Douglas Haywood Rauch
(14 September 1950 ­ 23 April 1979)
was an American bass player most famous for his work with Carlos Santana
during his fusion-period 1972-73.

Pre-Santana Years: Rauch was born in New York. Prior to joining Santana, he
worked with several New York-based acts like Buzzy Linhart, Voices of East
Harlem, Bunky&Jake…etc Rauch appears on Bunky&Jake’s 1969 L.A.M.F ­ album.
The collaboration with Buzzy Linhart also resulted in an album: ²Music² in
1971. He also played one track on Carly Simon’s debut album the same year.
Accepting an invitation from Santana drummer Michael Shrieve Rauch moved to
San Francisco in 1971 where he worked with the band Loading Zone which also
featured future Santana bandmate Tom Coster. Rauch and Coster also worked
briefly with guitarist Gabor Szabo during this period.

Santana Years 1972-73
Doug Rauch teamed up with Santana in 1972 replacing Tom Rutley. He made his
first appearance with the band in early 1972 Rauch shared a mutual admirance
for the music of The Mahavishnu Orchestra with his new bandleader, and was
an important element in shaping the more jazz/rock/fusion-oriented sound of
The New Santana Band. He appears on the albums Caravanserai, Welcome, Love
Devotion Surrender and Lotus. During the Santana years Rauch also played
with a third edition of Tony Williams Lifetime which also featured Japanese
guitarist Ryo Kawasaki.
After Santana 1974-79 (David Bowie, Lenny White, Billy Cobham & George Duke
Band, Jan Hammer).
Doug Rauch played his last show with Santana on New Year’s Eve -73/74. He
was replaced by returning original bassist David Brown. Later that year
Rauch teamed up with David Bowie for his Diamond Dogs-tour for a month in
sepember 1974. In July-August 1975 Rauch worked with Lenny White on his
Venusian Summer – solo release.
The same year Rauch joined the Cobham & Duke Band.
This collaboration was, however, short-lived due to D.R’s
increasing substance abuse problems.
His collaboration with the Jan Hammer Band was also short-lived
and he was replaced by Fernando Saunders in late 1975.

Death
Doug Rauch died of a drug overdose in San Francisco, aged only 28.

Style:
One of the key elements of his style was his unique use of his thumb in a
down and upward-motion. This technique is now commonly referred to as
²double thumbing² and used by several high-profile bass players, most
notably Marcus Miller and Victor Wooten. The earliest recorded examples of
Doug Rauch using this approach is the ²Attitude² on the ²Giants²-album
(released in 1978, but recorded in 1971) and ²Look Up……. from Santana’s
Caravanserai-album 1972. Another key element of his sound is his frequent
use of a phase-shifter. Rauch still used a good amount of conventional two
finger right hand technique during his Santana-years.
But with Lenny White, Cobham & Duke-Band it was thumb style more or less
exclusively.

Equipment.
Doug Rauch main bass was a heavily modified pre-cbs era Fender Jazz Bass.
The bass had an additional Gibson EB-pickup (a.k.a “mudbucker”) in the neck
position. The original jazz bass neck pu was replaced with a P-bass pickup.
It also sported some additional non-original knobs and switches. He also
used a stock pre-cbs era Precision Bass for some of his work with Santana.

Discography:
Bunky & Jake: L.A.M.F. (1969)
Music: s/t (1970, re-released as “Buzzy Linhart is Music)
Carly Simon: s/t (1971)
Papa John Creach: s/t (1971)
Giants: (recorded 1971, released 1978)
Santana: Caravanserai (1972)
Betty Davis: Betty Davis (1973)
John McLaughlin & Carlos Santana: Love Devotion Surrender (1973)
Santana: Welcome (1973)
Santana: Lotus (1974)
Jose Chepito Areas: s/t (1974)
Shigeru Suzuki: Bandwagon (1975)
Lenny White: Venusian Summer (1975)
Billy Cobham: Life & Times (1976)

