By Norman Weinstein
Carlos Santana: A Biography explores the lifestyles and song of this notable guitarist, starting from his specialist beginnings—his first ordinary gig used to be at a Tijuana strip club—and early luck 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 status, and his present paintings with manufacturer invoice Laswell.Unlike different biographies, this publication bargains a finished examine Santana's transitions via a number of musical types past rock, together with blues, salsa, jazz, and international song. It additionally portrays Santana as greatly a baby of the eclectic musical tradition of the Nineteen Sixties, in addition to displaying the profound impression of the hot Age move on Santana's lifestyles and track.
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Extra info for Carlos Santana: A Biography (Greenwood Biographies)
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. Santana’s band would be the ﬁrst multiracial rock band to make the big time.
11 Adroitly see-sawing between popular dance rock tunes and jazzy experiments, ‘‘Oye Como Va’’ then transitions into the highly ambitious ‘‘Incident at Neshabur,’’ a blend of progressive rock and jazz that seamlessly mixes various time signatures and melodic themes. It was the creation of pianist Alberto Gianquinto, a pianist friend of the band who helped during the recording sessions for Santana’s ﬁrst album. In fact, Gianquinto conceived ‘‘Incident at Neshabur’’ to be showcased on the ﬁrst album.
Simmering under this dispute were Carabello and Carlos’s differences regarding the band members’ increasingly drug-saturated lifestyles. While Carlos felt his own use of psychedelics was justiﬁed because he believed that such drugs expanded his musical vision, he was highly critical of heroin and cocaine use by other band members. Along with wild sexual experimentation and alcohol abuse, he saw these activities as leading to a lack of musical commitment and discipline. In a sense, the arguments Carlos had with Carabello brought to a head a growing sense of alienation with many other band members.