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SANTANA

Jazz Rock/Fusion • Multi-National


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Santana biography
Best known the world over for the group that bears his name, Carlos Santana has been reinventing and reshaping the landscape of the known universe's musical culture for close to four decades. A visionary artist with no regards for genre boundaries, Carlos' fluid sound long ago laid claim to the concept of "world music" before the term ever surfaced on pop culture radar. Having evolved and expanded for over four decades, the "Carlos" sound could well be on its way to becoming interplanetary music.

Born in Autlan de Navarro, Mexico-where there's now a street and public square in his name--to the son of a virtuoso Mariachi violinist, Carlos followed in his father's musical footsteps, taking up the violin at the age of five. It was when his family moved to Tijuana several years later, however, that Santana began his lifelong relationship with the instrument that would make him a musical icon--the guitar.

In 1961, Carlos made the border crossing moving from his native Mexico to San Francisco. A few years later, he formed the Santana Blues Band there, and the cool, soulful riffs and rhythms of his Latin-blues based sound found an audience eager for his innovative musical ideas. Carlos and company emerged as giants of the era-defining Bay Area music scene of the late '60s, and their fame grew far beyond its parameters while their artistry remained true to its free-flying spirit.

Massive success quickly followed. By the end of the decade, Carlos had played to packed houses on a cross-country tour, performed on the venerable Ed Sullivan Show, and made an indelible global mark with Santana's legendary, crowd-detonating performance at the original Woodstock festival in 1969.

He has not slowed down since: On a roll from his Woodstock performance his debut album shot up the chart bringing in a high-power fusion of rock and Latin beats. The next two albums duplicate the formula every time increasing his profile and winning over fans. With Caravanserai, the group changed directions developing a stunning jazz-rock and the album remains one of the textbook case of fusion music. This prompted Carlos Santana to start a solo career with collaborations with Buddy Miles, John Mc Laughlin (the superb Love, Devotion, Surrender) and Alice Coltrane (the no-less superb Illuminations), while his group was still releasing strong albums like Welcome, Borboletta. By the Mid-70's Santana was cruising effortlessly with a string of albums that were easily ide...
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Santana IVSantana IV
Santana IV Records 2016
Audio CD$9.12
$7.82 (used)
The Best of SantanaThe Best of Santana
Sony Legacy 1998
Audio CD$5.97
$1.43 (used)
AbraxasAbraxas
Remastered
Sony Legacy 1998
Audio CD$6.12
$2.40 (used)
Ultimate SantanaUltimate Santana
Sony Legacy 2007
Audio CD$6.96
$1.49 (used)
SantanaSantana
SBME SPECIAL MKTS. 2015
Audio CD$3.94
$3.93 (used)
SupernaturalSupernatural
SBME SPECIAL MKTS. 2013
Audio CD$3.97
$1.00 (used)
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SANTANA discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

SANTANA top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.13 | 334 ratings
Santana
1969
4.24 | 502 ratings
Abraxas
1970
3.99 | 249 ratings
Santana 3
1971
4.23 | 626 ratings
Caravanserai
1972
3.50 | 141 ratings
Welcome
1973
3.70 | 159 ratings
Borboletta
1974
3.27 | 118 ratings
Amigos
1976
2.67 | 81 ratings
Festivál
1976
2.43 | 82 ratings
Inner Secrets
1978
2.83 | 80 ratings
Marathon
1979
2.97 | 80 ratings
Zebop
1981
2.42 | 59 ratings
Shangó
1982
1.61 | 51 ratings
Beyond Appearances
1985
1.97 | 37 ratings
Freedom
1987
2.80 | 41 ratings
Spirits Dancing In The Flesh
1990
2.90 | 40 ratings
Milagro
1992
3.16 | 157 ratings
Supernatural
1999
2.52 | 68 ratings
Shaman
2002
2.20 | 40 ratings
All That I Am
2005
2.02 | 40 ratings
Guitar Heaven
2010
3.70 | 60 ratings
Shape Shifter
2012
2.72 | 18 ratings
Corazón
2014
3.83 | 62 ratings
Santana IV
2016

SANTANA Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.86 | 94 ratings
Lotus
1975
3.81 | 97 ratings
Moonflower
1977
3.24 | 30 ratings
Sacred Fire (Live In South America)
1993
3.93 | 40 ratings
Live At The Fillmore, 1968
1997

SANTANA Videos (DVD, Blu-ray, VHS etc)

