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    We Got the Beat

    The true "Gospel" is a holiday treat

    Douglas Newman
    Dec 16, 2009 | 12:05 pm

    Various Artists, "Fire in My Bones: Raw, Rare & Otherworldly African American Gospel, 1944-2007" (Tompkins Square)

    For those of you who are serious about putting "Christ" back in Christmas then I have just the album for you. Pack away all those saccharine holiday carols and prepare yourself for some good old fashioned devotional music that will not only move your spirit, but promises to shake it as well. I'm referring to the excellent 3-CD compilation, "Fire in My Bones: Raw, Rare & Otherworldly African American Gospel, 1944-2007." This impeccably curated collection spotlights dozens of gospel traditions, some going back more than a century, others seemingly created on the spot.

    There's a nice diversity in terms of both lyrical approach and musical style. On one end of the spectrum you have uplifting songs of praise like the rollicking stride piano devotional "Where Could I Go" by Lucille Barbee, or the rockabilly gallop and sweet harmonies of "How Much I Owe" by The Radio Four. On the other end are fire and brimstone sermons and pleas for mercy like the harrowing "Don't Let the Devil Ride," a skeletal blues track featuring a muddy electric guitar, the primitive percussion of a tapping foot and Ike Gordon's banshee wail. Other highlights of the more hellfire fare is the reverb-drenched dirge, "Get Back Satan" by Bonnie Woodstock and Rev. Roger L. Worthy, and my favorite cut, the primitive drum and fife stomp of "Why Sorrow Done Passed Me Around."

    Kudos to Tompkins Square for presenting these recordings with the respect and in the context they merit. Given the raw and downright strangeness of the proceedings, it would have been easy for the label to frame the release as a peak into a freakish, "naive" subculture rather than the vibrant American folk tradition that it is. That said, there are times when the compilation ventures too far into ethnographic territory with field and congregational recordings that are fascinating but feel a bit too academic. That minor quibble aside, "Fire in My Bones" is a must have for open-minded music fans who have an interest in early blues and gospel traditions and for those who simply seek a respite from the plastic, overly-commercialized Christmas music that's blasted into our consciousness at every turn.

    Listen to "Don't Let the Devil Ride" by Ike Gordon

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    Listen to "Get Back Satan" by Bonnie Woodstock and Rev. Roger L. Worthy

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    Listen to "Why Sorrow Done Passed Me Around" by Georgia Drum & Fife

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    Movie Review

    Shaun the Sheep welcomes spooky season with PG-scary new movie

    Alex Bentley
    Sep 18, 2026 | 2:30 pm
    Shaun the Sheep in Shaun the Sheep: The Beast of Mossy Bottom
    Photo courtesy of Aardman / Sky UK LTD / StudioCanal 2026
    Shaun the Sheep in Shaun the Sheep: The Beast of Mossy Bottom.

    Since his introduction over 30 years ago, the Aardman Animations character Shaun the Sheep has been almost as popular as the studio’s flagship characters, Wallace and Gromit. There is never a shortage of trouble Shaun can get into as he leads his flock and proves to be a thorn in the side of his farmer and Bitzer, the farmer’s loyal sheepdog.

    His antics lead everyone down some slightly spooky roads in the new film, Shaun the Sheep: The Beast of Mossy Bottom. At first, things are only slightly awry as Shaun and the flock are growing a secret pumpkin patch to have their own jack-o-lanterns. But when the farmer accidentally destroys the pumpkin patch, Shaun tries to regrow it quickly with a Frankenstein-esque experiment.

    However, disaster looms when Shaun uses an old bottle of Hair-Gro as the container for the serum he creates. Naturally, the balding farmer uses it on his head, and everyone soon discovers how truly successful it is, with pumpkins growing out of control and the farmer sprouting hair all over his body. Through a series of mishaps, the farmer becomes the titular beast, creating mayhem while Shaun and others try to stop him.

    Directed by Steve Cox and Matthew Walker, and written by Mark Burton and Giles Pilbrow, the film goes down just as easy as every other Aardman project has. They get the Halloween vibes started from the opening credits, with things like the sheep doing the “Thriller” dance, and continue the fun throughout, referencing everything from Psycho to Friday the 13th in a nice, PG way.

    With no script — every character is mute save for reaction noises — the movie relies on sight gags for its humor, and the Aardman team is endlessly inventive in that respect. Sometimes it’s small things like a sheep using toilet paper rolls as binoculars, and sometimes it’s something like forcing the Bigfoot-like farmer to be shaped into a rectangle as he escapes through a window. But there’s a never-ending stream of such moments, so even if one doesn’t tickle your funny bone, chances are the next one will.

    The biggest benefit of the characters not talking is that there’s no need for deep character development. The filmmakers do a great job of giving the basic traits of each character, and then use those attributes to color everyone’s actions for the rest of the film. Shaun is the troublemaker, the farmer is a bumbling fool, Bitzer is preternaturally smart, and the town’s vet is empathetic, and the combination of those characters and others makes for a highly entertaining blend.

    Like all Aardman creations, Shaun the Sheep: The Beast of Mossy Bottom is a fun lark that doesn’t make its audience think too hard. With just enough references to keep viewers engaged but not so many as to be overbearing, the film puts its well-worn characters to good use once again, delivering a Halloween season story that can be enjoyed by people of all ages.

    ---

    Shaun the Sheep: The Beast of Mossy Bottom is now playing in theaters.

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