There, he has been a creative force exploring the borders … Background information; Birth name: David Kent Hidalgo: Born Cesar: Exactly. Definitely a year to remember. There’s something that keeps the enthusiasm alive and the sense of discovery. I’ve got a nice little collection, but, being left-handed, it’s so rare to find a nice guitar like that. Louie: Then my older sister brought home Beatles records, and a cousin came over with a Ray Charles record, and I never heard anything like that. She was from Wyoming; I don’t know if that’s why she listened to country music, but she listened to all those country music marathons that played on Saturday afternoons, sponsored by some local car dealer. At the end of the night he goes, “I’ve got this ’58 Strat, man.” I said, “That’s out of my league.” He said, “I want you to have it.” A couple months later, we played the Warfield in San Francisco. David: There was that stuff, and then my brother’s band was playing James Brown, around ’64. Do you sit on your hands and ponder your dilemma and not do anything, or do you find freedom in it? David: When ZZ Top was first happening, we were doing folk music, so I didn’t pay much attention. David Hidalgo said you gave him an oud. And when the Beatles came out, I really liked them. And along the way, the dual-pronged guitar frontline became a trio, when Louie returned to his original instrument, leaving the percussion section to Victor Bisetti and Cougar Estrada. To assess the utility of stem cell cultures as an in vitro model system of human DA neurogenesis, we performed high-throughput … My two-bit theory is that, in the early years of the sort of Mexican-American renaissance in art, music and dance, in the early ’70s, a lot of it carried a lot of baggage from the late ’60s, when it was more of a separatist mentality and an “us against them” sort of attitude. Louie: I thought it was maybe because it was my first experience, my first concert. I liked George Harrison’s playing alot. He’s the guitarist on “Watching The River Flow” by Bob Dylan – some great playing on that one. But there’s also the most powerful element; from the very beginning we knew there was something special here, and we had to hang on to it. This record was done mainly analog 2″, then we’d dump it over to Pro Tools for a few overdubs. We did “Who Do You Love” for the La Bamba soundtrack. Like surf music, man, or the kind of stuff Conrad mentioned, like the Yardbirds and Jimmy Page. It happens onstage a lot, and it’s an amazing thing. I’ve got an Epiphone Casino, too, and a Riviera I use a lot. We got matching Ben Casey shirts, with the buttons on the side of the neck, and wraparound shades, and we just walked around together. But I really love the Lakland I’m using; it feels good. Then, I’m really into Fenders and Gibsons and some older basses I have. Holeyboard Pedalboards Unveils New Holeyboard 123 Expandable Pedalboard, Have Guitar Will Travel – 041 Featuring Daniel Donato. I liked [Yardbirds bassist] Paul Samwell-Smith a whole lot, so originally I played with a pick. I have a couple of 330s that we use a lot in the studio – the type with the one P-90 in the middle, and then one with two pickups, like Slim Harpo’s. Louie: It’s one of the most elusive, transparent aspects of the band. How could this “new” unknown band be so good? The latter LP and its title track shot to #1 on Billboard‘s album and singles charts. Hidalgo frequently plays musical instruments such as accordion, violin, 6-string banjo, cello, requinto jarocho, percussion, drums and guitar as a session musician on other artists' releases. Hidalgo frequently plays musical instruments such as accordion, violin, 6-string banjo, cello, requinto jarocho, percussion, drums and guitar as a session musician on other artists' releases. You just kind of miss that sound, or it’s something you’re digging at the moment. He said, “You sound great. Louie: It seemed to take a whole generation. It’s usually kind of just support, and stay out of each other’s way. Louie: I’m tellin’ ya – don’t get me started. That’s another heavy influence in our music. I begged my mom to let me go, so she got a friend who was about 19 to take me. It’s the arrangement. on the same day. For the most part, I’ve been playing a Les Paul for years, but recently I started getting my Tele back out. Hidalgo performing with Los Lobos on the South Lawn of the White House, October 13, 2009. Saed Hindash/The Star-LedgerLos Lobos member Louie Perez, play an acoustic concert with David Hidalgo Friday night at the Allen Room at Jazz at Lincoln Center. I showed that I was really interested in it, and I had