3.18 | 11 ratings
Viva Santana!
1988
4.26 | 15 ratings
Sacred Fire (Live in Mexico)
1993
3.33 | 3 ratings
Down Under, Live Australia 1979
2004
0.00 | 0 ratings
Every Tone Tells A Story
2005
3.00 | 2 ratings
In Concert (Loreley Festival in Germany 1998)
2007

SANTANA Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.78 | 27 ratings
Greatest Hits
1974
3.59 | 18 ratings
Viva Santana!
1988
4.33 | 3 ratings
Hits Of Santana
1990
4.33 | 3 ratings
Santana (Collection)
1994
3.94 | 8 ratings
Dance Of The Rainbow Serpent
1995
3.67 | 3 ratings
Love Is You (A Love Song Collection)
1995
4.00 | 11 ratings
The Ultimate Collection (2CD)
1998
3.56 | 5 ratings
Black Magic Woman, The Best Of
1999
0.00 | 0 ratings
Latin Spirit
2001
3.00 | 1 ratings
The Best Of Santana (Eurotrend)
2002
0.00 | 0 ratings
Roots Of A Living Legend
2002
3.75 | 3 ratings
La Puesta Del Sol
2003
3.05 | 3 ratings
Ceremony, Remixes and Rarities
2003
0.00 | 0 ratings
33 Real Rock Standards (Santana & guitar friends)
2006
3.13 | 4 ratings
Ultimate Santana
2007
0.00 | 0 ratings
Greatest Hits (Steel Box Collection)
2008
4.21 | 5 ratings
Origina Album Classics (Caravanserai...)
2008
3.38 | 4 ratings
Collections
2009
5.00 | 2 ratings
The Essential Santana
2013

SANTANA Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

4.00 | 6 ratings
Evil Ways
1969
3.00 | 4 ratings
Sampler from The Serpent
1995

SANTANA Reviews


Showing last 10 reviews only
 Shangó by SANTANA album cover Studio Album, 1982
2.42 | 59 ratings

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Shangó
Santana Jazz Rock/Fusion

Review by Tarcisio Moura
Prog Reviewer

3 stars In his autobiography Carlos Santana claims that the band produced the albums themselves (or, more to the point, himself). That may explains why their 80´s output was far better than most of their 70´s colleagues. It seems they never really gave the producer of the moment a full power over how the ending results would turn out, something a lot of other bands, to their forever regret, did. So, while the name of Bill Szymczyk may be on the cover but you won´t find another Eagles or Styx pastiche here. Sure, Shangó has its share of pop stuff, but Santana always had these melodic traits all along. But they, again, prove they could survive the 80´s without having to "modern up" their music (I.e, those cheesy synths and electronic drums)

After the great success that was Zebop, Shangó follows much of the same pattern (this time with a better cover art). The Nile is fine opener on which the band shows the same trademark Santana sound: great guitar lines, fine vintage keys and fine latin percussion. The hit single Hold On follows and it´s a nice pop song that kept them alive in the charts. Night Hunting Time is maybe the weakest track of the entire CD and it telling performed poorly when released as their third single from Shangó. Having had a big hit with Russ Ballard´s Winning the previous year they released another of his compositions, Nowhere To Run: the band proves they could emulate the AOR style of the moment like the real thing, not a pastiche. It did not fared as well at the charts as Winning, but it was a good melodic rock track. Nueva York on the other side is pure 70´s Santana, where old chum Gregg Rolie made a guest appearance with a blistering organ solo. A real fine instrumental that could be on Abraxas.

Side two fo the vinyl started with the afro/caribbean Oxun. Although a good song in several ways it did never appeal to me. Just a matter of taste. It is interesting that Santana did this track before world music became a common place in the rock music field by the mid to late 80´s. Body Surfing takes them into the Journey mood again, with Alex Lingwood doing the best Steve Perry emulation ever. It would be perfect for that band: with Santana it is a nice tune, but nothing special. Their version of What Does It Take (To Win Your Love) has a surprisingly good arrangement, with Carlos Santana doing a different riff and solo, but working marvelously. The reggae Let Me in is interesting that it is really the first time this band tried a take on that kind of rhythm that was a kind of fever during the late 70´s/early 80´s. The result is as competent as one can expect. Warrior is the second instrumental of this album, unfortunately not near as good as Nueva York. In fact is quite mundane and it is saved only by the fiery guitar lines of Carlos Santana e the good percussion. The very short title track clocks in a little more than one minute mark and is a reminder that Santana did not forget its latin roots.

