SANTANA

— First review of this album —

While I dive into Santana albums from 1972 to 1987 on 2 compilations of 10 CDs, ratings will come after each 3-4 listnings of each album, maybe some comments aswell. This compilation have releases from 1978 to 1987, issued in 2009

First spin - Inner secrets from 1978, not bad at all as many pretend to be, really, like it from start to finish, pieces like Dealer / Spanish Rose or Stormy with superb guitar solo by Santana and some very cool vocals by Greg Walker- 3.5 stars for sure

Marathon - 1979, again 3.5 stars is famous for great instrumental Aqua Marine for good reason, another highlights another instrumental Marathon or Lightning in the Sky. Very nice guitar work , no worries for me about if is or not a Santana album as sound and atmosphere.

Zebop - 1981! -3.5 stars for sure, another worthy Santana album but here things move slightly to some more mainstream AOR direction but still Santana sound is here like on E Papa Rè, and instrumental ones are in front here like Tales of Kilimanjaro or Primera Invasion. Nice one

Shango - 1982 - 3 stars - Now Santana on some pieces sounding like Journey same period like on Hold on or Nowhere to Run, while instrumntal Nueva York stands as highlight. Still ok most of the time, Shango is kinda easy listning compare with older material, but not bad at all really at least for my taste.

Freedom - 1987 - 3 stars, this is typical 80s mainstream rock album with some latin, pop rock and R&B sounds. Again overall forgettable release for Santana, but not entirely dull, there some very cool moments like instrumental Mandela or the opening Veracruz, the rest are unintristing but not that really bad.

So, from this period for me Inner secrets from 1978 is the winner for sure and overall compilation is a worthy one to have. 3.5 stars

This is known as the classic Santana sound & what else can I say about this masterpiece that has already been said about before. So if somebody said what's Santana like, I would play them this album instead of Welcome or Caravenserai. This has got some classic tracks on here such as Black Magic Women, Oye Como Va, Incident At Neshabur but my favourite on here would be Hope Your Feeling Better as it's just so heavy & intense. I really find it a joy when Santana plays heavy music because of his guitar playing is absolutely brilliant & his phrasing is so beautiful.

This band doesn't usually get the recognition as a Fusion outfit as much as Weather Report, Return To Forever & The Mahavishnu Orchestra which is a shame to me, but as we all know Santana was making incredible Jazz Rock Fusion music as well as fusing so many other genres like Latin, Rock, Blues, Funk etc?

But yeah, this album is one of the greatest of all time and is up there with Heavy Weather & Birds Of Fire, a legendary album.

So for me, the first three albums are a certain type of Santana which is the classic Santana period. That's that sort of hippie sort of Psychedelic Rock band fused with Latin as well as Bluesey Guitar from Carlos. They do it so well on here & it really introduces the sound. It's one of the best debut albums of all time from one of my favourite bands of all time.

The sound has not fully developed on here as the compositions are more simply structured than what you get later on with Santana but this is an absolutely brilliant album. You get some very fiery playing on here with songs like Waiting, Shades Of Time & the amazing Soul Sacrifice. There are some great soulful vocals by Greg as well as some scorching Organ playing.

I would definitely recommend this one as well as the next two albums as their first three are just groundbreaking to experience and really blows you away with how beautifully atmospheric it can get.

After Buddy Miles Live! After Caravanserai. After Love Devotion Surrender (with John McLaughlin and the remnants his now-fractured first lineup of The Mahavishnu Orchestra). Before Illuminations (with Alice Coltrane)--and before the three-disc live album, Lotus. This is Santana mid-jazz-rock fusion, the fusion lineup at its very best, but trying to orient themselves a little more toward radio-friendly songs. I'm shocked that this album did not spawn three or four radio hits.

