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The following biography
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Wikipedia.org
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Free Encyclopedia.”
Carlos Augusto Alves Santana (born 20 July
1947) is a Mexican Grammy Award-winning musician and Latin-rock
guitarist.
He became famous in the late 1960s and early 1970s
with his band, the Santana Blues Band, which created a highly successful blend
of salsa, rock, blues, and jazz fusion. Their sound featured his often
high-pitched and clean guitar lines set against Latin instrumentation such as
timbales and congas. Santana continued to work in these forms over the following
decades, and experienced a sudden resurgence of popularity and critical acclaim
in the late 1990s. Over his career he has sold an estimated 80 million albums
world wide.
****
Early
life and career
Santana was born in Autlan de Navarro, Mexico to a
family with a musical background. Carlos himself developed an early interest in
music, taking up the violin at the age of five. In 1961, Carlos made the
crossing himself, moving from his native Mexico to San Francisco. After finally
being convinced to stay in San Francisco by his family, he graduated from
Mission High School in 1965. Carlos began helping the family out by working as a
dishwasher and grew to enjoy the San Francisco music scene, often sneaking into
Bill Graham's Fillmore Auditorium to listen to some of his favorites: Muddy
Waters, The Paul Butterfield Blues Band, The Grateful Dead and many of the great
rock, blues and jazz musicians who appeared there.
At the end of 1966, Tom Frazier (guitar) wanted to
form a new rock band. Frazier joined Carlos Santana (guitar/vocals), Mike
Carabello (percussion), Rod Harper (drums), Gus Rodriguez (bass guitar), and
Seattle native Gregg Rolie (organ/vocals), to form the Santana Blues Band.
Carlos has maintained that it was he and Rolie who were the most serious about
music and pursuing it further, while the others were only interested in hanging
out and being part of the scene. Carlos himself was not viewed by the group as
the actual leader of the band that had his name. The group operated as a
collective, as it would through the early 1970s. The name of the band was agreed
upon due to a local musicians union requirement that there be a designated
leader and a name. He met Stan 'Moon' Marcum who acted as the group's manager.
During this time, his brother Jorge, a talented guitarist in his own right,
became active in the music scene as well, performing with a band called The
Malibu's. He later went on to start the Latin-rock group Malo, which was briefly
popular in the early 1970s.
After a while the name of the band was known simply
as Santana, dropping 'Blues Band' from their title. At this time the groups
lineup consisted of Carlos, Rolie, with David Brown on bass, Bob 'Doc'
Livingston on drums, and Marcus Malone on percussion. Promoter Bill Graham heard
them and let them perform at the Fillmore (later Fillmore West). Carlos'
recording debut occurred as a guest on The Live Adventures of Mike Bloomfield
and Al Kooper with Al Kooper and Mike Bloomfield, who were also Fillmore
regulars.
There has always been speculation about how the
band picked up its Latin influence, since ironically neither Carlos nor Gregg
Rolie had any affinity for the style in the first place. It is known they hung
out often at San Francisco's Aquatic park where conga players would get together
and jam. Also, around this time Carlos was being exposed to other types of music
for the first time in the creative, musically fertile city. Bay Area jazz
guitarist Gabor Szabo became a favorite of Carlos' and featured congas on his
1966 album, 'Spellbinder'. But more importantly Carlos realized when they had
Latin percussion in the band, the girls would dance to their music by gyrating
their hips wildly like belly dancers, which he liked.
Santana
to Caravanserai
Santana was signed to Columbia Records (CBS), and
went into the studio to record their first album. They were not happy with the
results, and realized changes needed to be made. This resulted in the dismissal
of Livingston. Replacing him was Michael 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 native
Nicaragua, and with his skills and professional experience, was a major
contributor to the band.
Bill Graham, who had been a fan of the band from
the start, convinced the promoters of the Woodstock Music and Art Festival to
let them appear before their first 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. Their first album, simply titled Santana 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.
