Rolling Stone has just reviewed the new Santana CD 'Shaman' and it's not a very good review.They gave the album three stars.


Santana 'Shaman' Album Review---

"This is no time for Carlos Santana to have an identity crisis.Is he the leader of a global dance party or just another supplicant to the cruel demands of radio formats?

From his band's beginnings in the late 1960s,Santana seemed to have a mission: to realize the one-world idealism of the Sixties by merging rock with the entire African diaspora (especially Afro-Cuban drumming).Santana and his band should have made 'Shaman' with the confidence of a group that had survived for three decades and rebounded to multiplatinum; their 1999 album 'Supernatural' sold more than 11 million copies in the United States.

'Supernatural' arrived when it seemed American pop was welcoming the Latin infusion that Santana had been bringng to rock since the band covered Fleetwood Mac's "Black Magic Woman" in 1970.For 'Supernatural',Santana (advised by record-label mastermind Clive Davis) engaged a platoon of songwriters and producers to come up with his first Top Ten singles in nearly thirty years.This time,with Davis overseeing again,perhaps Santana could have used his new popularity to unleash the Latin-rock-jazz-blues-soul-worldbeat hybrids that have always left his concert audiences ecstatic--or at least to prove that Latin pop can reach deeper than Ricky Martin or Enrique Iglesias.No such luck.Too often,'Shaman' silences the conga drums and goes on to slice up Santana's old utopian community into tidy demographic niches.Through the years,Santana relied on other people's tunes,from Tito Puente's "Oye Como Va" to the Zommbies' "She's Not There",as radio fare,but they were portals to the band's universalist jams.

'Supernatural' was more fixated on pop potential,yet it's guests also sounded like Santana fans,determined to share his Afro-Latin spirit.On 'Shaman',too many visitors sound as if they're climbing on a gravy train,handing over standard-issue love songs for Santana overdubs.It makes you wonder whether Santana ever met some of his collaborators.The parade of guest musicians sets the priorities on 'Shaman': nineteen-year old Michelle Branch singing the sunny neo-1960s pop of the leadoff single,"The Game Of Love",plus P.O.D. and Chad Kroeger for hard rock,Seal and Citizen Cope for lite rock,Musiq and Dido for ballads,Alejandro Lerner for Latin pop and Placido Domingo for,well,PBS? Santana,a more important musician than any of them will ever be,too often ends up sounding like a sideman.

He's a hot sideman,of course.His instantly recognizable guitar--with its sustain and fringe of distortion,its bluesey sting or its impulsive flamencolike tremelos--is always a passionate,humanizing touch.P.O.D. gave Santana a stinker,"America" (a she-left-me-song that cheesily substitutes "America" for her name),but his ever-climbing solo sears the edges like a flame under a cheap burger.

Santana dutifully places hooks alongside Dido in one of her trip-hop hymns,"Feels Like Fire",and he squeezes out the blues for mopey Citizen Cope in "Sideways".While he repsonds to Branch's voice in "Game Of Love" or Seal in "You Are My Kind" with sinuous empathy,he also sounds like someone trying to get a word in edgewise.Nothing can save "Since Supernatural",a Wyclef Jean rap-R&B singsong that gropes embarrassingly for street credibility Santana doesn't need.

Other guest,such as socially conscious Ozomatli and giddy Macy Gray,at least tried to adapt to Santana.And 'Shaman' still offers glimpses of Santana's globe-spanning euphoria.The band steams through versions of "Adouma",by Angelique Kidjo,of Benin,and "Foo Foo",by Haiti's Tabou Combo,along with "Aye Aye Aye",which reunites Santana with the band's original drummer,Michael Shrieve.Meanwhile,"Victory Is Won" is the latest of Santana's blissful,cascading guitar ballads.Those are the songs that leap out of the album,joyful and organic without calculation.The only consolation of 'Shaman' is that Santana can't bring all his guests on tour--which means that in concert,he will be left with the good stuff."

---Jon Pareles

I would still rather hear it for myself than to pay any attention to a Rolling Stone review. Even though I'm not big on so many guest appearances on any album.

classic77 said:

I agree.I like to read album reviews,but I still like to make up my own mind.As for the guest appearances...I really wish that Carlos had worked with the folks that he originally planned to (Sting,Aretha,MJ,Prince,etc).Those are important,longtime artists that are on his level.'Shaman' is filled with mostly new artists that I probably would never listen to otherwise.

Me personally...I like the first single "The Game Of Love" w/Michelle Branch.

What?! I do.

