Friday, July 03, 2015


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Friday, July 3, 2015
KSFR, Santa Fe, NM
10 p.m. to midnight Fridays Mountain Time
Host: Steve Terrell 101.1 FM
Email me during the show! terrel(at)

Here's my playlist :

OPENING THEME: Buckaroo by Buck Owens

American Trash by Betty Dylan

Fourth of July by Dave Alvin

Still Sober After All these Beers by Banditos

Lower 48 by The Gourds

Go-Go Truck by The Defibulators

Ballad of the Bellhop by The Dustbowl Revival

The Clams and I by The Dirty Bourbon River Show

A Day at a Time by Dale Watson


(Tom Russell message)

Hair Trigger Heart by Tom Russell

The Outcast by Dave Van Ronk

The Day Bartender by Al Duvall

Chevy Headed West by Jim Stringer

Thirteen Minutes by Earl Brooks

The Girl on Death Row by T. Tex Edwards & Out on Parole

Come Out Come Out by Angry Johnny & The Killbillies


Lucky by The Beaumonts

Down on the Corner of Love by Buck Owens

Aim to Please by Palomino Shakedown

Smoke! Smoke! Smoke! (That Cigarette) by Phil Harris

Fried Chicken and Gasoline by Southern Culture on the Skids

I'm Barely Hangin' On by Johnny Paycheck

Alice in Hulaland by Willie Nelson & Merle Haggard

I Can Talk to Crows by Chipper Thompson

Hungover Together by The Supersuckers with Kelly Deal

Indoor Fireworks by Elvis Costello

Desert Rose Chris Hillman & Herb Pedersen

Worried Mind by Eilen Jewell

Sweet Virginia by The Rolling Stones

Can You Blame the Colored Man by South Memphis String Band

My Rosemarie by Stan Ridgway

CLOSING THEME: Comin' Down by The Meat Puppets

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Thursday, July 02, 2015

THROWBACK THURSDAY: Happy Birthday, Rev. Dorsey. Happy Birthday, Georgia Tom

Rev. Thomas A. Dorsey

Yesterday, July 1 was the birthday of two great American musicians born in 1899 in Villa Rica, Georgia.

One was a great blues pianist and occasional singer who played with greats like Ma Rainey and Tampa Red. He co-wrote and sang on Red's best-known song. "Tight Like That" -- and he recorded a few sides under his own name, Georgia Tom.

The other was the Father of Gospel Music, credited with, basically, inventing the genre of Black gospel, bringing the passion of the blues to sacred music ... and writing some of the greatest gospel songs ever known. He even coined the term "gospel music." His name was Reverend Thomas A. Dorsey.

Most of you probably realize Georgia Tom and Thomas Dorsey were the same guy,

He was the son of a Baptist preacher and a church organist. Some say he was a child prodigy. At first he adopted the stage name "Barrelhouse Tom" before settling on "Georgia Tom."

By the age of 19, he moved to Chicago, where he knocked around n some local jazz and blues bands before starting his own group, The Wildcat Jazz Band, which backed up Ma Rainey. Tampa Red was a guitarist in that band.

But in the 1920s, Dorsey's life took a turn toward darkness. According to a PBS documentary caled This Far by Faith:
Georgia Tom

At twenty-one, his hectic and unhealthy schedule led to a nervous breakdown. He convalesced back home in Atlanta. There, his mother admonished him to stop playing the blues and  serve the Lord. He ignored her and returned to Chicago, playing with Ma Rainey. He married his sweetheart, Nettie Harper. But in 1925, a second breakdown left Dorsey unable to play music.

It should be noted that different accounts have several conflicting dates for these "nervous break downs."  According to some sources after the second one he sought the spiritual guidance of a faith healer named Bishop H.H. Haley who, Dorsey told biographer, Michael Harris, extracted a `live serpent' out of Dorsey’s throat.

According to the story, Haley told Dorsey, "There is no reason for you to be looking so poorly and feeling so badly, The Lord has too much work for you to let you die." And he helped convince the young musician to turn away from those Devil blues and dedicated his talents to music for the Lord.

But Dorsey hadn't hit bottom yet. According to This Far by Faith:

After his recovery ... Dorsey committed himself to composing sacred music. However, mainstream churches rejected his songs. Then, in August 1932, Dorsey's life was thrown into crisis when his wife and son died during childbirth. In his grief, he turned to the piano for comfort. The tune he wrote, "Take My Hand, Precious Lord," came, he says, direct from God. 

