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Rock - Released April 25, 2014 | Columbia - Legacy

Hi-Res Distinctions The Qobuz Ideal Discography
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Pop/Rock - Released February 16, 2010 | Columbia - Legacy

Distinctions The Qobuz Ideal Discography
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Pop - Released July 9, 2014 | Columbia - Legacy

Hi-Res Distinctions The Qobuz Ideal Discography
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Rock - Released April 25, 2014 | Columbia - Legacy

Hi-Res Distinctions The Qobuz Ideal Discography
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Pop/Rock - Released February 18, 2011 | Columbia - Legacy

Distinctions The Qobuz Ideal Discography
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Pop/Rock - Released June 19, 1990 | Columbia

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Borboletta was the first new Santana band studio album in 11 months and the group's sixth overall. Once again, individual credits were listed for each song. The main problem was that the band seemed to be coasting; Carlos turned in the usual complement of high-pitched lead guitar work, and the percussionists pounded away, but the Santana sound had long since taken over from any individual composition, and the records were starting to sound alike. That, in turn, started to make them inessential; Borboletta spent less time on the charts than any previous Santana album. ~ William Ruhlmann
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Pop/Rock - Released August 1, 1985 | Columbia

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Since he had joined Santana in 1972, keyboard player Tom Coster had been Carlos Santana's right-hand man, playing, co-writing, co-producing, and generally taking the place of founding member Greg Rolie. But Coster left the band in the spring of 1978, to be replaced by keyboardist/guitarist Chris Solberg and keyboardist Chris Rhyme. Despite the change, the band soldiered on, and with Inner Secrets, they scored three chart singles: the disco-ish "One Chain (Don't Make No Prison)" (#59), "Stormy" (#32), and a cover of Buddy Holly's "Well All Right" (#69), done in the Blind Faith arrangement. (There seems to be a Steve Winwood fixation here. The album also featured a cover of Traffic's "Dealer.") The singles kept the album on the charts longer than any Santana LP since 1971, but it was still a minor disappointment after Moonflower, and in retrospect seems like one of the band's more compromised efforts. ~ William Ruhlmann
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Pop/Rock - Released October 2, 1984 | Columbia

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After teaming up with Herbie Hancock for the jazz-flavored The Swing of Delight album, Carlos Santana reentered the pop/rock realm with the rest of his band for 1981's Zebop!. He still managed to include a little bit of his famed Latino sound into a few of the tracks ("E Papa Re," "American Gypsy"), albeit only slightly, but Zebop!'s overall feel is that of commercial rock, with the guitar arriving at the forefront through most of the cuts. Santana does a marvelous job at covering Russ Ballard's "Winning," taking it to number 17 on the charts, while "The Sensitive Kind" is built around the same type of radio-friendly structure yet it stalled at number 56. Zebop!'s formula is simple, and all of the songs carry an appeal that is aimed at a wider and more marketable audience base, with "Changes," "Searchin," and "I Love You Much Too Much" coming through as efficient yet not overly extravagant rock & roll efforts. The album's adjustable rhythms and accommodating structures kept the band alive as the decade rolled over, peaking at number 33 in the U.K. but cracking the Top Ten in the United States, which eventually led to Zebop! going gold. Actually, "Winning" followed in the same footsteps as Santana's last couple of Top 40 singles in "You Know That I Love You" from 1980 and "Stormy" from 1979. Shango, the album that came after Zebop!, gave them another hit with "Hold On," sung by bandmember Alex Ligertwood. ~ Mike DeGagne
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Pop/Rock - Released September 6, 1983 | Columbia

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Shango is notable for featuring the return, in the role of co-producer and co-songwriter, of original Santana keyboardist Greg Rolie. The main producer, however, was Bill Szymczyk (James Gang, Eagles), who gave Santana an unusually sharp rock sound resulting in two more hit singles, "Hold On" (Number 15), and "Nowhere to Run" (Number 66), although the band once again slipped below the Top Ten and gold-selling status, with the album peaking at only Number 22, and even this was the highest Santana would get until Supernatural in 1999. ~ William Ruhlmann
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Pop/Rock - Released April 14, 1987 | Epic

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Freedom marked several reunions in the Santana band, which was now a nonet. In addition to Carlos, the band consisted of percussionists Armando Pereza, Orestes Vilato, and Raul Rekow; returning drummer Graham Lear; bassist Alphonso Johnson; returning keyboardist Tom Coster, keyboardist Chester Thompson, and, on lead vocals, Buddy Miles, who had made a duet album with Santana 15 years before. Credited as an "additional musician" was keyboard player Greg Rolie, an original member. The music also marked a return from the hyper-pop sound of Val Garay on Beyond Appearances to a more traditional Santana Latin rock style. Thus, Freedom was a literal return to form, but, unfortunately, not to the quality of early Santana albums. And the group's commercial decline continued, with the LP getting to only Number 95. ~ William Ruhlmann
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Pop/Rock - Released October 22, 2002 | Columbia - Legacy

