MC 5 – ’66 Breakout! (1999)

FrontCover1The MC5 were active on the Michigan scene for a few years prior to their debut album in 1968, but that period was pretty scantily documented by recordings, except for a few local indie singles that were reissued on Babes in Arms. This collection of 1965-1966 live, studio, and rehearsal tracks in variable fidelity does a good deal to fill in that gap, and also expose the garage, British Invasion, and soul roots of the band, which had gotten somewhat obscured by the time of the more metallic Kick Out the Jams. “I Just Don’t Know,” “One of the Guys,” and “I Can Only Give You Everything” sound like the same tracks used on pre-Kick Out the Jams singles. The first two of these especially remain essential garage recordings that fall just shy of the hard rock outrage the group was into by 1968. There’s also a live “Looking at You” (which would be done by the group in the studio on an early single) that has a more R&B/garage feel than the studio version, especially with the presence of Rob Tyner’s harmonica. Some of these are no more than fragments, and the covers of blues and soul standards like “I’m a Man,” James Brown’s “I Don’t Mind,” and “Baby Please Don’t Go” are more of historical value than landmark importance, not matching the covers of these by the Yardbirds, Them, and the Who.

MC5_1966

Still, a worthy release, and only the absence of the “Looking at You”/”Borderline” single keeps this from being a definitive collection of pre-Kick Out the Jams stuff. Detailed liner notes and track descriptions are provided by Wayne Kramer. (by Richie Unterberger)

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Personnel:
Michael Davis (bass, vocals)
Wayne Kramer (guitar, vocals)
Fred “Sonic” Smith (guitarm vocals)
Dennis Thompson (drums, percussion)
Rob Tyner (vocals, harmonica, percussion)

Single

Tracklist:
01. Looking At You (Davis/Kramer/Smith/Thompson/Tyner) 6.50
02. Black To Comm (Davis/Kramer/Smith/Thompson/Tyner) 7.49
03. I Just Don’t Know (Davis/Kramer/Smith/Thompson/Tyner) 2.36
04. Little Red Riding Grmph (Davis/Kramer/Smith/Thompson/Tyner) 0.25
05. I Don’t Mind (Brown) 2.54
06. Break Time (Davis/Kramer/Smith/Thompson/Tyner) 0.57
07. One Of The Guys (Davis/Kramer/Smith/Thompson/Tyner) 2.15
08. Look What You’ve Done Done (Davis/Kramer/Smith/Thompson/Tyner) 5.02
09. Baby Please Don’t Go (Williams) 3.54
10. I’m A Man (McDaniel) 4.09
11. I Can Only Give You Everything (Morrison) 2.37
CD1

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Paul Kantner + Grace Slick – Sunfighter (1971)

FrontCover1Sunfighter is an album created by Paul Kantner and Grace Slick from Jefferson Airplane. The album was released shortly after the Airplane album Bark was released, and is the second record released on the Airplane’s own Grunt label, backed by RCA. The album features a picture of their baby daughter, China Wing Kantner on the cover. Many Bay Area musicians perform on the album, including members of the Grateful Dead, Crosby, Stills, and Nash, and the horn group, Tower of Power. This album was also the first that Craig Chaquico performed on; he would become the lead guitarist for Jefferson Starship.

The song “Sunfighter” is dedicated to Marty Balin, who had formed Jefferson Airplane with Kantner.

The song “Diana” was written in response to the story of Diana Oughton and the Weathermen.

The song “Silver Spoon” concerns cannibalism. According to the liner notes, Grace Slick, now a vegan, conceived of the song out of frustration with pressure from vegetarian neighbors in Bolinas, California, where she and Kantner had recently moved.

