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PRS for Music (formerly the Performing Right Society) is a UK copyright collection society undertaking collective rights management for musical works. PRS for Music was formed in 1997 as the MCPS-PRS Alliance, bringing together two collection societies: the Mechanical-Copyright Protection Society (MCPS) and Performing Right Society (PRS).^[1] The PRS for Music brand was adopted in 2009.

Wikinews has related news: Interview: PRS, the UK's music royalty collection society

Operations[link]

PRS for Music manages about 10 million musical works on behalf of its songwriter, composer and publisher members. PRS for Music licenses its members' musical works whenever they are played, performed or reproduced both in the UK and globally through its partner network.^[2] A PRS for Music licence gives the user permission to play or use the music it represents in a number of circumstances such as on radio, TV, online or in public premises.

After operating costs are deducted,^[3] the remaining money is distributed to the copyright holders (in the case of PRS for Music, these are the songwriters or the publishers with whom they have agreements). The owners of the copyright in the recording itself are served by an independent organisation (the PPL). If, for example, a cover version of a song is played on BBC Radio 1, PRS for Music collects a fee on behalf of the writer and publisher while Phonographic Performance Limited (PPL) collects a fee on behalf of the record company whose recording is played.

PRS for Music has a large range of tariffs for organisations (businesses, government organisations, educational establishments, and so on) dependent on their size and the extent to which they are using music, and whether they are commercial premises or not as well as many other criteria.

Around 350,000 UK businesses ^[4] have paid for a licence from the PRS, but some workplaces do not need one:

• Inpatient and treatment areas in hospitals
• Medical day centres
• Residential homes (in most circumstances)
• Music used in divine worship (although licences are required for copyrighted music)
• Civil wedding ceremonies and partnership ceremonies
• Lone and home workers.^[5]

In February 2010, PRS for Music announced its 2009 financial results, which showed a modest 2.6% increase in revenue to £623m.^[6]

^[7]

The total licencing and adminitration costs of PRS for Music (the MCPS-PRS alliance) are also published in their annual reports as £70.2 million in 2009.

Legal cases[link]

In 2007, PRS for Music took a Scottish car servicing company to court because the employees were allegedly "listening to the radio at work, allowing the music to be 'heard by colleagues and customers.'"^[8]

In June 2008, PRS for Music accused 11 police stations, of failure to obtain permits to play music, and sought an injunction and payments for "damages".^[9]

Cross border European licensing[link]

The Santiago Agreement was established in 2000 between five European collecting societies including the UK's PRS for Music and France's SACEM and Germany's GEMA. The agreement allows each collecting society to collect royalties on behalf of members of the other collecting society — e.g. the PRS would collect money for German artists listed with GEMA — but to restrict licences to be sold only within the member organisation's home country.

The European Commission decided in 2008 that the cross-licensing agreements formed by 24 collecting societies in Europe were in violation of anti-competition laws.^[10]

Schools[link]

Along with Phonographic Performance Limited (PPL), PRS for Music use the Centre for Education and Finance Management (CEFM) as agents to collect licensing money from schools and colleges. Universities have separate arrangements.

Enforcement[link]

In 2008, PRS for Music began a concerted drive to make commercial premises pay for annual "performance" licences. In one case it told a 61-year-old mechanic that he would have to pay £150 to play his radio while he worked by himself.^[11] It also targeted a bakery that played a radio in a private room at the back of the shop.^[12] a woman who used a classical radio to calm her horses^[13] and community centres that allowed children to sing carols in public.^[14] However, questions have been raised about the tactic of targeting small businesses:

"Radio stations pay large amounts of money to licensing organizations PRS and PPL for the music they play, and music has been on the radio for many years. During the war, there were programmes like Music While You Work. Now, many radio stations have features about workplaces. If the PRS forces people to switch their radios off then how are these stations going to survive? Music has to be heard before people go out and buy it." (The Bolton News)^[15]

As BBC radio is publicly financed through the TV licence fee providing a service free of charge, further legal questions have arisen over the PRS's remit. The BBC pays a fee towards PRS Licensing and a TV Licence only covers you for a broadcast signal, not the nature of the programming in a commercial premises.

In March 2009, the on line video-sharing site YouTube removed all premium music videos for UK users, even those supplied by record labels, due to a failure to find "mutually acceptable terms for a new licence" with the PRS.^[16][17] As a consequence, PRS established the Fair Play for Creators campaign in order to provide a forum where musicians could "publicly demonstrate their concern over the way their work is treated by online businesses".^[18] David Arnold, Jazzie B, Billy Bragg, Guy Chambers, Robin Gibb, Pete Waterman, Mike Chapman, Wayne Hector, Pam Sheyne and Debbie Wiseman sent a letter to The Times newspaper in support of the campaign launched by PRS.^[19] A rights deal was settled in September 2009 between PRS and Google that allowed YouTube users in UK to view music videos.^[20]

Wiltshire Constabulary refused to pay PRS for a £32,000 licence fee in April 2009. Instead the force told all officer and civilian staff that music could no longer be played in their workplaces but that ban excluded patrol cars. A total of 38 of 49 UK police forces currently hold PRS licences.^[21]

In May 2009, The British Chambers of Commerce published a survey of business attitudes to the PRS. Just 6% of companies rated their experience as good or excellent. In contrast, over half said their experience had been poor or very poor. Businesses were also asked to submit comments about their experiences. Many of these replies referred to the PRS’ behaviour as “aggressive” and “threatening”.^[22]

