Santana HHV Records 59 Items

One of the Most Exhilarating Live Albums Ever Released: Santana's Lotus Documents 1973 Performances Distinguished by Passionate Soulfulness, Chemistry, and Inventiveness Mobile Fidelity's 180g 33RPM 3LP Set Features Reference Sound and Deluxe Trifold Packaging Faithful to That of the Original Japanese Import: Strictly Limited to 5,000 Numbered Copies, Includes Four Photo Inserts and Two Fold-Out Posters The bizarre legacy of Lotus transcends it's status as both the definitive onstage document of Santana's career and one of the most spectacular live albums ever released. Originally issued in 1974, the triple LP contains exhilarating performances of the band recorded at two shows in early July 1973 at the 2400-seat Osaka Kosei Nenkin Kaikan concert hall. It bears witness to the eight-piece collective playing with a chemistry, inventiveness, cohesiveness, and soulfulness no other Santana lineup would ever surpass. Featuring seven previously unreleased tracks as well as remarkable renditions of material from Santana's first four albums and the Carlos Santana-John McLaughlin collaboration Love Devotion Surrender, Lotus simultaneously suggests and inspires, dreams and delivers. Transferred by original engineer Tomoo Suzuki, strictly limited to 3,000 numbered copies, and housed in deluxe trifold packaging faithful to that of the original pressing, Lotus benefits from reference audiophile treatment on Mobile Fidelity's 180g 3LP set. Featuring rich tones, smooth dynamics, excellent separation, deep soundstages, and involving presence, this reissue pays tribute to both the virtuosic lineup and the magnetic fusion of Latin- and Afro-Cuban-influenced jazz, rock, psychedelia, R&B, and blues. The complexity of the spiritual passages, demands of the crescendos, delicacy of the calm transitions, electricity of the solos: everything is rendered with superb balance and free of the harshness, compression, and fatiguing peaks that would otherwise distract from the presentations at hand. Black magic, indeed. 1/2' / 15 IPS / four-track analog master to two-track DSD 256 to analog console to lathe Numbered 180g 33RPM Vinyl 3LP NUMBERED LIMITED EDITION OF 5,000

