I've been a devoted Santana fan for most of his career. Heck, I remember buying his first album on vinyl shortly after it was originally released. I've probably bought more of his releases over the years than any other single artist I follow. I've seen him live many times, going all the way back to the 70's, and always treasured the experiences.

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.

How do you produce a follow-up to the biggest album of your career - make that the biggest album of the decade - and not appear to be doing the same thing all over again? The answer- Don't even bother. After all, if it ain't broke, why fix it? Using that time tested formula, Santana comes up with yet again another eclectic mix of Latin funk that wouldn't have sounded out of place if it was in 'Supernatural'.

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.

I'm a huge Santana fan, I've been to over 15 shows and own nearly every LP, but I'm very disappointed by Shaman, which could easily have been called Supernatural II.

This LP sounds and feels EXACTLY like Supernatural. Heck, even the video for "Game of Love" looks exactly like "Smooth". Supernatural was a great LP, and I'm very happy Carlos received the acolades he deserved from it, but I was hoping for a more Santana-like album this time around.

The only songs that remotely sound like classic Carlos are "Victory is Won," which was an instrumental mainstay of the last tour (you might remember it as the intro to "Smooth" at the 2000 Grammy Awards), and "America," which really highlight's his mastery of the guitar.

It's a shame Carlos seems to have gone pop.

One good thing about Shaman: It should spark sales for Santana's classic albums, because that's what you'll want to hear after listening to Shaman.

There is something on the CD for everyone--rock, pop, salsa, merengue, hip hop, and a track sung by the great tenor, Placido Domingo. Carlos' unbelievable guitar work is infused thoughout all of these.

I saw him first at Woodstock, the original, and have bought everything he's put out since, regardless of reviews and I'm happy to add this to my collection. He's put himself through changes in order to keep inspired and growing all his career with close to 30 band changes so trying new things is in his nature. Part of that is bringing in the guest artists and like any experiment, some things work better than others and that's as good as it gets in life and with albums. There's a few I love, a lot I like, and some I can take or leave but I don't think a straight Santana album would get produced today, when was the last album Clapton put out? Record companies are off in a new direction and Santana's format adding popular artists keeps him growing and gets his music made, at least for now. He's still got the desire and he's still putting it out. I don't care who's around him, I hear that guitar and for me it's Santana. It's like our President, whatever plane he's on is Air Force One :)

R. Garfield