Salvador Santana Keyboard City

Forget that his dad is you-know-who. Salvador Santana’s genre-bending solo debut sounds more like Funkadelic and the Meters had a love child who was then raised by Esquivel in a space age bachelor pad full of analog synths. Really, though, Sal doesn’t sound like anyone else. Producers GZA and Money Mark contribute their inimitable hip-hop beats to rhythm section, which also packs plenty of classic funk and, yes, a little clave. Jump-to tracks include the opener “We Got Somethin’,” the sci-fi “Video Game, Save My Life,” the acid-jazzy hookfest “Truth Fears No Questions,” and the vocoder-sung title track. But all the tracks smoke. You’ll tap your foot. You’ll bob your head while chewing your bottom lip. You’ll drive too fast. And if you play, you’ll try to cop the countless tasty synth, Rhodes, and Clav riffs Sal peppers each track with. We may only be a month into 2010, but on December 31, 2019, Keyboard City may well be remembered as one of the standout neo-funk recor
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Forget that his dad is you-know-who. Salvador Santana’s genre-bending solo debut sounds more like Funkadelic and the Meters had a love child who was then raised by Esquivel in a space age bachelor pad full of analog synths. Really, though, Sal doesn’t sound like anyone else. Producers GZA and Money Mark contribute their inimitable hip-hop beats to rhythm section, which also packs plenty of classic funk and, yes, a little clave. Jump-to tracks include the opener “We Got Somethin’,” the sci-fi “Video Game, Save My Life,” the acid-jazzy hookfest “Truth Fears No Questions,” and the vocoder-sung title track. But all the tracks smoke. You’ll tap your foot. You’ll bob your head while chewing your bottom lip. You’ll drive too fast. And if you play, you’ll try to cop the countless tasty synth, Rhodes, and Clav riffs Sal peppers each track with. We may only be a month into 2010, but on December 31, 2019, Keyboard City may well be remembered as one of the standout neo-funk records of the decade.

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(Quannum, salvadorsantana.com)