In 1970 the group reached its early commercial peak
with their second album, Abraxas, which reached number one on the album charts
and went on to sell over four million copies. Instrumental in the production of
the album was pianist Alberto Gianquinto, who advised the group to stay away
from lengthy percussion jams and concentrate on tighter song structures. The
innovative Santana musical blend made a number-four hit out of English
blues-rockers Fleetwood Mac's "Black Magic Woman", and a number-thirteen hit out
of salsa legend Tito Puente's "Oye Como Va". Abraxas has since been placed on
several "best albums of all time" lists. The classic Santana lineup of their
first two albums was inducted into the Rock and Roll Hall of Fame in 1998.
However, Woodstock and the success of the first two
albums began to put pressure on the group, and highlighted 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 established the band in the first place. Carlos on the other hand, was
growing musically beyond his love of blues & 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 religion and
meditation. To further complicate matters, Chepito Areas was stricken with a
near fatal brain hemorrhage and Carlos wanted the band to continue performing by
finding a temporary replacement, (First Willie Bobo, which didn't work out, then
Coke Escovedo) while many in the band especially Michael Carabello, felt it was
wrong to perform publicly without Areas. Cliques began to form among some of the
members and the band had started to disintegrate.
A teenage San Francisco Bay Area guitar prodigy,
Neal Schon, was asked to join the band in 1971; he was also asked by Eric
Clapton to join Derek and the Dominos. Choosing Santana, he joined in time to
help complete the third album, Santana 3. 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 with the return of a recuperated Chepito Areas and the assistance
ofHiMoM Coke Escovedo in the percussion section. Even further still was the
support of popular bay area group Tower of Power's horn section, Luis Gasca of
Malo, and a list of friends who helped with percussion and vocals, injecting
more energy to the proceedings. Santana 3 was another success, reaching number
one on the album charts, selling two million copies, and producing the hit
singles "Everybody's Everything" and "No One to Depend On".
But tension in the band continued. Along with
musical differences, drug use among some of the members became a problem, and
Carlos was deeply worried it was affecting the performance of the band. Coke
Escovedo encouraged Carlos to take more control of the band's musical direction
much to the dismay of some of the others, who were under the understanding 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 Carlos 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 Carlos
once and for all changes needed to be made in the band and his life.
In January 1972, Carlos, Neal Schon and Coke
Escovedo joined former Band of Gypsies drummer Buddy Miles for a live concert at
Hawaii's Diamond Head Crater which was recorded for a live album. The
performance was erratic and uneven, but the album managed to achieve gold record
status on the weight of Santana's popularity.
Carlos and the remaining members of the band
started working on a new, fourth, album, Caravanserai. During the studio
sessions in early 1972, Carlos 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 made spectacular contributions to the session. Rolie left and went home to
Seattle, opening a restaurant with his father, and later became a founding
member of Journey (which Schon would 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 Carlos and the band that
it would sabotage Santana's position as a top forty act, even though over the
years the album would achieve platinum status. The difficulties Carlos and the
band went through during this period were chronicled in writer Ben Fong-Torres'
Rolling Stone cover story; "The Resurrection of Carlos Santana".
Around this time Carlos 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 nonprofit organisation
called "The Milagro Foundation" that provides financial aid for educational,
medical and other needs of children worldwide.
Spiritual journey
In 1972 Carlos became a huge fan of the pioneering
fusion band, The Mahavishnu Orchestra and its guitarist John McLaughlin. Knowing
Carlos' interest in meditation, McLaughlin introduced Carlos and Deborah to his
guru, Sri Chinmoy. Chinmoy later accepted them as disciples in 1973 and Carlos
was given the name "Devadip" - meaning "The lamp and eye of God." Carlos 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 an appearance on Miles Davis' classic
Bitches Brew record in 1969.
In 1973 Carlos, having obtained legal rights to the
band's name, formed a new version of Santana. Armando Peraza and Chepito Areas
on percussion, Doug Rauch on bass, Micheal Shrieve on drums, with Tom Coster and
Richard Kermode on keyboards. Carlos was later able to recruit jazz vocalist
Leon Thomas for a tour of Japan, which was recorded for a live, sprawling, high
energy fusion album "Lotus". CBS records would not allow its release unless the
material was condensed. Carlos did not agree to those terms and the album was
available only as an expensive import 3 record set. The group later went into
the studio and recorded "Welcome", which further reflected Carlos' interests in
jazz fusion and his commitment to the spiritual life of Sri Chinmoy.
