Archive for December, 2008

Decomposing Matter Mulch (Receiving Form & Becoming Substance)

Posted in Adventures, Photos on December 23, 2008 by trapperKeeper


These are from a few days before the frigid weather hit Seattle, bringing a frost which wiped out the mushrooms. A sad day indeed, but the season did last longer than last year.  Once Spring arrives they will return.  I am currently back in Redford, Gateway to the Burbs, where there is even more snow than Seattle.  It is also more frigid than Medusa.  Stay out in it long enough and you will be turned into Encino Man.  Blow Jack Frost blow, just don’t blow down my house.

These little guys were growing right in a crevice on a log.  They lived such a short life.


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Happy Parliafunkadelicment Thangday! (Denser than the Blackest Hole)

Posted in Art, Music, P-Funk on December 21, 2008 by trapperKeeper


Parliament’s Osmium is more a collection of songs than an album, especially for a concept collective like P-Funk. In other words, Osmium, which came out in 1970, is varied. However, it is a starkly revealing album filled with urban blues rock, psychedelic soul, experimentation, chaos, hilarity, profound depth, and moments of murky brilliance. Named after the densest element, Osmium didn’t reach the opaqueness of the first three Funkadelic LPs, but certainly tapped the same vein while maintaining a more accessible levity.

Osmium served as a jumping off point for the early Funkadelic sound, much like America Eats Its Young was the springboard for mid-70s Funkadelic.  The blueprint .  If spore prints could be taken of this album, it would leave a funky chocolate print.  You can hear the taproot of the mind-blowing (and chart-topping) Funk of Parliafunkadelicment Thang Empire. Osmium is much more Funkadelic than Parliament in sound, but is but separating the two isn’t possible. The Funk cannot be split like an atom or banana.

One last note before delving into the LP, Osmium has been released in two other forms.

Rhenium (1989) is an import, originally the British re-release of Osmium, which contained all the original songs plus three additional singles: “Red Hot Mama,” “Breakdown,” “I Call My Baby Pussycat.” Some of the songs on Rhenium are also shorter than their Osmium versions, others have different titles, and song credits are different. First Thangs (1994) contains everything on Rhenium while adding a few more songs recorded during that era. Those two albums will be commented upon in a follow up post for much confusion would ensue if the variations were added.  One last note on Rhenium, whereas Osmium is the densest element, Rhenium was the last naturally occurring element to be discovered.  It is also one of the ten most expensive metals on Earth.  I am not a chemist, so consult the internet or a chemistry friend for anymore knowledge than that.

Onward and upwards to the chaos of Osmium and beyond!


George Clinton, further known as GC, tapped the talents of the five Parliament singers, Ray Davis, Calvin Simon, Grady Thomas, Clarence “Fuzzy” Haskins, and himself. Hence, the album was released under the Parliament flagship. A couple of females, Vivian Lewis and Ruth Copeland, who wrote several songs appearing on the LP, provide their voices.  Ruth Copeland has deeper ties to the P, and recorded two fine albums with the Funkadelic musicians, but that is a chapter for another day. The five official musicians of Funkadelic, Eddie Hazel (ld gtr), Tawl Ross (rhy gtr), ‘Billy Bass’ Nelson (bs), Mickey Atkins (organ) and Tiki Fulwood (drms), of Funkadelic were used to create sonic chaos.  These members were aided and abetted by Bernie Worrell (key), Gary Shider (rhy gtr) and Tyrone Lampkin (drms).  The original five of Parliament and original five of Funkadelic all contributed to Funkadelic’s self titled 1970 release, as did Bernie Worrell.

“I Call My Baby Pussycat” opens the album.  Setting a mood of goatish chaos, you can just picture the salacious look on George’s face when delivering the rhymes.  One of cleanest dirtiest songs you will ever hear.   Drums crash, whistles pierce, a guitar riff worthy of a dirty burger is unleashed, and unhinged vocals combine forces to create an intoxicating stew.  The “whoa-ha-hey! whoa-ha-ha” chant never left the canon of the P, and for good reason.  The organ drop at the 2:54 mark is tight.


