‘Tearing At The Seams’ Is A Positive Sign For Rateliff & Co.’s Future

Courtesy: Stax Records

Three years ago when Nathaniel Rateliff & The Night Sweats released its self-titled debut album, that opening effort – released via Stax/Concord – from the Denver-based outfit was received to rather positive reaction.  It reached the top spot on Billboard’s folk charts and peaked at number four on Billboard’s Top Rock Albums chart. Critics likened the group’s sound to legends the likes of Otis Redding, Van Morrison and others while having plenty of positives to write of the album.  It wasn’t the band’s full-on proverbial A-game.  Even this critic will agree to that, but in the same breath, it was still a strong first effort from the group.  That means expectations were high for the group’s sophomore album.  Enter that album, Tearing at the Seams.  Released early just this past March, Tearing at the Seams lives up to those expectations.  It takes the positives of the group’s debut and builds on them even more to create the end result presented here.  That is evident in part through the songs’ arrangements and the album’s production, which will be discussed shortly.  The songs’ lyrical themes do just as much to make that evident.  They will be discussed a little bit later.  The album’s sequencing also serves to make that evident.  Each element is obviously important in its own right to the whole of this record.  All things considered, they make Tearing at the Seams a solid follow-up to Nathaniel Rateliff & The Night Sweats that shows even more promise for this group’s future.

Nathaniel Rateliff & The Night Sweats’ sophomore album Tearing at the Seams is an impressive new effort that is anything but a sophomore slump.  Released March 9 via Stax Records, this 12-song, 47-minute album shows notable growth from the band’s self-titled debut in so many ways, not the least of which is its collective arrangements and production thereof.  The arrangements presented here are works that take listeners back in time once again like opening a musical time capsule left long untouched.  What’s more, they don’t stick to just one influence in their presentation.  Right from the album’s outset, listeners are treated to an arrangement in ‘Shoe Boot’ that are reminiscent of so many great classic soul tunes.  That is thanks to the use of the horns, keyboards and percussion.  They keyboards, guitar and percussion at the center of ‘A Little Honey’ instantly conjures thoughts of Elton John’s classic ‘Benny & The Jets.’  That is meant in the most complimentary fashion possible.  The Otis Redding comparison is there again, too late in the album’s run in ‘Still Out There Running.’  One could even liken the arrangement at the center of ‘Intro’ to great works from James Brown and other similar acts.  At this point, it should be clear how this album’s collective arrangements make evident how this album builds on its predecessor and impresses even more than that record.  In the same vein, the production of the album’s songs does so much to help generate that sound of a musical time capsule being opened for the first time in decades.

The production work behind this album is so notable because of its role in the album’s general effect.  Producer Richard Swift (The Shins, Foxygen) – who also worked with the band on its 2015 self-titled debut – is to be applauded for his work behind the glass once again.  Thanks to his efforts, and those of the band, the arrangements get a sound that is just like something right out of the 1960s and ‘70s.  That is evident in the static/fuzz style touch on so many of the arrangements.  Even in the album’s more rock-oriented arrangements, such as that of ‘A Little Honey,’ ‘Hey Mama’ and the album’s lead single, ‘You Worry Me,’ there’s still a certain sound and feel that makes such works sound like they were lifted from days long gone.  It’s a nice touch to the album’s general effect, and ensures even more listeners’ engagement from start to end.  It’s just one more element that shows how much this album has built on its predecessor, and in turn made it that much more enjoyable than that album.  The songs’ lyrical themes are important to note in their own right, too.

The lyrical themes presented throughout TATS show growth from the band this time out just as much as the album’s arrangements and production because of the topics that are presented and the fashion in which they are presented.  Obviously the standard theme of romantic relationships is there and tackled in various different lyrical fashions.  It is not the only theme presented here, though.  ‘Hey Mama’ seems to delve into personal experiences from one of the band members as it notes, “Hey mama/Why it’s me/Say you better wait, child/Said you’ve been a long time running/Saving a long time money/Hey mama/Answer me/baby boy, you better sit down/Can’t listen when the sun’s out/My only son, this’ll be so hard to hear.”  From here, the song’s subject – seeming to be a parent talking to a child – seems to be telling the other that there is a lot more to learn in life and a lot more to experience than already has been.  This is inferred as the primary subject sings, “You ain’t gone far enough to say/At least I tried/You ain’t worked hard enough to say/Well I’ve done mine/You ain’t run far enough to say/My legs have failed.”  This is a strong statement, especially considering the song’s main subject before launching into this lecture, “She said son, let me reason with you/You think you carry such a weight/I know I never beat you, boy/Better start acting like this here’s a race.”  Simply put, this song comes across lyrically as a parent trying to talk some sense into a child.  It’s a nice change of pace from the more overly familiar material presented here.