The song “China” is about their new daughter, China Kantner. Her picture is used on the cover of the album. (by wikipedia)

Inlets

This is something of a family album, co-credited to Paul Kantner and his wife, Grace Slick, and featuring on its cover a photograph of their infant daughter, China. It also features the family of San Francisco Bay Area musicians, including David Crosby, Graham Nash, Jerry Garcia of the Grateful Dead, and other current members of Jefferson Airplane and future members of Jefferson Starship. Its style of loosely arranged acid rock music and radical left political lyrics is similar to such recent albums as the Kantner/Starship Blows Against the Empire (December 1970) and the Airplane’s Bark (August 1971), which were made by most of the same players. But Kantner and Slick’s usual stridency is not counterbalanced by substance as much as on earlier efforts, perhaps because they were making too many albums too quickly to keep up the quality of their songwriting. Still, anyone who enjoys the sweet-and-sour unison singing of X’s John Doe and Exene Cervenka should listen to Sunfighter to see where they got it from. (by William Ruhlmann)

Booklet

Paul Kantner of Jefferson Airplane dies at 74


Paul Kantner, who helped pioneer psychedelic rock as the guitarist and founder of Jefferson Airplane and its splinter group Jefferson Starship, has died of multiple organ failure and septic shock. He was 74.

SF Gate reports that he had suffered a heart attack earlier in the week. He’d endured numerous health problems in recent years, including a previous heart attack in March 2015.

PaulKantner02Born in San Francisco on March 17, 1941, Kantner had been a folksinger in the Bay Area when he met another folike, Marty Balin, in 1965. Over the next couple of years, they recruited guitarist Jorma Kaukonen, bassist Jack Casady, drummer Skip Spence and vocalist Signe Anderson. After releasing their 1966 debut, Spence and Anderson left and were replaced by, respectively, Spencer Dryden and Grace Slick.

The first album with the new lineup, Surrealistic Pillow, was one of the original albums of the growing psychedelic movement, hitting stores four months before the Beatles released Sgt. Pepper’s Lonely Hearts Club Band. It spawned Top 10 singles in “Somebody to Love” and “White Rabbit.” They performed at both Woodstock and Altamont, the latter of which saw Balin knocked unconscious by a Hells Angel during their set. Kantner sarcastically thanked the motorcycle gang for their action.

But by 1970, after five albums, the band began to come apart. Kantner and Slick, who by now had become a couple, brought together a handful of their fellow San Franciscans and released an album called Blows Against the Empire. The concept album, about humans leaving Earth for outer space, was credited to Paul Kantner and Jefferson Starship, and the Airplane officially split up in 1972.

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After a couple more records in this loose all-star format, Kantner, Slick settled on a lineup for the band, and brought Balin back. Jefferson Starship had a poppier edge than its predecessor. Balin’s “Miracles,” a No. 3 hit in 1975, pushed Red Octopus into the top slot on Billboard‘s album chart. But after 1978’s Earth, which had two more hits in “Count on Me” and “Jane,” the internal fighting returned, and Balin and Slick, whose relationship with Kantner ended in 1975, left. Kantner kept Jefferson Starship alive through various incarnations until 1984, when Starship was formed.

He revived Jefferson Starship in 1992, and they remained a viable touring act. Jefferson Airplane were inducted into the Rock and Roll Hall of Fame in 1996.

Kantner is survived by China Kantner, his daughter with Slick, and two sons, Gareth and Alexander. (by ultimateclassicrock.com)

PaulKantner03

Personnel:
Paul Kantner (vocals, guitar)
Grace Slick (vocals, piano)
+
Jack Casady (bass on 01. + 08.)
Craig Chaquico (lead guitar on 09.)
Joey Covington drums on 01., 03., 08. + 12.)
Papa John Creach (violin on 01. + 09.)
David Crosby (vocals on 05., 06. + 10., tambourine on 05.)
Spencer Dryden (drums on 09.)
Jerry Garcia (guitar on 06., 07. + 12.)
Pat Gleeson (synthesizer, piano on 11.)
Jorma Kaukonen (guitar on 05.)
Peter Kaukonen (guitar on 03.,  mandolin on 06.)
Bill Laudner (vocals on 07.)
Graham Nash (arp on 05., vocals on 06. + 10.)
Phill Sawyer (sound effects on 04.)
Steven Schuster (flute on 01. + 03., saxophone on 03. + 08.)
Shelley Silverman (drums on 06.)
Jack Traylor (guitar, vocals on 10.)
John Vierra (synthesizer, keyboards on 11.)
Chris Wing (drums on 08.)
+
Edwin Hawkins Singers (vocals on 03.):
Edwin Hawkins – Walter Hawkins – Tramaine Davis Hawkins – Elaine Kelley – Norma J. King – Barbara Gill – Ruth Wyons – Daphne Henderson – Shirley Miller – Eddie Bayers)
+
Tower of Power (horns on 03. + 08.)
Greg Adams – Mic Gillette

