Abraxas (1970)
This record shows the band's strengths and weaknesses: they really swing on Tito Puente's "Oye Como Va," Carlos's playing soars throughout, particularly on "Black Magic Woman/Gypsy Queen" and the jazz-fusion piece "Incident At Neshabur" with Alberto Gianquinto on piano. However, featuring a sensitive, technically skilled pianist on one track highlights one of Santana's weaknesses: their keyboardist, Gregg Rolie, who contributes a couple of dull, rudimentary tunes ("Mother's Daughter," the overblown "Hope You're Feeling Better"), and takes up way more solo space than his modest talents merit. (And I'm not saying that because he later went on to found Journey.) Also in the minus column: the group had no good singer or songwriter, and often the compositions are minimal, just solo vehicles ("Se Acabó," "Samba Para Tí," "Singing Winds, Crying Beasts") - as time went by these problems became more limiting. But another point in the band's favor is that the jams don't go on forever the way so many other San Francisco records did... most of them are quite punchy and to the point, and when the band sinks its teeth into a groove it doesn't let go. (DBW)