The lyrical theme of the album’s title track is another one that seems to break from that standard mold of personal relationships.  What’s interesting here is the manner in which Rateliff has laid out the song, lyrically speaking.  It obviously is not about a romantic relationship.  At the same time, one could argue it comes across as a social commentary of sorts.  This is the case as Rateliff sings, “Wait/Is this a game or am I walking into a snare/Now these lies will spread until we are choking on the innocent/They have half of us tied and half of us in chains/We’re all covering our eyes/And covering our mouths just the same.”  He even notes in the song’s lead verse, “There’s a liar/A liar on the stage with a young child’s eyes/And it happens all wrong/And only half of it’s seen from here.”  He asks in the song’s chorus, “Where’s all the time gone/In separate ways it runs long/A hundred miles built upon us/It’s tearing at the seams of all that’s been/They’re gonna have to drag us away.”  One could argue the mention of the “liar…with a young child’s eyes” could easily be likened a mention of America’s current top politician.  The note of something “tearing at the seams of all that’s been” and “half of us” being “tied and half of us in chains” could just as easily be considered a social commentary of sorts.  This is, of course, only this critic’s take on the song.  It could be entirely incorrect.  Hopefully it is close to being correct.  Either way, the execution of the song’s lyrics itself is certain to have plenty of people talking.  Keeping this in mind, it is just one more way in which the song’s lyrical themes show this album’s growth from the band’s debut.  When it – and the other noted songs – are considered along with the rest of the album’s songs, they show even more how much this album shows the band’s continued growth.  It still is not the last way in which this album shows the band’s growth.  The album’s sequencing also serves to exhibit that growth.

From start to finish, TATS’ sequencing exhibits growth from the band because of its ability to keep listeners engaged and entertained.  The album’s first trio of songs is a group of solid, mid-tempo soulful opuses that vary little in their musical energies.  Even as the album progresses into ‘Say It Louder’ and slows, that pull back is minute at best, ensuring just as much, listeners’ engagement and entertainment.  It isn’t until the album nears its midway point in ‘Hey Mama’ that it really noticeably slows.  That reserved energy couples quite well with its lyrical content, too, ensuring even more that maintained engagement.  Listeners get one more reserved arrangement in ‘Babe I Know’ at the album’s midway point before things finally start to pick back up.  What’s really interesting in this arrangement is that to a point, it easily lends itself to comparisons to works from Bob Dylan thanks to the vocal delivery.  Musically, it sounds like a piece from the late 1950s/early 1960s, which is another change of pace for the band here, and a welcome one at that.  The album’s energy gradually grows again over the course of its next four songs before starting to pull back again to finish off in its last two compositions.  The bigger picture here is that of a record that rises and falls in all of the right places, musically.  That shows great time and thought was put into the album’s sequencing.  That time and thought paid off just as much as the work put into the songs and their arrangements, and of course their lyrical themes.  Keeping that in mind, all three elements show in their own way how much this record has built on the success of the group’s debut to make this one its own success.  All things considered, they make Tearing at the Scenes yet more promise for the future of Nathaniel Rateliff and the Night Sweats.

Nathaniel Rateliff and the Night Sweats’ sophomore album Tearing at the Scenes, is another successful offering from the Denver-based group.  That is because over the course of its 12-song, 47-minute run, it shows in so many ways that the band has taken the success of its self-titled debut and built on it so much in this presentation.  This is evident immediately through the album’s songs and their production.  Collectively, these two elements make this album sound like a musical time capsule that has miraculously been delivered to the present from one of music’s greatest eras without ever having been touched.  The lyrical themes presented throughout the record show growth, too, as the band is once again not afraid to stretch its creative wings beyond the standard songs of love gained and lost.  The time and though put into the album’s sequencing shows plenty of growth, too.  That’s because from start to end, the album ensures listeners’ engagement and entertainment without worry of listeners skipping any tracks.  Keeping all of this in mind, it is clear that Rateliff and company have grown a lot since releasing the group’s debut three years ago.  The result of that growth is a record that, once again, shows plenty of promise for the band’s future.  Tearing at the Seams is available now in stores and online.  More information on Tearing at the Seams is available online now along with all of the band’s latest news and more at:

 

 

Website: http://www.nathanielrateliff.com

Facebook: http://www.facebook.com/nathanielrateliff

Twitter: http://twitter.com/NRateliff

 

 

 

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Craft Recordings’ JLH Box Set Is A Wonderful Tribute To Music Royalty

Courtesy: Craft Recordings/Concord Music Group

Early this past August, the music community stopped for a moment to remember John Lee Hooker. The beloved, legendary bluesman would have celebrated his 100th birthday Aug. 22. In honor of the milestone, Craft Recordings, a division of Concord Music Group, released a brand new five-disc, 100-song collection of Hooker’s songs in the form of John Lee Hooker: King of the Boogie only months later on Oct. 6. Originally scheduled for release Sept. 29, the multi-disc compilation is not the first compilation of the famed musician’s works, but it is an impressive new collection nonetheless. That is proven in part through the collection’s featured songs, which will be discussed shortly. The set’s packaging is just as important to note here as its song selection, and will be discussed later. Last but most definitely not least of note in this collection is its average price point. Each element is critical in its own way to the recording’s whole. All things considered, they make John Lee Hooker: King of the Boogie a wonderful musical tribute to a wonderful musical mind.

