‘Supernatural Santana (A Trip through the Hits)’

And if he continues to fold these classics into his shows at the Hard Rock Hotel, they will be moonwalking just as ecstatically in the offices of AEG Live as they will be at Arista Records.

"Guitar Heaven … The Greatest Guitar Classics of All Time" offers a natural excuse for getting more familiar songs into Santana’s shows, making them more accessible to casual fans; the ones expecting later-career radio hits such as "Smooth," not long, spiraling jams.

When Santana signed up for a two-year hitch at the Hard Rock last year, one could sense a bit of tension and insecurity in the subtitle, "A Trip Through the Hits." But the first batch of shows — perhaps to the promoter’s chagrin — was basically business as usual, leaving Santana and his band plenty of time for three-man Latin percussion excursions and Spanish-language sambas.

Last week, most of that was cut to make way for the likes of T. Rex’s "Bang A Gong" and Def Leppard’s "Photograph," songs you’re just as likely to hear over the speakers in the Hard Rock’s main casino.

On this particular night of Aug. 25, three of the album’s guest singers dropped in for a promotional launch of the album (due Sept. 21). Not to "Nah-nah, I was there and you weren’t," but two of them were transcendental, the kind of alchemy you cross your fingers for with these occasions.

India.Arie’s swirling body language matched her earthy vocal on "While My Guitar Gently Weeps." She showed what a difference a compelling visual presence makes on Santana’s stage, where even the star often works with his head down.

Gavin Rossdale was there to push the "Gong" cut from the album. But what really took off was "She’s Not There," the Zombies hit remade by Santana in 1977. It was easily the evening’s high point, and should have Arista mogul Clive Davis asking if it’s too late to put that one on the album instead.

The only dud of the evening was "Photograph," which seemed to box in Chris Daughtry and Santana alike. Don’t count on hearing that one again. But the band did tackle Cream’s "Sunshine of Your Love," the Doors’ "Riders on the Storm" and the Rolling Stones’ "Can’t You Hear Me Knocking" even without guest singers.

The second two caught fire at the expected instrumental break points. Truth be told, Santana’s guitar solos tend to follow the same journey. Strapping them to a familiar framework gives more context to the virtuosity.

But the verse-chorus parts of those songs circled back to a problem plaguing "Supernatural" hits such as "Maria Maria." The two band singers (Andy Vargas and Tony Lindsay) are fine but a bit generic, making the 10-piece outfit sometimes feel like a cover band.

Ironically, that fits right in with the new album. It was nice to have that spine-chilling ripple of classic Santana in an opener that solidified into "Black Magic Woman," and an encore (which used to be the opener) that pits the present day survivor against Woodstock footage of his younger "Soul Survivor" on the rear screen.

The old one is still contagiously upbeat, lobbying for the legalization of marijuana and exclaiming "Oh Lord, how high I am!" at one point on this special night. With any luck, the euphoria will continue on the normal ones as well.

Contact reporter Mike Weatherford at mweatherford@ reviewjournal.com or 702-383-0288.