1. "Going Home" (4:10) opening with the sustained organ strains familiar to us from Caravanserai, the song slowly morphs into a church-like sound before a second organ programmed into a kind of bassoon sound joins in with flourishes from the percussionists and drums embellish and amplify. The melody coming from that bassoon-organ sounds Scottish. More like a dramatic intro than a real song. (8.75/10)

2. "Love Devotion And Surrender" (3:36) a mellow, almost relaxing opening to a song Carlos created in reference to (and reverence of) his sessions of the previous months that culminated in the creation of the Love Devotion Surrender album with John McLaughlin and half of his fractured Mahavishnu Orchestra. put on their collaborative album of earlier in the year. Great vocals from Carlos, Leon Thomas, and especially, Wendy Haas (who sounds a lot like Anneke Van Giersbergen). (8.875/10)

3. "Samba De Sausalito" (3:10) an awesome Latin percussion-and-bass-driven jam in the tradition that Carlos and his band had been extablishing since the opening number of their debut album, now five years before. Keyboards present the melodies above the hard work of the rhythm section. (8.875/10)

4. "When I Look Into Your Eyes" (5:50) opening up sounding like a MOTOWN classic from the FOUR TOPS or THE TEMPTATIONS, the mood changes as everybody steps in line to support singer Leon Thomas' classic soul performance. The flutes and percussionists are wonderful as is Doug Rauch on bass (of course). Leon's "underwater" vocalese alongside Wendy Haas' Motown b vox are weird but awesome--and Michael Shrieve is great, too. (9/10)

5. "Yours Is The Light" (5:45) Latin Canterbury?!! The female "Northettes"-like group vocals from Flora Purim Also, great piano, bass, and Latin percussion interplay holding down the fort while Carlos delivers one of his best solos ever--followed by some endearing reverb-vocalese scatting from Flora over the last minute or more of the song. An absolutely delightful and amazing song. I love Richard Kermode's Chick Corea-like piano work. My favorite song on the album. (10/10)

6. "Mother Africa" (5:54) a Herbie Mann composition on which Carlos' bass and kalimba working within the weave of multiple percussionists including Chepito Areas on timbales, Armando Peraza on congas, Richard Kermode on shekere, Tom Coster on marimba as well as Jules Broussard on soprano sax. Sounds like a song that could very well have inspired GINO VANNELLI's title song from his upcoming album, Storm at Sunup. Coster's piano in the second half and electric piano work are awesome. Kermode's Yamaha organ lead is the only weird/out-of-place thing. (9/10)

7. "Light Of Life" (3:48) Greg Adams orchestral support is absolutely brilliant--almost Barry White-ish--before funk rhythm section and Leon Thomas set themselves up and fly along. Great Fender Rhodes and guitar work but listen to Doug Rauch's bass! Leon and the keyboardists are awesome, but that presence of orchestra is, for me, incredible. Another top three song. (10/10)

8. "Flame-Sky" (11:32) a song whose composition is credited to Doug Rauch, Carlos Santana, and guest guitarist Mahavishnu John McLaughlin, it follows a typical (for Carlos and John) two-chord foundation over which many of the Santana band members solo in response to their inspiration from the presence and fire of the Mahavishnu. I have to admit: John is quite impressive, but, then, so are Carlos, Doug Rauch, the Hammond and Yamaha organists (Kermode and Coster, respectively) as well as conga player Armando Peraza. Definitely another showpiece for the skills of these two extraordinary guitarists, but also for the Santana rhythm section. (18/20)

9. "Welcome" (6:30) wild free-form, lightning-fast, single-note piano play with crescendoing, wave-like cymbal work provide background for Carlos' dreamy, pensive lead guitar melody exploration. Kermode's electric piano and Doug Rauch's respectful bass are also key in the support mode for Carlos' poetic expression. (8.875/10)

91.375 on the Fishscales = A-/five stars.

Bonus track on 2003 Legacy remaster: 10. "Mantra" (6:00) opening with an incredible rhythm interplay between Doug Rauch and Michael Shrieve, the song proceeds to build with organ, percussion, and group background chant vocals about "love" and, later, in a more forceful narrator's voice, "joy." Great jam that I'm sure could have been drawn out over many minutes with wild dancing and percussion and keyboard play on stage in the "live" format. I am happy for the inclusion of this awesome song--another tribute to one of those great artists whom we lost far too young to the vicissitudes of drug addiction. (9/10)