Craft Recordings’ recently released John Lee Hooker box set King of the Boogie is, simply put, a wonderful musical tribute to a wonderful musical mind. That is due in no small part to the 100 songs that make up the collection’s body. Those songs form the foundation of the set’s presentation. What makes them stand out is the picture that they paint of Hooker’s rich career. Though not presented in chronological order, it does paint a broad, rich picture of Hooker’s career. The collection takes audiences all the way back to Hooker’s earliest days with the likes of ‘Maudie,’ ‘Time is Marching’ and ‘I Love You Honey,’ all of which were released in 1959. It also takes audiences through Hooker’s career with songs from the 60s, 70s and beyond in the likes of ‘Goin’ Mad Blues’ (1969), ‘Unfriendly Woman’ (1977), ‘It serves Me Right’ (1980), ‘Spellbound’ (1997), and ‘When I Lay My Burden Down’ (2017) among so many others. As if the studio recordings are not enough, the set also includes a full disc dedicated solely to Hooker’s live works. That disc, the set’s fourth disc, features live recordings reaching all the way back to 1960. It also features a variety of archived live performances released as recently as 2002 alongside brand new, previously unreleased live performances released for the first time in this collection. Those live recordings add even more depth to the box set’s presentation. Simply put, the songs featured in this collection present one of the most vivid pictures of Hooker’s career that has been released to date. It is not just another random collection put out for the sake of making money. It truly is a celebration of the life and career of a music legend. The set’s featured songs do plenty to celebrate John Lee Hooker’s life and legacy in this new box set, but are not the only items, collectively that serve to celebrate the musical icon so well. The set’s overall packaging goes a long way toward celebrating Hooker and his achievements, too.

King of the Boogie‘s packaging offers audiences just as much to appreciate as its featured songs. Rather than just being a standard, bulky, square box, Craft Recordings has presented the set as a book, with each of its discs inserted safely throughout. It’s an aesthetic element, but still a positive nonetheless. The liner notes presented throughout the book, crafted by John Lee Hooker historian Jas Obrecht and Hooker’s longtime friend Mike Kappus offer their own insight and entertainment for audiences. That is thanks to the fact that the pair does not pull any punches, presenting Hooker’s highs and lows. Along with the fully engaging stories told by Kappus and Obrecht is a bevy of pictures that illustrate the pair’s stories even more both literally and figuratively. The pictures included in the book included ones of him with Rolling Stones guitarist Keith Richards, Hooker with Bonnie Raitt, and solo studio shots of Hooker from his early days alongside other live shots from throughout his career. If a picture is worth a thousand words, then those and the set’s other pictures would certainly have plenty to say, making the set’s presentation that much richer, in turn, showing even more why the set’s packaging is so critical to its presentation. Of course the packaging is only one more of the set’s most important elements. Its average price point rounds out its most important elements.

The average price point of Craft Recordings’ new centennial celebration of John Lee Hooker is important to note because it is a relatively affordable price. Comparing prices between Amazon, Target, Best Buy and Wal-Mart, the set’s average price point sits at approximately $49. Considering the amount of material, both musical and otherwise, included in the collection, such a price is relatively affordable to the average consumer. It would have been easy for those four major outlets to push their prices higher, but they each made certain to keep the set within the average consumer’s price range. That proves even more the importance of the set’s average price point to its overall presentation. When this element is considered alongside the set’s clearly impressive packaging and its equally noteworthy sequencing, the whole of those elements makes King of the Boogie a wonderful way to pay tribute to musical royalty.

Craft Recordings’ recently released five-disc John Lee Hooker box set is a thorough new collection that is certainly a wonderful tribute to the legacy of a great musical mind. That is proven in part through the extensive, 100-song sequence that reaches back to Hooker’s earliest days and beyond. The songs paint a rich picture of Hooker’s career. The set’s packaging is just as important to its whole thanks to its liner notes and pictures. The picture that they paint makes the picture painted by the set’s featured songs all the richer and more vivid. The set’s average price point makes it easily affordable for the average consumer, too. Each element is important in its own right to the set’s presentation. All things considered, they make this set a royally wonderful tribute to one of the music industry’s great names. It is available now in stores and online. More information on this and other titles from Craft Recordings is available online now at:

Website: http://craftrecordings.com

Facebook: http://www.facebook.com/craftrecordingsofficial

Twitter: http://twitter.com/craftrecordings

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Craft Recordings To Re-Issue ‘A Charlie Brown Christmas’ Soundtrack On Vinyl This Month

Courtesy: Craft Recordings

One of the greatest soundtracks of the 20th century is getting a special vinyl re-issue.

A Charlie Brown Christmas Original Soundtrack will be re-issued on vinyl Nov. 17 via Craft Recordings, the catalogue branch of Concord Music Group.  Originally recorded by the Vince Guaraldi Trio, the new 180-gram vinyl re-issue will include rare artwork from the soundtrack’s original 1965 release.

The soundtrack was certified quadruple platinum by the Recording Industry Association of America (RIAA) in 2016, making it one of the best-selling jazz albums in music history, second only to Miles Davis’ seminal 1959 album Kind of Blue.  The record features some of the entertainment industry’s most well-known themes including the famed ‘Linus and Lucy’ and ‘Christmas Time Is Here,’ which opens the animated classic.

The soundtrack’s sales numbers are collectively not its only key note.  It was inducted into the Grammy ® Hall of Fame in 2007and the Library of Congress’ National Recording Registry in 2012.

The track listing for the single-LP vinyl re-issue is noted below.

