A Green Guitar God with a Unique Tone and Soulful Voice

In memoriam of Peter Green

“Playing fast is something I used to do with John [Mayall] when things weren’t going well. But it isn’t any good. I like to play slowly and feel every note.” I think this quote from Peter Green, which was included in a June 16, 2020 feature by Guitar World, nicely reflects the philosophy of the English guitarist. About six weeks after that story had been published, Green passed away “peacefully in his sleep” on July 25, 2020 at the age of 73, as reported by the BBC and many other media outlets. This post is a late recognition of a great artist I only had known from some of his excellent work with the early Fleetwood Mac.

It’s really unfortunate that oftentimes it takes a death or other tragic event to get somebody on your radar screen. When it came to Peter Green, I first and foremost viewed him as this great British guitarist who wrote the fantastic tune Black Magic Woman, which I initially thought was a Santana song, and Albatross, an instrumental with one of the most beautiful guitar tones I’ve ever heard. As I started to explore some of Green’s post-Fleetwood Mac work, perhaps one of the biggest revelations was that apart from his guitar chops he also had a pretty good voice.

This post doesn’t aim to be a traditional obituary. You can find plenty of such pieces elsewhere. Instead, I’d like to focus on Green’s music, especially beyond Fleetwood Mac. Interestingly, Peter Allen Greenbaum who was born in London on October 29, 1946, started his music career as a bassist. According to the above BBC story, it was an encounter with none other than a young Eric Clapton that convinced Green to switch to guitar. “I decided to go back on lead guitar after seeing him with the Bluesbreakers. He had a Les Paul, his fingers were marvellous. The guy knew how to do a bit of evil, I guess.”

Not only did Green manage to retool fairly quickly, but before he knew it, he ended up replacing Clapton in The Bluesbreakers. Here’s a nice anecdote that’s included in the previously noted feature in Guitar World. When John Mayall & The Bluesbreakers assembled for the sessions to record their sophomore album A Hard Road in October 1966, producer Mike Vernon nervously asked, “Where’s Eric Clapton?” Mayall replied, “He’s not with us any more, but don’t worry, we’ve got someone better.” Apparently, somewhat in disbelief, Vernon said, “You’ve got someone better – than Eric Clapton?” Mayall responded, “He might not be better now, but in a couple of years, he’s going to be the best.” The Godfather of British Blues simply knew talent when he saw it!

Here’s The Supernatural from A Hard Road, a track Green wrote. Check out that mighty guitar tone! It reminds me a bit of Black Magic Woman. The instrumental helped establish Green’s trademark sound and earn him the nickname “The Green God.” In case you didn’t know what inspired the post’s headline, now you do!

By July 1967, Green had left The Bluesbreakers and formed his new band initally called Peter Green’s Fleetwood Mac Featuring Jeremy Spencer. Apart from Green (vocals, guitar, harmonica), the lineup included Mick Fleetwood (drums), Jeremy Spencer (vocals, slide guitar, piano) and John McVie (bass). Not only had all of them been previous members of The Bluesbreakers, but John Mayall turned out to be the band’s enabler by offering Green free recording time. Mayall strikes me as somebody who was more than happy to provide apprenticeships to talented up and coming musicians! Here’s Long Grey Mere, a tune Green wrote for Fleetwood Mac, the February 1968 debut by the band that by then was called Peter Greene’s Fleetwood Mac. Bob Brunning, who technically was the band’s first bassist before John McVie joined, played bass on the track.

In early 1970, Fleetwood Mac were on tour in Europe. At that time, Green had become a frequent user of LSD. In Munich, Germany, he ended up visiting a hippie commune and “disappearing” for three days. A New York Times obituary included a later quote from Green saying he “went on a trip, and never came back.” After a final performance on May 20 that year, he left Fleetwood Mac. The following month, Green started work on what became his first solo album, The End of the Game. Released in December of the same year, the record featured edited free-form jazz rock jam sessions, marking a radical departure from his music with the Mac. Here’s the title track.

Following his solo debut, Green’s output became unsteady. In 1971, he briefly reunited with Fleetwood Mac, filling in for Jeremy Spencer after his departure to help the band complete their U.S. tour under the pseudonym Peter Blue. Beasts of Burden is a single Green recorded with fellow British guitarist Nigel Watson, who many years later would become part of Peter Green Splinter Group. The tune later was added to an expanded version of the above album.

Eventually, Green’s mental health issues took a heavy toll. He was diagnosed with schizophrenia and ended up being in psychiatric hospitals in the mid-’70s, undergoing electroconvulsive therapy – yikes! To me, this frighteningly sounds like One Flew Over the Cuckoo’s Nest, the 1975 picture starring Jack Nicholson, one of his best performances I’ve ever watched. Luckily, Green reemerged professionally and in May 1979 released his sophomore solo album In the Skies. Here’s the great title track and opener, which Green co-wrote with his wife Jane Greene (nee Samuels) whom he had married in January 1978. Sadly, the marriage was short-lived and ended in divorce in 1979.

Starting with his next album Little Dreamer from April 1980, Green mostly relied on others to write songs for him, including his brother Mike Green (born Michael Greenbaum) for next few years. Here’s the groovy opener Loser Two Times. While the song was written by Mike Green, one cannot help but notice these words feel very autobiographic. I’m a loser two times/I’m a loser two times/I tried to change my ways but I was too blind/I lost my money, I lost my girl/And now I’ve almost lost my mind/Yes, I’m a loser two times…

Peter Green’s first reemergence from his health challenges ended with Kolors, his sixth solo album from 1983, which largely consisted of songs from previous recording sessions that had been unreleased. According to The New York Times, Green’s medications essentially incapacitated him. Eventually, he managed to wean himself from prescription tranquilizers in the ’90s. In 1997, he returned to music for the second time with Peter Green Splinter Group. Here’s Homework from their eponymous first album, a tune by Dave Clark and Al Perkins I had known and liked for many years by The J. Geils Band. The Splinter Group’s rendition features Green on lead vocals.

Time Traders, which appeared in October 2001, was the Splinter Group’s sixth album. Unlike their predecessors that had largely featured covers, especially of Robert Johnson, Time Traders entirely consisted of original tunes that had been written by members of the band. Here’s Underway, an instrumental by Green, which first had appeared on Fleetwood Mac’s third studio album Then Play On from September 1969. The track showcases more of that magic tone Green got out of his guitar.

February 2003 saw the release of the Splinter Group’s eighth and final album Reaching the Cold 100. Here’s Don’t Walk Away From Me, written by Roger Cotton, who played guitar, keyboards and organ in the band, featuring Green on guitar and vocals. Beautiful tune with a great sound – and yet another good example of Green’s vocal abilities!

The final track I’d like to highlight is Trouble in Mind, which Peter Green released together with Ian Stewart, Charlie Hart, Charlie Watts and Brian Knight in February 2009. Written by jazz pianist Richard M. Jones, the blues standard was first recorded by singer Thelma La Vizzo in 1924. It was also covered by Dinah Washington, Nina Simone and many other artists.

