One Could Say The Beginning Of Carlos Santana's..."Solo" Career
344043
Up until 1974 and his collaboration with Alice Coltrane the Santana name had referred to an oft rotating band with Carlos Santana as it's lead player. At the end of the 70's however that started to change. Carlos for his part had become fascinated with Sri Chinmoy and began a "solo" career that spoke of his burgeoning interest in spirituality. In accordance with this he is credited here as Devadip Carlos Santana. With members of his band such as Tom Coster still in attendance this album serves as both a tribute and a collaboration with Chinmoy,who provided not only a lot of inspiration but apparently a lot of literal creative input as well. While commercially this was basically the disco era there was still a great deal of that 60's/early 70's spiritually based creative energy left in music to make a something like this work.

  The first five numbers on this album represent a very firey jazz-rock fusion jam recorded with the lives of Coster on keys,as well as drummers Narada Michael Walden and Graham Lear from Gino Vannelli's band this gets things off to a great start. The title song is a spiritually soulful ballad which is either sung by Coster or Carlos himself-not sure. But the fruity,otherworldy vocal works quite well. "Cry Of The Wilderness" showcases an upbeat danceable pop/funk groove that's very melodic,orchestrated and has a mildly EWF flavor about it with the carnival type atmosphere. "Guru's Song" and "Oneness" both carry this jazz-soul ballad flavor where Greg Walker's vocals on the hard urban funk of "Life Is Just A Passing Parade" actually tells some of the story of Carlos himself and is a strong highlite. The closing "Song For Devadip" is another highlite,showcasing that carnival type groove very well again.

  In a lot of ways this album contains some of Santana's best playing and stronger musical ideas. Because it was aimed directly at the soul of the listener and not at their pocket book,it probably wasn't quite as well known to people who weren't huge Santana followers at this time. At the same time it's emphasis on Buddist/Eastern philosophies and melodies often based more in abstract style jazz than pop music,it raised some larger issues of Carlos's music in general. Santana has always very nicely walked that line between the spiritual and the accessible in his music. He never lost sight of that cooperative San Francisco musical melting pot from which his band first came to be. And honestly? To this day I think it's a key aspect to what he is. This is an album of music that deeply respects the connection of strong music to strong melody. An enormous amount of care was put into it.  And the apparent peace of mind Carlos's spiritual journey took him on expresses itself here in a series of not primarily slow ballads but joyous and funk rhythms too.
4564443
I used to think that Abraxas was their best, but after buying this one again ( of course I bought the album when it came out in 1971 )in this new release I am convinced that Santana - that is to say the original group, not the great crowd of imposters that came and went over the ensuing years - saved their best for last in Santana Three. Too bad this peak performance was The End! In this two-disc set you have the original studio work never sounding better, and as a bonus there is the second disc live recording which sounds GREAT! This was one hell of a band, playing in an intimate setting in the Fillmore West ( and, oh God, what I wouldn't do to be able to hop into my time machine and travel back to that time and place...). The quality of this live recording is extraordinary - easily as good as, say, The Fillmore Concerts of the great Allman Brothers. I wonder why they didn't put this out thirty years ago? I am really impressed by how good the stereo mix is here; you can clearly hear the two different guitars of Carlos and Neil; Greg Rolie's rich Hammond Organ sounds fill the entire soundscape. And the percussion! Whew! Those were the days, my friends. And these guys were THE musicians.
346580
A beautiful "back to the roots"...amazing!, these guys still have "the feeling", listen carefully the tracks: Anywhere you want to go, Fillmore east, Freedom in your mind, Love makes the world go round, Sueos, Leave me alone, You and I, and Forgiveness, every song remains the early Santana's spirit in the 70's, a really masterpiece in the rock and roll history.
2772616
No Santana album has been as good as the first three, but Zebop! comes close.  This is one of Santana's best of the late 70's to 80's era.  It's preceding albums, Inner Secrets and Marathon sounded too pop-like, without much percussion. (Just a Conga here and there).  Zebop brings Santana back to it's latin roots, with awesome percussion, (Primera Invasion, Tales of Kilimanjaro, Hannibal), great guitar work, and great vocals.  It's a look back at Santana's early days, while still sounding fresh (American Gypsy, which sounds like classic "old Santana.")

