we grabbed from the audience. The guy has an awesome amount of talent, but he has to use it to hide the fact that he has no idea what the rest of us are doing.

Oh, and another gig the same night, in New Jersey or Long Island or someplace on our way in from the airport. I had no idea where we'd been. Or where we were.

I had not been in an actual bed for a long time, until we got to this hotel at 3 A.M. Skip booked on the principle that we could make more money if we worked both sides of the continent and just slept on airplanes, racing in a limo from the airport to the gig and back to the airport.

Up on adrenaline, down on dope. Stewardess, bring me a pillow, slap me awake when you see that other ocean and good night.

Just a little sleep and I could love this life again. Being on the road with a top band, this is the payoff for the years of teen-age gigs in Mexico City rock hangouts and 14-hour nights in border-town Mexican honky-tonks. This is the pot of gold I dreamed of as a rock n' roll bracero, following the rhythm and blues harvest, slipping over the border illegally to play with here today-gone tomorrow American bands, living on food my gringa girlfriend stole for me from her college cafeteria.

And it was working. Canned Heat had had three top-selling singles--"Goin' Up The Country" was really big just then--and two of our albums had gone gold, "Boogie With Canned Heat" and "Living The Blues."

So okay, all right. We've got a lot of fans. And I wanted to be a great drummer. And Skip, who's a lot bigger than I am, is half carrying me out the door anyway. I'll play.

Skip has found a couple of small planes for charter at a little country airfield in New Jersey, where our bass guitarist Larry Taylor (no relation to Skip) tries to climb back in the limo, saying he'd quit rather than get in one of those things. Larry doesn't even like flying on big jets. In the back of every traveling rocker's mind are the ghosts of Buddy Holly and Ritchie Valens, who died in a snow covered cornfield in Iowa in 1959 because they had to travel in little planes to keep to their schedule.

After we sort of kidnap Larry and wrestle him aboard one of the planes, we land at another little country airfield at Whitekill, New York, which was as close as you could get to the festival at Max Yasgur's farm. National Guard helicopters were the only way into the festival, and they were full of doctors and nurses, so by 10 A.M. we were stuck at the airfield with other bands and reporters.

I was zonked out on the cement floor of the hangar, trying to get back to sleep with my little gig-bag for a pillow; the little bag I always carry on stage with a clean T-shirt, spare drumsticks, a couple of joints and a towel I wear around my shoulders because the way Canned Heat plays, the drummer's doing sweaty, manual labor.

Skip was giving us a pep talk. "You guys are going to be great today. This is a terrific crowd, you'll see when you get there. This is a Canned Heat event, man. Remember Monterey? Remember Newport? We are the perfect band for these things, these festivals. And this is going to be the biggest."

Under all this optimism, he must be as worried as the rest of us that this is it. That the band is about to simply explode in a puff of smoke.

We went into the Fillmore West in San Francisco two nights earlier on an edgy high. Our "Living the Blues" album had hit Number 14 and we were on the cover of Cashbox. We were headlining over Three Dog Night and Santana.

Sweet victory. We were the same anti-commercial hippies we always were, playing the boogie the way we wanted to play it. Screw the critics. Screw the lightweight pop types. The people are buying it. They're loving it.

Our lead guitarist is Henry Vestine, a long, lean stick of dynamite, tattooed like the outlaw motorcyclists he hangs out with. His chest is a billboard. It says "Let the good times roll." Henry is a brilliant guitarist, in many ways a wonderful guy, intelligent, a heavy reader, sort of shy when he's straight.

But he's a Jekyll and Hyde character.

In a business where almost everybody gets a little high on some kind of dope now and then, Henry sets records. He takes anything and everything and he takes a lot of it. This makes him wild or morose or dangerous, no telling what. He sends his head so far away that sometimes his music soars and pounds and howls like he's found a door to whatever they use for hell in some other universe. Too often, he just loses all coordination and skill and goes rambling off to the Doper's Dismal Swamp.

