| | Manu Dibango Electric Africa CD Manu Dibango Discography of CDs
Personnel includes: Manu Dibango, Herbie Hancock, Bernie Worrell, Nicky Skopelitis, Aiyb Dieng, Mory Kante. Electric Africa Music | List Price | $21.97 (You save $4.22) | | Category | Rock/Pop Albums, World CDs, International, Jazz Instrument, African, Cameroon, Jazz, Afro-Pop | | Label | Fuel 2000 | | Orig Year | 1985 | | All Time Sales Rank |  237459  | | CD Universe Part number | 1254880 | | Discs | 1 | | Release Date | May 02, 2000 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Producer | Bill Laswell | | Personnel | Manu Dibango
Also: Herbie Hancock, Bernie Worrell, Bill Laswell, Nicky Skopelitis, Aiyb Dieng, Mory Kante | | Additional Info | Import |
Manu Dibango Electric Africa Songs Electric Africa Review
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Orchestral and choral arrangements of rock songs have been a curious subgenre ever since the mid-'60s when Andrew Loog Oldham arranged The Rolling Stones Songbook for syrupy strings, but The Kinks Choral Collection stands apart from the pack for the simple reason that it's not the project of some associate or admirer, but rather chief Kink Ray Davies. His very presence as arranger and lead vocal means The Kinks Choral Collection isn't nearly as stuffy and middlebrow as so many of these orchestral rock albums; he manages to inject some semblance of rock & roll by pushing the songs forward with guitar, and letting the rhythms swing instead of plod. This looseness is the first big surprise of the album. The second is its unrepentant but quite possibly accidental silliness, how many of the major guitar riffs are transposed for choir, an audacious idea in concept that's simply goofy in practice. These choral chants hamper the hardest rocking songs here -- "You Really Got Me," "All Day and All of the Night," "Victoria" -- and they're mercifully absent from the slower tunes, songs that benefit from the gentle layered harmonies. In comparison to most orchestral and choral rock albums, these arrangements ...
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Pianist Anthony Wonsey's debut on Criss Cross is his third recording as a leader and also his first non-trio outing. He has joined forces with his employer, trumpeter Nicholas Payton, tenor saxophonist Ron Blake, bassist Gerald Cannon, and drummer Nasheet Waits to create a recording with that classic '60s Blue Note trumpet-tenor sound, but coming from a '90s point of view. Wonsey, who claims Herbie Hancock, Bill Evans, and Bud Powell as major influences, wrote five of the nine selections on Open the Gates, including the energetic waltz, "Xavier's Arrival," the burning title track, and two versions of the Shorter-influenced, "My Heart Is With You." Cannon contributed the catchy medium-up swinger "A Song for Audrey" and Payton contributed the modern "Into the Blacklight." Payton always comes to play when he guests on someone else's recording, as he contributes excellent solos throughout this recording in addition to contributing a composition, and blends nicely with front line partner Blake. Wonsey is also joined by bassist John Webber and drummer Willie Jones for two trio selections, a hip arrangement of the standard "Invitation," based on a bass-piano vamp similar to sound to what McCoy Tyner would play, and a slower-than-usual, but groovin' version of Duke Pearson's "Big Bertha." This is an excellent label debut from this ...
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On Death for Life, Death By Stereo continue to fuel their hardcore-derived stutter with the tenets of metal and thrash. Vocalist Efrem Shulz channels hardcore's urgency on "I Give My Life" and "Forget Regret," but the songs also feature stinging guitar solos right out of the heavy metal handbook, and the latter is close to early Faith No More. Even with all of this, as well as Shulz's always overdone vocals, Death for Life is more streamlined than a lot of metalcore records. It's like there needs to be a surplus of manic creativity to get that specialized designation, to the point that songs are a little too crammed with their own ambition. Death By Stereo take the opposite approach. They always incorporate their usual morbidity, metal, and hardcore bite. But they also keep the equation hovering -- like a skull perched on a torch -- for a unique kind of intensity. "This Curse of Days" puts ...
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