SANTANA

Live concert material recorded on May 3 & 4, 1973 while the band was touring in Japan, the "album" was only released on vinyl--as a triple album--in Japan--in May of 1974, in Europe in November of 1975, and the US in June of 1991--this latter version being the one I had access to for my listening experience--which came in the form of two-disc CD format.

Line-up / Musicians: - Carlos Santana / guitars, percussion, vocals - Doug Rauch / bass - Michael Shrieve / drums - Greg Walker / percussion, vocals - Leon Thomas / vocals, percussion - Tom Coster / keyboards [electric piano, Hammond and Yamaha organs] - Richard Kermode / keyboards [Hammond organ, electric piano] - Armando Peraza / percussion [timbales, congas] - Jose 'Chepito' Areas / timbales, congas, percussion

CD 1 (58:53) 1. "Going Home" (3:23) warm up, tuning, sound level adjustments, 2. "A-1 Funk" (3:13) continued warmup--especially for the synth player (Tom Coster?) (8/10)

3. "Every Step of the Way" (11:30) the first four minutes are just an extended intro/warmup for this song, it's not until 4:10 that the song becomes recognizable as the great tune from the band's 1972 album, Caravanserai. Then it's magical: a very spirited performance all around. (18.5/20)

4. "Black Magic Woman" (3:38) great bleed from "Every Step of the Way" to this. Weird to hear Leon Thomas' voice in the vocal position: he's so uniquely Leon Thomas! Also weird to hear Doug Rauch's bass playing to sound and feel so mechanical and laid back. I like it better when he feels like he's flying around the stage--as he does a little more with . . . (9.25/10)

5. "Gypsy Queen" (3:57) I can't remember if the album version of this song (from the band's album Abraxas--as are the songs preceding and following it) had the Jimi Hendrix homage riffs from Carlos (from "Third Stone from the Sun"), but I love it. The percussion interplay is awesome--and awesomely recorded and imaged. (9.5/10)

6. "Oye Como Va" (5:47) great with some fun group vocal and percussion performances beneath and between Carlos' screaming guitar leads. (Carlos letting the spirit of his dad's mariachi band flowing through him). Perhaps Doug's subdued bass play was due to his wanting to uphold the sacrosanctity of the originals, but you'd think with these percussionists and Carlos getting so fired up and expressive that it would light a little infectious fire in Doug's playing. Perhaps we just have to wait for the material from Caravanserai and Welcome that he helped to create. Anyway, this is an engaging and spirited song.(9.5/10)

7. "Yours Is the Light" (5:30) a song from Welcome attributed to keyboardist Richard Kermode, it's very melodic and smooth--perfect for every one to just groove to--especially the percussionists. Finally we get to hear the loose, engaged, and fully-expressive bass playing of Doug Rauch. (This alone may end up making this song a favorite from this concert album.) Also due to the excellent electric piano play. So smooth and hypnotic! (9.75/10)

8. "Batuka" (0:55) a percusssion jam interlude/bridge (that probably went on longer than what we've been given to hear here). (4.5/5)

9. "Xibaba" (4:13) another cover of the Airto Moreira composition that was first presented to the world on Donald Byrd's 1970 album, Electric Byrd (on which Airto was a contributing studio musician). (I've always thought that the main melody of this song sounded like it was borrowed from a television or radio advertizing jingle of the day--or vice versa.) (9/10)

10. "Stone Flower (introduction)" (1:14) (4.375/5)

11. "Waiting" (4:14) I've always adored this song ever since I first heard it as the opening song on Santana's debut album: great whole band "introduction" jam. I wish Carlos' guitar tone was a little more aligned with those of more traditional rhythm guitarists of the time: his is a little loud--plus, I don't really think he's very good as a rhythm guitarist: he's a melody-maker not an accent provider or rhythm sectionist, but, this awkwardness is resolved with A) some great organ play and B) the transition into the next song. (9/10)

12. "Castillos de Arena, Part 1 (Sand Castle)" (2:51) on which he returns to his natural place and role as the front man: making his melodies and making women's nipples erect. The song's second half sounds as if everybody has suddenly shifted into MAHAVISHNU mode! It's wild, crazy, cacophonous, and chaotic but AWESOME! (9.5/10)

13. "Free Angela" (4:26) a song credited to "Bayeté" (keyboard player Todd Cochran). It starts out rather dynamically but then quiets down into something befitting a Herbie Hancock Mwandishi-lineup song. (I wonder if the song is politically-motivated--perhaps expressing some dismay at the treatment and arrest of Black Panther members like Angela Davis.) (9/10)

14. "Samba de Sausalito" (4:02) another great whole band Latin jam with some serious jazz-rock fusion roots. It was composed by percussionist Chepito Areas and recorded for the Welcome album. (9.333/10)

CD 2 (59:47) (113/125 = 90.40) 15. "Mantra" (7:17) opening with heavily-treated/effected/distorted percussion and keyboard sounds played as if in a Gamelan percussion orchestra, Doug and Michael join in after a bout 90-seconds, pushing the "oriental" percussionists back into rock mode as the two organists join in, weaving together an interesting and enjoyable tapestry between the rhythm section and the impending lead instrument. I know both Richard and Tom are soloing, they're just doing it so smoothly, so subtly, that it all falls into place among the rhythm section's hypnotic groove. At the very end of the fifth minute Carlos finally enters, using a minor key scale to explore a tension-filled melody. Here you can really tell how much John McLaughlin's pyrotechnical guitar playing style has affected Carlos. It's good! It's all good (no matter how improvisational it may be.) Surprising that this song appeared as a polished version on Welcome. (13.25/15)

