The Green Hornet (2011) Reviewed

•January 20, 2011 • 3 Comments

When I heard that The Green Hornet was being made into a major studio feature with Seth Rogan attached, I had a bad feeling. When I heard that Michel Gondry was going to direct, I had a better, though still slightly unsettled feeling. When I saw the first trailer (-what? Two years ago?!) I decided to stop worrying, hoping or wondering about The Green Hornet. Good or bad, it was clear that this Green Hornet wasn’t going to have much in common with the short-lived 1966 ABC series I’d dug up and fallen in love with five years ago. So I kept an open mind and wondered if  maybe –just maybe– Rogen had an action movie leading man somewhere inside him. (Plenty of room there, after all.) and Gondry had what it takes to redefine the superhero movie.

It was difficult to imagine Rogen as wealthy newspaper publisher, Britt Reid, or the Green Hornet, his masked fedora’d vigilante alter ego. Rogen’s breezy brand of doofus humor has consistently waffled between legit funny and annoyingly self-aware and until GH he was untested as an action hero. (Though it’s worth mentioning he did have a few moments in Pineapple Express that made him seem capable of…well, running I guess.)

On TV, Reid (Van Williams) was already established as the owner/publisher of the Daily Sentinel. Like many fictional heroes, Reid knew that being close to the news meant keeping tabs on what’s happening in…um, New Metrogothamopolis.  This meant the Hornet had the best of both worlds: Bruce Wayne’s gazillionaire resources combined with Clark Kent and Peter Parker’s inside scoops. His unique hook was that, on the record, The Green Hornet was a wanted criminal mastermind who fought bad guys from outside the law by posing as one of them. He was assisted in his crime fighting by his chauffer/servant/sidekick Kato, famously played by Bruce Lee. (Incidentally, in other parts of the world The Green Hornet was known as The Kato Show, which: awesome!) Additionally, a vigilante-friendly DA and Reid’s hubba-hubba secretary helped him protect his secret identity and subvert the law.

The TV Reid was serious, cunning, smart and vigilant and his alter ego was a competent fighter who didn’t struggle when it came to keeping up with his sidekick. Rogen’s Reid is more comic relief than steel-jawed man of action. He’s a self-centered, over-privileged party boy who isn’t even involved with the Sentinel until he inherits it from his recently murdered father (Tom Wilkinson). Kato’s role,  on the other hand, is redrawn and punched up. John Chou does an admirable job of coloring in what had previously been a fairly one-dimensional sidekick. (In a fair world, his portrayal of Kato would be a star-making performance.) Instead of being Britt’s bitch, he’s outspoken and smart. Instead of being a butler he’s the Reid-family mechanic and personal barista(?).

Britt, knowing Kato worked closely with his late father, pumps the Chinese gearhead for insight into his old man. Turns out the elder Reid had assigned Kato to a series of  secret projects, including the development of a heavily armored Chrysler Imperial. The two become fast friends and while out for a bromantic joy-ride (capped with the vandalism of a statue honoring Britt’s dead dad) they stumble upon, and successfully foil, a late-night urban mugging. Being heroes makes them feel “awesome” and that’s evidently all it takes to prod them toward the idea of becoming masked crime-fighters. Reid has the money for the superhero overhead, and Kato has the unparalleled skills in both the garage and martial arts, so why the hell not?

This Green Hornet won’t exactly be recognizable to fans of the TV and radio shows, but it’s an interesting take on the basic premise and consistently entertaining on its own terms. Most of the fun comes from watching Rogen react to the more-than-a-little-ridiculous super-human abilities of Kato. (The TV Hornet always seemed to take Kato a little too much for granted for my taste. He was, after all, Bruce fuckin’ Lee doing amazing Bruce fuckin’ Lee stuff! Meanwhile, the Green Hornet had a great hat and a gun that opened locked doors.) Making the cinematic Kato as important to the story as the Hornet was a smart decision. Chou’s Kato doesn’t break up his day of continually saving the Green Hornet’s ass by being his soft-spoken, white-jacketed butler. He’s an equal partner who designs and builds the Black Beauty (the Hornet’s “rolling aresenal”) and invents and constructs all of the super-cool weapons and gadgets. Topped off with his signature gift for hand-to-hand combat, and you’ve got a Kato that has much more to offer than his boss.

