When did you become aware of him? It was funny, because that was such an effective thing Jamerson was doing with that whole [Motown] sound, and nobody knew who he was forever. Conrad: I still love the old ’60s stuff – Mountain, Cream, and all that stuff. He plays harp with Los Camperos – one of the best L.A. mariachis – and knows all the traditional Mexican music. Carlos would play for a while, hand it to Jerry, and Jerry would play for a while. Bajo spacing is way wider than that. Louie: Absolutely. The way we lived was extremely primitive. Louie: I just play a complete supporting role. But I really love the Lakland I’m using; it feels good. 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. It was in him. Those are my favorite to record with; they’re amazing. Definitely a year to remember. This record was done mainly analog 2″, then we’d dump it over to Pro Tools for a few overdubs. Nino Rivera is one of my favorites on tres, and Lino Chavez is a great requinto jarocho player. Davis Hidalgo has the best tone. 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. David Kent Hidalgo is an American singer-songwriter, best known for his work with the band Los Lobos. I had them add a gain stage so I could play them at a lower volume and still have that tone. Each guy had his own cubicle backstage, where they’d hang out during the breaks. Were you exposed to much music when you were living in Mexico? I had one 335 as a backup guitar, so there was only one extra right-handed guitar, so Carlos and Jerry would trade off. I still can’t play it for ****, but I love it. Cesar: I think the one I used on the solo on “La Bamba” is a 1960, all original, slab-board. It wasn’t so freeform until funk music came in, like Tower Of Power. Using tradtitional and contemporary Mexican and American instruments and styles, Blues Legend Taj Mahal, Chicano Master guitarist David Hidalgo (Los Lobos) and Bay Area Mexican roots group Los Cenzontles create a new, fresh and exciting sound while telling a story of hope, struggle and gratitude. Cesar, what music had the biggest effect on you? Those records sound like there were three guitars. It becomes something else. Being Mexican-Americans, you’re never quite accepted by Mexican nationals. Robert Nighthawk is another favorite, along with Mike Bloomfield and Otis Rush. That’s another heavy influence in our music. I’ve got a nice little collection, but, being left-handed, it’s so rare to find a nice guitar like that. 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 … Because we’ve become a family. It was offered to me, and I passed on it [laughs]. We went through all that, and then worked our way through Latin America, and then up to norteno music and Tex-Mex, and finally got around to the chicano rockers, like Thee Midniters and Ritche Valens. And I want this thing to be a bolt-on neck. There was a community youth center where music teachers would give free lessons. I found a Custom Shop Telecaster, like the early-’60s, Cropper type – blond with rosewood fingerboard. b. We started getting really loud. I know that Eddie Taylor was the rhythm guy, right? For a while, we put everything on hold, and it was just about us being supportive, as friends and family would. It may have happened, but I don’t remember as many times that that just happens when you’re by yourself. Different influences keep emerging the longer you make records. Then we electrified, and I became the drummer, and we continued on for another 10 years. We started getting into the Premiers, the Jaguars, and all the stuff we’d grown up with. When we played together, it was like bam! When I hit a point where I have to move away and just let go, then I’m just watching this thing, like an observer. In 1983 they released an eight-song EP, …And A Time To Dance, with an assist from Blasters saxophonist/keyboardist Steve Berlin, who joined the group full-time before the end of the year. David: We tried doing some of the stuff using an echo harmonica – a double-reed harmonica, almost like an accordion – and kind of fake it that way. And having already played together for 10 years was another. All of the very nice comments are greatly appreciated, not taken for granted! Maraga goes into retirement with his head held high, to be remembered as a man who stood against the bullying from the Executive and a man who spoke his mind. Amazing guitar players. So what do you do? So we always talked about how it would be cool to have a band with three guitars. 