Jerry Salas joined the legendary El Chicano in 1973, which were one of the most visibly successful bands to emerge from the East Los Angeles Latin-rock scene in the early 1970’s.
After creating a buzz in East L.A. in the late ’60s, El Chicano signed with MCA in 1970 and recorded its debut album, Viva Tirado. At that time the Band were led by Freddie Sanchez and were named The V.I.P’s but a quick name change to the more controversial El Chicano, heralded a new career arc.
The instrumental title song, which was written by jazz pianist Gerald Wilson, was released as a single and became El Chicano’s biggest hit; the recording reached number 28 on Billboard’s pop singles chart and number 20 on its R&B singles chart. On regional L.A. charts, "Viva Tirado" spent about 12 weeks at number One. "Viva Tirado" was inspired by Mexican bullfighter Jose Ramon Tirado and hit the right spot, it was an instrumental that occupied that hip zone, similar to others like Hugh Masekela’ “Grazing In the Grass’ and Ramsey Lewis’s “Wade In The Water”.
Santana ruled the roost in terms of Latin rock success and international exposure but El Chicano had a great grass roots following in the Mexican-American neighborhoods of the southwestern United States. After the Viva Tirado LP, El Chicano went on to record several more albums for MCA, including 1971′s Revolucion, 1972′s Celebration, 1973′s El Chicano, 1974′s Cinco, 1975′s The Best of Everything, and 1976′s Pyramid of Love & Friends. Jerry Salas also comments here “As far as Viva Tirado was concerned, don’t forget it was also on the Jazz charts at the same time as the others, this was a first. Also we did "This is El Chicano” in 1977 on Shadybrook Records, we should have got a hint by the name of the label.”
El Chicano’s second biggest hit came in 1973 when MCA released the brown-eyed soul classic "Tell Her She’s Lovely" as a single. Nationally, the tune (which features Jerry Salas on lead vocals) wasn’t a major hit; "Tell Her She’s Lovely" only reached number 40 on Billboard’s pop singles chart and number 98 on the magazine’s R&B singles chart. But in Mexican-American neighborhoods, the song was huge — among Chicano Baby Boomers, "Tell Her She’s Lovely" was a significant addition to El Chicano’s recorded and live canon.
The band made a long overdue return to the studio with 1998′s “Painting the Moment.” Which was essentially a solo effort by Bobby Espinosa. Released on Thump Records, this CD marked the return of original lead guitarist Mickey Lespron, who had not recorded with El Chicano since the 1970s. At the present time, El Chicano are touring with original members, Fred Sanchez, Bobby Espinosa, Rudy Regalado and Jerrty Salas.
Jerry Salas also leads a Christian band and has played large gigs in Brazil; both live and televised. He is also producing recordings for the Christian market.
This CD is a further testament to his wonderful “brown-eyed soul,” style of vocalizing as well as his strong rhythm guitar playing.
Recorded with family members, “Salas” is a strong outing which starts out with high register guitar and a strident vocal from Salas on the opener “Drive.” It has a poppy feel with a hot Latin groove. Nice congas and timbales, which are supplied by War’s drummer Sal Rodriguez, are brought high up in the mix. The albums ten cuts are mostly written by Jerry Salas, apart from one co-written with producer John Avila and “A Woman Like You” was written by Enrique Corro.
“You Will Always Be Loved,” has big chords and a synthesizer refrain on the intro. It’s a hopeful song that sings of trust and it has a jangling feel with nice flanged acoustic guitars and phased cymbal whooshes in the backing track.
“Shut Up,“ is a regga-fied piece that mostly works well, I usually have a problem with American musicians playing their “version:” of reggae, usually it’s too overplayed, especially by the drummers and guitarists. But here, Salas keeps it simple and simple is always best for reggae derived music. “Best Of Your Life.” follows and is piano-led plaintive song with Latino undercurrents to the song. Nice flanged acoustic guitar again from Salas and Bob Bobles bring an
melancholy vibe to a song of hopefulness and advice, to the broken dreamers among us. The song is sung by and helped with backing vocals from Salas’ family members.
This music is quintessentially Californian in scope and approach. There is that life-affirming aspect to the music, it must be the weather but this kind of music always has a very positive and vibrant feel within its grooves. And with the Latino feel present it is ideal music for hitting the open road on a gloriously sunny day. It brings to mind the more poppy end of El Chicano or some aspects of The Doobie Brothers.
“A Woman Like You,” is a straight-ahead poem to meeting that special woman, with another excellent brown-eyed soul vocal by Salas. The guitar is bright and fluent and dips in and out of the song with feeling.
“Because Of you,” sports another soaring vocal by Salas and
again is a love letter to his special woman. Tasty acoustic guitar adds depth and further lyricism. I love the way Latino male and female vocalists have that Afro American feel to their singing but yet it is a Brown pride version, a totally unique vocal style.
“Blood To Blood.’ is a slow-burner, which starts building to a Hammond B3 organ interlude, which further ups the ante with massed vocalising. “Everlasting Love, “ is a romantic poem set with a Godly theme to a acoustically based rhythm track.
Finally “Hiding My Emotions, “ is a rocker with two locked guitars high in the mix. All in all, a pleasing CD, full of generally mid-paced songs in a soulful setting. The production is good with no discernable nods to current production techniques. It’s a straight ahead recording with
obvious interest to all lovers of Salas’ work with El Chicano and enthusiasts of Latino rock style vocals.
Total CD playing Time = 46:34

