01 - Marbles 04:19
02 - Lava 02:10
03 - Evil Ways 06:37
04 - Faith Interlude 02:13          play
05 - Them Changes 05:50
06 - Free Form Funkafide Filth 24:53

Personnel:
    * Carlos Santana: Guitar, vocals.
    * Buddy Miles: Drums, percussion, congas, vocals.
    * Neal Schon: Guitar.
    * Ron Johnson: Bass guitar.
    * Bob Hogins: Organ, electric piano.
    * Hadley Caliman: Flute, Saxophone.
    * Luis Gasca: Trumpet.
    * Greg Errico: Drums.
    * Richard Clark: Drums, percussion, congas.
    * Coke Escovedo: Drums, percussion, timbales.
    * Mike Carabello: Percussion, congas.
    * Mingo Lewis: Percussion.
    * Victor Pantoja: Percussion, congas.

From December 1971 to April 1972, Carlos Santana and several other members of Santana toured with drummer/vocalist Buddy Miles, a former member of the Electric Flag, and Jimi Hendrix's Band of Gypsys. The resulting live album contained both Santana hits ("Evil Ways") and Buddy Miles hits ("Changes"), plus a 25-minute, side-long jam. It was not, perhaps, the live album Santana fans had been waiting for, but at this point in its career, the band could do no wrong. The album went into the Top Ten and sold a million copies.

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   1. "A Love Supreme" (John Coltrane) – 7:48
   2. "Naima" (John Coltrane) – 3:09                     play
   3. "The Life Divine" (John McLaughlin) – 9:30
   4. "Let us Go Into the House of the Lord (Traditional) – 15:45
   5. "Meditation" (John McLaughlin) – 2:45
   6. "A Love Supreme (Take 2)" (John Coltrane) – 7:51
   7. "Naima (Take 4) (John Coltrane) – 2:51

Personnel
    * Mahavishnu John McLaughlin - guitar, piano
    * Carlos Santana - guitar
    * Doug Rauch - bass guitar
    * Mahalakshami Eve McLaughlin - piano
    * Khalid Yasin - piano, organ
    * Mingo Lewis - piano, keyboards
    * Billy Cobham - drums, percussion
    * Don Alias - drums, percussion
    * Jan Hammer - drums, percussion
    * Mike Shrieve - drums, percussion
    * Armando Peraza - congas, percussion, vocals

A hopelessly misunderstood record in its time by Santana fans -- they were still reeling from the radical direction shift toward jazz on Caravanserai and praying it was an aberration -- it was greeted by Santana devotees with hostility, contrasted with kindness from major-league critics like Robert Palmer. To hear this recording in the context of not only Carlos Santana's development as a guitarist, but as the logical extension of the music of John Coltrane and Miles Davis influencing rock musicians -- McLaughlin, of course, was a former Davis sideman -- this extension makes perfect sense in the post-Sonic Youth, post-rock era. With the exception of Coltrane's "Naima" and McLaughlin's "Meditation," this album consists of merely three extended guitar jams played on the spiritual ecstasy tip -- both men were devotees of guru Shri Chinmoy at the time. The assembled band included members of Santana's band and the Mahavishnu Orchestra in Michael Shrieve, Billy Cobham, Doug Rauch, Armando Peraza, Jan Hammer (playing drums!), and Don Alias. But it is the presence of the revolutionary jazz organist Larry Young -- a colleague of McLaughlin's in Tony Williams' Lifetime band -- that makes the entire project gel. He stands as the great communicator harmonically between the two very different guitarists whose ideas contrasted enough to complement one another in the context of Young's aggressive approach to keep the entire proceeding in the air. In the acknowledgement section of Coltrane's "A Love Supreme," which opens the album, Young creates a channel between Santana's riotous, transcendent, melodic runs and McLaughlin's rapid-fire machine-gun riffing. Young' double-handed striated chord voicings offered enough for both men to chew on, leaving free-ranging territory for percussive effects to drive the tracks from underneath. Check "Let Us Go Into the House of the Lord," which was musically inspired by Bobby Womack's "Breezing" and dynamically foreshadowed by Pharoah Sanders' read of it, or the insanely knotty yet intervallically transcendent "The Life Divine," for the manner in which Young's organ actually speaks both languages simultaneously. Young is the person who makes the room for the deep spirituality inherent in these sessions to be grasped for what it is: the interplay of two men who were not merely paying tribute to Coltrane, but trying to take his ideas about going beyond the realm of Western music to communicate with the language of the heart as it united with the cosmos. After three decades, Love Devotion Surrender still sounds completely radical and stunningly, movingly beautiful. ---Thom Jurek, Rovi