Track List:
Side A
1. O Tannenbaum
2. What Child Is This
3. My Little Drum
4. Linus & Lucy
5. Christmas Time Is Here (instrumental)
Side B
1. Christmas Time Is Here (vocal)
2. Skating
3. Hark, The Herald Angels Sing
4. Christmas Is Coming
5. Für Elise
6. The Christmas Song

More information on this and other titles from Craft Recordings is available online now at:

 

 

 

Website: http://craftrecordings.com

Facebook: http://www.facebook.com/craftrecordingsofficial

Twitter: http://twitter.com/craftrecordings

 

 

 

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Craft Recordings Announces New John Lee Hooker Box Set Release Date, Specs

Courtesy: Craft Recordings/Concord Music Group

Craft Recordings, a division of Concord Music Group, will pay tribute to blues legend John Lee Hooker next month with a brand new box set.

King of the Boogie will be released Sept. 29 in stores and online.  The set’s 100-total songs are spread across five discs and features a number of Hooker’s greatest hits as well as lots of rarities, live recordings and previously unreleased recordings.  The collection includes a 56-page book along with the discs that features a variety of pictures of the famed bluesman at different points of his career as well as liner notes written by writer and Hooker historian Jas Obrecht and Hooker’s manager and friend Mike Kappus.

Mason Williams, who curated and produced King of the Boogie, said in a recent interview about the collection that its 100 total songs make up only a small glance of Hooker’s extensive career, but a clear view nonetheless.

“Even at 100 songs, this set is just a snapshot of John Lee Hooker’s incredible and influential career, but one that takes you on the long journey he took from his early days in Detroit to his time in Chicago recording for Vee-Jay Records and up through his later collaborations with Van Morrison, Bonnie Raitt and Santana among others,” Williams said.

The set’s track listing is noted below.

JOHN LEE HOOKER – KING OF THE BOOGIE TRACK LIST:
Disc 1:
1. Boogie Chillen’ – John Lee Hooker And His Guitar
2. Sally May – John Lee Hooker And His Guitar
3. Hobo Blues – John Lee Hooker And His Guitar
4. Crawlin’ King Snake – John Lee Hooker & His Guitar
5. Black Man Blues – Texas Slim
6. Goin’ Mad Blues – Delta John
7. Who’s Been Jivin’ You – Texas Slim
8. (Miss Sadie Mae) Curl My Baby’s Hair
9. Hoogie Boogie – John Lee Hooker And His Guitar
10. Burnin’ Hell – John Lee Hooker And His Guitar
11. Weeping Willow Boogie
12. Moaning Blues – Texas Slim
13. Huckle Up Baby – John Lee Hooker And His Guitar
14. Goin’ On Highway #51 – John Lee Hooker And His Guitar
15. John L’s House Rent Boogie
16. I’m In The Mood
17. Two White Horses
18. 33 Blues
19. Sugar Mama
20. Wobbling Baby
21. Stuttering Blues – John Lee Booker
22. I’m A Boogie Man – Johnny Lee
23. Down Child
24. Odds Against Me (Backbiters And Syndicaters)
25. Shake, Holler And Run
Disc 2:
1. Unfriendly Woman [Aka Stop Now]*
2. Mambo Chillun
3. Time Is Marching
4. Dimples
5. Little Wheel
6. I Love You Honey
7. Drive Me Away
8. Maudie
9. When I Lay My Burden Down*
10. Tupelo Blues
11. Good Mornin’ Lil’ School Girl
12. I Rolled And Turned And Cried The Whole Night Long
13. No More Doggin’
14. Dusty Road
15. No Shoes
16. My First Wife Left Me
17. Crazy About That Walk – Sir John Lee Hooker
18. Want Ad Blues
19. Will The Circle Be Unbroken
20. I’m Going Upstairs
21. I Lost My Job
22. Don’t Turn Me From Your Door
23. Grinder Man
24. Meat Shakes On Her Bone*
Disc 3:
1. Boom Boom
2. Blues Before Sunrise
3. She’s Mine
4. Frisco Blues
5. Good Rockin’ Mama
6. I’m Leaving
7. Birmingham Blues
8. Don’t Look Back
9. Big Legs, Tight Skirt
10. It Serves Me Right
11. Money
12. One Bourbon, One Scotch, One Beer
13. The Motor City Is Burning
14. Mean, Mean Woman
15. Doin’ The Shout
16. Homework
17. Early One Morning
18. Rocking Chair
19. Hittin’ The Bottle Again
20. Deep Blue Sea
21. Spellbound
Disc 4: LIVE
1. Hobo Blues – Live
2. Maudie – Live
3. Shake It Baby – Live
4. Boogie Chillun – Live
5. Bottle Up And Go – Live
6. Crawlin’ King Snake – Live
7. The Mighty Fire – Live
8. You’ve Got To Walk Yourself – Live
9. I’m Bad Like Jesse James – Live
10. Boogie Everywhere I Go – Live
11.She’s Gone*- Live
12.It Serves Me Right To Suffer*- Live
13. Boom Boom* – Live
14. Hi-Heel Sneakers* – Live
15. One Bourbon, One Scotch, One Beer* – Live
 
