After a lengthy break from the studio, Santana returned in 1999 with \"Supernatural\", an album of collaborations with the good and the great. In 2002, \"Shaman\" followed in similar fashion, with further collaborations. Both of these albums sold well, helped by the occasional hit single plus of course the guest lists.\"All that I am\" is the largely overlooked third such album from Santana, released in 2005. Once again, we have an impressive list of collaborators, ranging from Steve Tyler of Aerosmith to Joss Stone and Mary J Blige. Unfortunately, somewhere along the way the song-writing requirements appear to have been overlooked, resulting in an album full of potential which ultimately fails to satisfy.The album opens with a couple of traditional Santana pieces with strong ethnic influences. While these are reassuringly familiar, they have the feel of having heard it all before. All too soon though, we are into a pure pop mode with \"I'm feeling you\". This song, which features Michelle Branch and the Wreckers, is pure Leann Rhymes upbeat melodic pop with a prosaic Carlos Santana guitar break. Indeed, his guitar can be heard in the background at various stages throughout the song, but it is mixed well back. \"My man\" calls up Mary J Blige and Big Boi who once again take over this soul/funk song to which Big Boi adds rapping. Carlos may be noodling in the background, but this is an MJB song. Steve Tyler's distinctive vocals add some nice colours to the single \"Just feel better\", an upbeat facsimile of \"Don't want to miss a thing\". The strangely named hip hop artist Will.i.am, better known as a founding member of Black Eyed Peas, is the guest for \"I am somebody\", an anonymous piece of funk rock. Soul singer Anthony Hamilton appears on \"Twisted\", a pleasant Bobby Brown like soft soul number. Finally, on \"Trinity\", we get to some real meat. Guitarist Kirk Hammett of Metallica and talented pedal steel guitarist Robert Randolph join Carlos for a trinity of three guitars. This wonderful instrumental is woefully short, cut off in its prime by a crude fade. All too soon we are back to the rap and soul, this time with Sean Paul and Joss Stone guesting on \"Cry baby cry\". Other guests include Los Lonely Boys, Bo Brice, and Toure Kunda. In all, this is a frustrating album. Carlos Santana's guitar work is pretty much ever present, but he is always playing second fiddle to the guest performers. It is almost as if he is in a world of his own in the background, oblivious to the vocalists in the foreground. Those whose tastes extend to soul, rap and funk will probably enjoy this album immensely. It is certainly well crafted but highly derivative. Nothing prog to speak of either. social review comments Review PermalinkPosted Saturday, February 17, 2007 Review this album Report (Review #112397)
Having said that, even an average Santana record is usually vastly superior to 99% of the auralschlock foisted upon the public in any given year and 'All That I Am,' while far from being amasterpiece, still contains moments of excellence to enjoy. 'Hermes' gets the album off to a finestart with Chester Thompson's unexpected retro organ sound and then it explodes into full Latinlocomotion complete with a bold horn section and the band's trademark ensemble chanting. It's anexciting cut with everything that makes Santana a great musical entity included in it. On 'ElFuego' Carlos stays true to his festive Mexican heritage and native language by presenting anemotionally-charged song that sports passionate singing and punchy percussion emanating from KarlPerazzo and Raul Rekow. If they'd stayed with that fiery motif then this would've been anintriguing departure from the previous two records but at this point with 'I'm Feeling You' theytried to manufacture a hit song (never a good idea) and this is where the album begins to losemomentum. Michelle Branch's impressive vocal style had pushed 2002's 'The Game of Love' into thetop 5 of the singles chart so I guess they were hoping lightning would strike twice. No go. It's apoppy number, alright, and Branch's chirpy voice dominates but the songwriting is somewhat plainvanilla and it petered out at a disappointing #55. It becomes apparent that the tracks Carlospersonally produced (almost half of the disc) represent the best of the bunch while the majority ofthe rest ('I'm Feeling You' included) give the impression that the other producers assigned to thisproject put the tunes together as they saw fit and had Carlos come in at the end to sweeten them upwith his signature guitar licks. I could be wrong but that's how it comes off to me.One unfortunate trend that tagged along with Santana's return to prominence in '99 was theirallowing hip hop influences to taint their image. (Sorry if that's your cup o' tea but I just don'tlike it.) 