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. And it all paid off; I’ve been playing it for years. Have you taken up any new instruments lately? I don’t know how old it is – probably early ’60s. So Paul ended up with it – the sunburst he’s been playing for the past seven years or so. So it’s going to be a chock-full Year Of Los Lobos.” And then watching the country [TV] shows, like “The Ernest Tubb Show.” His band was so good. It was cool. ’57 Strat is actually the Fender Stratocaster 1958 gifted to David Hidalgo on August 8, 1987. And the Yardbirds were wonderful; they were badass. NOTE: David Hidalgo is not scheduled to perform during the Fall 2019 Tour. Cesar: It’s like Billy Gibbons. He said, “You sound great. Cesar: We’re just music lovers – anything that’s good that has soul. I used to take my skateboard there and take guitar lessons. But then I went back three more times, and it happened every time. Then Cougar came up, and I really kind of moved out of the drum section. Cesar: Obviously, as musicians, you do reach that sometimes. Later, we toured with them, and seeing them every night, they just got better and better. After a few years, he handed the guitar down to me. His son, David Hidalgo, Jr., is the current drummer for Social Distortion. I know there’s a component of friendship, because we were friends before we were musicians together. Brian Gearhardt makes them, in Anaheim. It’s usually kind of just support, and stay out of each other’s way. It happens in songwriting, too – stuff that just seems to flow. David: When ZZ Top was first happening, we were doing folk music, so I didn’t pay much attention. Then I played guitar; that’s all I did. Jimi just hits a chord, and it’s like you can feel the air, you know. 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. David Hidalgo. David Hidalgo recently finished recording sessions for a new Bob Dylan album, at Jackson Browne’s Los Angeles studio. But it took a long time. 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 … We got tired of playing so loud. It’s something we don’t even have to summon; it just happens. I put one together with nylon strings, too. 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. His son, David Hidalgo, Jr. is the current drummer for Social Distortion. There was nothing like him. There’s one with Muddy’s band, where Otis Spann is playing organ, and Sammy’s playing the guitar. I’ve got real small hands, and the ’60 had the neck that worked for me. Background information; Birth name: David Kent Hidalgo: Born Was bass your first instrument? We could sit here talking for days just about the blues – the three Kings (B.B., Albert, and Freddie) and Albert Collins. 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. David Maraga is now a retired Chief Justice after he officially handed over instruments of power and proceeded to retirement. Because there’s plenty of information going on. Cesar: Early on, in rock and roll, it was Elvis and Scotty Moore. I was raised in the desert, living with Indians, because my father was a diesel mechanic at an agriculture post. All: (laughter) It’s a cliché, but it’s true; you just feed off your audience. 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.” David: Yeah. 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. After 10 years, you’re not going to put out classified ads. 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. I am really a Fender guy but everytime I hear Los Lobos recordings I am blown away by what sounds like a Marshall. What’s the main equipment you use onstage? We do love him. Not to sound edifying or anything, but maybe it’s because we made such a big impact at that point.” American singer-songwriter, guitarist, percusionnist, accordion player born October 6, 1954 in Los Angeles, California. You do everything wrong, but you sound good.” So he took us under his wing, showing us the different strums and instruments. There, he has been a creative force exploring the borders of rock, country, R&B, Tex-Mex and cumbia for four decades. What year is the “La Bamba” Strat? And sometimes we’d have to deal with feedback. If you continue to use this site we will assume that you are happy with it. I saw him do a thing, playing the cuatro, cross-picking with the bent wrist. 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. Are you Mexicans or are you Americans?” And of course we’re not totally accepted in the United States, as Latin people. When you eventually got into playing Mexican folk music and then came back around to rock and roll, did any of the folk styles seep into your electric playing? When I stopped playing electric guitar, we started Los Lobos, and I played jarana and the little acoustic instruments for about 10 years. Cesar: A social club. They put a bass bridge on it, set up for four doubles. Is your eight-string Danelectro an electric Hidalguera? David: I use the reissues on the records, too, but the old guitars make you play a certain way, you know? 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. That was it, right there – the sound of this album. What was your first instrument? Has he continued to be a big influence? Are there certain dynamics within the group that have helped you stay together so long? During that period they weren’t as expensive, but Norman has been a good friend and would give me exceptional deals. David: I’ve got an oud that David Lindley gave me. I think he was a big fan of Jesse Ed Davis; it changed his way of playing. It was 25 years ago that four guys from Garfield High School in East L.A.