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Flashback: Peter Green and Santana Perform ‘Black Magic Woman’ Together
The sad news came down Saturday that Fleetwood Mac co-founder Peter Green died at age 73. “It is with great sadness that the family of Peter Green announce his death this weekend, peacefully in his sleep,” his family said in a statement. “A further statement will be provided in the coming days.”
Green’s tenure in Fleetwood Mac lasted a mere three years, but during that time he wrote many of their greatest songs, including “Man of the World,” “Stop Messin’ Round,” “Oh Well” and “Black Magic Woman.” The band carried on in his absence and found tremendous success when Lindsey Buckingham and Stevie Nicks joined their fans in 1975, but many Mac purists think they never managed to top the material produced in the Green era.
Addiction issues and mental health problems kept Green out of the public eye for much of the past few decades, though he did form the Peter Green Splinter Group in the late Nineties; they gigged for a few years before disbanding in 2004. Their show was heavy on blues standards like “Little Red Rooster” and “I’m a Steady Rollin’ Man,” but they did break out a handful of Fleetwood Mac classics like “I Believe My Time Ain’t Long” and “The Green Manalishi (With the Two Prong Crown).”
He was also on hand when Fleetwood Mac were inducted into the Rock and Roll Hall of Fame in 1998. “Before I make too long of a speech, I would like to thank Mr. Peter Green for forming Fleetwood Mac way back in 1967,” Mick Fleetwood said that evening when he spoke on behalf of the entire band. “Thank you, Peter. He left us with a stage that was to continue until today.”
It would have made little sense for Green to join the band onstage that night to play “Landslide,” Big Love” and “Say You Love Me,” since they were recorded years after he left. But by happy coincidence, Santana were inducted that same night. Their cover of Green’s “Black Magic Woman” is one of the group’s most famous songs, and he finally got to play it with them that evening.
That Hall of Fame ceremony was one of the last high-profile events to feature Green in the flesh. Earlier this year, Mick Fleetwood organized a tribute show to him at the London Palladium featuring David Gilmour, Pete Townshend, Bill Wyman, Kirk Hammett, Noel Gallagher, John Mayall and many others. It was an emotional evening even though Green himself didn’t appear.
“[I last saw him] about a year and a half ago,” Fleetwood told Rolling Stone earlier this year. “I went out with my girlfriend, and spent the day with him. He’s not the Peter that I knew, clearly. But he plays acoustic guitar. He loves painting, and fishing is his hobby. It’s no secret that he took a left turn and never came back, but he’s OK. He also has really little or no ego at all, which is unbelievable. You want to go, ‘Do you realize what you did?’ ‘No, no. Yeah, I suppose so.’ He has no ego about what he did.”
Borrowed notes: The complicated, cross-Atlantic evolution of Black Magic Woman
When Santana had a Top 5 single with Black Magic Woman in 1971, it was a great example of how music can often be the result of – to borrow a phrase from Sir Isaac Newton - “standing on the shoulders of giants.” In this case, guitar-wielding giants.
The evolution of Black Magic Woman stretches back to 1957, with an obscure record by Chicago guitarist Jody Williams. Williams had cut his teeth in the early '50s, playing on the street with his mentor Bo Diddley, then gigging with such blues artists as Memphis Minnie and Elmore James. That's him playing the incendiary solo on Diddley's classic Who Do You Love?
In his extended break, you can hear several licks that would inform the styles of both Eric Clapton and Jimmy Page. Williams made his own records too, and the B-side to his 1957 single You May was an instrumental called Lucky Lou. From the phrasing of the opening guitar riff to the slinky Afro-Cuban groove, it's obviously the blueprint for Black Magic Woman.
A year later, fellow Chicago blues guitarist Otis Rush “borrowed” that riff and feel for his record All Your Love (I Miss Your Loving), adding a vocal melody. Produced by Willie Dixon and featuring Ike Turner on rhythm guitar, it became one of Rush's signature hits.
Eight years later, in 1966, it was covered by John Mayall's Bluesbreakers, on the landmark “Beano” LP featuring Eric Clapton. The bass player on that record was John McVie. And a year later, after Clapton left to form Cream, there was a brief three-month window when the Bluesbreakers line-up included McVie, drummer Mick Fleetwood and lead guitarist Peter Green, the nucleus of the soon-to-be-formed Fleetwood Mac.
From there, we cut to Green writing a song for his svelte fashion model girlfriend, Sandra Elsdon, who he'd nicknamed “Magic Mama.” Green said in Peter Green: The Biography: “One of the things John Mayall said was that if you really like something, you should take the first lines, and make up another song from them. So that's what I did with Black Magic Woman.”
The song, nodding to All Your Love and Lucky Lou, was released as a single by Fleetwood Mac in 1968 and hit #37 on the UK charts.
And that's where Carlos Santana enters the picture. In the book Guitar Greats, he said, “I used to go see the original Fleetwood Mac, and they used to kill me, just knock me out. To me they were the best blues band.”
So in 1970, when Santana keyboardist Gregg Rolie started to play Black Magic Woman during a soundcheck, it was a memorable moment. Santana told Rolling Stone, “I swear to you, and this is for real, whenever we play the song, I remember the first time we played it in a soundcheck in Fresno in a parking lot. Gregg brought the song from Fleetwood Mac, Peter Green. And I remember saying, 'Hmm, I can bring a little bit of Otis Rush here and a little bit of Wes Montgomery here.'”
Santana's recorded version, featuring Rolie on lead vocals, was on the their best-selling second album, Abraxas. Adding yet another shoulder and another giant, the single switched gears into a double-time outro jam, based on Gypsy Queen, by Hungarian jazz guitarist Gábor Szabó. Discussing the song's long journey, Santana told Raised On Radio in 2016: “We all listened to everything, and we sculpture our own beauty and expression from the things that we love.”
In 1998, when Santana was inducted into the Rock & Roll Hall of Fame, the band was joined by Peter Green for a seven-minute version of Black Magic Woman.
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