Lindsay Munroe’s New Album Is Its Own “Unique” Presentation

Courtesy: Concord Music Group/Craft Recordings

Family entertainer Lindsay Munroe debuted the video for her latest single ‘Little Red Caboose’ Thursday.  The song, which is part of the annual National Train Day celebrations planned to take place nationwide, is the latest single from her new album I Am Kind.  The 16-song record was released digitally April 24, and is scheduled for a physical release June 12 through Concord Music Group and Craft Recordings.  The album is another positive entry in this year’s field of new family music albums.  That is proven in part through the songs that make up the record’s body.  This item will be addressed shortly.  The arrangements in the featured songs are just as important to note as the songs themselves, and will be discussed a little later.  The record’s sequencing puts the finishing touch to its presentation and will be discussed later, too.  Each item noted here is key in its own way to the whole of this record.  All things considered, they make I Am Kind another record that any family will welcome into its home.

Lindsay Munroe’s new family music offering I Am Kind is its own unique presentation that the whole family will enjoy.  That is proven in part through the songs that make up the album’s body.  The songs that make up the record’s body are familiar works that any listener will recognize.  Among the most notable of the record’s featured songs are works, such as ‘The More We Come Together,’ ‘Peace Like A River’ and ‘De Colores.’  Another well-known standard featured as part of the album’s body is the song ‘Frere Jacques.’  Joan Baez and so many other well-known performers have taken on ‘De Colores,’ and have done so just as well as Munroe.  ‘The More We Come Together’ is a work that every early childhood educator has taught children. The same applies with ‘Frere Jacques.’  ‘Peace Like A River’ is actually a well-known spiritual that has been performed by so many artists across the proverbial board, as is ‘This Little Light.’ Older standards are not the only works featured in the record’s 30-minute run time.  It also has some more modern work, such as ‘OK To Make Mistakes,’ which has been made well-known thanks to PBS Kids’ animated series Daniel Tiger’s Neighborhood.  Between these songs and the rest of the album’s works not addressed here, it can be said that the songs featured in this record give audiences plenty of familiarity.  That sense of familiarity is important in that it will encourage audiences’ engagement quite a bit.  That ensured engagement will lead to plenty of entertainment for listeners, too.

For all of the engagement and entertainment that the songs featured in Munroe’s new album bring listeners, her arrangements of the songs add even more pleasure to that listening experience.  Munroe’s performance of ‘Peace Like A River’ is one of the album’s most notable arrangements.  This timeless African-American spiritual song has been performed in so many fashions throughout the ages, and while its precise origin is unknown, it has inspired a countless variety of renditions.  Munroe’s is without doubt, moving, with its Appalachian style approach.  This approach is right up there with singer-songwriter Lynda Randle’s 2013 performance of the song even though the two takes present the song in two wholly different styles.  Randle’s rendition is one of the gold standards of the song in this critic’s ears.  Munroe’s rendition of ‘Peace Like A River’ is just one of the songs featured in this record that shows the value of the overall arrangements.  Munroe’s take of the equally timeless traditional Spanish song ‘De Colores’ is another work that does so well here.  The original song is said to be associated with Mexican folklore.  Also associated with Mexico is the accordion in said music.  Munroe incorporates that element into her rendition here, adding to the authentic Spanish/Hispanic sense.  The accordion seems to be the only instrument used in this rendition, and its use alongside the simple harmonies gives this song so much depth and enjoyment.  Next to the renditions produced by Munroe’s friend and fellow family entertainer Raffi, and that crafted by Joan Baez, Munroe’s version proves one of the most notable takes.  Munroe’s new single ‘Little Red Caboose’ is another example of the importance of the arrangements featured in her new album.  The song features Munroe playing her ukulele and singing.  She is joined by a group of children to help her, as well as another performer making the sounds of the engine pulling the caboose and of a trumpet.  Whether the song is based on the children’s book by the same name is anyone’s guess.  It is known that this is Munroe’s own take on the song, which itself is another standard.  Her take stays relatively true to its source material, too while also giving the song its own identity thanks to its arrangement.  It’s just one more way in which the album’s arrangements prove vital to its presentation.  When it is considered with the other arrangements discussed here and the rest of the album’s arrangements, the album’s overall musical content proves just as important to its presentation as its song choices.  The songs and their arrangements are clearly important to the presentation of I Am Kind.  For all of their importance, they are not the album’s only important elements.  The record’s sequencing does just as much for its presentation as its content.

Audiences will note that there are variances, albeit slight, in the record’s energies thanks to its sequencing.  The record’s first trio of songs maintains a solid energy and pacing from one to the next before a noticeable change gradually starts happening in Munroe’s take of ‘The More We Get Together.’  Things slow down a little more as the record moves into ‘This Little Light’ and ‘De Colores.’  The record’s energy reaches its lowest point in ‘Waiting Nicely’ before starting to pick back up gradually in ‘Peace Like A River.’  Things pull back again for a bit until the album reaches its penultimate track, ‘Problem Solvers.’  That increased energy only lasts a short time before the record ends in ‘I Can Dream.’  The song is so reserved in its energy, but that is meant to be since it is a song that encourages young people to rest their minds and bodies.  It’s a song that would work well on Sara Lovell’s new album Night Life.  The overall picture of the record’s sequencing is that thanks to the sequencing, the record’s energies rise and fall at just the rate points and pacing from start to end.  That well-thought out sequencing puts the finishing touch to this record and ensures that much more that listeners of all ages will remain engaged and entertained.  Considered along with the record’s content and performance thereof, the album in whole proves deserving of another slot on any critic’s list of this year’s top new family music albums.

Lindsay Munroe’s new album I Am Kind is its own unique album.  It is a work that the whole family will enjoy.  That is proven in part though the album’s featured songs, which are all familiar standards performed by Munroe.  Munroe’s arrangements of the songs adds even more interest to the album.  The record’s sequencing gives it the final touch.  Each item noted here is key in its own way to the whole of the record.  All things considered, they make I Am Kind its own unique presentation.

More information on Lindsay Munroe’s new album is available online along with all of her latest news at:

 

Websitehttp://www.lindsaymunroemusic.com

Facebookhttp://www.facebook.com/singalongz

 

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

Lindsay Munroe Debuts ‘Little Red Caboose’ Video

Courtesy: Concord Music Group/Craft Recordings

National Train Day is coming, and family entertainer Lindsay Munroe is celebrating with a new song and video.

Munroe debuted the video for her new song ‘Little Red Caboose‘ Thursday.  The song is featured on Munroe’s new album I Am KindSongs For Unique Kids, which was released digitally on April 24 through Concord Music Group and Craft Recordings.  The record, which will be released in stores June 12, features a guest appearance by famed family entertainer Raffi on its opener/title track.

The video for Munroe’s new song features Munroe performing her new song while an animated steam engine pulls a caboose.  A trio of children also joins in, adding their own touch to the work.

The song itself a simple tune, that features Munroe singing as she provides the song’s melody on a ukulele.  The song’s lyrical content is just as simple. It is about a little red caboose.

National Train Day was started in 2008 by railroad company Amtrak.  The purpose of the holiday is to spread information about the history of of trains and railway travel in America.  It is held annually on the Saturday closest to May 10, the anniversary of the day the golden spike was driven in the Transcontinental Railroad in Promontory Utah.

More information on Lindsay Munroe’s new album is available online along with all of her latest news at:

 

Website: http://www.lindsaymunroemusic.com

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

 

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

‘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

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 and news in the Phil’s Picks blog at https://philspicks.wordpress.com.

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

 

 

 

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.

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.