Santana

Track	Album
Evil Ways	Santana
Soul Sacrifice	Santana
Oye Cómo Va	Abraxas
Mother’s Daughter	Abraxas
Hope You’re Feeling Better	Abraxas
No One To Depend On	Santana III
Song Of The Wind	Caravanserai
Europa (Earth’s Cry Heaven’s Smile)	Amigos
Let Me	Amigos
Maria Maria	Supernatural
Bonus track
Black Magic Woman/Gypsy Queen	Abraxas

“Carlos Santana is a guitar player who has managed to stay relevant for over 50 years, blending rock, Latin, jazz, and blues into something uniquely his own.” Eddie Van Halen

Carlos Santana, the man and the band, represents one of the most enduring and transformative forces in rock music. Born in Autlán de Navarro, Mexico, on July 20, 1947, Carlos Humberto Santana grew up in a musical family. His father, José, was a mariachi violinist, and young Carlos initially took up the violin before switching to guitar at age eight, inspired by blues legends like B.B. King, T-Bone Walker, John Lee Hooker. The family moved to Tijuana when Carlos was nine, where he honed his skills playing in local clubs, absorbing the rhythms of Latin music alongside American rock ‘n’ roll broadcast from across the border.

In 1960, the Santanas relocated to San Francisco, immersing Carlos in the city’s burgeoning counterculture scene. By the mid-1960s, he had formed the Santana Blues Band, which evolved into simply Santana. The lineup stabilised with Carlos on guitar and lead vocals (though he often shared vocal duties), Gregg Rolie on keyboards and vocals, David Brown on bass, Michael Shrieve on drums, José Areas on percussion, Michael Carabello on congas. This fusion of rock, Latin percussion, and bluesy guitar would define their sound.

Their big break came at Woodstock in 1969, where a mesmerising performance of Soul Sacrifice catapulted them to fame before their debut album was even released. Santana’s career has spanned decades, marked by commercial peaks, artistic explorations, and a spiritual quest influenced by gurus like Sri Chinmoy and later his own Devadip moniker. He’s won 10 Grammys, sold over 100 million records, and been inducted into the Rock and Roll Hall of Fame in 1998. Despite lineup changes – over 60 musicians have passed through the band – Carlos remains the constant, his signature guitar tone a blend of sustain, feedback and emotional depth.

The band’s early success with Columbia Records gave way to experimental phases in the 1970s, incorporating jazz fusion on albums like Caravanserai and Welcome, before returning to more commercial sounds. The 1980s brought hits but also struggles with label pressures, culminating in a triumphant comeback with 1999’s Supernatural, a collaboration-heavy album that introduced Santana to a new generation. Throughout, Carlos has pursued philanthropy, supporting education and peace through his Milagro Foundation, and maintained a devotion to spirituality that infuses his music. Health challenges, including a 2022 heart procedure, haven’t dimmed his passion; he continues touring into his late 70s.

Selecting just 10 songs from Santana’s vast catalog is a near-impossible task. With over 25 studio albums, live recordings, and collaborations, the band’s output spans psychedelic rock, Latin jazz, blues, and pop. I’ve focused on key tracks from their debut Santana, Abraxas, Santana III, Caravanserai, Amigos and Supernatural, with nods to their foundational sound. Albums like Welcome (1973), Moonflower (1977), Inner Secrets (1978) could easily fill another list, but these 10 capture the essence: Carlos’s soaring guitar, the infectious percussion, and that unmistakable fusion groove. As with any such selection, it’s subjective – fans might argue for Jingo, Everybody’s Everything, Smooth – but these tracks highlight the band’s evolution from Woodstock warriors to global icons.

