Billy Cobham & George Duke Band – Live On Tour In Europe (1976)

FrontCover1.jpgThis isn’t a masterpiece of jazz rock fusion by any means, but it is tasty. Billy Cobham and George Duke, along with guitarist John Scofield and bassist Alfonso Johnson server up a generous slice of seventies fusion, without too much of that disco flavor that was beginning to permeate the genre at the time.

Duke, fresh out of Frank Zappa’s band, gets to show off his twisted sense of humor on Space Lady, which harkens back to some of the improv work he did with Frank, but remains a throwaway piece. Johnson’s Almustafa The Beloved, a vocal piece, reminds me a bit of Stanley Clarke’s early compositions, albeit without the impossibly fast bass licks.

Disco does rear it’s ugly head on Duke’s Do What Cha Wanna. But it is tolerable disco, until that nasty string synth comes in during the break.

Okay, he’s got that out of his system. Now back to fusion. Frankenstein Goes To The Disco is a drum solo piece, featuring Cobham with some nice drum synth triggers (far more advanced than Carl Palmer’s just a few short years earlier).

Johnson plays a nice, but not mind blowing solo on the Chick Corea-like Sweet Wine. And the album closes appropriately with Juicy, where each band member in turn gets to shine.

Not an essential fusion album, but not a bad addition. (by Evolver)


Following two studio recordings, this impressive band hit the road and cut this session with keyboardist George Duke. Their encounter provided for an uneven, but infectious, recording. “Hip Pockets,” composed by Cobham, and “Ivory Tattoo,” composed by Scofield, begin the session with some intense playing. Things get a bit goofy with “Space Lady” (a song which probably worked better live), and a bit melodramatic with “Almustafa the Beloved.” “Do What Cha Wanna” features Duke on vocals and, ironically, made it onto Cobham’s Best of Billy Cobham. The closer, “Frankenstein Goes to the Disco,” is primarily a vehicle for Cobham, while “Sweet Wine” and “Juicy” are good jam sessions. Despite some corny moments, this is a fun session that continues to be one of Cobham’s most sought after recordings. (by Robert Taylor)


Billy Cobham (drums, drum synthesizer, background vocals)
George Duke (keyboards, vocals)
Alphonso Johnson (bass, chapman stick, vocals)
John Scofield (guitar)
Jon Lucien (narrator on 04.)


01. Hip Pockets (Cobham) 7.10
02. Ivory Tattoo (Scofield) 4.36
03. Space Lady (Duke) 4.37
04. Almustafa The Beloved (Johnson) 6.52
05. Do What Cha Wanna (Duke) 4.35
06. Frankenstein Goes To The Disco (Cobham) 7.10
07. Sweet Wine (Cobham) 4.00
08. Juicy (Duke) 7.20




A chapman stick

Josipa Lisac & B. P. Convention B.B.I. – Same (1976)

FrontCover1.jpgHere´s a rare and really great Big Band music, recorded by Josipa Lisac:

Josipa Lisac, born 14 February 1950) is a Croatian singer.

During the 1960s she was a vocalist of the group named Zlatni Akordi. Her first solo album, Dnevnik jedne ljubavi (The Diary of a Love), recorded in 1973, was a huge success and is until today one of the most legendary albums in Croatia. Journalist and producer Peca Popović noted that The Diary of a Love was also fourth rock record and first female record released in Yugoslavia.

Gubec-Beg was a first Croatian rock opera where Josipa had a demanding role of Jana. Opera premiered in 1975, and aria “Ave Maria” was a standout that Josipa still today performs in concerts. It was created by Karlo Metikoš, Ivica Krajač and Miljenko Prohaska. [1] The show was performed around Yugoslavia, Budapest, Trieste, Rome, and Saint Petersburg. It was seen approximately by a million people. [3] The same year she recorded a jazz album in a collaboration with Ernie Wilkins, Clark Terry, Albert Mangelsdorff, Johnny Basso, producers were: Boško Petrović and Karlo Metikoš.

