The album is kicked off by a quartet of songs among the bluesiest herein , first among them numerically and "bluesically" , “Gonna Make My Home Where I Hang My Hat". This version is a stripped-down predecessor to 1982's Rounder title track. This is Johnny alone, gutbucket as all get-out and it is a rare treat. It's the single purest blues I've heard from Johnny and as raw as yesterday's batch of moonshine. Next up we have two more of Copeland's lost classics: "Stealing" and "Working Man's Blues", both of which are simply fantastic. No collection of Copeland's music is complete without these two crackers, nor for that matter any compilation of post-war Houston Blues. "Stealing" is a thumping devil's sermon well-preached by Copeland in a particularly leonine voice, and is not far off from the work of Guitar Slim at his best. As for "Working Man's Blues", this native Houstonian can tell you that somehow Copeland injected the totality of this city into one blues………
Cavin Yarbrough and Alisa Peoples were childhood friends from Dallas, Texas who went on to have great chart success as an R&B duo through the 1980’s. While on tour as a backing vocalist with Leon Russell in the late 1970’s Cavin met the Wilson Brothers from The Gap Band, who in turn introduced Cavin to their collaborator Lonnie Simmons and his Total Experience Recording Studios who produced the duos debut album and later signed them to his Total Experience label, joining The Gap Band on the roster. Yarbrough & Peoples debut album, THE TWO OF US was released through Mercury Records in 1980 and quickly achieved both critical and commercial success. The album gained Gold status hitting the top spot on the Billboard R&B album chart as well as peaking at #16 on the Billboard Hot 100.
Re-weaving link blesses between the jazz and the hip-hop, Movezom explores the furrow draw by John Coltrane by conferring on him an urban and current dimension. Voices and texts of MC' S here come to resound in the quoting of saxophones, ropes, of battery and of machines by embracing big themes with mark the work of the saxophonist. Compositions, sailing between beats hip-hop, Free jazz and contemporary music, are so much occasions to discover or to rediscover the most emblematic pieces of Coltrane, those notably last period of its life. Revisiting The Trane is vibrating homage to one of the biggest musicians of last century. It is also a disc which questions the today's jazz across its filiation with the rap and tries to give sense to the cultural inheritance of a music resolutely turned to future.