Santana - Moonflower
Listen to an audio version of this review by Greg
It was 9:10 am, Friday morning, November 10th, 1989. I was a 12-year-old student at an all-boys private school in rural Massachusetts. I was late for history class, and my teacher, Mr. Beardsley had it in for me. He probably had a good reason. I consistently spent time during “his class” drawing Guns n’ Roses, Metallica and Motley Crue in block letters on my notebooks and binders. You couldn’t write well on a Trapper Keeper, so I had to get the cheap binders, ya know? The 3 ring ones that would usually be bent and broken within 1 month. And oh man, the number of times I closed those damn binder rings on my fingers….
I can remember the Berlin Wall had just come down the day before. This was a big deal and Mr. Beardsley was explaining the importance of it to us. But was I listening? Unfortunately, today I have to report, no. The moment he noticed I was late, he acknowledged it and told me to find my seat fast. He also asked to see him after class. Instead of listening to a description of a historical moment in world history, I was more focused on making sure the lightning bolts on the letters “M” and “A” of the word METALLICA were done correctly. For I couldn’t pass myself off as a real fan if they weren’t drawn correctly….I mean c’mon.
When class was dismissed, I made my way to Mr. Beardsley’s desk. As the last student left the classroom and the next round of students were entering for his next class, Mr. Beardsley let out a deep, long sigh with the words, “Mr. Potters” added into this exhale. “It’s important to pay attention in class, Mr. Potters. This way, you will not only do well on my quizzes and tests, but you will learn something”.
I nodded as I was just looking to get out of there. Mr. Beardsley was also my wrestling coach, so I also had to endure his presence at the end of the day during practice. So, I was aware I didn’t want to make an enemy here. As I agreed to pay more attention, I noticed a cassette tape, sitting on his desk. In big letters, with a rather impressive font style (maybe it was Papyrus!!!???), I could read the word SANTANA. Now I knew “of” Santana, but I never had heard his music. As I was excused and allowed to go to my next class, I found my buddy Matt in the hallway, hustling to his next class. “What’d he want?”, Matt asked. “Ah, he just told me to quit drawing on my notebook and pay attention more. You know? The usual stuff”. “Was he mad?”, Matt quickly followed up. “No”, I responded. “But get this, he had a tape of “Santana” on his desk. What a loser, right?!”
Matt agreed as we parted ways. I found my way into my Spanish classroom, Matt ducked into Math class with a smile and a thumbs up.
Yes, so this was my attitude towards anything that was not “Hair Metal” in 1989. For my music journey had a long way to go and I had A LOT of learning to do. About 3 years later, I can recall wanting to write those words I shared out loud onto a piece of paper and EATING that piece of paper.
When I heard Santana’s 1977 album, Moonflower, I kept shouting, “How could I have been so stupid!!” I would mouth these words a lot throughout the 90s as initial opinions I formed about many artists, were debunked over and over and over and over again. Santana was one I will never forget.
On October 1, 1977, singer/songwriter Carlos Santana, released his 8th album, a combination of studio recorded and live recorded tracks, titled, Moonflower. Considered a deep cut, at least by many Santana fans, Moonflower had a top 40 hit on the record, their cover of the Zombies song, She’s Not There and a well-known, radio friendly track titled Black Magic Woman, which was recorded live during the band’s Amigos tour of 1976.
What’s ear catching and eye popping about Santana and his band, is how they weave blues and Latin influences into their music. For most songs on Moonflower are off the beaten path, which is why I chose to review it today. In each track, you get a heavy taste of Latin instruments such as bongos and other percussion. But each song has a “see ya later”, “kick you in the head” guitar solo which is precisely what drew me to Carlos. For this is the perfect album to play at a party when your guests have different musical tastes, because you can satisfy the “I just want to dance” crowd in addition to giving jam band and blues lovers that fabulous Santana guitar sound, which is infectious.
Carlos was born in Jalisco (pron: ha-lees-ko), Mexico in 1947. In 1955, his father managed to find steady work up north in Tijuana, just south of the US border. This is where Carlos really began is fascination with music. By 1957, he was playing violin with his two brothers for money on the streets of Tijuana, which had recently undergone a transformation becoming a big tourist and party town in Northern Mexico.
By 1958, Carlos was earning money exclusively by playing music in the streets and clubs of Tijuana. In 1961, Carlos would pick up an acoustic guitar, after experiencing what he called a religious experience when he witnessed several street musicians playing electric guitar and bass guitar out of an electrified amplifier. Carlos noted this day was the day he swore he would devote his life to music and never look back.