Josipa Lisac + Karlo Metikoš1

During 1987 Josipa Lisac entered preselection venue Jugovizija with hope to represent Yugoslavia in Eurovision Song Contest 1987, she sang her hit Gdje Dunav ljubi nebo (Where Danube Kisses the Sky) and had finished on 9th place out of 24 compositions, soon after releasing her album Boginja (Goddess) she became an acclaimed pop artist throughout Yugoslavia.

She had a lot of big rock hits, but she also sang Bosnian sevdalinka songs (Omer beže) and Croatian Christmas songs.

Beside being a top act of the Croatian popular music, she was also highly acclaimed in the former Yugoslav rock scene. She is known for her strong voice – she describes it as contralto by definition and unique sense of fashion.

On 5 March 2015 there was a 40th anniversary of Gubec-Beg.

Josipa Lisac01

In 2018 Josipa performed in Belgrade, Skoplje, Sarajevo, Podgorica, Krk, Zürich, Varaždin, Munich, Gothenburg, Stockholm, Zadar and many more.

She was in a relationship with Croatian musician, Karlo Metikoš. (He also performed under the pseudonym Matt Collins), who she met in 1971. He died in 1991. Together they have collaborated on 13 LPs. (by wikipedia)


And here´s an album she recorded together with the B. P. Convention Big Band (featuring international musicians like Albert Mangelsdorff, Art Farmer and Ernie Wilkins amongst others)

B. P. Convention Big BandA

And this is a hell of an album:

Lisac was one of the most popular singers in Yugoslavia thanks to this remarkable debut, which remains a much cherished album to many. It is frequently cited as being one of the greatest ever created by a Croatian artist and its songs are played frequently on Croatian radio and even by some club DJs in the UK. Lisac however refused to follow the formula of this breakthrough success and has since experimented with many different musical styles, incorporating rock, jazz, funk and avant-garde elements into her music as well as having also sung Bosnian sevdalinka folk music.  Lisac remains one of Croatia’s most interesting and diverse musicians, instantly recognisable due to her strong, distinct voice and her fashion sense, which can sometimes be as boundary pushing as her music. (by Time Out)

Classic Big Band music … in ultimate perfection and …

… what a voice ! It´s high time to discover Josipa Lisac … and for all the German readers of this blog: If you like Inga Rumpf (“Son Of A Preacher Man”), then it´s a must to hear this record !

And: more from Josipa Lisac will come !


Gianni Basso (saxophone)
Ozren Depolo (saxophone, flute)
Damir Dičić (guitar)
Marjan Domić (trumpet)
Zlatko Dvoržak (piano)
Art Farmer (trumpet)
Ladislav Fidry (trumpet)
Marcel Fuchs (trombone)
Ivan Kuzmić (violin)
Josipa Lisac (vocals)
Albert Mangelsdorff (trombone)
Mario Mavrin (bass)
Boško Petrović (vibraphone)
Salih Sadiković (drums)
Josip Stojanović (cello)
Vladimir Sverak (violin)
Karlo Takač (saxophone)
Clark Terry (trumpet)
Ernie Wilkins (saxophone)
Ante Živković (viola)
Miroslav Sedak-Benčić (congas on 09.)


01. Ljudi (People) (Merrill/Styne) 5.12
02. Nema Sunca (Ain’t No Sunshine) (Withers) 2.34
03. Nešto (Something) (Harrison) 3.18
04. Ti Si Sunce Mog Života (You Are The Sunshine Of My Life) (Wonder) 3.27
05. Willie And Laura Mae Jones (White) 3.10
06. Jučer (Yesterday) (Lennon/McCartney) 2.45
07. Intima (Intime) (Feather/Prohaska) 3.44
08. Zar Ne? (Didn’t We?) (Webb) 2.41
09. Čovjek S Tisuću Mana (Son Of A Preacher Man) (Hurley/Wilkins) 2.36
10. Moj Smiješni Dječače (My Funny Valentine) (Rodgers/Hart) 5.02

Croatian lyrics: Ivica Krajač




Josipa Lisac02


The Runaways – Same (1976)

FrontCover1.jpgThe Runaways were an all-female teenage American rock band that recorded and performed in the second half of the 1970s. The band released four studio albums and one live set during its run. Among their best-known songs are “Cherry Bomb”, “Hollywood”, “Queens of Noise” and a cover version of the Velvet Underground’s “Rock & Roll”. Never a major success in the United States, the Runaways became a sensation overseas, especially in Japan, thanks to the hit single “Cherry Bomb”.

