SANTANA

This album's pretty good - not great, but not dreadful at all (as some people seem to label it). It's not at all like Santana's early jazz-inspired recordings - Marathon is basically a collection of funky pop songs. There's not a whole heap of Latin influence either - which is quite disappointing, but that's not to say that the songs on this album are bad. Most of them are catchy and would be enjoyable for a fan of early 80s pop, but if you're looking for jazzy Santana with long solos, then avoid this album. One track I found quite annoying in particular is "Love". For me, this is a 2.5/5 album; it's alright. So I guess that's rounded up to three.

Caravansarai is the ultimate Santana record. There is nothing really new going on: Santana is still playing latin fusion with some pop attitude, but they did it so much better then on their previous releases making this one far more essential. The music is wonderfully well visually shown on the album cover: a mystical trip through the dessert. Also their pop attitude is brought down to a much better degree and the progressive fusion is brought to the front. Every member seems to play effective: no solo trips, but only in case of the atmosphere and this really pays of. A lot of percussion and a more abstract way of songwriting; a great dynamic approach; a perfect production: just very good fusion and Santana's most progressive effort.

Santana's debut album finds Carlos and crew setting the pattern for the first few releases by the band before their Caravanserai-era incorporation of fusion influences. The skill with which the band are able to infuse the major rock modes of the day - psychedelia on the one hand and Cream-inspired blues rock on the other - with distinctive Latin influences is what makes the album. Not afraid to stretch out and jam, always aware of when it's time to cut back on that and get back to business, the album shows a fine sense of balance between freewheeling experimentation on the one hand and technical prowess on the other, with a warm atmosphere which stops the musical performances from becoming clinical or alienating. In short, it's one hell of a party album.

Well, let's face it, despite being an absolute fan of the band's 70's works, I hadn't really paid much attention to the band's output since the mid-80's (outside some of the reviews I wrote here a few years ago), so I was definitely not expecting much from this new album, that I thought would be much like its recent predecessors (3 or 4 in the last 15 years). Actually if I hadn't read somewhere that this album was a mainly-instrumental affair, I probably wouldn't have even given it a shot before a few years. Despite an unpromising title, the Amerindian artwork seemed encouraging enough and the promo sticker specifying that the album had been 20 years in the making did prompt me to stick the CD directly in my car's deck. Wow, what a complete blast it was' I actually had to pop out the disc to make sure that the previous library user hadn't switched inadvertently discs. Nope!!! This was for real.

Past the gentle guitar intro and light Indian chants of the opening title-track, the heavy Hammond and Spanish guitar build such a progressive atmosphere that you'd swear that Borboletta or Caravanserai are just about to pop up in your speakers. And the magic does pop or rock) by, your brains frying as if you were back in 74. OK, the modern sound production won't fool you long: namely the drumming which simply can't possibly match the Shrieve or Narada Walden of yesteryears; but it is close enough for happiness. Followed by a calm fusion piece Dom, the album avoids the usual traps, mainly by remaining vocally silent - how many otherwise-fine albums are ruined by over-sweetish voices and horrendous love lyrics. The searing and most-energetic Nomad is the peak of the album, but only its third highlight. Simply awesome: Carlos, where were you in the last three decades??? After the fairly cheesy Metatron follows (the first flesh-failure of the disc, despite some fiery Carlos licks), it is relatively obvious that they want to revisit their Amigos days, with some sultry soft Latin fusion with Angelica Faith (co-penned by Chester Thompson) and Never The Same Again. Another winner is the Walden co-penned Light Of A New Day. As the title might indicate, Spark Of The Divine revisits the most esoteric and reflective/calmer moments of the band's oeuvre.

The next two tracks are aimed at Carlos' Hungarian buddy guitarist Gabor Szabo, but the mood seems to be more aerial than what the two compadres were enjoying in the first years they'd met: the former having a bit of string island bossa-cheesiness, while the latter is an obvious homage to Gabor. Slowly building on its percussive energy, the album explodes again with the enthralling Eres La Luz, the second sung track, overflowing positive energy (the rhythm suggest Supernatural/Shaman era slightly, but with much more class than 12 years ago), just like the Santana of old and more-recent was always doing. With another typically sultry Santana mood track Canela and ultra-slow Sweet Dancer to close out the album, Calos and the boys have sent us flying alongside the rainbow of felicity, like they hadn't in a very long time.

Easily the band's best album of the last 35 years (if you'll except the brilliant solo Carlos albums Oneness and Swing Of Delight), but SS is also the band's proggiest album since their golden era. Despite the album losing some of its initial energy after five tracks, Shape Shifter still retains plenty of momentum and a seal of quality that very few albums released in 2012 achieve (and this is a good year too), and this might just make it climb on the edge of my top10 of the year. Hopefully, now that they've found the know-how back, it won't take the band nearly 20 years to come back with an equally excellent album.

