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BLUES GUITAR MUSIC
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THIS PROGRAMME CONTAINS VERY STRONG LANGUAGE
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When I first met Carlos, he was a skinny kid from Mexico.
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He was wild and he was raw.
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When he left home, there were a lot of times when we would not know where he was.
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And, um, mostly, we would hear rumours.
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# You got to change your evil ways
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# Baby... #
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Santana as a group was no hippy love thing. This was like a street gang.
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But the weapon was music.
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BLUES ROCK MUSIC
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Our music was like an elephant on a trek.
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It was animalistic and sexual.
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# Don't turn your back on me, baby
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# Don't turn your back on me, baby... #
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We wanted to be the biggest internationally known band and that ended up happening.
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# Don't turn your back on me, baby
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# You just might pick up my magic sticks... #
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I always say they went to cocaine heaven. They were just a little too high.
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And everybody was coming off of non-existent walls.
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# Oye, como va... #
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Carlos developed as a guitarist, as a musician, as a star...
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But as a human being, he's gone through an enormous change.
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So I was living a life of like... "I need something different."
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I was really at war with myself because I wasn't ready
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to do the inner work,
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to be liberated
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from my own demons.
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It takes time to go from charcoal to a diamond.
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# You are the love
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# Of my life
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# And the breath
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# In my prayers
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# Take my hand
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# Lead me there
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# What I need is you near... #
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A lot of guys play a lot of notes, but they don't know how to carry a melody.
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I'm always interested in how can you carry a melody.
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Learn to feel your heart. Feel it, feel it.
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And then learn to carry a melody.
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# With you alone
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# I am free-ee-ee-ee...
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# Every day
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# Every night... #
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Love Of My Life was part of the Supernatural album that revived Santana's career in 1999.
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The song was in praise of his late father.
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I was totally with my father, Jose Santana,
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because when he passed, for two weeks I made it a point not to play any music.
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In the car or in my head, nothing.
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I just wanted to digest that my father left.
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I heard a voice, "OK, it's been two weeks. Turn on the radio."
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"I never turn on the radio." "Turn on the radio." I was on the way to pick up my son from school.
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- I turned the radio on.
- HUMS MELODY
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Which is an incredible theme. I go to Tower Records. "Hey, man, what is the name of this song?"
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- HUMS TUNE
- The guy goes, "Oh, I say, let me concur with my colleague."
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"OK, concur with your colleague." "Would you sing it to him?"
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HUMS TUNE
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"Oh, that's definitely Brahms, right?"
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So I keep playing this song in my head and I already had lyrics.
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And I get together with Dave Matthews. "Dave, I have this song.
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"I hear it kind of with your voice, but the melody goes like this."
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GENTLE MELODY
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Carlos Santana was born in July 1947
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to a family of musicians in the Mexican state of Jalisco.
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My mother Josefina was born in Autlan, Jalisco.
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My father was born in El Grullo.
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We, the children, were born in Autlan, Jalisco.
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So my father infected me with the virus of music,
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especially because I saw his eyes when I was five years old very clearly
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and I saw how the people were looking at him.
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Right there and then I knew that all I ever wanted to do and be
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is be adored the way people adored my father in this little town.
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When he was only eight years old, the Santana family followed their father
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to the Mexican border town of Tijuana.
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That's when everything just changed in my life.
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Hearing the sound of electric guitars in the park,
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bouncing against trees and cars and the church and the sky,
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for me, it was like watching a flying saucer for the first time.
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BLUES MUSIC
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It woke me up to a whole other arena of being jolted.
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In those days, they used to have people walk around the streets
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with those iron things that you touch and they put electricity,
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for ten cents, they give you a jolt.
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Aiee!
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That's what I felt the first time I heard the electric guitar sound in the park.
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Fortunately for me, it was Javier Batiz who was already into three things -
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BB King, Little Richard and Ray Charles.
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That was his thing. Only.
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The way to go... PLAYS GENTLE BLUES
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Like that. You go...
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PLAYS HIGHER CHORDS
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Carlos came with his mother here to my house.
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And his mama asked me, "Can you teach my little boy to play the guitar like you?"
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Because they have seen me in the park where I was playing.
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And Carlos really loved the way I played. The guitar sounded strange.
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I said, "Carlos, do you play another instrument?" He said, "I play the violin."
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He got his violin and he went... HUMS LIVELY TUNE
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It was so cute.
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He was a little kid, 11 years old probably. And I was 14.
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I had enough knowledge about music because of the violin
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and teaching me Czardas de Monti and Minuet In G.
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My father basically taught me on the violin European music.
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HUMS TUNE
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Fascination.
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CONTINUES HUMMING TUNE
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And if you can hold that note going back and forward with the bow
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- and make it sound like... instead of going...
- SINGS SHORT NOTES
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- ..go...
- SINGS LONG NOTE
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..you're pretty mean.
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You know what I mean? That's feedback.
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It's like plugging in and making the speakers and the whole thing sustain.
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So I already knew how to sustain.
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His mama brought him over the next day.
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She said, "Javier, Carlos didn't sleep last night. He said he was studying."
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And what I had taught Carlos...
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He brought about...
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I taught him one movement and the day after that, he brought about ten movements, different movements.
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And I went, "Wow!"
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He was so hungry of learning how to play the guitar like a blues guitar.
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MARIACHI MUSIC
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Despite being wedded to the blues, Carlos had to continue playing in his father's mariachi band
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to help feed the family.
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And I was playing right next to him.
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And we were playing in the worst parts of Tijuana.
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Everything kind of smelt like Bourbon Street.
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It smelt like piss and puke.
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Being a kid, I wanted to go play hide-and-seek or do something that kids do.
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But instead, I was in this place. There's no floor. It's just dirt.
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The tables are covered with blackness because they don't have ashtrays. I'm playing this music
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that to me, to this day, I don't really relate to it.
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I don't like any music, any kind of music
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that deals with lyrics about being drunk and being betrayed.
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In other words, I don't like music that validates feeling sorry for yourself, crying in your beer.
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I like the blues, but I don't like the victim hymns.
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I like victory hymns. So I told my father, "I don't want to be here and play this kind of music."
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He said, "You want to play that pachuco rock'n'roll crap music?"
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I said, "How can that music be worse than where I am?"
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It was the first time I stood up to my dad.
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He said, "OK, pack up your violin. Like your mother, you have to have the last word. Get out of here."
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MUSIC: "Green Onions" - Booker T & The MGs
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Carlos abandoned the mariachi bars for the brighter lights of Tijuana's Revolution Street.
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I enjoyed the Revolution Street
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because then I was hearing Georgia On My Mind,
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Green Onions.
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I was hearing all kinds of variety of African-American music.
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My balance was to play,
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from eight o'clock to six o'clock in the morning at these strip joints, for an hour,
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then for an hour, the ladies strip and they do what they do.
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And then on Sunday morning, I'd go to church and play Ave Maria on the violin.
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So I got my education really, really quick about spiritual and sensual being as one.
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But Santana was still only 13 years old.
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He was vulnerable to the predatory dangers of Tijuana's night life.
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I was molested when I was a child by this person
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who seduced a child by giving him cowboy boots and guns and a bunch of toys
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when I was living in the ghetto in Tijuana.
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And my mom couldn't figure it out.
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And it lasted maybe a year and a half.
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I was angry at my parents for not protecting me, even though they did their best.
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Why did I have to be introduced to anything in that form?
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You need to go to the mirror,
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if you've been molested or raped, women or men or a child,
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and say to yourself in the mirror, "I am not what happened to me.
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"I am still pristine with purity and innocence and I forgive the man."
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"Instead of carrying him with me for the rest of my life like a cadaver
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"and stinking up the place and being angry and unforgiving, I'm going to forgive him."
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But Carlos would carry that anger for many years
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before he would fully come to terms with his loss of innocence.
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Carlos's mother was determined to improve her children's life.
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In 1962, the Santana family were on the move again,
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this time following their father across the border to San Francisco.
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My mother wanted a better life for all of us.
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She thought she could best do that by bringing us to the United States.
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She was old school in her upbringing -
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discipline, education and work.
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And so her plan must have been to get us to San Francisco.
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# They call it stormy Monday... #
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As a Mexican immigrant, 15-year-old Carlos had to adjust
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to a new language in a new environment
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and to the emotional turmoil of adolescence.
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He took the advice of his old teacher to change his sound.
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When I came specifically to this house of music where Javier used to tell me about...
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They sell guitars in there.
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So I'm watching these guitars - Epiphones, Gibsons and Fenders...
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To me, that was like what kids do with Playboy magazine.
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I was like, "I wonder what she smells like? I wonder what she feels like?
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"I wonder what she sounds like?"
