Sunday, December 30, 2012

TERRELL'S SOUND WORLD PLAYLIST

Terrell's Sound World Facebook BannerSunday, Dec. 30, 2012 
KSFR, Santa Fe, N.M. 
10 p.m. to midnight Sundays Mountain Time 
Host: Steve Terrell
Webcasting!
101.1 FM
email me during the show! terrell(at)ksfr.org

 OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres
Outrun the Law by The Things
Motorcycle Girl by Eric Burdon
I Love You Peggy by The Butthole Surfers
Mad Daddy by The Cramps
Sacred Darling by Gogol Bordello
You Are What You Is by Frank Zappa
I Can't Get No Nookie by The Masked Marauders

Touch Me I'm Sick by Mudhoney
Jailbait by The Flamin' Groovies
Will Success Spoil Me by Help Me Devil
Oxymoron by The Fall
Not in My World by Vicious Beatniks
Laughing Gas by Pirate Love
Not the Country of My Dreams by Kult
Not to Touch the Earth by The Doors

TOP 2012 Albums set

I Bought my Eyes by Ty Segall Band
World of Pain by Figures of Light
Watch the Corners by Dinosaur Jr.
Shoot the Freak by LoveStruck
I Didn't Miss You at All by The Electric Mess
Que Wow by Joe "King" Carrasco & The Crowns
Semi-Pseudo Sort-of Plan by Mission of Burma

It's All Too Much by Stan Ridgway
You Lie by Dr. John
Linda by Johnny Dowd
Everything is Broken by Betty LaVette
Black Thoughts by The Jon Spencer Blues Explosion
Jesus' Chariot by Neil Young & Crazy Horse

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Friday, December 28, 2012

THE SANTA FE OPRY PLAYLIST


Santa Fe Opry Facebook BannerFriday, Dec. 28, 2012 
KSFR, Santa Fe, NM 
Webcasting! 
10 p.m. to midnight Fridays Mountain Time 
Host: Steve Terrell 
101.1 FM
email me during the show! terrel(at)ksfr.org
 OPENING THEME: Buckaroo by Buck Owens & The Buckaroos
The Savior by The Imperial Rooster
Move It! by T. Tex Edwards
Yearning, Burning Heart by The Farmer Boys
Treat Me Like a Dog by Sleepy LaBeef
Shotgun by Anthony Leon & The Chain
Blinding Sun by Jimmie Dale Gilmore
Hangman Boogie by Cowboy Copas
Joy by Lucinda Williams

St. James Infirmary Meditations set
St. James Infirmary by Ray Condo & The Hardrock Goners
Dyin' Crapshooter Blues by David Bromberg
Streets of Laredo by Webb Wilder

I'm Walking the Dog by Webb Pierce
Cook County by Tom Edwards
Skid Row on My Mind by Chris O'Connell
Beer Holder by The Reverend Horton Heat
Rocking Dog by Ronnie Dawson

BEST OF 2012 set
Mother Blues by Ray Wylie Hubbard
Drug Through the Mud by Joe "King" Carrasco
Lesson in Depression by James Hand
We'll Get Through by The Reverend Peyton's Big Damn Band
Just Like a Monkey by South Memphis String Band
Ruby, Are You Mad at Your Man by Carolina Chocolate Drops
Afghan Forklift by Stan Ridgway
Serpentine Blues by Rachel Brooke
Soon After Midnight by Bob Dylan
This Land is Your Land by Neil Young & Crazy Horse

Silver Threads Among the Gold by Jerry Lee Lewis
Fool Number One by Ronny Elliott
He'll Never Cheat No More by Ann Clark
Dear Someone by Gillian Welch
CLOSING THEME: Comin' Down by The Meat Puppets

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Thursday, December 27, 2012

TERRELL'S TUNEUP: Best of 2012



A version of this was published in The Santa Fe New Mexican 
Dec. 28, 2012

Here’s the music released in 2012 that I enjoyed the most.

1) Meat and Bone by Jon Spencer Blues Explosion. A reunion album that actually works. The first studio album for Spencer’s unholy trio — which introduced a new generation of punk and alt-rock kids to real live razor-fightin’ Mississippi blues — is a true dandy, stuffed full of the maniacal, irreverent, rompin’-stompin’ sounds that shook the free world back in the ’90s. All the old ear-damaging intensity is still there. The Blues Explosion returns loud and trashy and sounding like they’re having a lot more fun than a bunch of middle-aged guys are supposed to be having.

2) Grifter’s Hymnal by Ray Wylie Hubbard. This album of folksy, blues-soaked redneck rock ‘n’ roll breaks little new musical ground, yet it’s refreshing. With his Okie drawl, Hubbard has a way of sounding wise even when he’s cracking wise. He seems highly spiritual even when he’s singing about shady nightclub characters and strippers. He sings proudly of being an upright, sober family man, yet he offers sharp insight into the carnal side of life. Hubbard is one of the very few musicians of his generation who has actually gotten better with age.