Utilizing The Kato Show strategy works in the movie’s favor. If you’re not going to do a literal take on a previously established pop-culture icon, playing with the character dynamic and adding some (mostly effective) comedy is an admirable enough route to explore.  (The Hornet’s prior incarnations played things pretty straight. Despite sharing an hour block of adventure with the Adam West Batman series, as well as the same production company, and “same bat-time, same bat-channel” announcer, the TV Hornet was a more grown up counter-point to the dynamic duo’s campy excess. Nowhere is this more apparent than in the Batman/Green Hornet cross-over episodes in which bad-ass Lee is forced to go toe-to-toe with pipsqueak, Burt Ward.) Rogen is due praise as the co-screenwriter for infusing the Hornet mythology with easy-going humor. (Though some superfans might consider it Hornet heresy, I for one enjoyed watching Rogen and Chou rocking out and singing along to Gangster’s Paradise as they hit the streets for their first official night as crime fighters.) The jokes don’t detract from the action or play so tongue-in-cheek that you can’t engage with the story. The tone is playful without being silly or over-the-top; a difficult balance to achieve, especially in the superhero genre. (Isn’t that right, Kick-Ass?)

Sadly, one of the movie’s glaring omissions is a competent villain. I understand the need to lower the bar so that our wet-behind-the-ears heroes have a fighting chance, but Christoph Waltz, so sinister and compelling (and Oscar-worthy) in Inglourious Basterds, appears here as the most impotent movie bad guy in recent history. Even his introduction, in which he dispatches s a new-school drug dealing club owner (a game but misused James Franco in an uncredited cameo) doesn’t inspire much confidence in his ability to carry the antagonist end of the story. Waltz’s Chudnofsky, an LA crime lord hell-bent on bringing all the city’s gangs under his singular big-tent control,  becomes less menacing as the movie unspools so that by the time we reach the otherwise admirable action climax, it’s fairly clear that the inept gangsters don’t stand a chance against…well, against Kato and the Black Beauty mostly.

I should also mention that Cameron Diaz is woefully miscast as Reid’s spunky-smart secretary, Lenore Case, who functions as the “brains” of a team she’s not even a part of until the last few scenes. (That’s right: “Diaz”…”the brains”…DOES NOT COMPUTE!) Why the hell do people keep casting her in roles like this? For one thing she looks old enough to be Rogen’s mom. And while I do appreciate the script’s inclusion of one surprising age joke at her expense, this is one arena in which the movie simply cannot compete with the TV show. I mean…JUSTLOOKATWENDE WAGNER as the same character. If not for fear of seeing her typecast, can you imagine if this role had belonged to Christina Hendricks?

Despite these gripes, GH‘s biggest disappointment doesn’t stem from the villain, the story, or any of the performances. The monumental let-down is that director Gondry doesn’t leave enough of his own mark on the movie. My expectations for a superhero flick helmed by the director of Eternal Sunshine of the Spotless Mind, The Science of Sleep and all of Bjork’s most amazing videos, were waaaay too high. Despite a few cleverly constructed fight sequences and innovative use of  split-screens, GH is easily the most straightforward, commercial and conventional-looking title on Gondry’s resume. Many of the visuals, particularly in the action sequences, do look sharp, but I can’t help thinking that the studio put a leash on Gondry early on to keep everything cineplex-friendly. (But if that’s your plan, why the hell hire a director like Gondry in the first place? Maybe Tony Scott was busy.)

I won’t be surprised if GH, a movie once slated to be a holiday blockbuster, ends up sequel-less and forgotten after its initial run. Too bad, because I’m guessing that given a chance, most kids would love it.  But banking on a sixties TV show or an old-time radio show to connect with the youth demographic is a shaky proposition. (Ask The Shadow and The Phantom if you don’t believe me. I guess the studio will have to deep-six those Our Miss Brooks and Jack Benny Show projects for now).

The final verdict is that the Green Hornet could have been a helluva’ lot worse. It’s fun and disposable with enough satisfying moments to justify its existence. For the record, I’ll take Gondry’s chipper, hang-dog vibe over Tim Burton’s over-stylized gothi-tude or Christopher Nolan’s bleak urban-decay obsession any day.

**1/2 – two and a half stars out of four

PS – I avoided the 3D version of GH for two reasons. First, it was another 3D retro-fit meaning it wasn’t filmed with 3D in mind. Secondly, 3D movies are expensive as hell. I’ve ignored these factors at my own peril before. (Without 3D, Piranha 3D would have been just as awesome and Alice in Wonderland would have been just as unwatchable.)