Overall, this is a great Santana album.  Only Moonflower beats it in it's category.  You won't be dissappointed.
217194
Have always enjoyed Santana and wanted to add it to my collection.  Nice to have most of he original members participating.
2907485
I keep going back to this DVD to hear "Boogie Chillen", where the Rolling Stones and Eric Clapton are the backup band, just to hear him sing and play. The inspiration for most of the Brisitsh rockers of the 60s and 70s, as Carlos Santana points out he influenced everyone in rock. On this DVD you notice Van Morrison, Santana, Clapton and others lifting his licks in their styles.
Great foot-stompin' boogie, but also killer blues from a giant talent. Not so much a greatest hits as an exploration of his style in role in defining the sound for blues rock.
Well worth the price.
2610856
Because their live sets are so legendary, the original Allman Brothers Band's first - and, alas, only - two studio albums are somewhat overlooked. Granted, the band would only reach full fruition on later releases like AT FILLMORE EAST and EAT A PEACH, in the process expanding and improving many of the tracks from this album and its follow-up, IDLEWILD SOUTH; but right from the start the Brothers were a musical force to be reckoned with, and their regrettably small output is an essential part of any comprehensive collection.
  Like Santana, whose own debut album was released almost simultaneously, the ABB took an innovative approach to rock, adding jazz, gospel, bluegrass and even classical elements which few of their contemporaries had the chops to tackle. With the matchless guitar talents of Duane Allman and Dickey Betts, first-rate white blues singing from Gregg Allman and an expanded rhythm section - bassist Berry Oakley and drummers Butch Trucks and Jaimoe - this was a sextet which could and did make magic out of anything.
  Opening with the slamming "Don't Want You No More," a nasty blues instrumental which rivets the attention from its very first note, THE ALLMAN BROTHERS BAND showcases an already fully realized vision, with one foot in the soil and the other in the stars, quite unlike anything else out there even in those heady days of 1969. "Not My Cross to Bear" gives Gregg some room to start shouting as only he can, and the Jimi Hendrix-influenced "Black Hearted Woman" is a nonstop sizzler. "Trouble No More," which would become a staple of the Brothers' live shows, gets its initial ABB workout here as well, leaving the second half of the album for the lengthier, heavier explorations at which this band always excelled. "Every Hungry Woman" opens with a reverbed bayou slide intro from Duane which sounds like the cover of a horror comic book, then segues into a countrified hard-rock performance of superlative tightness and menace. "Dreams" is as ethereal as its name, a slow sensual groove held aloft for seven minutes by the rhythm team's restraint and Duane's boundless imagination. Finally, the original "short" version of "Whipping Post" gives both guitarists a chance to shine as Gregg spits out his self-penned tale of a hapless man's victimization at the hands of a no-good woman. The transcendent finale, with the whole band seemingly straining at the very borders of its own and its instruments' capabilities, would be extended but never fundamentally altered onstage.
  THE ALLMAN BROTHERS BAND remains a fine offering from the finest of rock bands, if a rather brief one at barely half an hour. For this reason, the reader is advised to seek out BEGINNINGS, which pairs this album with the similarly abbreviated IDLEWILD SOUTH, thereby getting both of the Brothers' studio efforts on one disc for the same price.
524513
The initial Santana albums created a latin-inflected pop-rock sound that was infectious but ultimately risked becoming a stereotypical sound, respectable but not on the cutting edge.  With Caravanserai, Santana  demonstrated that its sound transcended the "Black Magic Woman"  and "Everybody's Everything" latino jazz-pop labels.  Caravanserai is a languid, luxuriant atmospheric burst of jazz-inflected  rock, equal parts fusion, sixties jam, and smooth melodic meditation music.  The solos on this record set a standard for melodic guitar, and the  combination of dynamic energy and easy pacing makes the songs on this album  stand out.  This is not an album of singles--it's a great  Friday-night-at-ten-with-friends-over CD.  Santana could easily have  avoided taking the risks that Caravanserai took--another album of catchy  maracas-drenched pop songs would have sold much more handsomely.  But  Caravanserai marks Santana's break with easy commercialism, and signalled a  willingness to explore different paths.  In its time, it was not accorded  sufficient respect either by the more rockist of the Santana fans, nor  among fans of "real jazz".  Years later, the distinctions seem  altogether artificial, and Santana's attempt to straddle genres holds true.  While it's true that some great bands elected never to "branch  out", and remained genre bands to the end--Madness comes to mind--in  hindsight the listener must be grateful that in 1972 Carlos Santana  understood that his longevity depended on transcending the sytle of his  earliest records.  This album is not at all dated--it's a grand listen  nearly thirty years later.  If you love ringing guitar solos and easy,  jazzy rhythms, pick this up today.
4236209
It's likely that neither Bobby Brown or MCA were particularly happy with the cool reception his debut album&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/King-of-Stage/dp/B000006OFI/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">King of Stage</a>' received. I even once heard it described as "generically toothless",which are two things that it was not. Only possible problem is that it kicked out the hard funk a bit much for a man formerly associated with a boy band. A lot of people may not have been ready for that yet from Bobby Brown. But than something happened. The multi talented singer/songwriter/producer/musician Teddy Riley and the production team of LA Reid and Babyface were beginning to make quite a stir with a new type of funk groove. And due to Bobby's connection between both hard funk and the newer rap/hip-hop than taking off he bought these two new talents in to embrace their new sound that,he felt suited him to a tee. They were calling it new jack swing.

