Carlos Santana: A Biography (Greenwood Biographies) by Norman Weinstein

By Norman Weinstein

Carlos Santana: A Biography explores the existence and song of this impressive guitarist, starting from his expert beginnings—his first common gig used to be at a Tijuana strip club—and early good fortune in San Francisco to the definitive songs and albums of the Nineteen Seventies, the industrial resurgence with 1999's Supernatural, his induction into the Rock and Roll corridor of popularity, and his present paintings with manufacturer invoice Laswell.Unlike different biographies, this booklet bargains a accomplished examine Santana's transitions via numerous musical kinds past rock, together with blues, salsa, jazz, and international song. It additionally portrays Santana as a great deal a baby of the eclectic musical tradition of the Nineteen Sixties, in addition to displaying the profound impact of the recent Age move on Santana's lifestyles and song.

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Extra info for Carlos Santana: A Biography (Greenwood Biographies)

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But initially, the promise of LSD offering a utopian vision of free-form guitar improvisation, bringing music ‘‘in tune’’ with the cosmos, was as emotionally thrilling for Carlos as it was for many other rock guitarists his age. ’’ For Carlos, that was a kind of holy trinity temporarily substituting for the Trinity of his parents’ Mexican Catholicism. As was common to many artistically creative teenagers at that time, Carlos found a guide to alternative music and lifestyle corners in the Bay Area through his friendship with Stan Marcum.

6. Ben Fong-Torres, Not Fade Away: A Backstage Pass to 20 Years of Rock and Roll (San Francisco: Miller Freeman, 1999), 105. 7. Alan di Perna, liner notes for Santana: Live at the Fillmore ’68 (Columbia Legacy C2K 64860, 1997). 8. Ibid. Chapter 3 COSTS OF FAME AND FORTUNE THE FIRST THREE HIT ALBUMS: PEAKS AND VALES FOR SANTANA The first three albums by Santana were products of a stable core of musicians. Carlos did all of the lead guitar work while Gregg Rolie handled keyboards and vocals. David Brown played bass while the thundering percussion section comprised Michael Shrieve on trap drums, Michael Carabello on conga drum, and Chepito Areas on conga and timbales.

Particularly catching his ear were Bobby Parker, B. B. King, Freddie King, and Lightnin’ Hopkins. It is helpful to remember that as Carlos entered his teen years many of the powerful California radio stations that could be received in Mexico were broadcasting what was then identified as ‘‘Negro’’ music, an umbrella term encompassing not just blues and early rock ’n’ roll, but gospel and jazz as well. 4 Seven years later KGFJ would become one of the first radio stations in the country to employ disc jockeys of both races to play rock ’n’ roll.

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