Shifting styles in the 1970s
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, Carlos regrouped Santana
again. Kermode, Thomas and Rauch left and were replaced by vocalist Leon Patillo
and returning bassist David Brown. Also added to the lineup was saxophonist
Jules Broussard. The band recorded one studio album "Borboletta", released in
1974. Drummer Ndugu Leon Chancler later joined the band as a replacement for
Michael Shrieve, who left to pursue solo projects.
By this time Bill Graham management had assumed the
affairs of the group. Graham was critical of Carlos' direction into jazz and
felt he needed to concentrate on getting Santana back into the charts with a
commercial sound, especially with the edgy, street-wise ethnic sound that had
made them famous. Carlos himself was seeing that the group's direction was
alienating many fans. Although the albums and performances were given generally
good reviews by critics in jazz and fusion circles, sales had plummeted.
Carlos along with Tom Coster, producer David
Rubinson, and Chancler formed yet another version of Santana, adding vocalist
Greg Walker. The album "Amigos" was released in 1976 which featured the songs
"Dance, Sister, Dance" and "Let It Shine" and had a strong funk and Latin sound.
The album also received considerable airplay on FM album oriented rock stations
with the instrumental "Europa (Earths Cry Heavens Smile)" and re-introduced
Santana back into the charts. Rolling Stone magazine ran a second cover story on
Carlos entitled; "Santana Comes Home".
The following albums through the late seventies
followed the same formula, although with several lineup changes. Amidst the
ever-revolving door of 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 cover version of the 1960s
Zombies hit, "She's Not There" on the 1977 release, "Moonflower". The relative
success of the band's albums allowed Carlos to pursue solo projects 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 quintet
of the 1960s.
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 Carlos and
his marriage. Carlos was becoming increasingly disillusioned with Chinmoy's
often unreasonable rules imposed on his life, one being his refusal to allow
Carlos and Deborah to start a family. It became apparent later on Carlos' fame
was being used to help the guru's public visibility. Carlos and Deborah
eventually ended their relationship with Chinmoy in 1982.
The
1980s
More radio friendly singles followed from Santana
the band. "Winning" in 1981 and "Hold On" in 1982 both reached the top twenty.
After his break with Sri Chinmoy, Carlos went into the studio to record another
solo album with Keith Olson and legendary R&B producer Jerry Wexler. The 1983
album revisited Carlos' 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 his father's mariachi orchestra. Carlos again paid tribute to his early
rock roots by doing the film score to "La Bamba", starring Lou Diamond Phillips,
which was based on the tragically short life of rock and roll legend Richie
Valens.
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. The group's high energy performance
proved why they were still a top concert draw the world over despite its poor
performance on the charts. Carlos retained a great deal of respect in both jazz
and rock circles, with Prince and guitarist Kirk Hammett of Metallica citing him
as an influence and his friendship with Miles Davis, who by the 1980s had staged
a comeback but was in increasingly poor health.
The Santana band returned in 1986 with a new album
Freedom. For lead vocals, Carlos brought back Buddy Miles, who was trying to
revive his music career after spending much of the late 1970s and early 1980s
incarcerated for drug charges. His onstage presence provided a dose of charisma
to the show, but once again the sales of the album fell flat.
Growing weary of trying to appease record company
executives with formulaic hit records, Carlos took great pleasure in jamming and
making guest appearances with notables, fusion group Weather Report, jazz
pianist McCoy Tyner, Blues legend John Lee Hooker, Aretha Franklin, Living Color
guitarist Vernon Reid, and West African singer Salif Kieta. Carlos and Mickey
Hart of the Grateful Dead later recorded and performed with Nigerian drummer
Babatunde Olatunji, who conceived one of Santana's famous drum jams of the
1960s, "Jingo". In 1988 Carlos 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".
The same year Carlos formed an all-instrumental
group featuring jazz legend Wayne Shorter on tenor and soprano sax. The group
also included Patrice Rushen on keyboards, Alphonso Johnson on bass, Armando
Peraza and Chepito Areas on percussion, and Ndugu Leon Chancler on drums. They
toured briefly and received much acclaim from the music press, who compared the
effort with the era of "Caravanserai." Carlos released another solo effort
"Blues for Salvador" winning a Grammy Award for Best Rock Instrumental
Performance
In 1990 he left Columbia Records after twenty-two
years and signed with Polygram. In 1991, Santana made a guest appearance on
Ottmar Liebert's album Solo Para Ti, on the songs "Reaching out 2 U" and a cover
of his own song, "Samba Pa Ti". In 1992 he hired soon-to-be legendary rock band
Phish as his opening act. He remains close to the band today, especially
guitarist Trey Anastasio.