Predators (2010) Reviewed

•January 17, 2011 • Leave a Comment

Walton Goggins (left) clearly realizing he packed inappropriately to be hunted in the jungle.

Predators, the fifth film to feature the battle-prone beasties, has the remarkable distinction of being the first Predator movie I actually enjoyed. I’ve always been puzzled by the popularity of the durable series and annoyed that the predators were ever deemed significant enough to share marquee space with monsters from the (infinitely superior) ALIEN series. I hate when comic-book fanboy wet dreams are given the big-screen treatment. Just because you fondly remember Tron doesn’t mean the damn thing warranted a sequel, and likewise a comic-book cross-over like the ALIEN vs Predator franchise made about as much sense to me as pairing Gremlins with Ghoulies or Superman with The Greatest American Hero. Neither (official) Predator movie could hold a candle to even the worst ALIEN movie (ALIEN3?). And lets not even waste breath on either of the “vs.” titles.

There’s nothing special about Predators. At times it comes across like an exceptional made-for-Syfy movie or a particularly grueling pilot for a new season of Survivor. The plot can’t be bothered to be much of a plot at all. The entire premise can be summed up in one sentence: A motley band of heavily-armed criminals and killers is (literally) dropped onto Planet Predator as game to be hunted by two breeds of the equally-armed heat-seeking “ugly motherfuckers.” That about sums it up. Who needs back story or exposition? Not this movie, and honestly, there’s something refreshing about that.

Adrien Brody, a morally-suspect special-ops soldier, takes charge of the multi-ethnic group of snarling misfits; a veritable United-Colors-of-Benetton character-actor buffet of awesomeness that includes Danny Trejo and Walton Goggins. Alice Braga is the token tough broad and Topher Grace is a suspicious MD. Halfway through Laurence Fishburn waltzes over from left field for a brief appearance as a mysterious survivor from the predators’ last hunting weekend.

Brody is sculpting a surprising genre-packed action-hero resume; probably because he’s dang good at it. That said, Predators is a movie that doesn’t quite need quality actors to pull off what it’s attempting. His role could just as easily have been filled by Dolph Lundgren and the final product wouldn’t suffer much.

Considering the racial make up of the cast, characters die in the order you’d expect and the last rough-necks standing are equally unsurprising. But the action is pretty much non-stop (good call for a movie like this) and the effects, both practical and CGI, are mostly seamless. A handful of fresh ideas also give the flick a boost in the form of alien-planet bloodhounds and the above-mentioned introduction of a new breed. There are lots of booby-traps, double-crosses,  and questionable alliances as well as plenty of non-taxing tough-guy dialogue.

As fun as it is forgettable, Predators is a respectable sci-fi action movie– and how many more of those can you name?

** – two stars out of four

"Only YOU can prevent forest fires, Mr. Brody!"

Nightmare on Elm Street (2010) Reviewed

•January 14, 2011 • Leave a Comment

Pre-roast Freddy still experimenting with signature weapon choices.

Sometimes low expectations are the magic key to being a horror fan. If you approach every sequel with Dawn-of-the-Dead hopes and demand Let-Me-In quality from every remake,  fourteen times out of ten you’re bound to be punched in the stomach with Black-Christmas-2008 disappointment. But if you keep your hopes hovering at a comfortable Book-of-Shadows:-Blair-Witch-2 calibration (I kinda’ liked it. Sue me.), you may find yourself having a greater appreciation for the consistent mediocrity of mainstream horror. This might sound like giving up and accepting shit for dessert just because Mom’s out of ice cream, but the horror genre has always had an uphill battle before it. Its success or failure usually hinges on making over-the-top ideas work. Things like the paranormal, masked slashers, and re-animated corpses have to be effective and in some cases believable. Only horror’s first-cousin genre, sci-fi, has similar conventions working against it, but sci-fi has a leg up in that its movies are often set in space or the future where rules can be changed and reality subverted by simply opening with a title card reading: “A long time ago, in a galaxy far, far away…” This argument for low expectations has never seemed more relevant than it did following a late-night home screening of the not-as-bad-as-I’d-heard Nightmare on Elm Street remake.