Abraxas is the second album of the famous latin-proggers Santana. They show a more sophisticated and professional sound and with the major hit "black magic woman" - which is actually a cover of Fleetwood Mac - this became the absolute breakthrough record for Santana. Because of the colourfull covers Santana is often related to the psychedelic scene, but the music fits far better in the the progressive/fusion scene, because of the percussion, which is not so different from Miles Davis on Bitches Brew, and songwriting. The latin influences in the music became Santana's trademark and are prominent on these early records.

The record is mainly filled with instrumental parts, which differ from latin hardrock to latin ballads. Carlos Santana's guitarsound is mainly subtle, but can rock on the heavier parts. The more song-like parts also change from subtle (on black magic woman) to distorted (on Hope you're feeling better). The percussion is the other most important part of Santana's sound and sounds fine. Santana highly skilled guitarplay makes this a good record; not much better then their debut however. A nice, but easy listening.

I have never been a big fan of Santana even though the old albums colored my childhood with songs like "Guajira", "No One To Depend On", "Oye Comova", or "Black Magic Woman". But for some reason I almost purchased any album that Santana produced even though that albums were not quite famous including this one. Well, I only knew this album couple of days ago when I saw the cassette of "Marathon" at secondary market. I had very little attention to have it but as the cassette was quite cheap I finally purchased it. Recently I'd rather listen to music from analog source even though in the form of cassette. Indonesian cassette market in the seventies until mid eighties were booming where many companies record new albums of international bands recorded from the vinyl, illegally. But the record quality was top notch even until today which already 25 years to 35 years old already. So is the case this "Marathon" album by Santana.

I have just realized now that Santana always produced hits because when I play this cassette I find a song that was very popular in late seventies titled "Stay (Beside Me)". This is a number that was famous that period because practically many radio stations played it on air. It's basically a nice song with good straight forward composition. I admire that Carlos Santana did not let his guitar solo dominate the song, but the keyboard / piano instead. All songs basically very good in terms of composition and they flow nicely. The instrumental "Aqua Marine" is also a good one. In terms of favorite song, I would say "Stand Up" continued to "Running" are maybe good ones as the music is quite energetic combined with tight basslines. "Hard Times" is also another good track.

Overall, this is a good album from Santana and do not expect something prog in any song here. But I always enjoy Carlos Santana guitar work as well as the use of percussion in some of the songs in this album. Keep on proggin' ...!

Peace on earth and mercy mild - GW

"Santana 3", the 3rd great album in a row for the band, has some rather heavy rhythms and riffs as the band explore heavier territory. The opener 'Batuka' is much more heavily reliant on a riff, and a killer one at that, as Carlos is then given freedom to unleash a flurry of notes on his lead guitar. The singing comes in on 'No One To Depend On' and sounds appropriate after that incredible intro. The lead guitar holds back but latches onto a cool laid back melody. The real Santana sound of shimmering Hammond, frantic bongos and guitar poetry is heard on 'Taboo'. The voice is as always laid back and soulful, with the kind of sound and structure as 'Black Magic Woman'; the winning formula for the band. Frenetic tribal percussion and blistering guitar runs drive 'Toussaint l' Overture', and I love that Hammond sound from Rolie, one of the best keyboardists. This one is a freakout of manic instrumental intensity, the way the band loved to unleash its power on these 70s albums. When the vocals come in they have a Latin flavour.

'Everybody's Everything' is a short blast with a lot of swinging brass and a soul man style vocalist, and a terrific Hammond break. 'Guajira' has a laid back feel, nice vox, measured Samba rhythm, and cool guitars. 'Jungle Strut' has the type of feel in the intro that would follow with the excellent "Caravanserai" album. this locks into a wild rhythmic percussion and some bluesy lead guitar licks; Carlos at his best. The song 'Everything's Coming Our Way' is too commercial for my tastes but 'Para Los Rumberos' closes with a great jazzy brass and Latino percussion explosion.

Overall this is not as excellent as the debut or "Abraxas" but still rocks with a ton of keyboard and guitar brilliance. I am not a fan of the vocal treatment on this but the musicianship is incredible, and proves the band were a force to be reckoned with. Pioneers, legends, virtuosos, and this is another milestone album of Latin rock. "Caravanserai" would completely blow this album away for infamy in music history, and with 4 albums in a row that are still loved and treasured today, Santana were untouchable in the early 70s. 3 and a half stars.

The second Santana album is the legendary classic "Abraxas". They are all great tracks and really feature heavily the stabbing overpowering Hammond. This is Santana at their proggiest best. The first Santana experience for me was the Woodstock 'Soul Sacrifice' performance with that wonderful guitar lick and the amazing drum solo.

After than I had heard 'Black Magic Woman', a classic with soulful vocals and played with virtuoso musicianship. This is a wonderful album, opening with congas and bongo drums and electric piano jamming on 'Singing Winds, Crying Beasts'. I love the atmospheres with the chimes and cymbal splashes. The jazzy grooves and lead guitar at the hand of the mighty Carlos on 'Black Magic Woman / Gypsy Queen' are hard to top. In fact the rest of the album battles to do so.

