STACK NZ Apr #72

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By Graham Reid

SANTANA

Santana (1969) The debut which introduced Latin-infused jazz- rock to the audience, which hadn't been there for the band's stunning debut at Woodstock earlier that month. Prepared the ground for the equally impressive follow-up a year later, Abraxas . Both essential. Caravanserai (1972) Because it followed three great albums which established the vigorous Santana sound, this controversial departure into jazz and more meditative explorations was widely derided during its own era, but it has stood the test of time. It announced a new direction Santana would continue to explore, sometimes with mixed results. Moonflower (1977) Initially this double album credited to the Santana band seems like an odd mix of new studio tracks and live hits, but the meld mostly works. He's on the money with his singular sound and style, and they even scored a hit single with their version of Carlos Santana’s new album Santana IV finds him reunited with most of the original band. Graham Reid recommends some essential early albums by the group or from Santana's own solo catalogue. the Zombies' She's Not There . The Swing Of Delight (1980) Although his guru got many writing credits (presumably so Carlos could flick him some royalty money), this double album outing under the man's adopted spiritual name Devadip Carlos Santana found him with stellar jazz players from Miles Davis' band (Herbie Hancock, Wayne Shorter, Ron Carter, Tony Williams) and others on a free-flowing, relaxed and sometimes expansive collection. Essential, but a different Santana. And also... There have been any number of Santana band and solo compilations, but the band collection Santana's Greatest Hits is the one to find; it draws from those first three “Woodstock era” albums.

The Cars Moving in Stereo: The Best of The Cars

Ric Ocasek might not be the best-looking man in rock, but he's certainly one of the smartest songwriters and producers, and almost single- handedly drove The Cars to chart-topping

success. He added polish to their snappy New Wave sound, kept the radio-length songs tight and snappy, and steered a course between artful rock and power pop with plenty of hooks to get them on the charts. The Cars were one of the great pop-rock bands of their era – and there was plenty of competition. Their heyday is collected on the all-inclusive, six-CD set The Elektra Years 1978- 1987 , but this single disc, 18-song party-time collection scoops up their key hits and adds a new mix of Sad Song from their 2011 reunion album. Pop of its period, but also surprisingly durable.

MUSIC

Jeff Healey Heal My Soul

Jeff Buckley You and I

Blind blues guitarist Healey – who died in 2008 – would have been 50 this year, and these previously unreleased songs confirm he was in a class of his own (Mark hardcore black blues musicians happily played alongside him). A Canadian, he had jazz and the sound of old 78 rpm records in his soul, but couldn't be confined to any genre. This collection delivers searing, straight-ahead, post-Hendrix playing, so if you had him pegged as a bluesman you may be surprised to find that in places here, he is a convincing, incendiary rocker. Not too late to discover him. Knopfler, George Harrison, Benmont Tench and many

Buckley's small catalogue (two EPs, one album) inflates again with another posthumous release: 10 songs from pre- Grace sessions as producer Steve Addabbo tried to ascertain what Buckley was capable of. Here Buckley does Dylan (an overwrought Just Like a Woman ), Sly Stone badly ( Everyday People ), the Smiths ( Boy With a Thorn in His Side and I Know It's Over ), Led Zep (their unexceptional Night Flight ) and Bukka White (Poor Boy Long Way From Home ). There's an urgent run-through of Grace and the unfinished Dream of You And I – which became You And I on the posthumous Sketches for My Sweetheart The Drunk . Nothing diminishes his reputation, little enhances it.

For more interviews, reviews and overviews from Graham Reid visit www.elsewhere.co.nz

APRIL 2016

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