Carlos Santana and Company Return to a Dynamic Blend of R&B, Latin, Funk, and Rock: Amigos Aims for the Hips, Spreads Joy, and Includes “Europa (Earth’s Cry Heaven’s Smile)” Mobile Fidelity’s Reissue of the 1976 Effort Plays with Involving Energy, Presence, and Depth: 180g 33rpm LP Is Strictly Limited to 3,000 Numbered Copies 1/4" / 15 IPS / Dolby A Analog Copy to DSD 256 to analog console to lathe Amigos has been beloved for decades by both long-time and recent Santana admirers, with multiple generations of fans drawn in by the record’s contagious blend of R&B, Latin, rock, and funk elements. As well as its immense accessibility. Coming off a series of albums that heavily leaned into jazz fusion, the band returns to the more dynamic and concise approaches of its earlier works without losing the sense of adventurousness, craftsmanship, and virtuosity that turned it into a juggernaut embraced by both the mainstream and experimentally minded communities. Mastered at Mobile Fidelity’s in-house studio in California, pressed at Fidelity Record Pressing, and strictly limited to 3,000 numbered copies, Mobile Fidelity’s 180g 33rpm LP of Amigos presents the 1976 album in audiophile sound for the first time on a domestic release. Part of the reissue label’s Santana series, this collectible version features quiet surfaces and black backgrounds that help reveal the intricate details, distinguished tones, and cohesive interplay that cause Santana’s music to take flight. The enhanced aural perspectives extend not only to Carlos Santana’s intoxicating fills and solos, but to the rich tapestry of the rhythmic, melodic, and vocal elements that help Amigos feel as fresh today as it did several decades ago. This LP shines a beaming light on the surrounding musicians that simultaneously feed off and inspire their bandleader. The solidity and depth of the bass lines; the wash of the organ; the scope and carry of the vocals; the grip and weight of the low-end frequencies; and, possibly the most enticing traits, the textures of the acoustic guitars, numerous percussive devices, and then-modern synthesizers: all come across with tremendous presence and energy. Entirely appropriate for a set that kicks from the start, with the opening “Dance Sister Dance (Baila Mi Hermana)” true to the song title’s combination directive-invitation meaning. Tropical, soulful, upbeat, and liberating, it beckons hips to shake and delicious libations to pour. Clinking cowbells, spirited background vocals, hand-tapped congas, and Carlos Santana’s six-string magma pour forth with abundance. The song sets the mood and expectations for a record that contains not an ounce of filler, and which inspires and spreads joy at practically every turn. On the gold-certified Amigos, the ensemble never seems to run short of zest or happiness. Key in on the Latin bite and searing guitar architecture of “Take Me With You,” an instrumental that shifts tempo at its midpoint and sparkles with a samba-like outro that aims to put everyone in earshot on the dance floor. Surrender to the slow-burn of “Tell Me You Are Tired,” sent up with Greg Walker’s sympathetic vocals and spun around with whirling funk accents. Marvel at the Spanish guitar introduction, Mexican folk foundation, group vocals, and extroverted grooves of the forward-propulsive “Gitano,” with lead singing by conga/bongo expert Armando Peraza. Having reached the Top 10 in the United States and spawned the hit “Let It Shine,” Amigos marked the final stint for bassist David Brown, the last of the group’s famed Woodstock lineup to depart. His contributions feel especially spirited throughout the album, compass readings that the group uses to chart their course. Just listen to how his passages pop on “Let Me” and frame the can’t-get-it-out-of-your-head “what you need is what you want” refrain. And while Carlos Santana remains the centerpiece of the brilliant and meditative “Europa (Earth’s Cry Heaven’s Smile),” Brown serves as a trustworthy anchor and friendly advocate. Amigos? Si de hecho.

Limited 180gm Mobile Fidelity vinyl LP pressing. Filled with harmonious performances that reflect the definition of it's title - a place at which ideas, products, and culture are freely traded - Caravanserai marks the start of Carlos Santana's foray into the jazz-fusion territory that would inform his career for the better part of the next two decades. Inspired by Miles Davis' pioneering period work, and aiming to discover and develop inner peace within a musical realm, the guitarist sets off on a quest to find his equivalent of the spiritual dimensions John Coltrane channels on A Love Supreme. The daring move paid dividends: The namesake band's 1972 album landed in the Top 10, sold more than a million copies, and established Santana as a visionary who refused to cater to commercialism.

Sacd

Performance at Filmore from 1968.

Japanese pressing, no Obi.

180 GRAM AUDIOPHILE VINYL
INCLUDING INSERT
1979 ALBUM FEAT. THE HIT SINGLE “YOU KNOW THAT I LOVE YOU”
45TH ANNIVERSARY EDITION OF 1500 INDIVIDUALLY NUMBERED
COPIES ON YELLOW, RED & ORANGE MARBLED VINYL

During a spectacular, six-decade career, multi-Grammy Award-winning Rock and Roll Hall of Fame guitarist Carlos Santana has thrilled and mesmerized generations of fans across the globe. His powerfully emotive and mystical alchemy of rock and roll, blues, jazz and Latin music has become that rarity in art: a sound all his own, instantly identifiable yet constantly evolving. For Santana, each song and album represents a lifetime commitment toward expanding all creative boundaries, and in the process he takes listeners on a journey that celebrates life, love and spiritual connection.

Santana’s new album, Sentient, is a retrospective of 11 adventurous and altogether mesmerizing tracks – three of them previously unreleased – compiled by the virtuoso guitarist, remastered and sequenced in a way that allows a new and dramatic story to emerge. As is often the case when the spark of musical magic strikes, Santana was surprised, delighted and receptive. “I’m always driven by passion, emotion and inner instinct,” he says. “When I first heard these tracks floating around in the house, I said, ‘Why don’t we put these all in one place?’”