  The opening title track kicks out a heavily crafted variation of the same sort of funky atmosphere of his debut a couple years earlier. That alone as a catchy beginning would've still punched people out. Than came "My Prerogative",the first uptempo new jack groove most people probably heard. The music was still pretty closely linked to classic funk here,with plenty of groove and breaks. "Roni",another song here that was a huge radio hit and "Rock Witcha'" are both superb midtempo synth funkers. On "Every Little Step" and "I'll Be Good To You" he's back with the new jack swing groove again and,as on the rest of the songs,asserting himself far more strongly as a lyrical personality. "Take It Slow" has these great double tracked vocals and jazzy musical harmonies or a Marvin Gaye classic for the late 80's and is another personal favorite of mine. The album concludes with two heavy gospel inspired epics in "All Day All Night" and "I Really Love You Girl,excellent grooves with a big cinematic flavor to them.

  The combination between a (then) highly innovative new way to project rhythm along with the tough minded sense of urban drama Brown brings to the music himself managed to make this album what he debut never became: a strongly groove centered and funky album that managed to be a huge crossover success as well. The variety of songs across this album,from rhythmically potent late 80's funk to new jack swing to epic ballads inspired by everything from pop jazz to gospel added to that musical strength. Most albums of the new jack era didn't possess this kind of depth,and tended to slide into very obvious cliches. This along with the first Guy album were examples of the genre when it was far more open ended and musically encompassing than it would become. This is not only an excellent example of Bobby Brown finding his voice,but also of an important musical changing of the guard as it were.
3108845
One of the best guitarist ever! Smooth, is one of the best songs by Santana, especially with vocals by Rob Thomas...Reminds of some wild times when this song first came out! Awesome!!
3082929
Carlos Santana's signature guitar sound is what makes this one a hit.
3737183
When I purchased this dvd I thought it was all Celia Cruz and was eager to watch and listen. Celia only appears once, and then the concert features the rest of the FANIA ALL STARS, like Hector Lavoe, among others. They seem happy to be there, and the joy is consistent throughout. The conductor is Johnny Pacheco and he does a great job with his enthusiasm and love for the sounds they're making. Jorge Santana takes a solo on one song and doesn't appear again. It would have been nice to see more of him. His solo was tentative, and he plays a lot better on the Santana concert called "Sacred Fire". But although I wanted to see more of Celia, this is an important chronicle of a time when these artist were all in their prime and sharing this great music with the world. I'm glad I bought it. Just watch out if you think this is a Celia Cruz concert. It's not. I saw her in concert before she died and she was really a joy to experience. In the opening number of this concert she's on top of her game. That first song is worth the price of this dvd.
819281
The recordings are actually between (my guess) 28 and 32 years old. The strength of Santana is that they still sound fresh today.... Another one of these obscurities that are required material for the devotees and may sound less pleasing to others.....
1223624
As a child of the 60's and 70's, I was anxious to get my hands on a copy of this CD.  They did not disappont me!  Of all five tracks, I have to say I was a little confused by the addition of "Well All Right", being a Buddy Holly tune.  Holly died years before 1969... But the Garza Bros did the song justice nonetheless.  My first impression was a good one, listening to Santana's "Evil Ways".  I was glad they didn't take too much creative license with the song, out of respect for Carlos, of course.  I really have to say they put their own unique signature on each one of the tunes on this CD.  "She Came In Thru The Bathroom Window" was amazing and nostalgic.  Tony Joe White's "Polk Salad Annie" I think was the one song I was most impressed with.  It's hard to follow T.J. White, but it was done with total respect to his genre and back-woodsy Southern style.  The last track, "Roadhouse Blues" had me dancing like I had good sense...I'm a "sorta old" lady... I don't dance that much anymore.  What a joy it was to listen to a reprise of great music given the proper respect by these 21st Century musical geniuses!! Kudos to my Texas home boys!  Los Lonely Boys ROCK!!!
4009140
Tonight as I write this review Sting has just completed a concert at the local waterfront near where I live. He's never come here before. Now my only reason for not going was crowds and expense. Yet in terms of the pop scene,Sting and the Police were artists who shaped my understanding of music as my brain was still forming. It went quite a bit beyond a catchy song. The way the compositions were put together,the way the bass/guitar interaction was,the drumming-all of that. In 1985 Sting released this solo debut from the Police. It was by no means a surprise since he was the dominant musical force (for better or worse depending on your point of view) on the Police's final release&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Synchronicity/dp/B00008BRB5/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Synchronicity</a>&nbsp;a year and a half earlier. His jazz back round was reflected in his choices for musicians here in the late keyboardist Kenny Kirkland,Branford Maraslis on sax and drummer Omar Hakim-not to mention Miles Davis alum (and nephew) Darryl Jones on bass. Between Sting's own strong musical talents and that of the musicians, musical magic was created here.

