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| 1. Adouma |
| 2. Nothing At All (Featuring Musiq) |
| 3. The Game Of Love (Featuring Michelle Branch) |
| 4. You Are My Kind (Featuring Seal) |
| 5. Amore (Sexo) (Featuring Macy Gray) |
| 6. Foo Foo |
| 7. Victory Is Won |
| 8. Since Supernatural (Featuring Melkie Jean & Governor Washington) |
| 9. America (Featuring P.O.D.) |
| 10. Sideways (Featuring Citizen Cope) |
| 11. Why Don't You & I (Featuring Chad Kroeger from Nickelback) |
| 12. Feels Like Fire (Featuring Dido) |
| 13. Aye Aye Aye |
| 14. Hoy Es Adios (Featuring Alejandro Lerner) |
| 15. One Of These Days (Featuring Ozomatli) |
| 16. Novus (Featuring Placido Domingo) |
With all that said, I was thrilled to see him come back into public aclaim with "Supernatural". While concerned somewhat about the commercialism of that release, it was a fresh enough approach that I could enjoy it, and be happy for Carlos because of the renewed attention it brought him. And for the long-time Santana fan, there was still enough traditional Santana sound there to enjoy.
However, with "Shaman", I feel he goes overboard with the multi-artist/colaborator approach, and at the same time, doesn't infuse enough traditional Santana music in the mix. "Shaman" unfortunately displays the all-too-American approach to marketing: if they liked it the first time, let's do it bigger, louder, and longer next time.
Musically, there's little new here since "Supernatural". Some of the guest artists are really questionable, talent-wise. It seems they just wanted to stuff this CD as full as possible with diverse individuals. Listening to the CD, I was struck by how common most of Carols' guitar licks sounded - it seems I've heard them all before, many times. In itself that isn't a bad thing, but given he's in the support on most of these tracks, it becomes all the more noticable. Sonically, the release suffers on many tracks from the type of compression typically found on commercial pop releases. It's mixed to sound ok on the car radio or an average stereo. Audiophiles with revealing, high-quality systems will lament the lack of sonic potential.
Most disturbing was noticing in the liner notes a page dedicated to plugging "Carlos by Carlos Santana Licensed Products". Everything from women's shoes to sunglasses to inspirational cards. I know that given the complete derth of talent being released by the record companies these days, even a release this commercial from Carlos Santana stands heads above the average. But do they have to hang every commercial opportunity possible on his shoulders? Or is it his choice to allow all this? In any event, it screams "sell out!".
While this CD may garner some Grammy's (unlikey to be as successful as it's predecessor, but given the state of music releases these days, anything's possible), it finds a slightly unwelcome home in this fan's Santana collection. But artists have to grow in their unique ways, and I hope this eventually inspires new, and more fittingly "Santana" creations in the future.
At first listen, 'Shaman' comes across as a fresh and varied bag of mostly latin-infused pop tunes, and owing to the success of Supernatural', Carlos Santana managed to get some of the hottest and most talented names in the music industry to lend their vocals to a dozen or so tracks. Most notable are Amoré with Macy Gray, 'You Are My Kind' with Seal and of course the first single 'The Game Of Love' which features a fresh-faced Michelle Branch. 'Game' is a delightfully lithe pop tune that manages put a bounce into your step and a smile to your face. It's that infectious.
Less effective are the forays into anthemic rock ('America' with P.O.D.) and opera ('Novus' with Placido Domingo). Somehow, in what is supposed to be a curious blend of guitar and powerful vocals, the tracks just come off sounding rather mismatched and even weakens the effects of Santana's solo interludes.
The token spanish track as always saves the day. With balladeer Alejandro Lerner on vocals, Santana manages to create a romantically tragic sonnet ('Hoy Es Adios') reminiscent of his earlier works like 'Maria Maria' and 'Black Magic Woman'.
Carlos's trademark guitar improvisational riff is evident throughout the recording but is most effective when there are no vocals to share the stage. Take a listen to instant classics like 'Foo Foo','Let Me Love You Tonight' and especially 'Victory is Won' and you'll see why sometimes, when the music is that good, no lyrics are necessary.
With comparisons to 'Supernatural' inevitable, Santana set out to produce a work that is reminiscent of its gigantic predescessor. As a result, while 'Supernatural' was a love child whose beauty everybody just happened to appreciate, 'Shaman' becomes a genetically enhanced commercial effort that is designed to please the masses.