As Santana continued to listen and began forming the record in his mind, he zeroed in on a point of view that he calls “multi-dimensional.” Quoting one of his idols, Wayne Shorter, it’s “completely new yet totally familiar.” With his senses fully engaged, he seized on the word that perfectly summed up everything he was feeling: Sentient. “It’s someone who’s evolved and has graduated from the animal,” he explains. “Or it’s like a Christmas tree, and all the ornaments are the attributes a sentient man has: gratitude, patience, humility, generosity and consideration.”

The songs that make up Sentient are complex compositionally, but they float by like a dream. There are brilliant collaborations with Michael Jackson, Smokey Robinson, Miles Davis, Paolo Rustichelli, Darryl “DMC” McDaniels and Cindy Blackman Santana, but no matter the mood or genre – whether it’s lush pop or high-intensity cosmic jazz – it’s all part of a common thread. “That’s another thing I learned from Wayne Shorter,” Santana says. “From Stravinsky to James Brown, it's all the same song, meaning it's all connected to the umbilical cord of humanity and planet Earth.”

The album gives us a first listen to a live instrumental cover of Michael Jackson’s haunting ballad “Stranger in Moscow,” recorded in 2007 with producer and drummer Narada Michael Walden’s band. It’s a devastating masterclass performance – Santana’s guitar playing is by turns soulful and poetic, blitzing and blinding, and always breathtakingly imaginative. “Narada knew that I loved the song, so he arranged it with his band,” he remembers. “I showed up and we played it with no rehearsal. I’m basically singing it with my guitar. I’m visualizing Michael Jackson and what he would do – I got pretty close. I think when Michael listened to it, wherever he is, he smiled and said, ‘Yeah, that’s it.’”

We’re treated to a new view of “Please Don’t Take Your Love,” the heavenly slice of funky, soulful seduction that paired Santana with the incomparable Smokey Robinson. The original version, featured on Robinson’s 2009 album, Time Flies When You’re Having Fun, saw Santana contrast Robinson’s shimmering vibrato with searing, soul-shaking soloing. The alternate take on Sentient is no less emotionally wrenching, but as Santana notes, it boasts a never-before-heard guitar performance. “I went to the studio and did my own thing. I said, ‘Let’s just roll it.’ I did another take with Smokey sort of guiding me. Smokey loved them both, so he wound up combining the two. What’s on Sentient is the first version.”

Sentient offers listeners a tantalizing preview of Cindy Blackman Santana’s next album with “Coherence,” a remarkable musical exchange between two peerless players – Carlos reaching for points unknown with wah-drenched, freak flag-flying fearlessness, and Cindy locking down an epic groove while also breaking out lethal jabs, uppercuts and hooks. “Cindy is a godsend because she’s such a great mentor,” Santana says. “I learn things from her Art Blakey, Tony Williams and Roy Haynes, because I’m a drummer at heart. We bring what we love out of each other without words. It’s a marriage made in seventh heaven.”

Another impeccable match – Michael Jackson and Carlos Santana – resulted in “Whatever Happens,” the haunting, Latin-infused ballad that was one of the most critically acclaimed singles from the late singer’s 2001 album, Invincible. Jackson enlisted Santana to lend his signature guitar work on the track, and here it’s been remastered in a way that makes each note more present – more passionate. “As I do with any singer, whether it’s Smokey Robinson or Michael Jackson, I try to honor their voice,” Santana says.

In 1996, Santana received an invitation from noted Italian jazz-rock composer and producer Paolo Rustichelli to participate in the recording of his new album, Mystic Man. “He even wrote a song for me,” Santana says. “I felt so grateful.” The guitarist not only performed on the hypnotic cut “Full Moon,” but he also collaborated on three more – the romantic ballad “Vers Le Soleil,” the Latin jazz groover “Get On” and the transporting “Rastafario,” the latter two featuring none other than trailblazing trumpet legend Miles Davis. The intuitive interplay among these master musicians, the way they weave ideas and emotions and never repeat themselves, is positively thrilling. All four cuts are accounted for on Sentient.

