Santana – Santana III (1971)

FrontCover1Santana is the third studio album by Santana. The band’s second self-titled album, it is often referred to as III or Santana III to distinguish it from the band’s 1969 debut album. The album was also known as Man with an Outstretched Hand, after its album cover image. It was the third (and until the group’s 2016 reunion, the last) album by the Woodstock-era lineup, and it was also considered by many to be the band’s peak commercially and musically, as subsequent releases aimed towards more experimental jazz fusion and Latin music. The album featured two singles, “Everybody’s Everything”, which hit #12 in October 1971, and “No One to Depend On”, a staple in FM radio. The album also marked the addition of 17-year-old guitarist Neal Schon (who performed notable solos on both singles) to the group.Santana is the third studio album by Santana. The band’s second self-titled album, it is often referred to as III or Santana III to distinguish it from the band’s 1969 debut album. The album was also known as Man with an Outstretched Hand, after its album cover image. It was the third (and until the group’s 2016 reunion, the last) album by the Woodstock-era lineup, and it was also considered by many to be the band’s peak commercially and musically, as subsequent releases aimed towards more experimental jazz fusion and Latin music.

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The album featured two singles, “Everybody’s Everything”, which hit #12 in October 1971,[1] and “No One to Depend On”, a staple in FM radio. The album also marked the addition of 17-year-old guitarist Neal Schon (who performed notable solos on both singles) to the group.
The original album was recorded at Columbia Studios, San Francisco, and released in both stereo and quadraphonic.
Santana III was also the last Santana album to hit #1 on the charts until Supernatural in 1999. According to Guinness Book of World Records 2005, this is the longest delay between #1 albums ever occurring. The original album was re-released in 1998 with live versions of “Batuka”, “Jungle Strut” and a previously unreleased song, “Gumbo”, recorded at Fillmore West in 1971 which features lead guitar solos by both Santana and Schon. /by wikipedia)

Singles

Singles from all over the world

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 17 years old — into the original core lineup of Santana. Percussionist Thomas “Coke” Escovedo was brought in to replace (temporarily) José Chepitó Areas, who had suffered a brain aneurysm, yet who recovered quickly and rejoined the band. The rest were Carlos, organist Gregg Rolie, drummer Michael Schrieve, bassist David Brown, and conguero Michael Carabello. “Batuka” is the powerful first evidence of something being very different. The band was rawer, darker, and more powerful with twin leads and Schon’s harder, edgier rock & roll sound paired with Carlos’ blend of ecstatic high notes and soulful fills.

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It cooks — funky, mean, and tough. “Batuka” immediately transforms itself into “No One to Depend On,” by Escovedo, Carabello, and Rolie. The middle section is highlighted by frantic handclaps, call-and-response lines between Schon and Rolie, and 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 (and featuring some cooking 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 show.

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With acoustic guitars, gorgeous hand percussion, and Santana’s fragile lead vocal, “Everything’s Coming Our Way” is the only “feel good” track here, but it’s a fitting way to begin winding the album down with its 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. This is essential Santana, a record that deserves to be reconsidered in light of its lasting abundance and vision. (by Thom Jurek)

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Personnel:
José “Chepito” Areas (percussion, conga, timbales, drums)
David Brown (bass)
Mike Carabello (percussion, conga, tambourine, vocals)
Gregg Rolie (vocals, keyboards)
Carlos Santana (guitar, vocals)
Neal Schon (guitar)
Michael Shrieve (drums, percussion)
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Greg Errico (tambourine)
Thomas “Coke” Escovedo (percussion, vocals)
Luis Gasca (trumpet on 09.)
Mario Ochoa (piano on 06.)
Rico Reyes (percussion, vocals on 06.)
Linda Tillery (background vocals)
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Tower Of Power (horn section on 08.)

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Tracklist:
01. Batuka (Areas/Brown/Carabello/Rolie/Shrieve) 3.35
02. No One to Depend On (Carabello/Rolie/Escovedo) 5.31
03. Taboo (Areas/Rolie) 5.34
04. Toussaint L’Overture (Areas/Brown/Carabello/Rolie/Shrieve/C.Santana) 5.56
05. Everybody’s Everything (C.Santana/Brown/Moss) 3.31
06. Guajira (Areas/Brown/Reyes) 5.43
07. Jungle Strut (Ammons) 5.20
08. Everything’s Coming Our Way (C.Santana) 3.15
09. Para los Rumberos (Puente) 2.47
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10. Batuka (Areas/Brown/Carabello/Rolie/Shrieve) 3.41
11. Jungle Strut (Ammons) 5.59
12. Gumbo (Santana/Rolie) 5.26

The three bonus tracks were recorded live at the Fillmore West, San Francisco, California, July 4, 1971

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