The album featured 2 singles that charted inward the United States. "Everybody's Everything" peaked at No. 12 inward Oct 1971, patch "No One to Depend On", an uncredited adaptation of Willie Bobo's boogaloo touchstone "Spanish Grease", received pregnant airplay on FM radio together with peaked at No. 36 inward March 1972. The album besides marked the improver of 17-year-old guitarist Neal Schon (who performed notable solos on both singles) to the group.
The master copy album was recorded at Columbia Studios, San Francisco, together with released inward both stereo together with quadraphonic.
Santana III was besides the concluding Santana album to hitting #1 on the charts until Supernatural inward 1999. According to the 2005 edition of Guinness World Records, this is the longest delay betwixt #1 albums e'er occurring. The master copy album was re-released inward 1998 amongst alive versions of "Batuka", "Jungle Strut" together with a previously unreleased song, "Gumbo", recorded at Fillmore West inward 1971 which features Pb guitar solos past times both Santana together with Schon.
The twelvemonth was 1971, together with immature Neil Schon had a big determination to make. The 17-year-old guitar prodigy was invited past times Eric Clapton to bring together Derek together with the Dominoes at the same fourth dimension that he was invited past times Carlos Santana to bring together his group. Schon chose Santana simply inward fourth dimension to choke into the studio to bring together inward the recording of the band’s 3rd album.
By the fourth dimension Santana III was recorded, the band was even together with thence riding the huge moving ridge they created amongst their historic appearance at Woodstock 2 years earlier. Their self-titled kickoff album had reached #4 on the Billboard Album Chart, together with their second, Abraxas, sold to a greater extent than than four-million together with reached #1 inward 1970. Everything seemed to live going their way.
What most of their fans didn’t know was that the pull per unit of measurement area of success was taking its cost on the group, together with past times 1971 they were on the verge of disintegrating. Santana wanted the band to pose emphasis on its Mexican musical roots. Greg Rollie, an master copy fellow member of the band when it was formed inward 1966 equally the Santana Blues Band, wanted to choke amongst a to a greater extent than progressive audio together with themed concept albums, which suited immature Schon simply fine, given his classical training.
The tensions became to a greater extent than than the grouping could handle, together with before long after the disclose of Santana III, the band’s members went their divide ways. Rollie afterward formed Journey, which would besides choke Schon’s home.
Santana goes dorsum deep into the roots of today’s music, non exclusively simply to the fourth dimension when the Family Dog was at the Avalon, but dorsum farther into the heavy dosages of Latin together with African rhythms that lead keep been part of American music for a long time.
For it’s for sure truthful that for all their Fender basses together with fuzz tones, Santana is to a greater extent than deeply committed to the music defined together with even together with thence played past times Tito Puente, Machito, Mongo Santamaria, together with all the glorious combinations of brass together with musical rhythm that made the quondam sun afternoon dances such a delight, than to the Rolling Stones. Santana’s music is contemporary, but it comes from a tradition together with part of what has provoked a curious reluctance on the part of around difficult stone fans to pick out Santana is that tradition.
This is music to trip the lite fantastic to, but it is music that shrieks for to a greater extent than advanced, dexterous together with imaginative dancing than around of the freeform trunk motion that stone dancing has accepted. It is besides music that asks for a sure form of emotional abandon for maximum enjoyment. You don’t simply nous to Santana; you lot teach within the rhythm, play it inward your caput or your trunk together with participate.
Basically, they demonstrate to what incredible transports of ecstasy 1 tin live taken past times complex, insinuating rhythms, specially when they are played against 1 around other non exclusively inward their patterns but besides inward the timbres of the sounds together with the ranges wherein they are played. H5N1 total Santana rhythmic onslaught, equally inward “Tous-saint L’Overture” (who, reverse to 1 DJ I heard is no relation to the singer/producer, but rather was a armed forces genius who has remained a hero to blacks together with to many others because of the Haitian independence create exercise to a greater extent than than 100 years ago) is 1 of the most complex assemblies of rhythmic patterns you lot tin hear.
The please of the tensions brought into play when 1 musical rhythm is prepare against around other amongst all the artful shifts inward the crunch together with utilization of alternate timbres of audio is amazing. Against these rhythmic turbulances, the singing, wailing guitar of Carlos Santana is unremarkably prepare together with it provides a contrast that tin sweep you lot upward inward its momentum right away together with deport you lot along. And inward a higher identify all, the band swings.
Lyrics are near secondary to instrumental virtuosity amongst Santana together with and thence are vocals. Frequently the lyrics are utilized equally unmarried lines for a unison cry or chant that inward itself evolves into a rhythmic designing played against the sounds the band is producing. Thus the band truly becomes an extended essay inward rhythm.
Sometime I would similar to come across an analysis of the rhythms together with patterns used past times Santana done past times around ethno-musicologist who could relate them to traditional Cuban, African together with Haitian music together with styles. I suspect it would live quite revealing.
I am convinced that this band, which is truly a metropolis band bringing us the hot pavement together with the cool nights equally good equally the rumble together with the roar of the city, is solidly linked dorsum to the loma country, the savannahs together with the inland plains music of Africa together with Republic of Cuba together with the other sources of that magic rhythmic ability of which they are such compelling examples.
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Track listing:
01 Batuka 3:35
02 No One To Depend On 5:31
03 Taboo 5:34
04 Toussaint L'Overture 5:56
05 Everybody's Everything 3:31
06 Guajira 5:43
07 Jungle Strut 5:20
08 Everything's Coming Our Way 3:15
09 Para Los Rumberos 2:47
Bonus Tracks: All Recorded Live At The Fillmore West July 4, 1971
10 Batuka (Live) 3:41
11 Jungle Strut (Live) 5:59
12 Gumbo (Live) 5:26
Personnel:
Gregg Rolie – Pb vocals, keyboards, piano, producer
Carlos Santana – guitar, vocals, producer
Neal Schon – guitar, producer
David Brown – bass, producer, engineer
Michael Shrieve – drums, percussion, producer
Jos̩ "Chepito" Areas Рpercussion, conga, timbales, drums, producer
Mike Carabello – percussion, conga, tambourine, vocals, producer
Additional personnel:
Rico Reyes – percussion, vocals, Pb vocals on "Guajira"
Thomas "Coke" Escovedo – percussion, vocals
Luis Gasca – trumpet on "Para los Rumberos"
Mario Ochoa – pianoforte solo on "Guajira"
Tower of Power – horn department on "Everybody's Everything"
Linda Tillery – background vocals
Greg Errico – tambourine
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