The album featured 2 singles that charted inwards the United States. "Everybody's Everything" peaked at No. 12 inwards Oct 1971, spell "No One to Depend On", an uncredited adaptation of Willie Bobo's boogaloo criterion "Spanish Grease", received pregnant airplay on FM radio as well as peaked at No. 36 inwards March 1972. The album too marked the add-on 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, as well as released inwards both stereo as well as quadraphonic.
Santana III was too the concluding Santana album to hitting #1 on the charts until Supernatural inwards 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 inwards 1998 amongst alive versions of "Batuka", "Jungle Strut" as well as a previously unreleased song, "Gumbo", recorded at Fillmore West inwards 1971 which features atomic number 82 guitar solos past times both Santana as well as Schon.
The yr was 1971, as well as 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 as well as the Dominoes at the same fourth dimension that he was invited past times Carlos Santana to bring together his group. Schon chose Santana but inwards fourth dimension to perish into the studio to bring together inwards the recording of the band’s tertiary album.
By the fourth dimension Santana III was recorded, the band was all the same riding the huge moving ridge they created amongst their historic appearance at Woodstock 2 years earlier. Their self-titled showtime album had reached #4 on the Billboard Album Chart, as well as their second, Abraxas, sold to a greater extent than than four-million as well as reached #1 inwards 1970. Everything seemed to live going their way.
What most of their fans didn’t know was that the pressure level of success was taking its cost on the group, as well as past times 1971 they were on the verge of disintegrating. Santana wanted the band to position emphasis on its Mexican musical roots. Greg Rollie, an master copy fellow member of the band when it was formed inwards 1966 equally the Santana Blues Band, wanted to perish amongst a to a greater extent than progressive audio as well as themed concept albums, which suited immature Schon but fine, given his classical training.
The tensions became to a greater extent than than the grouping could handle, as well as shortly after the unwrap of Santana III, the band’s members went their divide ways. Rollie afterward formed Journey, which would too teach Schon’s home.
Santana goes dorsum deep into the roots of today’s music, non alone but to the fourth dimension when the Family Dog was at the Avalon, but dorsum farther into the heavy dosages of Latin as well as African rhythms that have got been operate of American music for a long time.
For it’s for certain truthful that for all their Fender basses as well as fuzz tones, Santana is to a greater extent than deeply committed to the music defined as well as all the same played past times Tito Puente, Machito, Mongo Santamaria, as well as all the glorious combinations of brass as well as beat that made the quondam Lord's Day afternoon dances such a delight, than to the Rolling Stones. Santana’s music is contemporary, but it comes from a tradition as well as operate of what has provoked a curious reluctance on the operate of around difficult stone fans to choose Santana is that tradition.
This is music to trip the low-cal fantastic to, but it is music that shrieks for to a greater extent than advanced, dexterous as well as imaginative dancing than around of the freeform trunk displace that stone dancing has accepted. It is too music that asks for a sure form of emotional abandon for maximum enjoyment. You don’t but heed to Santana; you lot teach within the rhythm, play it inwards your caput or your trunk as well as 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 alone inwards their patterns but too inwards the timbres of the sounds as well as the ranges wherein they are played. H5N1 total Santana rhythmic onslaught, equally inwards “Tous-saint L’Overture” (who, opposite to 1 DJ I heard is no relation to the singer/producer, but rather was a armed services genius who has remained a hero to blacks as well as to many others because of the Haitian independence create practise 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 beat is prepare against around other amongst all the artful shifts inwards the crunch as well as utilization of alternate timbres of audio is amazing. Against these rhythmic turbulances, the singing, wailing guitar of Carlos Santana is normally prepare as well as it provides a contrast that tin sweep you lot upwards inwards its momentum directly as well as bear you lot along. And inwards a higher identify all, the band swings.
Lyrics are most secondary to instrumental virtuosity amongst Santana as well as and then are vocals. Frequently the lyrics are utilized equally unmarried lines for a unison squall or chant that inwards itself evolves into a rhythmic blueprint played against the sounds the band is producing. Thus the band truly becomes an extended essay inwards rhythm.
Sometime I would similar to come across an analysis of the rhythms as well as patterns used past times Santana done past times around ethno-musicologist who could relate them to traditional Cuban, African as well as Haitian music as well as styles. I suspect it would live quite revealing.
I am convinced that this band, which is truly a urban marrow band bringing us the hot pavement as well as the cool nights equally good equally the rumble as well as the roar of the city, is solidly linked dorsum to the loma country, the savannahs as well as the inland plains music of Africa as well as Republic of Cuba as well as 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 – atomic number 82 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, atomic number 82 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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