Released: September 1970
Chart Peak: #1
Weeks Charted: 88
Certified 4x Platinum: 11/21/86
The special Santana sound is back again with their second album featuring hard driving music with multi-rhythms. There are many musical changes on the album, but the appeal of body moving rhythms is still prevalent. The tightness of the group remains a Santana trademark on such cuts as "Singing Winds, Crying Beasts," "Se a Cabo," and "Oye Como Va," written by Tito Puente. Here is another big LP for the Latin rhythm king.
- Billboard, 1970.
On the debut most of the originals were credited to the "Santana Band"; this time individual members claim individual compositions. Can this mean somebody thought about these melodies (and lyrics!) before they sprung from the collective unconscious? In any case, they've improved. And in any case, the best ones are by Peter Green, Gabor Szabo, and Tito Puente, none of whome is known to be a member of the Santana Band. C+
- Robert Christgau, Christgau's Record Guide, 1981.
- William Ruhlmann, The All-Music Guide to Rock, 1995.
This is where it all began -- the quintessential Latin-rock milestone laid the groundwork with moody, mystical arrangements ("Singing Winds," "Crying Beasts"), soaring guitar solos ("Samba Pa Ti"), funky beats ("Oye Como Va"), superb production and the best big percussion section in the business. Carlos created a rhythm and zone few artists have since equaled -- it's pulse-pounding get-on-your-feet-and-move music, and it makes a devil out of you. * * * * *
- Zagat Survey Music Guide - 1,000 Top Albums of All Time, 2003.
In the midst of the swirling Afro-Cuban rhythms that adorn Abraxas, there are traces of blues, jazz, and psychedelic rock. A perfect example is their adaptation of Fleetwood Mac's "Black Magic Woman" -- in the hands of the Mac it was a conventional blues, but in the hands of Santana it became a strenuous exorcism of raw passion and intensity. The guitar solo burned all over the airwaves for months, sealing Santana's fate in classic-rock heaven for ever after. "Oye Como Va," a cover of a Tito Puente song, was similarly transformed into a hammering riff complete with greasy organ learned in the dives of Oakland where the band earned its chops. Not surprisingly, it followed "Black Magic Woman" up the charts. Almost as if to ascertain its basic garage-band origins, years later, Olympia indie-punk realists Beat Happening would lift the riff exactly for "Redhead Walking."
The songs "Incident at Nashabur" and "Samba Pa Ti" were Santana's attempts at straight-up progressiveness, in this case the kind of noodling fusion that was being practiced by people like John McLaughlin, Weather Report and Herbie Hancock (all by-products of Miles Davis's innovations on Bitches Brew, actually). Over outstretched polyrhythms provided by the band's well-stocked percussive section, guitars and keyboards construct a mosaic of percolating precision, Santana himself would pursue this direction further, both within the band construct as well as with people like McLaughlin and Buddy Miles. However, it's questionable whether he would ever match the Latin jazz-rock fusion perfected on Abraxas.
The cover was quite an eyeful as well, with its slightly more-obscene-than-National Geographic nude woman reclined on the cover and liner notes like "we called her bitch and whore," which made a few hippies horny back in the day and proved that these were definitely the days before Carlos Santana's own conversion to Sri Chimnoy -- which is probably why Abraxas is the group's best album: It's a sinner's serenade as hot-blooded as a Latin sundown, a regular pagan's feast.
Abraxas was voted the 85th greatest album of all time in a VH1 poll of over 700 musicians, songwriters, disc jockeys, radio programmers, and critics in 2003.
- Joe S. Harrington, VH1's 100 Greatest Albums, 2003.
"Black Magic Woman," the Top Five hit from Abraxas, is definitive Santana: Afro-Latin grooves and piercing lyrical psychedelic blues guitar. It was a cover of a Fleetwood Mac song written by one of Carlos Santana's guitar heroes, Peter Green. The album's other hit was also a cover: Tito Puente's "Oye Como Va."
Abraxas was chosen as the 205th greatest album of all time by the editors of Rolling Stone magazine in Dec. 2003.