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Side one
   1. "Guru Sri Chinmoy Aphorism" (Coster, Santana) - 1:11
   2. "Angel of Air/Angel of Water" (Coster, Santana) - 9:55
   3. "Bliss: the Eternal Now" (Coltrane) - 5:33

Side two
   1. "Angel of Sunlight" (Coster, Santana) - 14:43
   2. "Illuminations" (Coster, Santana) - 4:18               play


Carlos Santana - guitar, Alice Coltrane - harp, piano
Tom Coster - electric piano, Hammond organ, piano
David Holland - acoustic bass
Jack DeJohnette – cymbals, drums 	
Julse Broussard – flute, soprano sax
Prabuddha Phil Browne – tamboura
Armando Perez - congas
Phil Ford - tablas

String Section:
Murray Adler 		Concert Master
Ron Folsom, Bill Henderson' Nathen Kaproff, Gordon Marron, Paul Shure, Charles Veal  -violins
Anne Goodman, Glenn Grab, Jackie Lustgarten, Fred Seykora - celli
Marilyn Baker, Myer Bello, Rollice Dale, Alan Harshman, Myra Kestenbaum, David Schwartz - violas
James Bond - bass

Illuminations is a 1974 collaboration between Carlos Santana and Alice Coltrane. Jazz musicians Jules Broussard, Jack DeJohnette and Dave Holland can also be heard, on saxophone, flute, drums and bass. Alice Coltrane delivers some harp glissando, while the string orchestra adds a serene mood to the music. Carlos Santana (whose Indian name "Devadip" appears on the sleeve) plays electric guitar in his own fashion, utilizing feedback, long notes and simple melodies, letting much space to the other instruments. The album is conceived as an instrumental jazz album, with lengthy solos on guitar, saxophone and keyboards. The introduction to "Angel of Air", with its violins, has been sampled by the Cinematic Orchestra.

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00 - Into The Night - Santana & Chad Kroeger
01 - Open Invitation - Santana
02 - Smooth - Santana & Rob Thomas
03- Santana And Mana - Corazon Espinado
04- I'm Feeling You - Santana & Michelle Branch
05- Hold On - Santana
06- Santana & Steven Tyler - Just Feel Better
07- Winning - Santana
08 - Game Of Love, The - Santana & Michelle Branch
09- Evil Ways - Santana
10 - Put Your Lights On - Santana & Everlast
11- All I Ever Wanted - Santana
12- Everybody's Everything - Santana
13-Santana - Maria Maria_acustico
14- Hope You're Feeling Better - Santana
15 - I'm Feeling You - Santana
16 - Santana - I'm Feeling Good
17 - Oye Como Va - Santana
18 - Love Of My Life - Santana
19 - Why Don't You And I - Santana & Alex Band
20- Tell Me No - Houston feat Santana
21-Nave Espacial - Moreno, Jorge & Santana
22 - She's Not There - Santana
23-Evil_Ways
24-I Don't Wanna Lose Your Love - Santana & Los Lonely Boys
25-Persuasion - Santana
26-Santana - Love Of My Life
27-Sonique - I Put A Spell On You

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01 Woodstock Chant / Soul Sacrifice
02 Carlos' intro / Maria Maria
03 Foo Foo
04 Corazon Espinado                 play
05 Percussion solo / Bass solo
06 Jingo
07 Riders on the Storm
08 Black Magic Woman / Gypsy Queen
09 Oye Como Va
10 Dance the Night Away
11 Evil Ways / A Love Supreme
12 Sunshine of Your Love
13 Smooth                           play
14 Dame Tu Amor
15 Bridegroom / Into the Night / Freedom
16 Band introduction / Love Peace and Happiness

Musicians:
* Carlos Santana  – guitar
* Chester Thompson – keyboards
* Raul Rekow – drums, konga
* Karl Perazzo – percussion
* Benny Rietveld – bass guitar
* Dennis Chambers – drums
* Andy Vargas – vocals
* Bill Ortiz – trumpet
* Jeff Cressman – trombone
* Tommy Anthony – guitar

There are a lot of great rock guitarists in the world, but there aren’t all that many whose signature sound is so distinctive that they can’t be mistaken for anyone else once you’ve heard a phrase or two. A prominent place in the pantheon of those inimitable axe-slingers will be forever reserved for Carlos Santana, who is returning to the Bethel Woods Center for the Arts this Sunday as part of that venue’s summerlong celebration of the 45th anniversary of the Woodstock festival.