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I was watching these guitars when I heard these sailors scream at me,
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"Hey, you fucking Pancho Villa, chilli-beany motherfucker!"
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I turned around and I'm like, "I'm just a kid, I'm sure they're not talking to me."
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I turned around and they were screaming at me.
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And that's why I was angry because I started feeling the sting of racism,
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the sting of ignorance directed straight at me.
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So there was a variety of things that were making me feel really, really angry...
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..with life and with people.
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And it was all directed at not being able to...fix it.
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PSYCHEDELIC MUSIC
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By the mid-'60s, Santana's adopted home town had become the focus of an alternative culture
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with a psychedelic sound to match.
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I came to San Francisco. An explosion was about to happen, a consciousness revolution,
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so even West Side Story looked like a square.
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You hear blues, you hear Wes Montgomery, you hear Bola Sete.
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Everywhere you went in San Francisco, it was an education in music.
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And I wanted it all.
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We went to Aquatic Park and they had nothing but conga players.
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Everybody's screaming "jingo".
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You know, "jingo"? What the hell is "jingo"? That's really infectious.
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I used to go to picnics and there'd be like three bands.
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There'd be like Latin and there'd be mariachi music.
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And there'd be like a blues band.
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I'm getting out of the car and hearing all of it at the same time.
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I say, "That sounds kind of good," all of it together at the same time.
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It didn't sound like conflict or weird.
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And I said, "That's the sound that I want to get."
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Carlos was piecing together a new identity, both musical and personal.
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It was now time to leave the largely Mexican Mission District.
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But reinventing himself required some tough decisions.
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A quantum leap is to leave my mom and dad
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and go out in the street and just tough it out on the streets
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and let go of the security blanket
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and the safety net of having someone washing your clothes and feeding you.
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I was not at home to hear all of the disagreements between him and Mom
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about him having his own way,
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the disappointments, the worry, the crying,
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the fact that all of us were always curious about where he may be.
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So there's a lot of things that I have to weigh - to abandon Mom and Dad... So I'm in a daze.
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I'm doing what I need to do, but I'm in a daze.
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He would not achieve his goals under the same roof with Mom.
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And so yes, he was a difficult one.
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There's a photograph where he was on the floor
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and he was digging into that guitar, not plugged in.
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Just the electric guitar. He was just digging into it.
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I understood what will he was going to
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to get what he wanted.
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It doesn't feel so bad, you know, living in the streets with a hat
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and playing for spaghetti or a salad.
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# If you don't love me, little angel
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00:17:42,360 --> 00:17:46,880
# Please tell me the reason why... #
238
00:17:47,880 --> 00:17:53,200
Whenever possible, 19-year-old Carlos would visit the Fillmore Concert Hall
239
00:17:53,200 --> 00:17:59,760
where, unlike most of America, emerging rock bands were playing alongside black blues artists.
240
00:17:59,760 --> 00:18:05,640
So when I see BB King walk up on stage, people are giving him a standing ovation.
241
00:18:06,640 --> 00:18:09,800
BB King just backed away from the microphone.
242
00:18:09,800 --> 00:18:15,040
He grabbed his guitar and he couldn't believe he was getting a standing ovation.
243
00:18:15,040 --> 00:18:18,240
All I could see was his tears coming out
244
00:18:18,240 --> 00:18:21,360
and the diamonds that he had on his finger.
245
00:18:22,360 --> 00:18:27,800
And that pushed me into like, "This is who I want to be,
246
00:18:27,800 --> 00:18:30,840
"this is what I want to do and nothing else.
247
00:18:30,840 --> 00:18:37,760
"I want to be like my father and like BB King because my father, like BB King, was adored by people."
248
00:18:37,760 --> 00:18:40,000
RHYTHMIC DRUMBEAT
249
00:18:43,520 --> 00:18:49,040
Carlos was by now mixing with young musicians he had met in the parks and clubs.
250
00:18:49,040 --> 00:18:51,720
He was forming the nucleus of a band.
251
00:18:51,720 --> 00:18:56,280
To support himself, he got a job at a diner called Tic-Tocs.
252
00:18:56,280 --> 00:18:59,120
It would lead to a decisive encounter.
253
00:19:01,280 --> 00:19:04,880
Around the same time that I was working at Tic-Tocs,
254
00:19:04,880 --> 00:19:09,120
bleaching floors, peeling potatoes, washing dishes,
255
00:19:09,120 --> 00:19:11,640
here comes The Grateful Dead.
256
00:19:12,640 --> 00:19:17,200
They stop right where I work to get hamburgers
257
00:19:17,200 --> 00:19:20,400
and French fries and milk shakes.
258
00:19:20,400 --> 00:19:25,440
I just heard this voice that said, "It's time for you to do something else,
259
00:19:25,440 --> 00:19:28,480
"become a full-time musician no matter what."
260
00:19:28,480 --> 00:19:34,520
So BB King and The Grateful Dead, consciously and unconsciously, they pushed me over the edge.
261
00:19:34,520 --> 00:19:38,520
It's like an eagle that needs to be pushed out of the nest. Bam!
262
00:19:38,520 --> 00:19:40,720
BLUES ROCK GUITAR MUSIC
263
00:20:00,680 --> 00:20:06,560
Carlos had joined up with a group of maverick musicians, each with a distinct musical style.
264
00:20:06,560 --> 00:20:10,920
They were known first as the Santana Blues Band and then Santana.
265
00:20:22,800 --> 00:20:27,680
Right from the get-go when I first met Carlos and we played
266
00:20:27,680 --> 00:20:32,880
and, of course, a lot of weed being smoked and a lot of noise,
267
00:20:32,880 --> 00:20:37,400
and somebody out there on the farmland called the cops on us.
268
00:20:38,400 --> 00:20:41,800
And I'm going, "We'd better get out of here."
269
00:20:41,800 --> 00:20:45,720
I turned around and Carlos was already about 20 yards down...
270
00:20:45,720 --> 00:20:49,880
You know, street kid, San Francisco. Hey, better than that, Mexico!
271
00:20:49,880 --> 00:20:52,760
He was out of there and I ran after him.
272
00:20:52,760 --> 00:20:56,320
We hid in a tomato patch until the cops left,
273
00:20:56,320 --> 00:21:00,320
then I said, "OK, let's go get your stuff." That's how I met him.
274
00:21:05,360 --> 00:21:11,400
Carlos and Gregg said, "We're thinking about getting a drummer in the group. Would you be interested?"
275
00:21:11,400 --> 00:21:18,000
We played for hours and at the end of that period, they pulled me in a room and asked me to join the band.
276
00:21:19,360 --> 00:21:23,400
They followed me home to my parents' house. I woke up my parents.
277
00:21:23,400 --> 00:21:25,440
I said, "See you later."
278
00:21:25,440 --> 00:21:31,000
I packed a few things, got in the car with them, drove up to the city to Bernal Heights
279
00:21:31,000 --> 00:21:35,040
and took my place on the couch. That's how I got in the band.
280
00:22:17,320 --> 00:22:19,360
NEW SPEAKER:
281
00:22:41,000 --> 00:22:46,800
It was a bunch of young guys, but it wasn't a real hippy thing so much.
282
00:22:46,800 --> 00:22:53,160
And one thing I learned pretty quickly about being in Santana was this was no hippy love thing.
283
00:22:53,160 --> 00:22:57,200
This was like a street gang, but the weapon was music.
284
00:22:58,680 --> 00:23:03,000
It was not, I think, like the other hippy bands.
285
00:23:03,000 --> 00:23:07,840
If you messed up, they were all over you. It wasn't one of those like...
286
00:23:07,840 --> 00:23:13,360
"That's cool, man, I'm sure you did the best you could" sort of vibe. It was pretty serious.
287
00:23:14,360 --> 00:23:16,880
When you hear Santana,
288
00:23:16,880 --> 00:23:19,360
it's a tsunami of colours.
289
00:23:19,360 --> 00:23:25,320
All it is is just finding a way to balance the blues
290
00:23:25,320 --> 00:23:29,360
with African rhythms. That's really what it is.
291
00:23:29,360 --> 00:23:31,600
# Jingo... #
292
00:23:33,360 --> 00:23:37,240
We would rehearse every day and after rehearsals,
293
00:23:37,240 --> 00:23:41,200
we'd go over to the Fillmore and check out whatever's going on.
294
00:23:41,200 --> 00:23:44,520
# There's laughing in her eyes, dancing in her feet
295
00:23:44,520 --> 00:23:48,920
# She's a neon light diamond, she can live on the street... #
296
00:23:48,920 --> 00:23:53,040
The Fillmore was like our first palace. It looked so large.
297
00:23:53,040 --> 00:23:55,480
Actually, it's very small.