In October 2009, the PRS apologised to a 56-year-old shelf-stacker at a village in Clackmannanshire for pursuing her for singing to herself while stacking shelves.^[23][24] PRS initially told her that she would be prosecuted and fined thousands of pounds if she continued to sing without a "live performance" licence. However PRS subsequently acknowledged its mistake.^[25]

In October 2010, it was reported that Sussex Police, in a money-saving move, were not intending to renew their PRS licence, meaning that Police officers would no longer be able to listen to the radio in their squad cars or other work places. ^[26]

Alternatives to paying the PRS[link]

The only way to avoid paying the PRS is to play music that is not registered to the PRS and never to play licensed music. This is limited in practice to licence-free catalogues^[27] which have been created specifically to be marketed as royalty- or licence-free. There are CD ranges such as iChill, increasingly available as downloads as well as on CD, as well as licence-free internet radio stations that play music which has been licensed by the copyright holders such that it can be played without paying the PRS. This may include some Creative Commons or Public Domain music. According to these radio stations, there is no need to pay money to the PRS if only these radio stations are played at your workplace. ^{[28][dubious – discuss]} There are many radio stations that play creative commons music. ^[29] There are also various 'licence-free' music streaming services providing background music for businesses that only use music exempt from PRS (and PPL) Public Performance Licences.

References[link]

External links[link]

• PRS for Music website
• Copyright, Designs and Patents Act 1988
• BBC article on PRS
• UK Federation of Small Businesses Blog discussing PRS interaction
• Information for rightsholders on collection societies, particularly if they're worth joining.
• A little less complication: why Europe needs a new plan for music rights, October 23, 2008, World Media Law Report

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (November 2010)

Bernie Marsden
Marsden in Zoetermeer Holland, in 2007 Photo: Jan Slob
Background information
Birth name	Bernard John Marsden
Born	(1951-05-07) 7 May 1951 (age 61) Buckingham, Buckinghamshire, England
Genres	Hard rock, blues-rock, blues, heavy metal
Occupations	Musician, singer-songwriter, producer
Instruments	Guitar, vocals
Years active	1973 – present
Labels	Castle
Associated acts	UFO, Cozy Powell's Hammer, Babe Ruth, Paice, Ashton & Lord, Whitesnake, The Moody Marsden Band, The Snakes, The Company of Snakes
Website	berniemarsden.co.uk
Notable instruments
Gibson Les Paul, Sid Poole Les Paul

Bernard John "Bernie" Marsden (born 7 May 1951) is an English rock guitarist.^[1] Having played with Glenn Cornick's Wild Turkey in 1974, he then played with Babe Ruth, from 1975–76, before becoming an original member of Paice, Ashton & Lord in 1977 and then joining the hard rock band, Whitesnake. In more recent years, Marsden has toured with his bands Company of Snakes, M3 (both formed with fellow former Whitesnake members Micky Moody and Neil Murray) and Bernie Marsden's Whitesnake, and performed with Elkie Brooks. Over the years he has taken part in a number of sessions and has released a handful of solo albums (And About Time, Too!, Look at Me Now, Green & Blues, Stacks). He has also collaborated with Micky Moody on a number of Marsden-Moody live and studio projects. On the Sweden Rock Festival on 10 June 2011 Bernie Marsden played with Whitesnake for the first time since 1981, thus becoming the second of only two former Whitesnake band members who have played with Whitesnake in recent years, the other person being Adrian Vandenberg, who also played with them on the Sweden Rock Festival.

Discography[link]

With UFO[link]

• 1973 "Give Her the Gun" (single)
• 1993 The Decca Years

With Cozy Powell's Hammer[link]

• 1974 Na Na Na (single)

With Wild Turkey[link]

• 1974 Don't Dare to Forget

With Babe Ruth[link]

• 1975 Stealin' Home
• 1976 Kid's Stuff

With Paice, Ashton & Lord[link]

• 1977 Malice in Wonderland
• 1993 BBC Radio 1 Live in Concert '77
• 2007 Live in London '77 (DVD)

With Company[link]

• 1979 We Wish You Well/Right Time For Love (45rpm United Artists BP326)

With Whitesnake[link]

• 1978 Snakebite
• 1978 Trouble
• 1979 Lovehunter
• 1980 Ready an' Willing
• 1980 Live...in the Heart of the City
• 1981 Come an' Get It
• 1982 Saints & Sinners
• 2003 The Silver Anniversary Collection
• 2004 The Early Years
• 2008 30th Anniversary Collection

With Alaska[link]

• 1984 - Heart of the Storm (as Bernie Marsden's Alaska)
• 1985 - The Pack
• 1986 - Alive (VHS)
• 2002 - Live Baked Alaska
• 2003 - Anthology 1
• 2005 - Alive (DVD Ltd Edition via web shop)

With The Moody Marsden Band[link]

• 1992 - Never Turn Our Back on the Blues
• 1994 - Live In Hell - Unplugged
• 1994 - The Time Is Right for Live (the two above albums released as one)
• 1994 - Real Faith
• 1999 - In Concert & Studio Outtakes Mainly Guitars (Live Sampler)
• 2000 - The Night the Guitars Came to Play
• 2001 - Ozone Friendly
• 2004 - The Best Of

With The Little House Band[link]

• 2000 - Christmas 2000 (COS line up as The Little House Band) Unreleased Promo Cover Songs

With The Majesticaires[link]

• 2001 - Solid Rock (COS line up as The Majesticaires) Unreleased Promo Cover Songs

With The Snakes, Company Of Snakes & M3[link]

• 1998 - Once Bitten (Japan)
• 1998 - Live in Europe
• 2001 - Here They Go Again
• 2002 - Burst the Bubble
• 2005 - Classic Snake Live
• 2005 - Classic Snake Live 2cd Japan Edition
• 2005 - Rough an' Ready (CD)
• 2007 - Rough an' Ready (DVD)