We start with Evil Ways from the self-titled debut Santana (1969). Written by Clarence “Sonny” Henry and originally recorded by Willie Bobo, this track became Santana’s first major hit, peaking at No.9 on the Billboard Hot 100. It’s a perfect introduction to Santana’s early sound: a slinky organ riff from Gregg Rolie sets the stage, punctuated by congas and timbales that give it that Latin swing. Carlos’s guitar enters with biting, bluesy licks, building tension before unleashing a solo that’s equal parts fire and finesse. Lyrically, it’s a warning about a wayward lover – “You’ve got to change your evil ways, baby” – delivered with Rolie’s soulful vocals. Recorded amid the band’s Woodstock buzz, it showcases their ability to blend Afro-Cuban rhythms with rock, a formula that set them apart from contemporaries like Jefferson Airplane or the Grateful Dead. Live versions often extend it into jam territory, but the studio cut’s tightness makes it timeless.

No Santana list is complete without Soul Sacrifice, also from the debut. This instrumental epic, clocking in at over six minutes, was the band’s Woodstock showstopper, where 22-year-old drummer Michael Shrieve delivered a legendary solo amid the mud and masses. Composed by the band, it builds from a tribal percussion intro – congas and timbales evoking ancient rituals – into Carlos’s wailing guitar lines, feedback howling like a possessed spirit. The track’s structure is a masterclass in dynamics: quiet builds to explosive crescendos, with Rolie’s organ providing harmonic glue. It embodies the psychedelic era’s free-form energy while rooting it in Latin traditions. Though not a single, its inclusion in the Woodstock film and soundtrack ensured its immortality. Carlos has often spoken of music as a spiritual conduit, and here it’s palpable – the song feels like a sacrifice to the gods of rhythm.

Moving to Abraxas (1970), the band’s sophomore effort that topped the charts and solidified their stardom. Oye Cómo Va, a Tito Puente cover, is pure infectious joy. The title translates to “Hey, how’s it going?” and the track’s cha-cha-chá rhythm invites everyone to dance. Rolie’s organ riff hooks you immediately, while Carlos’s guitar weaves in with melodic fills that sing as much as they shred. Peaking at No.13, it became a radio staple, blending Latin jazz with rock in a way that appealed to diverse audiences. The album’s title, drawn from Hermann Hesse’s “Demian”, reflects Carlos’s growing spiritual interests, and this song’s upbeat vibe contrasts the darker tones elsewhere. It’s a testament to Santana’s crossover appeal – Puente himself approved, saying Carlos “made it his own”.

Abraxas yields more gems, like Mother’s Daughter. A deeper cut, this Gregg Rolie-penned track shifts toward harder rock, with driving bass from David Brown and punchy drums. Carlos’s guitar solo is a highlight, starting restrained before erupting into sustained notes that pierce the mix. Lyrically, it’s a tale of frustration “your mother ain’t so bad, what happened to you?” – with a bluesy edge. Less celebrated than the hits, it shows the band’s versatility, blending psychedelia with straightforward rock. Produced by Fred Catero and the band, Abraxas’ warm sound captures their live energy, and this track exemplifies the album’s exploratory spirit.

Another Abraxas standout is Hope You’re Feeling Better, also by Rolie. This rocker opens with a gritty guitar riff, building to a chorus that’s anthemic and urgent. Carlos’s solo here is ferocious, full of bends and vibrato that conveys raw emotion, amid a backdrop of congas adding Latin flair and a searing guitar riff. The lyrics are perhaps a less cynical take on the same approach as Steely Dan’s Reeling In The Years, but with a bit more compassion and a hint of an answer that is bigger than all of us. It’s one of the album’s heavier moments, demonstrating the blues roots that influenced Carlos from his Tijuana days. Though overshadowed by singles, it’s a fan favourite for its intensity, showcasing how Santana could rock as hard as Led Zeppelin while keeping their signature percussion intact.

From Santana III (1971), the band’s last with the classic lineup, comes No One To Depend On. This hit single, reaching No. 36, fuses reggae-like rhythms with Latin grooves, courtesy of Coke Escovedo’s percussion. Carlos’s guitar dances over the top, with wah-wah effects adding funk. Lyrically sparse – “Ain’t got nobody that I can depend on” – it’s carried by the infectious hook and Rolie’s vocals. The album, recorded amid internal tensions, marked a peak before Carlos’s jazz-fusion pivot. It topped the charts, proving their formula’s staying power.