The brilliant Henry got hired into The Mothers of Invention, Frank Zappa's strange but wonderful all-star team. The bad Henry had to quit because Zappa wouldn't tolerate his heavy doping, so now he's with us. Going to excess was not a firing offense in the Canned Heat. It was a given.

Except for Taylor--who is the best blues bass player in the world, he's a fanatic for order, discipline, predictability, control. He is never satisfied with anything. He's a perfectionist, surrounded by all these party-loving hippies in Canned Heat, where being brilliant was expected, but it took second place to having a good time.

The Bear and Alan Wilson are the founding fathers, the guys who created the band, its core and its star performers. The tormented, introspective Wilson's nickname was "Blind Owl," but we called him Alan. The massive, Falstaffian Bear's real name was Bob Hite but we called him The Bear. They were two white suburban kids who loved black country blues, who collected so many obscure records and listened to them for so many hours that the music just began spilling back out of them like overfilled bathtubs.

Alan gave the band his genius on the harmonica and his strange, questing intellect and encyclopedic knowledge of the blues. The Bear gave the band his own heart, which valued boogie and music and food and love and chaos and sex and drugs and all-night parties. The blues singer's life. There wasn't much room, in Bear's heart or the band's, for good order and discipline. That was driving Larry nuts.

In the dressing room at the Fillmore West, just three nights before Woodstock, Henry was dribbling reds down his throat like peanuts. Before we even got to the stage, he was totally wasted. A little high is one thing but this had the whole band uptight. Me, the new guy, the immigrant, I just tried to keep smiling. Let the old hands, the gringos, deal with this.

By the end of the first set, we had to holler for a roadie to bring Henry a chair. He couldn't even stand. In the "Fried Hockey Boogie" he took off on a solo that rambled on for 25 minutes with no point. In his head he was saying something but whatever it was stayed locked in there with the downers. He forgot what key he was in. It was awful.

The Fillmore crowd thought that was great. To them, dope was a sacrament. They loved Canned Heat because they thought of us as outrageous. They ate it up, the band's mystique of rebelliousness, the idea that we were messing with our perceptions to make brilliant music.

"I love this band," yelled a guy up front. "They play 40-minute songs, and look at this guy, he's so wasted he can't stand up."

Taylor explodes. Out in the audience are some really fine musicians: Paul Butterfield, his guitarist Mike Bloomfield, Harvey Mandel. These are guys we respected and wanted to impress as peers.

"This is terrible," Larry yells at the rest of us on stage. Some of the audience can hear him, but he doesn't care. "I am never playing with that guy again, never. He's out of his mind. We look fucking ridiculous."

We all make stone faces to hide what we're thinking, something I am learning to do often, as we finish the gig. Leaving the ballroom, I even tell a couple of groupies to beat it, get lost. Even me, who likes to take refuge from the band's chaos with a nice, bouncy little girl. I was too upset to fuck. This band was the greatest thing that ever happened to me. We're famous. We're getting rich. And now what? Our bubble pops?

We had a meeting in our hotel, all of us scared for the band's future except Larry. He was still enraged.

"Henry sucks," he said. "If he's in this band, I'm out."

Henry felt guilty, you could tell, but he has this "Yeah, I'm a bad guy, so what?" attitude. He doesn't want to say it was his fault. Henry is the only child of a wealthy family. All his life, he's done anything he wants. So his answer is: "If Larry plays, I don't. Screw this motherfucker. I don't have to put up with him."

Says Skip, the manager, "I don't know who's in the goddamn band now and who isn't in the goddamn band, but we have another gig at the Fillmore West tomorrow night and I expect every one of you to be on the goddamn stage."

That was no solution. Henry walked.

Some other time, that would have been okay. Henry had exceeded the limits of how much you can abuse your fame, your audience, your band. In the decades to come, we got used to it. The brilliant Henry rejoined the band over and over again. Then the spaced-out Henry got fired, or walked out, over and over again.