The Runaways were formed in late 1975 by drummer Sandy West and rhythm guitarist Joan Jett after they had both introduced themselves to producer Kim Fowley, who gave Jett’s phone number to West. The two met on their own at West’s home and later called Fowley to let him hear the outcome. Fowley then helped the girls find other members. Two decades later he said, “I didn’t put the Runaways together, I had an idea, they had ideas, we all met, there was combustion and out of five different versions of that group came the five girls who were the ones that people liked.”

TheRunaways1.jpgStarting as a power trio with singer/bassist Micki Steele, the Runaways began the party and club circuit around Los Angeles. They soon added lead guitarist Lita Ford, who had originally auditioned for the bass spot. Steele was fired from the group, replaced by local bassist Peggy Foster, who left after just one month. Lead singer Cherie Currie was found and recruited in a local teen nightclub called the Sugar Shack, followed by Jackie Fox (who had originally auditioned for the lead guitar spot) on bass.

The Runaways were signed to Mercury Records in 1976 and their debut album, The Runaways, was released shortly after. The band toured the U.S. and played numerous sold-out shows. Their opening shows included headlining acts such as Cheap Trick, Van Halen, The Talking Heads, and Tom Petty and the Heartbreakers.[4] The documentary Edgeplay: A Film About the Runaways, directed by former Runaway bassist Vicki Blue revealed each girl patterned herself after an idol: Currie on David Bowie, Jett on Suzi Quatro, Ford a cross between Jeff Beck and Ritchie Blackmore, West on Roger Taylor, and Fox on Gene Simmons.


The Runaways is the debut studio album by American rock band the Runaways. It was released on June 1, 1976, by Mercury Records.

AllMusic has praised the album (especially band members Cherie Currie, Joan Jett and Lita Ford), comparing the band’s music to material by Led Zeppelin and Aerosmith.[2]

According to multiple sources, including Cherie Currie (in her memoir Neon Angel), the liner notes of the 2003 Cherry Red Records reissue of The Runaways, and Jackie Fox herself, bassist Nigel Harrison played bass on the album, due to manager Kim Fowley refusing to let Fox play on the record.


The documentary film Edgeplay: A Film About the Runaways states that the album’s first track “Cherry Bomb” was written ad hoc during the audition of lead singer Cherie Currie and the title is a play on the pronunciation of Currie’s first name. Currie was told to prepare a Suzi Quatro song for the audition; she picked “Fever”, a song the band did not know how to play. Instead, Jett and Fowley came up with the song and had Currie sing it for her audition.

In January 2009, “Cherry Bomb” was ranked 52nd on VH1’s 100 Greatest Hard Rock Songs list.[5] A cover of “Cherry Bomb” is featured in the music video game Rock Band as a downloadable single track. The song also featured in the films Dazed and Confused, RV, Cherrybomb, The Runaways, and Guardians of the Galaxy, and is played in the opening scene of Margaret Cho’s stand-up comedy DVD “I’m the One That I Want”.

“You Drive Me Wild” is featured in the 2010 film about the band. Actress Dakota Fanning covers “Cherry Bomb” as well as “Dead End Justice” with Kristen Stewart, as they portray Cherie Currie and Joan Jett, respectively. (by wikipedia)


from German music magazine “Bravo”

When the Runaways debuted in 1976 with this self-titled LP, aggressive female rockers were the exception instead of the rule. Women had no problem becoming folk-rockers, singer/songwriters or Top 40 icons, but female artists who had more in common with Led Zeppelin and Aerosmith than Joni Mitchell were hardly the norm. With this album, the Runaways made it crystal clear that women (or specifically, adolescent girls) were more than capable of playing intense, forceful hard rock that went directly for the jugular. Lusty classics like “Cherry Bomb” and “You Drive Me Wild” made no attempt to conceal the fact that teenage girls could be every bit as sexual as the guys — a message that both men and women found intimidating.