Solo[link]

• 1979 - And About Time Too! (reissue: 2000)
• 1981 - Look at Me Now (reissue: 2000)
• 1992 - The Friday Rock Show Sessions '81
• 1995 - Tribute to Peter Green: Green and Blues
• 2002 - Blues Rock (Bad Ass'd Boogie Driven Hot Licks) Industry Only Sampler
• 2003 - Big Boy Blue (Advance Edition)
• 2003 - Big Boy Blue (2CD Edition)
• 2005 - Live At The Granary
• 2005 - Stacks
• 2006 - Blues 'n' Scales: A Snakeman's Odyssey 1970-2004 (compilation)
• 2007 - Big Boy Blue... Live (live album)
• 2007 - The Ironworks Session (Sampler Available Gigs Only)
• 2008 - Radioland - CD Sampler of the Live Show (compilation/not released officially)
• 2009 - Bernie Plays Rory
• 2009 - Going to My Hometown (live album)
• 2011 - Ballyshannon Blues for Rory
• 2012 - Very Local Boy (Sampler Radcliffe centre gigs only)

Film and television appearances[link]

• 1989 - Runaway Dreams (musical director)
• 1995 - Rock Family Trees (interviewee)
• 1998 - Still Crazy (performer, song "A Woman Like That")
• 2006 - Heavy Metal - Louder Than Life (interviewee)

Other recordings[link]

• 1973 You & Me (Chick Churchill)
• 1974 Jumblequeen (Bridget St John)
• 1978 Ain't That Just the Way (Barbi Benton)
• 1979 Over the Top (Cozy Powell)
• 1981 Tilt (Cozy Powell)
• 1982 Before I Forget (Jon Lord)
• 1982 Reading Rock '82 (VA)
• 1988 Guitar Speak 2 (VA)
• 1988 "South Africa" (Ian Gillan, writer)
• 1990 Perfect Crime (Blonde On Blonde, as producer only)
• 1991 Forcefield IV: Let the Wild Run Free (Forcefield)
• 1992 Instrumentals (Forcefield)
• 1992 First of the Big Band - BBC Radio 1 Live in Concert '74 (Tony Ashton & Jon Lord)
• 1994 Tellin' Stories (Walter Trout Band)
• 1994 Line Up (Borderline)
• 1998 Still Crazy - Soundtrack
• 2000 Snakebites - The Music Of Whitesnake (Tribute)
• 2000 Reis Door Niemandsland (Mama's Jasje)
• 2002 Blues for Harlem (Larry Johnson)
• 2002 I Eat Them for Breakfast (Micky Moody)
• 2007 Booze, Brawds and Rockin' Hard (Chris Catena)
• 2007 Human Spirit (Gary Fletcher)
• 2007 Ian Paice and Friends Live In Reading 2006 (DVD)
• 2007 Little Hard Blues" (Andrea Ranfagni, "Everybody Knows", "May Day", "New Baby", "Easy Woman")
• 2008 The Original - The Audiolab Sessions 2002 (Les Castle)
• 2008 Live and Rocking! - Live at the Hell Blues Festival 2000 (Micky Moody & Friends)
• 2009 Endangered Species - Live at Abbey Road 2000 (CD/DVD, Tony Ashton & Friends)

References[link]

External links[link]

• Bernie Marsden official website

Carlos Santana
Santana in Munich on January 21, 2000
Background information
Birth name	Carlos Augusto Alves Santana
Born	(1947-07-20) July 20, 1947 (age 64) Autlán de Navarro, Jalisco, México
Genres	Latin rock, chicano rock, Rock, blues rock, funk, jazz fusion, tejano music, salsa, pop, free jazz
Occupations	Musician, songwriter
Instruments	Vocals, guitar, percussion, violin
Years active	1964–present
Labels	RCA Records (2011-present) [1] Arista, Polydor, Columbia, Polygram, CBS
Associated acts	Santana, Los Lonely Boys, John McLaughlin
Website	Santana.com
Notable instruments
PRS Santana II Yamaha SG2000 Devadip Yamaha SG175 Gibson SG

Carlos Augusto Alves Santana (born July 20, 1947) is a Mexican and American rock guitarist. Santana became famous in the late 1960s and early 1970s with his band, Santana, which pioneered rock, Latin music and jazz fusion. The band's sound featured his melodic, blues-based guitar lines set against Latin and African rhythms featuring percussion instruments such as timbales and congas not generally heard in rock music. Santana continued to work in these forms over the following decades. He experienced a resurgence of popularity and critical acclaim in the late 1990s. In 2003, Rolling Stone magazine listed Santana at number 15 on their list of the 100 Greatest Guitarists of All Time.^[2] He has won 10 Grammy Awards and 3 Latin Grammy Awards.^[3]

Biography[link]

Early life[link]

Santana was born in Autlán de Navarro, Jalisco, Mexico. Carlos learned to play the violin at age five and the guitar at age eight. His younger brother, Jorge Santana, would also become a professional guitarist. Young Carlos was heavily influenced by Ritchie Valens at a time when there were very few Latinos in American rock and pop music. The family moved from Autlán de Navarro to Tijuana In La Colonia Libertad, the city on Mexico's border with California, and then San Francisco. Carlos stayed in Tijuana but joined his family in San Francisco later and graduated from James Lick Middle School and Mission High School there. He graduated from Mission High in 1965. Carlos was accepted into the California State University, Northridge and Humboldt State University, but turned down both of the offers. Javier Bátiz, a famous guitarist from Tijuana, was said to have been Carlos's guitar teacher who taught him to play a different style of guitar soloing.^[4] After learning Javier Batiz's techniques, Santana would make them his own as well.^[5]

