My favorite spiritual hymn is, “Let There Be Peace on Earth”, by Jill Jackson and Sy Miller.
Let there be peace on earth,
and let it begin with me;
let there be peace on earth,
the peace that was meant to be.
With God our creator,
family all are we.
Let us walk with each other
in perfect harmony.*
* © 1955 Jan-Lee Music, renewed 1983. Used by permission; all rights reserved.
“When I attempted suicide [in 1944] and I didn’t succeed,” Jill Jackson said, “I knew for the first time unconditional love—which God is. You are totally loved, totally accepted, just the way you are. At that moment I was not allowed to die, and something happened to me, which is very difficult to explain. I had an eternal moment of truth, in which I knew I was loved, and I knew I was here for a purpose.”
This realization was followed by years of exploring her spiritual nature and her relationship with God. Jackson discovered her love for writing and began writing songs with Sy Miller after they married in 1949.
In 1955, she wrote the lyrics for “Let There Be Peace on Earth” while her husband wrote the melody. The song was introduced at a California retreat to a group of young people who were from a wide variety of religious, ethnic and socioeconomic backgrounds. The young people had come together for a weeklong experience devoted to developing friendship and understanding through education, discussion and working together. The song’s focus on peace and God made it easy to cross many boundaries.
Sy Miller wrote about the effect of the song: “One summer evening in 1955, a group of 180 teenagers of all races and religions, meeting at a workshop high in the California mountains locked arms, formed a circle and sang a song of peace. They felt that singing the song, with its simple basic sentiment—‘Let there be peace on earth and let it begin with me’—helped to create a climate for world peace and understanding.
“When they came down from the mountain, these inspired young people brought the song with them and started sharing it. And, as though on wings, ‘Let There Be Peace on Earth’ began an amazing journey around the globe. It traveled first, of course, with the young campers back to their homes and schools, churches and clubs.”
Miller noted that the song was then shared in all 50 states at school graduations, PTA meetings, holiday gatherings, celebrations of Brotherhood Week, Veterans Day, Human Rights Day and United Nations Day. Kiwanis clubs sang it, as well as 4-H clubs, United Auto Workers, the American Legion, the B’nai B’rith and the Congress of Racial Equality (CORE).
The song was taped, copied, printed in songbooks and passed by word of mouth. Eventually, it spread overseas, sung by Maoris in New Zealand and Zulus in Africa.
In 2009 Random House published “Let There Be Peace on Earth” as a children’s book.
The above information is lovingly shared from History of Hymns, authored by Dr. C. Michael Hawn a professor of sacred music at Perkins School of Theology, SMU.
I am usually leery of artist “bootleg” or non-official recordings. They typically lack the production results I want. My music collection is 99% official commercial music releases.
My niece gave me a wonderful Christmas gift surprise this year. The vinyl recording, “Santana Rynearson Stadium, Ypsilanti MI, 25-05-75”. I had never seen or heard of this live recording. I was happily stunned 🙂
Klondike Records has done Santana and the listener justice. This recording is based on a King Biscuit Flower Hour radio broadcast. It is Digital Remastered and pressed onto 180 Grade vinyl. It sounds great on my Audio Technica turntable.
Santana was the headline act that day with Special Guest Stars, Peter Frampton’s Camel, and Lynard Skynard.
2. Shake It
3. Anywhere You Want To Go
4. Fillmore East
5. Love Makes The World Go Round
6. Freedom In Your Mind
7. Choo Choo
8. All Aboard
11. Blues Magic
13. Leave Me Alone
14. You And I
15. Come As You Are
Sanatana.Com, Santana IV Press Release
SANTANA IV Reunites Legendary Band Lineup
First Single “Anywhere You Want To Go” to be released February 5, 2016
April 15, 2016 marks the release date of Santana IV, the wildly anticipated studio album that reunites the revered early ‘70s lineup of guitar icon Carlos Santana (guitar, vocals), Gregg Rolie (keyboards, lead vocals), Neal Schon (guitar, vocals), Michael Carabello (percussion) and Michael Shrieve (drums). The album signifies the first time in 45 years – since 1971’s multi-platinum classic Santana III – that the quintet has recorded together.