Yeah,"Game Of Love" is a nice song.Kinda like "Smooth" but without the annoying Rob Thomas vocals

DavidEye said:

The list of guests most likely has to do with pressure to be as successful as "Supernatural". Arista no doubt has spent alot on this album and probably doesn't want to risk sales by using artists that aren't currently very "pop"ular with the masses.

classic77 said:

So true.But you know what? I hope that 'Shaman' will be the last "commercial" album Santana makes.I'd like to see him record an all-instrumental project where his guitar-playing takes center stage.Or,at least,make a new album with just his band members and no "guest stars".He has one of the best bands in the world but they never really get the chance to shine,at least not on his recent albums.

DavidEye said:

I hope its the last commercial record as well and most likely it will be. I would also love to hear an instumental album by Santana. As a matter of fact i was thinking of putting together one myself.

classic77 said:

I think we will soon get our wish.In a recent interview,Carlos mentioned an instrumental album called 'Hymns' that he was working on.He also wants to do a totally Latin album with nothing but Spanish music on it.And,he is also producing an album for Blues guitarist Buddy Guy.

RollingStone said:

DavidEye, why does it matter what Rolling Stone says if you like it?

I hate to speak about music I haven't heard but Carlos was trying to stick to a formula to recreate SUPERNATURAL's success by slapping a bunch of guest artists with whom he doesn't regularly work . Better to stick to your band and regular colleagues.

Maybe I'll find it in the cutout bins this week!

I just read the review too. I wouldn't take it too seriously. Although, one comment that was made had to do with the fact that the critic wonders if Santana even met with some of his collaborators. I wonder this too. Who the hell is Michelle Branch and quite frankly who cares. I do know that she's a pop star, but I couldn't tell you what she looks like or name even one of her songs. I'm sure it's a good cd, but I really wish Carlos would've just put out the cd without all the guests. You can never re-create history (supernatural) so why bother trying.

Speaking of Carlos and SUPERNATURAL, here's a recent purchase that I found captures its spirt in a less overt fashion.




Here's the AMG review:


For his first solo project after replacing Dickie Betts in the Allman Brothers Band, 23-year-old Derek Trucks pushes the stylistic envelope even further than on his last diverse release. Prodding into Latin, Indian, and fusion jazz, this stylistically varied effort exudes enough blues and funky R&B to keep the Allman Brothers Band fan's attention while expanding their boundaries — sometimes radically — beyond what the typical Southern rock fan might expect or even tolerate. It's a brave and largely successful experiment, due in part to the vocals of his guest stars, since Trucks himself does not sing. Opening with the title track, a funky Meters-style bubbler that employs a gospel chorus to frame Trucks' searing slide work, it sounds like the guitarist is working within borders he established on his two previous albums. The laconic instrumental "So Close, So Far Away" sounds like a mid-"Whipping Post" jam, but the disc shifts into high gear with Otis Blackwell's "Home in Your Heart," one of two contributions from the amazing soulman Solomon Burke. He kicks up a Wilson Pickett-style storm on this funky rocker, which both he and Otis Redding recorded 30 years earlier. But gears then switch drastically as Rahat Fateh Ali Khan guests on a traditional Indian tune that gives Trucks' slide a chance to snake through the song, adding a slight blues edge to the tabla and eerie moaning vocals. Rubén Blades guests on a Santana-ish workout on "Kam-ma-Lay," but after a scorching Susan Tedeschi appearance on a down-and-dirty version of James Brown's "Baby, You're Right," Trucks veers way off course into the John McLaughlin territory of "Lookout 31," one of the few tracks where Trucks doesn't play slide. It's an intense Mahavishnu Orchestra fusion piece that even swerves into dissonant, avant-garde waters. The instrumental ballad "Frisell" ends this wildly, sometimes disconcertingly eclectic album on a rueful, jazzy note. Trucks' playing is edgy, electric, and distinctive throughout, with his slide work not surprisingly reminiscent of Duane Allman at times. Joyful Noise is a powerful, uncompromising statement, if you can stay with it. Derek Trucks shows he is a remarkably talented young guitarist who refuses to be stylistically pigeonholed by the history of the legendary band he joined. — Hal Horowitz

Actually I have never heard a great Santana album all the way through. It is mostly about his great, sultry guitar playing that takes the car keys.

He sure must want a hit for Arista.

2freaky4church1 said:

On The Mark with that.this is the "Quincy Jones Syndrome" Carlos is going through&Bowing at the end of Every Video because it's Cotton Candy Acts He is working with.a 3 ain't that bad for Carlos Considering Carlos for a few Years couldn't even get A Hand wave outside of folks that knew His Work.the Industry also Pimped Carlos as well because there Racist Tactics with the "Latin Explosion&whatnot.He got Hot at the Right time with Rickey Martin,Christina Agullara,etc..it's a Badd Joke to me.Carlos Santana is a Badd Ass Musician but making Him a Must Have Album Artist is a Bit of a Reach IMHO.this New Song is Better than "Smooth" but not as Catchy for Me.but both were Lame to me overall.Carlos is Cashing the Chips In for Clive&La Reid at Arista plain&simple.lets see how many Grammys He gets this Year? Carlos knows the Hustle&I ain't madd at Him because Bro Man was Overdue but He is just going through the Album Motions Sadd to say IMHO.

