Chords for Santana At Woodstock
Tempo:
108.625 bpm
Chords used:
F#
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Bill Graham took us to this journey of going from the Ark to the streets of San Francisco
and he said to us, there's going to be a festival, there's going to be the festival of festivals
and I want you to be in it.
I know your album's not out, people don't know you from anything
but they requested my help and I told them the only way I'd help them is if they put Santana in it.
So our first tour, because we were playing in Seattle, we were playing in San Francisco and San Diego and Santa Barbara
and everywhere we played we were taking a big chunk of the audience from Clearance Clearwater and The Grateful Dead
anybody who got in front of us, the Who, Steppenwolf, we were taking their audience with us
people were like, man you heard Santana?
Yeah.
So next thing we show up, their audience be there with us now.
But we'd never been further than Phoenix, I think.
And so Bill booked us into the Dallas festival, then the Atlantic festival, and this other festival
and it was going from 30 to 60,000.
By the time we got to Woodstock, we weren't afraid of the crowd.
So he trained us very, very, very well.
And he prepared us by how he booked us.
Bill Grant was a real architect for Santana.
He saw something in me and in us that was very different
than a lot of people in San Francisco.
And he invested energy, time, money and passion in us.
And I'll always be grateful to him.
Just like Clive Davis, people who believe in us and they stick their neck out for us
even when their investors might say, who the hell is Santana?
But it was a very, I wouldn't say calculated, it was a very thought out flow of how he created for us to be exposed to
a bigger crowd, a bigger crowd, a bigger crowd, until when we got to Woodstock, we weren't afraid.
It was a disaster of transportation.
All the freeways were blocked like a science fiction movie.
People just abandoned their cars in the freeway.
550,000, half a million or more strong.
All I could see was an ocean of flesh and hair and teeth.
And the cheering was like, you know,
combined like a bunch of Super Bowls and World Cups and baseballs.
And you don't hear that sound of 500 people
screaming at the same time.
The biggest door I ever walked in through or walked through other than the supernatural experience.
You know, it's like a little strange that a few years back, maybe a year and a half, I [F#] was in Mission High [E] School
and [N] now I'm playing with, playing stage with Sly and Jimi Hendrix and Janis Joplin and all these incredible mega superstars already.
I remember that I was under the influence of LSD, you know, and it all came back to me like, damn,
why did I take LSD before I went on?
You know, the guitar neck, it felt like an electric snake that wouldn't stand still.
That's why I'm making ugly faces, trying to make the snake stand still so I can like play it, you know,
because it's going like this.
The neck is going like that and I'm like, you know, and inwardly I'm just, I remember saying over and over,
God, I'll never do this again ever if you can just keep me in time and in tune.
That's all I ask.
That was my first mantra.
God, please, I promise I'll never do this again.
I'll never take this thing again.
Just, you know, and then the sound
of hearing the music coming from within me through my body, through my fingers, through the amplifier, through the speakers, up into the audience as far as it can go,
and then come back to you, you know.
It was a scary thing.
You know, I thought we were going to go on like 12 hours later so that I would be cool
and I was like, okay, now, you know, I already drink a lot of water, I pee it out, now I can do this and, you know, I'm not, everything's not so amoeba, liquidy, you know, old,
that's going boobalated, you know.
I don't recommend it for anybody, you know, to go on stage high and LSD trying to perform or present your music.
But by God's grace, the performance that they got from Soul Sacrifice was very electric.
and he said to us, there's going to be a festival, there's going to be the festival of festivals
and I want you to be in it.
I know your album's not out, people don't know you from anything
but they requested my help and I told them the only way I'd help them is if they put Santana in it.
So our first tour, because we were playing in Seattle, we were playing in San Francisco and San Diego and Santa Barbara
and everywhere we played we were taking a big chunk of the audience from Clearance Clearwater and The Grateful Dead
anybody who got in front of us, the Who, Steppenwolf, we were taking their audience with us
people were like, man you heard Santana?
Yeah.
So next thing we show up, their audience be there with us now.
But we'd never been further than Phoenix, I think.
And so Bill booked us into the Dallas festival, then the Atlantic festival, and this other festival
and it was going from 30 to 60,000.
By the time we got to Woodstock, we weren't afraid of the crowd.
So he trained us very, very, very well.
And he prepared us by how he booked us.
Bill Grant was a real architect for Santana.
He saw something in me and in us that was very different
than a lot of people in San Francisco.
And he invested energy, time, money and passion in us.
And I'll always be grateful to him.
Just like Clive Davis, people who believe in us and they stick their neck out for us
even when their investors might say, who the hell is Santana?
But it was a very, I wouldn't say calculated, it was a very thought out flow of how he created for us to be exposed to
a bigger crowd, a bigger crowd, a bigger crowd, until when we got to Woodstock, we weren't afraid.