Surprisingly, it’s only the third time that Santana will ever have played at the hallowed site, which must hold a special place in his player’s heart. It’s easy to forget that in 1969, the name Santana wasn’t already an international byword for rock/blues/jazz/world music fusion. Though it was rapidly amassing fans on the San Francisco club scene – including Fillmore impresario Bill Graham – his band had yet to release its eponymous first album. But Santana’s hard-driving performance of the 11-minute instrumental “Soul Sacrifice” became a high point of the movie Woodstock, and the exposure drove the band’s debut LP and the single “Evil Ways” to the top of the charts and kept them there for a long time.

Santana’s career has had its ups and downs over the years. A lot of time spent woodshedding with jazz greats like Herbie Hancock, Wayne Shorter, Alice Coltrane, Jack DeJohnette, Dave Holland, Ron Carter, Tony Williams, John McLaughlin and McCoy Tyner honed the guitarist’s improvisatory chops but distanced some of the band’s more rock-oriented early fans. Still, Santana keeps circling back to his percussion-heavy Latin roots, and he has charted a Billboard Top Ten album in every decade since the 1960s: a feat equaled only by the Rolling Stones. He has won ten Grammy Awards and three Latin Grammies, was inducted into the Rock and Roll Hall of Fame in 1998 and was appointed to the Number 20 spot on Rolling Stone magazine’s list of the 100 Greatest Guitarists of All Time.

So if his appearance as a relative unknown at the Woodstock festival back in August 1969 lit the fuse of a very successful career, why hasn’t Carlos Santana come back here more often? In his 2010 performance at Bethel Woods, Santana called the site “Ground Zero for peace and love…the place where miracles keep happening.” Maybe this return visit signifies the beginning of a trend – or maybe not. Best not take a chance of missing this living legend of trans-genre, cross-cultural electric guitar while he’s in our neck of the woods. ---Frances Marion Platt, hudsonvalleyalmanacweekly.com

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01. Something New (6:56)
02. Play Me Again (4:33)
03. My Love (3:56)
04. Don't Shake Me Up (6:13)
05. Everyday Is New (7:04)
06. Love Is Just A Word (4:13)
07. Don't Let The Cold (5:39)
08. Forever (5:44)
09. Got To Give You Up (5:48)
10. Heart In Winter (4:33)
11. Good Tradition (5:26)
12. Valentine Heart (6:24)
13. I Love You (3:16)
14. Cathedral Song (Acoustic Version) (5:57)
15. Twist In My Sobriety (2:41)

Carlos Santana – lead guitar

Australian exclusive! Raven presents 15 remarkable Carlos Santana guest appearances (many on CD for the first time) in this unique, multi-artist, multi-label collection. Renowned for the astonishing virtuosity of his guitar playing, Santana has sustained a 35-year plus recording career at the forefront of modern rock music. In addition to the release of 26 official Santana band and seven solo albums, his guest appearances and collaborations with major artists from all sections of the music world are the stuff of legend. This enthralling compilation highlights his collaborations with John McLaughlin, Stanley Clarke, Gregg Rolie, Weather Report, McCoy Tyner, Ottmar Liebert, Narada Michael Walden, Alex Acuna, Clyde Criner and others. Stylistically the songs range from his favoured Latin sound to majestic jazz fusion, World Music and beyond. There's one constant throughout: Carlos's graceful, fluid lead guitar - leaving no doubt as to whose fingers are caressing the strings. ---editorial Reviews, amazon.com

Carlos Santana plus his group Santana and all those skilled musicians that he collaborates with musically, make for an eclectic mix of Latin American styled rock music, making him one of the worlds very best. This album is perhaps ideal for those who would enjoy to listening to just some of the amazing width of Santana's creative talents.