Santana IV features 16 all-new tracks written and produced by the band that burst with the same unparalleled energy and superlative musicianship that made Santana a pioneering force in world music and a household name across the globe. Joining the core Santana IV band in the studio are current Santana members Karl Perazzo (percussion) and Benny Rietveld (bass), with the legendary vocalist Ronald Isley guesting on two cuts.
The origins for the reunion go back several years, when Schon suggested that he and Carlos Santana record together. Santana liked the idea but went one better, proposing that they recruit Rolie, Shrieve and Carabello for what would be called Santana IV. After initial writing sessions and rehearsals took place in 2013, the group recorded throughout 2014 and 2015, amassing 16 spellbinding tracks that combined all their signature elements – Afro-Latin rhythms, soaring vocals, electrifying blues-psychedelic guitar solos, and irrepressibly jubilant percussion work – with widescreen hooks and melodies that will lodge themselves in the thicket of listeners’ senses and stay there.
“It was magical,” Santana says. “We didn’t have to try to force the vibe – it was immense. From there, we then needed to come up with a balance of songs and jams that people would immediately identify as Santana.”
The band’s signature sound arrives forcefully on the album opener “Yambu,” a righteously gritty and soulful stomper teeming with swirling B3 organ hooks and walloping guitar crunch.
The first single, “Anywhere You Want to Go,” is destined to storm the pantheon of Santana classics. Written by Gregg Rolie, it’s a sexy, body-shaking winner and an unmistakable tip of the hat to the inescapable cha-cha/Latin jazz charms of “Oye Como Va.”
Special guest, Ronald Isley’s, vocals highlight the feverishly impassioned Latin-rock workout “Love Makes the World Go Round” and the hard-edged and funky “Freedom in Your Mind.”
Guitar fans expecting fireworks from Santana and Schon will cherish Santana IV from front to back. “All Aboard” is a no-holds-barred guitar jam of the highest order, as is the slinky, soulful metal cruncher “Caminando,” which explodes with tectonic axe force. And on the unabashedly British blues-tinged “Shake It,” the two go toe to toe on not one but two extended solo runs that will have lovers of unhinged fretboard work rejoicing.
“Carlos and I feel more connected than ever,” says Schon. “We get super-aggressive when we play, but also melodic and poetic. We have an incredible dialog with each other on our guitars.”
Santana’s recurring themes of love and tolerance are common threads throughout Santana IV, most dramatically on the epic tone poem album closer “Forgiveness,” a languid and breathtakingly gorgeous atmospheric groover.
Music fans familiar with the “roaring lion” artwork on Santana’s 1969 debut album will instantly greet Heather Griffin’s graphic for Santana IV as a gloriously realized update of that iconic image. “I really think the music goes along with the cover, and vice versa,” says Santana. “It all fits together beautifully.”
Few bands can pick up a musical dialog after 45 years apart, but on Santana IV each band member reaches a new level of virtuosity and communal intuition on a collection of songs that easily stands side-by-side with the group’s treasured early work.
“When you can go back and break new ground with joy and determination – and some whoop-ass energy – it gets you going,” says Santana. “I think we achieved something very rare. This music was screaming to come out of us. It wasn’t about nostalgia. It was about passion.”
Santana IV will be released on April 15, 2016, on Santana IV Records and is distributed by Thirty Tigers/RED Distribution. It is available for pre-order on Amazon now. The album will be CD, Double 180 Gram Vinyl with Download Card and Digital configurations.
As a special offer for fans attending select shows on Santana’s upcoming Luminosity tour, a CD copy of SANTANA IV is included with every pair of tickets. This offer will be redeemed via a promo code at Santana.com.
ABOUT THIRTY TIGERS:
Thirty Tigers is a music marketing, management, distribution, and publishing company based in Nashville, Tennessee. Thirty Tigers Distribution has served as a label infrastructure for a vast client base including The Avett Brothers, Jason Isbell, Sturgill Simpson, Chase Rice, Lucinda Williams, Ryan Bingham, The Eli Young Band, Trampled By Turtles, and many others in their 13 years of working with Sony/RED Distribution. For more information, visit www.thirtytigers.com
I expect a limited U.S. tour to be announced. No details on dates, venues, tickets yet….