“I Call My Baby Pussycat” was a favorite number to play live during P-Funk’s early days and later reappeared in a much on 1972’s America Eats Its’ Young.  In fact, many riffs from this album pop up on later releases and were utilized during live performances.  James Brown is channeled with a “Good God!”  Don’t take Viagra or any other erectile dysfunction pill because you will pop some blood vessels and have to go the emergency room.  Now where did I loose my purple mind?

The mysterious Vivian Lewis is credited on “Put Love In Your Life,” which begins cleanly but quickly and jarringly jumps around the musical spectrum.  Update: I just discovered that Vivian Lewis was the mother of GC’s son Tracey Lewis, aka Treylewd).  Motifs come to halting stops.  Truly, an ADD song.  Ray Davis demonstrates his monster bass voice.  Guitars howl feedback at the moon.

Ruth Copeland wrote “Little Ole Country Boy,” one of my favorite songs of the P.  You have never heard yodeling so funky.  So funky, in fact, that it was sampled by De La Soul on one of their early hits, “Potholes In My Lawn,” which eventually turned up 3 Feet High and Rising.  The lead vocals of Fuzzy are rough, the lyrics hilarious, and guitars, included a steel guitar, provide a nice country western feel.  This song is reminiscent of the Rolling Stones’ country-western rock.  Solid bass work helps carry the insane weirdness.  “Little Ole Country Boy” has to be heard to be believed.  Invictus, the label releasing Osmium, loved the song so much it was the b-side to four of the five singles put out.  Only one single, “The Breakdown” made it onto the charts, reaching #30 on the R&B and #107 on the pop.


George sings an ode to an enterprising, bootlegging female on “Moonshine Heather.” Perhaps “Moonshine Heather” is based on an individual from his early childhood days in Kannapolis, North Carolina.  A widow having to sell moonshine to support her fourteen children, Heather prays for forgiveness but takes care of business.  Backing vocals are filtered.  There is good guitar-organ interaction again.  “Cosmic Slop” draws on the same theme, replacing bootlegging with prostitution.

“Oh Lord, Why Lord/Prayer” follows the transgressions of “Moonshine Heather.”  Credited to P. Trim, another unknown, and Ruth Copeland, who wrote the prayer, “Oh Lord, Why Lord/Prayer” is a call against racism and prejudice set to the melody of Canon in D.  Truly, a beautiful emotive song, Bernie gets to bust out some sweet strings.  The heavy drum contrasts nicely to the string-vocal combination.  Ruth Copeland hits some high notes while a martyr calls out to the Lord for the strength to persist.

Clarence Haskins shines on “My Automobile,” a delicious slice of sexual frustration. Beginning with just Bernie, who you can tell is already a beast ready to be unleashed, on keys and George and Fuzzy trading verses and harmonizing, the song is a behind the scenes look into a recording session.  George and Fuzzy decide to do it hillbilly style then the engineer’s voice pops in quickly to confirm.  Next, the full band joins in from the top.  Following the tradition of 1950s rock, whose innocent-seeming lyrics about kissing and dancing were code for adult situations, George and Fuzzy have some fun.  Fuzzy’s vocal transforms the disturbing sexism into hilarity. Eddie’s guitar line is effective, as is the bass line. This song was most famously redone by N.W.A on “My Automobile.” Their gangsta rap take was a bit more explicit than the 1950s-tinged lyrics of the original. If you listen close enough at the end you can hear them sing “I’ll walk home in my automobile.”

“There Is Nothing Before Me But Thang” has great interaction between guitar and drums with George waxing mysteriously about duality and other nonsensical thangs. This number is perhaps the most psychedelic track on the album.  Eddie is the star of this one.

“Funky Woman” might actually top “Little Ole Country Boy” as my favorite song on the album.  Bernie gets a chance to really shine, the guitars are awesome and George’s lyrics about a menstruating woman are extremely hilarious.  I was aware PMS was funky, but who knew it could be so funny.