298
00:23:55,480 --> 00:24:00,040
If you went outside, people were just hanging out of the windows.
299
00:24:02,200 --> 00:24:07,320
The building had a life all of its own, imbued with our spirits.
300
00:24:11,800 --> 00:24:16,000
The audience was pretty exotic and erotic as well.
301
00:24:17,440 --> 00:24:24,000
It was not uncommon to see two people in a deep embrace or making love right on the sides of the stage.
302
00:24:24,000 --> 00:24:26,640
There was a lot of people in feathers.
303
00:24:26,640 --> 00:24:32,920
They were trying to express themselves, whether it was dressing up or taking their clothes off.
304
00:24:32,920 --> 00:24:37,240
Santana started there. They started on an audition night.
305
00:24:37,240 --> 00:24:41,360
And they were immediately very electric and very exciting,
306
00:24:41,360 --> 00:24:44,200
but they built their audience that way.
307
00:24:44,200 --> 00:24:48,960
So the atmosphere really was the band... The bands, the musicians,
308
00:24:48,960 --> 00:24:52,000
the people, the crowds were all one.
309
00:24:52,000 --> 00:24:58,040
It was one community of people sharing the music and sharing the celebration and the experience.
310
00:25:12,600 --> 00:25:16,720
This was the first time you mixed Latin music with rock'n'roll.
311
00:25:16,720 --> 00:25:20,200
It was a real ear-opener for everyone.
312
00:25:21,200 --> 00:25:25,520
It was very powerful because you had these trance rhythms,
313
00:25:25,520 --> 00:25:29,120
marrying the other backbeat rhythm.
314
00:25:29,120 --> 00:25:34,080
It was a wonderful way of... It was kind of a musical trade wind that had met.
315
00:25:37,120 --> 00:25:40,960
Everybody played to each other. We played like a jazz band.
316
00:25:40,960 --> 00:25:46,480
You know... We're a blues band where you play off of each other and that was the experience.
317
00:25:47,880 --> 00:25:50,240
It was one big rhythm machine.
318
00:25:51,240 --> 00:25:54,800
And it connected with the people and we were intense.
319
00:25:56,920 --> 00:26:00,280
Carlos was still a little bit shy too.
320
00:26:00,280 --> 00:26:03,680
He used to really hide. He wasn't out in front.
321
00:26:03,680 --> 00:26:07,640
And so we never really thought about showmanship.
322
00:26:20,280 --> 00:26:24,400
Santana as a group looked different than other groups.
323
00:26:24,400 --> 00:26:30,400
You have an African-American, you have a Mexican, you have a Puerto Rican, you have a Nicaraguan,
324
00:26:30,400 --> 00:26:35,040
then you have two white boys from the suburbs. We looked cool, you know?
325
00:26:39,840 --> 00:26:44,040
And so yes, we were really the American band, you know,
326
00:26:44,040 --> 00:26:48,840
I think, as opposed to Grand Funk Railroad or something like that.
327
00:26:50,840 --> 00:26:55,040
Meanwhile, San Francisco, like all America, was in ferment.
328
00:26:55,040 --> 00:27:02,040
But the onset of the Vietnam War and civil rights protests hardly impacted the Santana band at all.
329
00:27:02,040 --> 00:27:06,280
For now, they were living snugly in their own Latin rock bubble.
330
00:27:07,280 --> 00:27:12,840
We played for the Peace and Freedom Party on top of a bus that went all through LA.
331
00:27:12,840 --> 00:27:14,760
And...
332
00:27:14,760 --> 00:27:19,040
And it was about... It was about playing for me.
333
00:27:19,040 --> 00:27:25,080
I didn't care about the political affiliation. As a matter of fact, I never thought about it much.
334
00:27:25,080 --> 00:27:28,760
It was about the music. It wasn't about politics.
335
00:27:28,760 --> 00:27:31,040
CHANTING: Protest! Protest!
336
00:27:31,040 --> 00:27:36,480
They did some benefits and they did some concerts for various political groups,
337
00:27:36,480 --> 00:27:40,520
but that was basically, I think, because Bill Graham booked them.
338
00:27:42,560 --> 00:27:48,800
Graham was the impresario of the Fillmore Concert Hall, spiritual home of Santana.
339
00:27:48,800 --> 00:27:52,640
He would play a pivotal role in the band's development.
340
00:27:52,640 --> 00:27:58,680
- Nothing but the best.
- This man is responsible for my being crippled for life.
- Show him your shoulder.
341
00:27:59,680 --> 00:28:02,080
'Bill was a very hard man.
342
00:28:03,080 --> 00:28:05,760
'He was a refugee from Poland.
343
00:28:06,800 --> 00:28:09,360
'Very harsh upbringing.
344
00:28:09,360 --> 00:28:13,200
'And he lived by his wits and he lived on the streets.'
345
00:28:13,200 --> 00:28:17,920
And in my view, a typical refugee mentality.
346
00:28:17,920 --> 00:28:22,240
He only believed that he had what he could carry.
347
00:28:22,240 --> 00:28:28,840
If he couldn't carry it in a sack on his back or in his pockets, it didn't exist.
348
00:28:28,840 --> 00:28:35,680
Carlos and Bill shared that refugee...immigrant mentality.
349
00:28:36,680 --> 00:28:39,160
Carlos had come from nothing
350
00:28:39,160 --> 00:28:42,120
and to a strange country
351
00:28:42,120 --> 00:28:44,640
in much the same way that Bill did.
352
00:28:44,640 --> 00:28:47,840
And they basically had to make their own way.
353
00:28:47,840 --> 00:28:52,880
Of course, Carlos was not running from the Nazis, but from something else.
354
00:28:53,880 --> 00:28:58,360
And I think they really could share that immigrant mentality
355
00:28:58,360 --> 00:29:01,920
and what it meant to build your own life on your own.
356
00:29:01,920 --> 00:29:04,920
The only group all week long
357
00:29:04,920 --> 00:29:07,960
that I've had any trouble with is Santana.
358
00:29:07,960 --> 00:29:14,200
The Grateful Dead called, said, "Bill, we're playing. What time? We'll see you at eight o'clock."
359
00:29:14,200 --> 00:29:21,160
He said we were different than The Grateful Dead, Jefferson Airplane, Quicksilver, all of these bands,
360
00:29:21,160 --> 00:29:24,680
because when we played, people would stop talking.
361
00:29:24,680 --> 00:29:28,680
"Hey, man, what's happening?" "Yeah, man, cool, baby..." "Oh, hey!"
362
00:29:28,680 --> 00:29:34,040
Then they started like dancing in a different way, especially the ladies.
363
00:29:37,120 --> 00:29:43,640
What made Bill's eyes light up was that the audience went nuts
364
00:29:43,640 --> 00:29:47,480
and that they and Carlos were the same.
365
00:29:47,480 --> 00:29:54,800
Carlos was the audience. They were Carlos. It was a fantastic symbiosis.
366
00:29:54,800 --> 00:29:57,280
Yeah, so, Wednesday...
367
00:29:57,280 --> 00:30:00,720
Yeah, this Sunday, I keep thinking about that...
368
00:30:00,720 --> 00:30:06,280
Graham loved Santana's Latin rhythms, but he realised he'd have to raise the band's profile
369
00:30:06,280 --> 00:30:08,560
and focus their ambition.
370
00:30:08,560 --> 00:30:13,600
He encouraged them to add radio-friendly tunes to their jam sessions.
371
00:30:13,600 --> 00:30:18,920
So he invited us to his office and said, "I want to play you this song
372
00:30:18,920 --> 00:30:22,760
"because I noticed that you guys don't play any songs.
373
00:30:22,760 --> 00:30:25,000
"You just play along as jams."
374
00:30:25,000 --> 00:30:30,240
I go, "What's wrong with that?" "You need to learn songs." "What do you mean?"
375
00:30:30,240 --> 00:30:33,200
"An intro, a chorus,
376
00:30:33,200 --> 00:30:37,960
"a verse, a chorus, verse, bridge and an outro."
377
00:30:37,960 --> 00:30:40,080
And we're like, "What?"
378
00:30:40,080 --> 00:30:45,640
And he was right. We didn't know songs from anything, man. We were just jamming.
379
00:30:45,640 --> 00:30:47,880
So he plays Evil Ways.
380
00:30:47,880 --> 00:30:50,720
# You got to change your evil ways
381
00:30:50,720 --> 00:30:52,920
# Baby... #
382
00:30:52,920 --> 00:30:55,200
So we learned Evil Ways.
383
00:30:55,200 --> 00:31:01,040
And the next thing I know, it was one of the first Santana to hit the radio.