some cheapo little nylon-string toy guitar. He’d fire off these little parts, and then you put them all together, and man! In the same way that I took up accordion, we took up everything else – as we needed it. Los Lobos are arguably the most important American band to come out of the ’80s, both musically and sociologically. A half-dozen albums, several soundtracks, a couple of children’s records, untold miles of touring, and cameo appearances on other artists’ records and tribute albums to numerous to mention followed. From Wikipedia, the free encyclopedia. I loved that. And then there’s the Cuban stuff, like the tres players, and the fundamentals of all that music. In addition to his work with Los Lobos, Hidalgo often plays musical instruments such as accordion, violin, 6-string banjo, cello, requinto jarocho, percussion, drums and guitar as a session musician for other artists’ releases. That gave me an excuse to learn mandolin. Conrad: I still love the old ’60s stuff – Mountain, Cream, and all that stuff. David Hidalgo is perhaps best known as the guitarist and singer of the Grammy-winning band Los Lobos, the East LA based group he co-founded with Louie Perez. So it’s going to be a chock-full Year Of Los Lobos.” Another guitarist I loved was Jesse Ed Davis. Cesar: Early on, in rock and roll, it was Elvis and Scotty Moore. There, he has been a creative force exploring the borders of rock, country, R&B, Tex-Mex and cumbia for four decades. It’s like out-of-body kind of stuff. Yeah, we should have mentioned him. And everybody’s got to have a Höfner, so I’ve got a Beatle Bass, and my ’68 Gibson EB3, an Ampeg scroll bass, and my first bass – an old brown Teisco. “What are you then? He was like 200 percent. How Will The Wolf Survive, their first full-length album, from ’84, revealed the band’s ever-broadening palette, mature songwriting, and the two-guitar attack of Rosas and Hidalgo. But it took me years and years. If you just find a bass player through a classified ad, there’s no depth or roots or history. If we don’t belong over there, and we’re not totally accepted over here, then we belong everywhere. Yeah, a Turkish oud – great-sounding. Hidalgo frequently plays musical instruments such as accordion, violin, 6-string banjo, cello, requinto jarocho, percussion, drums and guitar as a session musician on other artists' releases. It’s a cliché, but it’s true; you just feed off your audience. David: With the mics and everybody plugged into one amp. It’s like we kicked the door in and looked back; we had to walk back out in the hallway, and there was nobody there. In addition to his work with Los Lobos, Hidalgo frequently plays musical instruments such as accordion, violin, 6-string banjo, cello, requinto jarocho, percussion, drums and guitar as a session musician on other artists' releases. David Hidalgo is an american singer and songwriter born in Los Angeles and best known for being the driving vocal and lead guitar force of the legendary East LA band Los Lobos (spanish for “the wolves”). To mark 30 years of musical comraderie, Los Lobos released The Ride (on Hollywood Records), their eleventh album, not counting anthologies and soundtracks. They came full circle, back to their rock and roll roots – this time with a fresh direction and strong sense of self. It wasn’t until around ’88; we went to Thailand, and for five bucks I bought the whole ZZ Top catalog on bootleg cassettes. Early on, we did a recital at UCLA, and a musician named Art Gerst was there. There are a lot of amazing young cats now, but back then it still had that almost jazz approach. Learn to play guitar by chord / tabs using chord diagrams, transpose the key, watch video lessons and much more. That’s what we found. So the radio was sacred to us. On Thursday 23 July, UNFPA Executive Director Dr. Natalia Kanem was joined by government and civil society leaders and other experts to discuss this question in the latest Nairobi Commitments/ICPD25: What’s Next? I was raised in the desert, living with Indians, because my father was a diesel mechanic at an agriculture post. Different influences keep emerging the longer you make records. It’s like I’m 16 years old. It wasn’t like fan to idol; it was like friends talking, and it just felt really good. I tried different tunings, but most of the time it’s like the top four strings of a guitar, like Nashville tuning: the G strings are octaves; the D is an octave up; and the top two strings are unisons. The whole guitar is carved out of one piece of mahogany. Louie: Yeah. Also Chas Chandler with the Animals; the stuff he played was amazing. David Maraga is now a retired Chief