Early career[link]

In San Francisco, he got the chance to see his idols, most notably B.B. King, perform live. He was also introduced to a variety of new musical influences, including jazz and folk music, and witnessed the growing hippie movement centered in San Francisco in the 1960s. After several years spent working as a dishwasher in a diner and busking for spare change, Santana decided to become a full-time musician. In 1966, he gained prominence by a series of accidental events all happening on the same day. Santana was a frequent spectator at Bill Graham's Fillmore West. During a Sunday matinee show, Paul Butterfield was slated to perform there but was unable to do so as a result of being intoxicated. Bill Graham assembled an impromptu band of musicians he knew primarily through his connections with the Grateful Dead, Butterfield's own band and Jefferson Airplane, but he had not yet picked all of the guitarists at the time. Santana's manager, Stan Marcum, immediately suggested to Graham that Santana join the impromptu band and Graham assented. During the jam session, Santana's guitar playing and solo gained the notice of both the audience and Graham.^[7] During the same year, Santana formed the Santana Blues Band, with fellow street musicians, David Brown and Gregg Rolie (bassist and keyboard player, respectively).^[5]

With their highly original blend of Latin-infused rock, jazz, blues, salsa, and African rhythms, the band (which quickly adopted their frontman's name, Santana) gained an immediate following on the San Francisco club circuit. The band's early success, capped off by a memorable performance at Woodstock in 1969, led to him signing a recording contract with Columbia Records, then run by Clive Davis.

[edit] Santana

Santana was signed by CBS Records and went into the studio to record their second album. They were not satisfied with the release and decided changes needed to be made. This resulted in the dismissal of Bob Livingston. Santana replaced him with Mike Shrieve, who had a strong background in both jazz and rock. Marcus Malone was forced to quit the band due to personal problems, and the band re-enlisted Michael Carabello. Carabello brought with him percussionist Jose Chepito Areas, who was already well-known in his country, Nicaragua, and, with his skills and professional experience, was a major contributor to the band.

Bill Graham had been a fan of the band from its inception, arranged for the band to appear at the Woodstock Music and Art Festival before their debut album was even released. They were one of the surprises of the festival; their set was legendary and, later, the exposure of their eleven-minute instrumental "Soul Sacrifice" in the Woodstock film and soundtrack albums vastly increased Santana's popularity. Graham also gave the band some key advice to record the Willie Bobo song "Evil Ways", as he felt it would get them radio airplay. His first eponymous album, Santana released in August, became a huge hit, reaching number four on the U.S. album charts, and the catchy single "Evil Ways" reached number nine on the Billboard Hot 100.^{[citation needed]}

Santana performing in Hamburg, November 1973

In 1969, Santana's performance at the Woodstock festival introduced the band to an international audience and garnered critical acclaim, although the band's sudden success put pressure on the group, highlighting the different musical directions in which Rolie and Santana were starting to go. Rolie, along with some of the other band members, wanted to emphasize a basic hard rock sound which had been a key component in establishing the band from the start. Santana, however, was increasingly interested in moving beyond his love of blues and rock and wanted more jazzy, ethereal elements in the music, which were influenced by his fascination with Miles Davis and John Coltrane, as well as his growing interest in spirituality. At the same time, Chepito Areas was stricken with a near-fatal brain hemorrhage, and Santana hoped to continue by finding a temporary replacement (first Willie Bobo, then Coke Escovedo), while others in the band, especially Michael Carabello, felt it was wrong to perform publicly without Areas. Cliques formed, and the band started to disintegrate.

Teenage San Francisco Bay Area guitar prodigy Neal Schon was asked to join the band in 1971, in time to complete the third album, Santana III. The band now boasted a powerful dual-lead-guitar act that gave the album a tougher sound. The sound of the band was also helped by the return of a recuperated Chepito Areas and the assistance of Coke Escovedo in the percussion section. Enhancing the band's sound further was the support of popular Bay Area group Tower of Power's horn section, Luis Gasca of Malo, and other session musicians which added to both percussion and vocals, injecting more energy to the proceedings. Santana III was another success, reaching number one on the album charts, selling two million copies, and yielding the hits "Everybody's Everything" and "No One to Depend On".

New Year's Eve 1976; at the Cow Palace, San Francisco

But tension in the band continued. Along with musical differences, drug use became a problem, and Santana was deeply worried it was affecting the band's performance. Coke Escovedo encouraged Santana to take more control of the band's musical direction, much to the dismay of some of the others who thought that the band and its sound was a collective effort. Also, financial irregularities were exposed while under the management of Stan Marcum, whom Bill Graham criticized as being incompetent. Growing resentments between Santana and Michael Carabello over lifestyle issues resulted in his departure on bad terms. James Mingo Lewis was hired at the last minute as a replacement at a concert in New York City. David Brown later left due to substance abuse problems. A South American tour was cut short in Lima, Peru, due to student protests against U.S. governmental policies and unruly fans. The madness of the tour convinced Santana that changes needed to be made in the band and in his life.^{[citation needed]}

In January 1972, Santana, Neal Schon and Coke Escovedo joined former Band of Gypsys drummer Buddy Miles for a concert at Hawaii's Diamond Head Crater, which was recorded for the album, Carlos Santana & Buddy Miles! Live!. The performance was erratic and uneven, but the album managed to achieve gold-record status on the weight of Santana's popularity.