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Rock - Released April 25, 2014 | Columbia - Legacy

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Rock - Released April 15, 2016 | Santana IV Records

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45. This is the number of years that passed between Santana III and Santana IV. No joke. The struggle has been very real for fans of the guitar-wielding Santana. It’s another guitarist, Neal Schon, who is behind the project. He tested the water with the idea of ​​a potential collaboration with Santana back in 2013, and finally the two musicians decided to recall the entire band from 1971: Greg Rollie (piano/vocals), Michael Carabello (percussion), Michael Shrieve (drums), all were present. The artists got to work in 2013 and recorded more or less 50 tracks. The 16 ‘most successful’ were retained and becomeSantana IV. The spicy recipe is wonderfully cooked and includes everything that perfectly identities the Group – from Latin music to jazz, Caribbean rhythms to blues, psychedelic to sunny afro... The whole thing is undeniably groovy and Santana perpetuates a dance that takes into account rhythm and melody simultaneously. The musicians have no difficulty in finding picture-perfect complicity after so many years apart, and have helped to save a portion of Shake It as a wonderful jam track. Special guest Roman Isley (singer from the famous Isley Brothers), is also part of the group and adds his voice on two tracks. You might think you’ve heard it all, but Santana has nothing but proof here that this isn’t the case. © AR/Qobuz
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Rock - Released August 19, 1986 | Columbia

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Pop - Released September 25, 2007 | Arista

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Rock - Released April 25, 2014 | Columbia - Legacy

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Pop - Released July 9, 2014 | Columbia - Legacy

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Pop/Rock - Released November 2, 1987 | Columbia

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The third Carlos Santana solo album marks a surprising turn toward 1950s rock & roll and Tex-Mex, with covers such as Bo Diddley's "Who Do You Love" and Chuck Berry's title song. Produced by veteran R&B producers Jerry Wexler and Barry Beckett, the album features an eclectic mix of sidemen, including Booker T. Jones of Booker T & the MG's, Willie Nelson, and the Fabulous Thunderbirds. Havana Moon is a light effort, but it's one of Santana's most enjoyable albums, which may explain why it was also the best-selling Santana album outside the group releases in ten years. ~ William Ruhlmann
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Pop - Released September 30, 2002 | Arista

Nobody could have predicted the success of the star-studded Supernatural in 1999, but it revitalized the career of Santana, plus Clive Davis, who cooked up the whole idea of the comeback in the first place. Given its blockbuster status, a sequel that followed the same blueprint was inevitable, which is exactly what 2002's Shaman is. If anything, there's even less Carlos Santana here, proving that he and Davis are among those that believe that Supernatural was a success because of Rob Thomas and "Smooth," not the typically tasteful, excellent guitar playing. And, no surprise, Thomas has a strong presence here even if he doesn't sing. He writes two songs, flexing his muscles as a neo-soul songwriter (not badly, either, on cuts sung by Musiq and Seal), and providing the template for all the guests here: they want to launch a new stage of their career, finding a wider audience. Outside of Seal (who has a comeback of his own to launch) and Placido Domingo (who does these things because he can), everybody here has hearts to win and something to prove, and they do a mixed job of it. P.O.D. falls on its face with the embarrassing "America," but Chad Kroeger far outshines anything he's done with a surprisingly subtle and soulful "Why Don't You & I," easily better than anything by Nickelback. But this points out the problem on the record -- each song is tailored to the strengths of the lead singer, not the strengths of Santana, who's left with piddly, forgettable instrumental interludes and playing endless lines beneath the vocal melodies. Who can blame him? It's the only chance he really gets to play on this album. On the whole, it holds together no better or no worse than Supernatural -- it's the same record, essentially. True, there wasn't anything as awful as "America" or the foolish aural press release "Since Supernatural," but there was nothing as joyous and wonderful as the Michelle Branch-sung "The Game of Love." Written by the team behind the New Radicals' modern pop classic "You Get What You Give," it's every bit as soaring melodic and irresistible; it may not be Santana -- it sounds even less like Santana than "Smooth" -- but it's perfect pop, the best pop single of 2002, for reasons that have nothing to do with Santana. ~ Stephen Thomas Erlewine
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Pop/Rock - Released September 17, 2010 | Arista

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