| | Akhenaton Black Album CD - Import Akhenaton Discography of CDs
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Akhenaton are a hip-hop troupe from France. Their 2002 release, BLACK ALBUM, includes the songs "Petite Apocalypse," "Ecoeure," and "Paranoia."
French hip-hop pioneers drop-in science all over the streets of Paris. This album brings the groups 2002 studio work to light with collaboration from Psy de la Rime, Shurk'n, and Sako. Akhenaton Black Album Songs | 1. | Petite Apocalypse |
| 2. | L'Espirit de Vos Cimeterres |
| 3. | Voulour Toucher Dieu |
| 4. | Akh |
| 5. | Musique de la Jungle |
| 6. | Nid de Guepes |
| 7. | Ecoeure |
| 8. | Neuf de Glace |
| 9. | Une Journee Chez le Diable |
| 10. | Paranoia |
| 11. | J'Voulais Dire |
| 12. | Bionic MC's |
| 13. | Esprit Beat Street |
| 14. | Ancient Scriptures |
| 15. | Aux Ames Offensees |
| 16. | Au Minimum |
| 17. | Rimes Severes |
| 18. | Mes Soleils et Mes Lunes (Acoustique Version) |
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Black Album Review
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| | Stooges Heavy Liquid CDs (2005) (Import) United Kingdom
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Heavy Liquid comprises 79 tracks on 6 CDs including all of the unreleased studio demos from the original master tapes, rehearsal and live materials. It also includes a booklet with extensive liner notes featuring interviews with Iggy, Ron & Scott Asheton plus an Iggy photo book. CD1 features the Olympic Studio tapes, London 1972. The material is unreleased and taken from recently discovered multi-track master tapes. CD2 features a Morgan Sound Studios, Ypsilanti, Michigan, 1973, unreleased rehearsal taken from recently discovered ¼ inch tape. CD3 features the Los Angeles & Detroit rehearsals during the spring of 1973. CD4 features the CBS studios rehearsals, July 1973, for the upcoming shows at Max’s Kansas City. CD5 features the five night stand at the Whiskey-A-Go-Go in September 1973. CD6 concludes with The Stooges Last Stand in Detroit, Michigan at the Palace in 1974. This recording has been re-mastered from the original tape and also includes 3 unreleased tracks. Easy Action. 2005.
Personnel: Bob Scheff, Scott Thurston (piano).
Liner Note Authors: Brian J. Bowe; Robert Matheu; Henry Edwards.
Recording information: Bimbos 365 Club, San Francisco, CA (07/17/1972-01/12/1974); CBS Studios, New York, NY (07/17/1972-01/12/1974); Morgan Sound Studios, Ypsilanti, MI (07/17/1972-01/12/1974); The Olympic Studios, London, England (07/17/1972-01/12/1974); Whisky A Go Go, ...
| | Alicia Keys Unplugged CD (2005)
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Personnel: Alicia Keys (vocals, piano); Arthur White (guitar); Gwen Laster, Mariana Green Hill (violin); Anne-Marie Bedney (viola); Eileen Folson (cello); David Watson (flute, saxophone); Joe Romano (trumpet, flugelhorn); Jeff Dieterie (trombone); Onree Gill (keyboards); Steve Mostyn (bass instrument); Paul John (drums); Pablo Batista (percussion); Jerimiah "Jermaine" Paul, Anaysha Figueroa, Sarah Devine, Denise Stoudmire (background vocals).
Forget that it's awfully hard to call this live recording Unplugged. Unlike the early installments of the MTV series, which focused on a performer accompanied only with an acoustic guitar, resulting in unsurprisingly simple affairs, Alicia Keys' Unplugged is big, splashy, and immodest -- even if her guitarist is playing acoustic and she plays a piano, not a synth, the extra vocalists, horn section, strings, and full rhythm section complete with electric bass makes this anything but "unplugged." But that doesn't really matter, since this is presented and marketed as a live album more than an acoustic record, and, as a live album, it's OK. Certainly, Keys and her 16 supporting musicians are professionals and they deliver tight, polished grooves, giving her plenty of space to improv and vamp, which is in contrast to her controlled studio albums. But that's not the only way Unplugged differs from Keys' other two albums. This, more than either Songs in A Minor or The Diary, illustrates why Alicia Keys fits into the post-hip-hop soul world: she places groove and feel above the song. Nowhere is this more evident than her version here of Prince's "How Come U Don't Call Me Anymore" (which she straightens out and truncates to "How Come You Don't Call Me") where she speeds along to the bridge after singing the first verse, then just dispenses with the song altogether, spending the rest of the time vamping, occasionally going back to the bridge. Since she sounds good and the band sounds good, this works pretty well on a sheer sonic level -- it's good late-night mood music -- but there's no sense of storytelling or momentum to her performances: ...
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