384
00:31:03,920 --> 00:31:05,920
# When I come home
385
00:31:05,920 --> 00:31:08,120
# Baby
386
00:31:08,120 --> 00:31:11,520
# My house is dark and my thoughts are cold
387
00:31:11,520 --> 00:31:13,960
# You hang around
388
00:31:13,960 --> 00:31:15,800
# Baby
389
00:31:15,800 --> 00:31:19,320
# With Jean and Joan and who knows who
390
00:31:19,320 --> 00:31:23,280
# I'm getting tired of waiting and fooling around
391
00:31:23,280 --> 00:31:27,040
# I'll find somebody who won't make me feel like a clown
392
00:31:27,040 --> 00:31:29,760
# This can't go on... #
393
00:31:42,240 --> 00:31:46,440
Adding a few such catchy melodies to its driving Latin percussion
394
00:31:46,440 --> 00:31:50,480
was enough to persuade Graham he had a hot property on his hands.
395
00:31:50,480 --> 00:31:55,520
He called some record label bosses from the east coast to come sign up the band.
396
00:31:55,520 --> 00:31:57,560
We're not playing for you...
397
00:31:57,560 --> 00:32:00,000
Two people came -
398
00:32:00,000 --> 00:32:03,000
Ahmet Ertegun from Atlantic
399
00:32:03,000 --> 00:32:06,200
and Clive Davis from Columbia.
400
00:32:06,200 --> 00:32:08,880
When Ahmet heard the band,
401
00:32:08,880 --> 00:32:13,720
he said, "Can't play, will never sell," and walked out.
402
00:32:14,720 --> 00:32:19,320
Which we reminded him of mercilessly for years.
403
00:32:20,760 --> 00:32:22,880
Clive was like Bill.
404
00:32:22,880 --> 00:32:28,120
What he was interested in was the relationship between the band and the audience.
405
00:32:28,120 --> 00:32:30,960
You didn't need to be a rocket scientist
406
00:32:30,960 --> 00:32:34,520
to know that Carlos was a virtuoso guitarist,
407
00:32:34,520 --> 00:32:39,560
charismatic, they were feisty, they were real, they looked good.
408
00:32:39,560 --> 00:32:44,160
You were dealing with the real deal, with real musicians,
409
00:32:44,160 --> 00:32:51,200
so that no-one was trying to shape, polish, smooth or clean up roughness.
410
00:32:51,200 --> 00:32:55,640
So I operate from the gut and I said yes right on the spot.
411
00:33:00,160 --> 00:33:05,440
The band were invited to make their first studio recording for Columbia Records,
412
00:33:05,440 --> 00:33:09,960
but they wanted to choose their own producer their own way.
413
00:33:09,960 --> 00:33:16,320
We picked up a hippy guy somewhere in the streets... "You'll do. Get over here, man."
414
00:33:16,320 --> 00:33:19,480
It wasn't that we were prima donnas,
415
00:33:19,480 --> 00:33:23,080
but we wanted a lot more freedom than to be controlled
416
00:33:23,080 --> 00:33:25,320
and, you know, to...
417
00:33:25,320 --> 00:33:29,040
You know, we didn't want to be controlled.
418
00:33:30,040 --> 00:33:35,360
Carlos would come up with many melodies that would just never cross my mind
419
00:33:35,360 --> 00:33:39,240
and I could maybe just try and arrange it more.
420
00:33:39,240 --> 00:33:42,800
We just kind of played off of each other.
421
00:33:42,800 --> 00:33:45,040
JAZZ-BLUES PIANO MUSIC
422
00:33:50,480 --> 00:33:56,800
The jazz-blues improvisation of Treat signposted the musical route Santana would later travel.
423
00:34:10,000 --> 00:34:12,560
SOOTHING JAZZ-BLUES CONTINUES
424
00:34:29,000 --> 00:34:34,520
I remember at the end of that album we made, the poor girl Gretchen from our office,
425
00:34:34,520 --> 00:34:39,640
we played it back for her, "How do you like this...?" She was crying. I was going...
426
00:34:39,640 --> 00:34:44,360
"Is it that bad?" "No," she goes, "this is unbelievable."
427
00:34:45,360 --> 00:34:48,920
But before the Santana album could even be released,
428
00:34:48,920 --> 00:34:53,960
Carlos found himself helicoptered into the biggest rock concert of all time.
429
00:34:53,960 --> 00:35:00,520
It was August 1969 and the band's appearance at Woodstock had been negotiated by their biggest fan.
430
00:35:01,520 --> 00:35:07,120
Without Bill Graham, Carlos Santana and the band would never have appeared at Woodstock.
431
00:35:07,120 --> 00:35:11,360
The people who organised Woodstock were demonstrably incompetent.
432
00:35:11,360 --> 00:35:17,400
They had no idea what they were doing. They called Bill in the middle of the night, "Please, help."
433
00:35:17,400 --> 00:35:23,240
Bill said, "OK, I'm going to come out and save your ass. But you've got to put my band on."
434
00:35:23,240 --> 00:35:25,880
Tell me it's not real.
435
00:35:25,880 --> 00:35:32,640
Bill Graham was very instrumental in opening this humongous door for Santana.
436
00:35:32,640 --> 00:35:39,640
He's the one that said, "I'm warning you. This stuff is going to fuck your head all up."
437
00:35:39,640 --> 00:35:42,040
I go, "What are you talking about?"
438
00:35:42,040 --> 00:35:47,880
"People are going to recognise you everywhere you go and your head's going to get really big.
439
00:35:47,880 --> 00:35:53,240
"You're going to start acting like Jimi Hendrix and Sly Stone and Jim Morrison.
440
00:35:53,240 --> 00:35:58,760
"You're going to need a shoehorn just to get into a room because your head is so big.
441
00:35:58,760 --> 00:36:01,800
"You're going to start thinking you're God."
442
00:36:01,800 --> 00:36:06,120
I said, "We don't want to hear that crap. We're just street guys."
443
00:36:08,600 --> 00:36:12,920
The Santana band found themselves hanging around backstage.
444
00:36:13,920 --> 00:36:18,480
They took some LSD, thinking they had plenty of time to come down.
445
00:36:18,480 --> 00:36:21,520
But they were in for an unwelcome shock.
446
00:36:21,520 --> 00:36:27,640
They threw us on at a time when we didn't expect to be going on. We had to sort of get our bearings.
447
00:36:27,640 --> 00:36:33,200
We were supposed to go on hours later. They said, "If you don't get on now, you won't play."
448
00:36:44,720 --> 00:36:48,640
I remember that I was under the influence of LSD.
449
00:36:48,640 --> 00:36:52,200
You know, and then it all came back to me, like...
450
00:36:52,200 --> 00:36:57,120
"Damn! Why did I take LSD before I went on?"
451
00:37:00,000 --> 00:37:03,720
I wanted to find something like a drunk,
452
00:37:03,720 --> 00:37:10,040
find a telephone pole that I can hang on to because the whole city is going like this.
453
00:37:10,040 --> 00:37:16,280
And so my telephone pole was saying, "God, please help me.
454
00:37:17,280 --> 00:37:21,320
"Help me to stay in time and in tune.
455
00:37:22,320 --> 00:37:28,280
"That's all I ask. I'll never do this again. I promise I'll never touch the stuff again."
456
00:37:44,760 --> 00:37:49,200
The guitar neck is going like this. Literally, like an electric snake.
457
00:37:49,200 --> 00:37:56,240
And I'm making faces just to try to keep it from, you know, slithering so much.
458
00:37:57,400 --> 00:38:00,040
And trying to find pretty notes.
459
00:38:00,040 --> 00:38:04,080
And telling myself, "Slow down. Don't play so fast. Slow down."
460
00:38:04,080 --> 00:38:06,920
Cos the band's going...
461
00:38:06,920 --> 00:38:10,560
You find melodies like this, you know.
462
00:38:10,560 --> 00:38:12,520
Even back then,
463
00:38:12,520 --> 00:38:17,280
I'm able to hear that voice that says, "Do contrast."
464
00:38:17,280 --> 00:38:22,440
If everybody goes like this, you go like that. You know?
465
00:38:24,760 --> 00:38:28,360
When they got on the stage, it was their moment.
466
00:38:31,000 --> 00:38:36,840
Michael Shrieve was playing like a god and the percussion section was snapping.
467
00:38:38,720 --> 00:38:40,880
Carlos was...
468
00:38:40,880 --> 00:38:42,920
He was driven.
469
00:38:42,920 --> 00:38:46,400
I could see what he was doing to the crowd.
470
00:38:48,520 --> 00:38:52,040
They just had this incredible energy that was golden.
471
00:38:52,040 --> 00:38:57,160
It was all like one...machine. It was like a heavenly clockwork.