[edit] Caravanserai

In early 1972, Santana and the remaining members of the band started working on their fourth album, Caravanserai. During the studio sessions, Santana and Michael Shrieve brought in other musicians: percussionists James Mingo Lewis and Latin-Jazz veteran, Armando Peraza replacing Michael Carabello, and bassists Tom Rutley and Doug Rauch replacing David Brown. Also assisting on keyboards were Wendy Haas and Tom Coster. With the unsettling influx of new players in the studio, Gregg Rolie and Neal Schon decided that it was time to leave after the completion of the album, even though both contributed to the session. Rolie returned home to Seattle, and after some time later became a founding member of Journey (which Schon would later join as well).

When Caravanserai did emerge in 1972, it marked a strong change in musical direction towards jazz fusion. The album received critical praise, but CBS executive Clive Davis warned Santana and the band that it would sabotage the band's position as a "Top 40" act. Nevertheless, over the years, the album would achieve platinum status. The difficulties Santana and the band went through during this period were chronicled in Ben Fong-Torres' Rolling Stone 1972 cover story "The Resurrection of Carlos Santana".

Santana met Deborah King, whom he later married in 1973. She is the daughter of the late blues singer and guitarist Saunders King. They have three children: Salvador, Stella and Angelica. Together with wife Deborah, Santana founded a not-for-profit organization, the Milagro Foundation, which provides financial aid for educational, medical, and other needs.

Shifting styles and spirituality in the 1970s[link]

In 1972, Santana became a huge fan of the pioneering fusion band The Mahavishnu Orchestra and its guitarist John McLaughlin. Aware of Santana's interest in meditation, McLaughlin introduced Santana and Deborah to his guru, Sri Chinmoy. Chinmoy accepted them as disciples in 1973. Santana was given the name Devadip, meaning "The lamp, light and eye of God." Santana and McLaughlin recorded an album together, Love, Devotion, Surrender with members of Santana and the Mahavishnu Orchestra, along with percussionist Don Alias and organist Larry Young, who both had made appearances on Miles Davis' classic Bitches Brew in 1969.

In 1973, Santana, having obtained legal rights to the band's name, Santana, formed a new version of the band, Santana, with Armando Peraza and Chepito Areas on percussion, Doug Rauch on bass, Michael Shrieve on drums, and Tom Coster and Richard Kermode on keyboards. Santana was later able to recruit jazz vocalist Leon Thomas for a tour of Japan, which was recorded for the live, sprawling, high-energy fusion album Lotus. CBS records would not allow its release unless the material was condensed. Santana did not agree to those terms, and the album was available in the U.S. only as an expensive, imported, three-record set.^[which?] The group later went into the studio and recorded Welcome, which further reflected Santana's interests in jazz fusion and his increasing commitment to the spiritual life of Sri Chinmoy.

Santana during his "inner secrets" tour in the Netherlands; 1978

A collaboration with John Coltrane's widow, Alice Coltrane, Illuminations, followed. The album delved into avant-garde esoteric free jazz, Eastern Indian and classical influences with other ex-Miles Davis sidemen Jack DeJohnette and Dave Holland. Soon after, Santana replaced his band members again. This time Kermode, Thomas and Rauch departed from the group and were replaced by vocalist Leon Patillo (later a successful Contemporary Christian artist) and returning bassist David Brown. He also recruited soprano saxophonist, Jules Broussard to the lineup. The band recorded one studio album Borboletta, which was released in 1974. Drummer Leon "Ndugu" Chancler later joined the band as a replacement for Michael Shrieve, who left to pursue a solo career.

By this time, the Bill Graham's management company had assumed the affairs of the group. Graham was critical of Santana's direction into jazz and felt he needed to concentrate on getting Santana back into the charts with the edgy, street-wise ethnic sound that had made them famous. Santana himself was seeing that the group's direction was alienating many fans. Although the albums and performances were given good reviews by critics in jazz and jazz fusion circles, sales had plummeted.

Santana along with Tom Coster, producer David Rubinson, and Chancler formed yet another version of Santana, adding vocalist Greg Walker. The 1976 album Amigos, which featured the songs "Dance, Sister, Dance" and "Let It Shine", had a strong funk and Latin sound. The album also received considerable airplay on FM album-oriented rock stations with the instrumental "Europa (Earth's Cry Heaven's Smile)" and re-introduced Santana back into the charts. In 1976, Rolling Stone ran a second cover story on Santana entitled "Santana Comes Home".

The albums conceived through the late 1970s followed the same formula, although with several lineup changes. Among the personnel who came and left the band was percussionist Raul Rekow, who joined in early 1977 and remains to this day. Most-notable of the band's commercial efforts of this era was a version of the 1960s Zombies hit, "She's Not There", on the 1977 album Moonflower.

The relative success of the band's albums in this era allowed Santana to pursue a solo career funded by CBS. First, Oneness: Silver Dreams - Golden Reality, in 1979 and The Swing of Delight in 1980, which featured some of his musical heroes: Herbie Hancock, Wayne Shorter, Ron Carter and Tony Williams from Miles Davis' legendary 1960s quintet.^{[citation needed]}

The pressures and temptations of being a high-profile rock musician and requisites of the spiritual lifestyle which guru Sri Chinmoy and his followers demanded, were great sources of conflict to Santana's lifestyle and marriage. He was becoming increasingly disillusioned with what he thought was Chinmoy's unreasonable rules imposed on his life, in particular, his refusal to allow Santana and Deborah to start a family. He felt too that his fame was being used to increase the guru's visibility. Santana and Deborah eventually ended their relationship with Chinmoy in 1982.