And on “Is It Day or Night,” Cherie Currie sings about life in the fast lane with every bit as much conviction as Axl Rose would 11 years later. Currie and Joan Jett are equally riveting, and a 17-year-old Lita Ford was already an impressive guitarist. This LP was far from a commercial hit in the U.S., where timid rock radio programmers simply didn’t know what to make of the Runaways. But interestingly, it did earn the band a strong following in the major rock market of Japan. (by Alex Henderson)


Cherie Currie (vocals, piano)
Lita Ford (lead guitar)
Jackie Fox (bass, vocals – only credited, did not perform on the album)
Joan Jett (guitar, vocals)
Sandy West (drums, vocals)
Nigel Harrison (bass – uncredited)


01. Cherry Bomb (Jett/Fowley) 2.20
02. You Drive Me Wild (Jett) 3.22
03. Is It Day Or Night? (Fowley) 2.47
04. Thunder (Anthony/Krome) 2.33
05. Rock And Roll (Reed) 3.19
06. Lovers (Jett/Fowley) 2.12
07. American Nights (Anthony/Fowley) 3.17
08. Blackmail (Jett/Fowley) 2.43
09. Secrets (Currie/Fowley/Krome/West) 2.45
10. Dead End Justice (Anderson/Currie/Fowley/Jett) 7.04



Stanley Clarke – School Days (1976)

FrontCover1.jpgSchool Days is the fourth solo album by jazz fusion bassist Stanley Clarke. The album reached number 34 in the Billboard 200 chart and number 2 in the Jazz Albums chart. (by wikipedia)

Every pro electric-bass player and their mothers wore out the grooves of this record when it first came out, trying to cop Clarke’s speedy, thundering, slapped-thumb bass licks. Yet ultimately, it was Clarke’s rapidly developing compositional skills that made this album so listenable and so much fun for the rest of us, then and now. The title track not only contributed a killer riff to the bass vocabulary; it is a cunningly organized piece of music with a well-defined structure. Moreover, Clarke follows his calling card with two tunes that are even more memorable — the sauntering ballad “Quiet Afternoon” and an ebullient, Brazilian percussion-laced number with a good string arrangement and a terrific groove, “The Dancer.”


Clarke also brings out the standup bass for a soulful acoustic dialogue with John McLaughlin on “Desert Song.” Evidently enthused by their leader’s material, David Sancious (keyboards) and Raymond Gomez (guitars) deliver some of their best solos on records — and with George Duke on hand on one cut, you hear some preliminary flickerings of Clarke’s ventures into the commercial sphere. But at this point in time, Clarke was triumphantly proving that it was possible to be both good and commercial at the same time. (by Richard S. Ginell)

StanleyClarke1.jpgSchool Days is the third and final album in Stanley Clarke’s great trio of progressive rock influenced fusion albums (Stanley Clarke, Journey to Love, School Days) that he released in the mid-70s. Although maybe not always quite as ambitious as the first two albums, School Days is probably the most mature and developed, making it the best of the three. Curiously enough all three of these albums seem to follow a pattern: one lengthy orchestrated jazz fusion ‘suite’, a modal acoustic number featuring McLaughlin, Corea or both and a few high octane virtuoso rock/funk numbers with guitar shredding by Ray Gomez or Jeff Beck.

There’s a difference with this third album, the melodies and songwriting are just better. The first two songs feature catchy tunes that tempt you to hum along, how many fusion records out there really have a melody that doesn’t sound like someone taking random shots at a fretboard or keyboard. The third song, The Dancer, is about one of the finest I have ever heard. Stanley sets up this ultra-tasty groovelicious world beat/funk circular thump-pop pattern over which Ray Gomez and David Sancious harmonize a Zappaesque Lydian melody. Optimistic, bright and slightly Caribbean, I never get tired of hearing this one.


Desert Song opens side two with McLaughlin and Clarke playing rapid fire acoustic solos. Their skills are admirable, but that 70s style of overly flashy fretwork gets old to me. This song does have one section where it sounds like McLaughlin is channeling Pete Townsends chord work on Underture. Next up, Hot Fun gets things back on track with a catchy melodic funk bass line and great horn and string arrangements. Once again it’s the superior melodies that make the difference.