472
00:39:00,000 --> 00:39:02,600
And you could feel
473
00:39:02,600 --> 00:39:05,040
that this group...
474
00:39:05,040 --> 00:39:11,480
and the rhythm was really communicating with the tribal energy of the audience,
475
00:39:11,480 --> 00:39:15,520
even though they were completely unfamiliar with any of the music
476
00:39:15,520 --> 00:39:19,320
and we were the only group that didn't have a record out.
477
00:39:42,600 --> 00:39:45,240
As the legend of Woodstock grew,
478
00:39:45,240 --> 00:39:49,360
it certainly helped propel Santana
479
00:39:49,360 --> 00:39:56,480
as an up-and-coming rock artist that would be reckoned with.
480
00:39:56,480 --> 00:40:01,720
And Clive saw three hundred thousand people going CRAZY
481
00:40:01,720 --> 00:40:05,320
and he saw what Santana could do live.
482
00:40:05,320 --> 00:40:09,360
It rocked his world and he realised what he had on his hands.
483
00:40:09,360 --> 00:40:14,200
He turned the marketing and promotion forces of Columbia Records full on.
484
00:40:16,600 --> 00:40:22,640
Following the triumph of Woodstock, Santana became a household name across the world.
485
00:40:24,000 --> 00:40:30,720
The band toured the States, Africa and Europe, indulging in the first fruits of a rock'n'roll lifestyle.
486
00:40:38,360 --> 00:40:41,800
Ah, Carlitos? Carlitos Santana?
487
00:40:42,760 --> 00:40:48,600
There was a different balance to the band now with new members arriving.
488
00:40:51,120 --> 00:40:56,000
But Carlos had taken on board from mentors Bill Graham and Clive Davis
489
00:40:56,000 --> 00:41:02,120
the need for a more audience-friendly repertoire to open new doors for the band.
490
00:41:04,000 --> 00:41:06,040
- #
- Oye como va
491
00:41:06,040 --> 00:41:08,080
- #
- Mi ritmo
492
00:41:08,080 --> 00:41:10,120
- #
- Bueno pa' gozar
493
00:41:10,120 --> 00:41:11,960
- #
- Mulata
494
00:41:11,960 --> 00:41:15,840
- #
- Oye como va Mi ritmo
495
00:41:15,840 --> 00:41:18,000
- #
- Bueno pa' gozar...
- #
496
00:41:18,000 --> 00:41:21,840
Oye Como Va, this song to me is just as important
497
00:41:21,840 --> 00:41:25,720
as anything that Gregg's writing or anybody's writing.
498
00:41:26,720 --> 00:41:31,480
So the band go, "That's not rock'n'roll, man."
499
00:41:31,480 --> 00:41:35,920
And so I said, "I don't care. These songs are going on the record.
500
00:41:35,920 --> 00:41:39,520
"And if you don't want it, get another guitar player."
501
00:41:39,520 --> 00:41:42,360
Well, we disagreed a lot!
502
00:41:43,320 --> 00:41:45,760
It was... I mean, we did.
503
00:41:45,760 --> 00:41:52,200
But it was because it was passionate. We really meant it. I don't mean like that's a bad thing.
504
00:41:52,200 --> 00:41:58,680
He really believed it, I really believed it. And as Shrieve says, "It's always these two guys!"
505
00:41:58,680 --> 00:42:00,720
And it was.
506
00:42:00,720 --> 00:42:05,360
So the inter-personal relationships were very electric, very intense.
507
00:42:06,360 --> 00:42:09,080
And sometimes incendiary.
508
00:42:09,080 --> 00:42:12,800
I'll tell you one thing that really showed me
509
00:42:12,800 --> 00:42:17,440
where Carlos was that really took me by surprise.
510
00:42:17,440 --> 00:42:23,680
We were done rehearsing. We'd work hard, we'd never go to the movies or anything like that.
511
00:42:23,680 --> 00:42:29,320
So I said, "Hey, you wanna go to the movies?" And he stops and looks at me.
512
00:42:29,320 --> 00:42:33,760
"Man, why would I want to go to the movies? I wanna BE the movie."
513
00:42:37,000 --> 00:42:43,480
And I couldn't believe it. I said, "Whoa, man. I just asked if you want to go to the movies."
514
00:42:43,480 --> 00:42:47,920
Like, "You wanna go to dinner?" But he was serious.
515
00:42:47,920 --> 00:42:51,920
He was serious and he must have been 21 years old.
516
00:42:55,000 --> 00:42:59,040
By pushing the boundaries of his music and relationships,
517
00:42:59,040 --> 00:43:05,240
Carlos was able to take some giant steps beyond the first Santana album.
518
00:43:05,240 --> 00:43:11,280
You have a lifetime to prepare to make that first record, then you get caught up in touring
519
00:43:11,280 --> 00:43:17,320
and getting that second record to live up to the first is a near impossibility. Few have done it.
520
00:43:17,320 --> 00:43:21,680
Santana really did with Abraxas. They took a leap.
521
00:43:21,680 --> 00:43:28,320
It was all about heart and soul and how does it feel? Not whether it's correct, just how does it feel?
522
00:43:28,320 --> 00:43:32,360
Cos to me music is imagery. I don't know notes.
523
00:43:32,360 --> 00:43:38,800
If you want me to read, I'll read to appease you, but I'd rather just close my eyes and look at it.
524
00:43:38,800 --> 00:43:43,440
The greatest tool he has is that he doesn't think about it.
525
00:43:43,440 --> 00:43:48,280
It comes straight through from the inspiration to the expression.
526
00:43:48,280 --> 00:43:52,640
When Carlos would say, "It has to be more purple..."
527
00:43:54,600 --> 00:43:57,440
He would say, "The drums...
528
00:43:57,440 --> 00:44:02,000
"They sound like the wind and I want them to sound like the sea."
529
00:44:12,800 --> 00:44:18,640
Samba Pa Ti was another track Carlos insisted the band include on Abraxas.
530
00:44:34,800 --> 00:44:39,040
If you can carry a melody, really carry a melody,
531
00:44:39,040 --> 00:44:45,080
and make it believable to anyone, where women stop and say, "Honey, this song speaks to me.
532
00:44:45,080 --> 00:44:49,760
"I'll talk to you later." They go, "Ahh," you know?
533
00:44:49,760 --> 00:44:52,080
That means you can carry a melody.
534
00:44:52,080 --> 00:44:56,520
That's what Samba Pa Ti is. It's something of my own.
535
00:45:18,000 --> 00:45:24,640
Of course, that was his first venture into really writing a classic melody
536
00:45:24,640 --> 00:45:28,520
and making it an instrumental piece of music.
537
00:45:28,520 --> 00:45:36,320
Yeah, Abraxas. It is still one of my favourite albums that I've ever been on.
538
00:45:36,320 --> 00:45:38,840
Just the whole thing came together.
539
00:45:38,840 --> 00:45:43,080
Black Magic Woman/The Gypsy Queen to Oye Como Va.
540
00:45:43,080 --> 00:45:47,920
I mean, it's standard stuff now. It's classic.
541
00:45:47,920 --> 00:45:50,440
# Don't turn your back on me, baby
542
00:45:51,400 --> 00:45:54,840
# Don't turn your back on me, babe
543
00:45:54,840 --> 00:45:58,880
# Yes, don't turn your back on me, babe
544
00:45:58,880 --> 00:46:02,920
# Stop messin' 'round with your tricks
545
00:46:02,920 --> 00:46:06,160
# Don't turn your back on me, baby
546
00:46:06,160 --> 00:46:10,800
# You just might pick up my magic sticks... #
547
00:46:10,800 --> 00:46:12,840
GUITAR SOLO
548
00:46:56,800 --> 00:47:00,560
Abraxas became an anthem for the hippy generation.
549
00:47:00,560 --> 00:47:07,000
But it was recorded at the end of a decade that juxtaposed flower power with social unrest
550
00:47:07,000 --> 00:47:09,880
and political violence.
551
00:47:11,920 --> 00:47:17,360
It was really a horrible, horrible time to be an American
552
00:47:17,360 --> 00:47:21,600
when you had people going off to a senseless war,
553
00:47:21,600 --> 00:47:25,640
your government was killing innocent people.
554
00:47:25,640 --> 00:47:28,120
It was in turmoil.
555
00:47:28,120 --> 00:47:33,920
Because of what was happening in the '60s with Black Panthers, Vietnam, Martin Luther King
556
00:47:33,920 --> 00:47:37,520
and Malcolm X and the Kennedys,
557
00:47:37,520 --> 00:47:42,880
that's the beginning of becoming a warrior against Vietnam,
558
00:47:42,880 --> 00:47:47,320
riding with the peace and freedom movement.