Santana’s dynamic and uplifting “Let the Guitar Play,” a wondrous reimagining of his earlier “Song for Cindy,” features a poetic mid-song rap by Darryl “DMC” McDaniels of Run DMC. The guitarist teamed with producers Narada Michael Walden, Lino Nicolosi and the Nicolosi Team to create this message of positivity, and the remastered Radio Version heard here is a sparkling sonic joy.

“I’ll Be Waiting” goes back to 1977, from the Santana album Moonflower. It’s a luscious soul-pop confection punctuated with the guitarist’s effervescent soloing. “That one has a special sentimental value to me,” Santana says. “The sound of the guitar and the singer [Greg Walker] sound like a hug – a very personal, intimate hug.”

Sentient concludes with the title cut to Santana’s 1987 album Blues for Salvador. This striking duet with keyboardist Chester D. Thompson sizzles with the guitarist’s forceful and poignant leads. “That song is all about the love I have for my son, Salvador,” Santana reveals. “It also represents my lifetime of learning the blues from the Kings – B.B., Freddie and Albert – and others like Buddy Guy and Otis Rush.” “Blues for Salvador” won Santana his first Grammy for Best Rock Instrumental.

For Santana, Sentient represents select snapshots and treasured moments in time. He marvels, “I can listen to this album and go, ‘Did this really happen? To be with Miles, Smokey, Michael Jackson and Paolo – is this really real? Here I am, living the dream.’” And that dream continues as he eyes more creative highs: “I'm almost 80 years old, and I'm happy to tell you that I'm still relevant. I can still go in there with Wyclef Jean or any of the rappers, or Taylor Swift or whoever, and still be relevant. I’m not a stick on a refrigerator

Japanese pressing without OBI!

OBI is missing!

Original inner sleeve with seam splits

Vinyl LP pressing in gatefold jacket. Includes digital download. Caravanserai is the fourth studio album by Santana, released on October 11, 1972. It marked a major turning point in Carlos Santana's career as it was a sharp departure from his critically acclaimed first three albums. The sound contrasted greatly with Santana's trademark fusion of salsa, rock, and jazz, and concentrated mostly on jazz-like instrumental passages. All but three tracks were instrumentals, and consequently the album yielded no hit singles. The album is the first among a series of Santana albums that were known for their increasing musical complexity, marking a move away from the popular rock format of the early Santana albums toward a more contemplative and experimental jazz sound.

Santana's Greatest Hits is a 1974 compilation album that offers highlights from the group's first three albums.

EU reissue.

Cover backside has ring wear. Slight stuffed corners. Record is close to VG+.

- "Evil Ways" sampled by Mellow Man Ace for "Mentirosa"

After some hot live performances and subversive jaunts made in the aftershock of Woodstock, Santana and his band entered the calm atmosphere of the recording studio to make their sixth album. Taking a look at the blue butterfly on the LP cover, it wasn’t surprising that purist Santana fans scented that the music in this particular garden would be more gentle and cultivated than the previous hard-rock sound. But one thing after another: in attune with semi natural sounds, the 'Canto De Los Flores' swings along to dabbed figures on the Rhodes piano and waves of multi-cultural drumming.
The drama continues with "Life Is Anew" – a powerfully arranged ballad, followed by a highly emotional rock number ("Give And Take"). This takes us to where Santana feels most at home – "Promise Of A Fisherman" with its velvety, wonderfully expansive guitar sound. By now, at the latest, the listener joins the sensitive outdoorsman on his chase after the butterfly named "Boborletta" with a wealth of gorgeous sounds. Don’t hesitate to capture this rare specimen for your collection!