An ode to the right to live a life as one sees fit (in a libertarian sense of having a right to live as one wants to live as long as it doesn’t entail harming non-consenting parties, such as Jesus or a tree, but acknowledging the hard reality and consequences of living so free, “Livin’ The Life” is an excellent song.  Eddie again wields an impressive axe.  The peak of the riff was taken as the basis for “Hardcore Jollies”  Bernie’s piano intro is gorgeous, as is the interplay between the acoustic and electric guitar.

“The Silent Boatman,” also credited to Ruth Copeland, closes the LP on a beautiful note.  Ruth Copeland knew how to write deep.  The Silent Boatman, aka Charon, is a favorite ancient Roman character of mine.  Come on he has to do with death, what do you expect.  Bagpipes are featured on this one, adding another unusual instrument to the album.  Ruth does some nice wailing near the end.  One reason I love this one so much is the awareness of the egalitarian nature of death.  On a side note, one of my favorite Banksy tags is of Charon on the side of docked boat.


Many members had moments to shine on this record, from the vocalists to the band.  The nascent genius of Bernie and Eddie Hazel’s maggot brain in full effect are just two of the fine individual performances.  I love Parliament’s R&B and the horny horns, but the P’s early naked shit is still my favorite period of theirs.  Tapping that ole down yonder funk and the madness of the mind the P create a bubbling concoction.

By this time George was freed from Motown, had a solid core assembled, and was looking to blow some minds with Funk. Osmium was one of George’s first times acting as a producer and you can tell he had some fun in the studio.  P-Funk’s trademark sound had yet to be hammered out, so GC threw a whole bunch of ideas out. Listening to later releases, you hear the fruits of this session.  Osmium was actually an attempt by GC to achieve a more commercial sound, thus the focus on vocals.  Needless to say, the album flopped commercially, but the material was too far out for most.  Dive into the wonderful madness!  You are guaranteed to never be bored.

I think I see the Mothership coming. Let me see ya raise ya hands, let me see ya stomp ya feet, you got to make some noise if you wish the Mothership to swing down and give you a lift.


Much thanks to the Motherpage for the valuable info.  Whereas past Happy Parliafunkadelicment Thangday posts were picked for a variety of reasons, today marks the start of something new.  Obviously, Happy Parliafunkadelicment Thangday will remain, but today marks the beginning of a historical breakdown of the P.  The journey will be long and arduous, but filled with Funk.  Remain in the Funk and the Funk will remain in you.  It will guide you on any journey you take.  Cling to it like Frodo clung to the ring.  See you again next week.

Straddling the Abyss between the World of the Dead and the Living (We’re Not Coming for your Brains, just your Souls)

Posted in Music on December 20, 2008 by trapperKeeper


Yesterday’s Freaky Friday post was delayed due to an airplane journey home.  Airports and airplanes suck, but it beat driving through the snow in my non-existent car.  While I am home I will attempt to follow my schedule, but certain days may be missed for reasons of lacking on-hand music or being busy with family and friends, but the week will still be fruitful and productive.  Anyways, on to the belated Freaky Friday post, which is focused on the startlingly debut album of Exuma.

Exuma’s self-titled 1970 release, Exuma, is raw, spiritual music and thoroughly primal and original.  Unlike most anything else I’ve ever heard, Exuma’s debut blows minds, nourishes the soul, and disturbs the pious.  It isn’t a field recording, but it is just about as raw.  Featured in the re:Discovery section of September/October waxpoetics, the album artwork immediately grabbed my visual cortex.  After locating the album, the sounds on it kidnapped my aural neurons.  Exuma’s music truly is unclassifiable.  It is the result of a mind not transfixed in present time, but aware of the infinite within and beyond.


