Product details
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| Disc: 1 |
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| 1. Dawn/Go Within |
| 2. Carnaval |
| 3. Let The Children Play |
| 4. Jugando |
| 5. I'll Be Waiting |
| 6. Zulu |
| 7. Bahia |
| 8. Black Magic Woman/Gypsy Queen |
| 9. Dance Sister Dance (Baila Mi Hermana) |
| 10. Europa (Earth's Cry Heaven's Smile) |
| Disc: 2 |
| 1. She's Not There |
| 2. Flor D'Luna (Moonflower) |
| 3. Soul Sacrifice/Head, Hands & Feet |
| 4. El Morocco |
| 5. Transcendance |
| 6. Savor/Toussaint L'Overture |
| 7. Black Magic Woman |
| 8. I'll Be Waiting |
| 9. She's Not There |
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The Latin infused blues rock era is caught live on tour in Europe in 1976, while the soul/funk tight song oriented direction is heard for the 1st time with all new studio cuts. Both styles are scattered across all 4 sides and melded together seamlessly.
"Dawn/Go within" starts the album, a studio cut which fades in beautifully and then funks along nicely until the huge roar from the crowd makes it obvious that we're been transported to the start of the live show. "Carnaval/Let the children play/Jugando" are delivered en suite, with the high point being the very 1st time we hear Carlos play the guitar on Carnaval; deliberatley held off for as long as poss. for maximum effect.
Even before the crowd stop cheering "I'll be waiting" has begun, and we're back in the San Francisco studio for one of Carlos' finest love songs ever. The guitar solo is fab too, with some deliciously seductive picking. "Zulu" is a platform for bassist David Margden.
Side 2 (yes, I have this on vinyl!) contains the legendary "Black Magic Woman/Gypsy Queen" and "Europa", both live, and, I believe, better than their studio originals for it. Carlos uses his trademark feedback sustain on both expertly, and you can hear him toying with it and making sure it's there when he needs it.
Side 3, and we're back in the studio with (what was until recently) the bands biggest hit; "She's not there". This is proof that covers can be better than originals (sorry Zombies, your's was great, this is awesome). The title track "Flor d'luna" follows, a medlodic Latin instumental and great for playing along to; both lead & ryhthm parts. "Soul sacrifice" takes us back into the concert arena for the bands percussion showcase. Skin up and get yer bongos out.
Side 4 wraps things up with a perfect balance of half live & half studio tracks. Highlights are "Transcendance" (studio), an excercise in crescendo, featuring possibly the best solo on the album with some stunning right hand technique, and "Toussaint L'overture" (live) which is the perfect climax to this classic album.
Carlos has never bettered this before or since, and this is one album you simply can't live without.
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