The album closes with one of Stanley’s big orchestrated jazz suites with a bit of his usual for that time shot at EW&F vocals. This is the only song on the album that features Billy Cobham and George Duke and they raise the already virtuoso playing on here by yet one more notch. Unfortunately Clarke will take a turn for the commercial after this album, his third final and best of his progressive rock/jazz fusion releases. (by Easy Money)


Gerry Brown (drums on 01. + 03.)
Stanley Clarke (bass, vocals, piano, percussion)
Billy Cobham (drums, synthesizer on 06.)
George Duke (keyboards on 06.)
Jon Faddis (trumpet)
Steve Gadd (drums on 02. + 05.)
Ray Gomez (guitar on 01., 03 + 05.)
Milt Holland (percussion on 03. + 04.)
Icarus Johnson (guitar on 06.)
Tom Malone (trombone)
John McLaughlin (guitar on 04.)
Alan Rubin (trumpet)
David Sancious (keyboards on 01., synthesizer on 02. + 03., organ on 03., guitar on 05.)
Lew Soloff (trumpet)
Dave Taylor (trombone)
horn & brass section:
Earl Chapin – John Clark – Peter Gordon – Wilmer Wise Al Aarons – Stewart Blumberg – George Bohanon – Buddy Childers – Robert Findley – Gary Grant – Lew McCreary – Jack Nimitz – William Peterson – Dalton Smith

string section:
Marilyn Baker – Thomas Buffum – David Campbell – Rollice Dale – Robert Dubow – Janice Gower – Karen Jones – Dennis Karmazyn – Gordon Marron – Lya Stern – Ron Strauss – Marcia Van Dyke – John Wittenberg


01. School Days 7.52
02. Quiet Afternoon 5.10
03. The Dancer 5.29
04. Desert Song 6.57
05. Hot Fun 2.56
06. Life Is Just A Game 9.02

Music and lyrics written by Stanley Clarke



Muddy Waters – Hard Again (1977)

FrontCover1.jpgHard Again is the twelfth studio album by American blues singer Muddy Waters. It was recorded by producer Johnny Winter.

Released on January 10, 1977, Hard Again was Muddy’s first album on the Blue Sky label after leaving Chess Records, and was well received by critics.

In August 1975, Chess Records was sold to All Platinum Records and became a reissue label only. It was sometime after this when Muddy Waters left the label and he did not record any new studio material until he signed with Johnny Winter’s Blue Sky label in October 1976.

The sessions for Hard Again were recorded across the space of three days. Producing the session was Johnny Winter and engineering the sessions was Dave Still – who previously engineered Johnny’s brother Edgar, Foghat, and Alan Merrill. For the recordings Muddy used his then current touring band of guitarist Bob Margolin, pianist Pinetop Perkins, and drummer Willie “Big Eyes” Smith. Other backing members during the sessions were harmonicist James Cotton, who performed with Muddy at the Newport Jazz Festival in 1960, and bassist Charles Calmese, who performed with both Johnny Winter and James Cotton in the past.

Three of the songs on the album – “Mannish Boy”, “I Want to Be Loved”, and “I Can’t Be Satisfied” – were re-recordings of songs that were previously recorded for Chess Records. One of the songs recorded, “The Blues Had a Baby and They Named It Rock and Roll, Pt. 2”, was co-written by Brownie McGhee and another song, “Bus Driver”, was co-written by T. Abrahamson.