Exuma the Obeah Man was the creation of McFarlane Anthony McKay, born in the early 1940s on Cat Islands in the Bahamas.  He moved to New York at the age of seventeen to study architecture.  He ran out of money for his studies and in 1962, participated in folk music hootenannies.  Gaining confidence, he started a group called Tony McKay and the Islanders.  He also was in a show called A Little of This ‘n’ That in 1965, where he appeared alongside Richie Havens.  Exuma played in the famous Greenwich Village folk clubs Cafe Wha?and the Bitter End.  However, the music Exuma made wasn’t folk music, although it had some similarities. Still, Exuma was dripping with too much ju ju.

Whatever It is  Exuma has IT!  Open your third eye to the sounds of cosmos.

Opening the album is “Exuma, the Obeah Man,” a song detailing Exuma’s potent powers, which include raising the dead and making your unhappy woman love you.  A dense, syncopated rhythm .  Bones and other percussive sounds create a skeletal undercurrent.  You can’t deal with Charon daily without the boatman of the underworld introducing some new sounds into your vocabulary.  Despite the ominous mood and supernatural eeriness of the Obeah Man, the whistles at the end emote playfully.

“Dambala” follows the voodoo-infused “Exuma, the Obeah Man” with its’ own juju.  The bass drum hits hard, providing a nice contrast to the otherwise sonically light song.  The lyrics again deal with the supernatural and spirituality.  At this point, Exuma’s prowess using the human voice to emote has been proven.  Not capable of hitting all the highs, nor all the lows, Exuma just emoted beautifully.

Words are meant to fail for words are symbols made up of symbols, aka letters.  Symbols can only describe and never truly capture a moment.  Exuma understood that projecting words with his voice box would utterly fail at expressing the inexpressible.  All attempts at expressing the inexpressible have no choice but to fail, but at least Exuma realized it is more potent to vocally project moods and moments with sounds rather than modern language.  When our ancestors first utilized their vocals cords there were no words let alone formal language.  Exuma travels back to that time when he forgoes words for sounds.  The “yeah” whisper is unsettling yet seductive, like the siren call of the underworld.

“You won’t go to Heaven,

You won’t go to Hell,

You’ll remain in your graves,

With the stench and the smell.”

Zombies are on the prowl on “Mama Loi, Papa Loi.”  The voices carry a sense of urgency, which make sense considering the song is a warning.  Have no fear my dear Paul Revere is near!  The beat pounding during the buildup to the release after the 2 minute mark is way intense, sounding like the feet of an approaching  zombie horde.  Exuma loves creepy voices.  “I see fire in the dead man’s eye.”

After the intensity of “Mama Loi, Papa Loi,” “Junkanoo” is a welcome breath of lightheartedness and respite.  Super syncopated using whistles, the creepy voices and dark magic of the previous songs return to its’ resting place.  The drums that drop in at the 2:20 mark, and fade too quickly, bring some bass.

Returning to metaphysical deep end, “Séance in the Sixth Fret” is strange, intense and a little bit frightening way.  Spirits are being called upon, a gong sounds, and the weird frogish voice again calls from the other side.  This sounds like an actual Séance, and it very could be.  Communing with the other side, Exuma gathers pertinent wisdom, such as hell is no good, god is not dead, and we should stop shedding blood.

The catchy pop, for Exuma’s standards, of “You Don’t Know What’s Going On” contrasts sharply to the third eye vision of “Séance.”  Do not eat the holy cow, nor attempt to take the milk from the milky way.  The weirdest lyric of the whole song might be “you can’t put the light in Ray Charles’ eye.”  Considering the cosmic, metaphysical ancient vibe of the album, this lyric‘s modernity creates a comic juxtaposition.  Exuma accepts the inevitable, realizes the absurdity of life, and is going home.  He’ll leave the ball behind, where he is going he won’t be needing it.

“The Vision” is the ultimate song, in the sense of it being the last.  A sense of purity is evident here.  The mysterious dark magic is still present, but seems less sinister.  Exuma lays out a vision he had one night.  Then he vanishes into the ether, leaving us with warnings of the c0ming apocalypse and pearls of wisdom.