Peter Green was inducted into the Rock & Roll Hall of Fame in 1998 together with Fleetwood Mac, including Stevie Nicks, Mick Fleetwood, Lindsey Buckingham, John McVie, Jeremy Spencer, Danny Kirwan and Christine McVie. In June 1996, Green was voted the third greatest guitarist of all time in Mojo magazine. And in December 2015, Rolling Stone ranked him at no. 58 in their list of 100 Greatest Guitarists of All Time. No matter how you rank Peter Green, there’s no doubt the “Green God” was a master of tone and I think an undervalued vocalist.

Sources: Wikipedia; Guitar World; BBC; The New York Times; Rolling Stone; YouTube

When the Music Does the Singing

A collection of guitar-driven instrumentals

Frequent visitors of the blog and others who have a good idea about my music taste know I really dig vocals, especially multi-part harmony singing. In fact, when it comes to artists like The Temptations, I could even do without any backing music. That’s why felt like shaking things up a little and putting together this collection of tracks that shockingly don’t have any vocals. Once I started to reflect, it was surprisingly easy to find instrumentals I really like – yes, they do exist and, no, I don’t miss the vocals!

Since I still play guitar occasionally (only to realize how rusty I’ve become!), I decided to focus on primarily guitar-driven tracks. While I’m sure you could point me to jazz instrumentals I also find attractive, the reality is I’m much more familiar with other genres, especially in the rock and blues arena. Most of the tracks in this post came to my mind pretty quickly. The John Mayall and the Blues Breakers and Steve Vai tunes were the only ones I picked from a list Guitar World put together.

The Shadows/Apache

I’ve always thought Hank Marvin had a really cool sound. Here’s Apache, which was written by English composer Jerry Lordan and first recorded by Bert Weedon in 1960, but it was the version by The Shadows released in July of the same year, which became a major hit that topped the UK Singles Chart for five weeks.

John Mayall and the Blues Breakers/Steppin’ Out

Steppin’ Out is a great cover of a Memphis Slim tune from the debut studio album by John Mayall and the Blues Breakers from July 1966. It was titled Blues Breakers with Clapton featuring, you guessed it, Eric Clapton, who had become the band’s lead guitarist following the release of their first live album John Mayall Plays John Mayall that appeared in March 1965.

Pink Floyd/Interstellar Overdrive

My Pink Floyd journey began with their ’70s classics Wish You Were Here and The Dark Side of the Moon. Much of their early phase with Syd Barrett was an acquired taste, especially experimental tunes like Interstellar Overdrive from Floyd’s debut The Piper at the Gates of Dawn released in August 1967. It’s one of only two tracks on the album credited to all members of the band at the time: Barrett, Roger Waters, Richard Wright and Nick Mason.

Deep Purple/Wring That Neck

Wring That Neck is a kick-ass tune from Deep Purple’s sophomore album The Book of Taliesyn that appeared in October 1968. As was quite common for the band, Jon Lord’s mighty Hammond organ pretty much had equal weight to Ritchie Blackmore’s guitar. That’s always something I’ve loved about Deep Purple, as much as I dig guitar-driven rock. Wring That Neck was co-written Blackmore, Lord, bassist Nick Semper and drummer Ian Paice.

Fleetwood Mac/Albatross

Yes, I know, I featured this gem only recently on July 25 when Peter Green sadly passed away at the age of 73. I’m also still planning to do a follow-up on this extraordinary guitarist. But I just couldn’t skip Albatross in this collection, which Green wrote and recorded with Fleetwood Mac in October 1968. The track was released as a non-album single the following month. It’s a perfect example of Green’s style that emphasized feeling over showing off complexity, speed and other guitar skills. With it’s exceptionally beautiful tone, I would rate Albatross as one of the best instrumentals, perhaps even my all-time favorite, together with another track that’s still coming up.

The Allman Brothers Band/Jessica

Jessica first appeared on The Allman Brothers Band’s fourth studio album Brothers and Sisters from August 1973. It also became the record’s second single in December that year. Written by lead guitarist Dickey Betts, the tune was a tribute to jazz guitar virtuoso Django Reinhardt. Betts named the tune after his daughter Jessica Betts who was an infant at the time. When you have such beautiful instrumental harmonies, who needs harmony vocals? Yes, I just wrote that! 🙂

Santana/Europa (Earth’s Cry Heaven’s Smile)

Santana’s Europa (Earth’s Cry Heaven’s Smile) is the other above noted tune, which together with Albatross I would perhaps call my all-time favorite guitar-driven instrumental. In particular, it’s the electric guitar tone that stands out to me in both of these tracks. Co-written by Carlos Santana and his longtime backing musician Tom Coster who provided keyboards, Europa was first recorded for Santana’s seventh studio album Amigos from March 1976. It also appeared separately as a single and was also one of the live tracks on the Moonflower album released in October 1977.

Steve Vai/The Attitude Song

When it comes to guitarists and their playing, I’m generally in the less-is-more camp. That’s why I really must further explore Peter Green whose style should be up right up my alley. Sometimes though shredding is okay. I was going to include Eddie Van Halen’s Eruption, but it’s really more an over-the-top guitar solo than an instrumental. So I went with Steve Vai and The Attitude Song, a track from his solo debut album Flex-Able from January 1984. I definitely couldn’t take this kind of music at all times. In fact, as I’m listening to the tune while writing this, it’s actually making me somewhat anxious. While the harmony guitar and bass action sound cool, like most things, I feel it should be enjoyed in moderation! 🙂

Stevie Ray Vaughan/Scuttle Buttin

Scuttle Buttin’ by Stevie Ray Vaughan isn’t exactly restrained guitar playing either. But while like The Attitude Song it’s a shredder, the tune has never made me anxious. I think that’s largely because I really dig Vaughan’s sound. Yes, he’s playing very fast and many notes, yet to me, it comes across as less aggressive than Vai who uses more distortion. Written by Vaughan, Scuttle Buttin’ appeared on his excellent second studio album Couldn’t Stand the Weather released in May 1984.

Jeff Beck/A Day in the Life

The last artist I’d like to feature in this collection is another extraordinary guitarist with an amazing tone: Jeff Beck. His unique technique that relies on using his thumb to pick the guitar strings, the ring finger to control the volume knob and his pinkie to work the vibrato bar of his Fender Stratocaster creates a unique sound no other guitar player I’ve heard has. Here’s Beck’s beautiful rendition of The Beatles tune A Day in the Life. It was included on In My Life, an album of Fab Four covers compiled and produced by George Martin, which appeared in October 1998.

Sources: Wikipedia; Guitar World; YouTube

What I’ve Been Listening to: Sheila E./Iconic: Message 4 America

Last week, I watched Ringo Starr’s Big Birthday Party and thought the highlight of the one-hour virtual event was Sheila E. and her sizzling performance of Come TogetherRevolution. It turned out E. had previously recorded the medley for her most recent eighth studio album Iconic: Message 4 America released in August 2017. A couple of nights ago, I found myself listening to this covers album and liked what I heard – a lot!

