FunkFreak75 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.

Line-up / Musicians: - Leon Thomas / vocals (2,4,7), whistling (5) - Carlos Santana / electric & acoustic (2) guitars, bass & kalimba (6), percussion (1,7), vocals (2) - Tom Coster / Hammond (2,4,5) & Yamaha (1,4,6,8) organs, electric (3,7) & acoustic (6,8,9) pianos, percussion (3), marimba (6), string co-arranger (7) - Richard Kermode / Hammond (1,3,8), electric (2,4-7,9) & acoustic (5) pianos, Mellotron (1), percussion (3), marimba (4), shekere (4,6) - Doug Rauch / bass - Michael Shrieve / drums - Jose 'Chepito' Areas / timbales (2,3,6,7), congas (3), percussion (3,9) - Armando Peraza / percussion (1,3,9), congas (2,4-8), bongos (4), cabasa (5) With: - Flora Purim / lead vocals (5) - Wendy Haas / vocals (2,4) - John McLaughlin / guitar (8) - Douglas Rodriguez / rhythm guitar (4) - Joe Farrell / flute solo (4) - Bob Yance / flute (4,5) - Mel Martin / flute (4,5) - Jules Broussard / soprano saxophone (6) - Tony Smith / drums (3) - Alice Coltrane / arranger (1) - Greg Adams / strings co-arranger, orchestrator & conductor (7)

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)

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.

FunkFreak75 Carlos and Michael Shrieve getting into spiritual exploration through Eastern teachers, at this point, mostly Parahamansa Yogananda. At the same time, the world had just had their ears and mind blown by John McLaughlin's Mahavishnu Orchestra and their debut album (and tour), The Inner Mounting Flame. Carlos had heard Doug Rauch in a concert with his band, The Voices of East Harlem, and loved his Mahavishnu-like style and enthusiasm. In fact, Michael and Carlos both credit Doug Rauch's infectious enthusiasm and endless flow of musical ideas for becoming a driving force behind the realization of this album project as well as the preceding practice tour and following world tour.

1. "Eternal Caravan of Reincarnation" (4:28) crickets and Hadley Caliman's solo saxophone signal the dawning of a new era. About halfway in, the band joins in to provide a gentle, welcoming instrumental intro to the soul-augmenting jazz that is the new orientation of Carlos, Michael, and all of their new band members. (9.25/10)

2. "Waves Within" (3:53) Carlos and Neal Schon (yes, that Neal Schon!) exchanging emotional and electrical guitar-fire (with newcomer bass-player Doug Rauch also on rhythm guitar!) Incredible earworm melodies created repeated seven-step chord progression. A song that is credited to Doug Rauch and Gregg Rollie. (10/10)

3. "Look Up (To See What's Coming Down)" (2:59) the funk is also here: the percussion and bass certainly let you know it! Great guitar interplay between Neal, Doug, and Carlos. Another song credited to Doug Rauch and Gregg Rollie (as well as Carlos) and including Doug's guitar assistance. (9.25/10)

4. "Just In Time To See The Sun" (2:19) the jamming becomes more insistent: power chords and relentless rhythm play driving this one along. Carlos's singing is okay but I know how important his spiritual message is, so it rings true. (8.875/10)

5. "Song of the Wind" (6:02) great little tune carried by the bouncy organ and steady percussion. What beautiful music--and beautiful guitar play: melodic as hell and so emotional! The other band members must have been so inspired and confident while listening to Carlos' passion: no wonder their subtle flourishes and nuances are so perfect! Neal Schon is listed as one of the authors of this one. (9.75/10)

6. "All the Love of the Universe" (7:36) the last song on Side One is oriented like a Sly & The Family Stone jam song with Chicago-like whole-band choral vocal singing. (They're really not very good as a choir). Doug Rauch's rapid fire funk bass sounds like a cross between Percy Jones' machine gun and a Disco bass. Interesting song with a lot of energy--both kinetic and potential--but probably my least favorite song on the album. (13/15)

Side Two is often referred to as "the percussionists' side."