This is, in my opinion, a sadly under-appreciated album. It's different from the early Santana (Santana, Abraxas, and Borboletta). It's different from the dive into J-R fusion that Caravanserai and his collaborations with Mahavishnu John McLaughlin and Alice Coltrane were. It's poppy and pretty and funky and melodic--hummable and danceable and joyful and, at times, almost laid back. People miss Greg Rollie (I don't.) People miss Neal Schon. (Me, too!) People miss the up-front dominance of Carlos' guitar (he's humbler: he's a devadip!) But this is great music with some very focused, present performances. And there's still the great Santana rhythm section of Maitreya Michael Shrieve, Latin percussionists Armando Peraza and Jose "Chepito" Areas, amazing bass wunderkind, Doug Rauch, as well as the rock on keys, Tom Coster. There are some rather amazing, spirited performances by guest collaborators Flora Purim, Wendy Haas, Joe Ferrell, and, of course, the Mahavishnu himself, John McLaughlin. Plus, this is early Leon Thomas, before he got so deep into the voice modulation that he would explore in fullness with Pharoah Sanders. There are some beautiful songs here--songs that deserve radio play (albeit, perhaps Soul/R&B or Adult Contemporary radio stations). I love the beauty of "Light of Life," "Yours Is the Light," "When I Look Into your Eyes," and "Love, Devotion & Surrender." The intended jewel, Doug Rauch's "Flame-Sky" falls short for a lack of development, but clearly shows the young bass player's reverence and respect for the Mahavishnu--especially having just come from the Love Devotion Surrender sessions in which he was, no doubt, put in a place of awe with the likes of Billy Cobham, Larry Young, and the Mahavishnu letting their pyrotechnical flak and machine gun fire fly around him. (And, yes, I agree: neither Richard Kermode nor Tom Coster can hold a candle to the amazing Larry Young [Khalid Yasin].) The finale is a bit drawn out and near-monotonous, and Alice Coltrane's opening number is a bit one-dimensional, but otherwise, I thoroughly enjoy the music and, more, the performances on this album: they're just not the Santana performances one had grown to expect! For those of you in the dark, the incandescent light of one of the smoothest, most melodically gifted bass players I've ever heard is shining bright here in the play of Doug Rauch--a light that burned out far too early (due to the trappings of drug addiction). Check out his playing here on "Light of Life" and "Yours Is the Light" and "When I Look into Your Eyes" as well as throughout Caravanserai and on Lenny White's Venusian Summer--particularly with Ray Gomez on "Mating Drive." Also, there is some fine, fine work by Mr. Shrieve here, if one were only open to listening for it. Give it a chance; open your hearts; welcome the love; embrace Carlos' purest of intentions. You won't be sorry.

End of an era

This album marked the end of the original Santana band which broke up after the musically disastrous "Caravanserai" album.It is a fairly decent overview and includes all the main hits.Also because the band had yet to descend into AOR hell with some of their later offerings there is no real filler either.Unfortunately some of their more interesting tracks like "Incident as Nebasur" or "Jungle Strut" are not included which In suppose is understandable for a "Greatest Hits" package clearly aimed at the casual fan.Having said that I do find the exclusion of "Soul Sacrifice" unforgivable given how iconic a track it is and got them noticed at Woodstock. 3 stars

Santana's third album essentially followed the template set by the previous "Abraxas"but the sound is even fuller this time with a revised line up including Neil Schon as a second guitarist.The opening track this time round is a rather funky little number which pretty much sets the tone for the whole album. "Toussaint L'overture" is another instrumental track (bar some chanting early on) and is quite engaging for the first few minutes before dissolving into a bit of a Hammond Organ vs guitar free-for-all solo-fest.I can see why some Prog fans might enjoy this track so much but personally I really do prefer a bit more structure."Jungle Strut" is a much more engaging instrumental which has plenty of soloing but is based on a standard blues format.The vocal numbers are all fairly good especially "No one to Depend on"with a few dynamic twists.Unfortunately this is the last really great Santana albums. With the next album "Caravanserai" they decided to build on the "Toussaint L'Overture" style with endless formless noodling which totally does my head in" As for this album, iit is a worthy follow up to "Abraxas" but because it doe not have any real classic tunes I will give it one star less than the previous two albums.Still excellent though.4 stars