-David Hidalgo, Cesar Rosas, Louie Perez and Conrad Lozano-formed Los Lobos. So when I started playing guitar again, it’s back like in 1972. I’m really glad that somehow they came around, but we were waiting for them for a long time. Without a doubt, something happened there. Of course, their many contributions are much greater. That’s almost like the Muddy Waters band concept. I was eight or nine. 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”). But when we came to the United States, the whole encounter with rock and roll was amazing. If he’s leading the song, then we follow him, and we find spots to stay out of the way. Vintage Guitar: As a group, you cover so many styles, you must have a wide range of influences individually. The records and the live albums – you listen to all that stuff – but there was nothing like seeing him in person. I have my early-’60s ES-175, factory black, but it wouldn’t work onstage for what we do. With three guitars, is it hard to figure out who’s going to play what? 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. What am I getting into here?” I’m still afraid of it; I haven’t really touched it yet, but I’ll get to it. Everybody did something real simple, and if you heard them individually the parts almost didn’t make sense. My timing was always kind of funny. David: Peter Green was cool. There were two “Eagles.” Irwin Eagle-the first guitar Irwin had made for Alembic. David: I like those, too. I took a piece of paper and wrote down where he was pushing his fingers down, on which frets and strings. Conrad, what was the early inspiration for you? 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. David: Yes. Anything he plays, he sounds killer. Not to be confused with David Hidalgo Jr.. David Hidalgo. So the radio was sacred to us. So did you not have a radio? I think I can do that.” “All right then.” What exactly is a “Hidalguera”? That’s an example of, as a group, we discovered him. We had two bass players, like four guitars, and he just told everybody what to play. Only about five minutes; I said, “I don’t want to take up all your time.” But it was just a cool little conversation. There’s so much cool stuff we’ve got. The fact that the category hadn’t even existed in the awards’ 25-year history could be a coincidence, but as Perez muses, “I don’t even know how it came about. How much different is it using a reissue or a vintage guitar? The intuitive thing with us, after 30 years, is that you can actually feel where the next thing is going to go. Cesar, has your studio gotten more elaborate over the years? 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. To mark 30 years of musical comraderie, Los Lobos released The Ride (on Hollywood Records), their eleventh album, not counting anthologies and soundtracks. You kind of know what David’s going to do before it happens, or Cesar, or vice-versa, with all of us. We got matching Ben Casey shirts, with the buttons on the side of the neck, and wraparound shades, and we just walked around together. It’s funny because there was a period when he was playing slide through a Leslie, and George Harrison was hanging out with him. Having an inordinate concentration of talent in one group was a big plus. 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. David: I usually use either a Strat or a Telecaster. He played a Tele through an old Bassman and got this great sound and a great slide tone, too. But the whole culture was pretty much a shock. He snuck in a 12-pack and said, “Here, put this behind the guitarron” [laughs]. Where he got me was on those Victoria Spivey records, where she had jam sessions in her apartment in Brooklyn. Then we got Victor, and we started switching off, and I started moving out to the front and playing guitar again. Dopaminergic (DA) neurons derived from human pluripotent stem cells (hPSCs) represent a renewable and available source of cells useful for understanding development, developing disease models, and stem-cell therapies for Parkinson’s disease (PD). And they certainly succeeded on a local level. I think, for me, it happens when we play in a certain environment – where the people are really with us. When we started doing the Tex-Mex stuff, we got the accordion and a snare drum at first, then the electric bass. My amp is a Top Hat, which is kind of like a Twin. 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. You can’t hang it on the wall to look at; it’s not something you can touch and feel. We bravely go where no band has gone (laughs)! 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. David: Still went through the Nieve, though. And I just did the best I could for a long time – until things started to get where we really wanted to push it a bit. That sounds like too simple an answer. Hidalgo, who has played on two previous Dylan albums, wasn’t expecting to add his Mexican instruments to the new project. 