Jim McCarthy
East Sussex.
England.
March 2009

Questions for Jerry Salas

(1)      Is this your only solo recording, or are their any others??
“This is my first solo release though I’ve recorded a lot of stuff.”
(2) What are you favourite El Chicano tunes and why??
“Chachita" which was the B-side of "Tell Her" because it’s soooo moody & heartfelt, "Gringo en Mexico" because of the vocals & was so different from what we were doing at the time. "What You Don’t Know Won’t Hurt You" Just because it rocks so hard! We wanted to release it after "Tell Her" but MCA didn’t, it would have been a smash! Check out the number of plays on You Tube.”
(3) Can you describe what “brown-eyed” soul means to you??
  “We named it The Brown Sound" we were always      introduced as the creators of The Brown Sound. It’s nothing more than an appreciation of all music played with our own undeniable heartfelt style.”
(4)      What do the songs on “Salas” mean to you??
“The songs I wrote for this CD are meant to uplift anyone who is going through or has gone through a hard spot in their life. In 2003 my wife of twenty years was on her deathbed made me promise to do just such a CD & I did.”
(5)      Do you wish to talk about your Christian faith at all??
“My faith is the reason I was able to write what I did and raise two teenage girls as a single dad. My church family in Portland Oregon pulled me through my wife’s passing.”
(6)      What are your musical influences??
“My father & older brother both played guitar & sang professionally, they were great teachers. I was also lucky enough to see Jimi Hendrix, The Beatles and the Stones live in the late sixties to name a few, Gino Vannelli used to come see us at the Whiskey in Hollywood, I loved his jazz pop stuff as well.”
(7) What are your future music plans???
“I’m currently writing material for a new El Chicano CD as well as a new solo CD. I wrote and submitted a song with my nephew Sean Salas for the movie "Angels & Demons", It didn’t make it but you can hear it on You Tube it’s called "Illuminati" Oh by the way, I’m also in the movie playing a Cardinal.”

CD Review: Naked Lunch.
Released early 2009
(World In Sound Records)

This is a real curio and a must for Latin Rock completists everywhere.
Comprised of a few live tracks from the little known Naked Lunch and the
remainder culled from Abel Zarate¹s follow up project called Banda de Jesus.
Naked Lunch grew out of the heaving Bay Area confluence of the late 1960¹s.
They were notably absent at the time from getting a major record label
release but this live CD soundboard recording (recently and luckily salvaged
from an almost forgotten reel-to-reel recording) is a testimony to their
strength. It is interesting to note that although Chicago had an album
release at this time, the first Santana album had not been released as yet.

The sound is clear and punchy, if a little trebly and the CD leads off with
³Love Is Everywhere,² with a robust, soulful vocal from Abel Zarate with
back up from saxophonist Robert Olivera, the band is a stylish crossover,
attempting a big band sound with their seven members. Zarate¹s vocals are
really good and one wonders why he hasn¹t exercised this area of his talent
more. The band are positioned by way of their sound somewhere between The
Rascals and Chicago and an original Santana vibe. The musical flavor is horn
driven with Jose Marrerro¹s congas driving the beat along with future Malo
member on drums, Richard Spremich. The young and precocious Abel Zarate on
guitar is both a powerhouse playing big chords and some chunky rhythm
playing. It is worth bearing in mind that Zarate and Murray, both joined in
time for Malo¹s debut recording as well as Spremich, under the behest of
producer David Rubinson.

³Changes² features some lyrical Zarate guitar followed by some funky riffing
from the guitarist. Essentially a blues song, the piece chugs along at
mid-tempo with a grinding funk base. Zarate had started playing guitar at
the age of thirteen, turning himself onto Gabor Szabo in the process. He
spent time in the Bernal Heights area of San Francisco, hanging out with
doo-wop corner vocalists. Even here at this fairly early stage in his
development, he shows a confident up-front style to his playing. Jose
Marrero, hailing from Puerto Rico, shows a down-home street conga style with
similarities in his playing method, to another Puerto Rican called Mike
Carabello, who went onto international fame with Santana. Marrerro reaches
out with a pleasing conga outing, playing a solo, drenched in ambience and
power. ³Changes² also features a mighty Hammond organ solo and fills from
Ludwig ³Fist² Stephens.