7. "Future Primitive" (4:12) opens with an atmosphere created by space-synths (uncredited but probably provided by Michael Shrieve) that is really just a setup (and, later, underlying texture) for percussionists José "Chepito" Areas and Mingo Lewis to jam in some kind of Cuban polyrhythmic language. (4.5/5)

8. "Stone Flower" (6:14) Carlos and Michael adopt this Antonio Carlos Joabim instrumental and put their own lyrics to it (and sing it: together). Yes, the melody does sound like it was lifted from some of the recent Brazilian-based bassa nova pop songs that had been seeping into American pop radio but that's just exemplifies the broad range of music that Carlos and especially Michael were listening to at that time. Great "Nature Boy"-inspired solo from Carlos. Also, acoustic bass is used on this one instead of Doug's funky electric--here provided by Tom Rutley. Man that organ and expanded lineup of percussionists really brings this to life! (8.875/10)

9. "La Fuente del Ritmo" (4:33) a wild ride that is driven by pure Latin rhythms as written and led by Mingo Lewis. The song also introduces two new band members who would become fixtures for a while in percussionist Armando Peraza and keyboard artist Tom Coster. (9/10)

10. "Every Step of the Way" (9:04) this Michael Shrieve song opens with the total feel of a Miles, Herbie or Mahavishnu song. (It actually sounds a lot like the music the band would issue on their next album, Love Devotion Surrender, a collaboration with John McLaughlin and some of the Mahavishnu members). The nuclear detonation occurs at the three-minute mark, unleashing a barrage of energetic play from every goddam member of this band--including some who were not members (horns ! (I agree with ProgArchives admin &. reviewer Sean Trane: "Every Step of the Way" escorts the listener to a divine orgasm.) Turn this one up to 11! It deserves a 6! One of Jazz-Rock Fusion's all-time great songs! (21/20)

Total Time: 51:20

It is so exciting to discover albums from 35-40 years ago that I'd never heard before and find myself totally blown away by the 'new' music I hear. Again, thank you Max and ProgArchivists: my world of music has never been so blown open. Caravanserai is an album whose first listen flooded me with such nostalgia; I had never before realized how much Carlos' guitar playing and his Latin rhythms and amazing organists influenced my core musical likes and values until I listened to this album. Hearing "Waves Within" I was (and am each time I listen to it) overcome with a flood of emotion taking me back to the Eden that was my formative pre-teen years. While I understand the derogatory comments bestowed upon the atmospheric "introludes" ("Eternal Caravan of Reincarnation" and "Future Primitive"), I love them and find them essential to the spiritual journey Santana is taking us on. Through the years I have enjoyed many of the singers and lyrics of Santana songs, however, I quite agree that on this album their presence are, overall, IMHO, out of place with and even detract from the spirit of the rest of the music. And while many of Carlos' extended solos are backed by simple two-chord repetitions, the band is always jamming their hearts out: they're in the same cosmic groove that allows Carlos to soar--and soar he does: The man is a true master of 'stumbling' upon incredibly catchy, melodic riffs while negotiating the fret board at seeming break-neck speed. Amazing talent. Truly a god channeling the divine! A wonderful album with outstanding work from Michael Shrieve, Neal Schon, Mingo Lewis and Greg Rolie--not to mention the Devadip and the new kid on the block, Doug Rauch!

5 star songs: "Waves Within," "Look Up (To See What's Coming)," "Song of the Wind," "Every Step of the Way."

A/five stars; a true masterpiece and shining beacon of light from the young and still-forming Jazz-Rock Fusion movement--and one of my Top 20 Jazz-Rock Fusion Albums from prog's "Classic Era." One of the few concert tours for which I wish I had been a "Deadhead"/groupie.

dreadpirateroberts Expectation.