Return
to commercial success
Santana's record sales in the 1990s had been very
low, and towards the end of the decade he was without a contract. However Arista
Records' Clive Davis, who had worked with Santana at Columbia, signed him and
encouraged him to record a star-studded album with mostly younger artists. The
result in 1999 was Supernatural, which included collaborations with Bobby
Martin, Rob Thomas of Matchbox 20, Eric Clapton, Lauryn Hill, Wyclef Jean, Maná,
Dave Matthews, and others.
The first single was "Smooth", a dynamic cha-cha
stop-start number co-written and sung by Rob Thomas, and laced throughout with
Carlos's guitar fills and runs. The track's energy was immediately apparent on
radio, and was played on a wide variety of station formats. It spent twelve
weeks at number one on the Billboard Hot 100, becoming in the process the last
#1 single of the 1900s; a music video set on a hot barrio street was also very
popular. Supernatural started selling in large numbers and reached number one on
the album chart; suddenly Carlos Santana was the comeback story of the year. The
follow-up single, "Maria Maria", arranged by Bobby Martin and featuing the
rappers G & B, also reached number one and spent ten weeks there in the summer
of 2000. Supernatural eventually sold over 15 million copies in the US alone,
making it Santana's biggest sales success by far.
Supernatural and the different tracks on it then
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.
In 2001 Carlos Santana was featured in Michael
Jackson's song Whatever Happens, from the album Invincible, playing guitar.
In 2002, Santana released Shaman, revisiting the
Supernatural format of guest artists including P.O.D., Seal, and others.
Although the album was not the runaway success its predecessor had been, it
still produced two radio-friendly hits: the infectious "The Game of Love"
featuring Michelle Branch which reached 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 and I" featuring either Chad Kroeger from Nickelback or Alex Band from
The Calling (the original and a remix with a different singer 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 August 2003, Santana was named fifteenth on
Rolling Stone magazine's "List of the 100 Greatest Guitarists of All Time".
In 2005, Herbie Hancock approached Santana to play
on, as well as to help in gathering other artists to record, an album similar to
Supernatural. The resulting album, titled Possibilities, was released on August
30, 2005, featuring Carlos Santana and Angélique Kidjo on "Safiatou".
Santana's album All That I Am (2005) followed the
format of Supernatural and Shaman, consisting primarily of collaborations with
other artists; the first single, the peppy "I'm Feeling You", was again with
Michelle Branch and The Wreckers. Also, he recorded "Illegal" featuring
Colombian singer Shakira.
In April and May 2006 he started a tour in Europe
where he promoted the band of his son Salvador Santana as his opening act.
Guitars
used by Santana
Some information in this section has not been
verified and may not be reliable.
Please check for any inaccuracies, and modify and
cite sources as needed.
Santana endorses PRS Guitars. He uses a Santana II
model guitar using PRS Santana III pickups with covers and a tremolo, with
.09-.42 gauge D'Addario strings. The PRS Santana guitar neck is fat like on a
classical guitar. However, it should be noted that Carlos' guitar necks are
constructed out of one solid piece of Brazilian Rosewood, rather than the more
traditional mahogany/rosewood combination. The Brazilian Rosewood helps give his
guitar the smooth, singing glass-like tone that he is known for. Carlos Santana
also uses a classical guitar, the Alvarez Yairi CY127CE with Alvarez tension
nylon strings. For a unique classical sound Carlos plays with the pick not far
from the guitar bridge. For the unique Santana sound for his electric guitar,
Carlos doesn't use too many effects pedals and amplifiers[1].
The PRS Santana is connected to an Ibanez Tube
Screamer, followed by a Mu-Tron wah wah pedal and a delay pedal, then through a
customized Jim Dunlop amp switcher which in turn is connected to the different
amps or cabinets. Carlos combines a Mesa/Boogie Mark I head running through a
Boogie cabinet with Altec 417-8A speakers, and a Dumble Overdrive Reverb and/or
a Dumble Overdrive Special running through a Brown or Marshall 4x12 cabinet with
Celestion G12M 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.