Conclusion: another Santana album that stood well the test of time. Not as good as Zebop, but a good follow up and certainly one of the best early 80´s record done by a 70´s act. 3,5 stars.

 Zebop by SANTANA album cover Studio Album, 1981
2.97 | 80 ratings

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Zebop
Santana Jazz Rock/Fusion

Review by Tarcisio Moura
Prog Reviewer

3 stars Don´t let the trendy cover (which looks too much like Duran Duran type of album) fools you. With Inner Secrets and, especially, Marathon, Santana did start to go AOR. Well, that was happening to a lot of bands at the period (Kansas,Styx, Journey, etc.) and this album follows the pattern, although on Zebop Carlos decided to bring back as many elements of the "old" Santana sound as possible, so lacking on Marathon. The intro with Cat Stevens Change shows it boldly: a new arrangement with lots fo latin percussion and a great guitar solo at the end. So, with the remaining tracks, we have a kind of a double personality case here: sometimes you find the band still trying hard to emulate, and succeeding, Journey (maybe with a little more percussion): Searching, Over and Over and The Sensitive Kind are the most obvious ones, with singer Alex Lingwood proving he could be as similar to Steve Perry on both timbre and delivering as so very few people can, while tracks like Primera Invasion, Tales of Kilimanjaro and Hannibal are so much "classic" Santana they would not sound misplaced on Abraxas or Caravansarai.

Zebop is the album more known for their 1981 hit Winning. This superb version of the Russ Ballards title track of his second album was a big hit all over the world, and deservedly so. But fortunately Santana decided this time to give us a CD with much variety and a combination of the new and old sound. Maybe too varied, though. Sometimes Zebop makes you think there are different bands playing on the same LP, since they seemed unable to mix the two styles on the same tracks. Still, the high quality of the songs is quite what made Santana survived the 80´s with more ease and dignity than most of their peers. Therefore, with all its faults, the album aged well and still sound enjoyable and well made so many years after its release.

Rating: 3,5 stars.

 Marathon by SANTANA album cover Studio Album, 1979
2.83 | 80 ratings

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Marathon
Santana Jazz Rock/Fusion

Review by Tarcisio Moura
Prog Reviewer

3 stars Marathon is probably Santanas most obscure album from the 70´s, and with a good reason. 1979 was probably the most difficult year for classic rock: disco was still a dominating sound , even if it was also fading fast, while critics and rock journalists in general were still spellbound by punk and new wave bands. Like most american bands of the period Santana seemed to take the AOR/melodic rock road that so many other USA bands at the time. In fact, in several tracks from this CD the main influence was a band that included two former Santana members: Journey. Gregg Rollie, Neal Schon and co were by now riding high on the charts after they recruited a new singer, one Steve Perry. So it made some sense the similarities (just listen to You Know That I Love You, the only single released from this album, a typical Journey tune).

So the band had now a singer in the same mold as Perry´s: Alex Lingwood. Like Perry, Lingwood had a tremendous voice that fits perfectly for the new style. Of course the album comes across as very uncharacteristically, although previous year´s Inner Secrets was pointing in that direction already: The latin percussion is kept to a minimum, you hardly hear a conga, there is only two short instrumentals and Carlos Santana guitar playing never sounded so american. The production is very smooth and, unlike several other groups that try to jump into the bandwagon, the songs are generally very good and the performances are impeccable. In other words, they sound convincing, at least most of the time. Just don´t expect the jazz/rock fusion of Welcome or Borboletta, neither their latin/jazz/rock crossover of their early days. This is a very good AOR record, but nothing more. And for some reason it stood well the test of time and is still very enjoyable when I listen to it.

Rating: 3,5 stars.

 Santana IV by SANTANA album cover Studio Album, 2016
3.83 | 62 ratings

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Santana IV
Santana Jazz Rock/Fusion