Except now it meant that when we went on stage at the Fillmore the next night, we were without a lead guitar, which is like trying to get an airplane off the ground without wings.

On stage, we hear someone in the audience say that Mike Bloomfield is there. Immediately, The Bear says, "Let's invite him to play with us. We can jam."

Bob was expert in jam sessions. He knew every song there was and we had such a strong rhythm section that even though Mike had never played with us, he could play around us. Mike was so good The Bear offered him a job after one set. Hell, Mike was as famous as Henry.

"Thanks," he said. "It was great playing with you guys, but I'm burned out on touring. I've been on the road with Butterfield for years now. I have to cool it. I have to get off the road for awhile."

What do we do for a lead guitar in the second set? Somebody says Harvey Mandel is out there too.

"Harvey's really good," Larry says. "Ask him to sit in."

Mandel wasn't as famous as Bloomfield--he got a lot more famous years later when he recorded with the Rolling Stones--but he had played with Charlie Musselwhite, a great blues harmonica player, so he ought to be good with Alan's harmonica work.

Harvey came up and kicked ass. He had a great tone, a virtuoso left hand. Not fast, not a lot of notes, but like Henry, he had a sound of his own. He wasn't just another of the 4,297 guys who tried to sound like Eric Clapton. To the rest of us, who had gotten used to wondering whether the next lead guitar notes were going to come from the brilliant Henry or the wasted Henry, Harvey's control was a relief. We invited him into the band then and there.

Alan was devastated by Henry's leaving. Alan wanted the band to be a family, to be this sort of holy circle together, and it caused him deep pain whenever there was trouble between us. He didn't think anyone should be hurt or pushed out, and for some reason, Henry was especially important to him. Bear used to say "What are you, in love with that guy? Are you a faggot?" But Larry was all jazzed at having a lead guitar who didn't do heavy drugs. I didn't have any power but I was in favor of keeping the band together and playing, and if that meant we had Harvey, fine.

We drove right to the San Francisco airport after hiring Mandel out of the audience, slept on the plane to New York, scrambled in and out of the gig in New Jersey or wherever the hell it was and hit the Fillmore East, where there was another band we didn't know, new guys, I think making their first performance, named Sha Na Na.

Meanwhile, Harvey is learning our numbers and style as we go, learning in front of these huge audiences. With Harvey's talent and a powerful rhythm section, Alan's delicate harmonica notes and graceful rhythm guitar dancing around The Bear's gargantuan showmanship, we were getting away with it.

We were zonked, wasted, uptight, downbeat, ripped, torn and shattered. And we were supposed to be on our way to a festival called Woodstock. Big deal, just another gig, I thought, although we were sure having a hell of a lot of trouble getting to it.

So here we were hanging around the airport in Whitekill, New York for hours, waiting for our turn on the helicopter shuttle that was the only way for musicians to get to the stage, which by now was surrounded by a crowd that reached for miles in all directions, like a fortress of human bodies.

I was trying to sleep on the concrete floor of a hangar. Skip was going crazy, worrying that even if we got into the festival, we wouldn't have any instruments; from all the radio reports we heard, there was no way they could get through those traffic jams with the equipment truck.

It was after four in the afternoon, six hours after we got to the airport, that a helicopter had some passenger room. A TV crew and some reporters bolted for it, with us chasing them down the runway. They got to the chopper first but The Bear charged aboard after them.

"Where the fuck do you think you're going?" he asked.

"To report the news," a cameraman said.

"Fuck you, we're going to make the news," Bear roared, hurling the guy through the door.

He glared at the others. "We are the Canned Heat. It is more important that we get there than you, so we're taking this helicopter."

And we did. The Bear was a force of nature, like a tidal wave. Trying to stop him was like trying to stop an armored division. His hobby was breaking down doors. Really. He was always so happy when one of us got locked out of a hotel room on the road, or some dopey stage manager forgot the keys to our dressing room.