Hard Again peaked at #143 on the Billboard 200, which was his first appearance on the chart since Fathers and Sons in 1969. The album won the Grammy Award for Best Ethnic or Traditional Folk Recording the year of its release. (by wikipedia)

After a string of mediocre albums throughout most of the 1970s, Muddy Waters hooked up with Johnny Winter for 1977’s Hard Again, a startling comeback and a gritty demonstration of the master’s powers. Fronting a band that includes such luminaries as James Cotton and “Pine Top” Perkins, Waters is not only at the top of his game, but is having the time of his life while he’s at it. The bits of studio chatter that close “Mannish Boy” and open “Bus Driver” show him to be relaxed and obviously excited about the proceedings. Part of this has to be because the record sounds so good. Winter has gone for an extremely bare production style, clearly aiming to capture Waters in conversation with a band in what sounds like a single studio room. This means that sometimes the songs threaten to explode in chaos as two or three musicians begin soloing simultaneously. Such messiness is actually perfect in keeping with the raw nature of this music; you simply couldn’t have it any other way. There is something so incredibly gratifying about hearing Waters shout out for different soloists, about the band missing hits or messing with the tempos. Hey this isn’t pop music, it’s the blues, and a little dirt never hurt anybody. The unsung star of this session is drummer Willie “Big Eyes” Smith, whose deep grooves make this record come alive. The five-minute, one-chord “Mannish Boy” wouldn’t be nearly as compelling as it is if it weren’t for Smith’s colossal pocket. Great blues from one of the dominant voices of the genre. (by Daniel Gioffre)


Charles Calmese (bass)
James Cotton (harmonica)
Bob Margolin (guitar)
Pinetop Perkins (piano)
Willie “Big Eyes” Smith (drums)
Muddy Waters (vocals, guitar)
Johnny Winter (guitar, miscellaneous screaming)

01. Mannish Boy (Morganfield/McDaniel/London) 5.24
02. Bus Driver (Morganfield/Abrahamson) 7.48
03. I Want To Be Loved (Dixon) 2.21
04. Jealous Hearted Man (Morganfield) 4.25
05. I Can’t Be Satisfied (Morganfield) 3.31
06. The Blues Had A Baby and They Named It Rock And Roll, Pt. 2 (Morganfield/McGhee) 3.36
07. Deep Down In Florida (Morganfield) 5.27
08. Crosseyed Cat (Morganfield) 6.01
09. Little Girl (Morganfield) 7.07



More Muddy Waters:




McKinley “Muddy Waters” Morganfield (April 4, 1913 or 1915 – April 30, 1983)

Outlaws – Lady In Waiting (1976)

FrontCover1.jpgIt’s not easy following up a creatively and commercially successful debut album, but Florida-based Southern rockers the Outlaws did just fine with their sophomore effort, 1976’s Lady in Waiting, the follow-up to their 1975 self-titled, gold-selling release. Although Lady in Waiting doesn’t have all-time knockouts like “There Goes Another Love Song” or “Green Grass & High Tides,” it does include a handful of Outlaws classics, including the minor hit “Breaker-Breaker” and “Stick Around for Rock & Roll.” Vocalists/guitarists Hughie Thomasson, Henry Paul, and Billy Jones; bass guitarist Frank O’Keefe (who was fired after this album); and drummer Monte Yoho collaborated once more with producer Paul A. Rothchild to create a textured album that managed to fuse intricate guitar arrangements and frame them within Thomasson’s rock & roll, Paul’s pure country, and Jones’ intensely personal songwriting styles. And don’t forget the splendid three-part vocal harmonies either. “Breaker-Breaker” is bright, easygoing country-rock; lyrically, it piggybacked on the mid-’70s CB radio craze.


The tempo changes and distinctly different guitar tones on “South Carolina” add extra dimensions to what would otherwise be straightforward, up-tempo country. Jones’ “Ain’t So Bad” is mid-tempo pop/rock with ironic lyrics about life and death, especially since he committed suicide two decades later in 1995 around the time of O’Keefe’s death. The tough country-rock, rockabilly-flavored number “Freeborn Man” was, unbelievably, co-written by Paul Revere and the Raiders vocalist Mark Lindsey and guitarist Keith Allison; the guitar solos provide the punch, but O’Keefe’s walking bassline adds a nice, loping rhythm. Paul’s country-inflected “Girl From Ohio” is rife with gorgeous harmonies. “Prisoner” is a sensitive Jones song with occasional jazz-pop tendencies. The hard-rocking “Stick Around for Rock & Roll” is a rowdy guitar jam. Lady in Waiting was reissued on CD by Buddha Records in 2001. (by Bret Adams)