For E.’s background, I’m borrowing from a previous August 2017 post about my favorite drummers. Born Sheila Escovedo, E. was influenced and inspired by her musical family. Since the late 60s, her Mexican-American father Pete Escovedo, a percussionist, was influential in the Latin music scene, touring with Santana from 1967 to 1970. Her uncles were musicians as well, and her godfather was none other than Tito Puente.

At the age of 5, E. gave her first live performance. By her early 20s, she had already played with the likes of George DukeMarvin Gaye and Herbie Hancock. In 1978, she met Prince who became an important mentor and with whom she worked various times. In 1984, E. started a solo career. She also worked with many other artists, including Ringo Starr, performing with his All-Starr Band in 2001, 2003 and 2006.

As reported by Rolling Stone, it was Donald Trump’s denunciation of Mexicans as “murderers and rapists” during his official campaign launch announcement in 2015, along with the death of Prince in April 2016, which prompted E. to record Iconic, an album featuring remakes of social justice anthems. In addition to selecting songs by the likes of Marvin Gaye, Curtis Mayfield, Stevie Wonder and James Brown, E. got help from multiple guests, most notably Starr and Freddie Stone, co-founder, guitarist and vocalist of Sly and the Family Stone. Her father and two other family members were among the other guests.

“So for the Iconic project, you know, the state that the country is in… I’m doing these songs based on the lyrical content, which, when I grew up in the ’60s and the ’70s, these songs were pretty amazing,” E. told Billboard. “They’re relevant. So I wanted to do “Come Together,” The Beatles song with Ringo Starr, which we did, and the only one that wasn’t written [that long] ago was “America.” But it means something…So it was just important to what’s happening in our country.” America is a tune about the state of the U.S. during the Reagan Administration, which Prince had written for his 1985 studio album Around the World in a Day.

Let’s get to some music. Since I previously featured Come TogetherRevolution here, I’m skipping it and go directly to Everyday People. Written by Sly Stone, the tune was originally released as a single by Sly and the Family Stone in November 1968. It was also included on the band’s fourth studio album Stand! from May 1969. As noted above, Freddie Stone joins E. on vocals. He also plays guitar.

Inner City BluesTrouble Man is a cool medley of two songs Marvin Gaye performed. Inner City Blues, co-written by Gaye and James Nyx, Jr., appeared on What’s Going On, Gaye’s 11th studio album from May 1971. Trouble Man is the title track of Gaye’s follow-on studio record that came out in December 1972. It was written by him. On the album’s recording, E. is joined on vocals by saxophonist Eddie Mininfield.

With so many great covers on Iconic, it’s hard to select which ones to call out. One of the funkiest undoubtedly is the James Brown Medley, which melds together five tunes: Talkin’ Loud And Sayin’ Nothing, co-written by Brown and Bobby Bird (There It Is, June 1972); Mama Don’t Take No Mess, co-written by Brown, John Starks and Fred Wesley (Hell, June 1974); Soul Power, written by Brown (single, March 1971); Get Involved, co-written by Brown, Bird and Ron Lenhoff (Revolution of the Mind: Live at the Apollo, Volume III, December 1971); and Super Bad, written by Brown (Super Bad, 1971). For this recording, E. is joined by Bootsy Collins on vocals, who also provides bass and guitar. Collins played with Brown in the early ’70s and later with Parliament-Funkadelic. Let’s hit it!

Next up: A beautiful version of Blackbird. Per Songfacts, Paul McCartney wrote the song about the civil rights struggle for African Americans after he had read the U.S. federal courts had forced racial desegregation in the school system of Little Rock, Ark. Blackbird was first recorded for The White Album that appeared in November 1968. E.’s rendition transforms the acoustic guitar tune to a mellow piano-driven ballad. The lovely cello part is played by studio musician Jodi Burnett.

The last tune I’d like to call out is the Curtis Mayfield classic Pusherman. It appeared on Mayfield’s third solo album Super Fly from July 1972. The great guitar part on E.’s version is played by Mychael Gabriel, a musician, songwriter, performer, audio engineer, mixer, producer, who began his career as a 16-year-old, doing record engineering for E.

Iconic: Message 4 America may “only” be a covers album, but I think the excellent song selection and E.’s renditions make listening to it worthwhile.

Sources: Wikipedia; Rolling Stone; Billboard; Songfacts; Discogs; YouTube

L.A. Funk Rock Band Cohort Releases Eponymous Studio Album

With Cohort being the second contemporary band I “discovered” in one day, it starts to feel a bit like I’m on a roll with stepping out of my ’60s and ’70s zone. At this time, it’s mostly some music from their new eponymous album I can offer, since there hardly seems to be any public information on this funk-oriented rock band. Cohort don’t even have a Facebook page, which I find somewhat puzzling. The following insights are based on Soundcloud and this YouTube clip.

Weirdly, just like my previous discovery Dustbowl Revival, Cohort hail from Venice, Los Angeles. What’s up with that? This beachfront neighborhood seems to be a hotbed for music! Cohort’s members include Tula Jussen (guitar, vocals), Josh Lipp (guitar), Miles Tobel (keyboards, saxophone), Jack Ross (bass) and Emilio Anamos (drums). They all seem to be quite young. The above YouTube clip, which was posted in July 2017, introduced them as a “teenage rock band.” But here’s the thing. No matter their age, they sound pretty mature on what seems to be their first full-fledged album.

Check out the following clips. Let’s kick things off with the funky opener Et, which features nice bass, guitar and sax work. This doesn’t exactly sound like some high school band!

Here’s another cool groovy tune: Oddball. Certainly nothing odd about this song.

Okay, do I have your attention? How about a softer tune? It still has a funky sound. Here’s Waiting (Return of the Relaxation).

Let’s do one more track. Here’s the nice closer Santa Ana. It’s another tune with a great groove. I also like the sax intro. Overall, I can hear a bit of a Santana vibe in here, especially if you imagine some congas and other percussion.

What else can I tell you about Cohort? In the above video, Jussen said, “We take a lot of influence from everywhere, Janis Joplin, Kurt Cobain and Jimi Hendrix.” That’s perhaps more obvious for the music they play in the clip than the tracks on this album.  I think this talented young band is on a promising path!

Sources: Soundcloud; YouTube

The Year That Was 2019

Highlights of my rock & roll journey during the past 12 months

It feels unreal to me Christmas and New Year’s are upon us again – not to mention a new decade! I still recall a conversation with a school friend when we were 12 years old. He and I imagined where we might be when the year 2000 comes. At the time, the turn of the century was still more than two decades out. It seemed so far away. Now, not only has 2000 come and go, but we’re 20 years down the road, baby – crazy how time flies!

Well, this post doesn’t span decades. The idea is much more moderate: Looking back at my personal music journey over the past 12 months, as documented by this blog. While to some extent it reflects what happened in music this year, it’s not a broad review piece. Since I mostly listen to ’60s and ’70s artists or new music they release, I couldn’t do a legitimate comprehensive look-back on 2019 in music.