"Here, just let me take care of this," he'd growl, and there'd be this big happy flash of white teeth in his thick, black beard.

He didn't kick the door in, with a straight-ahead blow from the sole of his shoe, the way real cops do these days. He'd back up and run at the door, shoulder-first, like the heroes did in 1940s movies, and just crash through. He was always in a good mood after he got to break down a door.

The first sight of Woodstock from the air finally woke me up: A small city of a half million people. Tents and sleeping bags and blankets made little patches of blue and yellow and red on the green grass of the rolling hills for as far as I could see, from horizon to horizon.

I looked at Skip. He and The Bear were taking hits of LSD.

"Okay, man, it's cool,'' I said, "Dragging me out of that room. Look at the crowd."

I was overwhelmed that we were going to play for so many people.

As the helicopter came in, Skip stuck his brand new camera at arm's length out the door and blindly clicked off one shot. He sold the picture later for the cover of Ravi Shankar's Woodstock album.

"Holy shit," he yelled. "Look."

Down below us, we could see a familiar truck moving slowly through the crowd, casting long shadows in the late afternoon sun. It was our roadies, who had left New York with the equipment at three that morning.

The roadies. The goddamn roadies. How the hell did they do that? I read a lot of military history and I always think of the roadies as the infantrymen of rock: the grunts, the beat-up, unsung heroes that you never appreciate until your life depends on them and they come through for you, sort of like Gunga Din in the poem.

When we arrived, the Incredible String Band, the hippie group that played acoustic Medieval or Renaissance type music, was up on the stage. They had a name and all, but the audience could barely hear them. Their type of music was totally out of place. Gentle notes for Robin Hood in some English meadow. They just didn't have the power to turn on all those tripped-out young Americans watching the sun go down on Max's farm.

Skip was delighted with the timing. He had this thing about playing festivals at sunset. "If you start out with the sun going down around you and finish playing in the dark, it does something to the crowd. They think it's magic or something, man."

We did that at Monterey and Newport Beach and he was right. Those festival appearances boosted the band's rep right to the top.

Alan's parents met us behind the stage. They seemed oddly out of place, like running into your grandparents in a hot tub.

But dawdling along behind them, in cutoff denim shorts and a blue T-shirt knotted under her breasts was one of the most beautiful girls I had ever seen. She was just slightly shorter than me, with long dark blonde hair, slightly Slavic cat's-eyes, of a deep blue color. She had the cutest damn legs and the kind of finely chiseled Anglo-Saxon features you see in parts of New England.

She was about 19, a nursing student in Boston. She and her friend Linda, a spectacular-chested brunette who was a friend of Alan's sister Sharon, had set off for Woodstock the day before in a band-new Mustang that belonged to Linda's mother. Abandoning the car in Bethel because they couldn't get any farther in the traffic jam, they walked five miles into the festival and hooked up with Sharon.

I said hello to Linda, who I had met once before with Sharon Wilson. But no matter how terrific the view of Linda's chest was, I just couldn't take my eyes off her shy friend, whose name was Diane.

The Incredible String Band was limping along toward what passed for a finale in their music. Skip was trying to push us up the steps to the stage, yelling "The sun is setting, you guys, c'mon. This is going to be perfect.''

Just looking at this girl made me nervous as hell, but I had to make a try.

"Come on up with us,'' I said.

She laughed. "Why? What can I do up there? You guys have to play.''

In the late afternoon sun, it looked like her head was surrounded by a ball of flames and I hadn't even taken any drugs except one little joint.

"I've got a job for you. Come on."

We were climbing the stairs to the stage. She wasn't coming. Shit.

Alan, right in front of me, said over his shoulder: "Forget it, bandito. Dead end street, man.''

"No way, man. I am inspired. She is beautiful.''

"She's a virgin. And I bet she stays one. I know her. We used to play in the same sandbox.''

"I want to play in her sandbox,'' I said.