BackCover

Tracklist:
01. Silver Spoon (Slick) 5.40
02. Diana (Kantner/Slick) 0.52
03. Sunfighter (Kantner) 3.50
04. Titanic (Sawyer) 2.25
05. Look At The Wood (Slick/Kantner) 2.08
06. When I Was A Boy I Watched The Wolves (Kantner/Slick) 4.59
07. Million (Kantner) 4.02
08. China (Slick) 3.17
09. Earth Mother (Traylor) 3.16
10. Diana 2 (Kantner/Slick) 1.01
11. Universal Copernican Mumbles (Gleeson/Vierra/Kantner) 2.03
12. Holding Together (Slick/Kantner) 7.40
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PaulKantner01

Paul Kantner (March 17, 1941 – January 28, 2016)

REST IN PEACE

Keith Jarrett – Sleeper Tokyo (1999 – 2012)

FrontCover1A previously unreleased live recording from the 1970s by a short-lived outfit that nonetheless managed to be one of the lastingly influential jazz groups of the era – the “European quartet” of Keith Jarrett (above), with the young Jan Garbarek on sax. Loose, exuberant, tender and edgy, it’s timeless. (The Guardian)
The double album Sleeper contains a previously unreleased live concert by Keith Jarrett’s European quartet from the ’70s, recorded at Tokyo’s Nakano Sun Plaza on April 16, 1979. Together with saxophonist Jan Garbarek, bassist Palle Danielsson, and drummer Jon Christensen, Jarrett performs seven of his own compositions: “Personal Mountains,” “Innocence,” “So Tender,” “Oasis,” “Chant of the Soil,” “Prism,” and “New Dance” — the latter song being the shortest here at seven minutes, while “Oasis” clocks in at over 28 minutes! As a companion piece to the live albums Nude Ants and Personal Mountains (both recorded the same year, even though the latter album was only released in 1989), Sleeper offers another noteworthy document of the creative interplay between these four musicians. (by Christian Genzel)

Booklet 08A
Probably the best live recording of the European Quartet. Realy powerfull, one of the best “new” releases of 2015. Sounds modern and far more in the moment, compared to loads of new popular jazz albums. This music screams for listening to it. And right it is.(Erik de Langkruis)

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Personnel:
Jon Christensen (drums, percussion)
Palle Danielsson (bass)
Jan Garbarek (saxophone, flute, percussion)
Keith Jarrett (piano, percussion)

Booklet 04A

Tracklist:

CD 1:
01. Personal Mountains 21.12
02. Innocence 10.47
03. So Tender 13.27

CD 2:
04. Oasis 28.13
05. Chant Of The Soil 14.52
06. Prism 11.15
07. New Dance 7.07

All compositions by Keith Jarrett

CD2A

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Sergio Mendes – Timeless (2006)

FrontCover1Timeless is a collaborative album, recorded and released by Brazilian artist Sérgio Mendes, and produced by American rapper, songwriter and producer will.i.am. The album was released on February 13, 2006. The album features many neo soul and alternative hip hop guest artists, including John Legend, Q-Tip and Justin Timberlake. The album was produced entirely by will.i.am, and was released via Concord Records and the will.i.am Music Group. The album’s lead single, “Mas Que Nada”, was featured on commercials for both Joga Bonito and Nike Football, as well EA Sports’ NBA Live 07 and the 2006 FIFA World Cup video games. Two further singles were released from the album: “That Heat”, and “Yes Yes Y’all”. The album reaches across styles, combining neo soul, bossa nova, samba, hip hop, and even flavors of reggaeton. (by wikipedia)

