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Aaliyah - Maximum Aaliyah CD Cover Art
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Maximum Aaliyah CD

 Aaliyah Discography of CDs
4.3 stars (3 Customer Reviews)


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Maximum Aaliyah Music


Detailed Maximum Aaliyah Music Information



Category Rock/Pop Albums, R&B CDs, Spoken, Dance, Interview
Label Chrome Dreams
Orig Year 2004
All Time Sales Rank   151792  
CD Universe Part number 6717861
Catalog number 4234
Discs 1
Release Date Jan 04, 2005
Studio/Live Studio
Mono/Stereo Stereo
Maximum Aaliyah Songs


Maximum Aaliyah Album Track Listing



1.Intro/A Flame Still Burns
2.Born to Sing
3.High School Hop
4.Plucked Like a Rose
5.Different Beat, A
6.Broken In
7.Movie Queen
8.Work If Out
9.Dark Side, The
10.Eclipse of the Sun, An
11.Never Forgotten
Maximum Aaliyah Music


Maximum Aaliyah Other Versions



Maximum Aaliyah Music Review


Customer Maximum Aaliyah Reviews 




Average Rating: (4.3 out of 5 stars) 4.5 stars

3 stars Aaliyah
Aaliyah, she is preety too just like Ashanti i like em both.
Submitted by AdenCrater4Life (USA,MI)
Was This Review Helpful? Yes No

5 stars Aaliyah 4 Life.
I am really proud of what Aaliyah did, but she is no more in the world.
Submitted by AbeerKhan115 (Melvindale, MI, USA)
Was This Review Helpful? Yes No

5 stars She will Be missed...She is Missed
this brings me back to remember all the great things she done in her life and how shw touch every one i love it
Submitted by elonyce (Anniston)
Was This Review Helpful? Yes No

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Aaliyah

13 x 15 inch
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Price: $64.99
Aaliyah

13 x 15 inch
Framed Art Print

Price: $64.99
Aaliyah

13 x 15 inch
Framed Art Print

Price: $64.99
Aaliyah

13 x 15 inch
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Price: $64.99
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Lyrical acrobat Slim Shady returns after a five-year absence with his fifth major label release, continuing to strike the perfect balance between brooding insight and absolute silliness on 2009's RELAPSE. Opening single "Crack a Bottle" reunites Detroit's maddest rapper with his superstar mentor (Dr. Dre) and protege (50 Cent) on a fittingly funky tour de force. Eminem's RELAPSE, a double album released after five years of recorded silence, a record featuring Dr. Dre behind the boards for the first time since 2000, faced no shortage of the relentless pressure of expectations. A narrative of survival after facing down his demons in rehab unfurled with Eminem's usual twisted Swift-ian wit, RELAPSE should disappoint few fans (or critics for that matter) with its patented mix of hilariously spit venom and delirious self-loathing. Like Darren Aronofsky's adaptation of REQUIEM FOR A DREAM, 2009's RELAPSE finds the full horror element ...
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A new phase in the Jackson Five's career began with Lookin' Through the Windows (1972), the quintet's seventh release since 1969. The album came out in the wake of the stop-gap Goin' Back to Indiana (1971) from the Jackson 5's hour-long ABC-TV network special of the same name, and just in time for Christmas, Greatest Hits [1971] (1971). Their previous studio outing Maybe Tomorrow (1971) had proven to be the last created under the primary direction of Bobby Taylor, Deke Richards (guitar), Freddie Perren (keyboard), Fonce Mizell (keyboards) and Motown co-founder Berry Gordy, who were collectively credited as the Corporation. So this effort is padded with a few scraps from their tenure, such as the breezy "To Know," sounding like a mixture of Stevie Wonder and the Philly soul stylings of the O'Jays -- as well as the charming but unremarkable "If I Have to Move a Mountain"." The highlight from that cache is the funky "Don't Let Your Baby Catch You," bearing a propulsive groove would have effortlessly translated to Michael Jackson's post-Motown career. The LP spawned two R&B/pop crossovers. The first, an update of Thurston Harris' "Little Bitty Pretty One" features several different Jacksons on lead with an arrangement that immediately recalls Michael's solo cover of Bobby Day's "Rockin' Robin." Perhaps not entirely coincidentally, Michael's 45 climbed to the number two pop position ...
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BLOOD ON THE DANCE FLOOR nearly snuck into record stores, preceded by a strange absence of hype. The implicit message of its five new songs, like that of the non-marketing campaign for the album, seems to be: enough already, let's get back to the music. The title song, a colder re-write of the Jackson classic "Billie Jean," draws you in, but Jackson quickly gets to the heart of the album with two astonishing songs that address his public image. "Ghosts" has an icy, metallic beat, while "Is It Scary" has the dramatic flair of a big pop ballad, but they feature nearly identical opening verses about ghosts and ghouls behind the walls and under the bed. In the former song, the ghouls are the paparazzi snapping pictures of Jackson's baby, and he asks of them, "Who gave you the right...Are you the ghost of jealousy?" In the next song, the ghosts turn out to be the many public faces of Michael Jackson, and he turns the image around, suggesting that ghoulishness is in the eye of the beholder: "If you wanna see eccentricalities/I'll be grotesque before your eyes...Is that scary for you, baby?" It's a declaration of self-confidence, and Jackson follows with feisty remixes of songs from HISTORY, including a version of "2 Bad" peppered with a sample of "Beat It," and a Madonna-like disco mix of "Stranger In Moscow." Producers include: Michael Jackson, Teddy ...
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Sorry, there is no artwork available at this time
Marilyn Crispell Santuerio CD  (1993) Reissued

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For this recording, pianist Marilyn Crispell both debuted a new quartet and embarked on a somewhat different path from her previous outings and, certainly, from her long tenure with Anthony Braxton. Pulling in violinist Mark Feldman and cellist Hank Roberts (along with longtime compadre Gerry Hemingway), her music, here essentially an eight-part suite, took on a more elegiac, overtly spiritual tone. The pieces are draped around the loosest of thematic materials, the musicians instead using the wisps of ideas to gently launch into introspective investigations, occasionally coalescing into brief, more frenzied bouts, but generally remaining in a pensive state. The title track begins with a long, intricate percussion solo from Hemingway before falling into a choppy, awkward ...
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Transistor Radio
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On his second album for Merge Records, M. Ward refines his inventive indie-folk sound, opting for a pleasantly laid-back mood. The record opens with a beautiful instrumental reading of Brian Wilson's "You Still Believe in Me," a song so marked by Ward's distinctive acoustic-guitar phrasing that it's easy to forget it's a classic Beach Boys tune. Throughout TRANSISTOR RADIO, Ward is an idiosyncratic wonder--he sounds like he's been recorded at a turn-of-the-20th-century tavern on "One Life Away," while "Big Boat" conjures up the atmosphere of a 1950s Sun Records studio rehearsal. Despite this anachronistic quality, the record ...
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