559
00:47:51,000 --> 00:47:55,440
The '60s had also been a turbulent period in Santana's personal life
560
00:47:55,440 --> 00:48:01,280
as he moved through a painful adolescence to the pinnacle of rock superstardom.
561
00:48:01,280 --> 00:48:08,320
I was fighting me. When you fight yourself, you start blaming that wall and this lamp
562
00:48:08,320 --> 00:48:11,040
and this amplifier.
563
00:48:11,040 --> 00:48:15,080
You know, the world is what it is. I was really at war with myself.
564
00:48:16,040 --> 00:48:21,480
I wasn't ready to forgive the person who molested me.
565
00:48:21,480 --> 00:48:23,920
I wasn't ready to...
566
00:48:23,920 --> 00:48:27,040
do the inner work
567
00:48:27,040 --> 00:48:32,080
to be liberated from my own...demons, if you will.
568
00:48:34,000 --> 00:48:36,440
So I was at war with me.
569
00:48:37,400 --> 00:48:41,440
You know, I want to be kind, yet I'm really brutal.
570
00:48:41,440 --> 00:48:45,480
Or I'm really inconsistent or I'm this or that.
571
00:48:48,200 --> 00:48:51,240
Basically, I aspired to be a good person,
572
00:48:51,240 --> 00:48:55,680
but, you know, I can become really, really short-tempered
573
00:48:55,680 --> 00:49:00,320
and quick to anger, so I was at war. I basically was at war.
574
00:49:00,320 --> 00:49:04,880
Not with the radio or anything. I was at war with myself.
575
00:49:07,000 --> 00:49:11,240
As always, Carlos's music spoke for him.
576
00:49:11,240 --> 00:49:15,280
This was the first time the social and political discord around them
577
00:49:15,280 --> 00:49:19,680
appeared to spill over into the Santana band's repertoire.
578
00:49:19,680 --> 00:49:24,320
The name Incident At Neshabur alludes to a massacre of innocents.
579
00:50:02,000 --> 00:50:08,040
This was Santana's most ambitious work yet, inspired by new directions in jazz.
580
00:50:08,040 --> 00:50:10,480
Well, listening to Miles,
581
00:50:10,480 --> 00:50:14,320
and Miles would go... # Do do do do do do #
582
00:50:14,320 --> 00:50:18,360
Just running the scale, but it wouldn't sound like that.
583
00:50:18,360 --> 00:50:23,040
It sounded like a snake sidewinding up a sand dune.
584
00:50:40,280 --> 00:50:42,720
The second part - de de da...
585
00:50:42,720 --> 00:50:44,760
That's all...
586
00:50:44,760 --> 00:50:49,000
This realm of songs like This Boy's In Love With You,
587
00:50:49,000 --> 00:50:55,840
Fool On The Hill... There's a gazillion songs just on those two chords alone.
588
00:50:55,840 --> 00:50:59,840
# Dee dee de doo doo... # All of that.
589
00:50:59,840 --> 00:51:02,480
Just in those two chords.
590
00:51:45,600 --> 00:51:52,200
Those two songs, in one, even though it's instrumental, it really tells a story.
591
00:51:52,200 --> 00:51:58,240
And so Incident at Neshabur, which is one of my very favourite recordings he ever made,
592
00:51:58,240 --> 00:52:01,080
was a tremendous departure
593
00:52:02,040 --> 00:52:06,680
and to people like us it would take courage.
594
00:52:06,680 --> 00:52:12,720
"Oh, my goodness. What'll happen? Maybe I'll turn my fans off." I don't think Carlos ever thought that way.
595
00:52:12,720 --> 00:52:19,000
He was thinking, "I've got to do this music, this is burning inside me and I'm going to get it out."
596
00:52:19,000 --> 00:52:22,640
Abraxas felt, really, like a unit.
597
00:52:23,600 --> 00:52:27,040
In-between Abraxas and Santana III,
598
00:52:27,040 --> 00:52:29,680
we had tremendous success.
599
00:52:29,680 --> 00:52:37,040
We were travelling the world, we were having number one records. Big records in a lot of countries.
600
00:52:37,040 --> 00:52:40,680
There was money, there was drugs.
601
00:52:42,400 --> 00:52:46,240
We had... management that was inexperienced,
602
00:52:46,240 --> 00:52:49,200
we were...we were getting lost.
603
00:52:51,400 --> 00:52:55,480
I always say they went to cocaine heaven.
604
00:52:55,480 --> 00:52:59,560
They were just a little too high, coming off non-existent walls.
605
00:52:59,560 --> 00:53:02,200
It's almost like too much too soon.
606
00:53:02,200 --> 00:53:04,960
That's the best way I could say it.
607
00:53:04,960 --> 00:53:10,720
We just... You had the world at your feet, you could do anything you want.
608
00:53:10,720 --> 00:53:14,960
And during those days you really could do anything you want!
609
00:53:18,000 --> 00:53:21,840
Several band members became addicted to the high life.
610
00:53:21,840 --> 00:53:27,880
For others, the music took a back seat on the rollercoaster ride to rock celebrity.
611
00:53:27,880 --> 00:53:32,680
Carlos could see the band was in danger of imploding.
612
00:53:32,680 --> 00:53:38,520
He... He kind of made an ultimatum to the band and that was never done. The band was a band.
613
00:53:38,520 --> 00:53:41,080
And that was kind of...
614
00:53:41,080 --> 00:53:44,560
when he began to take it over.
615
00:53:46,200 --> 00:53:51,160
Everybody was feeling a tremendous sense of sadness because...
616
00:53:52,560 --> 00:53:57,000
..it's like when you... you had too much sugar
617
00:53:57,000 --> 00:53:59,640
and then you crash.
618
00:53:59,640 --> 00:54:01,640
You know,
619
00:54:01,640 --> 00:54:05,480
here I'm hearing our records on the radio,
620
00:54:05,480 --> 00:54:08,040
number one for weeks and weeks.
621
00:54:09,000 --> 00:54:14,360
I got my mom the house that I promised her and the dishwasher and dryer.
622
00:54:14,360 --> 00:54:16,800
I'm fulfilling all my promises,
623
00:54:16,800 --> 00:54:22,760
yet I feel emptier than I ever felt before. "What the hell is wrong with me?"
624
00:54:22,760 --> 00:54:27,000
All of a sudden, you know, I wanted, like, a real hug
625
00:54:27,000 --> 00:54:33,240
that I haven't gotten from my mom in a long time. I wanted a real...relationship.
626
00:54:33,240 --> 00:54:39,720
You know, instead of like a revolving door of people who smell funny and they talk too much.
627
00:54:41,000 --> 00:54:46,840
But there was no time for reflection. Santana's first two records had gone platinum
628
00:54:46,840 --> 00:54:50,880
and Columbia called the band back to record their third album.
629
00:54:50,880 --> 00:54:54,120
Well, we show up at CBS Studios
630
00:54:54,120 --> 00:55:01,160
and I'm all set up there with the gear and the band and they show up in their fancy cars and motorcycles
631
00:55:01,160 --> 00:55:03,680
and they just terrorise that place.
632
00:55:03,680 --> 00:55:09,720
The first night they cut three pretty significant basic tracks for that third album.
633
00:55:09,720 --> 00:55:15,760
The next morning I go in the studio and the studio manager is there and he's completely livid.
634
00:55:15,760 --> 00:55:21,800
The place is all terrorised, Chepito has stolen the light bulbs, toilet paper, soap, everything,
635
00:55:21,800 --> 00:55:26,000
they rode their motorcycles, Harleys, through the building.
636
00:55:26,000 --> 00:55:31,120
They sat in this brand-new studio with their feet up on the walls
637
00:55:31,120 --> 00:55:37,520
and all this craziness and the studio manager wants to kill me. "There he is! Go get him!"
638
00:55:39,200 --> 00:55:44,600
It's more like going to the studio to pull out wisdom teeth.
639
00:55:44,600 --> 00:55:49,040
It's a lot more difficult to get people in the studio first of all,
640
00:55:49,040 --> 00:55:53,640
and when they do, they have an attitude. We had. I was there, too.
641
00:55:53,640 --> 00:55:56,280
'Or you show up late
642
00:55:56,280 --> 00:56:01,120
'or you are too over the top with drugs to play.'
643
00:56:01,120 --> 00:56:03,360
But, nevertheless,
644
00:56:03,360 --> 00:56:06,000
I think that when we did...
645
00:56:06,000 --> 00:56:09,240
put our...egos and illusions aside,
646
00:56:09,240 --> 00:56:14,160
there's incredible beauty between Gregg Rolle and myself.