Dorsey started the Dorsey House of Music, an independent music publishing company for Black gospel composers, in 1932. He established the National Convention of Gospel Choirs and Choruses, serving as its president for more than 40 years. He would begin an association with Mahalia Jackson, one of the greatest gospel singers of all time

And he sang nothing but gospel music until his death in 1993

So happy birthday, Reverend! Here are a bunch of his songs.

Let's start off with Georgia Tom:

Here is is with a lady called Kansas City Kitty

Here is his most famous song, recorded with his pal Tampa Red

Now on to Dorsey's gospel career. This isn't one of his better known songs, but it's a good one.

Here is Mahalia Jackson singing "(There Will Be) Peace in the Valley," which Dorsey wrote for her in 1937. The song went on to be hits for Red Foley and, later, Elvis Presley. Johnny Cash also did a great version (the first one I ever heard back in the '60s.)

Here is Rev. Dorsey's best known song, performed late in his life

Wednesday, July 01, 2015

WACKY WEDNESDAY: The Secret History of White Rap

I'm not talking Vanilla Ice here ...

Decades before before The Sugar Hill Gang -- years before The Last Poets or Gil Scott Heron even -- courageous, (or at least shameless) Caucasians created their own forms of rap music that swept the nation.

Or at least made for some pretty weird novelty records.

The late, lamented Spy Magazine released a hilarious compilation called White Men Can't Wrap, which showcased many of the classics of the genre, some of which are included below.

The collection included liner notes by none other than Irwin Chusid, perhaps the nation's greatest expert on "outsider" music, and a major fan of all sorts of strange and wonderful songs.
Chusid sayeth:

White rap is a centuries-old tradition; the original white rappers were square-dance callers improvising rhymes for Saturday-night barn parties in America's rural bckwaters. Like today's rappers, they were seen as debauchers, imperiling the morals of the young. The fiddle was "the instrument of the devil"; church leaders banned it. The callers' freestyle rhymes teased with erotic innuendoes ("Duck for the oyster/Dig for the clam/Knock a hole in the old tin can").

The stuff they taught you in the grade-school gymnasium, that cornball mountain music with the do-si-dos - it was all about sex and forbidden behaviour! It was the roots of today's white rap culture. Herewith, a tribute." (Thanks to the ever-excellent Music for Maniacs blog for transcribing that for their post about White Men Can't Wrap a few years ago.)

Besides its roots in square-dance calling as Chusid notes, another major manifestation of white rap was "talking blues," Folksingers like woody Guthrie and the young Bob Dylan loved the style and included several talking blues tunes in their repertoires.

But the style goes back at least to the mid-20s. South Carolina entertainer Chris Bouchillon recorded a song called "Talking Blues' in 1926. His song "Born in Hard Luck" is even better.

Hank Williams played his own style of talking blues also, in is guise as Luke the Drifter.

But hillbilly singers were not the only purveyors of white rap. In the late '50s comedian Lenny Bruce made this beatnik-jazz contribution.

By the 1960s, white rap was in full blossom. There were big radio hits like "Big Bad John" by Jimmy Dean, "Old Rivers by Walter Brennan," "Ringo by Lorne Green and "Gallant Men," a patriotic march by Everett McKinley Dirksen, whose day job at the time was minority leader of the U.S. Senate. (I posted a YouTube of that on a previous Wacky Wednesday.)

But the greatest white rapper of them all in the 1960s was not an actor or senator. He was Napoleon XIV (real name: Jerry Samuels)  who recorded this sensitive take on behavioral-health issues called "They're Coming to Take Me Away, Ha-Haaa!" This track actually was a crude form of hip hop, just a guy reciting lyrics over a beat and an ominous siren. Why has Napoleon XIV been sampled more?

Finally, I know that technically he doesn't qualify for this category, but for his 1967 song "Don't Blame the Children," I believe that Sammy Davis, Jr. should be considered at least an honorary  white rapper.

Monday, June 29, 2015

A New Big Enchilada Hillbilly Episode!


Welcome to the Redneck Palace, where rednecks, hillbillies, country bumpkins, hicks, white trash and trash of any color are treated like royalty. Enjoy crazy country sounds old and new, the wild sounds I play every Friday night on the Santa Fe Opry on KSFR.

This episode is dedicated to my new friend, Harley in Roger Miller's hometown Erick, Oklahoma. Harley's own Redneck Palace in Erick is pictured above.