Recording: 1974 by Glen Kolotkin
Production: Carlos Santana, Michael Shrieve & Tom Coster

During a spectacular, six-decade career, multi-Grammy Award-winning Rock and Roll Hall of Fame guitarist Carlos Santana has thrilled and mesmerized generations of fans across the globe. His powerfully emotive and mystical alchemy of rock and roll, blues, jazz and Latin music has become that rarity in art: a sound all his own, instantly identifiable yet constantly evolving. For Santana, each song and album represents a lifetime commitment toward expanding all creative boundaries, and in the process he takes listeners on a journey that celebrates life, love and spiritual connection.

Santana’s new album, Sentient, is a retrospective of 11 adventurous and altogether mesmerizing tracks – three of them previously unreleased – compiled by the virtuoso guitarist, remastered and sequenced in a way that allows a new and dramatic story to emerge. As is often the case when the spark of musical magic strikes, Santana was surprised, delighted and receptive. “I’m always driven by passion, emotion and inner instinct,” he says. “When I first heard these tracks floating around in the house, I said, ‘Why don’t we put these all in one place?’”

As Santana continued to listen and began forming the record in his mind, he zeroed in on a point of view that he calls “multi-dimensional.” Quoting one of his idols, Wayne Shorter, it’s “completely new yet totally familiar.” With his senses fully engaged, he seized on the word that perfectly summed up everything he was feeling: Sentient. “It’s someone who’s evolved and has graduated from the animal,” he explains. “Or it’s like a Christmas tree, and all the ornaments are the attributes a sentient man has: gratitude, patience, humility, generosity and consideration.”

The songs that make up Sentient are complex compositionally, but they float by like a dream. There are brilliant collaborations with Michael Jackson, Smokey Robinson, Miles Davis, Paolo Rustichelli, Darryl “dmc” McDaniels and Cindy Blackman Santana, but no matter the mood or genre – whether it’s lush pop or high-intensity cosmic jazz – it’s all part of a common thread. “That’s another thing I learned from Wayne Shorter,” Santana says. “From Stravinsky to James Brown, it's all the same song, meaning it's all connected to the umbilical cord of humanity and planet Earth.”

The album gives us a first listen to a live instrumental cover of Michael Jackson’s haunting ballad “Stranger in Moscow,” recorded in 2007 with producer and drummer Narada Michael Walden’s band. It’s a devastating masterclass performance – Santana’s guitar playing is by turns soulful and poetic, blitzing and blinding, and always breathtakingly imaginative. “Narada knew that I loved the song, so he arranged it with his band,” he remembers. “I showed up and we played it with no rehearsal. I’m basically singing it with my guitar. I’m visualizing Michael Jackson and what he would do – I got pretty close. I think when Michael listened to it, wherever he is, he smiled and said, ‘Yeah, that’s it.’”

We’re treated to a new view of “Please Don’t Take Your Love,” the heavenly slice of funky, soulful seduction that paired Santana with the incomparable Smokey Robinson. The original version, featured on Robinson’s 2009 album, Time Flies When You’re Having Fun, saw Santana contrast Robinson’s shimmering vibrato with searing, soul-shaking soloing. The alternate take on Sentient is no less emotionally wrenching, but as Santana notes, it boasts a never-before-heard guitar performance. “I went to the studio and did my own thing. I said, ‘Let’s just roll it.’ I did another take with Smokey sort of guiding me. Smokey loved them both, so he wound up combining the two. What’s on Sentient is the first version.”

Sentient offers listeners a tantalizing preview of Cindy Blackman Santana’s next album with “Coherence,” a remarkable musical exchange between two peerless players – Carlos reaching for points unknown with wah-drenched, freak flag-flying fearlessness, and Cindy locking down an epic groove while also breaking out lethal jabs, uppercuts and hooks. “Cindy is a godsend because she’s such a great mentor,” Santana says. “I learn things from her Art Blakey, Tony Williams and Roy Haynes, because I’m a drummer at heart. We bring what we love out of each other without words. It’s a marriage made in seventh heaven.”