647
00:56:36,200 --> 00:56:42,240
The band was built with passion and it fell apart with passion. It was just that kind of thing.
648
00:56:42,240 --> 00:56:44,480
If it hadn't been there,
649
00:56:44,480 --> 00:56:49,920
if that kind of animal attack on music hadn't been there,
650
00:56:49,920 --> 00:56:52,280
it would have never happened.
651
00:57:18,400 --> 00:57:25,400
Carlos's musical experience was expanding very, very wide very quickly.
652
00:57:26,600 --> 00:57:30,240
He was interested in all kinds of new music.
653
00:57:30,240 --> 00:57:35,760
Some of the people in the band weren't. A couple of people couldn't play it.
654
00:57:35,760 --> 00:57:43,400
And so there was a natural schism between, let's say, the new direction and the old Santana band.
655
00:57:44,360 --> 00:57:46,800
You know, I'm not a jazz player.
656
00:57:46,800 --> 00:57:50,400
And I was like a fish out of water.
657
00:57:50,400 --> 00:57:55,040
I didn't have much input to it. I'd try to sit in with this stuff,
658
00:57:55,040 --> 00:57:58,600
but it was... it was beyond my realm.
659
00:57:58,600 --> 00:58:04,440
And it made me realise already at that time that it was going like that, you know.
660
00:58:04,440 --> 00:58:08,480
Some people in the band wanted to go the Journey way
661
00:58:08,480 --> 00:58:14,320
and I wanted to go this other way with Carlos Jobim and Miles and Weather Report.
662
00:58:22,400 --> 00:58:24,440
CARLOS PLAYS SOLO
663
00:58:41,240 --> 00:58:44,880
It's kind of like we knew that that was it.
664
00:58:44,880 --> 00:58:46,120
And...
665
00:58:47,080 --> 00:58:51,120
It was the end of a love affair, you know.
666
00:59:01,480 --> 00:59:07,920
To the confusion of some fans, Carlos delved deeper into jazz rock with his next album Caravanserai.
667
00:59:10,000 --> 00:59:14,160
Caravanserai signifies coming out of the cage.
668
00:59:14,160 --> 00:59:21,000
It was like literally listening to Sketches of Spain and a lot of Coltrane,
669
00:59:21,000 --> 00:59:23,040
but without drugs.
670
00:59:38,520 --> 00:59:45,120
There's music for Friday and Saturday night, to party, and music to just replenish,
671
00:59:45,120 --> 00:59:49,160
music to just recollect yourself and reinvent yourself.
672
00:59:49,160 --> 00:59:52,120
Well, you know, we felt like,
673
00:59:52,120 --> 00:59:56,560
"This is so cool, this music we're making," and everybody hated it!
674
00:59:56,560 --> 01:00:00,840
I thought gravity was a myth and that record sucked to stay on Earth.
675
01:00:00,840 --> 01:00:07,080
Clive Davis came into the studio and heard it and he said, "You're committing career suicide!
676
01:00:07,080 --> 01:00:10,360
"This will just be terrible."
677
01:00:10,360 --> 01:00:14,400
I have heard "career suicide" about seven times in my life
678
01:00:14,400 --> 01:00:18,440
and I went right for it. "This would be career suicide."
679
01:00:18,440 --> 01:00:23,440
I'm like, "Mm, sounds interesting. I'll try it!" You know?
680
01:00:24,800 --> 01:00:29,240
At the same time as choosing a new musical path, Carlos was seeking
681
01:00:29,240 --> 01:00:33,280
a way out of his old loyalties and temptations.
682
01:00:33,280 --> 01:00:40,120
There's self-deception and there's self-discovery. I'm into self-discovery, man.
683
01:00:40,120 --> 01:00:46,760
With everything else that went with it - expensive cars and ladies all over the place and cocaine,
684
01:00:46,760 --> 01:00:51,680
you know, all the trappings - it's the same thing.
685
01:00:53,040 --> 01:00:59,480
You need discipline, you know, to withstand the onslaught of illusion.
686
01:01:00,840 --> 01:01:05,080
It was 1972 and gurus were very much in fashion.
687
01:01:05,080 --> 01:01:10,000
So Carlos and I went guru shopping together. We'd done our reading up
688
01:01:10,000 --> 01:01:12,200
on how to look for a guru.
689
01:01:14,000 --> 01:01:18,840
All of a sudden everything changes. Haircut, all the white clothing...
690
01:01:19,800 --> 01:01:24,720
..and he starts meditating and the candles in his guitar case.
691
01:01:25,720 --> 01:01:32,560
And he's sitting listening to John McLaughlin, the Mahavishnu, and getting all caught up in that.
692
01:01:32,560 --> 01:01:38,640
I remember saying, "Man..." He said, "Herbie, listen to the chops this guy has."
693
01:01:38,640 --> 01:01:42,960
And I'm, "Carlos, chops belong in a butcher shop."
694
01:01:54,000 --> 01:01:58,240
Carlos became a disciple of my guru, Sri Chinmoy.
695
01:01:58,240 --> 01:02:02,880
And I had this spiritual name, Mahavishnu,
696
01:02:02,880 --> 01:02:08,120
which is where the band name came from. So he was well aware
697
01:02:08,120 --> 01:02:15,720
that I was myself directly involved with addressing the fundamental questions of existence.
698
01:02:15,720 --> 01:02:20,080
And I think this was one of the things that drew us together.
699
01:02:20,080 --> 01:02:24,680
We became a lot more consistent with meditating at a certain time.
700
01:02:24,680 --> 01:02:29,600
Truly West Point military, like a marine.
701
01:02:29,600 --> 01:02:33,760
The diet was intense, the meditation was intense,
702
01:02:33,760 --> 01:02:35,720
the hours were intense.
703
01:02:35,720 --> 01:02:39,760
I think by the time we recorded he had become a disciple,
704
01:02:39,760 --> 01:02:44,000
which is why we're both on the cover wearing white
705
01:02:44,000 --> 01:02:48,160
and this was the guru's wish, you know, wear white.
706
01:02:48,160 --> 01:02:52,720
So whatever the guru wants, you do it. Simple as that.
707
01:02:52,720 --> 01:02:57,600
# The law divine is love divine
708
01:02:57,600 --> 01:03:02,640
# The law divine is love divine... #
709
01:03:05,280 --> 01:03:10,520
Supported by these new relationships, Carlos could again reinvent himself,
710
01:03:10,520 --> 01:03:14,560
this time with a complete reversal of lifestyle.
711
01:03:14,560 --> 01:03:18,800
With the guru's permission, he even settled down to marriage.
712
01:03:19,880 --> 01:03:24,280
The reason Deborah and I became attracted to one another
713
01:03:24,280 --> 01:03:28,320
was that we both wanted to get away from cocaine or heroin
714
01:03:28,320 --> 01:03:32,960
or anything that had to do with self-deception
715
01:03:32,960 --> 01:03:35,160
and self-destruction.
716
01:03:38,400 --> 01:03:41,040
In order to change who you are,
717
01:03:41,040 --> 01:03:45,080
Sri Chinmoy would give you a spiritual name.
718
01:03:45,080 --> 01:03:49,120
And Carlos changed his name to Devadip
719
01:03:49,120 --> 01:03:54,360
because that was the new name that Sri Chinmoy had given him.
720
01:03:54,360 --> 01:03:57,000
So he was now Devadip Carlos Santana.
721
01:03:58,480 --> 01:04:00,920
There was no real conflict
722
01:04:00,920 --> 01:04:05,560
between the personas of Devadip and Carlos.
723
01:04:06,520 --> 01:04:09,640
They were two aspects of who he was.
724
01:04:09,640 --> 01:04:13,280
So we could make an album of Carlos Santana
725
01:04:13,280 --> 01:04:18,720
and then we could make an album of Devadip. The guitar sound was identical.
726
01:04:18,720 --> 01:04:24,280
Carlos's playing was very similar, but the spiritual content was very different.
727
01:04:25,240 --> 01:04:31,280
Santana believed he had at last found the right balance of spiritual and sensual.
728
01:04:31,280 --> 01:04:37,480
When they played live, Devadip and Santana were happening onstage together.
729
01:04:37,480 --> 01:04:39,920
GENTLE GUITAR SOLO
730
01:05:49,200 --> 01:05:54,640
I think the whole experience with Sri Chinmoy gave him a lot of confidence.
731
01:05:54,640 --> 01:05:58,680
He felt, you know, like he had a path to be on.
732
01:05:58,680 --> 01:06:02,040
At this point, I mean that in a positive way,
733
01:06:02,040 --> 01:06:07,080
but we had some falling out on the road and things like that.