Here's the playlist:

(Background Music: Oklahoma Stomp by Spade Cooley)
Jason Fleming by Neko Case & The Sadies
Long Gone Away by Banditos
If You Take Drugs You're Gonna Die by The Beaumonts
Lovin' Ducky Daddy by Carolina Cotton
I'm a Hobo by Danny Reeves
He's Biding His Time by Danny Dill 
The Palace Roses by Tod Andrews

(Background Music: Bluegrass Concerto by Sonny Osborne)
Down by The River by Ray Wylie Hubbard
Beaten and Broken by The Mekons
I Left My Kazoo in Kalamazoo by Al Duvall
Ain't Gonna Take it No More by Whitey Morgan & The 78s
Don Houston by Slackeye Slim
That's My Pa by Sheb Wooley

(Background Music: Byrd's Boogie by Jerry Byrd & The String Dusters)
Got Just What I Want by Devil in the Woodpile
Defibulator by The Defibulators
Sadie Green (The Vamp of New Orleans) by Roy Newman & The Boys
Chocolate Jesus by Raw Death
Friendly World by The Kittens featuring Shari Elf
(Background Music: Mountain Boogie by Wally Fowler & His Georgia Clodhoppers)

Play it here:


UPDATE: July 2: Disappointing news. Tom Russell contacted me yesterday to tell me that he had to cancell Friday's SF Opry appearance because of a scheduling conflict. He did make a short recording, which I'll play on the show, but he won't be in the studio with me.

Singer-songwriter, artist-author Tom Russell, the man who wrote "Gallo de Cielo," "The Sky Above, The Mud Below," "Blue Wing," "Haley's Comet," "The Man From God Knows Where," "The Kid from Spavinaw," "When Sinatra Played Juarez" and way too many more to mention, will be appearing live in the studio on the Santa Fe Opry this Friday, July 3.

Russell, who recently moved to Santa Fe, recently released a double-CD concept album or "folk opera" or 'frontier musical" call The Rose of Roscrea

And he's got a gig on Tuesday July 14 at the Jean Cocteau Theater. (I'll be sure to ask him about those rumors I just started that he and George R.R. Martin are collaborating on a Game of Thrones episode about cockfighting in Westeros.)

So tune in Friday, 10 p.m. Mountain Time on KSFR. That's 101.1 in Santa Fe and Northern New Mexico and streaming live on the web at

Below is a promo video for The Rose of Roscrea.

And here is one of my favorite Russell tunes. That's Eliza Gilkyson on background vocals. (She's on Russell's new album too)

Sunday, June 28, 2015


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Sunday, June 28, 2015 
KSFR, Santa Fe, N.M. 
10 p.m. to midnight Sundays Mountain Time 
Host: Steve Terrell
101.1 FM
email me during the show! terrell(at)

Here's the playlist
OPENING THEME: Let It Out (Let it All Hang Out) by The Hombres
You Ain't Got Soul by The Routes
Demon Seed by Demented Are Go
Ashtray Heart by Captain Beefheart
Move Your Arse by A Pony Named Olga
Zombie Island by Jonny Manak & The Depressives
Tres Borrachos by Left Lane Cruiser
Outrun the Law by The Things
Ooh My Soul by Little Richard

Hola Petunia by Churchwood
Bad News Perfume by Barrence Whitfield & The Savages
I Want Your Body by Screamin' Jay Hawkins
Crystal Lake by J.C. Satan
I Hate to Dance by Lightning Beat-Man
Dead-End Street by The Monsters
Sweet Tooth King Khan & The Shrines
I Warned You by Motobunny

Don't Be Angry by Ros Sery Sothea
Don't Speak by Pan Ron
Better to Be Lucky Than Good by The Electric Mess
Bad Boy by Larry Williams
Steal Your Love by Jody Porter
Nest of The Cuckoo Bird by The Cramps
Tales of Old New York: The Rock Box by Jon Spencer Blues Explosion
Viewpoint by Negativland
A Hit Gone Wrong by Deadbolt
Facebook Drama by Northern Cree

The Saddest Story by the MSR Singers
Working for My Jesus by National Independent Gospel Singers
He Will Supply by The Gospel Wonders
I Know the Lord by His Angelic Choir with Rev. Lawrence Roberts
Guide Me by The Soul Finders
Jesus Said it by Heavenly Lights
Kneel and Pray by Cross Jordan Singers
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

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Saturday, June 27, 2015

Mose McCormack's March Madness

Mose getting ready for his KSFR performance last March
One of New Mexico's finest country songwriters and singers Mose McCormack appeared on the Santa Fe Opry  last March, so I wanted to post it on Mixcloud back then.

However, the recording didn't show up on the KSFR computer where it was supposed to be and I didn't I didn't locate it for several weeks. (Actually I didn't locate it, KSFR's crack staff did. Thanks, guys.)