Another impeccable match – Michael Jackson and Carlos Santana – resulted in “Whatever Happens,” the haunting, Latin-infused ballad that was one of the most critically acclaimed singles from the late singer’s 2001 album, Invincible. Jackson enlisted Santana to lend his signature guitar work on the track, and here it’s been remastered in a way that makes each note more present – more passionate. “As I do with any singer, whether it’s Smokey Robinson or Michael Jackson, I try to honor their voice,” Santana says.

In 1996, Santana received an invitation from noted Italian jazz-rock composer and producer Paolo Rustichelli to participate in the recording of his new album, Mystic Man. “He even wrote a song for me,” Santana says. “I felt so grateful.” The guitarist not only performed on the hypnotic cut “Full Moon,” but he also collaborated on three more – the romantic ballad “Vers Le Soleil,” the Latin jazz groover “Get On” and the transporting “Rastafario,” the latter two featuring none other than trailblazing trumpet legend Miles Davis. The intuitive interplay among these master musicians, the way they weave ideas and emotions and never repeat themselves, is positively thrilling. All four cuts are accounted for on Sentient.

Santana’s dynamic and uplifting “Let the Guitar Play,” a wondrous reimagining of his earlier “Song for Cindy,” features a poetic mid-song rap by Darryl “dmc” McDaniels of Run DMC. The guitarist teamed with producers Narada Michael Walden, Lino Nicolosi and the Nicolosi Team to create this message of positivity, and the remastered Radio Version heard here is a sparkling sonic joy.

“I’ll Be Waiting” goes back to 1977, from the Santana album Moonflower. It’s a luscious soul-pop confection punctuated with the guitarist’s effervescent soloing. “That one has a special sentimental value to me,” Santana says. “The sound of the guitar and the singer [Greg Walker] sound like a hug – a very personal, intimate hug.”

Sentient concludes with the title cut to Santana’s 1987 album Blues for Salvador. This striking duet with keyboardist Chester D. Thompson sizzles with the guitarist’s forceful and poignant leads. “That song is all about the love I have for my son, Salvador,” Santana reveals. “It also represents my lifetime of learning the blues from the Kings – B.B., Freddie and Albert – and others like Buddy Guy and Otis Rush.” “Blues for Salvador” won Santana his first Grammy for Best Rock Instrumental.

For Santana, Sentient represents select snapshots and treasured moments in time. He marvels, “I can listen to this album and go, ‘Did this really happen? To be with Miles, Smokey, Michael Jackson and Paolo – is this really real? Here I am, living the dream.’” And that dream continues as he eyes more creative highs: “I'm almost 80 years old, and I'm happy to tell you that I'm still relevant. I can still go in there with Wyclef Jean or any of the rappers, or Taylor Swift or whoever, and still be relevant. I’m not a stick on a refrigerator.”

No obi.

Japanese pressing without OBI, with insert.

Vinyl closer to VG+

RSD First, Limitation: 1500

For more than five decades Carlos Santana has been the visionary force behind artistry that transcends musical genres and generational, cultural, and geographical boundaries. To date, Santana has won ten GRAMMY Awards and three Latin GRAMMY Awards, received the Billboard Century Award, is a member of the Rock and Roll Hall of Fame, received the Billboard Latin Music Awards’ Lifetime Achievement honor, is the recipient of the Kennedy Center Honors Award, and has been cited by Rolling Stone as #11 on their list of the “100 Greatest Guitarists of All Time.”
For RSD Black Friday 2024, Santana teams up with producers Lino Nicolosi, Nicolosi Team, and Narada Michael Walden (Whitney Houston, Mariah Carey), to present three distinct versions of his composition “Let The Guitar Play”: The Radio Version, The Soul Radio Version, and The 70's Version. The first two feature Run DMC's Darryl McDaniels, who delivers a poetic rap over an EDM-style drum beat, serving as a dynamic catalyst for Santana to intricately weave his signature guitar magic.
This limited edition three song 12” is pressed on tie-dye vinyl.