I'll wait 2 hear it as a whole. I do remember hearing Carlos mention something in wake of his whole Supernatural mega success...That he wasn't lookin 2 make the next album like Supernatural.

Auh, but...with his popular lineup of singers once again, one must wonder if reaching the top after decades in the biz feels just a bit 2 good 2 let go? He's been in the background 4 such a longtime, that when he did blaze such a huge light with his last Album, it made up in many ways, 4 the years of being underrated & kept in the back.

He's been a man who always played what was pure in his soul & what inspired his spirit. He like Miles put out music that was so creative and different at times, many felt they had lost there way, or got 2 farout with what they were tapping into.

Sound familer? Thats the stuff of a genius. Carlos is as centered & rooted about his music as anyone I ever experienced. It shows so easy in his playing, that I call it "making love" 2 his guitar with all that passion. His electic emotions flow from his pores with the slightest touch. But he is still human. And dollars can make more sense then your own sense's...at least blind U 4 a-bit mixed with the presures that B overseeing your interests.

Carlos is a smart man & maybe...just maybe he had such joy with the last album that his soul wanted him once again 2 go with that same or like formula again??? Who knows...I'll always dig his older stuff anyways. The music that U never hear. He has some brilliant instrumentals that do get much play in my house. That 2 Me is Santanas strongest & deepest music. Not the vocal music like "Black Magic Woman" "Smooth" etc...(i do enjoy those songs) But thats just my vibe on the matter.

I'm happy 4 Carlos & he was without a dout global with his music B4 the term "World Music" was being used by record companys & stores. I can't forget that he's always risen the bar 4 himself being a true visionary and this I feel is just a pit stop, no matter how "pop" or mainstream (i hope) in his long musical journey*

kisscamille said:

Yep, I agree. Arista and Santana are trying to repeat the Supernatural success by following a formula.

When Supernatural became a big hit, I saw posts from people who said it sounded like the guest artists came up with the songs and concepts and sent them to Arista and then Carlos added his guitar to the tracks. I think there's a chance that buyers might not go for this formula a second time. It could be a "been there, done that," type of response.

It's very, very hard to follow up a mega hit album. Michael Jackson spent years trying to follow a formula to repeat Thriller.

I greatly respect and admire Carlos Santana, but he has far to many new and 'disposable' collaborators on that album.

In a few years time people will be struggling to remember who they all are.

Plus Santana (or the record company) have selected several artists who will never fit in with Santana's unique sound and style. Dido is a prime example. She hasn't altered to Santana's sound because she isn't talented enough. She's just served up another semi-concious electronic anthem and expected Santana to play over it.

It seems to me as though the record company have gone for current and commercial artists to ensure a good sales result.

Unfortunately they've probably killed an excellent album.

Santana should be working with either accomplished legends or talented, new musicians. Its the least he deserves.
[This message was edited Wed Oct 16 2:46:58 PDT 2002 by Mr7]

Mr7 said:

I agree with your entire post.I love Carlos,but to tell you the truth,I am NOT very enthusuastic about "Shaman" anymore.I'm still gonna buy it,and I hope I'll be pleasantly surprised,but I'm just not impressed with most of the guest artists that appear on it.I've never even heard of most of them! Where is Sting,Aretha,Prince,Bob Dylan and all those other truly talented LEGENDS that Carlos originally expressed interest in working with? It would have been more interesting if he had worked with them,instead of all these newcomers who probably won't even be around in five years.Furthermore,why doesn't Carlos work with his OWN band on an album? I saw him in concert last week and he has one of the best bands in the world right now (in particular,his bassplayer Benny Reitveld and his keyboardist Chester Thompson are genuises!!).But,unfortunately,these bandmembers will NOT be showcased on "Shaman" and that pisses me off.I'm hoping that,after this CD,Carlos goes back to basics and starts making real "Santana" albums again.

DavidEye said:

Plain and simple: Carlos needs to record with the exact band he will use on tour. Maybe a guest role with a jazzer he's cool with, like Wayne Shorter or Herbie Hancock, but dragggin in all these minor poop/rock acts (and Placido Domingo!) is a freakin' waste.
[This message was edited Wed Oct 16 8:30:52 PDT 2002 by PFunkjazz]