In the past, I’ve said more than once most new music nowadays lacks true craftsmanship and sounds generic and soulless to me. And while I still largely ignore what dominates today’s charts, I’ve finally come to accept contemporary music isn’t inherently bad. It’s just different and I generally don’t like it. Here’s the good news: I don’t have to. There’s so much “old” music out there I’ve yet to discover, and while artists may retire or pass away, their music will stay. Forever. That’s the beauty of music. It means for those of us who dig it, rock & roll will never die! Okay, enough with the wise-cracking and on to some highlights of my music journey this year.

Concerts

As a retired band-turned-closet musician, live music remains the ultimate thrill to me. Yes, ticket prices continue to be outrageous for most top acts, and that’s not going to change. But this hasn’t deterred me yet from seeing artists I dig. However, it did require being more selective (for example, I skipped Steely Dan and The Doobie Brothers, since I had seen both in 2018) and oftentimes settling for cheaper seats.

My two concert highlights this year were The Rolling Stones at MetLife Stadium in East Rutherford, N.J. in early August and The Who at New York’s Madison Square Garden in May. I had seen both before, but since they are among my longtime favorite bands and in the twilight of their careers, I simply did not want to miss the opportunity. I’m glad I was able to catch both, especially The Who. At the time I bought my ticket, I had not realized this wasn’t a “regular” gig but The Who backed by a symphonic orchestra. Had I understood this, it may have deterred me. But the concept worked pretty well, so I’m happy I didn’t read the fine print! Here’s a clip from each show: Jumpin’ Jack Flash and the Love Reign O’er Me, two tunes that will never go out of style in my book!

I also saw various other great shows: Walter Trout (The Iridium, New York, April 9), Joe Jackson (State Theatre, New Jersey, New Brunswick, May 18), Govt’ Mule (The Stone Pony, Asbury Park, N.J., June 28), Southern Avenue (The Wonder Bar, Asbury Park, N.J., July 11) and Hall & Oates (Fairgrounds, Allentown, Pa.). I wouldn’t have gone to that last concert, had it not been for my wife. While I wouldn’t call myself a Hall & Oates fan, it was a great show.

As King/Emperor of Tribute Bands (blame Music Enthusiast for the title! 🙂 ), this concert section wouldn’t be complete without acknowledging the many tribute shows that continued to attract me. I know some folks roll their eyes when they hear the word tribute band. I find nothing wrong listening to music I dig, especially when it’s faithfully captured. Among the many tribute concerts I saw, two stood out: Pink Floyd tribute Brit Floyd (Sands Bethlehem Event Center, Bethlehem, Pa., March 30) and the annual Rock The Farm Tribute Festival (Seaside Heights, N.J., September 28). Here’s a clip from the Brit Floyd gig: Comfortably Numb – epic!

And then there’s of course Woodstock’s 50th anniversary. I finally got to see the director’s cut of the documentary on the big screen. While I can’t deny 224 minutes is pretty massive, I enjoyed every minute of it. Here’s the main post I did to commemorate the festival. And here’s a clip of one of the most iconic rock performances of all time: Joe Cocker and With A Little Help From My Friends.

New Music

As stated above, for the most part, new music means new albums released by “old” artists I dig. As I looked back through my previous posts, I was surprised to find that I reviewed 22 new albums. Granted this number includes three live albums (The Doobie Brothers/Live From The Beacon Theatre, The Rolling Stones/Bridges To Bremen and Paul McCartney/Amoeba Gig) and an excellent posthumous compilation by Tom Petty And The Heartbreakers (The Best Of Everything), which do not feature new music. Even if you exclude these, it still leaves you with 18 albums. This makes me wonder what I would do if I also paid more attention to contemporary artists. It pretty much would be impossible to review their new music as well, given I have a family and a full-time job – another good reason to focus on what I truly dig! 🙂

Albums by “old hands” I’d like to call out are The Who (WHO), Booker T. (Note By Note), Neil Young (Colorado), Ringo Starr (What’s My Name), Santana (Africa Speaks),  Little Steven And The Disciples of Soul (Summer of Sorcery), Joe Jackson Fool and Sheryl Crow (Threads). One artist who seems to be missing here is Bruce Springsteen and Western Stars. While I dig Springsteen and don’t think it’s a bad record, it just doesn’t speak to me the way other music by The Boss does, so I ended up skipping a review. Crow said Threads is her final full-fledged release, explaining in the age of streaming music, most people make playlists and no longer listen to entire albums. Boy, this statement really reflects how much listening habits and the music business have changed! Here’s Live Wire, a nice bluesy tune co-written by Crow and Jeff Trott and featuring Bonnie Raitt and Mavis Staples.

There were also some new blues releases I enjoyed by both older and younger artists, including Walter Trout (Blues Survivor), Jimmie Vaughan (Baby, Please Come Home), Kenny Wayne Shepherd Band (The Traveler) and “wunderkind” Jontavious Willis (Spectacular Class), as Taj Mahal has called him. How about some music from Willis’ sophomore album? By the way, it was executive-produced by Mahal. Here’s opener Low Down Ways.

I also would like to call out albums from three other contemporary artists: Rick Barth (Fade), SUSTO (Ever Since I Lost My Mind) and Southern Avenue (Keep On). If you’re a more frequent visitor of the blog, you may recall Southern Avenue is one of the very few young bands I truly dig. I just love how these guys blend blues, soul and R&B, and the vocals are just killer! Here’s the title track from the above album, which is their second one. The tune was co-written by guitarist Ori Naftaly, lead vocalist Tierini Jackson and producer Johnny Black. There’s just something about Southern Avenue’s sound I find really seductive.

Coolest Clip

I think I came across a number of great clips I posted throughout the year. One of the best has to be this footage of The Who performing Won’t Get Fooled Again. That’s the raw power of rock & roll! It was filmed on May 25, 1978 at England’s Shepperton Studios, about 20 miles southwest of London, for the closing sequence of the band’s rockumentary The Kids Are Alright. And then, there’s this very different but equally mesmerizing clip: a live demonstration of the Hammond B3 by the amazing Booker T. Jones. To really get excited about it, I realize maybe you need to be a musician.

And Finally…

2019 marks the third full year I’m doing this blog. While I really wanted to start writing about my passion, I wasn’t sure whether I could keep it going when I set out in June 2016. Due to personal reasons, I had to slow down a bit during the past couple of months. But music and writing about artists I dig is therapy to me, so I have every intention to continue and hopefully pick up the pace again. When starting the blog, I also felt I’m doing this for myself first and foremost, not to become some “Internet sensation.” While that is still the case, I can’t deny it’s great to see visitors and that traffic has trended up nicely. Of course, growing from tiny numbers is relatively easy, and there is realistically no way I can keep up the current momentum.

Blog Stats

I’m leaving you with a clip from my most popular post this year (measured by total views): The above mentioned Rock The Farm Tribute Festival. The positive reception made me really happy, since it’s great music for a great cause. Here’s It’s Late by Canadian Queen tribute Simply Queen.

