By the time Santana released Santana (The Third Album) in 1971, they were no longer just a promising act riding the wave of Woodstock—they were a fully realised musical force pushing the boundaries of rock. Building on the success of their first two records, this third outing captures a band at the peak of its early creative powers, blending Latin rhythms, jazz improvisation, blues feeling, and rock energy into something both sophisticated and deeply visceral.
Who are Santana?
At the heart of the band was Carlos Santana, whose distinctive guitar style had already become instantly recognisable. Born in Mexico and raised in San Francisco, Santana fused his cultural heritage with a deep love of blues and jazz, creating a sound that felt spiritual as much as musical. Surrounding him was a formidable lineup, including keyboardist and vocalist Gregg Rolie, bassist David Brown, drummer Michael Shrieve, and a dynamic percussion section featuring José Areas and Michael Carabello. For this album, the band also welcomed a young Neal Schon, whose presence added another layer of guitar interplay and future promise.
Santana – The Album Review
From its opening moments, Santana III feels more expansive and confident than its predecessors. The production is richer, the arrangements more adventurous, and the musicianship even tighter. Yet crucially, the band never loses the groove that made them so compelling in the first place.
The album kicks off with “Batuka,” an instrumental that immediately immerses the listener in Santana’s rhythmic world. Built around intricate percussion patterns and a driving bassline, the track showcases the band’s ability to create momentum without relying on traditional song structures. It’s a hypnotic opener, setting the tone for an album that prioritises feel as much as form.
One of the record’s standout tracks is “No One to Depend On,” a song that perfectly balances accessibility with musical sophistication. Its infectious groove and memorable vocal hook make it one of Santana’s most enduring songs, while the instrumental sections allow the band to stretch out and explore. Carlos Santana’s guitar work here is exemplary—fluid, expressive, and always in service of the song.
“Taboo” offers a slightly darker, more mysterious atmosphere. The interplay between guitar and organ creates a sense of tension, while the rhythm section keeps everything grounded in a steady, compelling groove. It’s a track that rewards repeated listens, revealing new details each time.
Perhaps the most striking piece on the album is “Everybody’s Everything,” which bursts with energy and complexity. Featuring a bold horn arrangement, the song pushes Santana’s sound into new territory, incorporating elements of jazz fusion and even hints of funk. The arrangement is dense but never overwhelming, thanks to the band’s tight execution and intuitive sense of dynamics.
Throughout Santana III, the chemistry between the musicians is undeniable. The dual guitar work of Carlos Santana and Neal Schon adds depth and texture, while Gregg Rolie’s organ playing provides both harmonic richness and rhythmic drive. The percussion section remains the band’s secret weapon, giving every track a distinctive pulse that sets Santana apart from their contemporaries.
What truly elevates this album is its sense of balance. It manages to be experimental without becoming inaccessible, polished without losing its raw edge. Each track contributes to a cohesive whole, yet stands strong on its own.
The Vinyl Review
Picked up at a record fair for about £3 this was a bargain. The cover is a little rough around the edges but no major issues with it other than being a little beat up. Considering the album is four years older than my good self it is considerably better condition!! No inner sleeve unfortunately but the vinyl is in good condition and plays well save for a couple of faint scratches.
Donnie’s Rating: 8/10