Justice after he officially handed over instruments of power and proceeded to retirement. I think that’s called a gang! My brother was right-handed, so I was playing upside-down for a few years. David Hidalgo is an american singer and songwriter born in Los Angeles and best known for being the driving vocal and lead guitar force of the legendary East LA band Los Lobos (spanish for “the wolves”). Before that, I didn’t know who Jeff Beck or Eric Clapton were, but I liked the Yardbirds records. Are you Mexicans or are you Americans?” And of course we’re not totally accepted in the United States, as Latin people. I learned to speak English very quickly, because when you’re a kid your brain is still developing, and you adapt. His son, David Hidalgo, Jr. is the current drummer for Social Distortion. After that, I got into trying to play heavy blues more. When I’m trying really hard to do something, it’s going to take me a long time. David Lindley was there – and, by the way, he brought us a 12-pack of beer, because it was a dry wedding. He played a Tele through an old Bassman and got this great sound and a great slide tone, too. Carlos [Santana] was on that, and Willie said, “Excuse me – you with the white pants – what was your name?” He said, “Carlos.” Willie said, “Are you capable of taking a solo?” (laughs). The arsenal of stringed instruments the band of multi-instrumentalists has incorporated includes (deep breath): electric and acoustic six- and 12-string guitars, upright and electric basses, baritone guitar, six-string bass, guitarron, jarana, requinto jarocho, violin, steel guitar, bajo sexto and bajo quinto, gut-string guitar, tiple, tres, banjo, huapanguera, cuatro, mandolin, koto guitar, tenor guitar, varrana, vihuela, and a custom-designed “hidalguera.” I was also influenced a lot by Dave. All of the very nice comments are greatly appreciated, not taken for granted! His son, David Hidalgo, Jr. is the current drummer for Social Distortion.In addition to his work with Los Lobos, Hidalgo frequently plays musical instruments such as accordion, violin, 6-string banjo, cello, requinto jarocho, percussion, drums and guitar as a session musician on other artists' releases. I was eight or nine. Two retrospectives chronicled the band’s history: the double-set Just Another Band From East L.A. and the four-disc El Cancionero – Mas y Mas. Were you exposed to much music when you were living in Mexico? Don’t think Los Lobos has had an impact on the tastes of the public and other musicians? Dave and I will be talking, and he’ll mention an artist, and it’s like, “Yeah, okay, I dig.” A reference point. There’s so much cool stuff we’ve got. In honor of the United Nations’ 75th Anniversary and GivingTuesday, Playing For Change and the United Nations Population Fund (UNFPA) are thrilled to announce Peace Through Music: A Global Event for Social Justice, produced by Playing For Change and Blackbird Presents, exclusively on Facebook Live for 48 hours. Those records sound like there were three guitars. You can’t hang it on the wall to look at; it’s not something you can touch and feel. For a while, we put everything on hold, and it was just about us being supportive, as friends and family would. When you have the support of your audience, it just makes it that much better. It comes from another place. Because there’s plenty of information going on. I changed the strings on it and re-learned everything. David: That’s part of what we learned from Willie Dixon. Countless weddings and backyard parties later, they started incorporating more instruments and subgenres, eventually adding drums and going electric. Then Cougar came up, and I really kind of moved out of the drum section. There’s one with Muddy’s band, where Otis Spann is playing organ, and Sammy’s playing the guitar. So we got Pete Thomas to play on the records. At home I had a bunch of guitar bodies lying around, so I took this Tele body over to my friend, Bill Antel, and said, “Here’s my traditional Macias, and here’s a Tele body. And I think it happens when it’s more experimental and we’re just jamming. I used to have a DeArmond, which was a love-hate situation, because sometimes they’d work and sometimes they wouldn’t. I was 14 years old, and he was playing at the Hollywood Bowl. I really appreciate him doing that. David: There’s a different sound, but it sounds like the same guy playing it. In addition to his work with Los Lobos, David frequently plays musical instruments such as accordion, violin, 6-string banjo, cello, requinto jarocho, percussion, drums and guitar as a session musician on other artists’ releases. Didn’t know it