The San Francisco Bay Area at this time was host to so many guitar
prodigies; Zarate was already in the company of Carlos Santana (their paths
had crossed already, with both auditioning for The Righteous Ones, with
Zarate winning out on this occasion). Also present during this time period
or coming up were Neal Schon, Mike Suzaki, Ray Obiedo, Jorge Santana, Oscar
Estrella, Steve Busfield and other less known players like Tony Juncal and
who both played on Jose ³Chepito² Areas solo recording issued in 1974. Amid
this heady brew of musical cohorts or competitors, Zarate had a distinctive
aspect to his playing, both blues and soul-filled but with jazz-like,
lyrical facets re-occurring strongly. The young player was always on the
lookout for opportunities and Naked Lunch grew out of the ashes of The
Righteous Ones, who also sported Richard Bean on lead vocals and saxophone,
who famously went on to write Malo¹s only Billboard hit, the Latin lover¹s
anthem, ³Suavecito.²

³Endless Night² starts off with a more relaxed Rascals-like vibe with some
relaxed trumpet from Roy Murray. Some tasty harmony vocals augment the
song¹s summery feel.
It¹s under laid tastefully with some cool organ washes and sax trills.
³Virgin Woman² has a full on Latin cha-cha vibe with nice conga flams from
Marrero. Roy Murray adds hot trumpet here and solos over Zarate¹s chiming
rhythm and stirring solo playing. Sounding heavily influenced by Carlos
here, this could be a cut from the first Santana record. The guitar outing
is followed by a superb Hammond solo by ³Fist² Stephens. The parallels with
Santana¹s ³Evil Ways¹ are readily apparent, perhaps not surprising,
considering the esteem with which the Willie Bobo sound was held, amongst
the nascent young Latino rock fraternity.

³Your Song/Time Trip,² starts with a mighty organ swell; that shakes the
venue¹s rafters. It breaks into a heavy, attacking Abel Zarate guitar solo
followed by the horn anthem to the song, which itself evolves into swing
timing over which there is further Zarate soloing in a hot, bluesy vein. The
song halts with a heavy bass reminder of the main riff, then it¹s a drop
down into the Time Trip, which is a free form organ drone followed by some
Richard Spremich drum explorations, that rounds out this performance.
³Encore² follows and guess what? ­ it is the encore. More heavy and churning
riffing ensues with Abel blowing more fuses in his amplifier. Real
free-form, gut-bucket stuff!!

My only real criticism of the young band would be a lack of light and shade
in the music but I¹m sure had they gone on further these aspects would be
resolved.

The rest of the music here is comprised of cuts from Banda de Jesus. David
Rubinson, the hot-shot producer who imported himself into the Bay Area
scene, took an interest in this Zarate project. The sound is again fresh,
with a pop and jazz feel and Abel Zarate¹s playing has also evolved in step
with the music. ³Better Days² is not dissimilar to Naked Lunch but the songs
are more cohesive and the horn arrangements more solid and structured. The
song goes thru fairly rapid changes in tempo. ³Lovely Day² exemplifies that
titles feeling in an positive manner, with that sound, peculiar to Latin
style projects started in San Francisco at that time, upbeat and with
excellent backing and harmony vocalising.
The song heads into 6/8 territory with a cooking riff by Zarate and tricky
horn charts, with a smoking sax solo from Robert Olivera. It further locks
into a rim-shot led samba beat, backed by the funky soul brother hand
clapping, prevalent at the time.

³Living Is Funky,² allows Abel to hit some lovely guitar runs over a Latin
cha-cha beat. Zarate further hits in with some great funk licks and reminds
us all that living is indeed funky!
Another version live is included here of ³Ozone.² This is more up-tempo and
sporting the same arrangement, with excellent conga from Marrero, who enjoys
himself on two conga breaks here. The songs owes more than a little to ³I¹m
A Man,³ by both The Spencer Davis Group and Chicago.
The song features an ending that will be instantly familiar to ALL Malo
fans, Abel Zarate judiciously used it again as the explosive coda to ³Peace²
on the debut Malo recording.