- Rolling Stone, 12/11/03.
Fusing African and Latin rhythms with rock and roll more successfully than probably any other recording artist of his day, Carlos Santana's second album, recorded at Wally Heider Studio in San Francisco, woke the world up to the potential of music that crossed genre and territorial boundaries.
The follow up to Santana, the band's hugely successful debut album, Abraxas is a mesmerizing record, with subtle, laid back grooves melding effortlessly with modern rock and all performed with a Latin twist. African rhythms are in abundance on songs such as "El Nicoya," while the Latin sound is ever present on tracks like "Samba Pa Ti." But the pure rock sound is never far away either, with "Hope You're Feeling Better" amply illustrating Santana's dexterity with a rock-styled guitar riff.
Abraxas also features two of Santana's best known tracks, "Black Magic Woman" by Fleetwood Mac founder Peter Green -- who also played informally with the band -- which blends seamlessly with "Gypsy Queen," written by Gabor Szabo, one of Santana's heroes, and Tito Puente's "Oye Como Va." Both songs were big hits in the US, reaching Number Four and Number 13 respectively, while the album topped the US charts and stayed there for an impressive six weeks. In the UK the album peaked at Number Seven.
As of 2004, Abraxas was the #48 best-selling album of the 70s.
- Hamish Champ, The 100 Best-Selling Albums of the 70s, 2004.
Santana did did the scene proud, crafting a sophomore record that voyaged beyond rock into jazz and salsa on the beat of a pounding Latin heart. Despite being the face of the band, Carlos and his impeccable guitar were merely components in a supremely gifted outfit, and on Abraxas, each member of the band made his presence felt. Gregg Rolie supplied the articulate, seductive organ grooves that made "Black Magic Woman" and "Oye Como Va" instant radio classics, and composed the stomping rockers "Mother's Daughter" and "Hope You're Feeling Better," with Carlos' signature riffs soaring high above. Bassist Dave Brown and drummer Mike Shrieve laid the bedrock of what was quickly becoming one of the tightest rhythm sections known to man, and paved the road for the exuberant timbals and congas of Mike Carabello and Jose Areas.
Upon the release of Abraxas, Rolling Stone opined that Santana "might do for Latin music what Chuck Berry did for the blues." When the album rode to No. 1 on the back of the tightest grooves the rock establishment had ever heard, it seemed even that prediction was somewhat modest.
- Matthew Oshinsky, 1001 Albums You Must Hear Before You Die, 2005.
With the introductory single "Evil Ways" and this explosive follow-up album, Carlos Santana and his namesake band made the crossroads of Latin dance music and rock into one of the most happening spots in the musical universe.
It was a zone of endless roiling percussion, magical extended guitar journeys, and rhythm that swayed like the hips of Mother Earth herself. If, as some in the press enthused, Santana was bringing revolution, it was with a sound as old as the hills. Tito Puente's "Oye como va," one of two chart-topping hits here, turns on a steady, effortlessly synchronized son montuno rhythm played exactly the way the Latin dance bands of the '50s did it. Except where Puente's brass usually saunters in to relieve the vocalist, Santana's version busts out the guitar like a streak of blue light, spinning a melody that fills the air with psychedelic flowers.
Likewise, the other FM favorite, "Black Magic Woman," fully integrates "rock" and "Latin" into one mighty pulse. Elsewhere on Abraxas, the group stretches in ways far more imaginative than the '90s jam bands ever did (for proof see the instrumental "Incident at Neshabur," a suitelike showcase for the oscillating organ of Gregg Rolie).
Key to the enterprise is Santana, whose guitar has limitless powers of persuasion. Unlike those axmen who lean on the instrument's stun-gun attributes, Santana treats his guitar as a spirit vessel, fashioning long sustained tones into laser beams that cut right into the center of the music. Later, during the lean years of the '80s, the guitar and the percussion were the main reasons to listen to his bands. Here, though, Santana can practically coast, because everything's clicking.
- Tom Moon, 1,000 Recordings To Hear Before You Die, 2008.
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