In 1962, Carlos and his family would move across the border, all the way up to San Francisco, CA. His father had been up there for 2 years, working the music circuit and slowly planning the family’s gradual move to the Bay Area. For Carlos, this was perfect and if it weren’t for this move, we might have never had a Moonflower or an Abraxas or a legendary performance of Soul Sacrifice at Woodstock in ’69. San Francisco would become the epicenter of the counterculture in the mid-late 1960s as the Vietnam War raged on overseas and music began its historical change that would move music in another direction forever.
Carlos played a large part in this change. By ’66 he formed the Mocker Manor Blues Band, which would later be changed to Santana Blues Band. By ’68, they had gained a large enough following in the Bay Area and drew attention from record companies. They signed a recording contract with Columbia Records in early 1969 and immediately entered the studio to begin recording their debut album, simply titled Santana. The band would later be shortened to just “Santana” from the Santana Blues Band also.
What’s fascinating about their debut, is that it was released after their famed performance at Woodstock in August 1969. So, most people listening that night had never heard of Santana before. If you haven’t yet, you MUST watch Santana’s performance at Woodstock, especially Soul Sacrifice, as this performance will go down in the Pantheon of rock performances. Not to mention you must check out the Woodstock movie in its entirety. Life changing.
That leads us back to 1977, Carlos is now well established, he’s already released what may be one of his/their strongest albums, Abraxas and puts out their 2nd (sort of) live album. I say sort of because Moonflower had a mix of studio and live tracks, making it more of a compilation album.
I’m walking through my local record store in 1991 when I spot the album cover of Moonflower. The cover is a photo, taken by Japanese photographer Yoshikazu Shirakawa and depicts a wide mountain range, covered by rolling clouds, almost as if you’re viewing this from an airplane or atop a large mountain peak. It’s unclear whether the sun is either setting or rising in the picture. Nevertheless, the photo caught my eye immediately, and without any knowledge of the tracks listed, with exception of Soul Sacrifice and Black Magic Woman, I grabbed this double album and proceeded to the check out counter.
The album opens with Dawn/Go Within. A relaxing synth mixed with a massage-like bass line starts off. Band lead singer, Greg Walker, whose voice just screams 1970s, lets out a big belt. This is the only vocal sound you hear the entire 2:44.
This is an instrumental track. A quick one. Not your 20-minute Dead jam. That’s why I think this album could be played at any party.
Carnaval picks up with a Latin beat. Sung in Spanish and English, the lyrics are short and straight to the point:
Vamanos, vamanos al carnaval
Es hora de bailar mi amor
Come on, let's go
Let's go to carnaval
It is time to sing and dance my love
Yo quiero lo felicidad
Que da el carnaval
I want the happiness and joy
That's found in carnaval
What’s great about this song is the buildup. The buildup to the reason why Santana is so special. Carnaval, which was recorded live in concert segues right into Carlos’ rocket ship riding guitar solo, which easily and perfectly takes you into Let the Children Play.
Playing this at midnight on my Aiwa stereo in my bedroom on my headphones, I was hooked. One and half songs in. Carlos was my guy. He was my new obsession. I would later see him in concert a year later, fully transformed by that time into a die-hard Santana fan. Oh if Mr. Beardsley could see me now.
At some point unbeknownst to me, Let the Children Play becomes Jugando. You don’t even realize it. It’s a smooth segue that just organically happens. Those are the best. When one song morphs into another. I’m of the mindset that not many bands can do this. I would have to say, The Grateful Dead are probably the kings at this. Just listen to how they would melt Scarlet Begonias into Fire on the Mountain live in concert. It’ll melt your brain.
On the tracks where he does sing, Greg Walker does a superb job. Taking over the song, making you forget it’s a Santana track. Then Carlos’ guitar comes in and your fingernails fall off!!
Probably the most unique song on the album is the 6th track, Zulu. Interestingly enough, I was not able to find much of any information about this song while doing research. But it is a true departure from the other material on the album. It’s a fusion, funk, jam song. Zulu maybe belongs on a King Crimson album, or part of a progressive rock compilation. Being a studio recording, David Margen’s bass really takes center stage in this track
Zulu is the whole package. As a fan of instrumentals, I was zonked when I heard this. This is a combination of Latin, funk, Disco, Jazz (heavy jazz), and blues (of course with Carlos’ guitar). This one just screams 1970s. I felt like I was wearing white bell bottoms, dressed like Dirk Diggler getting ready to go to a disco pool party in Hollywood hills of 1977 when I first heard this song.