Anywho, I finally got it posted. You can play it below.


Here's the first hour of the show. Mose's segment starts about 17 minutes into it.

Friday, June 26, 2015


Santa Fe Opry Facebook Banner
Friday, June 26, 2015
KSFR, Santa Fe, NM
10 p.m. to midnight Fridays Mountain Time
Host: Steve Terrell 101.1 FM
Email me during the show! terrel(at)
Here's my playlist :
OPENING THEME: Buckaroo by Buck Owens
Cowboys Are Frequently Secretly (Fond of Each Other) by Willie Nelson
I'm Little But Loud by Little Jimmy Dickens
Skip a Rope by Kentucky Headhunters
I Got a Date to Cut a Cake by Deke Dickerson
Back-Eyed Susie by Marty Stuart
The Week of Living Dangerously by Steve Earle
The Lost Cause by Legendary Shack Shakers
Ode to Billy Joe by Joe Tex
Lou's Got the Flu by Roger Miller

Preachin' to the Choir by Banditos
Sure Feels Like Rain by The Rev. Peyton's Big Damn Band
Bug Ya for Love by Dale Watson
Big River by Johnny Cash
A Song Called Love by Slackeye Slim
Blood on the Saddle by Tex Ritter
Jesus Met the Woman at the Well by Tom Russell with Eliza Gilkyson
To the Work by Keb Mo'
The Palace Roses by Tod Andrews

I'm Sorry by The Beaumonts
Let's Do Wrong Tonight by Simon Stokes
Hungover Together by The Supersuckers with Kelly Deal
Sin City by Chris Hillman & Herb Pedersen
Slidin' and Fightin' by Joey Delton
VD City by Woody Guthrie
That's the Way Love Goes by Lefty Frizzell
Who Put The Turtle In Myrtle's Girdle by The Western Melody Makers

Hogtied Over You by Billy Bacon & The Forbidden Pigs with Candye Kane
Just Because I Can by Seasick Steve
Lonesome On'ry and Mean by Waylon Jennings & The 357s
Thunderstorm by The Western Shore
Where I Fell by Robbie Fulks
Lonely Guy by Big Sandy
Friendly World by Shari Elf & The Kittens
Wrong's What I Do Best by Louie Setzer
Broadcaster's Prayer by Carl Shook
CLOSING THEME: Comin' Down by The Meat Puppets

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Steve Terrell is proud to report to the monthly Freeform American Roots Radio list


A version of this was published in The Santa Fe New Mexican 
June 26, 2015

Banditos are a big, hairy, Alabama-bred, Nashville-relocated sextet that I’d never heard of until a few months ago. Except for singer Mary Beth Richardson, the band looks like the wild-eyed sons, or maybe grandsons, of Lynyrd Skynyrd. (But please note, that’s an American flag on the group’s album cover, not a Confederate flag, which Skynyrd and other old Southern rock bands liked to drape themselves in.)

But even though Banditos resemble countless other Southern rock groups that came before them, their self-titled album is, hands down, the most impressive country rock debut I’ve heard in years. They play a crazy brew of rootsy, rocksy sounds. You’ll hear strands of ZZ Top, Janis Joplin, Chuck Berry, Hank Williams, bluegrass, jug-band, honky-tonk, rockabilly, and Stax-style soul.

In spite of the fact that Banditos boast three lead singers — Richardson, guitarist Corey Parsons, and banjo man Stephen Pierce — you won’t hear those generic, cheesy, pretty-boy, Eagles-style peaceful, easy harmonies that scar so much of the alt-country, “Americana” (I still hate that term) country-rock universe. No, this is a raucous roadhouse crew that sounds like it’s more interested in rolling you for beer money than gently wooing your ears.

In interviews, Parsons has named several punk and garage groups as influences — The Stooges, The Cramps, The Minutemen, Black Flag, and The Sonics, among others. That intensity definitely is part of the mix. But in another interview, the group praised Randy Travis. Actually, I don’t hear much of either Black Flag or Travis in Banditos, so it’s probably better to just sit back and enjoy their music instead of getting hung up playing “name that influence.”

On the album, Banditos save their best for the first. That’s the loud, frantic boogie called “The Breeze,” which is reportedly a tribute to the band’s late, great 1993 Ford Econoline van, which saw them through their early tours. Another instant favorite is “Long Gone, Anyway,” which actually has crazy kazoo solos, prominent banjo and saloon-style piano, and a melody similar to Mississippi John Hurt’s “Candy Man.”