would take this long to put it together, but that’s just the way it worked. That was a good day. Conrad: On the soul side, James Jamerson, man. When we first immigrated into the United States, we went straight to East Los Angeles, and my older brother, Pete, got a guitar. We started getting into the Premiers, the Jaguars, and all the stuff we’d grown up with. ’57 Strat is actually the Fender Stratocaster 1958 gifted to David Hidalgo on August 8, 1987. So what do you do? Have you taken up any new instruments lately? It knocked me out. Conrad, what was the early inspiration for you? As expected, it didn’t match La Bamba‘s numbers, but it brought Mexican folk music to such unlikely places as the stages of “The Tonight Show” and “Austin City Limits.” Conrad: I use Lakland basses, and I’ve always used Ampeg amps. The amp that works is a ’64 Deluxe and a South Tech single-12″ cabinet with a JBL. But when we came to the United States, the whole encounter with rock and roll was amazing. On Colossal Head, some of your playing is reminiscent of Peter Green. We were like gushing – big fans. I had Bill make a pickguard to cover the whole top, because it had been routed for humbuckers, and I had him put one pickup where the middle-pickup cavity was. What’s the main equipment you use onstage? We didn’t play anything; we just walked around, as a band. We had two bass players, like four guitars, and he just told everybody what to play. Then, with Jimi Hendrix, his soul contribution, he was kind of trying to do like a Curtis Mayfield kind of thing. I fell into that and had to learn to use different scales and play that style. His son, David Hidalgo, Jr., is the current drummer for Social Distortion. We came full circle, back to where we started as kids. He formed as well a side project band called Houndog. And we recently got the okay to actually start recording our own shows and sell them at our gigs. He saw me play the requinto jarocho, with the four strings that I play with the long pick, and he said, “That’s the same wrist action and posture that you use on the oud. We bravely go where no band has gone (laughs)! With no new disc to promote for this summer's cross-country jaunt, Los Lobos has chosen to showcase the talents of David Hidalgo. David: I love his playing. These men would play this music, and I was totally blown away by the bajo sexto – but I didn’t know what it was called. And then watching the country [TV] shows, like “The Ernest Tubb Show.” His band was so good. I also use a Squier Telecaster that I found for 100 bucks at Guitar Center, and it felt great, so Bill Asher gutted it and made a real one out of it. But it’s weird, because my guitar playing was like I was in this vacuum. I didn’t know what kind of music it was back then; I just knew it was different than regular rock and roll. I’ve got to get you an oud, man.” He told me that for years, and about 10 years later he called me up and said, “Hey, I’ve got an oud for you.” It’s a really nice Turkish oud, and he had Rick Turner put a pickup in it. Cesar: I was born in Hermosillo, which is the capitol of Sonora, Mexico, and moved to L.A. when I was nine. I have my early-’60s ES-175, factory black, but it wouldn’t work onstage for what we do. I don’t know how old it is – probably early ’60s. I love the old ’40s trios, like Los Panchos and Los Tres Ases – the romantic period. Hidalgo frequently plays musical instruments such as accordion, violin, 6-string banjo, cello, requinto jarocho, percussion, drums and guitar as a session musician on other artists' releases. Louie: I just play a complete supporting role. b. Then my brother brought home the first Canned Heat album, with Henry Vestine. It’s like a double tenor guitar. In addition to his work with Los Lobos, Hidalgo frequently plays musical instruments such as accordion, violin, 6-string banjo, cello, requinto jarocho, percussion, drums and guitar as a … It was offered to me, and I passed on it [laughs]. You do everything wrong, but you sound good.” So he took us under his wing, showing us the different strums and instruments. Tell me about the Jerry Garcia guitar? Is your eight-string Danelectro an electric Hidalguera? And it was a struggle when he was playing; his whole body would pull the guitar. Cesar got a bajo sexto and wanted to play some of the polkas. Conrad: Actually it was – when I was about 15 or 16 – because of the Beatles. I’m playing an early-’60s reissue that Mike McGuire over at the Custom Shop gave me. We recognize each other’s space; we know almost intuitively when to stay out of each other’s way. We had to not only educate them about what was going on