Booklet01A

It’s easy to think that since Santana made his big comeback using a lot of contemporary pop stars it would become the formula for the artists of yore to edge their way back into the limelight. Sergio Mendes, the best-selling Brazilian recording artist of all time, hasn’t made a platter in eight years. He plays piano on a Black Eyed Peas track — “Sexy” from Elephunk — and the jam’s a smash. Will.i.am of the Peas decides to hook up for a full-on collaboration with Mendes, because he’s a huge fan. Being the hotshot producer of the moment, will.i.am recruited everyone from Q-Tip, Justin Timberlake, and John Legend to Jill Scott, Black Thought (the Roots), and Stevie Wonder (just to name a few) to sign on. Recorded in both Brazil and the House of Blues in Encino, the set revisits many Mendes and Brazilian songbook classics and reworks them in the modern beat-driven idiom. Needless to say, the end result is entertaining, if mixed.

Booklet06A

Let it be said that a cut like “Mas Que Nada” should never have been covered, let alone redone. But it is here with Black Eyed Peas and some backing vocals with, of course, Mendes playing that trademark piano riff. OK, “That Heat” is a reworking of “Slow Hot Wind,” the Henry Mancini tune Mendes covered and is supposedly the first track will.i.am ever sampled at the ripe old age of 14. Here Erykah Badu croons in a sultry humid way as will.i.am goes down deep with the rap. Mendes’ piano is what keeps the thing from falling completely apart. Better is the Baden Powell-Vinicius de Moraes medley of “Berimbau/Consolacao.” Mendes’ Rhodes offers the vamp that the elegant chorus singers — Gracinha Leporace, Debi Nova, and Kleber Jorge — and Mendes groove to. Will.i.am lays down some rather organic-sounding electronic percussion that sounds like palmas, and Wonder blows his harmonica over the entire proceeding as Jorge’s guitar strides alongside Mendes’ piano. This may be the best cut on the set.

Booklet03A

There is a fine case to be made for the humor in “The Frog,” written by João Donato, and originally covered by Mendes. Q-Tip lays down a charming rhyme and Mendes’ Wurlitzer work is killer. The cover of “Let Me” is stiff and Jill Scott, as fine a singer as she is, doesn’t cut it here, and neither does the rhythm track. The smoother than smooth “Please Baby Don’t,” written and sung by John Legend, works because of Legend’s understanding of Brazilian rhythm and Mendes’ piano groove that carries the voice. “Samba da Bencao,” with Marcelo D2 and guitars by the Maogani Quartet, is engaging; Mendes’ acoustic piano solo is beautiful, as are the horn charts. The title track with India.Arie is simply beautiful. Aire, with backing vocals by Nova and Leporace and a slinky guitar part by Jorge, makes the tune simply float as Mendes decorates it with Rhodes and synth. Timeless is a mixed bag, but it’s not because of Mendes. His own playing and arranging is utterly elegant. As a producer, will.i.am means well and in general does a fine job — though he is, as would be expected, a tad overzealous in working with one of his idols. Timeless may not actually achieve that status, but for the moment it’s a fine effort that doesn’t reek of cloying commercial manipulation and feels like a true collaboration. (by Thom Jurek)