^ An overview of Santana's guitar and effects
setup, possibly slightly outdated
Discography
Albums
(by the band Santana unless otherwise stated)
Santana Live at the Fillmore (released 1997)
Santana (1969)US: 2x Platinum
Abraxas (1970) US: 5x Platinum
3 (1971) US: 2x Platinum
Caravanserai (1972) US: Platinum
Carlos Santana & Buddy Miles! Live! (1972; C.S.
with Buddy Miles) US: Platinum
Love Devotion Surrender (1973; C.S. with John
McLaughlin) US: Gold
Welcome (1973) US: Gold
Illuminations (1974; C.S. with Alice Coltrane)
Borboletta (1974) US: Gold
Lotus (live) (1975)
Amigos (1976) US: Gold
Festival (1977) US: Gold
Moonflower (1977) US: 2x Platinum
Inner Secrets (1978) US: Gold
Oneness: Silver Dreams, Golden Reality (1979; C.S.)
Marathon (1979) US: Gold
The Swing of Delight (1980; C.S.)
Zebop! (1981) US: Platinum
Shango (1982)
Havana Moon (1983; C.S. with Booker T & the MGs,
Willie Nelson, and The Fabulous Thunderbirds)
Beyond Appearances (1985)
Freedom (1987)
Blues for Salvador (1987; C.S.)
Spirits Dancing in the Flesh (1990)
Milagro (1992)
Sacred Fire: Live in South America (1993) US: Gold
Santana Brothers (1994; C.S. with Jorge Santana &
Carlos Hernandez)
Supernatural (1999) US: 15x Platinum
Shaman (2002) US: 2x Platinum
All That I Am (2005) US: Gold
Compilation albums
Santana's Greatest Hits (1974)
Viva Santana! — The Very Best of Santana (1988)
The Very Best of Santana vols 1 & 2 (1988)
Samba Pa Ti (1988)
Persuasion
(1989)
Latin Tropical
(1990)
Soul Sacrifice
(1994)
As Years Go By (1994)
Santana Jam
(1994)
Every Day I Have the Blues (1994)
With a Little help from My Friends (1994)
Dance of the
Rainbow Serpent (1995)
Jin-Go-La-Ba (1995)
Evil Ways (1997)
Jingo (1997)
Between Good and Evil (1998)
Awakening (1998)
Jingo Maniac (2000; C.S.)
Mother Earth 2000 (2001)
Nuclei/2 (2001)
Ceremony: Remixes & Rarities (2003)
Tropical Spirits parts 1 and 2 (2003)
Jammin' Home (2004)
1 more for you: Smooth (137182)
Singles
1969: "Jingo" #56 US
1970: "Evil Ways" #9 US
1971: "Black Magic Woman" #4 US
1971: "Everybody's Everything" #12 US
1971: "Oye Como Va" #13 US
1972: "No One to Depend On" #36 US
1974: "Samba Pa Ti" #27 UK
1976: "Let It Shine" #77 US
1977: "She's Not There" #27 US, #11 UK
1978: "Well All Right" #69 US
1979: "One Chain (Don't Make No Prison)" #59 US
1979: "Stormy" #32 US
1980: "You Know That I Love You" #35 US
1981: "Winning" #17 US
1981: "The Sensitive Kind" #56 US
1982: "Hold On" #15 US
1982: "Nowhere to Run" #66 US
1985: "Say It Again" #46 US
1999: "Smooth" (feat. Rob Thomas) #1 US, #3 UK
(charted in 2000)
2000: "Maria Maria" (feat. The Product G&B) #1 US,
#6 UK
2002: "The Game of Love" (feat. Michelle Branch) #5
US, #16 UK
2004: "Why Don't You and I" (feat. Chad Kroeger) #8
US
2005: "I'm Feeling You" (feat. The Wreckers are
Michelle Branch & Jessica Harp) #55 US
2005: "Just Feel Better" (feat. Steven Tyler)
2006: "Cry Baby Cry" (feat. Sean Paul & Joss Stone)
#71 UK
****
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