I liked Alan too much to add what I was thinking: I don't take advice on my love life from the only rock star in the world who is too uncool to get laid anywhere.

In the chaos backstage, we ran into people we knew, Jefferson Airplane, Janis Joplin, Big Brother and the Holding Company. Chip Monck, the emcee, asked Skip when we wanted to go on, since we had just gotten there and the roadies were just opening up the truck.

"We'll go next," Skip said, looking at the sun. We all sort of flinched, except maybe The Bear, because by now the acid was kicking in. Also, he still felt pretty good over throwing all those guys off the helicopter.

"I'll go get our check," Skip said. "I also have to talk to some guy about a contract--film rights and shit. You guys get out there and kick ass."

We had no idea that we were about to play the single most famous gig of our lives, for the biggest paycheck the band had seen up to that point, and right there behind the stage, shouting over the music, our manager was hammering out a contract for our part in one of the most famous, lucrative music movies of all time. Movie rights, something we had no experience with. He wound up making a deal that was followed by all the bands that appeared in the movie and on the sound track album.

And he was on acid.

We were high up above the crowd, on the highest stage I've ever seen, three stories. As we were setting up, a voice said softly behind me: "Okay, so what's my job?"

Fucking great. Diane had gotten up there with us. She and Linda.

"Oh, hey, terrific. Thanks for coming. This is easy but it's important. Here, take my watch and my wallet. And go get anything valuable from the other guys, watches, rings, money, stuff like that, and guard it for us, okay?"

"Okay. But why?"

"You ever seen us play?"

"I've got some of your records."

"We really get it on when we play. We get into the music pretty good. Sometimes watches fly off into the crowd, guys lose their wallets. I break drumsticks if I'm wearing rings."

"You really need me to do this?"

Well, actually a roadie would usually hold our stuff, but it sounded like she wanted to be needed and I was ready to do anything to keep her around.

"Yeah. We probably can't play if you don't. They'd have to call off this whole incredible scene. All these people would have to go home and it would be all your fault."

She smiled. It was a beautiful smile.

"Okay. Here I go. Little Miss Responsible." She and Linda started collecting stuff from the guys and found a place to stand behind us.

As usual, we had no set planned, nothing coordinated. The Bear simply announced that "We're going to go up the country a little bit now," because "Goin' Up The Country" was number one then in a lot of cities, including New York. It was the perfect song for the moment, just what all these people had done. And in an intuitively brilliant moment, Alan took the mike and, without his harmonica, began playing the opening notes on a guitar, then improvised lyrics to fill in for the flute lines.

I rolled in behind on the drums, Larry slammed into the beat, and we came out tight, Alan sighing out that long, cool, opening line:

I'm going up the country, baby don't you want to go?

Our view from the stage; the rain didn't dampen the spirit of Woodstock '69

Good touch, Alan. A long, slow cheer rolled over the hills, as half a million people came to their feet in joyful celebration.

I'm going to some place where I've never been before.

I'm goin' where the water tastes like wine.

I'm going where the water tastes like wine.

You can jump in the water stay drunk all the time.

- Photo: Elliot Landy

The crowd was ours. We could feel it and we punched it, hard. You guys wanna rock? You wanna hear the real boogie, the genuine blues? Here it comes.

Alan knew how to improvise and how to make it happen in spite of us messing up because Harvey didn't know our songs yet. It wasn't Harvey's fault but he had to sort of play outside the music and jump in with a lead guitar solo whenever he thought one would fit.

We were wailing and cooking through a boogie when I noticed a guy's head and shoulders slowly rising over the tall plywood fence that separated us from the crowd.

Suddenly he stood up, and now he was above us, and jumped, swooping down on the stage like Batman. He hurtled into The Bear.

What the hell? Are we under attack?

A roadie tried to grab the guy, a short, wiry kid about 19.

The Bear, flying on acid, is still singing. He is like a little kid reunited with a lost puppy. He pushes the roadie away from the kid, who fishes a cigarette out of the pocket of Bear's yellow T-shirt. He then sat down cross-legged at Bear's feet and watched the rest of the show, head bobbing away.