For more than five decades Carlos Santana has been the visionary force behind artistry that transcends musical genres and generational, cultural, and geographical boundaries. To date, Santana has won ten GRAMMY Awards and three Latin GRAMMY Awards, received the Billboard Century Award, is a member of the Rock and Roll Hall of Fame, received the Billboard Latin Music Awards’ Lifetime Achievement honor, is the recipient of the Kennedy Center Honors Award, and has been cited by Rolling Stone as #11 on their list of the “100 Greatest Guitarists of All Time.” Teaming up with producers Lino Nicolosi, Nicolosi Team, and Narada Michael Walden (Whitney Houston, Mariah Carey), Santana presents three distinct versions of his composition “Let The Guitar Play” - The Radio Version, The Soul Radio Version, and The 70's Version. The first two feature Run DMC's Darryl McDaniels who delivers a poetic rap over an EDM-style drum beat, serving as a dynamic catalyst for Santana to intricately weave his signature guitar magic. This limited edition three song 12” is pressed on tie-dye vinyl. This is a 2024 Black Friday Record Store Day release.

Santana III is an album of 'lasts'. It was the last album recorded with the original Woodstock-line up and the last to hit #1 in the Billboard charts until 1999's Supernatural. But there are also a number of important 'firsts' on this album; Coke Escovedo joins in for the first time on percussion, as does Neal Schon (Journey) on guitar - who was a mere 17 of age when they recorded the album. Santana III is viewed by many as the band's commercial and creative highpoint. The band sounds darker, rawer, and more eager with the doubling up on guitar of Schon's Rock 'n' Roll sensibilities and Santana's ecstatic high notes and soulful fills. Escovedo and Chepito's percussion are as fast as it is furious, and the minimal production adds greatly to the timeless appeal of this album. Santana III is available as a limited edition of 1500 individually numbered copies on translucent yellow colored vinyl, housed in a deluxe heavyweight gatefold sleeve. Official website: https://www. Santana. com/ LISTEN: https://youtu. #be/9s8Evp-ppOo * 180 GRAM AUDIOPHILE VINYL * DELUXE HEAVYWEIGHT GATEFOLD SLEEVE WITH LEATHER LAMINATE FINISH * MULTI-PLATINUM #1 US BILLBOARD ALBUM FEAT. THE SINGLES 'EVERYBODY'S EVERYTHING' (WITH TOWER OF POWER) & 'NO ONE TO DEPEND ON' * LIMITED EDITION OF 1500 INDIVIDUALLY NUMBERED COPIES ON TRANSPARENT YELLOW COLORED VINYL Track listing: SIDE A 1. Batuka 2. No One To Depend On 3. Taboo 4. Toussaint L'Overture SIDE B 1. Everybody's Everything 2. Guajira 3. Jungle Strut 4. Everything's Coming Our Way 5. Para Los Rumberos

Japanese pressing without OBI, but with insert.

Writing on cover

180 GRAM AUDIOPHILE VINYL
GATEFOLD SLEEVE
INCLUDES INSERT
FEATURING “LET IT SHINE” AND “EUROPA (EARTH’S CRY HEAVEN’S SMILE)”
CERTIFIED GOLD STATUS IN THE US
REACHED THE TOP 10 WORLDWIDE: AUSTRALIA, CANADA, THE NETHERLANDS,
FRENCH, GERMANY, ITALY, JAPAN, AND THE UNITED STATES

LIMITED EDITION OF 1500 INDIVIDUALLY NUMBERED COPIES ON PURPLE COLOURED VINYL

Japanese pressing without OBI, but with insert. Cover close to VG+

OBI is missing.

Japanese pressing, no Obi.