The CD is further served by having a twenty-page CD booklet with detailed
and lovingly recreated liner notes from conguero Jose Sierra. It has good if
indistinct live shots of the two bands and the graphics are befitting the
time and era. The notes also let you know what the players are up to now and
Roy and Abel, close them up with a little spiritual food for those of you
that are so inclined.
All in all, a welcome addition to the San Franciscan Latin rock discography
and a hot snapshot of bands playing for the sheer hell of it, whether they
made it or not!

Jim McCarthy.
East Sussex. England.
March 2009.

CD Total playing time = 57.08

Questions for Abel and Roy?????????????

(1) Abel, tell us how the group met and was formed??
The band started off called ‘Brown Magic’, with myself, Bob Olivera, Jose
Marrero, and Rick Tiffer… Spremich was added on drums a few weeks into the
project … we were turned on to the ‘Mu House’ in the Haight by Bernardo
Quintana, who fancied himself our manager for awhile. It was there that Roy
Murray, and Ludwig Stephens joined the group and we became NAKED LUNCH. By
the way; the lead vocals on the Naked Lunch CD are done by me

(2) Roy, what are your influences, as a horn player??
Horn influences: Since I’m really a multi horn player my influences were a
long line of both saxophone and trumpet big band players plus the Coltrane
and Miles

(3) Roy, say something about The Motivations?
In the Motivations (Philadelphia) was future Santana & Weather Report
bassist Alphonso Johnson, future Buddy Miles, Azteca & Loading Zone
guitarist Steve Busfield (he was the one who encouraged me to make the trip
to San Francisco, Linda Creed who co wrote over ten top ten hits, Duane
Hitchings who played with Rod Steward and also Heart (keyboard), myself and
of course several others.

(4) Abel, tell me how you experienced the Mission at that time?
My family lived in the Fillmore district, and then we lived for a time near
Mission High School, until we finally settled in the heart of the Mission by
Precita Park … I grew up with all my Latin brothers, and soaked in the
culture and music, which was close to my own Filipino heritage. Most of my
friends who were 5 – 6 years older than me all went to school with Carlos
Santana.

(5) Roy, tell me about Wendy Haas and Western Addition group??
When I arrived in San Francisco (May…1969) the first band i joined was the
Western Addition with Wendy Hass (future Azteca & Santana vocalist). These
were great days!! Nobody knew what was to come or that we would all be
playing a role in music that would live on for 40 yrs. afterwards. What we
lacked in finesse we made up for well in fun and all learning to put it out
there.
Next I replaced Chepito Areas in the Aliens at The Nite Life for almost two
months.
After that I formed a band called Stone Creation. A part time player with
Blue Cheer that also had several future Azteca players. Then into Naked
Lunch for a good 15 months before Malo. When I actually joined Naked Lunch
the Santana LP had not yet been released and we were playing those songs.

(6) Any stuff Abel you may wish to add??
Where is Jose Marrero now??
The last time I saw Jose Marrero was in the late 90′s. He was very much
settled into his family life with wife and children, and retired from the
music scene.

Apr 4 – 24th St Fair for Cesar Chavez w/ Manzo
Apr 10 – Little Fox – Caravanserai & Zanzibar www.foxdream.com
April 25 – Black Oak Casino w/ Zebop www.blackoakcasino.com
May 1 – Avalon -Cinco de Mayo Dance w/Latin Affect & Silveradoz www.nightclubavalon.com
May 2 – Phoenix Cinco de Mayo w/ Malo
May 5 – Fresno MEGA Radio Cinco de Mayo w/ Malo
May 8 – Little Fox – Tony Lindsay & Tribal Blues Band w/ Raya Zion www.foxdream.com
May 8 – Rocapulco – El Cano Estremera www.ticketfiesta.com
May 15 – Stockton Civic w/ Malo & El Chicano & Manzo
MAY 23 – Malo @ LA Greek Theater
May 24 – Santa Barbara Bowl w/ WAR & Malo
May 23 – Carnaval
May 24- Carnaval
May 29 – New Mexico – Malo @ Route 66
July 3 – Slim’s w/ La Ventana , Zanzibar & Los Cochinos www.slims-sf.com
July 25 – Little Fox w/ La Ventana & Safari www.foxdream.com
July 31 – Black Oak Casino w/ Malo www.blackoakcasino.com
Aug 1 – TBA
Aug 29 – San Pedro Warner Theater w/ Malo
Oct 2&3 – Laughlin Nev. w/ Malo
Oct 4 – Golden Gate Park w/ Malo