  "If You Love Somebody Set Them Free",with it's open ended jazz-funk rhythm and chordal/melodic detour on the bridge is exactly the right transition from his Police work-not to mention its adult and decidedly non possessive take on romance. "Love Is The Seventh Wave",somewhat more an ordinary reggae number than the rock hybrids Sting had previously engaged in (produced in the contemporary idiom of course-somewhat electronically) celebrating world unity. "Russians" is,while lyrically very dated today, a very grim and stark protest march speaking out against the idiocy of maintaining the self destructive cold war. "Children's Crusade" is a poignant anti war number build around Kirkland's probing electronic keyboard riffs. "Shadows In The Rain" is a very successful attempt to merge early 80's pop/rock with be-bop jazz-which also occurs on the melodically catchy (if a but short) instrumental title song. as well as the slower blues of "Consider Me Gone" (out of the Steely Dan "Babylon Sisters" school actually) and "Moon Over Bourbon Street".

  "We Work The Black Seam" is a spiraling jazz/pop fusion type number dealing with humanity's lack of control over it's nuclear waste while "Fortress Around Your Heart" emphasizes the glacial emotional conditions it discusses with another Police friendly melody and rhythm not too far removed from "Wrapped Around Your Finger". By not completely abandoning the sound which he had with the Police, Sting delivered probably the ideal solo debut an artist could have. Lyrically it strongly reflected his romantic analytical mindedness as well as apparently intense social consciousness.  The sound achieved by Kirkland,Hakim,Jones and Marsalis on this album comes about as close to perfection as anyone could ask. The sound is extremely live band oriented-even the electronic flourishes in the music are extremely organic. This gives the music an totally different instrumental and production texture than most pop music from the mid 80's. And that might be one of the reasons why this album has held up with some of the more persnickety and very anti 80's music admirers and critics. Through and through this is  wonderful and popular musical work of art
601363
Not every track is perfect, and for  sure not every track is old Santana from the 70's, but then it's NOT the 70's anymore, so if the guy wants to  move on, that's fine by me.  I've moved on too.
I've loved Santana since  I first heard their music in England in 1970 at age 15.  I saw them twice  in London, and I do love, and still listen to, their old stuff.  But I love  this album too - at least most of it. As a generalisation I would say that  perhaps I'd like to have heard more of Santana and less of some of the  guests, but then I can hear his guitar right through it, and, let's be  honest, he didn't make his reputation as a singer.
For me, the tracks  that work best are the "latin" ones - (Da Le) Yaleo, Africa  Bamba, Corazon Espinado, but that may be a reflection of my advanced age  and fond memories of Santana's 70's stuff.  I just love the sexy Smooth  (does it count as latin if it's sung in English?)and I freely admit I'd  never heard of Rob Thomas before I heard this.  But I've heard of him now,  and I'll seek out more of his music.
Probably my least favorite track  is Maria Maria, which I find cliched, dull and uninspired, and which was  done to death on the radio.  Do You Like The Way is way too long and gets  kind of lost, although I love Lauryn Hill's voice and I also love Migra,  which sounds kind of Indonesian to me (but then what do I know ! ).
Love  of my Life and Wishing it Was are good tracks and again introduced me to  guest artists I knew little about before, and I loved to hear Eric Clapton  and Carlos Santana play together.
This album cuts across age barriers as  I know plenty of kids who like it too.  I suspect that it's exposed more  than just this old codger to some new names, and at the same time, it's  given me some of the old stuff I loved too, the soaring, melodic guitar,  fabulous rhythms and - as I don't speak a word of Spanish - the totally  indecipherable lyrics!
I hope he's working on another.
4594379
I am a huge Santana fan & have been for at least 25 years.  I own several other Santana "Best of" & compilation collections, but this one is going to end up being my favorite.  The master picked these songs himself which makes this collection that much more interesting.  These are Santana songs I have always loved, but had forgotten about during "Supernatural" & "Shaman" years.  I offer a huge thanks to Carlos for highlighting  songs that true Santana fans may have forgotten about, & letting younger fans who only know Santana's music from the "Supernatural" years and later, get a broader glimpse of a true musical genius & American music, but not just American, a World music icon.