Stay tuned as more publicity information emerges…
It’s been an exciting month plus for the original members of Santana and longtime Santana fans.
Texas – March 19
The Santana IV Reunion “Live” commences in stages. Gregg Rolie joins Santana in Corpus Christie, Texas on March 19th. It serves as a dress rehearsal for the Santana Mexico concerts to follow.
Mexico – March
Santana reunion efforts began to further gel when Gregg goes on to perform with Carlos and the Band in Monterrey, MX, Cumbre Tajin Festival and at two special co-headline events with Journey in Guadalajara and Mexico City.
Videos of Gregg Rolie sitting in with Santana performing “Black Magic Woman” begin to surface on YouTube.
Things really get exciting when the original Santana nucleus expands when Journey and Santana co-headline. We see Neal Schon playing guitar with Carlos Santana set against the rhythmic backdrop of the Santana band.
Neal Schon has been the motivator pushing for the Santana reunion. I am thankful that he has been instrumental in driving Santana IV to that goal.
Neal, Gregg and Carlos Santana do the dynamic tracks from Santana III, “Batuka/No One To Depend On”, “Everybody’s Everything”. How cool is that?
The stage is set for completing the Santana IV recording in Las Vegas the next month. Can you say supercharged? I knew that you could 😉
Las Vegas – April 2015
The Santana IV Reunion scene shifts to Las Vegas, Nevada. The composition and recording of the final three tracks for the Santana IV recording enters high gear. The Santana IV recording team and studio musicians assemble at Odds On Records and Studios (Audio Mix House) in Henderson, Nevada. Michael Shrieve and Michael Carabello join Neal, Gregg and Carlos to put down the last tracks for Santana IV. They are joined by Benny Rietveld on bass and Karl Perazzo on percussion. Jim Reitzel, Head Engineer at Tarpan Studios mans the boards, coordinating the sounds Santana IV seeks to make. Jim has worked actively with Santana over the years. He becomes the glue to bond Santana IV together. I wonder if he will also be chiefly responsible for the mixing that follows next?
Neal Schon has been vocal about Santana IV touring live at some point in the future. Can wait to see Santana IV live!
I wonder what record label Santana IV will be released and distributed by. Who has the rights? SONY, Arista, or Starfish?
My hat is off to Santana IV!
Good things come to those who wait!
We are fortunate to have the camera team of Libby Fabro and Chad Tasky documenting the events. I think Libby Fabro is a photographer for Team Santana. Chad Tasky is a San Francisco based photographer and filmmaker. Chad was a drum tech for Santana for a time. Props to both photographers for being our inside image sources for Santana IV. Your respective photos are superb.
Grammy Award-winning artist and producer Wyclef Jean will be hosting a musical journey with Carlos Santana and his beloved guitar, one of the most recognizable sounds in popular culture. The first installment is set for release on December 9th, with more videos to come throughout December and January.
More information including exclusive pictures from Carlos Santana’s home with Wyclef Jean in Las Vegas can be found on the Bang and Olufsen Blog.
What shall we do with the dreams
Who see a world we can never know
Who have found a place of wonder
Where only children dare to go
What shall we do with the dreams
Whose world has no room for hate
Whose vision of tomorrow’s promise
Is so far removed from our fate
For they dream of a thousand tomorrows
Each one better than the one before
A future filled with compassion
For the tired, the weak, the hungry and the poor
What shall we do with the dreamers
Who no longer answer when we ask why
Who work to make their world better
And are unafraid to try
What shall we say to the dreamers
Whose lives make ours seem so bare
Who make us feel so empty
Because they dare to care
For they dream not of thing done before
But of the miracles which lie ahead
Of the needy who can be assisted
And the famished who can be fed
What shall we make of the dreamers
When they choose not to live as we
When they say our world has no meaning
As long as others are still not free
What shall we think of the dreamers
When they no longer listen to what we say
When their silence leaves us uneasy
And they refuse to go away
For they dream of fanciful figures
Poised in mid flight
Angels with wings of grace
Floating on the light
Messengers from the next world
So unfamiliar but yet not strange
Bringing word of the new world
The beginning of the change
*Poem by Hal Miller © 1994
Instrumental Songwriting Team
Santana, Carlos, Thompson, Chester
© 1993 Carlos Santana/Light Music/Micache Music/Stellabella Music/Champ Jacob Music/Urmila Music
The intimate and long-awaited memoir of guitar legend Carlos Santana
In the realm of guitar gods, Santana stands alone for what’s come to be called his “universal tone”-both the fact that you can recognize a Santana song from just one note and the fact that Santana is well known to believe music and soul are interconnected.