Bill Jones (guitar, vocals)
Frank O’Keefe (bass)
Henry Paul (guitar, vocals)
Hughie Thomasson (guitar, vocals)
Monte Yoho (drums)
Joe Lala (percussion)


01. Breaker-Breaker (Thomasson) 2.57
02. South Carolina (Paul) 3.04
03. Ain’t So Bad (Jones) 3.47
04. Freeborn Man (Allison/Lindsey) 4.48
05. Girl From Ohio (Paul) 5.01
06. Lover Boy (Thomasson) 3.57
07. Just For You (Thomasson) 3.15
08. Prisoner (Jones) 3.56
09. Stick Around For Rock & Roll (Thomasson) 6.38




Santana – Amigos (1976)

FrontCover1Amigos is the seventh studio album by Santana. It generated a minor U.S. hit single in “Let It Shine” and was the band’s first album to hit the top ten on the Billboard charts since Caravanserai in 1972 (it ultimately reached gold record status). In Europe, the song “Europa” was released as a single and became a top ten hit in several countries.

New vocalist Greg Walker joined the group. It would be the last Santana album to include original bassist David Brown.

This album has been mixed and released in stereo and quadraphonic.^(by wikipedia)

By the release of Amigos, the Santana band’s seventh album, only Carlos Santana and David Brown remained from the band that conquered Woodstock, and only Carlos had been in the band continuously since. Meanwhile, the group had made some effort to arrest its commercial slide, hiring an outside producer, David Rubinson, and taking a tighter, more up-tempo, and more vocal approach to its music. The overt jazz influences were replaced by strains of R&B/funk and Mexican folk music. The result was an album more dynamic than any since Santana III in 1971. “Let It Shine” (number 77), an R&B-tinged tune, became the group’s first chart single in four years, and the album returned Santana to Top Ten status. by William Ruhlmann)


Amigos is the first Santana album that doesn’t attempt to break new ground. The several styles Carlos Santana has delved into over the past decade have been consolidated into a varied, multidimensional album. The early days of happy Latin rhythms, congas and catchy vocal hooks and choruses are represented not only by the not-quite-hidden picture of the band’s first album on the cover, but also by the very first strains of “Dance Sister Dance (Baila Mi Hermana),” which opens the album. If you’re more taken by the harder, brasher rock of Abraxas and Santana, “Take Me with You” and “Let Me” will suit you better. And the dreamlike, moody intensity of Caravanserai is evoked by “Europa (Earth’s Cry Heaven’s Smile).”

Throughout, Carlos Santana’s guitar wizardry remains as impressive as ever. He constantly darts in, out and through the dense rhythm section, displaying a mastery of lean rock, hot jazz and an occasional dash of quiet beauty. Most guitarists are hard pressed to come up with a single style; Carlos Santana has at least three of which he is master.

I hesitate to call this a safe album, but in a way, that’s what it is. Amigos is Santana at its most consistent — perhaps in an effort to win back listeners disaffected by the long delay between albums. For fans, it is indispensable. For new listeners, a treat. (by Alan Niester)


The inlets

David Brown (bass)
Leon “Ndugu” Chancler (drums, percussion, background vocals)
Tom Coster (keyboards, synthesizer, background vocals)
Armando Peraza (percussion, background vocals, vocal on 04.)
Carlos Santana (guitar, background vocals, percussion)
Greg Walker (vocals)
background vocals:
Ivory Stone – Julia Tillman Waters – Maxine Willard Waters

01. Dance Sister Dance (Baila Mi Hermana) (Chancler/Coster/Rubinson) 8.15
02. Take Me With You (Chancler/Coster) 5.27
03. Let Me (Coster/C.Santana) 4.51
04. Gitano (Peraza) 6.13
05. Tell Me Are You Tired (Chancler/Coster) 5.42
06. Europa (Earth’s Cry Heaven’s Smile) (Coster(C.Santana) 5.06
07. Let It Shine (Brown/Gardner) 5.43




This was tha last album with David Brown on bass:

David Brown

David Brown (February 15, 1947 – September 4, 2000)
He died on due to liver and kidney failure.