Disc 5: FRIENDS
1. I Got Eyes For You – With “Little” Eddie Kirkland
2. Mai Lee – With The Groundhogs
3. Peavine – With Canned Heat
4. Never Get Out Of These Blues Alive – With Van Morrison
5. Five Long Years – With Joe Cocker
6. The Healer – With Carlos Santana
7. I’m In The Mood – With Bonnie Raitt
8. Sally Mae – With George Thorogood
9. Mr. Lucky – With Robert Cray
10. Up And Down – With Warren Haynes
11. Boom Boom – With Jimmie Vaughan
12. You Shook Me – With B.B. King
13. Don’t Look Back – With Van Morrison
14. Dimples – With Los Lobos
15. Boogie Chillen’ – With Eric Clapton

King of the Boogie is being released as part of a year-long celebration of what would have been Hooker’s 100th birthday (which would have been celebrated Aug. 22).  An exhibit of the same name is currently being presented at the Grammy Museum ® Mississippi.  It includes outfits that Hooker wore at various live shows, guitars that he played, photos, awards and his music.  The exhibit will be on display through Feb. 2018 before being moved to the Grammy Museum® L.A. Live.

Hooker’s daughter Zakiya, spoke Tuesday about the new exhibit and forthcoming box set, saying the tributes moved her and knew they would move audiences, too.

“Today, on what would have been my father’s 100th birthday, I am so thrilled to see him celebrated—both with the exhibit as well as with the announcement of this special collection of music,” she said.  “I know his fans will be excited to hear rare performances, and to read the touching words of his longtime manager, Mike Kappus, as well as those of the wonderful Jas Obrecht.  It was a pleasure to watch this box set come together, and I can’t wait to see it shared with the world.”

More information on this and other titles from Craft Recordings and Concord Music Group is available online now at:

 

 

 

Website: http://www.concordmusicgroup.com/labels/craft-recordings

Facebook: http://www.facebook.com/ConcordMusicGroup

Twitter: http://twitter.com/ConcordRecords

 

 

 

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Craft Recordings Announces New Isaac Hayes’ Retrospective Release Date, Specs

Courtesy: Craft Recordings/Concord Music Group/Rhino Entertainment

Craft Recordings, a division of Concord Music Group, is paying tribute to music legend Isaac Hayes with a brand new box set.

The company announced this week that it will release The Spirit of Memphis (1962 – 1976) on Sept. 22.  The four-CD collection presents a number of the songs that made Hayes so popular from his early days up to his days as an international superstar.  Those songs include a number of previously unreleased compositions.

The first of the set’s four discs features a number of Hayes’ most well-known and beloved songs crafted with David Porter while Hayes was a producer and songwriter.  Those songs include Carla Thomas’ ‘B-A-B-Y,’ which was recently featured in the blockbuster movie Baby Driver, and Sam & Dave’s ‘Soul Man,’ which celebrates its 50th anniversary this year.

The set’s second disc focuses on Hayes’ work as a solo artist and includes songs such as ‘By The Time I Get To Phoenix,’ ‘Never Can Say Goodbye,’ ‘Do Your Thing’ and the title track from the Shaft soundtrack.

The collection’s third disc is entitled Cover Man and, as it hints, is a collection of some of Hayes’ greatest covers.  Its set list includes Hayes’ take on ‘Windows of the World,’ ‘Stormy Monday,’ ‘Stormy Monday,’ ‘I Stand Accused,’ ‘The Ten Commandments of Love’ and other songs.

Jam Master, the fourth of the set’s primary discs, features extended takes and demos of songs from his classic albums.  The most notable of the disc’s jams is a 33-minute take on ‘Do Your Thing’ while the demos include takes on ‘You’ve Made Me So Very Happy,’ ‘Ain’t No Sunshine’ and the previously unreleased Shaft soundtrack composition ‘Black Militant’s Place.’

Along with its primary four-disc presentation, the forthcoming box set will also feature a replica 7” vinyl single of Hayes’ very first recordings and a hardcover 60-page book.  The book, which is its own retrospective on Hayes’ career, features pictures from that career and an essay titled Respect Yourself: Stax Records and the Soul Explosion by author Robert Gordon.

The book also features interviews with well-known Stax figures Deanie Parker and Jim Stewart and contributions from Floyd Newman, Mickey Gregory, Sam Moore (of Sam & Dave fame), and compilation producer Joe McEwan.

The Spirit of Memphis (1962 – 1976) is a collaborative effort between Concord Music Group and Rhino Entertainment, and is part of a year-long celebration by Stax Records to celebrate the company’s 60th anniversary.  Pre-orders are open now via Amazon.

The full track listing for The Spirit of Memphis (1962 – 1976) is noted below.

TRACK LISTING:
*Denotes previously unreleased material
DISC ONE
Soul Songwriter, Soul Producer
1. Floyd Newman – Sassy
2. David Porter – Can’t See You When I Want To
3. Carla Thomas – How Do You Quit (Someone You Love)
4. Booker T and the MGs – Boot-leg
5. The Astors – Candy
6. Danny White – Can’t Do Nothing Without You
7. Johnnie Taylor – I Had A Dream
8. Sam & Dave – Hold On! I’m A Comin’
9. Ruby Johnson – I’ll Run Your Hurt Away
10. Carla Thomas – Let Me Be Good To You
11. Mable John – Your Good Thing (Is About To End)
12. Homer Banks – Fighting To Win
13. Carla Thomas – B-A-B-Y
14. William Bell – Never Like This Before
15. The Mad Lads – Patch My Heart
16. Johnnie Taylor – Little Bluebird
17. Charlie Rich – When Something Is Wrong With My Baby
18. Charlie Rich – Love Is After Me
19. Judy Clay – You Can’t Run Away From Your Heart
20. Sam & Dave – Soul Man
21. The Charmels – As Long As I’ve Got You
22. Sam & Dave – I Thank You
23. The Soul Children – The Sweeter He Is (Parts I & II)
24. Billy Eckstine – Stormy
25. David Porter – Can’t See You When I Want To
26. The Emotions – Show Me How
 
