Santana
Abraxas

Foreword: this is my first review. I accept comments and critiques, but please always present them politely! Artist: Santana. Album: Abraxas. Genre: Latin-Rock. Year: 1970.
At the beginning of the '70s, a band was developing, searching for an original sound and style: these musicians emerged triumphant from the legendary Woodstock concert. They were Santana. A blend of very different musicians (the keyboardist, for instance, only listened to Beatles songs!): Carlos Santana was the leader of this band, as well as the guitarist, and the inspiration for the name; the other members were Gregg Rolie (keyboards and lead vocals), David Brown (bass), Micheal Shrieve (drums), Mike Carabello and José Areas (percussion). Abraxas (the name of a demon) is their second album. Recorded in the summer of 1970, Santana collaborated with various musicians, including Peter Green of Fleetwood Mac, the author of “Black Magic Woman.” An incredible mix of sounds, dreamy atmospheres, and Latin rhythms gives this record a particular charm. It can be listened to at any time. Speaking of the tracks…

1) “Singing Winds, Crying Beasts” is almost scary at the start. The winds sing, the beasts cry. Carlos's guitar whistle is overwhelming but then gives way to the percussion, to the gong that occasionally makes itself heard (it almost seems like the sound of the wind), and to a magnificent keyboard accompaniment that carries the entire piece, leading into the second one with the same key…

2) “Black Magic Woman/Gipsy Queen” A historic track, very seductive, a reworking of one by Fleetwood Mac. A relaxed start with a fantastic guitar phrase, never intrusive, but always in line with the harmony of the song. Here Santana offers a bluesy guitar full of feeling. The ending is compelling.

3) “Oye Como Va” I don't think there's anyone on Earth who hasn't heard this track. What can I say? A cover of a famous musician who played the timbales, Tito Puente. Here Carlos and Gregg play two wonderful solos. The entire crew signed one of the most beautiful and engaging tracks of the '70s… absolutely must be heard at least once in a lifetime, along with another track I'll talk about later!

4) “Incident At Neshabur” Jazz sounds, and a touch of madness: the winning formula of track number 4. A stunning piano start, played only on this piece by Alberto Gianquinto, and the intensity builds up. Great riff by a great Carlos, who after a keyboard solo (a keyboard that is the trademark of the entire record, along with the guitar), starts an interesting phrasing. The continuation of the track becomes sweet and calm. Here, one of the best moments of the album, with Carlos the “tamer” keeping the screams of his instrument in check. Great piece.

5) “Se A Cabo” The rhythm returns! An instrumental track, short but effective. If you're listening to this now, you're surely tapping one of your feet in rhythm… I'm ready to bet on it!

6) “Mother’s Daughter” The best vocal performance of the entire album (along with “Hope You’re Feeling Better”). A guitar riff alternates with the magnificently sung part, leading to the finale with a solo, which fades out and gives way to another track that must be heard at least once in a lifetime…

7) “Samba Pa Ti” The track every guitarist should know. The track every person should know! It has made history, set standards, and served as background music for numerous commercials! Composed solely of a long guitar solo, with an unforgettable melody after the first listen, it is divided into two parts, separated by a great bass line: the first very calm and sensual (Santana had a gift for making some of their tracks almost erotic), the second full of drum accents. Here Carlos gives his best with his instrument, and the rest of the band follows him marvelously. The most famous and, in my opinion, the most beautiful track of the group.

8) “Hope You’re Feeling Better” Another great melodic phrase. Here Santana uses the “Wha-Wha” pedal, reminding a lot of Jimi Hendrix, but always maintaining his own style. A compelling track with a fantastic ending.

9) “El Nicoya” Very much in contrast with the previous track. A cheerful chorus that brings a smile, and "full-throttle" percussion, accompanied by an acoustic guitar. Pure Latin.

The first edition of the album was limited to these nine “gems.” In 1998, a version was released containing three additional “live” tracks, recorded at the Royal Albert Hall on April 18, 1970. The tracks are: “Se A Cabo,” “Touissant L’Overture,” and “Black Magic Woman.” An album that marked their subsequent discography because they understood which path to take by then. I highly recommend it to anyone wanting to start discovering this group and these Latin-rock sounds, leaving aside the albums of the last 5 years, which do not correspond to what Santana, and Carlos, achieved in the “seventies.”