BookletBackCover1

Personnel:
Paulinho Braga (drums)
Sergio Brandão (bass)
Bill Brendle (piano)
Chali 2na (vocals)
Carlos “Pipo” Chaves (percussion)
Gary “Sugar Foot” Greenberg (drums)
Keith Harris (percussion)
India.Arie (vocals)
Tim Izo (flute, saxophone)
Kleber Jorge (cavaquinho, guitar, vocals)
John Legend (vocals)
Gracinha Leporace (vocals)
Mitchell Long (guitar)
Maogani Quartet (guitar)
Marcelo D2 (vocals)
Sergio Mendes (vocals, piano, synthesizer)
Paul Meyers (guitar)
Mr. Vegas (vocals)
Pharoahe Monch (vocals)
Leonardo Nobre (bass)
Meia Noite (percussion)
Debi Nova (vocals)
Chuck Prada (percussion)
Q-Tip (vocals)
Jill Scott (vocals)
Mike Shapiro (bass, drums, percussion)
Marcus Tardelli (guitar)
Steve Tavaglione (saxophone)
Justin Timberlake (vocals)
will.i.am (bass, drum programming, percussion, vocals)
Peter Wolf (bass)
Stevie Wonder (harmonica)

Booklet08A

Tracklist:
01. Mas Que Nada (feat. The Black Eyed Peas) (Ben) 4.22
02. That Heat (feat. Erykah Badu / will.i.am) (Adams/Gimbel/Mancini) 4.13
03. Berimbau/Consolacao (feat. Gracinha Leporace / Stevie Wonder) (de Moraes/Powell) 4.22
04. The Frog (feat. Q-Tip / will.i.am) (Donato) 3.50
05. Let Me (feat. Jill Scott / will.i.am) (Gimbel/Powell) 4.14
06. Bananeira (Banana Tree) (feat. Mr. Vegas) (Donato/Gil) 3.14
07. Surfboard (feat. will.i.am) (Jobim) 4.31
08. Please Baby Don’t (feat. John Legend) (Legend) 4.09
09. Samba da Bencao (Samba of the Blessing) (de Moraes/Powell) 4.38
10. Timeless (feat. India.Arie) (Board/Mendes) 3.54
11. Loose Ends (feat. Pharoahe Monch / Justin Timberlake / will.i.am) (Adams/Bergman/Bergman/Mendes/Timberlake) 5.32
12. Fo’-Hop (feat. Guinga) (Guinga) 3.13
13. Lamento (No Morro) (Jobim) 3.21
14. E Menina (Hey Girl) (Donato/Guarabyra) 3.31
15. Yes, Yes Y’All (feat. Chali 2na / Debi Nova / Black Thought / will.i.am) (Adams/Dorough/Stewart/Trotter/Tucker) 5.09

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BackCover1

Sonny Rhodes – I Don’t Want My Blues Colored Bright (1977)

FrontCover1It has been a long road for this bluesman born as Clarence Edward Smith in Smithfield, who started out as a teenager playing guitar alongside some of the Texas giants and stints playing bass behind Freddie King and Albert Collins. He moved to California in the late 50’s where he was befriended by the legendary L.C. “Good Rockin'” Robinson who influenced his decision to take up the lap steel guitar. Rhodes toured Europe for the first time in 1976 where he is considered a blues legend. He now splits his time mostly between California and Canada. The Smithsonian Institute honored Rhodes for his cultural contribution to the arts in 1976. He gained some media attention for his recording of the theme song, “The Ballad of Serenity,” for the “Firefly” TV series which aired in 2002 on the Fox Network—although the series was short-lived, his performance has a cult following on the internet. His many recordings have met much the same fate—great reviews but suffered from low distribution and yet are treasured by a small group of blues zealots. Despite recent health problems, Rhodes continues to be a road warrior, delighting and amazing audiences with his virtuosity mostly displayed on lap steel guitar these days notwithstanding the fact that he is a masterful electric guitarist.

AlternateCover2

 Alternate frontcover

And this is the debut album … it´s just a blues album, but a real great one !

And if you would like to know, why I love the blues … listen to Sonny Rhodes … an unknown hero of this style of  music !