Review by tszirmay
Special Collaborator Crossover Team

4 stars There is little doubt that when Carlos Santana first appeared on the world stage in the late 60s, the musical universe was not quite ready to begin to understand how he would change the nature of modern music, and hence, add his 'progressive' twist to the wonderful yet still puerile world of rock 'n roll. That first solo album was also one of my first purchases back in the day and it caused quite a commotion, especially the sensational epic instrumental "Soul Sacrifice". Then the legendary Woodstock festival altered everything, a society taking a virtual leap forward in terms of adventure (the space race culminated in the moon landings), discovery (sex, drugs and Rock 'n Roll) and illumination (the counter culture). A million people attended, one died and one was born, go figure! When the movie came out, there was little dissent when fans claimed that Santana's presentation of "Soul Sacrifice" blew everyone away. Yes, they looked awfully stoned but those were the days, babe! Carlos was torturing his Gibson SG with eyes closed in unabashed fury, curly haired Michael Shrieve thrashing his drum kit in one of the greatest drum solos ever, the propelling organ of Gregg Rollie and of course, a cavalcade of bongos, congas, timbales that stamped the Latino sound. Fame and fortune followed, lots of hits, albums "Abraxas" and "III", continued the blues/fusion style until Carlos met Sri Chinmoy and went down an incredible path of spiritual exploration that culminated in his most progressive effort yet , the spectacular "Caravanserai", which also had Neil Schon as an axe partner. The follow-up "Borboletta" was also deliciously experimental and remains on par with the previous masterpiece. I had the privilege of attending both tours and the music was volcanic, to say the very least. Then began a long, very long slide into commercialism that continued unabated from 1976 until 2016 with the unexpected release of "IV", a direct return to those heady pre-"Caravanserai" days. Retro? Ya think? Well, original debut album alumni Santana, Rollie, Shrieve and Mike Carabello, with latter members Schon, bassist Benny Rietveld and Karl Perraza on percussion, all agreeing to revisit the past and offer up some cool Latino-fused rock. This is certain much more palatable than the recent 'supernatural' pop that padded the career but not necessarily long- time fans.

75 minutes of thrilling music played out over 16 tracks, so this is a biggie, as the band must have been quite inspired. For those of you who continue (and rightly so) to adulate the churning, roiling and burning sound of the Hammond B3, then you will undoubtedly be satiated, as Greg Rollie really pulls out all the stops on every single track. In fact, I cannot remember an album so front-loaded with organ, perhaps Niacin (Novello, Sheehan & Chambers). Within seconds of opener "Yambu", the terrific organ display kicks you in the gut, spiced up tropical chants, rampaging bass, jungle percussion, slick and thick guitars and lots of Latino drive. Then follows a cavalcade of different styles, showing the wide musical panorama within this relatively tight genre. There are some classic Afro-Latino canons , bluesy pieces , heavier rock material, smooth bliss out jams and the odd ballad , all garnished with a myriad of Carlos Santana solos , ably assisted by Neal Schon's gravellier approach.

Highlight tracks are the feverish and very sensual "Fillmore East" and its 1970-ish feel, a 7 minute+ excursion into lush sonic horizons that may recall the sweeping levels attained with "Caravanserai", a densely progressive score that showcases the dual guitars that made Santana such a powerful force back in the day. Slowly blooming arrangement and utterly sunny in disposition, this is dreamland space rock music of the highest order, with a nearly "Maggot Brain"-like feel at times. Splendid track indeed!

The delicious "Suenos " has an almost Bond-like intro followed quickly by that classic slow Latino lullaby a la "Samba Pa Ti", "Europa" and such.., an instrumental voyage into simple beauty and melodic apotheosis, elevating the urgency to blistering heights, as the sweeping organ lays down a sonic carpet of roses for Carlos to dance on, cradling and caressing his beloved guitar like only he can. Que savor!

Another matador track is the luxuriant "Blues Magic", the title spilling the beans on the reality that Carlos' musical soul is really governed by a blues guitar sensibility. He just also knows how to rock, dance, explode and rage as well. The slow burning solo here is thoroughly lethal, almost BB King-like , which frankly is the highest praise possible. Greg Rollie has this masculine bluster that suits the blues just perfectly. "Everything is alright, yeah". "Leave Me Alone" possesses that never boring bluesy trait, loaded with tchaka-tchaka percussives and a chanting "Oh oh oh" that cries out ,"baby don't go", a completely addictive sing-along masterpiece that one can never tire of, Rollie flirting with organ indecency as his fingers do the talking. The emerging guitar solo is all trouble, rage, anger and pain rolled into one.

Couple of electrifying instrumentals in "Echizo", an extremely guitar-centric piece from Neil Schon , featuring those upward spiraling vortex solos that defy gravity let alone technique. The flamenco-like "You and I" is gentle panacea, an island of shimmering gorgeousness, the ornate piano now playing its romantic role perfectly, a fabulous Rollie composition.