I’d like to thank all visitors for reading and especially those who go through the trouble of leaving comments. I always love getting feedback, even if I may not agree with everything folks say. But that’s cool.

Merry Christmas!

Merry Christmas Emoji

Sources: Christian’s Music Musings; YouTube

They All Went Down To Yasgur’s Farm, And Everywhere There Was Song And Celebration

…By the time we got to Woodstock/We were half a million strong/And everywhere was a song and a celebration/And I dreamed I saw the bomber death planes/Riding shotgun in the sky/Turning into butterflies/Above our nation… (excerpt from Joni Mitchell tune Woodstock)

Next week is the 50th anniversary of Woodstock, which took place from August 15-18, 1969. Much has been written about this festival, which officially was titled the Woodstock Music & Art Fair. The initiators Michael LangArtie KornfeldJoel Rosenman and John P. Roberts. The selection of the venue, which ended up being Max Yasgur’s 600-acre dairy farm in Bethel, N.Y. The acts who were not invited or and those who were but chose to decline or didn’t make it there. The artists who performed at the event. The overcrowding with an audience exceeding 400,000 people, more than twice the 200,000 that had been expected, based on advance sales of 186,000 tickets. The mud bath conditions resulting from bad weather.

Woodstock Poster

As a huge fan of music from that era, it felt natural to commemorate this extraordinary moment in 20th Century entertainment history. At the same time, I did not want to create yet another write-up that recaps the history. Instead, this post focuses on what my blog is supposed to be all about: Music I love and therefore like to celebrate. Following are some performance highlights from Woodstock. Since I didn’t have strong feelings about a particular order, I decided to go chronologically.

Let’s kick it off with Richie Havens, the opening act on the first day, Friday, August 15, in the late afternoon, and his riveting performance of Freedom. It was an improvised encore based on the traditional spiritual Motherless Child. “When you hear me play that long intro, it’s me stalling. I was thinking, ‘What the hell am I going to sing?'” he later explained, according to Songfacts. “I think the word ‘freedom’ came out of my mouth because I saw it in front of me. I saw the freedom that we were looking for. And every person was sharing it, and so that word came out.” Sounds like a cool story.

Sweet Sir Galahad is a tune by Joan Baez. Like in other cases at Woodstock, her performance predated the actual recording and release of the song, which first appeared on her 1970 studio album One Day At A Time. BTW, when Baez played it at the festival, it was already past 1:00 am on Saturday, August 16. In order to squeeze the 32 acts into the three days, many artists ended up performing after midnight. As you might imagine, some weren’t exactly happy about it.

Undoubtedly, one of Woodstock’s highlights I’ve seen is Soul Sacrifice by Santana. The band played on Saturday afternoon. Credited to Carlos Santana (guitar), Gregg Rolie (keyboards), David Brown (bass) and Marcus Malone (congas), Soul Sacrifice was included on the band’s eponymous studio debut album, released two weeks after their iconic appearance at the festival. I’ve watched this clip many times, and it continues to give me goosebumps. These guys were lightening up the stage. Live music doesn’t get much better than that. This appearance in and of itself already would have justified Santana’s place in music history. Of course, there was much more to come.

Moving on to Saturday evening brings us to blues rockers Canned Heat and their great tune On The Road Again. Co-credited to the band’s vocalist Alan Wilson, who also played harmonica and guitar, and blues artist Floyd Jones, the track was adapted from earlier blues songs. It first appeared on Canned Heat’s second studio album Boogie With Canned Heat released in January 1968. At Woodstock, it was the band’s closer of their set – what a way to wrap things up!

Next up: Born On The Bayou, one of the killer tunes by Creedence Clearwater Revival. Written by John Fogerty, the song was included on CCR’s sophomore album Bayou Country from January 1969. The band was among the acts performing in the wee wee hours of Sunday morning, August 17. I recall reading that Fogerty wasn’t happy with that time slot, saying the audience was half asleep. That’s why he refused CCR’s inclusion in the 1970 Woodstock documentary, something this band mates felt was a mistake, but John was the undisputed boss. However, footage of CCR is featured in an expanded 40th anniversary edition of the film, which came out in June 2009.

Another highlight of the early hours of Sunday was Janis Joplin with The Kozmic Blues Band. Here’s Try (Just A Little Bit Harder), the opener of Joplin’s third studio album I Got Dem Ol’ Kozmic Blues Again Mama! from September 1969. The song was co-written by Jerry Ragovoy and Chip Taylor. I don’t feel there was any way Joplin could have tried any harder to sing that song than she did. Similar to Santana, the energy of her performance was through the roof. And all of this after 2:00 am in the morning – whatever substance she was on, it apparently worked!

If I see this correctly (based on Wikipedia), the set with the most songs at Woodstock  belonged to The Who with 22 tracks. They kicked their gig off at 5:00 am on Sunday. Again, what a crazy thought to play at that time! Still, the kids certainly were alright. Here’s We’re Not Gonna Take It/See Me, Feel Me, the final track from Tommy, the band’s fourth studio album that appeared in May 1969. Like most tunes on the record, it was written by Pete Townshend.

Apart from Jimi Hendrix’s rendition of The Star-Spangled Banner, perhaps the most iconic performance at Woodstock was With A Little Help From My Friends by Joe Cocker, the first act who officially opened the festival’s final day on Sunday afternoon. To me, Cocker’s version of The Beatles’ tune is the best rock cover I know. He truly made it his own. In fact, The Beatles were so impressed with it that they allowed him to cover more of their songs like She Came Into The Bathroom Window. With A Little Help From My Friends was the title track of Cocker’s debut album from May 1969. What an amazing performance!

On to 3:00 am on Monday, August 18 and Crosby, Stills, Nash & Young. For the most part, including set opener Suite: Judy Blue Eyes, it was actually David Crosby, Stephen Stills and Graham Nash only. Neil Young skipped most of the acoustic songs but joined the band during the electric set. Neil being Neil, he also refused to be filmed, feeling it was distracting to both the performers and the audience. Written by Stills, Suite: Judy Blue Eyes was the opening track of CSN’s debut album from May 1969.

A post about Woodstock’s musical highlights wouldn’t be complete without the closing act: Jimi Hendrix. Playing on Monday from 9:00 to 11:00 am, it looks like he had the longest set. Here is his unforgettable rendition of the aforementioned The Star-Spangled Banner. Hendrix effectively used heavy guitar distortion, feedback and sustain to imitate the sounds from rockets and bombs. He truly gave it all he got and collapsed from exhaustion while leaving the stage after his encore Hey Joe.

Woodstock’s original co-creator Michael Lang also helped organize a planned 50th anniversary festival. However, after a series of production issues, venue relocations and artist cancellations, it was canceled on July 31, 2018. A second Woodstock anniversary festival was planned at Bethel Woods Center for the Arts, but in February, the Center announced that instead it will focus on “A Season of Song & Celebration” for the entire summer. The anniversary dates coincide with concerts from Ringo Starr and His All Starr Band (Aug 16), Santana with The Doobie Brothers (Aug 17) and John Fogerty with Tedeshi Trucks Band & Grace Potter (Aug 18).