This was Woodstock '69; this kind of incident could never be repeated under today's stringent corporate control of concerts. Just try to get up on any festival stage nowadays…you are likely to end up in jail, beat up, or dead.

I am banging away on my drums, still trying to figure out what the hell is going on, but the audience has picked up on it. All of a sudden, one of the audience is up here with the musicians, and he's being treated like a royal guest, a long lost pal. They're on their feet, cheering.

The enthusiasm of the crowd washed over us on the stage, waves of grungy, bare-chested, tie-dyed, granny-glassed, weed-ripped, crotch-bursting, rain-soaked, incredulous enthusiasm.

Bear looked over at me. "Man, we could start a revolution right now, this minute, if we wanted to," he said.

This audience, these at least were my people, my adopted tribe, the emerging America of the Woodstock Generation. Canned Heat people. A change from the weird concerts some pinheaded promoters who knew nothing about our music--much less us--had stuck us into as our records started going gold.

Here at Woodstock nobody cared if The Bear said "fuck." We took that stage and we kicked ass. Our heavy music, Bob's energy, that was just what that crowd wanted to hear. We could feel them and they could feel us.

The "Fried Hockey Boogie"--our big wall-blaster which we never play the same way twice--we renamed that version "The Woodstock Boogie."

I'll get some argument on this, I expect, but we got a bigger ovation than any band there, at least any band I heard there. "Goin' Up the Country'' became the theme song, the Woodstock anthem.

Me and the boys boogieing at Woodstock, 1969

It was an historic performance which was never even used in the film as it was first released, because of goddamn record company politics. It was in the original director's cut of the film--and it was put back in a special long version released 25 years later. But before the first release, when it was decided that the film was too long, they cut Canned Heat and Jefferson Airplane. We were a United Artists act and the Warner Bros. film people preferred to mangle a Woodstock high point rather than eliminate some performers with Warner record deals. They only played our song "Goin' Up the Country" behind the opening credits.

Okay, we were a little raw, a little unpolished. But that was the spirit of the hour, wasn't it? And the crowd loved us. Our performance, especially "Goin' Up The Country," raw as it was, became the defining moment of the festival--the moment that TV advertisers would pick, decades later, when they wanted to evoke the whole weekend--hell, the whole era--in only a few classic seconds. "Goin' Up The Country" and a mass of American kids in tie-dye and hip huggers says "the 60s" the way Ingrid Bergman, Humphrey Bogart and "As Time Goes By" says "World War Two."

The best part of Woodstock was that Diane was still there, waiting for me back stage when we finished playing.

The worst part was that the Blind Owl had seen too clearly what a challenge she would be.

We had a little time after the show, and we walked around, into the crowd.

It was amazing, the sexual energy, girls walking around with their boobs hanging out, pretending it was just the normal thing for them to do, guys swimming in this muddy

little swimming hole with their dicks dangling down, next to them girls washing their hair and soaping their breasts. Couples making love in sleeping bags. One couple was on top of the bag.

An incredible sense of freedom combined with an incredible sense of order. Total liberty with no sense of chaos or danger. A magic combination, gone too soon, a memory that a whole generation chased for decades to come.

Diane and I walked through the crowd and we were infected with all this energy. Diane acted at first as if she didn't really notice the naked guys or the screwing couples, but that didn't last long. We were inflamed. We started kissing, with her back up against the fence near the stage.

I talked her into coming with me backstage again, where the rest of the band was getting something to eat in a food tent the organizers had set up. As we walked in, there was an outburst of voices in Spanish:

"Caray, cabròn, còmo estas?"

"Orale, mano, que onda?"

It was Santana's band, who had gotten there earlier. Santana, a fellow Mexican, his timbale player Chepito Arias, who's from South America someplace, a whole bunch of Latino cuates, we had a reunion in Spanish in the middle of this mammoth American festival. It was one of the early signs that rock n' roll was becoming a global language.