For diversity's sake, there are a couple of soul-tinged and energetic vocal pieces featuring insistent singer Ronald Isley , rekindling classic Santana pieces such as "Mirage", "When I Look Into Your Eyes" and "Transcendence", heavily dependent on smoking Rollie organ runs and the classic screeching Santana guitar wail. Both "Love Makes the World Go Round" and "Freedom In Your Mind" are rabble-rousing and spirited pieces, full of energy and spice, enthralling and intoxicating.

Some obvious winks at the past as "Choo Choo" has a little of the classic "Jingo", the lyrics a bit corny but the Rollie vocal is quite a treat. What he does to his organ is flat out perverse, shuffling over the ivories with raging gusto. The smooth percussive locomotive spews incredible steam, giving maestro Carlos another platform to shred hard, fast and loud on the connecting "All Aboard". Continuing the motion theme on the boisterous "Caminando", wah-wah guitar licks, rushing leads, smoky organ fills and the binary rhythm tandem punching away. Rollie's vocal is all rock 'n roll ("Let it Roll") and the Spanish chanting only adds more ethnic fusion to the mix.

The only weak piece, in my opinion, is the calypso-like "Come as You Are", with its overt tropical feel that is just a tad too commercial for my taste and also proves to be quite a different tangent than the rest of the material here. Still has some slippery axe leads that provide immense pleasure but it's not as tasty as one could hope for.

"Forgiveness" (for not having made an album like this for 40 years?) is the grand finale, as well as second longest track, arguably the most progressive thingy here (along with that "Fillmore East" jam). An exaltingly tranquil approach at first with both guitarist trading quavering notes, loads of effects and shivering percussion, this is masterful in both technique and spirit. Yes it's true the Gregg Rollie vocal is strangely like Peter Gabriel, while the instrumental display is out of worldly, at times closer to "Bridge of Sighs"-era Robin Trower. In fact, Rollie sounds a lot more like singer Jim Dewar (RIP). This is pure Santana gold, surely one of the group's finest compositions. Mucho gusto.

I never thought this retro album would ever surface as I gave up after the maudlin 1981 "Milagro" affair. Nice to have you back Carlos, Neil, Gregg and Michael. More, por favor!

4.5 petit fours

 Santana IV by SANTANA album cover Studio Album, 2016
3.83 | 62 ratings

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Santana IV
Santana Jazz Rock/Fusion

Review by PoolmanProgger

4 stars After years of collaborations - some of which were fantastic , others being duds - Carlos Santana finally got the band back together - the original band, that is! Welcome back Gregg Rolie, Michael Shrieve, Mike Carabello and Neal Schon. Santana IV marks the first album from this legendary lineup since 1971, so you can say that this album was 45 years in the making, thus the title, Santana IV, an obvious nod to the band's origins and a return to their original sound - and boy, does this album deliver!

My expectations for this album were rather high; in fact, I preordered it, something I rarely do. I must admit, on first listen, I was mildly disappointed. The band sounded uninspired at times, Gregg Rolie sounded a bit rusty, and the album seemed to drag on and on. But I would not give up on this album; I listened to it again, and again, and again and again. What are my conclusions after a half a dozen plus listens? Boy, was I ever wrong with my first impression! This album is gold, maybe not as great as the first three albums that the group used as an inspiration, but very strong. In fact, the only album I've bought/heard this year that's better is David Bowie's Blackstar. Santana IV has everything you'd expect from a vintage Santana album - Latin rhythm and grooves, hot guitar licks from Carlos - the Guitar Master - and excellent, fat-sounding organ playing - oh, man I missed that organ - from the one-and-only Gregg Rolie. Actually, his voice is still in pretty good form on this one, although the lyrics are rather creepy at times. Schon's rather distorted guitar playing complements Santana's smooth and clean sound very well, just as it does on Santana III, but I think the interplay is used to a fuller extent on this album. The percussion is AMAZING - but what else do you expect from a Santana album? Also, the two tracks ("Love Makes the World Go Round" and "Freedom in Your Mind") featuring Ronald Isley are very good, very soulful, but with lots of the typical Santana flash. This is just a mind-blowingly fantastic album.

