Wednesday, January 19, 2011

All This AND Goat Stew?

Grabbed this slab o' chevron outta Vinyl Dog's box of table scraps (Thanks) @ the last Highland Park Record Sale (AKA. Iselin Record Swap-Meet thingy) and I ain't stopped stirrin' it since. I mean, it has goat sounds in it, right? What more do you need? Awesome instrumental soul track? Done and done.

The 'Freddie' of these Kin folk would be Freddie Scott, drummer extraordinaire from that Black Lagoon down Florida way. He cut a couple o' discs for area labels before the gators got him, I guess?

Practically guaranteed not to disappoint, look for the equally awesome, if not slightly goat-less flip in an up and coming (As in it's finished, so it won't be a lifetime commin')BftRB soul mix.

You're just going to have to be content with a large ladle full o' goat in the meantime. Doesn't that sound good?

The Goat - Freddie & the Kinfolk

Monday, January 17, 2011

Falcon Crest

Here's two majestic birds from that crate o' killer Doo-Wop from several months back. Weird, cause neither of these songs are particularly Doo-Wopy (Doo-Wopish!?) and are pretty much exceptions to the rule. In fact, one is a devistating blues rocker (59') w/ Ax effects in full, um, effect, whilst the Big-Wheel cut is about as close as I get to poppy (Poppish!?) soul (67') without pinchin' my nose closed and throwing up in my mouth a little bit (Better than somebody elses).

Fact: these Falcons are the same band, though with some decidedly incestious member-swappin', including Wilson 'The Pick" Pickett and Eddie "Knock on Wood" Floyd. Incidentally, listen for the chops of Lu Pine's 'Ohio Untouchables' (Pre Ohio Players) roundin' out the sound on the first first cut.

Swim - Falcons

I Can't Help It - Falcons

Currently Watching...

Divine Horsemen: The Living Gods of Haiti (1985)

"A black and white documentary film about dance and possession in Haitian vodou that was shot by experimental filmmaker Maya Deren between 1947 and 1952 and edited and completed by Deren's third husband Teiji Ito and his wife Cherel Winett Ito (1947-1999) in 1981, twenty years after Deren's death. Most of the film consists of images of dancing and bodies in motion during rituals in Rada and Petro services. Deren had studied dance as well as photography and filmmaking. She originally went to Haiti with the funding from a Guggenheim fellowship and the stated intention of filming the dancing that forms a crucial part of the vodou ceremony. The film that resulted, however, reflected Deren's increasing personal engagement with vodou and its practitioners (Wilcken, 1986). While this ultimately resulted in Deren disregarding the guidelines of the fellowship, Deren was able to record scenes that probably would have been inaccessible to other filmmakers. Deren's original notes, film footage, and wire recordings are in the Maya Deren Collection at Boston University's Howard Gotlieb Archive Research Center."

Sunday, January 9, 2011



"the difference between the right word and the almost right word is the difference between lightning and the lightning bug?"

-Samuel Clemens