3) Locked Down by Dr. John. Hands down, the best record Mac Rebennack has made in decades.This music recalls his early work, but it has a sharp contemporary edge — for which we can thank producer Dan Auerbach, frontman of The Black Keys. It captured the thick, atmospheric, heady hoodoo Night Tripper excursions of his early albums — Remedies, Babylon, The Sun, Moon & Herbs, and especially his classic Gris-Gris. But refreshingly it doesn’t sound like a paint-by-number re-creation of the old sound.

4) Drop Dead by Figures of Light. This is blasting, primitive, raw two-or-three-chord rock ‘n’ roll. Some call it “proto-punk, ” but I think it might even be more proto than that. This band, originally based in New York, rose to obscurity in the early ’70s, broke up and revived itself a couple of years ago after Norton Records stumbled upon one of The Figures’ rare early singles. Singer Wheeler Winston Dixon and guitarist Michael Downey are aided by The A-Bones’ rhythm section (drummer Miriam Linna and Marcus “The Carcass” Natale on bass). And this time out, Mick Collins (of The Gories and The Dirtbombs) plays guitar and produced the album.


5) Slaughterhouse by Ty Segall Band. This is one of three (!) albums the prolific Californian released this yearthe others being the recently released Twins, (listed under his own name as opposed to the “Ty Segall Band”) and Hair, credited to Segall and White Fence (who is actually just one guy, Timothy Presley). I like Slaughterhouse best because it’s the noisiest and the most relentlessly rocked out, though there’s enough melody to keep it interesting. It’s a wild and thrilling show from the first cut, “Death,” which begins with blasts of crazy feedback before launching into a demonic joyride with guitar and bass riffs that suggest The Stooges’ “TV Eye.” Segall and band do a crunching cover of Bo Diddley’s “Diddey Wah Diddey” and “The Bag I’m In” performed by The Fabs and dozens of other obscure garage bands, but written by Fred Neil, more famous for “Everybody’s Talking at Me.”

6) A Mighty Lonesome Man by James Hand. Let’s get right to the point: This was the best basic old-fashioned, honest-to-God heartache and honky-tonk country music of the year. Maybe in the last several years.

The themes and situations Hand sings about and the simple music with which he conveys them are not groundbreaking or innovative. They are just honest songs that prove that old-school country can still sound fresh and that mighty lonesome men can still make mighty powerful music.

7) Old Times There by South Memphis String Band. The central theme of this album is race. Within the context of the music of old time string bands and jug bands of the 1920s and 30s, this integrated band --  which includes Contemporary blues growler Alvin Youngblood Hart, Jimbo Mathus (Squirrel Nut Zippers, etc.), Luther Dickinson (North Mississippi All Stars) plus new member bassist Justin Showah -- confronts the race issue head on, with songs new and old. Some have archaic, and, frankly, racist lyrics that are bound to shock the squeamish and politically-correct.

The String Band not only recreates a particular sound from a particular time, but forces a listener to confront what was going on in the world that gave birth to that music.

8) A Killer’s Dream by Rachel Brooke Despite her innocent-sounding voice and her pretty melodies, Brooke’s lyrics reveal a dark, spooky side and are full of stories of all the things that make American folk music the deep, mysterious force it is.

And for this album, she’s got a band,  a Florida group called Viva Le Vox. They give her sound heft, and Brooke gets the opportunity to rock and even strut.


9) Americana by Neil Young & Crazy Horse. This is bound to be my most controversial choice. Lots of people, including many Young fans, just couldn’t get into the selection of dusty old folk tunes like “Oh Susanah,” “Tom Dula” (better known as “Tom Dooley”), and “Gallows Pole” (no kids, Led Zeppelin didn’t write this song) — plus, for some reason, “God Save the Queen” (not the Sex Pistols song) and the doo-wop classic “Get a Job.”

But I love seeing these old songs being given new life.  I'm especially impressed at how Young delved into the hoary apocalyptic origins of "She'll Be Comin' Round the Mountain," which started out as an African-American spiritual about the end of the world called "When the Chariot Comes." (Young calls it "Jesus' Chariot.") And this album contains the best version of "Darling Clementine" since Huckleberry Hound's.

10) Glow in the Dark by LoveStruck. This is a basic guitar/bass/drums trio seeped in garage punk with recessive rockabilly DNA led by Danish-born Anne Mette Rasmussen. The album is full of rocked-out, hooky tough-chick tunes, but the best is the title song. a slow, sleazy minor-key tune that might best be described as “garage noir.”