Santana IV starts off with "Yambu", a very lively track which continues Santana's long line of "chant" songs, with crunchy guitar interplay between Santana and Schon, followed by "Shake It" and "Anywhere You Want to Go", two very good songs which are very reminiscent of Woodstock-era Santana. "Anywhere" features some excellent organ from Rolie, which sounds fantastic to anyone who has been jaded by the over-synthification of music these days. To hear a real, organic, down-to-earth organ solo is just good for the soul. "Fillmore East" an amazingly spacy and ambient track which recalls the jazzier part of Santana's sound, is next, a true highlight of the album, although it may take 3 or 4 listens - at least - to truly appreciate its greatness, as it did for me. Next are the two Ronald Isley tracks. Ron has lost a step or two on his vocals - give the guy a break, he's in his seventies - but he is picked up amply by the ferocious energy of Santana and the boys playing behind him. "Choo Choo" is a rather creepy song that sounds a tad bit pervy, but segues into the instrumental "All Aboard", which has quite an aggressive climax. Sueños is another in the long line of Santana's classic instrumental pieces, while "Caminando" is a brisk piece which adds some horns, another old Santana trademark. "Blues Magic" is a FANTASTIC blues song, while the excellent "Leave Me Alone" is bookended by two more fabulous instrumentals, "Echizo" and "You and I". "Come as You Are" is the weakest link of this album, as it has a forced calypso sound that just doesn't work very well. Just when you think the boys don't have anything else left in the tank, here comes "Forgiveness", a fantastically ambient song in the vein of "Fillmore East", with some vocals from Gregg Rolie which sound eerily like Peter Gabriel. The song gives you chills, in a good way.

Wrapping up here, Santana IV is an excellent album which instantly ranks among the group's best, a stellar reunion album that just continues to get better with each and every listen. I highly recommend purchasing this album for your collection; you won't regret it for a second.

 Santana IV by SANTANA album cover Studio Album, 2016
3.83 | 62 ratings

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Santana IV
Santana Jazz Rock/Fusion

Review by Progfan97402

4 stars I have not bothered with any recent Santana releases, in fact the most recent Santana album I own is Moonflower. So I was surprised to see much of the original Woodstock band is back for this, Santana IV. All except David Brown, who unfortunately passed away in 2000, and Jose Chepito Areas, for some reason or another couldn't be present. Neil Schon, though not an original member of the original band, makes a reappearance (it seems that Schon's guitar playing has a more distorted feel, and Santana's has a more clean tone, which applies for Santana III way back in 1971 as well). For the most part I found it surprisingly enjoyable. I love the album cover, it's very reminiscent of their 1969 debut, except now it's a tiger, rather than a lion. The LP version is embossed, with the Santana logo and the sharp fangs and eyes being embossed. To me it sounds like, well, more or less, an updated version of the original Santana band, basically with modern production values. "Yambu" has a rather distinctly African feel to it, while the next two songs "Shake It" and "Anywhere You Want to Go" is just plain great songs, even Gregg Rolie still delivering that trademark organ (although I'm sure he's using a more modern organ these days). Big surprise: "Fillmore East", obviously in honor of the venue in New York (I'm surprised it wasn't called "Fillmore West" given Santana's San Francisco origins). Santana goes a completely unexpected direction in the the world of Krautrock-influenced space rock. It's as if Carlos Santana (and perhaps Neal Schon) was channeling Manuel Gottsching. Listening to this, you'd wonder if you were listening to Ash Ra Tempel, Agitation Free or Amon Duul II. It's completely not what I expect out of Santana, but I love it. I have no idea how aware Carlos Santana is of the German scene, so for all I know, it's pure coincidence. Lovers of space rock need to hear this! Minor chords seem a bit rare in Santana, given its frequent upbeat manner, but here minor chords dominate, and it gives that spacy, eerie, ominous feel I don't usually associate with Santana. The next two songs, "Love Makes the World Go Round" and "Freedom Around the World" feature Ronald Isley (Isley Brothers, naturally), and while soul music isn't my music of choice, these two songs are surprisingly good, especially because it still has that wonderful Latin rock energy you expect out of Santana. "Caminando" is generally a great song, but I could do without those digitally replicated horn (sounds like it was from a workstation synth) which seems a bit tacky. "Blues Magic", is unsurprisingly a bluesy song, and a rather good one. I really felt the album runs out of steam towards the end though, and the last four songs are nothing to write home about. "Come As You Are" has a bit of a Calypso feel going on, and to be honest it's not to my liking. "Forgiveness" just seems like a rather self-indulgent number, although when the vocals kick in, it reminds me of Peter Gabriel. It's like the band sorta ran out of inspiration towards the end, but that's a common problem with double album sets. I have to say, when this album is great, it's wonderful. It might not reach the highs of the first three albums, but it's certainly a hellova lot better than having to put up with "Smooth" being overplayed to death on the radio (the big reason I never bought Supernatural, that, and the over-reliance on alternative rock and contemporary R&B musicians). So I'm glad it's not some star-studded cast found here like on Supernatural (only Ronald Isley was the major guest on Santana IV). A rather good album and worth having, even with a couple of weak numbers. Plus it has "Fillmore East" for all you space rock junkies.
 Amigos by SANTANA album cover Studio Album, 1976
3.27 | 118 ratings

