来自国外音乐爱好者的评论：

 

Santana III is the followup to their best selling Abraxas and like that album would go to #1 on the Billboard album charts. While this album is heavy on the percussion and Carlos Santana’s guitar work remains outstanding, it’s a darker album which takes numerous listens to fully appreciate. This would also be the last album recorded by their classic or "Woodstock" lineup and it hints at the jazz-fusion they’d perform on their excellent Caravanserai album.

 

Everything here is very good as the band continues to grow musically even if the songs aren’t as immediate as those on Santana or Abraxas. The biggest hit here is the upbeat "Everybody’s Everything" which features accompaniment from the Tower Of Power horn section and a sizzling guitar solo from future Journey guitarist Neal Schon. "Toussaint L’ Overture" is one of their best tracks ever and is one of their finest mixes of intensity and their Latin percussion sound. The minor hit "No One To Depend On" is an excellent mid-tempo track similar to their hit "Oyo Come Va" only stronger with its jam during the solo. The instrumentals "Batuka" and "Jungle Strut" are both outstanding and clearly point to their future fusion direction. The laid back "Guajira" with its piano hook and the intense "Para Los Rumberos" are both solid Latin-tinged tracks. The moody "Taboo" is also an outstanding track which builds in power until its sudden end.

 

"Everything’s Coming Our Way" is very good and could’ve been a hit since it’s a little more radio friendly than "No One To Depend On." The remastered version contains 3 bonus tracks from a 1971 performance at the Fillmore West. While the live versions of "Batuka" and "Jungle Strut" are solid and vary little from the studio versions, it’s the previously unreleased "Gumbo" that is the best and rivals the strongest studio tracks on the album. An excellent album, newcomers may want to pick up Abraxas or Santana I first, since this is a less commercial offering. However, this is among their best work and grows on you over time.

 

        Santana成功地把拉丁音乐融合进布鲁斯、摇滚乐当中，成为这种音乐流派的领军人物，在70、80年代的国际乐坛享有盛名。乐队以灵魂人物 Carlos Santana(卡洛斯桑塔那)的姓氏命名，1966年成立于旧金山，最初也是一支经常在舞厅演出的迷幻摇滚乐队。尽管乐队同样受到当时旧金山迷幻之音的影响，但乐队独特的拉丁、非洲音乐感觉却从未涉足迷幻摇滚的本质，毕竟异域风情的介入或多或少地冲淡了本土嬉皮文化的影子。

 

        70年代初，乐队首张专辑《Santana》大获成功，单曲“Evil Ways”成为排行榜第4。此后的专辑《Abraxas》再获成功，着名歌曲“Black Magic Woman”在排行榜冠军位置上停留了6周之久。Santana似乎天生就是成功者，它很快就凭借拉丁音乐的感染力窜升为世界巨星，而这距离乐队第3张专辑《For Santana III》(1971，排行榜5周冠军)不过才短短的1年时间。

 

        在乐队核心吉他手Carlos Santana和鼓手兼歌手Buddy Miles(随后的1972年加入乐队)推出双重奏专辑后，乐队第4张专辑《Caravanserai》问世，再次进入Top10排行榜。此时的 Santana已经成为一个拥有多名乐手的大乐队，而且人员变动极为频繁，到1973年专辑《Welcome》的时候，乐队成员因为失去了团体意识而先后离队，乐队仅仅剩下Mike Shrieve、Armando Peraza、Jose Areas和Carlos Santana。此后几年，Santana逐渐成为Carlos Santana的私人乐队，但乐队一贯的拉丁摇滚风格却保持了下来，到80年代末，乐队创作了大量的专辑，但反响一般。

 

        1992年， Santana离开了合作多年的Columbia唱片歌手，转签Polydor公司。此后几年，Santana辗转于各唱片公司，推出了数张专辑，但是一直没有什么起色，乐队给人感觉似乎已经气数已尽。让人跌破眼镜的是，1999年专辑《Supernatural》却成为了乐队历史上最成功的专辑，这张和许多经典艺人的合作专辑，宛如一颗重磅炸弹，很快在音乐界掀起了一股“拉丁狂潮”，结果是，在乐队成立的33年后，专辑奇迹般一口气连拿葛莱美8个大奖， Carlos Santana也由此成为最具传奇经历的音乐人之一。