The 1980s[link]

Santana, 1984 Barcelona, Spain

More radio-pleasing singles followed from Santana and the band. "Winning" in 1981 and "Hold On" (a remake of Canadian artist Ian Thomas' song) in 1982 both reached the top twenty. After his break with Sri Chinmoy, Santana went into the studio to record another solo album with Keith Olson and legendary R&B producer Jerry Wexler. The 1983 album revisited Santana's early musical experiences in Tijuana with Bo Diddley's "Who Do You Love" and the title cut, Chuck Berry's "Havana Moon". The album's guests included Booker T. Jones, The Fabulous Thunderbirds, Willie Nelson and even Santana's father's mariachi orchestra. Santana again paid tribute to his early rock roots by doing the film score to La Bamba, which was based on the tragically short life of rock and roll legend Ritchie Valens and starred Lou Diamond Philips.

Although the band had concentrated on trying to produce albums with commercial appeal during the 1980s, changing tastes in popular culture began to reflect in the band's sagging record sales of their latest effort Beyond Appearances. In 1985, Bill Graham had to once again pull strings for Santana to convince principal Live Aid concert organizer Bob Geldof to allow the band to appear at the festival.^{[citation needed]} The group's high-energy performance proved they were still a top concert draw the world over despite their poor performance on the charts. Santana regained a great deal of respect in both jazz and rock circles, with Prince and guitarist Kirk Hammett of Metallica citing him as an influence.^{[citation needed]}

The band Santana returned in 1986 with a new album Freedom.

L to R: Bob Dylan, Joan Baez and Santana (Mick Taylor not visible) in Hamburg, May 1984

Growing weary of trying to appease record company executives with formulaic hit records, Santana took great pleasure in jamming and making guest appearances with notables such as the jazz fusion group Weather Report, jazz pianist McCoy Tyner, Blues legend John Lee Hooker, Frank Franklin, Living Colour guitarist Vernon Reid, and West African singer Salif Keita. He and Mickey Hart of the Grateful Dead later recorded and performed with Nigerian drummer Babatunde Olatunji, who conceived one of Santana's famous 1960s drum jams, "Jingo". In 1988, Santana organized a reunion with past members from the Santana band for a series of concert dates. CBS records released a 20-year retrospective of the band's accomplishments with Viva Santana!.

That same year Santana formed an all-instrumental group featuring jazz legend Wayne Shorter on tenor and soprano saxophone. The group also included Patrice Rushen on keyboards, Alphonso Johnson on bass, Armando Peraza and Chepito Areas on percussion, and Leon "Ndugu" Chancler on drums. They toured briefly and received much acclaim from the music press, who compared the effort with the era of Caravanserai. Santana released another solo record, Blues for Salvador, which won a Grammy Award for Best Rock Instrumental Performance.

In 1990, Santana left Columbia Records after twenty-two years and signed with Polygram. The following year, he made a guest appearance on Ottmar Liebert's album Solo Para Ti, on the songs "Reaching out 2 U" and on a cover of his own song, "Samba Pa Ti". In 1992, Santana hired jam band Phish as his opening act.

Return to commercial success[link]

Santana performing in 2000

Santana's record sales in the 1990s were very low.^{[citation needed]} Toward the end of the decade, he was without a contract. However, Arista Records' Clive Davis, who had worked with Santana at Columbia Records, signed him and encouraged him to record a star-studded album with mostly younger artists. The result was 1999's Supernatural, which included collaborations with Everlast, Rob Thomas of Matchbox Twenty, Eric Clapton, Lauryn Hill, Wyclef Jean, Cee-Lo, Maná, Dave Matthews, K. C. Porter, J. B. Eckl, and others.

However, the lead single was what grabbed the attention of both fans and the music industry. "Smooth", a dynamic cha-cha stop-start number co-written and sung by Rob Thomas of Matchbox Twenty, was laced throughout with Santana's guitar fills and runs. The track's energy was immediately apparent on radio, and it was played on a wide variety of station formats. "Smooth" spent twelve weeks at number one on the Billboard Hot 100, becoming in the process the last #1 single of the 1990s. The music video, set on a hot barrio street, was also very popular. Supernatural reached number one on the US album charts and the follow-up single, "Maria Maria", featuring the R&B duo The Product G&B, also hit number one, spending ten weeks there in the spring of 2000. Supernatural eventually sold over 15 million copies in the United States, making it Santana's biggest sales success by far.

Carlos Santana, alongside the classic Santana lineup of their first two albums, was inducted into the Rock and Roll Hall of Fame in 1998. He performed "Black Magic Woman" with the writer of the song, Fleetwood Mac's founder Peter Green. Green was inducted the same night.

In 2000 Supernatural won nine Grammy Awards (eight for Santana personally), including Album of the Year, Record of the Year for "Smooth", and Song of the Year for Thomas and Itaal Shur. Santana's acceptance speeches described his feelings about music's place in one's spiritual existence. Later that year at the Latin Grammy Awards he won three awards including Record of the Year. In 2001, Santana's guitar skills were featured in Michael Jackson's song "Whatever Happens", from the album Invincible.

In 2002, Santana released Shaman, revisiting the Supernatural format of guest artists including P.O.D. and Seal. Although the album was not the runaway success its predecessor had been, it produced two radio-friendly hits. "The Game of Love" featuring Michelle Branch, rose to number five on the Billboard Hot 100 and spent many weeks at the top of the Billboard Adult Contemporary chart, and "Why Don't You & I" written by and featuring Chad Kroeger from the group Nickelback (the original and a remix with Alex Band from the group The Calling were combined towards chart performance) which reached number eight on the Billboard Hot 100. "The Game of Love" went on to win the Grammy Award for Best Pop Collaboration with Vocals.