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Amigos
Santana Jazz Rock/Fusion

Review by Legionnary

3 stars I was interested on this Santana album especially to see if the pieces were all of the same ilk as the flagship title Europa . I was quite disappointed.

1:Composed of two parts, a vocal in first and then instrumental, it's a good piece, in line with the Santana atmosphere. The second part is entirely instrumental, rhythm percussion / drums gives something quite nice, very progressive compared to the rest of the album.(4/5)

2:Draft introduction, no transition with the first piece ! Again a piece in two parts, noticed something strange,like the first song,the two parts are not distinct in like "incident at Neshabur" for example. Besides there is the same composition here, the first part pretty energetic then all of a sudden falls, just like "Incident at Neshabur (Abraxas, 1970) and yes it is in the old pots that we make the best jams , unfortunately here not Pharaonic ... this second part still remains more pleasant to listen to the first one. (3,5)

3:Second point of similarity with the album Abraxas,in "let me" intro is the same as "el nicoyo!" Typically the kind of piece that could have come out in the 80s, very dance, ahead of his time, and as many pieces of the 80s, who aged very badly ... The song's lyrics are very silly and the voice of Greg Walker does not help matters, fortunately there accompaniment end guitar to limit the damage (3/5)

4:A nice intro on acoustic guitar background "gypsy", for once the voice of Armando Peraza is in line with the overall feel of the song (4/5)

5:"Tell me are you tired" Yes i'm tired ... the intro and the chorus could pass perfectly into an erotic film of the 90s very far from the "santana style" (2,5/5)

6:Attention masterpiece! Where to start? This piece could be a chronic him alone so it is mythical .Before talking about the piece itself, we must speak of the context, that is to say the rest of the album, which until then did nothing exceptional, in fact I think if a rock lover 70s fell on this album without knowing Europa (inconceivable) it would be awfully surprised! For the rest, what about? For me the most beautiful piece of guitar "planing" ever created. Few pieces that give me chills, this is one of them .If you do need to listen to one song of Santana,listen Europa, pure Santana talent ! (5/5)

7:After a trip to the moon,we fall back on Earth...after the best of the album, this is the worst. Of all the pieces of the 60/70 years that i have heard until now, this is probably one of those who has the most aged badly, a mixture of species between gospel and completely distorted synth leads on background Asian amnbiance, it's so horrible and annoying that it becomes funny to hear! The voice of Greg Walker is clearly a problem, it does not fit at all in the mood of the group. (2/5)

 Borboletta by SANTANA album cover Studio Album, 1974
3.70 | 159 ratings

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Borboletta
Santana Jazz Rock/Fusion

Review by Quinino
Special Collaborator Errors & Omissions Team

5 stars My ALL-TIME Greatest #14

Hasn't aged a bit, it feels like it could have been recorded yesterday, but then again I think that generally speaking Fusion music eludes more easily the riddles of time.
And certainly is the case of this album from 1974 so well crafted, so inspired, that anyone can buy him tomorrow and be as amazed as I was 41 years ago the first time it landed on my pick-up (as turntables were called in those days).
Just don't expect this to be a typical Santana record, it's not.

Global Appraisal

I wrote "amazed" but would better say mesmerized because right from the first notes one gets immediately involved in a hypnotic ambient that remains for the entire album.
It starts building up with the dreamlike sound effects on the first instrumental track and never really subsides much due to the ethnic percussions, echo effects, Carlos sustained notes on the guitar, even the vocals.
Thus the production makes the songs function together, tied up by the continuous rhythmicity, resulting in the album being perceived as a unity despite the varied authorship.

