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* Blues-Rock
* Hard Rock
* Fusion
* Psychedelic
* Album Rock
* Latin Rock

Review by Thom Jurek
Santana III is an album that undeservingly stands in the shadows behind the towering legend that is the band's second album, Abraxas. This was also the album that brought guitarist Neal Schon -- who was then 15-years-old -- into the original core lineup of Santana. Percussionist Thomas "Coke" Escovedo was brought in to temporarly replace Chepito Areas, who had suffered a brain aneurysm, yet who recovered quickly and rejoined the band. The rest of the group includes Carlos, organist Gregg Rolie, drummer Michael Schrieve, bassist David Brown, and conguero Mike Carabello. "Batuka" is the powerful first evidence of something being very different. The band were rawer, darker, and more powerful, with twin leads and Schon's harder, edgier rock & roll sound and Carlos' blend of ecstatic high notes and soulful fills. It cooks, it's funky, mean, and tough. "Batuka" then immediately transforms itself into "No One to Depend On," by Escovedo, Carabello, and Rolie. Its middle section is filled with frantic handclaps and call-and-response lines between Schon and Rolie, with Carlos joining the fray until the entire track explodes into a frenzied finale. And what's most remarkable is that the set just keeps on cooking. From the subtle, slow burn of "Taboo" to the percussive jam workout that is "Toussaint L"Overture" -- a live staple in the band's set list recorded here for the first time -- it features some masterful Rolie organ work at its beginning. "Everybody's Everything" is here, as is "Guajira" and "Jungle Strut" -- tunes that are still part of Santana's live shows. "Everything's Coming Our Way" is the only "feel good" tune on the album with acoustic guitars, gorgeous hand percussion, and Santana's fragile lead vocal, but it's a fitting way to close with the Schon and Santana guitar breaks. The album ends with a completely transformed reading of Tito Puente's "Para los Rumberos," complete with horns and frantic, almost insanely fast hand-drumming and cowbell playing. It's an album that has aged extremely well due to its spare production (by Carlos and the band) and its live sound. ... Read More...



.....On the other hand, some of the more technically gifted players ... like John McLaughlin, Al DiMeola, or Yngwie Malmsteen for example ... have been known to create some pretty beautiful noise themselves by shredding their way through classically based arpeggios at lightning speed. Clinical? Sure. But nonetheless inspired.
But every once in a while comes along that rare musician who combines both attributes. The Passion and the Technique. Jimi Hendrix, Miles Davis, and John Coltrane are a few who come immediately to mind. Carlos Santana, for my money, is another.
Santana's career has pretty much been all over the place since he first got the world's attention with a riveting performance at Woodstock in 1969 (a performance rivaled only by that of Sly and the Family Stone).
These days he has settled into a kind of "elder statesmen" role, making his most commercially successful music in decades under the watchful eye of music mogul Clive Davis. But it is Santana's first three albums for Columbia Records - made between 1969 and 1971 - that truly defined Carlos the musician and Santana the band....
blogcritics.org/archives/2006/04/09/130042.php