In early August 2003, Santana was named fifteenth on Rolling Stone magazine's list of the "100 Greatest Guitarists of All Time".

On April 21, 2005, Santana was honored as a BMI Icon at the 12th annual BMI Latin Awards. Santana was the first songwriter designated a BMI Icon at the company's Latin Awards. The honor is given to a creator who has been "a unique and indelible influence on generations of music makers." ^[8]

Carlos Santana during a concert in 2005

In 2005, Herbie Hancock approached Santana to collaborate on an album again using the Supernatural formula. Possibilities was released on August 30, 2005, featuring Carlos Santana and Angélique Kidjo on "Safiatou". Also, in 2005, fellow Latin star Shakira invited Santana to play the soft rock guitar ballad "Illegal" on her second English-language studio album Oral Fixation Vol. 2.

Santana's 2005 album All That I Am consists primarily of collaborations with other artists; the first single, the peppy "I'm Feeling You", was again with Michelle Branch and The Wreckers. Other musicians joining the mix this time included Steven Tyler of Aerosmith, Kirk Hammett from Metallica, hip-hop/reggae star Sean Paul and R&B singer Joss Stone. In April and May 2006, Santana toured Europe, where he promoted his son Salvador Santana's band as his opening act.

In 2007, Santana appeared, along with Sheila E. and José Feliciano, on Gloria Estefan's album 90 Millas, on the single "No Llores". He also teamed again with Chad Kroeger for the hit single "Into the Night".

In 2008, Santana started working with his long-time friend, Marcelo Vieira, on his solo album Marcelo Vieira's Acoustic Sounds, which is due to be released at the end of the year. It features tracks such as "For Flavia" and "Across the Grave", the latter featuring heavy melodic riffs by Santana.

Carlos Santana performed at the 2009 American Idol Finale with the top 13 finalists, which starred many acts such as KISS, Queen and Rod Stewart. On July 8, 2009, Carlos Santana appeared at the Athens Olympic Stadium in Athens with his 10-member all-star band as part of his "Supernatural Santana – A Trip through the Hits" European tour. On July 10, 2009, he also appeared at Philip II Stadium in Skopje, Macedonia. With 2.5 hours concert and 20 000 people, Santana appeared for the first time in that region. "Supernatural Santana – A Trip through the Hits" is currently playing at The Hard Rock hotel in Las Vegas, where it will play through 2011.

Santana is featured as a playable character in the music video game Guitar Hero 5. A live recording of his song "No One To Depend On" is included in game, which was released on September 1, 2009.^[9]

Carlos recently opened a chain of upscale Mexican restaurants called "Maria Maria". It is a combined effort with Chef Roberto Santibañez. They are located in Tempe, Arizona; Mill Valley (now closed); Walnut Creek, Danville, San Diego, California; Austin, Texas; and Boca Raton, Florida.^[10]

Influences[link]

Around the age of 8, Santana "fell under the influence" of blues performers like B.B. King and John Lee Hooker.^[11] He also credits Jimi Hendrix, Mike Bloomfield and Peter Green as important influences; he considered Bloomfield a direct mentor, writing of a key meeting with Bloomfield in San Francisco in the foreword he wrote to a biography of Bloomfield, Michael Bloomfield: If You Love These Blues-An Oral History in 2000.^[12]

Equipment[link]

Guitars and effects[link]

Santana's Yamaha SG2000 Devadip (1976, with inlay) on exhibit in the Berlin Musical Instrument Museum

Santana played a red Gibson SG Special with P-90 pickups at the Woodstock festival. In the time of Abraxas and Santana III (1970–1972), He used different Gibson Les Paul`s and a Black Gibson SG Special. From 1976 until 1982, his main guitar was a Yamaha SG 175B and sometimes a white Gibson SG Custom with 3 single coil pick-ups. In 1982 he started to use a custom made PRS Custom 24 guitar, in 1988 he made his first Signature model PRS Santana I. In 1999 Carlos Santana and PRS Guitars come with the most expensive, high-end PRS Santana II model also known as "Supernatural". Some of the changes were the materials, Santana II was built from the best materials available. Though it was an extraordinarily high-priced instrument, Santana II guitar was offered for nearly nine years, until 2007. Because the second edition was so expensive, reduction of the cost was needed which helped to spur the introduction of the next model in the series, the Santana III in 2001. In 2008, Carlos along with Paul Reed Smith has developed a Santana Signature model which combines some of the best features of all the previous models, called PRS Santana MD "The Multidimensional".

Santana currently uses a Santana II model guitar using PRS Santana III pickups with nickel covers and a tremolo, with .009-.042 gauge D'Addario strings and PRS Santana MD Guitar^[13] Santana's guitar necks and fretboards are constructed out of a single solid piece of Brazilian Rosewood;^[14] this helps create the smooth, singing, glass-like tone for which he is known.

Santana Signature Models:

• PRS Santana I "The Yellow"(1988)
• PRS Santana II "Supernatural" (1999)
• PRS Santana III (2001)
• PRS Santana SE (2001)
• PRS Santana SE II (2003)
• PRS Santana Shaman SE-Limited Edition (2003)
• PRS Santana MD "The Multidimensional" (2008)
• PRS Santana Abraxas SE-Limited Edition (2009)
• PRS Santana SE "The Multidimensional" (2011)

Santana also uses a classical guitar, the Alvarez Yairi CY127CE with Alvarez tension nylon strings.^[15]

Santana does not use many effects pedals. His PRS guitar is connected to a Mu-Tron wah wah pedal (or, more recently, a Dunlop 535Q wah) and a T-Rex Replica delay pedal.^[16][17] then through a customized Jim Dunlop amp switcher which in turn is connected to the different amps or cabinets.