I’ll leave you with a little fun fact: Tickets for Santana with The Doobies start at about $128.00 (including fees). By today’s standards, sadly, this is fairly normal. But, to be clear, these tickets are the cheapest and will only get you the lawn, the area farthest away from the stage. By comparison, tickets for the entire Woodstock festival in 1969, which as noted above included 32 acts, sold for $18.00 in advance and $24.00 at the gate. That’s the equivalent of approximately $123.00 and $164.00 today. Once again, we see the times they are a changin!

Sources: Wikipedia, Songfacts, Syracuse.com, Bethel Woods Center for the Arts website, YouTube

Santana Celebrates Africa On Seductive New Studio Album

Deep in the jungle, beyond the reach of greed/You hear the voices of spirits/With their frequency of light/Making sounds like the crackling of stars at night/Communicating with plants, animals and mankind/Affirming the universal truth…All and everything was conceived here in Africa/The cradle of civilization. These words, spoken by Carlos Santana, are the intro to his new album Africa Speaks that was released yesterday. After having listened to it for a couple of times, I’m pretty excited about the infectious grooves and Carlos’ guitar-playing, which continues to amaze me. This record is made for summer!

Appearing on Concord Records, Africa Speaks is Santana’s 25th studio album and his first with producer Rick Rubin. It was recorded together with Santana’s band at Rubin’s Shangri La Studios in Malibu. The record also features two female singers with African heritage: Spanish vocalist María Concepción Balboa Buika, who goes by Buika, and on one track British singer Laura Mvula. Santana’s website characterizes the music as inspired by the melodies, sounds and rhythms of Africa, but in many ways, this is a classic Santana album combining Latin Afro-Cuban rhythms with Carlos’ mighty signature guitar sound.

Carlos Santana

In January, Santana told this to Rolling Stone about the upcoming album, which then was supposed to be titled Global Revelation: “I went to Rick to see if he would, as Miles Davis would say, ‘Would you have eyes to do something with me? I know you’ve worked with everybody like Johnny Cash and the Chili Peppers and Metallica,’ And he goes, ‘Well, what are you interested in doing?’ I said, ‘Nothing but African music.’ So can you believe it? We record 49 songs in 10 days. He was very gracious, because it was like a hurricane to record six, seven songs in a day. Rick said, ‘With Clive Davis, you had a bunch of guest stars and singers. Who do you want in here?’ I said, ‘I only want two women: Laura Mvula and Buika.’ And he said, ‘OK.’ So we called them and they said yes.”

Let’s get to some music. Here’s the opener Africa Speaks. The tune has a bit of a mysterious vibe to it. I also like how it builds. And once Santana comes in with his great guitar sound, man, the track just takes off!

Oye Este Mi Canto starts with a smooth laid back Latin jazz feel to it, with Buika shining on vocals. Then check out what happens at around 2 minutes and 28 seconds: Things pick up, with Santana coming in playing a great wah-wah guitar solo. And all for a sudden, it feels like going back 50 years to Woodstock. Then at around 3 minutes and 50 seconds, the song resumes its initial groove – so cool!

Here’s Blue Skies, the track featuring Laura Mvula, who is sharing vocals with Buika. Not sure why Apple Music and YouTube don’t mention her – either an embarrassing oversight or outright disrespectful!

Paraísos Quemados is one of my favorite tunes on the album. I just dig the funky groove and the excellent bassline by Benny Rietveld. As a Hammond fan, I also like what David K. Mathews is doing on the keys. Oh, and did I mention Carlos on guitar?

The last track I’d like to highlight is Breaking Down The Door, which according to a Rolling Stone review is a cover of the Calypso Rose song Abatina, written by Manu Chao. Another nice tune that perhaps is a bit more conventional compared to most other tracks that have more of a fusion feel to it.

This review would be incomplete without acknowledging Santana’s excellent backing band. In addition to the above mentioned bassist and keyboarder Rietveld and Mathews, respectively, the line-up features Carlos’ wife Cindy Blackman Santana (drums),  Tommy Anthony (guitars and vocals), Andy Vargas and Ray Greene (both vocals), as well as percussionists Karl Perazzo and Paoli Mejías.

So what does Rick Rubin think about the album and its making? “I couldn’t believe what I was seeing,” he said during a filmed conversation. “Hearing it on record is one thing, but being in the room and watching it happen was another. I couldn’t imagine anyone who loves music sitting in the position I was in watching this not being blown away.”

“Carlos asked to meet and I had never met him before. He said he wanted to go into to the studio and start recording. And I said, ‘well, let’s talk about the songs and let’s listen to songs’ and he said, ‘well, I don’t really have any songs.’ And I said, ‘okay, interesting,’ and he said, ‘well, I have an idea.’ He played me some pieces of music and then he sent me an iPod filled with African music. And he said, ‘live with this for a little bit and then we’ll talk about it.’ I lived with it and it was fantastic!”

“And he said, ‘I think that’s the energy of what I wanna do, and I wanna start by jamming with the band, using these kinds of rhythms and see where it goes.’ Very unusual to work for me in that way. Usually, the song comes first, and the studio is more about documenting the thing we already know how it’s gonna go. In in this case, it was really, we went to the studio completely blank, jamming on these instrumental pieces, and it was really great – really, really great!” You can watch the full clip here.

I have to say this album has reignited my enthusiasm about Carlos Santana and makes me feel like seeing again.  There would definitely be opportunity this year. Later this month, Santana is embarking on a tour to celebrate the 20th anniversary of his 1999 Supernatural studio album. While it definitely resulted in a resurgence of his career, I’m not particularly fond of this record and much prefer his first three albums with the classic Santana band. Santana is also playing two Woodstock-related festivals in August, which I likely can’t afford. But he told People he is planning a series of dates next year to support his new album. Now, that may be something worthwhile looking into.

Sources: Wikipedia, Santana website, Rolling Stone, People, YouTube

Clips & Pix: Santana/Soul Sacrifice

After coincidentally coming across the above clip, I spontaneously decided to post it. In general, I’m not a huge fan of instrumentals, but when the music is that exciting, I don’t miss the vocals!

This version of Soul Sacrifice by Santana was captured during the band’s legendary performance at Woodstock in 1969. They played on Saturday afternoon, August 16, the second day of the festival. Soul Sacrifice was the second-to-last tune of their eight-track set, which also included Waiting, Evil Ways, You Just Don’t Care, Savor, Jingo, Persuasion and Fried Neck Bone And Some Home Fries. Except for the last song, all of these tunes appeared on Santana’s eponymous debut album, which was released on August 30 the same year.

To me it is just electrifying to watch this clip. The band was absolutely killing it! In addition to Carlos Santana (guitar), the line-up included Gregg Rolie (keyboards), David Brown (bass), José Areas (percussion, congas), Michael Carabello (percussion, congas) and Michael Shrieve (drums), who had just turned 20 and was the youngest performing musician at Woodstock.