Before you cast me off into the Phantom Zone of irrelevant movie critics, hear me out: NoES 2010 is not good. In fact it’s barely mediocre with a backward lean toward bad. BUT STILL! Who knew to expect that such an abominable idea could even flirt with mediocrity by blowing rank slobbery kisses from across a crowded room? Not me! I was ready to hate it. REALLY hate it. I couldn’t WAIT to hate it. After all, while far from being a perfect Wes Craven flick (does such a thing exist?), the original NoES has lots to recommend it. For one, it’s legitimately scary, mostly original, and features John Saxon. It’s also one of the first horror movies I deliberately invited into my childhood for the sole purpose of scaring me silly. (Up until then, I had only inadvertently scared myself silly by stumbling upon horror while flipping around the pay cable channels or having it forcibly rammed into my fragile consciousness as birthday-party-sleep-over entertainment.) That’s why I love it. I really do. I’m not sure it deserves its knighthood status as “Sir Nightmare on Elm Street the Classic.” Clunky acting, inconsistent practical-effects quality, and the most face-palm-inducing coda in horror history (see: Ronee Blakley yanked through a tiny front door window/red and green striped convertible top, etc.) are hard-to-overlook flaws. But yes, it certainly makes my top-25-of-all-time horror list and a remake, despite being totally expected, is every bit as unnecessary as the rest.

But a funny thing happened on the way to the boiler room: the new NoES made my skin crawl with some effectively grotesque imagery and a new take on a semi-sacred horror icon. Jackie Earle Haley, best known as the ugliest Bad News Bear and the first actor in the unfortunate position of risking being typecast as a child molester, brings something to the mythology of Freddy. I’m just not sure what it is. Truth is, in the past Freddy has only been effectively scary twice: in the first and third entries. Aside from that, he’s most often presented as a lecherous wisenheimer with a penchant for boiling down teen personalities to a single definitive cliche’ (comic book fan, D&D nerd, druggie, marionette maker, anorexia sufferer) and killing you with it. Haley’s Kruger isn’t very funny (though he’s given at least two or three quips to fill some sort of contractual Kruger-quota I’m guessing). He’s definitely creepy and gross, but without  actually ever being…y’know…scary. So what do you do with that? His make-up, the focus of most horror-fan-boy bitching, just works for me. There. I said it. This is what burn victims look like and it makes some sort of twisted sense that someone left looking like this by suburban vigilantes would want to infiltrate the dreams of bland telegenic teens and kill them. (That said, I’m not sure why anyone felt the need to cling to the red and green sweater, which always seemed to me like a poor costume choice that was accidentally cemented in place by references to it in dialogue. But the fedora? Totally worth keeping!) Freddy 2.0 is meaner and more perverted and in the context of this story, his afterlife dream persona seems like a natural amplified extension of the living Kruger we meet in a series of flashbacks; the movie’s singular improvement over its namesake. So let’s talk about that.

"Smile and keep your eye on the pedo!"

Freddy’s history as a child killer was always based on innuendo rather than specifics. Originally conceived as a dangerous pedophile, he was watered down for mainstream audiences as a child killer. (How one is more acceptable to audiences than the other is a head scratcher if ever there was one). No innuendo here! The portrayal of the real-world-pre-torched antihero of the remake makes no bones about the windowless-white-van intentions of preschool gardener and handsy handyman, Freddy. Many cite this literal interpretation of Kruger’s history as a weakness; a go-for-the-jugular shock tactic showing a lack of imagination. Nah. When this version’s Nancy is confronted with a found box of Polaroids featuring she and her preschool classmates, it’s a bold jaw-dropping moment for a movie that otherwise seems resigned to playing things safe. Whereas the motivations for the vigilante parents referenced in the original seemed to be protecting their children from a known child killer, 2010’s parents are hellbent on revenge stemming from atrocities enacted on their children; the ones who survived (and blocked out) every parent’s worst nightmare. Child killers and child molesters are equally appropriate for taking the law into your own hands with a gas can and a torch, but the revenge element hits home in a completely different way this time. Throughout the Nightmare series, parents are portrayed as misguided, out-of-touch, denial-bound dopes, but this time you sense that a collective anger still exists and protecting their children from memories of childhood horrors seems far more noble than parents protecting themselves by keeping the kids in the dark about that one time they killed a guy.

Another positive of this version? It looks pretty good. Self-aware references to some of the pre-CGI set pieces from the original abound (gloved hand emerging from Nancy’s bath, Freddy’s shape pushing through Nancy’s bedroom wall, the body-bag drag in the high school halls, etc.) and come across as pretty ham-handed. But the sets and original scenarios are artfully constructed, if not all that scary. So for what it’s worth, this NoES is pretty anyway.

Remember this ol' gag?