DISC TWO
Volt & Enterprise Singles
1. Sir Isaac and The Do-Dads – The Big Dipper
2. Sir Isaac and The Do-Dads – Blue Groove
3. Isaac Hayes – Precious, Precious
4. Isaac Hayes – By The Time I Get To Phoenix
5. Isaac Hayes – The Mistletoe & Me
6. Isaac Hayes – Winter Snow
7. Isaac Hayes – I Stand Accused
8. Isaac Hayes – The Look Of Love
9. Isaac Hayes – Never Can Say Goodbye
10. Isaac Hayes – Theme From “Shaft”
11. Isaac Hayes – Do Your Thing
12. Isaac Hayes – Let’s Stay Together
13. Isaac Hayes and David Porter – Ain’t That Loving You
(For More Reasons Than One)
14. Isaac Hayes and David Porter – Baby I’m-A Want You
15. Isaac Hayes – Theme From “The Men”
16. Isaac Hayes – Rolling Down A Mountainside
17. Isaac Hayes – Joy (Part 1)
18. Isaac Hayes – Wonderful
19. Isaac Hayes – Someone Made You For Me
20. Isaac Hayes – Title Theme (From “Three Tough Guys”)
21. Radio Spot – “You Gotta Have It To Really Be In”
22. Radio Spot – “The Rapper Is Back”
DISC THREE
Cover Man
1. Isaac Hayes – When I Fall In Love
2. Isaac Hayes – Walk On By
3. Isaac Hayes – I Just Don’t Know What To Do With Myself
4. Isaac Hayes – Man’s Temptation
5. Isaac Hayes – Never Gonna Give You Up
6. Isaac Hayes – Windows Of The World*
Recorded Live at Operation PUSH Black Expo,
International Amphitheatre, Chicago, IL – October 1, 1972:
7. Isaac Hayes – The Ten Commandments of Love*
8. Isaac Hayes – Just Want To Make Love To You / Rock Me Baby*
9. Isaac Hayes – Stormy Monday*
10. Isaac Hayes – I Stand Accused*
11. Isaac Hayes – If Loving You Is Wrong
12. Isaac Hayes – His Eye Is On The Sparrow
DISC FOUR
Jam Master
1. Isaac Hayes – Ike’s Mood I
2. Isaac Hayes – You’ve Made Me So Very Happy*
3. Isaac Hayes – Black Militant’s Place*
4. Isaac Hayes – Ain’t No Sunshine*
5. Isaac Hayes – Hung Up On My Baby* (Extended Jam)
6. Isaac Hayes – Groove-A-Thon* (Extended Jam)
7. Isaac Hayes – Do Your Thing (Extended Jam)
7″ Single
SIDE A
Laura, We’re On Our Last Go-Round
SIDE B
C.C. Rider

More information on The Spirit of Memphis (1962 – 1976) and other titles from Concord Music Group and Craft Recordings is available online now at:

 

 

 

Website: http://www.concordmusicgroup.com/labels/craft-recordings

Facebook: http://www.facebook.com/ConcordMusicGroup

Twitter: http://twitter.com/ConcordRecords

 

 

 

To keep up with the latest sports and entertainment news and reviews, go online to http://www.facebook.com/philspicks and “Like” it.  Fans can always keep up with the latest sports and entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

Michael Franti And Spearhead Release Updated Video For ‘Same As It Ever Was (It Starts Today)’

Photo Credit: Chelsea Klette

Photo Credit: Chelsea Klette

Michael Franti and Spearhead re-issued this week the powerful video for its song ‘Same As It Ever Was (It Starts Today).’

The video was re-worked to include footage of recent high profile cases involving police shootings and also features the song’s lyrics along with footage of Franti walking an anonymous city’s dimly-lit streets.  Franti sat down recently with Billboard to discuss the song and its new video.  While there he held an intimate acoustic performance of the song that can be seen here.  Since neither Franti nor the reporter was hooked to a mic, audiences will have to turn up the volume in order to hear them.  The newly re-worked music video meanwhile can be seen via Franti’s official YouTube channel.

Courtesy: Fantasy Records

Courtesy: Fantasy Records

Michael Franti and Spearhead is currently touring in support of the group’s new full-length studio recording Soulrocker.  The band will be in Nashville, Tennessee tonight and Louisville, Kentucky tomorrow.  The group’s tour currently runs through September 18th in Victoria, British Columbia, Canada.  The group’s full tour schedule is noted below.

 

Here are the in-progress dates for MICHAEL FRANTI & SPEARHEAD on tour.