This is also an interesting album, comprising a very varied mixture of tracks that are not merely in one single style, unlike some of Santana's albums which gel together in a more singular theme which flows, some of which I have repeatedly listened to over many years and still get a great deal of pleasure from listening to again and again. Although its also like most of Santana's music in that it is almost impossible to hum along with, unless you actually have the music playing at the time! But as always Carlos Santana makes the guitar do things that affect the listener in magical ways.

But this album is not just about him alone, as one of the world's top notch, it's also far wider than that, as a result of those skilled musicians that he generously chooses to work with and to share some of the magic with, to the benefit us all ultimately. --- Mr. R. Lawson, amazon.com

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I've Got My Mojo Working *
The Drifter *
Grape Jelly *
Okie Dokie Stomp *
Chill Out #
Mellow Down Easy #			play
Watch Your Step #
Stormy Monday ~
Jam Session 1 ~
So Many Roads, So Many Trains ~
Jam Session 2 ~

* With Clarence Gatemouth Brown
# With Bobby Parker
~ With Buddy Guy

On a magical night in Montreux in 2004, Carlos Santana invited three of his favourite bluesmen: Buddy Guy, Clarence 'Gatemouth' Brown and Bobby Parker for a concert of outstanding blues music. Each artist performed a full length concert and was joined on stage by Carlos Santana and other guests including Nile Rodgers and Barbara Morrison. Eagle Vision have previously released a 3 DVD set of the whole night but now we present a single disc version which features all the Carlos Santana performances from the event, over 90 minutes of great blues music.

Carlos Santana is known for his collaborations with lauded musicians, and this concert recording from 2004 is a great example. The talented guitarist welcomes a string of special guests on stage as he plays some of the songs from the highlights of his career. This presentation is a condensed 90-minute version of the full-length BLUES AT MONTREUX set that was released in 2004, and presents viewers with the opportunity to see Santana laying down some heady riffs alongside Buddy Guy, Nile Rodgers, Clarence "Gatemouth" Brown, and many others.

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1. Evil Ways
2. You Just Don't Care
3. Shades Of Time
4. Jingo
5. Treat
6. Soul Sacrifice

Line Up:
Carlos Santana - guitar; 
Greg Rollie - keyboards, vocals;
Dave Brown - bass; 
Michael Shrieve - drums;
Michael Carabello - percussion; 
Jose Areas – percussion.

Lewisville, Texas. August 30th and 31st, 1969.

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01. Singing Winds, Crying Beasts 
02. Black Magic Woman / Gypsy Queen 
03. Oye Como Va 
04. Incident At Neshabur 
05. Se A Cabo 
06. Mother's Daughter 
07. Samba Pa Ti 
08. Hope You're Feeling Better 
09. El Nicoya

Personnel:
    Carlos Santana – guitar, vocals, producer
    Gregg Rolie – keyboards, lead vocals
    David Brown – bass, engineer
    Michael Shrieve – drums
    José "Chepito" Areas – percussion, conga, timbales
    Mike Carabello – percussion, conga
+
   Rico Reyes – percussion, vocals
   Alberto Gianquinto – piano on "Incident at Neshabur"
   Steven Saphore – table

The San Francisco Bay Area rock scene of the late '60s was one that encouraged radical experimentation and discouraged the type of mindless conformity that's often plagued corporate rock. When one considers just how different Santana, Jefferson Airplane, Moby Grape, and the Grateful Dead sounded, it becomes obvious just how much it was encouraged. In the mid-'90s, an album as eclectic as Abraxas would be considered a marketing exec's worst nightmare. But at the dawn of the 1970s, this unorthodox mix of rock, jazz, salsa, and blues proved quite successful. Whether adding rock elements to salsa king Tito Puente's "Oye Como Va," embracing instrumental jazz-rock on "Incident at Neshabur" and "Samba Pa Ti," or tackling moody blues-rock on Fleetwood Mac's "Black Magic Woman," the band keeps things unpredictable yet cohesive. Many of the Santana albums that came out in the '70s are worth acquiring, but for novices, Abraxas is an excellent place to start. --- Alex Henderson, AMG