Exuma owes some thanks to Dr. John, aka the Night Tripper, for Gris Gris (1968), which mixed psychedelica, R&B, and voodoo.  Gris Gris, Dr. John’s first album, received critical acclaim and popular attention helping pave the way for Exuma.  From there, Exuma helped illuminate at least a sliver of the ultimate using junk percussion, simple guitar, and a haunting voice.

Saturday’s scheduled post is postponed, but I hope to burst the Church of Metal cherry on the week before the birth of the boy in the manger.

Artic Cat’s Space Bass Christmas! (Boota Claus’ Funky Gift)

Posted in Music, P-Funk, Photos on December 18, 2008 by trapperKeeper


Today is the most yuletide I have ever seen Seattle, so the planned Undisputed Truths post for Must Hear LPs will be delayed in honor of something more mood appropriate, Bootsy’s Christmas Is 4 Ever (2006).  Certainly one of the finest and by far the funkiest Christmas album ever recorded.  Bootsy has had a renaissance after taking a break after the madness of the late 1970s.  In 2002, he put out Play With Bootsy, which had big name guests and stellar production.  Today’s focus is on the gift of funk Boota Claus left in our stockings.


Bootsy handled guitar, bass, percussion, vocals and produced the album.  However, many funkateers stopped by to provide help.  His brother, Catfish, helps out on guitar, as do “Kid Funkadelic” Hampton, Gary Shider, and Blackbyrd McKnight.  Bernie plays some clavinet and piano.  Old Bootsy associate Frank Waddy does some drum duty.  Fred Wesley provides horns for his old friend.  Other old friends leave Christmas messages, including Bishop Don Magic Juan, Buckethead, George Clinton, Roger Troutman.  Other old members of the Rubber Band pop up.  Bootsy captures the spirit of the season on this project by working with old friends and being thankful.  He starts of the album thanking old mentors, and gives props to Nat King Cole on

“N-Yo City” is the intro to the album.  The message of this album is no accident, it is on purpose.  Bootsy, and P-Funk, always loved horns on opening tracks.  Like rulers of the past, the P know how to announce their arrival.  Mentors are thanked, funk is dispensed, the album is about to truly commence.

Horns help balance out the raw guitar shredding on “Merry Christmas Baby.”

Boota Claus is sitting the children down on his lap at the beginning of “Jingle Belz (aka Jingle Bells).”  One child’s response is awesome.  “I want to rule the world and have all the games and all the money.”  Bootsy gets to indulge in some wacky singing.  Per usual, the song has good horn work by Fred Wesley, space bass, and many electronic bells and whistles.  Trying to stop the funk flowing out of Bootsy is like trying to escape death.

Bootsy’s nephew Snoop brings the gift of his silky smooth flow, which seems very influenced by Bootsy’s delivery, on “Happy Holidaze.”  Bishop Don Magic Juan introduces the track.  Bernie goes crazy on the synths.  Bootsy spreads more wishes of Christmas cheer.

“Chestnutz (AKA The Christmas Song)” is dedicated to Nat King Cole.  Jazzy horns and a overall sense of traditional Christmas music keep this one from straying too far into the funk.  Although, this is not a bad thing.  The horns are awesome.  This one is definitely for the whole family.


“WinterFunkyLand (AKA Winter Wonderland)” begins with thanks to many James Brown and a whole crew of funkateers.  Some reggae vibes pop up.  Excellent strings add a whole new dimension to the sound.  The song also features some funkadelic guitars.  “WinterFunkyLand” is one of the best songs on the album.  A wintertime classic transformed into something dramatically different, but not entirely new.  “Oh, you didn’t think violins could be funky.”

Bootsy drops a “Wiiiind me up!” on “Santa’s Coming (AKA Santa Claus Is Coming To Town).”    This one is more popped out, and traditional, than “WinterFunkyLand (AKA Winter Wonderland).”  That is until the rap is dropped in, which spices things up a little.  Bernie gets to drop a fun keyboard fill at the end of the rap.