 

DATE                         CITY                                       VENUE

~~Fri 7/22 Nashville, TN War Memorial Auditorium
~~Sat 7/23 Louisville, KY Iroquois Amphitheater
~~Sun 7/24 Columbus, OH Express Live!
~~Tue 7/26 Birmingham, AL Avondale Brewing Company
~~Wed 7/27 Mobile, AL Saenger Theatre
Fri 7/29 Kaslo, BC Kaslo Jazz Festival
*Wed 8/3 Costa Mesa, CA Pacific Amphitheatre
Thu 8/4 Mammoth Lakes, CA Mammoth Festival
**Fri 8/5 Flagstaff, AZ Pepsi Amphitheater
**Sat 8/6 Durango, CO Three Springs
**Sun 8/7 Morrison, CO Red Rocks Amphitheatre
Tue 8/9 Salt Lake City, UT Red Butte Garden
**Thu 8/11 Bend, OR Les Schwab Amphitheater
**Fri 8/12 Troutdale, OR Edgefield
Sat 8/13 Tamarack, ID The Huckleberry Jam
**Tue 8/16 Missoula, MT Big Sky Brewing Company
**Wed 8/17 Spokane, WA Knitting Factory Concert House
**Fri 8/19 Lake Tahoe, NV MontBleu Resort & Casino
Sat 8/20 Lincoln, CA Thunder Vibes
**Sun 8/21 Saratoga, CA The Mountain Winery
**Tue 8/23 Rohnert Park, CA Sonoma Mountain Village
~Wed 8/24 Lancaster, CA Antelope Valley Fair
**Thu 8/25 San Luis Obispo, CA Avila Beach Resort
**Fri 8/26 Las Vegas, NV Brooklyn Bowl
Sat 8/27 Tucson, AZ The Rialto Theatre
!Sun 8/28 Santa Fe, NM The Santa Fe Opera House
Fri 9/2 Seattle, WA Bumbershoot
Sat 9/3 Jacksonville, OR Britt Pavilion
Sun 9/4 Arcata, CA Van Duzer Theatre
Sept 15-18 Victoria, BC Rifflandia

* w/ G. Love & Special Sauce

** w/ Zella Day

~ w/ Iration

~~ w/ Marc Scibilia

! w/ Lila Downs

 

 

More information on Michael Franti and Spearhead’s new video is available online now along with all of the band’s new tour dates, news and more at:

 

 

Website: http://www.michaelfranti.com

Facebook: http://www.facebook.com/michaelfranti

Twitter: http://twitter.com/michaelfranti

 

 

 

To keep up with the latest sports and entertainment news and reviews, go online to http://www.facebook.com/philspicks and “Like” it.  Fans can always keep up with the latest sports and entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

Five Crooked Lines Gets Five Gold Stars

Courtesy:  The Bicycle Music Company/Concord

Courtesy: The Bicycle Music Company/Concord

Five years have passed since audiences last heard from Finger Eleven. That is a long time in itself in music industry years. Now though, that long wait is finally over. That is because next month the Canadian-based rock outfit will release its latest album Five Crooked Lines. The album, the band’s sixth, will be released July 31st via The Bicycle Music Company/Concord. Listening to this record from beginning to end, it is safe to say that the wait for this album was well worth it. Of the album’s twelve total tracks, there is not one bad number to be heard. As a matter of fact, it could even be argued that this record is F11’s most radio ready record to date. That is because any one of its tracks could be used as a single. The band has obvious already taken that to heart and released the album’s lead single ‘Wolves and Doors.’ Fans of the band’s 2007 album Them vs. You vs. Me will appreciate this song and its companion video. It’s just one example of what makes Five Crooked Lines so enjoyable. There are also two very upbeat, optimistic pieces in the form of ‘Not Going To Be Afraid’ and ‘Blackout Song’ that could just as easily be used as singles. Whether for those two works, for the album’s lead single or for any of its other songs, it can be said that Five Crooked Lines gets five gold stars.

Finger Eleven’s latest full-length studio release Five Crooked Lines is the best and most radio ready album that the veteran band has released to date. Any one of its dozen total tracks could be used to serve as singles to represent it. It has already shown that with the release of its lead single ‘Wolves and Doors.’ This song is one that will instantly hit fans of the band’s 2007 album Them vs. You vs. Me. The reason being that its musical content sounds a lot like that of that album’s hit single ‘Paralyzer.’ Lyrically though, it is far deeper. Front man Scott Anderson comes across in this piece as singing about taking chances and making the most of life. That can be inferred as he sings in the song’s lead verse, “Step right on out/Of the zone of comfort/A little left of center/One step outside your head/Take all these words/Take all this time/You gotta spend it somewhere/Keep your delusion well-fed/Keep your soul for another day/Cause the game’s the game/And the wolves at the door remain.” That argument is made even stronger as he sings in the song’s second verse, “Come save their world/Come move that mountain/Make all the difference/Step up above the rest/Give every inch and all your energy/ And don’t let up until they say/What you think they think is best/Save your soul for another day/Cause the game’s the game/And the wolves at the door remain.” It’s an interesting statement and one that will definitely have listeners talking. That one line in which Anderson states, “Don’t let up until they say what you think they think is best” is one of the most interesting of the song’s lines. It’s Anderson saying to listeners, “stand your ground and don’t give in regardless of the situation.” The way that Anderson has worded it is a little bit of a twist. But once listeners really think about it, it becomes a deep statement. That statement taken with the rest of the song’s lyrics make for quite the depth. Partnered with guitarist Rick Jackett’s infectious guitar line (and later his solo), it proves even more why Five Crooked Lines is such a welcome return for F11. Audiences can hear the single for themselves now online at Vevo now at http://www.vevo.com/watch/finger-eleven/Wolves-And-Doors-(Music-Video)/QMFMK1500155.