Goodies

Production - Carlos Santana, Mike Shrieve, Tom Coster

Musicianship - all involved, see full credits

 Greatest Hits by SANTANA album cover Boxset/Compilation, 1974
2.78 | 27 ratings

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Greatest Hits
Santana Jazz Rock/Fusion

Review by Progfan97402

3 stars Along with Pink Floyd's A Collection of Great Dance Songs, this is probably the most unnecessary compilation album ever. In the case of Pink Floyd, having just six songs hardly does the band justice. Especially when that album was being targeted for newcomers in 1981 (when it was released) who likely only knew them from there (still) then latest album The Wall. At least it featured an alternate version of "Money". With Santana's Greatest Hits, all the concentration lies on their first three albums, and nothing else. I understand that Carlos Santana wanted to move beyond scoring hit singles starting with Caravanserai, but it would have been nice if some material off that album, and Welcome was included since this comp was released in 1974. I guess the more fusion direction Carlos Santana was heading by 1972 thanks to his spiritual influence by Sri Chinmoy might seem out of place with the more accessible material from the first three albums presented here. I just think it's a case of releasing a compilation album a bit too early on. Still not a bad selection. Contains favorites like their popular take on Peter Green's Fleetwood Mac's "Black Magic Woman" but left out "Gypsy Queen", originally by Gabor Szabo, and of course Tito Puente's "Oy Como Va". "Se A Cabo", "Evil Ways", naturally, "Everything is Coming Our Way", but surprisingly "No One To Depend On" was not included. There are probably more comprehensive Santana compilations out there. For the case of this particular album, you're better off just owning their first three albums. In fact those three albums give a better idea what their early work was all about than Greatest Hits. So I have to give this a three star rating because of the selection, but owning the first three albums gives you a better picture.
 Santana by SANTANA album cover Studio Album, 1969
4.13 | 334 ratings

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Santana
Santana Jazz Rock/Fusion

Review by Progfan97402

5 stars Santana's appearance at Woodstock certainly left the record company no choice but to quickly have it released. Santana was one of those classic rock groups I always had enjoyed, but given so much of my time had been taken up looking for rare and obscure gems of prog and psych, that I hadn't gotten around to getting much Santana. I am ever glad to get their debut, and what a debut it is! This one seems more rough and unpolished than their more popular followup Abraxas, which I really like. Much of the album is high energy Latin rock. This album shows how much the Afro-Cuban style of Latin rhythms are used, especially the heavy use of congas. Of course, the whole world knows about "Evil Ways", it's became a staple of classic FM rock, and for good reason. It's one of those songs that, yes, it's been overplayed to death on the radio, that it don't bother me, the way "Free Bird" and "Stairway to Heaven" bothers many people (songs that sound impressive when you first hear them, but after hearing those songs a million times since radio DJs never given those two songs a rest,, in fear of losing their audience it does get a bit tiring). I also love Gregg Rolie's style of Hammond organ playing. How about the other songs? "Shades of Time" seems to be cut from the same fabric. They do a cover of Nigerian musician Babatunde Olantuji's "Jin-go-lo-ba", retitled "Jingo" here. Lots of great organ and Latin percussion, I guess doing a song from an African musician drives home the fact the Latin rhythms Santana used were of the Afro-Latin variety. Pierre Moerlen's Gong did a version of it in 1979 on the album Downwind. "Persuasion" and "You Just Don't Care" have a bit of a blues feel to it, while "Treat" has a jazzy feel, demonstrating the jazz influence of Carlos Santana was to be found from Day One. "Soul Sacrifice" is an instrumental jam that became the big highlight at Woodstock. The music here has a jam band quality to it, but not the Grateful Dead variety. They threw in some regular songs (like "Evil Ways") so even more mainstream radio stations have something to play.

Of course, this album largely received positive reviews, but I can't understand why in the life of me rock critic Robert Christgau gave it a C-? I realize Latin music was something he never cared for, but this isn't ordinary Latin music. He pretty pretty much dismissed it as "A lot of noise" and stating his "opposition to the methedrine school of American music". He was sure off base on this one. Most of the other fellow rock critics were more kind. I realize I shouldn't pay much attention to the likes of Christgau, but then he's a perfect example of when rock critics get it wrong (and while I'm at it, usually when rock critics get it wrong is when they pan albums or bands that everyone else loves, sometimes it's the other way around, when they praise albums no one likes, such as the Stones' Dirty Work, liked by the rock critics, hated by the fans).

This might not be a prog album, but why should that bother me? Any fans of classic rock needs this album, it's totally essential, and in fact I actually prefer this over Abraxas (which is too very good, but the more polished nature meant it was a bit less exciting).

Thanks to Sean Trane for the artist addition. and to E&O Team for the last updates

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