Abraxas

"Abraxas" is the second studio album by the Latin rock band Santana, released on September 23, 1970, by Columbia Records. The album marked a significant milestone for the band, as it became their first to reach number one on the U.S. charts.

Featuring a fusion of rock, jazz, and Latin influences, Abraxas includes iconic tracks such as "Black Magic Woman" and "Oye Como Va," which have become staples in Santana's repertoire. The album received critical acclaim for its innovative sound and musicianship, showcasing Carlos Santana's signature guitar work and the band's ability to blend diverse musical styles. Its success solidified Santana's place in the rock music landscape and remains a classic in the genre.

The title Abraxas is derived from a line in Hermann Hesse's 1919 novel Demian, which is quoted on the back cover of the album. The quote reads: "We stood before it and began to freeze inside from the exertion. We questioned the painting, berated it, made love to it, prayed to it: We called it mother, called it whore and slut, called it our beloved, called it Abraxas..."

This reference reflects the album's themes of duality and the exploration of contrasting forces, mirroring the blend of rock, jazz, and Latin influences found throughout the music. The mystical connotation of "Abraxas" adds depth to the album's artistic vision, enhancing its significance within Santana's discography.

Carlos Santana was inspired by Fleetwood Mac's leader and songwriter Peter Green after seeing him perform at the Fillmore West in San Francisco, which led him to cover the band's song "Black Magic Woman." The album also features a cover of Gábor Szabó's instrumental "Gypsy Queen," which was added as a finale to the track.

"Oye Como Va," originally a hit by Tito Puente in the early 1960s, became a staple in Santana's live performances, as it was great for getting audiences to dance.

"Incident at Neshabur" was co-written by Santana and pianist Alberto Gianquinto, showcasing a mix of time and key signatures, with contrasting keyboard styles from Gianquinto and Gregg Rolie.

The instrumental "Samba Pa Ti" ("Samba for You") was inspired by a jazz saxophonist performing outside Santana's apartment. This track was later covered by artists like José Feliciano and Angélique Kidjo.

Notably, the first three songs on side one of the album seamlessly segue into one another, creating a cohesive 14-minute, 28-second mini-suite that enhances the album's artistic flow.