734
01:06:07,080 --> 01:06:13,920
Whereas before we were always close and now it seemed like he was changing
735
01:06:13,920 --> 01:06:19,960
in a way that seemed to be a public persona and then a private persona that was different from that.
736
01:06:19,960 --> 01:06:22,480
Within a few years,
737
01:06:22,480 --> 01:06:27,120
Carlos would replace not just his band, but his guru, too.
738
01:06:28,400 --> 01:06:33,840
Sri Chinmoy wanted all the attention, you know.
739
01:06:33,840 --> 01:06:37,880
And we fell for it for as long as we fell for it.
740
01:06:37,880 --> 01:06:42,640
When it was time to leave, it was time to leave. Honey became vinegar.
741
01:06:42,640 --> 01:06:48,480
To me, it was time to leave when I started hearing him say that if you leave him
742
01:06:48,480 --> 01:06:52,880
you drown in the sea of darkness. Uh-oh. Back to the pimps again.
743
01:06:54,600 --> 01:07:00,040
There was always another mountain to climb, always the need to travel a new road,
744
01:07:00,040 --> 01:07:04,080
just like his father, the itinerant mariachi.
745
01:07:04,080 --> 01:07:07,600
Only Carlos's journey was a global one.
746
01:07:11,000 --> 01:07:16,640
Still driven, still searching for the adoration that had greeted his early albums,
747
01:07:16,640 --> 01:07:20,480
Carlos travelled restlessly through the '80s.
748
01:07:20,480 --> 01:07:27,640
He just was relentless in his ideas for what he wanted to do for the next project.
749
01:07:28,600 --> 01:07:35,640
He was like a little child with a new toy, but his toys were all musical ideas
750
01:07:35,640 --> 01:07:40,120
and musical...concepts, you know.
751
01:07:43,080 --> 01:07:48,840
Santana involved himself in many adventurous collaborations in the next decade,
752
01:07:48,840 --> 01:07:55,200
but musical fashions had changed and for many fans these were his wilderness years.
753
01:07:58,800 --> 01:08:01,640
# Blues a healer
754
01:08:02,600 --> 01:08:05,280
# All over the world
755
01:08:06,680 --> 01:08:09,560
# Blues a healer
756
01:08:10,520 --> 01:08:13,600
# All over the world... #
757
01:08:13,600 --> 01:08:17,760
To me, music, if that's not marinated with the blues
758
01:08:17,760 --> 01:08:22,400
it's like cereal without any milk or pancakes without any syrup.
759
01:08:22,400 --> 01:08:27,000
The blues gives it... a certain validity
760
01:08:27,000 --> 01:08:30,000
to passion and emotions.
761
01:08:30,000 --> 01:08:33,400
Emotion and rhythm, you know.
762
01:08:42,000 --> 01:08:46,680
I think it's been remarkable to watch the change, the development,
763
01:08:46,680 --> 01:08:50,200
the growth of Carlos as a musician,
764
01:08:50,200 --> 01:08:57,000
but even more poignantly as a human being over the last forty years.
765
01:08:57,000 --> 01:08:59,880
Forty years.
766
01:08:59,880 --> 01:09:02,720
He's expanded his horizons
767
01:09:03,640 --> 01:09:09,280
and he's gone through a period of really intense self-inquiry.
768
01:09:13,360 --> 01:09:18,400
He's developed as a guitarist, as a musician, as a star,
769
01:09:18,400 --> 01:09:23,040
but as a human being he's gone through an enormous change.
770
01:09:23,040 --> 01:09:27,640
And very, very few of us can face that kind of transformation.
771
01:09:33,000 --> 01:09:36,640
There's a deeper purpose than selling records.
772
01:09:36,640 --> 01:09:41,520
To me it is all about utilising music
773
01:09:41,520 --> 01:09:45,360
to ignite people and assault the senses.
774
01:09:45,360 --> 01:09:48,440
To give people a remembrance
775
01:09:48,440 --> 01:09:54,680
that all of us are angels who didn't necessarily trade in our wings for feet.
776
01:09:58,200 --> 01:10:03,840
Is it possible to actually be genuine and true and honest and fresh?
777
01:10:03,840 --> 01:10:07,880
Is it possible to access purity and innocence
778
01:10:07,880 --> 01:10:14,520
and in that... that brilliance of inspiration that transcends fear
779
01:10:14,520 --> 01:10:20,560
and you putting yourself down or other people. With every record, there's critics,
780
01:10:20,560 --> 01:10:23,840
like, wanting to tear you apart, you know.
781
01:10:30,360 --> 01:10:36,360
But eventually Santana made a spectacular comeback with an ambitious new album, Supernatural,
782
01:10:36,360 --> 01:10:38,280
in 1999.
783
01:10:38,280 --> 01:10:43,920
# Man, it's a hot one Like seven inches from the midday sun
784
01:10:43,920 --> 01:10:49,200
# Well, I hear you whisper and the words melt everyone
785
01:10:49,200 --> 01:10:53,400
# But you stay so cold So cold... #
786
01:10:53,400 --> 01:11:00,720
Santana was still hungry, still ambitious for the radio plays to take him to a mainstream audience.
787
01:11:00,720 --> 01:11:02,800
# You're my reason for reason
788
01:11:03,920 --> 01:11:08,560
# You're the step in my groove, yeah... #
789
01:11:08,560 --> 01:11:12,600
He'd contacted his old mentor Clive Davis, who put him together
790
01:11:12,600 --> 01:11:17,400
with many of the biggest young hit makers on American radio.
791
01:11:17,400 --> 01:11:20,040
'We really had not been in touch
792
01:11:20,040 --> 01:11:24,280
'for maybe a good 20 to 25 years.'
793
01:11:26,720 --> 01:11:32,760
It's such a business of "What have you done lately?" and when you sign someone that has not had a hit,
794
01:11:32,760 --> 01:11:39,400
that has not been platinum or gold in recent years and you say, "I'm going to revive their career,"
795
01:11:39,400 --> 01:11:44,000
I know in certain quarters it got back to me
796
01:11:44,000 --> 01:11:47,400
this is "Davis's folly", you know.
797
01:11:47,400 --> 01:11:51,840
I didn't know Supernatural would turn the music world on its ear.
798
01:11:51,840 --> 01:11:56,680
I didn't know we would end up selling 28 million copies,
799
01:11:56,680 --> 01:12:02,920
nor did I know that it would break the all-time record for the number of Grammy Awards.
800
01:12:02,920 --> 01:12:05,160
It was exciting.
801
01:12:05,160 --> 01:12:09,280
Supernatural was a second coming for Santana,
802
01:12:09,280 --> 01:12:15,280
helping to lay to rest the struggle between angels and demons that had defined much of his career.
803
01:12:15,280 --> 01:12:20,400
# Cos there's a monster living under my bed
804
01:12:23,880 --> 01:12:26,080
# Whisperin' in my ear
805
01:12:28,600 --> 01:12:31,200
# There's an angel
806
01:12:31,200 --> 01:12:33,720
# With a hand on my head
807
01:12:37,080 --> 01:12:40,640
# She say I've got nothing to fear
808
01:12:42,240 --> 01:12:48,680
- # There's a darkness... #
- Supernatural paved the way for Carlos Santana's continuing journey.
809
01:12:50,520 --> 01:12:53,840
# Still got a purpose to serve... #
810
01:12:55,600 --> 01:12:58,560
My guitar's my umbilical cord.
811
01:12:58,560 --> 01:13:02,800
My guitar is my voice. It's the things that I process,
812
01:13:02,800 --> 01:13:07,040
the things that are immediately, supremely important to me.
813
01:13:07,040 --> 01:13:13,080
And what's important to me is to honour the musicians that I learnt,
814
01:13:13,080 --> 01:13:15,840
honour the teachers that I had,
815
01:13:16,800 --> 01:13:19,440
honour my family
816
01:13:19,440 --> 01:13:23,600
and honour the listener by reminding the listener.
817
01:13:23,600 --> 01:13:28,240
When you take a solo, you are required to know where you're going
818
01:13:28,240 --> 01:13:34,400
and what are you trying to say. And then get the hell out of there, give it to the next guy.
819
01:13:34,400 --> 01:13:40,440
So what is required for you to understand is where you're going when you take a solo.
820
01:13:40,440 --> 01:13:45,080
You're going straight to people's hearts. What are you trying to say?
821
01:13:45,080 --> 01:13:51,120
You say to them, "You matter, you're significant and meaningful and you can make a difference."
822
01:13:51,120 --> 01:13:53,160
Now that's a solo.
823
01:14:14,600 --> 01:14:19,040
# While my guitar gently weeps
824
01:14:30,400 --> 01:14:34,440
# Still my guitar gently weeps... #
825
01:14:36,040 --> 01:14:38,680
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