I first listened to this double lp/cd mix of studio and live recordings, from 1977, on lp. I am glad I recently purchased it on cd. It showcases the genius guitar work of Carlos Santana, with a solid backing group, lead by the soulful vocals of Greg Walker on the Rod Argent and Zombies classic, She's Not There. For those who like extended jams, try Savor/Toussaint L'Overture, and Soul Sacrifice/Head, Hands, and Feet; where the drummer's solo ranks with Ian Paice's on the Made In Japan version of Deep Purple's Space Truckin'. Flor D'Luna (Moonflower) where the set gets its name is fine piece of Latin slow and sensual music which would make a fine romantic background music (with the right person). Meanwhile, Carlos Santana's guitar, whether on a slow song, like the previously mentioned, or a classic, like "Black Magic Woman" soars throughout. This is a great introduction (for new fans) to the genius of Santana, or as suggested in the liner notes, an example to seasoned fans (like myself) of the greatness of and that is CARLOS SANTANA. IT ROCKS! Get It. It's almost a "religious" experience to listen to it.

Moonflower put Santana back into the charts, and back into the major music mainstream. This is the first Platinum album since Santana III in 1971. Moonflower went on to sell TEN MILLION copies worlwide.
The two preceding albums, Amigos and Festival, got Santana out of the heavy jazz fusion genre, and back into more "radio friendly" Afro-Cuban rock, like the early days. A few hits came, e.g. Dance Sister Dance, Let It Shine, Let The Children Play, etc. But not until She's Not There did Santana REALLY crack the charts.
The whole album is extremely good. All of the live tracks are superb. There is not a single weak spot on the album.
The bonus tracks are extra. The album would be just as good, maybe even better if the bonus tracks weren't there. They are completely unnecessary, shortened versions of the original versions on the album. But you can just skip those. Get the album!

Moonflower is mix of revisited older songs, some new material, and live tracks.

I listened to it first when I was 16 - when the cover "She's Not There" was in the charts, and now, over 20 years later I still play it regularly. At the time though I was blown away by one particular track-the live rendition of Europa(Earth's Cry Heaven's Smile). You'll find the original studio recording of Europa on the Amigos album; and a weak and flacid thing it is. Put it this way; I have a "Carlos Santana" guitar tablature book, featuring Europa, and after 6 months I'd managed to play the instrumental note-for-note, just in the same way as played on Amigo's.

I can forget trying to play it the same way Carlos played in live. I don't think it can be done, even by a top studio musician.

The live tracks, together with the revisited studio numbers take on a different hue altogether on Moonflower. Wait until the neighbours are out, turn the volume right up and...well, how can I describe it? Prepare to be amazed.

The first thing that hits you is the speed of the numbers - the tempo increases markedly for most of them; nice easy blues/latin tracks become out-and-out heavy rock epics. The second thing that gets you is Carlos's guitar tone. It's not the weedy, processed sound you get now (I do wish he had never met Paul Reed Smith!) but rather a deep, huge tone extracted from his Yamaha. The sound produced is huge, and glorious to listen to. The third thing is the dynamics of Carlos's playing. With the gain and volume up, feedback is readily available, and he uses it to sustain notes seemingly forever (Europa). Grace notes (and chords!) abound everywhere. He's eager to solo, almost impatient for the superb Tom Costa to finish his bit. The other musicians contribute just as much - providing a confident base for Santana to go off on wild flights of solo melodies. Black Magic Woman/Gypsy Queen is transformed into a powerful beast with pace and the melodies that the original recording just hinted-at. Let The Children play benefits from a huge increase in well, how can it be put? Joy. That'll be the word. Dance Sister Dance has one of the most infectious riffs your likely to hear. I'll be Waiting has a platinum-pure solo. And Europa? Well, it's just perfect. Scary (how could someone write and play something that good) hugely melodic, with a sonic landscape that is unforgettable. The contrast with the Amigos version is just ridiculous - the live version is the one to remember, packed full of sustain and feedback and pace - my God pace, with legato passages that are simply incredible.

There's no other Santana album like Moonflower. It was the perfect combination of a superb band, great songs, both new and old, high production values and of course Carlos at his magical best. I can't listen to his "recent" material, featuring guests of marketable value but questionable talent. 2005 will apparently see a "Latin-style" Santana album released amongst others. Although the fingers are slower, I'd love to see him ditch the PRS's and wipe the dust off the old SG2000 and give his newer fans a brief insight into Santana music that could send shivers down your back.