SonnyRhodes

Personnel:
Harold Attyberry (trumpet)
Ken Baker (saxophone)
Charles Banks (bass)
Harold Banks (drums)
Steve Gomes (bass)
J.J. Malone (piano, vocals)
Michael Marcus (saxophone)
Richard Milton (drums)
Brad Johnson (saxophone)
Sonny Rhodes (vocals, guitar)
Gary Smith (harmonica)
Mike Watson (guitar)

BackCover1

Tracklist:
01. One More Drink (Rhodes) 2.41
02. Take The Bitter With The Sweet (Oden) 4.42
03. Just Got In (Jones) 2.41
04. All Night Long They Play The Blues (Rhodes) 4.25
05. Killing Floor (Burnett) 2.58
06. I’m So Lonely (Rhodes) 6.23
07. Country Boy (Rhodes) 6.00
08. How Long (Parker) 2.38
09. J.J’s Blues In G (Malone) 5.00
10. Stranded (Rhodes) 2.41
11. Sitting & Thinking (Parker) 6.49

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Another alternate frontcover

Joachim Kühn – Nightline In New York (1981 – 1985)

FrontCover1Joachim Kühn (born 15 March 1944) is a German jazz pianist.

Kühn was a musical prodigy and made his debut as a concert pianist, having studied classical piano and composition with Arthur Schmidt-Elsey. Influenced by his elder brother, clarinetist Rolf Kühn, he simultaneously got interested in jazz. In 1961 he became a professional jazz musician. With a trio of his own, founded in 1964, he presented the first free jazz in the GDR. In 1966 he left the country and settled in Hamburg. Together with his brother he played at the Newport Jazz Festival and recorded with Jimmy Garrison for Bob Thiele’s Impulse! Records.

Kühn has lived in Paris since 1968, and worked with Don Cherry, Karl Berger, Slide Hampton, Phil Woods, Michel Portal, Barre Phillips, Eje Thelin, Ray Lema, Hellmut Hattler, and Jean-Luc Ponty. As a member of Pierre Courbois’s Association P.C., he turned to electronic keyboards. During the second half of the 70’s he lived in California and joined the West Coast fusion scene and recorded with Alphonse Mouzon, Billy Cobham, Michael Brecker, and Eddie Gómez.

JoachimKühn

Having settled near Paris again, he played in an acoustic trio with Jean-François Jenny-Clark and Daniel Humair since 1985. In the summer of 1996, he joined Ornette Coleman for two concerts at the Verona and Leipzig festivals, which opened the way for his Diminished Augmented System. More recently he has toured with Rabih Abou-Khalil and Joachim Kühn Trio with Christian Lillinger and Johannes Fink. (by wikipedia)

And this is a rare Joachim Kühn recording: this album was released in Germany and Japan only.

Originally it was released as a LP in 1981, a few years later as a CD. And this album featuring musicians like Michael Brecker, Eddie Gomez, Bob Mintzer and Mark Nauseef is a real great jazz-album … listen and you´ll know what I mean …

LPLabel

Personnel:
Michael Becker (saxophone)
Eddie Gomez (bass)
Billy Hart (drums)
Joachim Kühn (piano)
Bob Mintzer (saxophone)
Mark Nauseef (percussion)

BookletA

Tracklist:
01. Yvonne Takes A Bath 10.06
02. April In New York 9.34
03. Yvonne 6.36
04. Nightline 9.34
05. Rubber Boots 8.10

All compositions written by Joachim Kühn

CD1

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Makaveli – The Don Killuminati – The 7 Day Theory (1996)

FrontCover1The Don Killuminati: The 7 Day Theory (commonly shortened to The 7 Day Theory or Don Killuminati and sometimes called Makaveli) is the fifth studio album by Tupac Shakur. Released under his new stage name Makaveli, it was his first studio album to be posthumously released. The album was completely finished in a total of seven days during the first week of August 1996. The lyrics were written and recorded in only three days and mixing took an additional four days. These are the last songs Shakur recorded before his fatal shooting on September 7, 1996. The album was originally due for release in March 1997, but due to his death, Suge Knight released it four months earlier.

