Sunday, October 31, 2010

Happy Halloween!

Wit de goblin
De Goblin Girl
From da mystery world

Wit de goblin
She's black 'n green
'Cause it's Halloween

Raggedy black
Is the way she dress
Little green shoes
'N her hair's a mess
On Halloween night
At de costume ball
She's a Goblin Girl
An' she can gobble it all

She's a goblin
A Goblin Girl
She's a goblin
A Goblin Girl
I been hobblin'
'Cause of the Goblin
Goblin Girl . . . Goblin Girl

Some girls like
To dress like a witch
Some girls like to dress like a queen
Best way a girl
Can dress for me
Is in a Goblin Suit
(They look so cute . . . )

When they're a goblin
There ain't a problin
When they're a goblin
I start a-wobblin'
Pink all over
Some is tan
Goblin Girls
From every land
They look good
From any which-a-way
Every Halloween
You can hear me say:
"Goblin Girl, take it away . . . "

Wit de goblin
De Goblin Girl
From da mystery world
De Goblin Girl
From da mystery world
De Goblin Girl
From da mystery world
De Goblin Girl
From da mystery world

Sunday, October 24, 2010

TDIMH: NOLA Brass Funk Rock

Bonerama Live at Tupelo Music Hall on October 24,2009

"Even in a city that doesn’t play by the rules, New Orleans’ Bonerama is something different. They can evoke vintage funk, classic rock and free improvisation in the same set; maybe even the same song. Bonerama has been repeatedly recognized by Rolling Stone, hailed as “the ultimate in brass balls” (2005) and praised for their “…crushing ensemble riffing, human-feedback shrieks and wah-wah growls” (2007). Bonerama carries the brass-band concept to places unknown; what other brass band could snag an honor for “Best Rock Band” (Big Easy Awards 2007)? As cofounder Mark Mullins puts it, “We thought we could expand what a New Orleans brass band could do. Bands like Dirty Dozen started the “anything goes” concept, bringing in the guitars and the drum kit and using the sousaphone like a bass guitar. We thought we could push things a little further.”

New Orleans’ fertile club scene was directly responsible for Bonerama getting together. Trombonists Mullins and Craig Klein were both members of Harry Connick’s band, where they’d been since 1990. Both were looking to supplement this gig with something a little less structured. “Harry sets the bar pretty high, and you have to play it the same way every night for everyone to follow.”

The big chance came in the summer of ’98, when Mullins had a weekly residency at Tipitina’s in the French Quarter. The club was then turning weekly slots over to some of the city’s favorite musicians, including Allen Toussaint and Cyril Neville; Mullins got charge of Wednesdays. Word got out one week that he and Klein were staging their trombone super-session and everybody they knew wanted to get involved. “It seemed that half the trombone players in town showed up,” Klein recalls. “At the end of the night we had them all onstage, maybe fifteen trombones at once. It sounded like a freight train; a big wall of sound coming right at you.”

Along with his jazz connections, Mullins is Bonerama’s resident rock ‘n’ roller: It was Mullins who instigated the offbeat classic-rock covers that have become a band tradition. Edgar Winter’s “Frankenstein” was the first nugget to get the treatment and songs by Hendrix, Zeppelin, Black Sabbath and the Allman Brothers Band have since appeared in their set right alongside the funk and jazz-flavored numbers. “There’s definitely something about the guitar and the trombone that are related,” Mullins figures. “You compare the fretboard to the slide; there’s a lot of similarity there.” Indeed, the sounds Mullins makes by playing through a guitar amp and wah-wah pedal may explain why he’s named Jimi Hendrix as one of his favorite trombonists. “It’s great to grab people with the rock songs, and then turn them on to some New Orleans music at the same time,” Klein says.

The buzz on Bonerama grew with hometown acclaim (with the band winning numerous OffBeat Magazine Awards; and Mullins regularly topping OffBeat’s trombone category), lots of roadwork, and three live albums – the first recorded close to home at the Old Point in Algiers; the second on tour in New York and the third album, Bringing It Home, recorded live from New Orleans’ world famous nightclub, Tipitina’s. The Boston Herald called them a “bonehead’s dream”; the Vail (CO) Daily noted that “the sound is fat and wet; sometimes downright lusty.” As hometown music zine OffBeat put it, “That nerdy kid in the band room with the trombone just might have the last laugh after all.”"

set one (66:11)

01. intro
02. Funky Miracle
03. Bap Bap
04. Hero
05. Big Fine Woman
06. A Deeds Well Done
07. I Want To Ta-Ta You Baby
08. Yer Blues
09. I Don't Mean Nothin'

set two (74:25)

01. I'm Tellin' Ya
02. Bayou Betty
03. Whipping Post
04. Louie's Perch
05. Folsom Prison Blues
06. Down By The Riverside
07. banter/band intros
08. Moby Dick
09. encore intro
10. Blues For Ben


Sunday, October 17, 2010

Justice For All

A native of West Virginia, folksinger Dick Justice blended both blues and folk patterns on his recordings of the late '20s.
Born Richard Justice in 1906, he played with many black musicians as a youth and listened to blues records as well.
Justice recorded a total of ten sides for Brunswick during 1929 (some as a duo with Reese Jarvis), including a version of "Henry Lee" that later gained inclusion on Harry Smith's 1952 folksong collection Anthology of American Folk Music.
Little is known about the rest of Justice's life, though he often worked in the coal mines.
Many of his sides were compiled on the Document collection Old-Time Music from West Virginia (1927-1929).

1.) Brown Skin Blues; 2.) Cocaine; 3.) Henry Lee; 4.) Little Lulie; 5.) Old Black Dog; 6.) One Cold December Day; 7.) Guian Valley Waltz; 8.) Muskrat Rag; 9.) Poca River Blues; 10.) Poor Girl's Waltz

Saturday, October 16, 2010

A Red State Update Ad: Legalize Pot In New York State

From RSU: Empire State NORML wants marijuana to be legal in New York State so bad, they give us $120 to make this ad. They accept donations! Just like we accepted their $120.

But why stop at weed jokes? Red State Update will make YOUR campaign ad... for only $120! Are you runnin' for somethin? Like a candidate? Hate a candidate? Got $120? You qualify!

Here are the rules:
ONE: $120.
TWO: We'll make a ad for or against anybody runnin for anything. Republican. Democrat. Tea Party. Any asshole. Does not matter. All that matters: $120.
THREE: You don't get no say so. No creative control. No money back. You tell us who you you want the ad to be for or against, give us $120, we'll make ye ad and put it up on the YouTube. There will probably be some cussin' in it. Please specify attack ad, but let's be honest, they pretty much all gonna be attack ads.
FOUR: We don't care who you are, but I think they's some laws that we probably shoulda looked into before we started this, so at the end of the video, it will say Paid For By YOUR NAME And It Cost Them $120.
FIVE: No matter who we make an ad on, no matter what that ad say, it is not an official endorsement by Red State Update. We only care about the $120.
So email us at, tell us who you want us to go after or backhandedly praise, we'll tell you how to get us $120. It's all about Freedom of Speech. And you can buy ours for $120.

Red State Update Will Make Your Ad video:

Friday, October 1, 2010

"Yalla Yalla" - Cracker Does It For The Troops

Here's a short documentary film/music video depicting Cracker's tour of U.S. military bases in Iraq, from a post at David Lowery's 300 Songs blog.