Song Of The Wind from Caravanserai (1972) is a sublime instrumental that marks Santana’s shift into jazz-fusion territory. As Carlos explored deeper spiritual and musical dimensions, this track features his guitar gliding like a breeze over rolling keyboards from Rolie and subtle rhythms. No vocal distractions here – just pure expression, with sustains and phrases that evoke vast landscapes and inner peace. Co-written by the band, it reflects the album’s theme of journey and transformation, inspired by Carlos’s devotion to guru Sri Chinmoy. Clocking in at around six minutes, it’s a meditative piece that rewards repeated listens, highlighting his growing improvisational prowess.

Europa (Earth’s Cry Heaven’s Smile) from Amigos (1976) is another instrumental gem. Amid a period of lineup changes and commercial dips, this track shines with Carlos’s soaring, feedback-laden solo that builds from melancholy to ecstasy. Keyboardist Tom Coster co-wrote it, adding jazz elements. It’s one of Santana’s most covered songs, evoking pure emotion through music. Although Carlos dislikes the album, and his guitar is strangely subdued, it was the first Santana album I owned, so I have an affection for it. It did mark a return to Latin-rock roots after fusion experiments, and Europa’s emotional arc reflects Carlos’s spiritual journey.

And while Carlos might be a bit annoyed that I picked another one from Amigos, his sublime funk rhythm on Let Me plus a soulful vocal by Greg Walker and a funky bass line by David Brown (Amigos was his last appearance on a Santana album) made it hard for me to go past.

Finally, Maria Maria from Supernatural (1999), the blockbuster that revived Santana’s career. Featuring The Product G&B, this track blends Latin rhythms with hip-hop elements, telling a story inspired by West Side Story – “Maria Maria, she reminds me of a West Side Story.” It topped the Hot 100 for 10 weeks, earning a Grammy. Carlos’s guitar weaves through the narrative, adding soulful flourishes over the acoustic groove.

The album, with guests like Everlast and Lauryn Hill, sold 30 million copies, proving Carlos’s adaptability at age 52. The lead single, Smooth, with Rob Thomas from Matchbox 20 on vocals, is the most played song on radio ever. You’ve heard it, so it doesn’t make the ten, but there’s a reason it’s popular.

Bonus track

Abraxas again with Black Magic Woman/Gypsy Queen, a medley that’s quintessential Santana. Peter Green’s Black Magic Woman (from Fleetwood Mac) gets a Latin makeover, with Rolie’s sultry vocals and Carlos’s hypnotic guitar, emulating Green’s original solo.  It segues into Gábor Szabó’s Gypsy Queen, accelerating into a percussive jam. Hitting No.4, it’s a radio classic, blending blues, rock, and jazz. Carlos’s tone – warm, sustaining – makes it magical.

Santana’s legacy is one of fusion and reinvention. From Mexican roots to San Francisco’s hippie scene, through jazz explorations and pop comebacks, Carlos has bridged cultures and genres. His guitar speaks universally, blending passion with precision. Though health issues have arisen, his influence endures –  in artists like Gary Clark Jr. or even metal bands sampling his riffs. As Carlos says, “The guitar is my voice.” With these 10 tracks, we hear it loud and clear.

Michael Shrieve’s Rock and Roll Hall of Fame acceptance speech with Santana in 1998

Official Website

Comprehensive database for Santana fans

Santana wikipedia

Carlos Santana facebook

Santana: 50 Years of Peace & Music

David Lewis is Australia’s best jazz mandolinist, unless you can name someone else: then he’s Australia’s second-best. In any case, he’s almost certainly top 100. He is a regular contributor to Toppermost, and also plays guitar, banjo and bass professionally. David is also the co-host of the New Politics Australia podcast, with Eddy Jokovich, and they have produced half a dozen books on Australian Politics based on the podcast.

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