After the clean polish of “Santa’s Coming (AKA Santa Claus Is Coming To Town),” the opening of “Boot-Off (AKA Rudolph The Red-Nosed Reindeer)” is  jarring.  Bootsy’s slapping space bass antics get a chance to shine like Rudolph’s nose.  Nicely under-mixed fuzzed out guitar on this one.  There is a lot going on in this song, but the center still somehow holds.  That was one of things that made P-Funk outstanding, maintaining a center while unleashing chaos.  If there isn’t any groove, there can be no jam.  That would be quite a sight, Rudolph driving the Mothership. “Don’t fake the funk or your nose will grow.”

“Silent Night” finds Bootsy reminiscing about his childhood and the loss of his innocence.  Bootsy refers to the fact you can’t fall out your window if you stay in the basement, which makes me think of the great Polish joke:  Why do polish neighborhoods have a low suicide rate?  It’s hard to kill yourself jumping out of a basement window.  Some James Brown “Pass the Peas” makes it onto the song.  Bootsy’s singing is highly unusual.  Fred’s horns again are excellent.  Bootsy and Fred, like a cool, cold tall Budweiser and the Detroit Pistons, are a winning combination.

Boota Claus introduces us to Chucky the Funky Reindeer, “Sleigh Ride,” which starts as a low-key but extremely funky number.  The funk crescendos as the song length increases.  Funk gets stronger as it goes longer.  Charlie Daniels drops by to play fiddle on this one.  Funky violin, funky fiddle, there is nothing Bootsy touches that does not become funky.  Like King Midas, Boota Claus has a magic touch.

“Dis-Christmiss (AKA This Christmas)” brings the return of a more straight forward sound.  A smooth funk sound dedicated to Donny Hathaway.

“Be-With-You” is introduced by Roger Troutman.  Thus, it is steeped in vocoder.  Initially, a pretty straightforward take on Bootsy’s “I’d Rather Be With You” with Christmas-themed lyrics, it gets mad funky beginning in the middle.  Crashing drums, heavy bass, squealing guitars, it sounds like the cosmos.  Bless the space bass!

Taking some of the reins from over from Bootzilla, Bobby Womack provides some vocals on “Christmas Is 4 Ever.”  Excellent bass and horn interaction.

Most likely the only Christmas album with space bass, it should become an essential part of holiday merry making.  Parts of it are a bit cheesy, but most Christmas albums are cheesy.  On Christmas Day, check back for in all likelihood the filthiest Christmas album ever.  It has space bass.  Nuff said.  Remember you can’t buy booze on Christmas, at least in Michigan, so stock up early.

Be ready to experience a whole new level of Christmas.  It looks like Rick James’ nostrils out here.  Time to brave the elements for the beer/cocoa run.


Much appreciation to Bootsy the Funky Snowman.  If you like it, please support the man behind the legend.

Got To Get Over the Hump! Easy Listening Edification Day #1 (Now Includes Link)

Posted in Music on December 17, 2008 by trapperKeeper


Largely forgotten now, Gary McFarland was one of the more significant contributors to orchestral jazz during the early ’60s. An “adult prodigy,” as Gene Lees accurately noted, McFarland was an ingenious composer whose music could reveal shades of complex emotional subtlety and clever childlike simplicity. While in the Army, he became interested in jazz and attempted to play trumpet, trombone, and piano. In 1955, he took up playing the vibes. Displaying a quick ability for interesting writing, he obtained a scholarship to the Berklee School of Music. He spent one semester there and with the encouragement of pianist John Lewis, concentrated on large-band arrangements of his own compositions. He attained early notoriety and success working with Gerry Mulligan, Johnny Hodges, John Lewis, Stan Getz, Bob Brookmeyer, and Anita O’Day. McFarland began devoting more attention to his own career by 1963 when he released what is often regarded as his most significant recording, The Gary McFarland Orchestra/Special Guest Soloist: Bill Evans. He also recorded in small-group settings, which featured his clever vibes playing. The success of his instrumental pop collection, Soft Samba, allowed McFarland to form his first performing group. But his recordings thereafter, more often than not, featured an easy listening instrumental pop bent. McFarland went on to excellent work with Gabor Szabo, Shirley Scott, Zoot Sims, and Steve Kuhn, but only rarely featured his outstanding compositional talents (as in 1968’s America the Beautiful). He formed the short-lived Skye Records label with Szabo and vibist Cal Tjader in the late 60s and continued to record prolifically. By the late 60s, though, he was forgotten by his initial jazz followers and he died in 1971 after being poisoned in a New York City bar.