Previous setups include an Ibanez Tube Screamer^[18] right after the guitar. He is also to have been known to use an Electro Harmonix Big Muff distortion for his famous sustain. In the song "Stand Up" from the album Marathon, Santana uses a Heil talk box in the guitar solo.

Amplifiers[link]

Carlos Santana's distinctive guitar tone is produced by PRS Santana signature guitars plugged into multiple amplifiers. The amps consist of a Mesa Boogie Mark I, Dumble Overdrive Reverb and more recently a Bludotone amplifier. Carlos Santana attributes the tonal qualities of each amplifier to that of a singer producing head/nasal tones, chest tones, and belly tones. A three-way amp switcher is employed on Carlos's pedal board to enable him to switch between amps. Often the unique tones of each amplifier are blended together, complimenting each other producing a richer tone.

He also put the "Boogie" in Mesa Boogie: "Santana exclaimed to "That little thing really Boogies!"^[19]

Specifically, Santana combines a Mesa/Boogie Mark I head running through a Boogie cabinet with Altec 417-8H (or recently JBL E120s) speakers, and a Dumble Overdrive Reverb and/or a Dumble Overdrive Special running through a Brown or Marshall 4x12 cabinet with Celestion G12M "Greenback" speakers, depending on the desired sound. Shure KSM-32 microphones are used to pick up the sound, going to the PA. Additionally, a Fender Cyber-Twin Amp is mostly used at home.

During his early career Santana used a GMT transistor amplifier stack and a silverface Fender Twin. The GMT 226A rig was used at the legendary Woodstock concert as well as during recording the Santana's debut album. During this era Santana had also began to use the Fender Twin, which was as well used on the debut and proceedingly at the recording sessions of Abraxas.

Personal life[link]

Carlos Santana became a naturalized American citizen in 1965.^[20]

On October 19, 2007, his wife of 34 years, Deborah, filed for divorce citing "irreconcilable differences".^[21]

Carlos Santana became engaged to Cindy Blackman, after proposing to her during a concert of the Universal Tone Tour at Tinley Park in Chicago, Illinois on July 9, 2010. The two were married in December 2010.^[22][23] They currently live in Marin County, California.

Discography[link]

Awards and nominations[link]

Santana's star on the Hollywood Walk of Fame

References[link]

Sources[link]

• Soul Sacrifice; The Carlos Santana Story Simon Leng 2000
• Space Between The Stars Deborah Santana 2004
• Rolling Stone "The Resurrection of Carlos Santana" Ben Fong Torres 1972
• New Musical Express "Spirit of Santana" Chris Charlesworth November 1973
• Guitar Player Magazine 1978
• Rolling Stone "The Epic Life of Carlos Santana" 2000
• Santana I – Sony Legacy Edition: liner notes
• Abraxas – Sony Legacy Edition: liner notes
• Santana III – Sony Legacy edition: liner notes
• Viva Santana – CBS CD release 1988; liner notes
• Power, Passion and Beauty – The Story of the Legendary Mahavishnu Orchestra Walter Kolosky 2006
• Best of Carlos Santana – Wolf Marshall 1996; introduction and interview

Further reading[link]

• Chipley Slavicek, Louise. Carlos Santana, Chelsea House Publications or Facts on File, 2006, 119 p., ISBN 0-7910-8844-8
• Leng, Simon. Soul Sacrifice: The Santana Story, Firefly-S.A.F. Publishing, 2000, 224 p., ISBN 0-946719-29-2. Republ. as Santana, Catedra, 2002, ISBN 84-376-1947-5
• McCarthy, Jim; Ron Sansoe, Ron, foreword by Carlos Santana. Voices of Latin Rock: The People and Events That Created This Sound, Omnibus Press, 2004 and Hal Leonard Publishing, 2005, 316 p., ISBN 0-634-08061-X
• Miller, Hal; Santana Debbie; Faulkner, John (ed.), w/ a foreword by Bill Graham. Santana: A Retrospective of the Santana Band's Twenty Years in Music, San Francisco Mission Cultural Center, 1987 or 1988, 50p., no ISBN. Includes a 4-p genealogical tree w/ the members's name for every Santana band from 1966.
• Molenda, Michael (ed.). Guitar Player Presents Carlos Santana, Backbeat Books, 2010, 124 p., ISBN 978-0-87930-976-3
• Remstein, Henna. Carlos Santana (Latinos in the Limelight), Chelsea House Publications, 2001, 64 p., ISBN 0-7910-6473-5
• Shapiro, Marc. Carlos Santana: Back on Top, St-Martin's Press, 2000 and 2002, 288 p., ISBN 0-312-28852-2
• Sumsion, Michael. Maximum Santana: The Unauthorized Biography of Santana, Chrome Dreams, 2003, ISBN 1-84240-107-6. A CD-audio biog
• Weinstein, Norman. Carlos Santana: A Biography, Greenwood Press, 2009, 152 p., ISBN 978-0-313-35420-5
• Woog, Adam. Carlos Santana: Legendary Guitarist, Lucent Books, 2006, 104 p., ISBN 1-59018-972-8

External links[link]

	Book: Santana
Wikipedia books are collections of articles that can be downloaded or ordered in print.

Wikimedia Commons has media related to: Carlos Santana

• Official website
• Milagro Foundation
• Information about Carlos Santana
• Concerts online at Wolfgang's Vault