Cellar Sessions: G. Love - Hitchhiking Woman January 27th, 2018 City Winery New York
Ehud Lazin
2019-04-09
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G. Love sits down for a One On One Session at City Winery New York on January 27th, 2018. Watch the full session here: https://youtu.be/WhYEDDtGwTM For more info visit: http://philadelphonic.com Audio & Video by: Ehud Lazin
Setlist:
Drinkin' Wine
Early Rising
Hitchhiking Woman (John Hammond)
Rainbow
G. Love and Special Sauce have announced the release date for Love Saves The Day from Brushfire Records on October 30, 2015. The album returns to the classic ‘hip-hop blues’ sound first pioneered by the trio in the early 90s and features a bevy of guest artists including Lucinda Williams, Citizen Cope, David Hildago of Los Lobos, Ozomatli, DJ Logic, Money Mark, Zach Gill and Adam Topol.
Love Saves The Day features the down and dirty “trashcan blues” sound of G. Love and his long-term Special Sauce rhythm section – upright bassist James “Jimi Jazz” Prescott and drummer Jeffrey “The Houseman” Clemens. Engineer and producer Robert Carranza (Jack Johnson, Beastie Boys, Mars Volta) recorded the group live with few edits to capture the raw and unfiltered electricity of the tracks. “The music,” G. Love enthuses, “jumped off the tape.”
Setlist:
Drinkin' Wine
Early Rising
Hitchhiking Woman (John Hammond)
Rainbow
G. Love and Special Sauce have announced the release date for Love Saves The Day from Brushfire Records on October 30, 2015. The album returns to the classic ‘hip-hop blues’ sound first pioneered by the trio in the early 90s and features a bevy of guest artists including Lucinda Williams, Citizen Cope, David Hildago of Los Lobos, Ozomatli, DJ Logic, Money Mark, Zach Gill and Adam Topol.
Love Saves The Day features the down and dirty “trashcan blues” sound of G. Love and his long-term Special Sauce rhythm section – upright bassist James “Jimi Jazz” Prescott and drummer Jeffrey “The Houseman” Clemens. Engineer and producer Robert Carranza (Jack Johnson, Beastie Boys, Mars Volta) recorded the group live with few edits to capture the raw and unfiltered electricity of the tracks. “The music,” G. Love enthuses, “jumped off the tape.”
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