instrumental Zulu). Even the brazilian connection was maintained through the obvious Bahia. The best I generally enjoy it a lot, I still haven't gotten much further into his discography. Suggestions are Savor/Toussaint L'Overture" (Santana, Rolie, Brown, Michael Carabello, Michael Shrieve, Areas) – 12:56 (Live) Remnants of the original band were always there, but to stay relevant, the band was shifting and growing.

Oricon Album Chart Book: Complete Edition 1970–2005 (in Japanese). Roppongi, Tokyo: Oricon Entertainment. 2006. ISBN 4-87131-077-9.A Santana fan who was rooting from memory at this point, but the idea of a double album, which was mostly live, interspersed with studio cuts of the time really worked for me. The studio cuts are incredibly contemporary, while maintaining a fusion sound, and Moonflower would mark the end of this Santana fusion era, heading into Inner Secrets which I flat out refuse to own. Moonflower plays like a celebration of all that once was, and all of what's to come, thus nailing the coffin home for me. I just cannot get into Santana R&B for the most part, it is just not the band's forte, although out of all the vocalist the band had, Greg Walker may have been their best soulster, and "Transcendence" is a great tune. Le Détail des Albums de chaque Artiste – S". Infodisc.fr (in French). Archived from the original on 22 October 2014 . Retrieved 9 June 2012. Select Santana from the menu, then press OK .

Producer [Production In Europe], Recorded By [Live Recording In Europe] – David Rubinson & Friends, Inc. fell like listening to it as a whole. A real shame. However, it does have some real good stuff here, At this stage of my life I was already beginning to discriminate against songs that gained radio popularity despite the fact that some songs that I deemed "great" did happen to achieve fame and fortune, but Santana's "hits" actually turned me away from seeking his albums out for a long time. It was Moonflower that helped me understand that sometimes an album's "best" songs (i.e. the ones I liked most) were not always the ones chosen for radio play as "hits." Also, disco was in full swing, as can be told through some of these rhythm styles. Thus songs like "I'll Be Waiting" and "She's Not There" were not my favorites. The playful ones, like "Jugando", and "Zulu", "Bahia", "Dance Sister Dance", and "Soul Sacrifice/Head, Hands & Feet" attracted my admiration, but it was really the seductive melodies of "Europa" and "Flor d'luna" and "Transcendance" that made me want to sit up and take notice. Then there is the finale, the great, great jam of "Savor/Toussaint l'overture"--one cookin', happy-to-be-alive song that I always loved to blast on my stereo.In all, Moonflower could have been a fine studio and a reasonable live album if the live and studio