'My Man' is an example of what's wrong with 21st century R&B. Rhythm & Blues is a genreof music I used to enjoy but nowadays have a lot of difficulty embracing. I appreciate the talentof Mary J. Blige and her innate singing ability but Big Boi's hip hop injections severely andimmediately suck out whatever potential the song might've had. I love Steven Tyler's voice but thefamiliar Santana motif that abounds in 'Just Feel Better' frames it in such an alien format fromAerosmith that I find it impossible to completely surrender to the premise. The tune is okay andCarlos' playing is decent but it falls just short of the mark. Will.i.am is the visiting star of 'IAm Somebody' but the song is more of the unsettling blend of Latin inflections with modern R&Battitudes that does nada for me. Numbers like this one leave very little room for Carlos to do histhing efficiently so by now the album is on the skids and needs a shot in the arm. Carlos producedthe next cut, 'Con Santana,' and the contrast in energy is like night and day. It's a return to theSpanish vibe he obviously feels most comfortable working in and his guitar playing is much morefluid and melodic accordingly. 'Twisted' is a pleasant surprise. Its infectious groove isirresistible via its sexy sway and lazy gait carrying you along. Anthony Hamilton's cleverlyintertwining vocal lines and the track's overall atmosphere help to set this song apart from therest. 'Trinity' looks promising on paper with Metallica's Kirk Hammett joining Carlos for a guitarromp and the duo almost pull it off. Alas, it's no more than a slightly interesting jam over tworepeating chords that never reaches the heights one would anticipate hearing from virtuosos withsuch dissimilar yet undeniably powerful approaches to their instruments.'Cry Baby Cry' is the absolute pits. Sean Paul's monotonous, inane rapping had me tuning out beforeI even had a chance to hear the normally entertaining Joss Stone jump into the questionable fray. Frankly, this stuff is boring and demeaning. Enough already! Anything would be an improvement overthat cow pie at this juncture and 'Brown Skin Girl' goes beyond the call of duty. It's a slice oftraditional R&B-hued pop that rock & roller Bo Bice bolsters with strong, confident singing and thetune benefits from a dynamic arrangement that permits the potent Latin percussion and Carlos' hotlicks to spice up the proceedings spectacularly. 'I Don't Wanna Lose Your Love' (penned by thespunky Los Lonely Boys) is next. Drummer Ringo Garza's boisterous beat drives this tunerelentlessly throughout while Carlos lets loose with a string of penetrating runs. Santana closeswith 'Da Tu Amor,' an energized Spanish rocker that showcases all of the more favorable andadmirable ingredients this record owns, wrapped up in an explosive, enthusiastically-presentedinstrumental package.Released in the fall of 2005, 'All That I Am' soared up to the #2 spot on the album charts but,lacking a galvanizing single (like the phenomenal 'Smooth' was for 'Supernatural'); it slid out ofthe realm of must-have status in short order. One can only straddle the fence between doing whatyou're gifted at and striving to be trendy for so long before you lose credibility and that's themain flaw in this record. When it's good it's very good but when it's bad it's dreadful. Hopefullythis will mark the end of their once-marketable'let's-bring-in-everybody-and-their-cousins-to-assist-us' approach to making music and Carlos andCompany will stun the planet by reviving the innovative, adventurous spirit that gave us landmarkslike 'Caravanserai' and 'Abraxas.' Hope springs eternal. 2.8 stars. social review comments Review PermalinkPosted Friday, May 4, 2012 Review this album Report (Review #748832)
Turnover's previous full-length, 2015's Peripheral Vision, won acclaim for showcasing a dreamier side of the band's melodically-charged sound; Billboard noted that \"the quartet has morphed into a moody, atmospheric indie rock band, without losing its knack for hooks.\" As easy as it might have been to replicate that success for its third album, the band resisted the urge to play it safe.
Listening to how the leisurely \"Nightlight Girl\" melts into a more propulsive selection like \"Breeze,\" and the way Good Nature flows together as a seamless whole, it's also evident that the foursome has been paying closer attention to how artists from earlier eras made full-length albums. \"The Beach Boys' Pet Sounds has become one of my top five favorites of all time,\" says Austin, citing not only the quality of the individual selections, but also the careful sequencing and use of space in the arrangements.
Turnover formed in 2009 in Virginia Beach, VA and has gone on to tour extensively throughout North America, Europe, Australia, and Japan. Their discography includes three full-length albums and countless EPs and split-singles, including last year's Humblest Pleasures EP. \"It's really cool to see all the change, from the first songs we ever wrote, right up to Good Nature,\" concludes Austin. Eight years into their career, Turnover sound better than ever. Slip on your headphones, open up your ears, and learn for yourself what the excitement is all about. 153554b96e