
The loudest, most virtuosic chapter. The power trio as an invention (Cream) that forces the guitar into godhood; the extended live jam traced straight back to call-and-response; "Crossroads" as a Robert Johnson song turned rocket; the Marshall-stack volume arms race; Clapton and Duane Allman's "Layla" crossing threads with the Southern Rock series. Then Hendrix — a chitlin'-circuit bluesman to the core, discovered by a Brit and flown to London, who used feedback and the studio as instruments, called his music the "electric church," and turned the national anthem into a howl at Woodstock. And Johnny Winter — Texas fire who turned around and produced Muddy Waters' Grammy-winning comeback, paying the whole debt back. The secret hero throughout: volume itself as a new expressive tool.
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