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1. Hermes
2. El Fuego
3. I'm Feeling You
4. My Man
5. Just Feel Better
6. I Am Somebody
7. Con Santana
8. Twisted
9. Trinity
10. Cry Baby Cry
11. Brown Skin Girl
12. I Don't Wanna Lose Your Love
13. Da Tu Amor

Carlos Santana - Guitar, Guitar (Acoustic), Vocals, Vocals (Background)
Gabriel Abularach - Guitar (Bass), Guitar (Rhythm), Keyboards
Justin Aldridge - Percussion
Kenny Aronoff - Drums
Bo Bice 	Primary - Vocals
Charlie Bisharat - Viola, Violin
Mary J. Blige - Vocals
Michelle Branch - Vocals
Sleepy Brown -Vocals
Terrence Brown - Keyboards
Dennis Chambers - Drums
Chris Chaney - Bass
Jeff Cressman - Musician, Trombone
Kara DioGuardi 	- Vocals (Background)
Moussa Diouf - Bass, Piano
Preston Fullwood - Organ
Henry Garza - Guitar, Vocals
Ringo Garza - Drums
Anthony Hamilton - Vocals
Kirk Hammett - Guitar
Jessica Harp - Vocals (Background)
Rajinder Kala - Percussion
Debra Killings - Bass
Harry Kim - Trumpet
Abe Laboriel, Jr. - Drums
Dan Marshall - Guitar
Mauleón Santana, Rebeca - Keyboards
Lester Mendez 	- Keyboards, Producer
Jamie Muhoberac - Piano
Bill Ortiz - Trumpet
Sean Paul - Vocals
Karl Perazzo - Congas, Musician, Percussion, Timbales, Vocals, Vocals (Background)
Tim Pierce - Guitar (Rhythm)
Robert Randolph - Pedal Steel
Raul Rekow - Congas, Vocals
Benny Rietveld 	- Bass
Dante Ross - Keyboards
Jeff Rothschild 	- Drums
John Shanks - Guitar (Acoustic), Guitar (Bass), Guitar (Electric)
Ramón Stagnaro - Cuatro, Guitar (Acoustic), Tiple, Tres
Joss Stone - Vocals
David Stout - Horn Arrangements, Trombone
Chester Thompson - Keyboards, Organ
Steven Tyler - Vocals
will.i.am - Vocals

The third time around is not a charm for Carlos Santana, who delivers his third straight star-studded, middle-of-the-road pop album in a row with 2005's All That I Am. Like 2002's Shaman, this follows the blueprint that producer/record mogul Clive Davis laid down on 1999's Supernatural, which means that apart from a cut or two, Santana functions as a supporting musician to a parade of guest stars singing pop songs on his own album. On Supernatural this worked not just because it was a relatively fresh concept that revitalized Santana, but because the guest stars were well chosen and the material was sharp, commercial, and memorable. Shaman was more uneven but it did have one great single in "The Game of Love," a song penned by professional songwriters and sung by Michelle Branch -- it didn't sound much like Santana, but it did make for excellent listening on adult contemporary radio. Here, Santana and Davis try to make lightning strike again, having Branch sing the "Game of Love" sound-alike "I'm Feeling You," which she also had a hand in writing. It's not bad, but it sounds like a third-generation photocopy, which is the problem with All That I Am in general: all the ideas and sounds are familiar, but not executed nearly as well as they were the first two times around. The stars don't shine as bright -- the biggest names here are Mary J. Blige, Big Boi, Aerosmith's Steven Tyler, and the ubiquitous and obsequious will.i.am from the Black Eyed Peas, all artists who never seem to turn down a chance to provide a cameo -- and the production is clean and safe, while the songs are professional, predictable, and pedestrian. Since none of the songs are bad and since the guest spots are neither embarrassing nor flashy, All That I Am never offends, but it never entertains, either: it simply exists. Sure, Santana has some nice playing scattered throughout the album -- his signature, rich, super-saturated tone is certainly the most commanding, memorable thing here -- but he never sounds engaged with the songs, he sounds simply like he's running wild over bright, sunny changes. Even with these nice moments, All That I Am, like Supernatural and Shaman before it, is a deliberate pop album, which means Santana is in the background on his own record -- but the crucial difference with this album is that, unlike its two predecessors, it's not a good pop album, it's a bland, friendly affair that disappears into the ether the moment it's finishing playing. ---Stephen Thomas Erlewine, Rovi

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