George “Papa G” Pryce, Former Head of Publicity for Death Row, claimed that “Makaveli which we did was a sort of tongue-in-cheek, and it was not ready to come out, [but] after Tupac was murdered, it did come out… Before that, it was going to be a sort of an underground.”

Though Shakur had been using the new name Makaveli or Makaveli Tha Don as far back as All Eyez On Me, the Makaveli album was conceived as a sort of introduction for Shakur’s alternate stage name. Thus, the album’s sleeve contains the text, “Exit 2Pac, Enter Makaveli”. The Don Killuminati: The 7 Day Theory was recorded and mixed in 7 days in August 1996.

Makaveli
Before his death, Shakur wanted to start his own record label, which he envisioned as Makaveli Records. Shakur fulfilled his three-album obligation to Death Row quickly in order to move on from Death Row Records and start Makaveli Records. According to personal bodyguard Frank Alexander, Shakur didn’t like Death Row. Artists slated to be on Makaveli Records included not only himself, but the rest of The Outlawz, as well as Storm, Bad Azz, One Nation, Bobby Brown and Greg Nice among others.

While All Eyez on Me was considered by Shakur “a celebration of life”, The Don Killuminati: The 7 Day Theory is a much darker album. Shakur’s style of rapping is still emotional, but is intensified throughout this album. Some songs on the album contain both subtle and direct insults to Shakur’s rivals at the height of the East Coast–West Coast feud. Rappers insulted on the album include The Notorious B.I.G., Puff Daddy, Jay-Z, Mobb Deep, Q-Tip, De La Soul, Dr. Dre & Nas.

Although Shakur insulted rapper Nas on “Intro/Bomb First (My Second Reply)” and “Against All Odds”, rapper Young Noble, who appeared on several songs on The 7 Day Theory, stated in an interview that the Nas song “I Gave You Power” served as a main inspiration for Shakur’s “Me and My Girlfriend”. (by wikipedia)

Released only eight weeks after Tupac Shakur died from gunshot wounds, Death Row released this posthumous album, The Don Killuminati: The 7 Day Theory, under the name of Makaveli, a pseudonym derived from the Italian politician Niccolo Machiavelli, who faked his own death and reappeared seven days later to take revenge on his enemies. Naturally, the appearance of Don Killuminati so shortly after Tupac’s death led many conspiracy theorists to surmise the rapper was still alive, but it was all part of a calculated marketing strategy by Death Row. All Eyez on Me proved that Tupac was continuing to grow as a musician and a human being, but Don Killuminati doesn’t improve upon that image; instead it concentrates on G-funk beats and East Coast/West Coast rivalries. If Tupac had survived to complete Don Killuminati, it is likely that the record would have been even better. (by Stephen Thomas Erlewine)

Okay, this another record in this blog … from the category “this is not my kind of music” … but many fantastic colors of music should be a part in this blog …

BackCover1

Personnel:
Majaveli
+
many, many musicians from the rap/hip hop scene

Booklet1

Tracklist:
01. Intro/Bomb First (My Second Reply) (Edi/Makaveli/Noble) 4.56
02. Hail Mary (2Pac/Fetal Embrace/Kastrouni/Makaveli/Noble) 5.09
03. Toss It Up (Hailey/Hall/Makaveli/Moore) 5.06
04. To Live & Die In L.A. (Makaveli/Young) 4.33
05. Blasphemy (Makaveli/Wrice) 4.38
06. Life Of An Outlaw (Edi/Kastrouni/Makaveli/Napoleon/Noble) 4.55
07. Just Like Daddy (Edi/Makaveli/Noble/Wrice) 5.07
08. Krazy (Bad Ass/Makaveli) 5.15
09. White Man’z World (Makaveli) 5.38
10. Me And My Girlfriend (Makaveli/Rouse/Wrice) 5.08
11. Hold Ya Head (Makaveli/Wrice) 3.58
12. Against All Odds (Makaveli/Tyrone) 7.09

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