Voices Of Latin Rock: The E-Mix is an exciting, in-depth look at the Latin Rock world. It is packed with interviews and features with luminaries such as Carlos Santana, Gregg Rolie,
Michael Shrieve, new and old members of the Santana band. This e-book is crammed with rare and historic photographs, many never seen before. This writing is the last word on this little-known but culturally importance musical vanguard. It examines the clubs, the racial make-up, the musical influences and the turmoil of this historically valid music. In many cases, the chapters delve into the darker world of heavy drugs and the attendant problems that many of the musicians ran into.
All at once, a barrage of musical and artistic riches exploded from the Mission District and across the East Bay in Oakland. Santana led the vanguard of a new Latin rock and soul scene. Sly Stone was happening, Tower Of Power and the Oakland funk situation and the whole East Los Angeles Latino-soul scene was also gestating.
Author Jim McCarthy...” The initial success of the Voices Of Latin Rock tome ten years ago, gave me the further impetus to publish this further e-book. Many of these musicians are world-class in attitude and musicality. Some reached the top of the US music tree commercially, some are still active in the business, some less so. I make no distinctions here; they are all united by a unique passion and a cultural enmeshment that gave the music a unique and tight urban drive...
Voices Of Latin Rock. –The E-Mix is my considered follow up to his first authored book Voices Of Latin Rock published ten years ago. It is a companion too and an enlargement on the information contained in the first book. This further e-tome is the most in-depth information available on that heady and exhilarating time in the San Franciscan Bay Area locales and beyond.
The first book Voices Of Latin Rock was first published by Hal Leonard in the USA in late 2004. It is the first book to examine in depth, Santana, Latin Rock culture and the Mission District of San Francisco from where this nascent political and musical art form emerged.
This innovative book has resulted in a series of on-going shows in San Francisco promoting Autism Awareness and has been given further credence by appearances by Carlos Santana, the original Santana band, Taj Mahal, Malo, Los Lobos, Sheila E, the political activist Dolores Huerta, Azteca, War, Sly Stone, George Clinton and many others.
I feel these people and those times need to be properly detailed and preserved for posterity. With the auspicious release of Santana 4 and its present excellent sales, this book arrives just at the right time. The first Voices book arrived in the swell, after the huge sales and surge of the Supernatural release. Let them tell their own unique stories and describe their music; its been an honour to be a part of their worlds...”
Jim’s books have been translated and published in the following foreign rights territories, Russia, Czechoslovakia, Spain, Norway, Italy, Poland, France, Croatia, Germany, Japan and Argentina, as well as the UK and the USA.
"For us, music was ... sounding like a street mutt, like a dog that's bred with everything," notes Carlos Santana in his foreword, neatly encapsulating the feel of McCarthy's photo-rich book. Consisting primarily of artists' reminiscences, and at times difficult to follow, the chatty volume traces the origins and early successes of Latin Rock, from the street gangs of San Francisco's Mission District to the chart-topping albums and singles. Not surprisingly, much of McCarthy's narrative concerns the band Santana, which began as the Santana Blues Band and rose to fame by combining the wail of blues guitar with Latin rhythms while playing songs from Mary Poppins. McCarthy also traces Malo's early career in detail and recounts the group's making of their Coast to Coast album. Even more interesting are his accounts of San Francisco's Mission District in the 1960s and the confluence of styles that fueled the burgeoning Latin Rock scene. Numerous asides mention lesser-known acts, such as Mandrill and Azteca, and give brief coverage of newer Latin rock bands, like Los Mocosos. Unfortunately, the book lacks an index, but its "Cast of Characters," glossary and limited discography are useful substitutes. With over 800 black-and-white and color photographs, McCarthy's book looks and reads like a photo album. One disappointment is the large gap in the Santana story, which skips the late 1970s and the '80s. However, among the sordid tales of touring, recording, partying and snorting cocaine are gems of information about the electrifying music and its creators. McCarthy's focus is purely on Latin Rock in the U.S. Readers looking for a broader view of the scene should check out Rockin' las Americas: the global politics of rock in Latin/o America.