and what happened in East L.A. – I’m talking about the second generation of kids – but also explain that there were a lot of gifted musicians in East L.A. The surging, blues-drenched “Don’t Worry Baby” is a prime illustration of their contrasting styles, with Cesar’s gritty, muscular solo followed by David’s more melodic, ornamental approach. We always thought that somehow what we did was innately political; it was a big statement in itself. Then we electrified, and I became the drummer, and we continued on for another 10 years. Davis Hidalgo has the best tone. At that point, I took it over to Candelas, when [Porsirio “Candelas” Delgado] was still alive, and he started cracking up. The one I’m using now is like a Precision bass, but I have one being made now that’s like a Jazz Bass, like a Joe Osborne copy. When did you become aware of him? David: I usually use either a Strat or a Telecaster. “We came up with the idea as sort of an unofficial anniversary record,” says Perez. It becomes something else. I didn’t want any toggle switches or anything – just one volume. David: And Willie Dixon. That thud sound he had was great. He opened with “Spanish Castle Magic,” and went into this whole feedback thing – man, that was it. And it all paid off; I’ve been playing it for years. David Hidalgo. The event will then be streamed on […], What are the impacts and challenges of the COVID-19 pandemic on people of African descent and their communities? Cesar, what music had the biggest effect on you? I just got a reissue Firebird, too. He started playing it for me, and I went, “Oh, God. Paul McCartney was one of my favorites in the early days; I loved his bass playing. Cesar: Yeah, it was pretty lonely (laughs). Louie: No, I knew what a gang was. With three guitars, is it hard to figure out who’s going to play what? What exactly is a “Hidalguera”? It’s a nice marriage of a Marshall and a Fender. It’s something we don’t even have to summon; it just happens. It was always like a history lesson. If he’s leading the song, then we follow him, and we find spots to stay out of the way. Cesar: Obviously, as musicians, you do reach that sometimes. And they certainly succeeded on a local level. I watched the “Ed Sullivan Show” stuff the other day and saw what he was doing; damn, the cat could play. In addition to his work with Los Lobos, Hidalgo frequently plays musical instruments such as accordion, violin, 6-string banjo, cello, requinto jarocho, percussion, drums and guitar as a session musician for other artists’ releases. Cesar: It’s like Billy Gibbons. He should have one – a Turkish oud.” Louie: My jarana was made by Candelas Guitars in L.A. It’ll blow your mind, if you go down there. I already had Are You Experienced?, and Bold As Love had just come out. Then I just couldn’t go there. Conrad: A buddy of mine, Brian Shaw, gave me a Harmony hollowbody bass. Then I made it back to guitar. And I never really had a real cool pickup sound. In true Lobos spirit, they took advantage of the resultant mass exposure by recording an all-acoustic album of traditional Mexican music and originals in that idiom, La Pistola y El Corazon. That’s when we got to meet Jerry for the first time. I should have bought Paul McCartney’s Les Paul. They put a bass bridge on it, set up for four doubles. Later, we toured with them, and seeing them every night, they just got better and better. You’ve got some influences that guitarists seldom mention, like Muddy Waters’ guitarist, Sammy Lawhorn. David: I use the reissues on the records, too, but the old guitars make you play a certain way, you know? So Paul ended up with it – the sunburst he’s been playing for the past seven years or so. That happens writing, and it happens onstage. They were badass basses, man. Then some friends and I started a band. We could sit here talking for days just about the blues – the three Kings (B.B., Albert, and Freddie) and Albert Collins. I’ve been working with SWR a little bit; I like their cabinet sound. David: Cal Worthington. We had no modern conveniences – no running water and no electricity for awhile. He’d probably be the best oud player in the world. They make one out of one block of wood, the original way. It was swing. David: Nieves Quintero is another fantastic cuatro player. Having an inordinate concentration of talent in one group was a big plus. Only about five minutes; I said, “I don’t want to take up all your time.” But it was just a cool little conversation. You’re part of something; you’re not just up there playing your part in what sums up the song. David: Peter Green was cool. Cesar: It’s as small as ever, but I got some