While we were eating, Skip (who started out as such a button-down, shorthaired business guy with the William Morris Agency) was taking another step on his colorful road to ruin.

His problem: getting the band out of Woodstock was going to be harder than getting it in. The helicopters were taking out only medical cases and the stage was surrounded by people and cars, shoulder to shoulder, fender to fender, for miles in all directions. It would have been nice to stay and party and all, but we had a gig the next day in Atlantic City.

So how the hell do we get out of here?

Skip reappeared while we were eating.

"C'mon you guys. I've got a car."

"What fuckin' car, man?" The Bear asked. "You gotta get a grip on that acid, man. We came in some kind of airplane, remember?''

"That black limousine there. Get in it."

"Whose is it?"

"Fuck if I know. I swiped it. It was sitting out there with the keys in the ignition so I took it. Now let's get the hell out of here before anyone stops us."

The Bear with a fan that jumped onstage during the performance

The band thought this was just great. Our manager was becoming one of the guys. The acid has kicked in and he's committing grand theft auto.

I hustled Diane and Linda into the limo too. Somewhere in there, Felix Pappalardi from Mountain had joined us and we started off down the exit road behind the stage, packed solid with parked cars. We rode up to each one in our stolen limo, followed by the roadies in the equipment truck, and called for volunteers.

"Hey man, we're the Canned Heat. We've gotta get outta here. Help us move this car, okay?"

The crowd was glad to give us a hand. One by one, they helped us push cars off the road and onto the grass. Sometimes a big crowd of us actually picked up the cars and moved them. It was a long night--about 8 when we started, and midnight before we got to a clear road.

In Middletown, New York, we stopped at a Holiday Inn, claimed we were another band that had reservations and took their rooms. The hallway was a long, narrow party, filled with musicians spilling over from the festival, passing joints and bottles up and down like a bucket brigade.

Linda went to the bar for some beers. Janis Joplin was hitting the Southern Comfort with her band at one table and Ravi Shankar was at another, drinking tea or whatever sitar players drink. Linda came back with the beers and went off to shower in Alan's room, figuring she'd be safe there. She was right about that too.

Diane was having a great time. I was whispering in her ear that we should go up to my room.

She gave me this long, quiet look.

"We won't do anything I don't want to? You promise?''

"What is it you don't want to do?''

"I'm not sure any more. That's the scary part.''

"I promise. Just stay with me.''

In my room, I slipped her out of her shorts, jumped out of my clothes and we curled under the covers. I was rubbing against her. I made my move.

"Don't.''

I held back. We kissed some more. I had a hard-on that would have gone through a plate of armor.

"Don't. No. Just stop there.''

When I started to pull back, she kissed me again. Hard. It was agony.

I got my hand between her legs. She recoiled and curled up in a ball. I pulled back. She locked her mouth on the side of my neck, then swirled her tongue around the inside of my ear.

She was gasping and crying and she had her fingers dug into my back. And every time I tried to get in she would pull back.

We came so close so many times that I could have just taken her if I was a little more forceful. But that has never been my style. I don't like to push my way in. I like women to give themselves to me on their own. It is the greatest compliment a man can get.

We spent all night like that. We kissed until our lips swelled up and our mouths were sore. We threw ourselves into each other, her twisting away at the last moment. By morning I was crazy with exhaustion; from everything that had happened to the band, pushing cars, lack of sleep, and blue balls.

But it was worth it. I could not forget Diane, and don't think I ever will. I kept in touch from the road. Eventually I did make love to her, but it was not that night. Not at Woodstock.

And by then, I was not the first.

We said good-bye in the hotel lobby and before noon the rest of the band and I were back in another airplane, heads flopped on our shoulders, zonked out cold with fatigue, flying to Atlantic City. Another day, another gig. But I had changed my mind.

Woodstock. It wasn't such a bad idea. Glad I went.