16. "Kyoto" (9:58) Michael Shrieve's drum solo! Having the engineering imaging panning the sonic field is helpful in making it entertaining in the same way it would have been if I had been standing in front of the drums during the concert. Percussionists add subtle accents from a variety of odd instruments during Michael's trance-like performance. It's actually really good! Like sitting in on a very listenable drum exhibition. (I normally don't like drum solos very much.) Tom Coster joins Michael in the second half of the allotted time on an "alien" synthesized electric piano. (18.25/20)

17. "Castillos de Arena, Part 2 (Sand Castle)" (1:13) bleeding over from Micheal's drum solo to start another part of Carlos & company's Mahavishnu-ed jazz-rock fusion. (4.5/5)

18. "Incident at Neshabur" (15:57) using a two-chord blues-rock vamp to build over, this one sounds like something from BLIND FAITH or BRIAN AUGER, only more Latinized from Santana's percussion-rich ensemble. Again we get to hear some of Doug Rauch, Richard Kermode, and Tom Coster's adventurous spirits spilling over into the rhythm section's support of Carlos--who, in the meantime, is soloing dynamically while pleasantly sneaking a few well-known melodies and riffs into his lead performance, including "My Favorite Things," a little Chuck Berry, Jeff Beck, and many others that were probably lost on me. Expanded in the version I get to hear to triple the original 4:53 length on Abraxas, the original six-sided three-disc Japanese release from 1974 is over 17-minutes in length. By the time the eighth minute has rolled around it has become a sleepy, spacious place over which Carlos has even more unrestricted freedom to replicate some of his more favorite melodies--many of which are familiar to the lovers of his more iconic lead guitar songs--especially those from Caravanserai, but also some more from other artists. I must admit that this must have been a very fun--and entertaining--song to listen to as one of the concert attendees: listening, waiting, to see if you can guess the source of the artists' melody lines or riffs. By the end of the eleventh minute the song has re- ramped up to full speed, full participation of all band members--most of them flying at full speed with virtuous near- reckless abandon. Carlos's re-entry at 12:25 commands a "stop and make space" response from the other musicians. He then proceeds to fill the speakers with some long, slowly held and progressed notes while the rest of the band provides one of those "end of rock song" finishes--only this one prolonged over two and a half minutes. Still, I like this song very much: great entertainment for a live audience--especially a musically-aware audience. (27/30)

19. "Se a Cabo" (5:39) back to Abraxas, which was, at the time, the band's biggest selling album worldwide. Though it's a two-chord Latin vamp, Doug and the rest of the rhythm section feel very engaged and locked in. (8.875/10)

20. "Samba Pa Ti" (8:56) It seems as if everyone gets a chance to solo on this one. Too bad the mix and imaging of the instrumental stage isn't rendered more distinctly so that each and every instrument is clearly and cleanly distinguished from the others. The fans seem to love Carlos' "teasing" extended delay-pauses that he uses during the middle over the smooth dance grooves provided by the locked in band. (17.75/20)

21. "Mr. Udo" (3:07) a variation (or pre-version) of "Savor" that the band delivers with a very Japanese-sounding start (but then find it quickly devolve into another Latin-dominated tune) over which the real Leon Thomas sings using his full complement of vocal idiosyncracies (wordless vocal "noises"). (8.875/10)

22. "Toussaint L'Overture" (7:40) The only song representing the Santana III album! (Perhaps because the band was disintegrating at the time Santana III was being made.) Lots of great percussion play from the Latin ensemble and some very loud JIMI HENDRIX-like guitar shredding from over this four-chord "Don't Let Me Be Misunderstood"-like song. Awesome! Perhaps it was even intended as a tribute to the late great guitar god. (14.5/15)

Total Time 118:40

The first 18 minutes of Side One sounds totally like warmup and a space-jam of the sort that Stomu Yamash'ta would exploit in his upcoming (1976) Go Live in Paris album. Also, I don't know if other listeners had this experience, but I found the sound quality and imagery on the entire second CD disc to be thinner and flatter than that of the first disc-- with all of the instruments (except Carlos' guitars) mixed further into a flat background than the wonderfully three- dimensional feel of the first disc.

This album opportunity seemed like it could have been the perfect vehicle to hear the genius of bass phenom Doug Rauch at play but I have to say that his performances mostly felt subdued, reigned in, and less than enthusiastic--very tight and professional but totally lacking any of the flash and flare that I thought (and hoped) I'd hear.

A-/five stars; a very nice recording of a fan-pleasing concert that represents fairly well the free-wheeling jazz-tinged period of Santana's career.

While the first two albums are super well known I rarely see people talk about the other classic era albums (exuding the more dedicated fans). This album was a huge surprise and it was quite a refreshing listen especially after listening to Abraxas so much in my life, I definitely think this album expands on the sound of the past two albums, the album opens with an instrumental track it could honestly be a heavy psych song if they turned up the fuzz a bit, the next song is a more traditional Latin Rock sounding song it reminds me a lot of WAR the song is a personal favorite of mine it starts off pretty normal before bursting into a Latin psych freak out, Toussaint L'Overture is another favorite of mine and kind off exemplifies the sound of the album, lots of bursting guitar solos and like I mentioned earlier psychedelic Latin freak outs. The track "Everybody's Everything" features bright sounding horns and amazing percussion throughout the track. I really do feel like this expands the sound of the last two albums really well, everything feels like there's more breathing room here and in my humble opinion is better then Abraxas (both albums are great of course)

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.