Soul Sacrifice is credited to Santana, Rolie, Brown and Marcus Malone, the band’s initial percussionist when it was formed in San Francisco in 1966 and known as the Carlos Santana Blues Band. However, by the time Santana started work on their first studio album in May 1969, Malone was no longer with a band due to serving a prison sentence for manslaughter.

Sources: Wikipedia, Setlist.fm, YouTube

My Playlist: Fleetwood Mac

Fleetwood Mac has been making headlines lately. Yesterday, they announced a big North American tour, which will kick off in October, include more than 50 cities, and stretch all the way into the beginning of April 2019. This comes in the wake of news that longtime vocalist, guitarist and songwriter Lindsey Buckingham is out and has been replaced by Mike Campbell and Neil Finn. The band also announced The Fleetwood Mac Channel on SiriusXM, which will launch on May 1st and run throughout the month. All these latest developments have triggered this post and playlist.

I’m most familiar with the classic line-up of Fleetwood Mac, which spans the periods from 1975 to 1987, 1995 to 1997 and 2014 to April 2018. I find it very hard to imagine the band without Buckingham. His vocals and guitar-playing were a major part of the Mac’s distinct sound. At the same time, I’m intrigued about the addition of Campbell, the former guitarist of Tom Petty’s band The Heartbreakers, and Finn, the previous lead vocalist and frontman for Crowded House, who also co-fronted Split Enz.

Of course, Fleetwood Mac’s 50-year-plus story started long before Buckingham came into the picture. It also continued following his first departure in August 1987 after the release of the band’s 14th studio album Tango In The Night. In fact, the band’s history is characterized stylistic shifts and numerous lineup changes. Before exploring some music, I’d like to highlight some of Fleetwood Mac’s stages. This is not meant to be a comprehensive history, which would go beyond the scope of the post.

Fleetwood Mac Initial Line-up

Fleetwood Mac was formed in July 1967, when guitarist Peter Green left John Mayall & the Bluesbreakers and asked fellow Bluesbreakers Mick Fleetwood (drums) and John McVie (bass) to form a new band. Fleetwood who had been fired from the Bluesbreakers agreed right away while McVie was hesitant. Jeremy Spencer (vocals, slide guitar, piano) and Bob Brunning (bass) completed the initial lineup. But Greene continued to pursue McVie as a bassist and named the new band after his preferred rhythm section of Fleetwood on drums and McVie on bass, i.e., Fleetwood Mac. After a few weeks, McVie agreed to join the fold.

The band released its eponymous studio debut in February 1968, a hard-charging blues rock album featuring a mix of blues covers and original tunes written by Greene and Spencer. And even though the record didn’t include a hit, it became a remarkable success in the U.K., peaking at no. 4 and remaining in the charts for a whooping 37 weeks. The sophomore album Mr. Wonderful, which already appeared in August 1968, was similar in style.

Fleetwood Mac_Then Play On

First changes started to emerge on Then Play On, the Mac’s third studio release. Danny Kirwan had joined the band as a guitarist and vocalist. Stylistically, the music started to move away from an exclusive focus on blues rock. The band’s transition continued between 1970 and 1975. In May 1970, Greene who had started taking LSD and was not in good mental health, left. Christine Perfect, who had married John McVie, did her first gig with the band as Christine McVie in August that year. In February 1971, Spencer left to join religious group Children of God. Bob Welch and later Bob Weston entered as guitarists.

Fleetwood Mac’s next big transition happened when Buckingham and then-girlfriend Stevie Nicks, who had performed together as a duo, joined the band at the end of 1974 after the departure of Welch. The classic line-up was in place and recorded the band’s second eponymous album. Also known as “The White Album,” it appeared in July that year and became the Mac’s first no. 1 on the Billboard 200. The follow-on Rumours not only was another chart-topper but also catapulted the band to international mega-stardom. The classic line-up released three additional successful studio albums.

Fleetwood Mac 1975

The period between 1987 to 1995 brought additional changes. Buckingham left in August 1987, and guitarists and vocalists Billy Burnette and Rick Vito joined the line-up -apparently, it takes two artists to replace Buckingham! Nicks and Vito departed in 1991. In 1995, following the release of the unsuccessful album Time, the Mac’s classic line-up regrouped. A performance in Burbank, Calif. in May 1997 resulted in the excellent live album The Dance, which was released in August that year. In 1998, Christine McVie left and returned to her family in England, where she lived in semi-retirement.

The remaining members recorded one more studio album, Say You Will, and continued to tour occasionally. In January 2014, Christine McVie officially rejoined the band. Subsequent efforts to make another Fleetwood Mac album were derailed when Nicks decided to focus on her solo career. While Mick Fleetwood and John McVie were involved in the recording, the record appeared last June as a collaboration between Buckingham and Christine McVie, titled Buckingham/McVie. You can read more the album here. Let’s get to some music.

I’d like to start off this playlist with My Heart Beat Like A Hammer, a nice blues rocker from the Mac’s first album, which is also known as Peter Green’s Fleetwood Mac. The tune was written by Jeremy Spencer.

About a month after the release of the debut album, Green’s Black Magic Woman was released in March 1968 as the band’s third single. Long before the original, I had heard the excellent Santana cover sung by Gregg Rollie, which became that band’s first big hit peaking at no. 4 on the Billboard Hot 100. Green’s version climbed to no. 37 on the UK Singles Chart, not a bad showing either.

Fleetwood Mac’s first and only no. 1 song on the U.K. Singles Chart was the beautiful instrumental Albatross, another Green composition that appeared in November 1968.

Kiln House was the band’s fourth studio album and the first record without Green. Released in September 1970, it featured new guitarist and vocalist Danny Kirwan. By that time, the Mac had moved away from blues and sounded more like a straight rock band. While not being credited, Christine McVie provided backing vocals and keyboards. Here is Jewel-Eyed Judy, which was co-written Kirwan, Fleetwood and John McVie. It also became one of the record’s singles – great tune!

In October 1973, Fleetwood Mac released their eighth studio album Mystery To Me. At that time, the line-up included Bob Welch and Bob Weston, in addition to Mick Fleetwood, John McVie and Christine McVie. Welch and Christine wrote most of the songs. Here is Hypnotized, a nice tune penned by Welch with a relaxed feel.

Fleetwood Mac from July 1975 was the first album of the classic line-up. One of the songs on the record is the Stevie Nicks composition Rhiannon, which is among my favorite Mac songs.

When it comes to Rumours, which is packed with many great tunes, it’s tough to decide which one to select. Here is Go Your Own Way, which was written by Buckingham and became the album’s lead single in December 1976.

The follow-on Tusk, the band’s 12th studio album, sounded quite different from Rumours. This was exactly the intention. “For me, being sort of the culprit behind that particular album, it was done in a way to undermine just sort of following the formula of doing Rumours 2 and Rumours 3, which is kind of the business model Warner Bros. would have liked us to follow,” Buckingham told Billboard in November 2015. ” While opinions about the album were divided at the time is was released, it still peaked at no. 1 on the Billboard 200, though it “only” sold four million copies compared to 10 million for Rumours. Here is the title track.

