Few bands have harnessed the essence and power of rhythm as well as Carlos Santana. His Latin rock and jazz fusion created a fury of percussive force about which the world seems to have forgotten.
Sure, mega hits like “Black Magic Woman” and “Evil Ways” still garner radio play today. But there is an entire catalog of genius records and masterful musicianship being ignored by today’s youth.
1999’s “Supernatural” sold 30 million copies and was culturally significant. But the real meat of Santana's canon is within his initial four records.
Santana’s self-titled debut didn’t necessarily bring about a sea change, but it stood alone with a sound no other San Francisco act in 1969 had really tapped into at the time.
These are my favorite tracks from Santana’s free-form debut, etched onto freshly cleaned virgin black vinyl, of course.
1. “Waiting”
The hushed sound of up-tempo bongos kicks off the album with a thick mist. In comes the bass line, with a plodding groove. Next is the drum set, which perfectly matches the structural cadence.
Atop it all is a hypnotic electric organ and ephemeral guitar licks that tie the whole song together, encapsulating the two in a trance-like state and blowing away the mist in a final instrumental onslaught at the end.
2. “Evil Ways”
The only top-10 hit in the U.S. on the album, it’s safe to say anyone who has perused their local classic rock radio station has heard “Evil Ways” before.
Gregg Rolie’s Hammond organ is instantly distinguishable here, especially as he lays down that laid back solo. The final minute explodes into speedy instrumental jam with Santana at the helm, wailing his guitar into oblivion.
3. “Savor”
For years, I would drum along to “Savor” while warming up for an extended practice session. As a young teenager, I was enamored with drummer Michael Shrieve’s incredible style and prowess. Barely 20-years-old, Shrieve pours more emotion into his instrument then anyone at that age should be allowed to.
The entire track is a percussion work out, though. Mike Carabello and Chepito
Areas are relentlessly energetic and push “Savor” into the stratosphere with
their blitz of percussion.
4.
“Jingo”
Like an anthem for nighttime romps through a humid jungle, “Jingo” is an imposingly heavy track complete with chanting and the deepest drum tuning you’ll ever hear.
Santana proves his worth as one of the world’s foremost guitar players here
with a solo that could beckon the stars to crash upon the earth. His style is
adorned with virtuoso and raw emotion that pierce like a hot blade.
5.
“Treat”
Hinting at Santana’s slow progression into jazz fusion on later albums, “Treat”
is an instrumental that begins with a gorgeously muted piano solo. Eventually
though, the song transitions into a lively jam and we’re once again slammed
with Santana’s remarkable ability to straddle the line between guitar excess
and garnishing accompaniment.
6.
“Soul Sacrifice”
For years, my father and I would watch the Woodstock concert film together, a ritual we re-enact almost every holiday’s morning. As each band gave its respective performance, I’d anticipate my favorite moment, practically tuning everyone before it out. The second Santana fades into the film, I can hardly keep from jumping out of my seat in excitement.
The performance of “Soul Sacrifice” at Woodstock is sensational and a legendary moment in rock’s history. It was the world’s first impression of Santana after the band’s 1968 Fillmore West breakout and they hardly disappointed.
Although it doesn’t reach the soaring heights of the live version, no song in music’s history has been more influential to me than Santana’s “Soul Sacrifice.” Shrieve’s drum solo is ingrained in my hands and feet. I know it front-to-back and can emulate it neigh perfectly.
In a quick six-minute jam, Santana defines their sound and proves that young artists with a debut album can be just as effectively tight as a band that’s been together for a decade.
Tell the reporter about your vinyl collection at nlatona@asu.edu or follow @Bigtonemeaty on Twitter.
Like The State Press on Facebook and follow @statepress on Twitter.