The group comes closest to country music on the twangy “Blue Mosey #2,” which owes a melodic debt to “Lost Highway,” and the fast-paced honky-tonker, “Waitin’,” sung by Richardson. But Richardson’s big moments on this record are a couple of showstoppers called “No Good” and “Old Ways,” both soul ballads into which she pours her heart. Richardson doesn’t actually sound much like Janis Joplin, but she has a throaty warble and a slow-burn attack. She has a way of mesmerizing a listener, so you barely notice when her sweet coo soars into a shout.

I’m impressed, and I want to hear more of these Banditos.

Also recommended:

* Hey Y’all, It’s The Beaumonts by The Beaumonts. When I first played the first song on this CD, I almost thought Saustex Records put the wrong disc into the case. It wasn’t the music. The Texas Tornado-flavored “San Antonio” sounded pretty much like The Beaumonts with a Mexican accordion. 

But there was something unsettling about the lyrics. There was no profanity! No raunchy sex, no blasphemy, no mention of specific body parts and, with the exception of a quick mention of “cheap weed,” no reference to drugs!

This couldn’t be The Beaumonts I know and love.

But before I could eject the disc to check the label, the very next song, “If You Take Drugs (You’re Gonna Die),” showed the band back in its inspired lowbrow splendor. The song is a bluegrassy (nice mandolin!) stomp that warns “You’ll sell your soul” (and a certain part of your anatomy) “if you take drugs.”

Despite the false start, singer Troy Wayne Delco and the band have crammed in way more of their quota of drinkin’, druggin’, and depravity into this record. There is a song called “Lubbock in the Springtime” about the group’s hometown. Somehow they don’t seem as enamored of Lubbock as they are of San Antonio. After a line about the unpleasant aroma of the place, Delco sings, “I lost my pickup at the feedlot/After drinkin’ nine shots of apple schnapps.”

Live in San Marcos

“Change My Name” is a gleeful stab at “bro-country,” those Nashville hacks who quit their modeling jobs, wear their baseball caps backward, and try to pass themselves off as outlaws. 

“I’m Sorry” is a lengthy apology for all the places where the singer has puked, while “Baby, Tonight!” is about anticipating a heavy date in which Delco hopes to impress a woman with “dinner at my mama’s” and showing her his porno collection.

But if the lyrics veer toward the sophomoric, the truly amazing thing about The Beaumonts is what a tight band they are. “Hollywood” Steve Vegas is an ace country guitarist, while steel guitarist Chip Northcutt, who undoubtedly prays at least three times a day to the late Ralph Moody, is the group’s secret weapon.

In addition to this album, a few weeks ago, Saustex re-released the group’s first album,
Get Ready for The Beaumonts. The bio sheet for the album says, “The label has spared no expense in carefully restoring the master tapes which were rescued from a ‘Bonfire of Filth’ sponsored by the Central Lubbock Baptist Church.” 

Video time!

First a couple from Banditos

And here's a classic tune from The Beaumonts

Thursday, June 25, 2015

THROWBACK THURSDAY: Woody Guthrie, Anti-VD Crusader

This machine kills The Clap
When you think about Woody Guthrie you probably think about his Dustbowl ballads, his labor songs, or maybe his best-known song, "This Land is Your Land."

Chances are you don't immediate think of Woody's songs about venereal disease.

Yes, Woody Guthrie wrote songs about syphilis and gonorrhea with lines like:

"It's a holiday for some folks / it's a day to dance and sing / It's a wedding day for sweethearts / But it's a VD day for me"


Once young and once healthy and happy / Now a whirlpool of raving insane / Lost here in this wild V.D. city / Where nobody knows you by name.


“With syphilis my cargo, I’ll dock in your harbor no more.”

In 1949 Alan Lomax, the great folk-song field collector, got Woody a job with  the U.S. Public Health Service writing such songs for an anti-VD radio campaign.

Basically Woody took the "scared straight approach" singing about horrible effects of these diseases.

On one tune "VD Gunman's Blues," the singer fantasizes about shooting the woman who gave him the dose -- and her landlady too. I'll never understand why that one never became a hit.

Lots of politicians play "This Land is Your Land" at campaign rallies. But I promise to vote for the first one who uses Woody's "VD Avenue" in a campaign ad.

Several of these songs are included in the 2013 box  Woody Guthrie American Radical Patriot -- which also includes a 78 rpm record of Bob Dylan singing "VD City," which he recorded in the middle '60s.

When introducing "VD Guman's Blues," Woody remarks that if all the songs on the jukebox were about veneral disease, there wouldn't be so many cases of it.

Well I don't know about that, but here's a Spotify jukebox of Woody's VD songs.

Now don't go catching no bugs.