Tango In The Night from April 1987 was Fleetwood Mac’s 14th studio album and the last with Buckingham prior to his first departure. It became the band’s second-best selling record after Rumours. The opening track is Big Love, a tune written by Buckingham. Here is an incredible live version captured during a show in Boston in October 2014. It illustrates Buckingham’s impressive guitar skills.

I’m fully aware that capturing the Mac’s long recording career in a post and playlist of no more than 10 songs without skipping stuff is impossible. For the last tune I’d like to highlight, I’m jumping to band’s most recent studio album Say You Will, which was released in April 2003. It was recorded by the band’s classic line-up minus Christine McVie. Here is Throw Down, a tune written by Nicks.

Fleetwood Mac’s next chapter just started, and it remains to be seen how the story continues after the 2018/2019 tour. The current schedule is here. In the band’s first interview since Buckingham’s departure with Rolling Stone, it appears they are ready to soldier on and excited about Campbell and Finn. “Why would we stop?” asked Nicks. “We don’t want to stop playing music. We don’t have anything else to do. This is what we do.” Referring to the band’s new members, Christine McVie said, “I immediately felt like I’d known them for years,” even though we’d only just met.”

“There’s no doubt that my instincts, for better or worse, have always been to gravitate towards going forward,” Fleetwood stated. About Buckingham he added, “Words like ‘fired’ are ugly references as far as I’m concerned. Not to hedge around, but we arrived at the impasse of hitting a brick wall. This was not a happy situation for us in terms of the logistics of a functioning band. To that purpose, we made a decision that we could not go on with him. Majority rules in terms of what we need to do as a band and go forward.”

According to Nicks, Buckingham’s departure occurred over timing differences about a world tour. The band wanted to start rehearsals this June while Buckingham wanted to put that off until November 2019. Apparently, Rolling Stone tried to reach him for comment without success.

Sources: Wikipedia, Billboard, Rolling Stone, YouTube

What I’ve Been Listening To: Santana/Abraxas

1970 album is a highlight by the classic Santana band

Abraxas was the sophomore album by Santana. By the time it appeared in September 1970, the Latin jam rock band had gained significant popularity, fueled by a high-energy performance at the Woodstock Festival in August 1969 followed by the release of their eponymous debut record. While Santana established the sound and groove of the band’s classic lineup and was a successful album that peaked at no. 4 on the Billboard 200 in mid-November, I think Abraxas kicked things up a notch musically.

The album opens with Singing Winds, Crying Beasts, one of three all-instrumental tunes. Written by percussion and conga player Mike Carabello, the improvisational track with its mystic sounds almost feels like it wants to put listeners into a trance.

Next up: Black Magic Woman/Gypsy Queen, which undoubtedly is one of the record’s gems. It combines portions of the 1966 instrumental Gypsy Queen by Hungarian jazz guitarist Gábor Szabó and Black Magic Woman, a tune written by Fleetwood Mac founder and guitarist Peter Green. Fleetwood Mac, which at the time was a blues rock-oriented band, first released the track as a single in 1968. It was also included on the 1969 U.S. and UK compilation albums English Rose and The Pious Bird of Good Omen, respectively.

While doing some research for the post, I read that Green apparently encouraged Carlos Santana to record the tune. It turned out to be a good decision. Santana’s version of Black Magic Woman became a major hit, climbing to no. 4 on the Billboard Hot 100 in January 1971. The royalties Green received from the cover became a significant source of income after he had left Fleetwood Mac.

Pretty much the same thing happened with Oye Como Va, another album highlight that has become a signature Latin rock tune. The song was written by Latin jazz and mambo artist Tito Puente in 1963. And just like with Black Magic Woman, it was Santana’s rendition that turned the song into a hit, reaching no. 13 on the Billboard Hot 100. Keyboarder and lead vocalist Gregg Rolie’s Hammond B3, along with Santana’s guitar and the band’s rhythm section create a powerful sound and compelling groove that invites people to dance.

According to an NPR story, Puente autobiographer Steven Loza said Santana’s version “exposed the world to Tito Puente and to Latin music in general. And “Oye Como Va” helped catapult the salsa movement to the ’70s because it gave the music recognition all over the world. And that inspired a lot of people to go into salsa.” It also brought Puente an unexpected stream of royalties.

Samba Pa Ti is among Santana’s most popular tunes and one of the best known guitar-oriented instrumentals. An Ultimate Classic Rock story explains how the piece came about, quoting Santana: “‘Samba Pa Ti’ was conceived in New York City on a Sunday afternoon. I opened the window I saw this man in the street, he was drunk and he had a saxophone and a bottle of booze in his back pocket. And I kept looking at him because he kept struggling with himself. He couldn’t make up his mind which one to put in his mouth first, the saxophone or the bottle and I immediately heard a song […] I wrote the whole thing right there.”

I also found an interesting nugget about Santana’s guitar sound on the album and Samba Pa Ti in a background article on Gibson’s website titled, “Flashback 1970: How Carlos Santana Refined and Defined his Sound with Abraxas”: “Although the cornerstones of Santana’s sound on Abraxas are his Gibson SGs, volume and the pureness and control of his touch, there are spots where he audibly used a wah-wah pedal to attenuate his tone. On “Samba Pa Ti” he left the pedal cocked to an open position throughout the song, achieving a sweet, warm distortion that produced the album’s most subtle guitar tone.”

The last tune I’d like to highlight is Hope You’re Feeling Better, which was written by Rolie. His roaring Hammond B3 and Santana’s wah-wah-accentuated guitar make for an awesome sound. The song also became the album’s third single, though unlike Black Magic Woman and Oye Como Va, it didn’t chart.

Produced by Fred Catero and Carlos Santana in San Francisco, Abraxas became another major success for the band. It hit no. 1 on the Billboard 200 in October 1970 and remained in the chart for 88 weeks. The album also topped the charts in Australia and reached no. 2 in Canada, while in the UK it climbed to no. 7. It was certified 5X Multi-Platinum in April 2000 by the Recording Industry Association of America.

Abraxas was ranked number 207 on Rolling Stone magazine’s The 500 Greatest Albums of All Time list from 2003. And last year, the record was selected for preservation in the National Recording Registry due to its “cultural, historic, or artistic significance.”

In addition to Santana, Rolie and Carabello, the band’s members included David Brown (bass), Michael Shrieve (drums) and José “Chepito” Areas (percussion, conga, timbales). The same lineup plus guitarist Neal Schon would record Santana III, the next and last studio album of the classic Santana band, which appeared in September 1971. In 2013, most of the band – Santana, Rolie, Carabello, Schon and Shrieve – reunited for another album, Santana IV, which was recorded together with Benny Rietveld (bass) and Karl Perazzo (timbales, percussion, vocals).

Sources: Wikipedia, NPR, Ultimate Classic Rock, Gibson website, YouTube