It's always tough reviewing an album which is anticipated to be a band's 'return to its heyday' and the classic line-up from early 70s Santana is a pretty exciting prospect.

And it certainly works on just about every song. It's fun to hear interplay between Santana and Schon again for instance, especially on one of the stand-outs like 'Echizo' or the almost meditative 'Fillmore East' (and it must be said that Shrieve fires up a bit on 'Echizo' too, which is great) but there are a few songs that don't nail it for me.

Some of these are the vocal cuts ('Choo Choo' is one) but that isn't to say Rolie is in bad shape, he sounds great - especially on the smouldering 'Blues Magic' or the punchy 'Shake It' - but there's just a sense that everyone was so excited to play together again that they left a few b-sides in the running order.

Overall, the band is less fiery than in their youth (and that's not a surprise or a problem truly) but there's still passion and surprises to be had. Again, like 'Shape Shifter' a while back - I wouldn't call this an essential Jazz-rock album but don't write it off out of hand either, have a look if you're unsure.

siLLy puPPy Continuing the huge success generated by their debut album and their instant stardom generated by the Woodstock Festival in August 69, SANTANA released their 2nd album ABRAXAS the following year pretty much following the same formula of mixing rock, blues and latin jazz.

The album was an even bigger hit than the debut hitting number 1 on the Billboard album charts and selling more than twice as many albums as well as hitting big with the huge hits "Oye Como Va" and the cover of Fleetwood Mac founder Peter Green's "Black Magic Woman." SANTANA was a worldwide phenomenon by now and their unique Latin big band sound was one of the hottest things going on at the time. As with the previous album there is an army of percussionists accompanying Carlos Santana's bluesy lead guitar and Gregg Rollie's keyboards.

Although this is a great album I have always liked it a tad less than the debut. It is lacking that incessant raw and fervent drive throughout its entirety that made the first album so amazing. The songs are more varied in their approach and the music is generally the same in its sound, yet something about this album just seems like a tamed down version of the debut as a whole. Whereas the debut was a energetic display of adrenaline from beginning to end, I find this one is dragged down a tad with slower numbers like the instrumental "Samba Pa Ti."

Nothing on here is bad by any means and it's only a relativity issue for me. It also hasn't helped that I have heard the hit singles on this album to death! Even after giving classic rock radio a break for many years, I still find "Black Magic Woman" a song I no longer like to hear. Make no doubt about it, it is a classic of classics but some music can become toxic after too many listens and this i'm afraid is one of those tracks that I haven't been able to recover from. Despite that an outstanding album that just doesn't reach perfection in my world.

siLLy puPPy Nothing screams the summer of 69 and the Woodstock event for me more than SANTANA. One day they were simply the Carlos Santana Band doing small gig venues in San Francisco and the next day after performing at that event they were watching their debut album racing up the charts and reaching number 4 on Billboard. “Evil Ways” also proved to be a huge top 10 hit as well. This rags to riches story may have happened anyway but perhaps not so fast. Their slot on the Woodstock event was actually won by the flip of a coin. Michael Lang, the concert promoter was pressured by Bill Graham to include one of the the acts that Bill managed. It was down to SANTANA and It's A Beautiful Day, another San Francisco band. The coin was flipped, SANTANA won, and enjoyed instant popularity and as we all know, much more was to come.

This is gorgeous album from beginning to end. SANTANA started out as a jam band but was advised to write a few more structured songs by Graham. The result is a perfect mix of free jam energy with structured songwriting that the band perfectly performs knowing when enough is enough and to move on to something else. This new Latin jazz fusion of the day took the world by storm and with half of the band dedicated to percussive instruments it's no wonder the world was mesmerized by this energetic mix of Latin jazz, Afro-Cuban rhythms and heavy psych blues that tied it all to the era. This is one of those album I never tire of. It has a timeless quality to it yet it always brings me to that time and place before my time. My personal favorite SANTANA is this one and what a beauty it is.