As a child of the Seventies, this story is near and dear to my heart. I used to watch In Search Of (hosted by Leonard Nimoy) every Saturday afternoon. It usually scared the shit out of me, but then that was the attraction.
On October 20, 1967, Roger Patterson captured 60 seconds of film showing a creature walking through the Northern California woods – footage that became the most analyzed and debated in history. Fifty-seven years later, a reel of 16mm film discovered in a safe changes everything.
CAPTURING BIGFOOT reveals the untold story behind the world’s greatest mystery, told for the first time by Patterson’s own son and the people who were there.
On Amazon Prime now. Unfortunately, it’s a rental.
Also, can you imagine being one of the poor bastards who wasted their entire adult lives chasing this creature, only to learn that these idiots faked the whole thing?
My favorite Beatles album finally got the much-needed Giles Martin stereo remix treatment. Squire Renfield ordered the lp version on the day of release, and we gave it a spin on the big rig last night. It sounds great, much better than the original stereo mix, where everything’s coming at you from two separate universes, as if they’d already broken up and decided they hated each other so much that they didn’t want you to think they existed in the same dimmension. For dorky fun, I played a CD of the original mix simultaneously; we could switch back and forth via remote. No contest. I’m pretty sure I would slightly prefer the mono mix over this new stereo one, as that’s been the case with the previous releases. I’ll A/B that next.
They gave this new RS the half-speed mastering treatment. Theoretically that should have added some clarity, but I’m not sure if that can make a difference with tapes this old. I wasn’t listening for that really.
I haven’t checked what reviewers think, and I likely won’t. So many are full of crap. With prior remixes, I used to check the blabbosphere for fun. While much of it was insightful, there was always an insane subset who would call every new re-mix a “missed opportunity” or a “cash grab.” The “missed opportunity” crowd usually acknowledged the need for a remix, but as far as I can tell the “missed opportunity” was that they were not the ones overseeing the project. As most of them were likely men over 60 who can’t hear above 10kHz, that’s a good thing. As for the “cash grab” crowd, they mostly think no remix was needed, that Sony/Universal and whoever’s else are just creating a false demand—which is ridiculous as people have been griping about the original stereo mixes for years and happily pay for the improvements. Selling people what they clearly want is not a cash grab.
Then there were absolute idiots who would say no remix was needed and also call it a “missed opportunity.” If it didn’t need remixing, what was the opportunity? Ridiculous.
Back when The Subteens used to tour (and dinosaurs roamed the earth), we rolled into Chicago one afternoon and bellied up to the bar as per usual. Chatting up the bartender, I somehow got on the topic of Urge Overkill, how great they were and what a bummer it was that they broke up after Exit the Dragon.
Suddenly, like a scene from a movie, she announces that she’s friends with someone working on Nash Kato’s unreleased solo album and would we like to hear it? HELL YES! This is “Zooey Suicide,” the first song that came blasting out of the bar’s speakers.
Sadly, Debutante only sold around 5,000 copies and seems to have mostly been erased from the planet. He worked on this damn thing for two years, it’s just not fair.