– By Douglas Payne

According to Wikipedia, his drink was poisoned with methadone.  That is messed up.  Anyways, this  offering is, you might have surmised, from Gary McFarland.  He was joined by Gabor Szabo, whose name I know but recordings do not.


Released on Verve in 1965, The In Sound is a laid-back affair, which makes it perfect for Got To Get Over the Hump Easy Listening Edification Day.  In fact, it even contains a song titled “Over Easy.”  Put on some house shoes, crack open a bottle of wine and kick back.

The album opens with “Satisfaction.”  Yes, that “Satisfaction.”  Gary’s cover of the Rolling Stones’ hit strips the cock rock swagger and infuses it with a breezy, western southern hemisphere vibe.  Thoroughly solid, just extremely different than the original.  It features some nice whistling.

Whistling is present at the get-go of “I Concentrate On You.”  Be ready for lots of whistling.  Also, be ready for a steady stream of mellow horn, xylophone, and drum parts plus scat singing.  There isn’t too much to say about a solid, genre album like this.

Gary and the band slow it down even a bit more on “Here I Am.”  As challenging as the album may be, try to stick it through.  There are a couple of pretty dope cuts later on the album.

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Weekly Sched (Feces Flinger Breakdown)

Posted in Adventures, life, Music on December 16, 2008 by trapperKeeper


I came up with a posting schedule that is ambitious, but should be feasible and easier than coming up with so many postings spur of the moment. Monday will remain Parliafunkadelicment Thangday!. Tuesday is funk replenishment day, which can mean a day off or a post. Wednesday is thus dubbed Go To Get Over Hump Easy Listening Day. Thursday is crowned Must Hear LPs, which will be records you should check out. In theory it will be miscellaneous genres, but in all likelihood it will be in the realm of funk.

Friday becomes Freaknasty Friday, which will feature music appealing to freaks. It might be Ween, Dr. John, Exuma, or Prince. Nasty riffs and/or supernatural themes are requisites. Saturday will be Dancing Shoes Saturday. On the day of the lord, the church of metal will be the musical sacrament on Give Us Our Weekly Blood. Occasionally, I might also throw in a soothing Sunday morning record.  I highly doubt I will actually get to each of these post ideas each week, but I will continue to post on a frequent, almost daily basis.

Here are a few fine funky cuts that have tickled my fancy lately. These are from some of the funk compilations.

George Mccrae’s “I Get Lifted” should be familiar to those who listen to lots of hip hop. This track, and the next, are off Miami Sound – Rare Funk & Soul From Miami, FL 1967-1974.

Little Beaver pays homage to the P, on “Funkadelic Sound.”

These next two are off Off the Stax 50th Anniversity Celebration. There is no resisting the The Dramatics “Whatcha See Is Whatcha Get.” One guitar is nicely fuzzed out. The message of the song is fitting of such an infectiously upbeat chill tune.

Can’t resist the bass line of The Staples Singers take on “I’ll Take You There.” An elegantly simple soulful song, albeit one that has been done numerous times.

Traversing through Time & Space (Mushroom Hunting in the Arboretum))

Posted in Adventures, Photos on December 16, 2008 by trapperKeeper


Well out on nature walks, which recently focused on locating mushrooms, I took some photos that did not feature mushrooms.  Seattle just received some snow and fairly frigid temperatures, including a ground freeze, so the mushroom season is done for a while.  Nature walks are not though.







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