‘Wolves and Doors’ is an excellent first impression from F11 in its return. Rick Jackett instantly takes audiences back to days gone by with his infectious guitar work. And front man Scott Anderson’s lyrics are sure to leave listeners talking just as much. The combination of both elements prove why the song was chosen as the album’s lead single. It is just one example of what makes this record the band’s best and most radio ready to date. ‘Not Going To Be Afraid,’ the album’s mid-point, is just as strong of an example of what makes Five Crooked Lines so impressive. It’s obvious in listening to this song that the band put a lot of thought into its creation. That is because Jackett’s guitar line and Anderson’s own vocal delivery perfectly match the tone of the verses and choruses. The verses, in which Anderson sings about so much personal strife are made especially emotionally gripping thanks to Anderson’s own heart-wrenching vocal delivery style set alongside Jackett’s equally moving guitar line. What is really interesting here is that the song doesn’t just jump musically from its verses to the chorus. Rather the verses progress from those emotionally powerful verses to the more optimistic chorus in which Anderson sings, “Even though it’s so dark/I see one last spark/Maybe hope’s not far away/Heaven can’t help me/But courage could sell me/I’m one last chance/I should take.” He goes on to sing in the song’s chorus, “Fear has always known my name/Play me just like a game/ Today won’t be the same/I’m not gonna be afraid/Crushing overwhelming doubt/Scream a little louder shout/Then whatever happens now/I’m not gonna be afraid.” That emotional back and forth (in musical terms, that’s called an ABAB structure) makes this song just as solid a representative for Five Crooked Lines as ‘Wolves and Doors.’ It is just as sure to be a fan favorite as that song or any of the others that make up the album’s body. That being the case, it shows once more why Five Crooked Lines is the band’s best album to date and its most radio-ready.

Both ‘Wolves and Doors’ and ‘Not Going To Be Afraid’ clearly show why the wait for Five Crooked Lines was well worth the wait. They are only two examples of why it was worth the wait, too. ‘Blackout Song’ is yet another example of why the wait was worth it. It is more celebratory than emotional yet still just as optimistic, if that makes any sense. Explaining the song in terms of its musical and lyrical content will perhaps make that clearer. The song’s title alone gives its own hint that the song is yet another piece that will put a smile on listeners’ faces. That certainly proves true as the band kicks into the song. The song’s opening bars see the band singing in almost a chorus effect before Anderson takes the reins, singing, “I told myself I’d/Stay in tonight/But here I am with no end in sight/I feel amazing/And if you are willing/This is only the beginning/So get here right now/You’ve got to come down/I’m calling you out/Let’s stay up all night/And we’ll sing/For everything good in our lives/Let’s stay up all night/And we’ll say f*** everything we never tried.” If that opening verse and chorus set alongside the song’s upbeat musical content doesn’t get listeners happily singing along, then there’s no telling what will. By themselves, they are yet another reflection of the album’s title and Anderson’s explanation behind it and how it is meant to invoke positive thoughts. The song’s second verse and chorus mirror that thought pattern just as much, as Anderson sings, “Put a song on/I don’t care which one/Cause I’ll only get the words wrong/I’ll change the meaning/To just how I’m feeling/Cause I don’t feel much like leaving/So get here right now/You’ve got to come down/I’m calling you out/Let’s stay up all night/And we’ll sing/For everything good in our lives/Let’s stay up all night/And we’ll sing/f*** everything we never tried.” He goes on late in the song to expand even more singing how people will remember the song’s subject because he had such a good time. It is just a great, feel-good song that is just as certain as either of the previously noted songs to be a fan favorite and/or single. That is thanks to those infectious hooks and choruses that make up its body. Of course its overall bright outlook on everything doesn’t hurt, either. It is just one more great touch to an album that is overall F11’s best album to date and its most radio ready. Even more simply put, it is one more song that, along with the previously noted songs and with those not noted here, proves without a doubt that Five Crooked Lines was well worth the wait and gets five gold stars.

Five Crooked Lines has been five years in the making. While it may have been a long time coming, it proves from beginning to end to be an album that was well worth the wait. Every one of the dozen songs that make up the body of the record proves this. The trio of songs already noted are just a few examples of what audiences have in store when this record hits store. Whether it be one or all of those songs or any of the album’s other works, audiences will agree in hearing Five Crooked Lines that there is not one bad song on this record. It is in fact the band’s best record to date and its most radio-ready record, too. It will be available in stores Tuesday, July 31st via The Bicycle Music Company/Concord Music Group. Fans will also be able to pick up the album at any of the band’s live dates on its current tour. Fans can check out the band’s current tour schedule and get its latest news online now at:

Website: http://www.fingereleven.com

Facebook: http://www.facebook.com/FingerEleven

Twitter: http://twitter.com/Finger_Eleven

To keep up with the latest sports and entertainment reviews and news, go online to http://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest sports and entertainment reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.