…aaaaand that’s about it for the plus column. Lest you thought this remake was getting a pass, I’m here to tell you that everything else is pretty much crap. Though mostly well-acted, the teen roles are flat and interchangeable. Nancy, as portrayed by Heather Langenkamp, was a mousy next-door every-girl; less-than-pretty and mostly wholesome, but tough, resilient, and inventive. Rooney Mara’s Nancy is just…well, depressed and tired-looking. She’s as flat and bland as any other character in the movie and that’s a shame because her namesake is, for my money, queen of the “Final Girls.” That this version didn’t have it’s own interpretation of her booby-trap battle with Freddy from the original’s climax is one of the biggest ball drops in remake history.

Also, the pacing is herky-jerky and the story, poorly plotted. There are lots of gaps that need filling, and most of them amount to glaring missed opportunities brought to you by the same movie that saw fit to wedge literal recreations of nearly all of 1984’s most memorable effects into it. For instance, why the bladed glove, Fred? No answers here! He just has it as if he picked it up at a hardware store. In fact, there’s really no cohesive narrative anywhere. The running time is mostly made up of strung-together vignettes and non-illuminating exposition. You could probably shuffle the scenes and end up with a nearly identical viewing experience.

I didn’t hate NoES, but I don’t recommend it to anyone but the curious. In the cannon of horror remakes it finds a comfortable place above The Fog and Friday the 13th, just below The Texas Chainsaw Massacre, and miles and miles beneath Dawn of the Dead and The Fly. It’s just a shame anyone still bothers to have any hopeful expectations of horror remakes. Low expectations keep movies like this from making you want to give up altogether and gouge out your eyes. On the upside, the abysmal critical reaction and fan response to Nightmare 2010 means we may have a fighting chance of being spared a sequel. But I wouldn’t count on it.

*1/2 – One and a half stars out of four.

At least...

...they got the coda right this time.

Blog Lagoon’s 31 Posts of Halloween: One Last Bag of Treats!

•October 31, 2010 • Leave a Comment

Whew! Just made my 31 post quota with a half-hour of Halloween to spare.

Just like last year, the final Halloween post is a bit of a cop-out as far as content goes. But whaddaya’ want for free?!
For your convenience, I’ve compiled a list of all the Halloween shares offered here at the Blog Lagoon from both this year and 2009. To learn more about any of the downloads below click on the October 2009 and October 2010 archive links in the right margin. I hope everybloody enjoyed this Halloween season as much as I did. Thanks for making your way through the murky sludge to the Blog Lagoon this year.

Goodnight, WHATEVER you are!

Blog Lagoon’s 31 Posts of Halloween: Halloween Night with the Cool Ghoul

•October 31, 2010 • Leave a Comment

Here’s a really great share that I’ll be listening to every Halloween from here to eternity. Zacherley (The Cool Ghoul) is probably the most prolific, and popular TV horror host (just ahead of Cleveland’s own Ghoulardi and buxom bombshell Elvira). Here is one of his annual Halloween radio broadcasts from a local NYC station. The share originally appeared on Universal Horror Sounds  (a great blog!) and it’s one of the best Halloween-related downloads I’ve ever stumbled upon. The broadcast is split between two zip files each of which contain individual segments without commercials. The files are numbered so that you can be sure to listen to them in the correct chronological order.

1988 Zacherley Halloween Radio Broadcast Part One

1988 Zacherley Halloween Radio Broadcast Part Two 
Here’s a great interview with Zach on the old Mike Douglas show from 1975!

Before we wrap up this post, I’d be an ingrate if I didn’t give a shout out to the local Dayton horror host who’s responsible for some of the Gill Man’s first encounters with scary movies. Channel 22’s own Dr. Creep!

Blog Lagoon’s 31 Posts of Halloween: MORE Spooooky Sounds of Halloween

•October 31, 2010 • Leave a Comment

This is the second part of a two-part Halloween sounds LP share dump. The first one is here. Enjoy, everybloody!

Halloween Horrors

Miscellaneous Mail-Order Halloween Records

Spooky Sounds

Blog Lagoon’s 31 Posts of Halloween: Screaming Lord Sutch Sings “Jack the Ripper”

•October 31, 2010 • Leave a Comment

Screaming Lord Sutch (aka 3rd Earl of Harrow aka David Edward Sutch) is my favorite monster rocker. A psuedo-novelty act from the 60s and 70s, the UK rocker is responsible for some of the greatest horror-themed rock songs you’ll ever hear. He’s been covered by everyone (including the White Stripes) and his theme song “Jack the Ripper” was his biggest and most recognizable hit. Live performance antics included him dressing up like some creepy combination of Jack the Ripper and Lon Chaney in London After Midnight. Wikipedia says:

During the 1960s, Screaming Lord Sutch was known for his horror-themed stage show, dressing as Jack the Ripper, pre-dating the shock rock antics of Alice Cooper. Accompanied by his band, The Savages, he started by coming out of a black coffin. Other props included knives and daggers, skulls and “bodies”. Sutch booked themed tours, such as ‘Sutch and the Roman Empire’, where Sutch and the band members would be dressed up as Roman soldiers.