I used to think the debut album and "Abraxas" were virtually interchangeable soundwise but repeated listening reveal the second album to be far more sophisticated."Se a Cabo" and "Hope You're Feeling Better"are the the only tracks that harkens back to the rough-n-ready energetic style of the previous album. The relatively low key opening track "Singing Winds,Crying Beasts" sees them exploring the fusiony style they would develop on "Caravanserai" and works well as an opener but my review of that album makes clear I am happy it only the opener.The best known tracks here are the Fleetwood Mac cover "Black Magic Woman",the ultra punchy Tito Puente song"Oye Como Va"and the quite sublime instrumental "Samba Pa Ti" and the aforementioned "Se a Cabo" all of which makes this album a Classic. However it is one of the deeper cuts "Incident at Neshabur" where they really start to explore the Jazz Rock in earnest which makes this album n essential purchase. Another stone cold Classic-5 stars

Santana's eponymous debut reminds me a little of Hendrix's debut not musically but the way in which it effectively sets the benchmark for Latin-jazz infused rock in the same way Hendrix set the benchmark for psychedelic blues.What an absolute stunner this album is.From the opening opening track "Waiting" all hammond organ and heavy bluesy guitar blazing away and propelled by that infectious rhythm section to the closing "Soul Sacrifice" which serves up more of the same but with the addition of an absolute killer drum solo-this album just never lets up.Foure of the group's best known songs are here, the aforementioned "Soul Sacrifice" "Evil Ways","Jingo" and the y punchy but all too punchy "Persuasion"There are no bland ballads or aimless noodling here -that would come later- unfortunately and the whole album is an absolute blast.The production is raw, incredibly energetic and sounds like it was recorded live-in-the studio which is one of its many pluses.The next album was arguably more sophisticated as the band began to incorporate some jazz-rock into what was already a heavy brew but for me it is a toss up between this and "Abraxas" as the definitive Santana album.In any case this is a full 5 stars from me.

Worldly Fusion.

Spring Manifestations is just nature sounds and it segues into the next track.

Canto De Los Flores is has ominous keys over whirling about for a bit over a Latin beat. The keys then settle into some calming jazz playing.

The previous tracks ends on a fade out and Life Is Anew fades in. A soul track, the vocals jive well with the instruments.

One With The Sun also flows from the previous track, sort of. It is a bit funkier but still in the style of Life Is Anew.

Aspirations opens with bass slowly getting louder and other instruments slowly being added (organ, percussion and saxophone). After some time spent on saxophone soloing the track fades out,

Practice What You Preach starts with spacey guitar lines and droning organ. Two minutes in the drums and bass enter and the song heads into a chill preachy soul song then fades out. There are some fun scat vocals in the bridge, reminds me of Cans Like Inobe God. Once again the song ends on a fade out.

Mirage begins with aahs then heads into a keyboard (might be guitar) led intro, then the funkish vocals come in.

Here And Now begins with the whole band, percussion, saxophone, bass, guitar and keyboard getting ready. The whole song is tension build up that segues into the next song

Flor De Canela opening with furious percussion and bass which are joined in seconds by guitar and organ. The track segues into the next song, Promise Of A Fisherman.

Promise Of A Fisherman begins with similar rhythm to the previous track but even calmer guitar lead. Ultimately I find this song and Flor De Canela to have far to chill of leads for the rapid fire rhythm and build up of Here And Now. Feels like wasted potential. Especially as near the end the guitar finally plays something neat that sounds like a tea kettle boiling over, however it's to late as I find my self uninterested by the endless droning of the rhythm by this point.

Borboletta opens with speaking and wild bursts of percussion and various sounds. Then ends at about a minute.

Overall the album never really reaches a high for me due to excessive repetition (listen to the bass on Canto De Los Flores) and a lack of development on each song, just a groove and lead. Still, this is a solid album.

While Santana 3 isn't as celebrated as the two albums that came before it, Santana 3 is a great Santana album. The album is a perfect mix of Latin rock and jazz. I really enjoyed this album because the added instruments and the progression of the songs really made for an enjoyable listen. The Spanish vocals and exceptional guitar work by Carlos Santana make the album sound great. The percussion and bass and the drums are always laying down the beat with great success and they also make the album pretty dance-able. Santana experimented more on this album than the previous two records and I personally found a lot of enjoyment while listening to this album. Listen to the first two albums by Santana first, and then listen to this one. One of my personal favorites from Carlos Santana and his band.