In the category of major rock memoirs yet undone, this is at the top-a big autobiography by one of the most mysterious and influential musicians of the last 50 years.
From growing up dirt poor in Mexico and suffering abuse to becoming a lowly dishwasher in the US with a hot guitar hand, to a person whom you might almost think is perpetually in a state of nirvana or at least bliss, this is the story of a fascinating man who brings the ideal combination of storytelling gold and a major marketing machine.
This is one of the most sensory (and sensual) major rock bios you’ll ever read. His voice comes through, it’s deeply honest and frank, and from imagining the wisps of smoke from a long gone Miles Davis before Carlos’s shows to describing the depths of his connection to sound, Santana brings a remarkable book to his huge following this fall.
The C in Carlos stands for collaboration. The Santana album, Supernatural commenced Carlos Santana’s collaboration era. All of his next albums evidence that cooperative spirit. It stands to reason that Carlos Santana would collaborate his personal journey with his two close music writer/historian friends, Ashley Kahn and Hal Miller. Carlos Santana, Ashley Kahn and Hal Miller share a common bond, the spirit of jazz embodied by Mr. Miles Davis and Mr. John Coltrane. I feel it is important that my readers gain an appreciation for the backgrounds of these two prominent music journalists. It will increase your anticipation of the quality of the biography we will receive later this year.
I also point you to a Web article about Ashley Kahn interviewing Carlos Santana at the New Orleans Jazz Fest 2014.
Ashley Kahn has authored three of the best jazz books you will ever read. Two of those three books are about major jazz albums, Kind of Blue by Miles Davis and A Love Supreme by John Coltrane. Each book is a masterpiece of research, rich in history and facts about these classic recordings. I own both books, signed and I love to read them as I listen to these two amazing albums to gain more insight about the respective jazz geniuses.
Kind of Blue: The Making of the Miles Davis Masterpiece, foreword by Jimmy Cobb, 2001, Da Capo Press, USA, ISBN 0-306-81067-0
A Love Supreme: The Story of John Coltrane’s Signature Album, foreword by Elvin Jones, 2002 for the first edition, Viking Penguin, USA, ISBN 0-670-03136-4
The House That Trane Built: The Story of Impulse Records. (2006) W. W. Norton, ISBN 0-393-05879-4
Ashley Kahn is also a prolific liner note writer for a variety of music reissue labels, for which he has earned three ASCAP/Deems Taylor awards, and two Grammy nominations.
Ashley Kahn presently is an adjunct professor at New York University, teaching various courses for the Clive Davis Department of Recorded Music in NYU’s Tisch School of the Arts. I’d love to attend one of his courses.
Hal Miller is a longtime personal friend of Carlos Santana. Hal Miller is Carlos’s documentarian. Hal is a subject matter authority on Carlos Santana and the world of jazz. Hal has authored insightful liner notes for recordings in the Santana catalogue. Hal’s liner notes proved noteworthy for the Santana reissues, Caravanserai, Love Devotion and Surrender, and Moonflower.
Hal Miller has documented many of the Santana concert tours which you can read on the Santana.com Tour Blog. Hal Miller is also a great photographer, look here for you many of his Santana photographs.
Hal Miller shuns publicity on the InterWeb which I respect about him. This Website had the best tribute and information links about Hal.