It is hard not to lock into the cool tribal grooves of 'Oye Como Va' or 'Se a Cobo'; Carlos is scintillating on lead guitar. The formula is set in stone on this album, and it is a constant with tracks such as 'Incident At Neshabur'. Gregg Rolie's keyboard work is exceptional, surely one of the all time greatest keyboardists. The fast tempos that lock in are infectious, capturing the trademark Santana atmosphere perfectly on 'Mother's Daughter', and the wonderful 'Samba Pa Ti' that graces many Santana compilations.

The lurid cover artwork may distract, and make it difficult to bounce the eyeballs away, but if you close your eyes and just drift off to this mesmirising music, Santana can really move the listener, with the extended jamming of Carlos and Rolie that are simply unsurpassed. Everything Santana did in the 70s is spine tingling and unforgettable jazz fusion music.

Santana really jumped the shark with this "Caravanserai", a jazz fusion landmark, which is more like Tangerine Dream's atmospherics in places, than the customary blasting lead guitar jamming Santana fans may have become accustomed to. The sun soaked atmospheres emblazoned on the cover really highlight the mood of the album. The tribal percussion punches are a main feature, pounding throughout and even inundating the sound with Africana relish, such as on Future Primitive. Then there are Arabian flourishes that may conjure images of a lone desert scape with a camel making its way across arid sandy mirages.

We hear the desert scape with nature's sounds in Eternal Caravan of Reincarnation, and then the low hum of the sun's rays with fluttering flute, until the chimes glisten over cooling down the heat, with swells of keyboard echoes. All the Love in the Universe is a spiritual journey that moves inexorably to a climax, along a bass pulse, finally breaking into a song and then an insane instrumental break with Carlos lead and Gregg Rolie's Hammond battling for supremacy.

The music flows along organically in the first half with not too many breaks from one track to the next and encapsulates the power of desert ambience. It is a soulful, at times moving journey, and always completely challenging musically. Santana never returned to this style again so it remains a solitude wilderness album, a desert island album literally pulsating with energy. When the guitar is to be heard it comes in a flurry of power at the hands of mighty Carlos such as on Stone Flower, with Rolie's Hammond shimmers and vocals that echo in the distance.

La Fuente Del Ritmo continues the quest to find the oasis, the water of life, with chaotic piano and cymbal splashes, and the congas and bongos are never far around the corner. The groove locks into frenetic tempo as the lightning fast hands on the congas attack. Carlos' lead work is exceptional, enigmatic over the arousing African beats. The improvisatory piano runs are competing against the manic tom toms, and then the Hammond blasts return like rain falling into the oasis.

It all leads ultimately to a 9 minute extravaganza 'Every Step Of The Way', opening with gentle percussion, with Hammond answers, and the threat of a cascading guitar phrase. As far as jazz fusion goes this really hits the target. Santana take their time getting to the meat, and taking great pains to build up to a crescendo. This is a tense experience at times, and at three minutes it finally breaks into a downpour of grooving bass and drums as lead guitar swoops like a hungry vulture. Once the vulture is airborn everything melts into the sunshine of the soundscape. The sound of a bird twittering floats overhead and then flutters down into swathes of keyboards and a wonderful brass sound that builds to a climax.

"Caravanserai" is sheer musical poetry and one of Santana's triumphs; certainly one of their most famous albums and will continue to challenge and move listeners for decades to come; a timeless treasure.

Santana: Beyond Appearances [1985]

Rating: 1/10

Most serious music fans have either an ambivalent or contentious relationship with overtly-commercial radio-friendly pop music. If music is a large part of a person's life, they are likely to dismiss most mainstream pop; after all, the majority of it is designed for people who don't really like real music very much. However, even a pompous progressive-rock fan such as me is able to recognize a decent pop song when it comes around. For the most part, though, I maintain a fragile apathy towards commercial music. Albums like Beyond Appearances shake that apathy. It's quite tragic to witness a band that was once progressive and sophisticated turn into an utter creative wasteland.

"Band" is a rather unfair term to use, though, considering that Carlos is the only link between this album and the previous Santana releases. After listening to these eleven painful tracks, it's quite easy for me to understand why the previous lineups chose to jump ship. Beyond Appearances shows Carlos fully and lovingly embracing the commercial forces of the 1980s music industry. This album is completely devoid of any sort of artistic integrity or musical creativity. It is a farcical cash-in that bears no resemblance whatsoever to the incredible music that Carlos was once involved with.

The music itself is bland radio pop "rock" with preprogrammed drum beats and lifeless synth lines galore. I am unable to comment on the musicianship, because there isn't any. Everything sounds like it came out of a computer. These songs are artificial, bland, lifeless, sterile? I need no more synonyms. This is a disgraceful album that I hardly even want to write about. I simply want to add another one-star review in order to further reinforce what a pile of trite garbage it is.