In addition to his musical career Sutch was also a British politician. He founded the Monster Raving Loony Party (!) and fought in over 70 elections (!!).

Sutch committed suicide by hanging himself in his home in June of 1999. Check out the amazing BBC obituary here.

Below you’ll find a great live performance of “JtR” as well as a few other horror-related Sutch songs.

…and here’s a pretty great cover of “She’s Falling in Love with a Monster Man” (my fave Sutch song) by The Revillos

Blog Lagoon’s 31 Posts of Halloween: SPOOOOOOKY Sounds of Halloween…

•October 31, 2010 • Leave a Comment

Here’s the first part of a Halloween sound effects record share that I wish I would have posted earlier in the month so you could have them to play on beggar’s night. …I’ve just been so swamped here in the Lagoon this month that keeping up with Halloween posts has been challenging. But aaaanyway…

I used to love sound effects records when I was a kid and I can’t even really explain why. Looking back I can’t imagine how sitting cross-legged on the floor next to my flip-top Bee-Gees portable record player just listening to a collection of 5 second tracks of miscellaneous sounds could have been any fun at all. But evidently I thought it was.

Halloween sound effects records make a little more sense — especially when we’re talking about a kid who couldn’t help but enjoy scaring himself silly. As a kid, one of my favorite records (which I posted last year with some more Disney-related audio stuff) was this one:

Released in 1973, Chilling, Thrilling Sounds of the Haunted House featured a collection of sounds from the Disney catalog  (including screams, ghostly moans, fighting cats, barking dogs, and even some rather random outer space sounds) on one side. The other side used those sounds to tell short stories introduced by the amazing voice talent, Laura Olsher. The first track on that side is the one that used to really do a number on me. There’s a laugh hidden in there, amid all the other great noises, that still makes my blood run cold. Download the album, give it a listen, and try to find the one I’m talking about. It sounds like maybe a witch — but not in the high-pitched cackley way you’d expect. It was something deeper and a little closer to Mercedes McCambridge’s demon voice in The Exorcist.

Here are some similar (though never as great) Halloween records,  perfect for cranking up in the living room while you’re passing out candy to little monsters:

Ghostly Sounds (Peter Pan Records – 1975)

Hallowe’en Spooky Sounds (1962)

Blog Lagoon’s 31 Posts of Halloween: I LOVE MONSTERS

•October 30, 2010 • 1 Comment

Okay, so this is a big deal to your humble host, The Gill Man. Here’s a record I’ve been searching for what seems like forever. It was a favorite of mine from my childhood and I thought I lost it until someone reminded me of all the things I lost when I moved from my old swamp to the Black Lagoon. Some dipshit plowed into my PARKED car the night before my move, destroying a lot of irreplacable artifacts. I realize now that I Love Monsters was one of the casualties. I looked and looked online and turned up next to nothing. Evidentally there’s a band that goes by the name I Love Monsters, which complicated the search even more. You can read more about it in this post from last year (lots of great shares in that post so you should check it out). Well, lo and behold, a year later I get a comment on that post from a mysterious stranger that goes by the handle “Remarck:”

I just picked the Jimmy Castor record up at a flea market this past weekend. I was able to find only one article online only after putting in the city of the label, Little Monster Records, Millwood, NY. It was a Billboard ad from 1980. If you are still interested, I may be able to rip the vinyl for you.

Naturally, the Gill Man was as excited as all get out. Remarck made good on his(?) promise, so now, without further ado, I’m passing the share along to you with big thanks to the mysterious individual that made it possible. I hope you enjoy the oddly funkadelic monster-themed kids record: I Love Monsters. [click it!]

Blog Lagoon’s 31 Posts of Halloween: “The Boogie Woogie Boogie Man”

•October 30, 2010 • Leave a Comment

I love this song and posted it last year — but it’s worth posting again. The harmonizing cuties performing here are The Brian Sisters.