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. Crime Eagle-This guitar was most likely to be Jerry’s next guitar. And I’ve got a Japanese Standard Strat, and a Historic Series ’58 Les Paul. His son, David Hidalgo, Jr. is the current drummer for Social Distortion. His son, David Hidalgo, Jr. is the current drummer for Social Distortion. Then, with Jimi Hendrix, his soul contribution, he was kind of trying to do like a Curtis Mayfield kind of thing. Another guitarist I loved was Jesse Ed Davis. But there’s also the folk part – the traditional Mexican folk music. It’s interesting that none of you listed Ritchie Valens as an influence. We use cookies to ensure that we give you the best experience on our website. Los Lobos (pronounced:[los ˈloβos], Spanish for "the Wolves") are a multiple Grammy Award–winning American rock band from East Los Angeles, California. All the moments I remember, the audience is there, kind of cheering you on, and then you get off on that. David: All the guitar playing. Everywhere we went they were playing his music. And it depends on whose song it is. “What are you then? It’s hard to beat that sound, especially with those old Celestian speakers with a Les Paul. I have not seen them live. 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. I already had Are You Experienced?, and Bold As Love had just come out. To assess the utility of stem cell cultures as an in vitro model system of human DA neurogenesis, we performed high-throughput … And I love the guitars of Los Incas. We owe a lot to him. (read more at Wikipedia) My brother was right-handed, so I was playing upside-down for a few years. Cesar: Well, believe it or not, we had no electricity, but we did have a generator. It’s not anything like today’s country music. And everywhere I saw a guitar, I’d pick it up and want to play it. Cesar: Sometimes when we do a song that has a certain Latin twist to it, that sort of helps – to go back in your mind. The greatest fucking musician in the world”. They came full circle, back to their rock and roll roots – this time with a fresh direction and strong sense of self. I’ve got Pro Tools, but we use it kind of as a side thing. David Lindley was there – and, by the way, he brought us a 12-pack of beer, because it was a dry wedding. 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. That kind of led back to rock and roll, so Ritchie Valens was the next step. Cesar got a bajo sexto and wanted to play some of the polkas. 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. I used to have a DeArmond, which was a love-hate situation, because sometimes they’d work and sometimes they wouldn’t. Louie: Gibson was nice enough to give me a ’60 reissue Les Paul goldtop. The fondest memory of Jerry, watching him play, was at Giants Stadium. David: I gave Candelas an old Alvarez concert-size guitar I had, with the idea of putting mandolin tuners on it. It comes from another place. ‘Lobos' has prospered over a storied forty-five year career, introducing audiences around the world to its unique Chicano-flavored American rock and roll, blues and roots music. I fell into that and had to learn to use different scales and play that style. I took it for granted that the bridge from a Fender electric 12-string would work, but the spacing was too narrow. I said, “There’s the greatest oud player in the world. Between those three, I take either a Strat or a Telecaster and a Les Paul. Houndog really is bare-bones blues, as unpretentious and honest as it gets. David: We played at New George’s in San Rafael in ’85 or ’86. 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. And I never really had a real cool pickup sound. You’ve got some influences that guitarists seldom mention, like Muddy Waters’ guitarist, Sammy Lawhorn. It was swing. Dave and I will be talking, and he’ll mention an artist, and it’s like, “Yeah, okay, I dig.” A reference point. I mean, how many bands can reinvent themselves every time they go into the studio? I should have bought Paul McCartney’s Les Paul. And vice versa. It wasn’t until the ’70s that I realized how important he was. I showed that I was really interested in it, and I had some cheapo little nylon-string toy guitar. Unauthorized replication or use is strictly prohibited. Fender recently put out a “mo’ better” copy of the 4×10″; I want to look into that. I’ve been collecting since I was a teenager. I’m glad that, thanks to evolution or time, it started getting to that point, but for many years we would go out there and have to sort of defend our own culture. David: I love his playing. Conrad: I use Lakland basses, and I’ve always used Ampeg amps. 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. Post was not sent - check your email addresses! I like him even more now; I appreciate him. David Kent Hidalgo is an American singer-songwriter, best known for his work with the band Los Lobos. I’ve kind of always just loved to play rhythm guitar. on the same day. We did “Who Do You Love” for the La Bamba soundtrack. 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