There seems to be a lot of excitement and anticipation about the Legacy release of Supernatural and for Santana fans there should be.  For a lot of people, 1999’s Supernatural was their introduction to Santana, and because of the cool guest artists and the appeal of the commercially viable songs, it brought Carlos back into the limelight and he’s been there in one form or another for the past ten years.  But I feel it almost an obligation to bring Santana’s third album back for a review – for some a reminder to get it out and listen to it again and for people new to the band, to let them know about this masterpiece.

Santana III, recorded in 1971, is everything that is Santana and what all of their albums should be measured against.  Not before or since have they equaled the intensity, the drive, the passion or the gonzo playing that this recording showcased.  Their albums are, as a whole, excellent, no denying that, whether you are into their Latin/Rock stage, their spiritual musings, the jazz albums or pop music, but Santana III blisters and fires you up like no other.   

There is a reason why this album is so fantastic – two words – Neal Schon. Greg Rolie wondered how Carlos would feel about adding a second guitarist, but he needed not to have worried. Carlos Santana took Neal, a fifteen year old guitar prodigy – I’ll say it again – fifteen years old! - into the group and basically said trade licks with me so you can learn and grow and that’s exactly what Neal did.  Before he went off to form Journey, he cut his teeth here and this one album shows exactly why Carlos and Greg had so much faith in him. There were few rock bands where the duel guitar system worked well, Wishbone Ash being one, and Santana Mark II another.  The guitarists pushed each other throughout the recording, creating a synergy that has not been equaled in the history of this band and for few others as well.  Let’s run down the tracks so people new to this album will get an idea.

Batuka begins with a fast percussion rhythm barely audible in your speakers but it starts to swell accompanied with the organ and then all of a sudden the two guitarists start trading fiery leads and this continues on and on, slow-burning guitars as Neal and Carlos work their magic, the percussion and drums a frenzied mash of playing and then Greg Rolie comes in with his signature Hammond runs until it all quiets down and goes into…

No One to Depend On – one hot bluesy song.  The beat is a bit slower to start and swings in a Latin/Blues sort of thing with all the harmony vocals trading, but wait – it develops into a heavy recurring riff with hand clapping and the guitars, bubbling underneath, bust out and start more incredible licks while all of the percussion comes up in the mix – another feeding frenzy of just plain all out giving it.  Eventually they calm down enough to get back to the original melody but not until they leave a bit of blood on the floor!

Taboo starts with some very dramatic chords and a John McLaughin/Mahavishnu-like introduction, but then gets into a slow, psychedelic-like blues.  To me, very reminiscent of Robin Trower with a Latin feel.  So this song, with its great catchy melody, goes on for a bit and has some real slow burning solos with lots of that famous Santana sustain that gives you goosebumps.  But then the guitars start to climb up the register, the solos getting more intense, like edging up a Mountain (pun intended) one step at a time.  Then they break out with an incredible solo once more – just so high and tight and desperate sounding you can’t help but get totally emotional over the sound – amazing.

Toussaint Overture begins at 100 MPH and doesn’t stop – this is a showcase for every member to have solo spots and having the time of their lives – Woodstock all over again.  The beat is frantic, with no holds barred playing as they all take a turn.  In my opinion this is the greatest song ever recorded by this band before or since.  When they suddenly slow it down, and the guitars take centre stage, you might think it will end shortly, but then they crank it up again and the two guitarists start their trading at a super fast pace until the listener is just exhausted.

Everybody’s Everything features a driving, horn-filled romp with a real early Rock and Roll feel, something right out of Detroit and Mitch Ryder.  This is the kind of stuff that would cause you to speed along the highway with the top down swaying in your seat.  I don’t think any Santana song has ever been this much fun – and wait until you hear the guitar break on this – followed by the percussion fading away.

Guajira is right out of Santana I or Abraxas, a nod to their percussive songs sung in Spanish with a solid beat and featuring the percussion up front and Greg Rolie’s jazzy piano runs – a nice break and a bit of a relief.  But like all the songs on this album, everything seems heavier somehow compared to the first two.  Horns and a wonderful Santana lead here harkens back to their earlier days. 

Jungle Strut begins with a gentle calmness, and then launches into another driving song.  Not quite Toussant Overture, but close, with all the members really into the groove.  A great workout for Greg Rolie on Hammond organ again, followed by more just insane duel guitars – the rhythm starts to syncopate more noticeably and soon you are taken to a different place – it is relentless and all encompassing.  And so it goes – another workout and another performance left on the floor (or the stage).

Everything’s Coming Our Way is one of the greatest Santana singles, not only for its positive message, but also for the sheer hookiness of it.  Acoustic guitars strum the rhythm here with Rolie’s organ filling in the gaps.  This is sheer magic and super addictive.  Imagine that this was on the radio in 1971 – wouldn’t happen today and what a shame. 

The album ends with Para Los Rumberos, another horn-laced rhythm fest.  This drives along and just keeps pushing – a fitting way to end a fantastic set of power and emotion.

On Disc One, four more bonus tracks are included, three of which have never been heard before.  These tracks scorch and probably would have been on III if there had been room on vinyl.  Disc Two features this band in concert at the Fillmore West in 1971 and though some of it has appeared before, the concert is more complete and very well recorded.  You can hear most of Santana III live and some ventures into jazz, especially their version of Mile’s Davis’ In a Silent Way, very foretelling as it turned out.  Carlos wanted to explore jazz and connect his music more with his spiritual side, while Greg Rolie wanted to continue more in this heavy vein.  Thus, Greg left Santana with Neal Schon and formed Journey.  As an aside, the first two Journey albums are great heavy psychedelic rock albums before they went into arena friendly (and top 40) rock. 

Okay, now I can calm down a bit – I have been listening to Santana III again and I have these sweaty palms making it harder to write.  Looking back, I realize that I must sound totally over the top about Santana III – and I am, but I think you will be too.  So, if you don’t own Santana III, go out and get it immediately and be amazed – this Legacy Edition is worth every penny.  The remastering is superb with rich sound.  If you already own it, get this onto your turntable or load it into your CD player and turn it up and rediscover this stunning rock album all over again.  If at some point you suddenly realize you’re standing up and don’t remember doing it, don’t be surprised.

Santana on this album was Carlos Santana – guitar and vocals;  Neal Schon – guitars; Greg Rolie – keyboards and vocals; Michael Shrieve – drums, percussion and vibes; David Brown – bass; Mike Carabello - congas, vocals, percussion and tamborine;  and Jose Chepito Areas -  timbales, congas, percussion, vocals, drums and flugelhorn.