cooler old stuff, like an old Nieve board. But then I went back three more times, and it happened every time. During that period they weren’t as expensive, but Norman has been a good friend and would give me exceptional deals. David Hidalgo recently finished recording sessions for a new Bob Dylan album, at Jackson Browne’s Los Angeles studio. I had them add a gain stage so I could play them at a lower volume and still have that tone. When we started, we were doing all this mariachi music, but none of us played violin, so we used mandolins. We’ve been kind of beat up by this business, but if you peel away the business and even take away the music altogether, you’ll end up with a bunch of guys who are just buddies. Vintage Guitar: As a group, you cover so many styles, you must have a wide range of influences individually. And that’s another one of those three-guitar things. I already knew how to play, and I obviously grew up with a lot of musical heroes, but to have a guy in the band who could actually play it and was such a great guitarist, it was like, “God!” Before, whatever song I learned, I’d have to copy the solos off the records the best I could. Houndog really is bare-bones blues, as unpretentious and honest as it gets. “Not celebrating only ourselves, but also our friends and cohorts and heroes.” They’re kind of delicate instruments, but they’d get tossed around and broken. But there’s also the folk part – the traditional Mexican folk music. I had that single [by the Strangers] and “Rebel Rouser” by Duane, and then some Coasters, and “Purple People Eater.” Surf guitar and stuff like that; just drowned in guitar. Some quantum physicist can talk about how it’s vibrations moving in space, but when you think about the way Miles [Davis] could hang one note in the air – not a flurry of notes by some virtuoso; just one note – it’s just so right. Every so often, all the neighbors would get together and have a dance. Cesar: I kind of got the idea myself; it came out of the frustration of having the traditional instruments on the road and having my Macias [bajo sexto] broken a few times. I’ve kind of always just loved to play rhythm guitar. I’ve got this bootleg where it’s just the rhythm track of “Electric Ladyland,” with him just playing rhythm guitar. Post was not sent - check your email addresses! I became a big fan. Every night after dinner we would crank up the radio and get these stations from Hermosillo, playing Mexican pop music. And vice versa. That kind of led back to rock and roll, so Ritchie Valens was the next step. In the early years, when this band was playing exclusively Mexican music, there was a lot of pressure for us to get more political. I used one of his 100-watt amps for years, but we went to smaller amps. Nunca (feat. Though they began as a rockin’ garage band, they quickly took on a new mission: to revitalize Mexican and Chicano folk music for a new generation. His son, David Hidalgo, Jr. is the current drummer for Social Distortion.In addition to his work with Los Lobos, Hidalgo frequently plays musical instruments such as accordion, violin, 6-string banjo, cello, requinto jarocho, percussion, drums and guitar as a session musician on other artists' releases. With Tom Waits, Elvis Costello, Dave Alvin, Richard Thompson, Bobby Womack, Mavis Staples, Ruben Blades, Midniter Willie G., Grateful Dead lyricist Robert Huner, and Mexico City rockers Café Tacuba on the guest list, they reinterpret four songs from their catalog and offer nine new gems. Their music is influenced by rock and roll, Tex-Mex, country, zydeco, folk, R&B, blues, brown-eyed soul, and traditional music such as cumbia, boleros and norteños. I took it for granted that the bridge from a Fender electric 12-string would work, but the spacing was too narrow. Tired of the cover-band scene in East Los Angeles, David Hidalgo, Conrad Lozano, Louie Perez and Cesar Rosas – four recent graduates of Garfield High in East L.A. – formed Los Lobos in 1973, with the specific intent to play the traditional Mexican folk music of their ancestors. There was a community youth center where music teachers would give free lessons. David: Still went through the Nieve, though. Cesar, has your studio gotten more elaborate over the years? David: His music was around, and we just kind of took it for granted growing up. I mean, how many bands can reinvent themselves every time they go into the studio? But it took a long time. The fondest memory of Jerry, watching him play, was at Giants Stadium. Being Mexican-Americans, you’re never quite accepted by Mexican nationals. 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