For the radio friendly fans – Black Magic Woman scratches that itch. With that rhythm driving bass guitar played by Pablo Tellez, who played on all the live tracks for Moonflower, and Greg Walker’s 1970s “I’m about to give you a massage so sit back” type voice.
Of course, the track turns into a huuuuge jam that during many live shows, Carlos has stretched out forever. On the album Moonflower, he only stretches this version of Black Magic Woman to a modest 6:32. This is just an exceptional song. If you’re not understanding Santana at this point, stop this podcast because you will never. Black Magic Woman was actually written by Fleetwood Mac founder Peter Green and a Hungarian guitar player named Ga’bor Szabo’ who grew to fame in the 1960s as a jazz guitarist.
Skipping ahead a few tracks, Moonflower features of live version of Soul Sacrifice/Head, Hands and Feet, which gained notoriety when the earlier lineup of 1969 played a lengthy version at Woodstock that same year. You must experience this version. Set a reminder to go back and listen to or watch that performance on YouTube. You’re DEAD!!!
Unfortunately, Michael Shrieve who drums for Santana during the Woodstock performance of this song, is not on the Moonflower version. You can’t miss Shrieve, for he’s the greatest Kevin Bacon lookalike on the planet. Or maybe we should say the opposite is true! Graham Lear is the drummer on the Moonfloweralbum version, and he is joined by Raul Rekow and Jose Areas on percussion for this version. The drumming is still superb and steals the show. Well…. until Carlos plays his guitar about 7:12 in. Then you go on a ride for what is arguably the best song he ever wrote and performed.
From 1976 until 1982, Carlos’ main guitar was a Yamaha SG 175B. Occasionally he would play a white Gibson SG Custom with three open-coil pick-ups.
It's in the history books that during his performance at Woodstock, Carlos had taken acid prior to going on stage. Given to him by Jerry Garcia, Carlos was originally told he’d not been scheduled to go on stage until about 3am, and it was about 1:00 in the afternoon when he accepted Jerry’s offer. So, he figured, “what the heck! I’ve got time!”
Well…not the case...!
Soon after that tab hit Carlos’ tongue, the band is told they are going on during the afternoon, 2pm local time. Can you imagine what Carlos must have thought when the LSD started kicking in?
He’s noted in interviews stating he “felt like the neck of his guitar was slithering around like snakes”. Carlos stated he just closed his eyes to avoid panicking and trusted his fingers to play the notes. That’s a real musician.
Remember at this point, Carlos had not released an album yet. Outside of the Bay Area, he was relatively unknown. Can you imagine not only tripping on stage in front of 400,000 people but at what was going to be your real first, breakout show??! Oh my God!
Moonflower continues with studio and live recordings such as Flor d’Luna (Moonflower), the 1970s mellow Transcendance and the famous Zombies hit, She’s Not There. With a total of 2 records and 16 tracks, Moonflower does NOT, and I mean does NOT disappoint.
In 1998, Carlos, along with his classic Santana lineup of their first two albums, were inducted into The Rock and Roll Hall of Fame. They would perform the song, Black Magic Woman with Peter Green that night who I noted earlier co-wrote the song.
Most recently, Santana underwent heart surgery in December 2021. He suffered a medical emergency on stage at a concert at Pine Knob Music Theatre in Michigan on July 5, 2022. The actual medical issue was not disclosed to the public. Carlos apparently was able to gain consciousness while being helped off stage. His publicist later noted Carlos collapsed from heat exhaustion and dehydration, was transported to a local hospital, and would recover soon. Just three days later on July 8th, Santana's management company announced that he would postpone his next six concerts out of an “abundance of caution for the artist’s health”.
After 50 years recording and more than 60 years performing, Moonflower is arguably Santana’s strongest album. At 75, Carlos and his Santana band are back on the road after pausing for a few weeks, as I’m writing/presenting this review in August 2022. After listening to his most recent 2021 album, Blessings & Miracles, Carlos clearly still has the ability to rip on his guitar and play some exceptional music for you. You can get your tickets for this current tour by going to www.tour.santana.com.
Pick up a copy of Moonflower in the store at albumreview.net. Grab a piece of history. If you’re a rock fan, you need this in your collection, you have no idea what you’ve been missing.
And add a sleek portable player with storage rack to your collection below!