It was a disaster of transportation.
All the freeways were blocked like a science fiction movie.
People just abandoned their cars in the freeway.
550,000, half a million or more strong.
All I could see was an ocean of flesh and hair and teeth.
And the cheering was like, you know,
combined like a bunch of Super Bowls and World Cups and baseballs.
And you don't hear that sound of 500 people
screaming at the same time.
The biggest door I ever walked in through or walked through other than the supernatural experience.
You know, it's like a little strange that a few years back, maybe a year and a half, I [F#] was in Mission High [E] School
and [N] now I'm playing with, playing stage with Sly and Jimi Hendrix and Janis Joplin and all these incredible mega superstars already.
I remember that I was under the influence of LSD, you know, and it all came back to me like, damn,
why did I take LSD before I went on?
You know, the guitar neck, it felt like an electric snake that wouldn't stand still.
That's why I'm making ugly faces, trying to make the snake stand still so I can like play it, you know,
because it's going like this.
The neck is going like that and I'm like, you know, and inwardly I'm just, I remember saying over and over,
God, I'll never do this again ever if you can just keep me in time and in tune.
That's all I ask.
That was my first mantra.
God, please, I promise I'll never do this again.
I'll never take this thing again.
Just, you know, and then the sound
of hearing the music coming from within me through my body, through my fingers, through the amplifier, through the speakers, up into the audience as far as it can go,
and then come back to you, you know.
It was a scary thing.
You know, I thought we were going to go on like 12 hours later so that I would be cool
and I was like, okay, now, you know, I already drink a lot of water, I pee it out, now I can do this and, you know, I'm not, everything's not so amoeba, liquidy, you know, old,
that's going boobalated, you know.
I don't recommend it for anybody, you know, to go on stage high and LSD trying to perform or present your music.
But by God's grace, the performance that they got from Soul Sacrifice was very electric.
Key:
F#
E
F#
E
F#
E
F#
E
_ _ _ _ _ _ _
Bill Graham took us to _ _ this journey of _ going from the Ark to the streets of San Francisco
_ and he said to us, _ _ _ _ there's going to be a festival, there's going to be the festival of festivals
and I want you to be in it.
I know your album's not out, people don't know you from anything
but they requested my help and I told them the only way I'd help them is if they put _ Santana in it. _ _
_ So our first tour, because we were playing in Seattle, we were playing in San Francisco and San Diego and Santa Barbara
and everywhere we played we were taking a big chunk of the audience from Clearance Clearwater and The Grateful Dead
_ anybody who got in front of us, the Who, Steppenwolf, we were taking their audience with us
people were like, man you heard Santana?
Yeah.
So next thing we show up, their audience be there with us now.
_ _ _ But we'd never been further than Phoenix, I think.
_ And so Bill booked us into the Dallas _ festival, then the Atlantic festival, and this other festival
and it was going from 30 to 60,000.
By the time we got to Woodstock, we weren't afraid of the crowd.
_ _ So he trained us very, very, very well.
_ _ _ _ And he prepared us by how he booked us. _
Bill Grant was a real architect for Santana.
_ _ _ _ _ He saw something in me and in us _ _ that was very different
than a lot of people in San Francisco.
_ And he invested energy, time, money and passion in us.
_ And I'll always be grateful to him.
Just like Clive Davis, people who believe in us and they stick their neck out for us
even when their investors might say, who the hell is Santana?
But _ _ _ _ it was a very, I wouldn't say calculated, it was a very thought out flow of how he created for us to be exposed to
a bigger crowd, a bigger crowd, a bigger crowd, until when we got to Woodstock, _ _ we weren't afraid.
It was a disaster of _ _ _ transportation.
All the freeways were blocked like a science fiction movie.
People just abandoned their cars in the freeway.
_ 550,000, _ _ _ half a million or more strong. _ _
_ _ _ All I could see was an ocean of flesh and hair and teeth.
And the cheering was _ like, you know,
combined like a bunch of Super Bowls and World Cups and baseballs.
And you don't hear that sound of 500 people
_ _ screaming at the same time.
The biggest door I ever walked in through or walked through _ other than the supernatural experience. _ _ _ _ _ _ _
You know, it's like a little strange that a few years back, maybe a year and a half, I [F#] was _ in Mission High [E] School
and [N] now I'm playing with, playing stage with Sly and Jimi Hendrix and Janis Joplin and all these incredible mega superstars already.
I remember that I was under the influence of LSD, _ you know, and it all came back to me like, damn,
why did I take LSD _ before I went on?
You know, the guitar neck, it felt like an electric snake that wouldn't stand still.
That's why I'm making ugly faces, trying to make the snake stand still so I can like play it, you know,
because it's going like this.
The neck is going like that and I'm like, you know, and inwardly I'm just, I remember saying over and over,
God, I'll never do this again ever if you can just keep me in time and in tune.
That's all I ask.
That was my first mantra.
_ _ God, please, I promise I'll never do this again.
I'll never take this thing again.
Just, you know, and then the sound
of hearing the music coming from within me through my body, through my fingers, through the amplifier, through the speakers, up into the audience as far as it can go,
and then come back to you, _ _ you know.
_ _ _ It was a scary thing.
You know, I _ _ thought we were going to go on like 12 hours later so that I would be cool
and I was like, okay, now, you know, I already drink a lot of water, I pee it out, now I can do this and, you know, I'm not, everything's not so amoeba, liquidy, you know, old,
_ that's going boobalated, you know. _ _ _
I don't recommend it for anybody, you know, to go on stage high and LSD trying to perform or present your music. _
But by God's grace, the performance that they got from Soul Sacrifice was very electric. _ _ _
Bill Graham took us to _ _ this journey of _ going from the Ark to the streets of San Francisco
_ and he said to us, _ _ _ _ there's going to be a festival, there's going to be the festival of festivals
and I want you to be in it.
I know your album's not out, people don't know you from anything
but they requested my help and I told them the only way I'd help them is if they put _ Santana in it. _ _
_ So our first tour, because we were playing in Seattle, we were playing in San Francisco and San Diego and Santa Barbara
and everywhere we played we were taking a big chunk of the audience from Clearance Clearwater and The Grateful Dead
_ anybody who got in front of us, the Who, Steppenwolf, we were taking their audience with us
people were like, man you heard Santana?
Yeah.
So next thing we show up, their audience be there with us now.
_ _ _ But we'd never been further than Phoenix, I think.
_ And so Bill booked us into the Dallas _ festival, then the Atlantic festival, and this other festival
and it was going from 30 to 60,000.
By the time we got to Woodstock, we weren't afraid of the crowd.
_ _ So he trained us very, very, very well.
_ _ _ _ And he prepared us by how he booked us. _
Bill Grant was a real architect for Santana.
_ _ _ _ _ He saw something in me and in us _ _ that was very different
than a lot of people in San Francisco.
_ And he invested energy, time, money and passion in us.
_ And I'll always be grateful to him.
Just like Clive Davis, people who believe in us and they stick their neck out for us
even when their investors might say, who the hell is Santana?
But _ _ _ _ it was a very, I wouldn't say calculated, it was a very thought out flow of how he created for us to be exposed to
a bigger crowd, a bigger crowd, a bigger crowd, until when we got to Woodstock, _ _ we weren't afraid.
It was a disaster of _ _ _ transportation.
All the freeways were blocked like a science fiction movie.
People just abandoned their cars in the freeway.
_ 550,000, _ _ _ half a million or more strong. _ _
_ _ _ All I could see was an ocean of flesh and hair and teeth.
And the cheering was _ like, you know,
combined like a bunch of Super Bowls and World Cups and baseballs.
And you don't hear that sound of 500 people
_ _ screaming at the same time.
The biggest door I ever walked in through or walked through _ other than the supernatural experience. _ _ _ _ _ _ _
You know, it's like a little strange that a few years back, maybe a year and a half, I [F#] was _ in Mission High [E] School
and [N] now I'm playing with, playing stage with Sly and Jimi Hendrix and Janis Joplin and all these incredible mega superstars already.
I remember that I was under the influence of LSD, _ you know, and it all came back to me like, damn,
why did I take LSD _ before I went on?
You know, the guitar neck, it felt like an electric snake that wouldn't stand still.
That's why I'm making ugly faces, trying to make the snake stand still so I can like play it, you know,
because it's going like this.
The neck is going like that and I'm like, you know, and inwardly I'm just, I remember saying over and over,
God, I'll never do this again ever if you can just keep me in time and in tune.
That's all I ask.
That was my first mantra.
_ _ God, please, I promise I'll never do this again.
I'll never take this thing again.
Just, you know, and then the sound
of hearing the music coming from within me through my body, through my fingers, through the amplifier, through the speakers, up into the audience as far as it can go,
and then come back to you, _ _ you know.
_ _ _ It was a scary thing.
You know, I _ _ thought we were going to go on like 12 hours later so that I would be cool
and I was like, okay, now, you know, I already drink a lot of water, I pee it out, now I can do this and, you know, I'm not, everything's not so amoeba, liquidy, you know, old,
_ that's going boobalated, you know. _ _ _
I don't recommend it for anybody, you know, to go on stage high and LSD trying to perform or present your music. _
But by God's grace, the performance that they got from Soul Sacrifice was very electric. _ _ _