Honorable Mention

* Mr. Trouble by Stan Ridgway
*Unsound by Mission of Burma
* Thankful n Thoughtful by Bettye LaVette
* Tempest by Bob Dylan
* Falling Off the Face of the Earth by The Electric Mess
* Between the Ditches by The Reverend Peyton’s Big Damn Band
* Que Wow by Joe King Carrasco
* Leaving Eden by The Carolina Chocolate Drops
* No Regrets by Johnny Dowd
* I Bet on Sky by Dinsosaur Jr. 

Below is my Spotify playlist featuring songs from the above albums that were available on Spotify. (16 out of 20 ain't bad!)

Wednesday, December 26, 2012

St. James Meditations

Earlier I was re-reading Sarah Vowell's 1999 essay on her continuing awe at the American classic song "St. James Infirmary."


Cab Calloway sang the song in a
Betty Boop spoof of Snow White
This song gave me the shivers then and it gives me the shivers now. Not just because it’s a morgue scene, not just because of the cold body lying there on a table instead of a bed, but because of the chill of the man’s words. Hearing it as a young girl, hearing it before I ever fell in love myself, it frightened me because of the way it shoots down the idea of love as a true possibility. If you need love in part to know you’ll be missed when you’re gone, what does it mean if your sweetheart stands over your icy corpse and — instead of wishing to rejoin you on some astral plane – fantasizes about impressing his buddies with a big dumb coin?

Vowell mentions several versions of the song: Louis Armstrong's, Cab Calloway's, Bobby "Blue" Bland's, even the '90s group Snakefarm's trip-hop version.

Re-reading the Vowell piece reminded me of a piece by Rob Walker in Gambit Weekly, which traced the song back even further. It's a direct descendant of a British folk tune called "The Unfortunate Rake" -- which is about a young man who apparently was dying from venereal disease. Other offspring of "The Unfortunate Rake" include the cowboy ballad "The Streets of Laredo" and Blind Willie McTell's "The Dyin' Crapshooter's Blues."



Writes Walker:

Sometimes, as in "Bad Girl's Lament," the ballad is about the woman, but basically follows the same pattern (an early mention of St. James' Hospital, a closing request for "Six pretty maidens with a bunch of red roses, six pretty maidens to sing me a song ..."). You won't find many of these exact same words in the most typically played version of "St. James Infirmary" today, but this at least is a back story that makes some of the latter's sentiments perfectly logical: The singer makes a jealousy-tinged boast and turns quickly to thoughts of his own death because his "baby" just died of VD. Dig?
A common thread is the wild fantasy of the narrator's grandiose funeral for himself.

Here are a few versions of the song. Like Vowell, I still get the shivers from some of these.









Two of my country heroes singing "Streets of Laredo."



This is one of my favorites: Ian McShane as Al Swearengen  singing "The Unfortunate Rake" in Deadwood. (Update 2015: Unfortunately, the Copy-rot Police yanked the original video I had here with the actual scene from Deadwood. You can still watch that HERE, but whoever posted it disabled embedding. So you can still hear it, without the footage, below.)

Sunday, December 23, 2012

TERRELL'S SOUND WORLD PLAYLIST

Terrell's Sound World Facebook Banner
Sunday, Dec. 23, 2012 
KSFR, Santa Fe, N.M. 
10 p.m. to midnight Sundays Mountain Time 
Host: Steve Terrell
Webcasting!
101.1 FM
email me during the show! terrell(at)ksfr.org

 OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres
HOUR 1 The 2012 Steve Terrell Christmas Special

Must Be Santa by Brave Combo
Sausage and Sauerkraut for Santa by The Polkaholics
Santa Claus, Go Straight to the Ghetto by James Brown
Did That Crazy Santa Claus by The Brian Setzer Orchestra
We Three Kings by Mojo Nixon & The Toadliquors
Santa Claus Boogie by Hasil Adkins
Rudolph the Red-Nosed Reindeer by Tiny Tim
Little Drummer Boy by Joan Jett
Gloria by Elastica

Walking in a Winter Wonderland by Leon Redbone
Hooray for Santa Claus by The Fleshtones
Run Rudolf Run by Keith Richards
We Wish You'd Bury the Missus by The Crypt Keeper
Santa Bring My Baby Back by The Reverend Horton Heat
Can Man Christmas by Joe West
White Christmas by Otis Redding
Fairy-tale of New York by The Pogues with Kirsty MacColl
Oh Holy Night by Brian Wilson

Hour Two: Freeform Weirdo Radio

Lupine Dominus by Thee Oh Sees
Million Dollars by Thinking Fellers Union Local 282
Dial 666 by Night Beats
Stick a Fork in It by LoveStruck
Third-Degree Burn by The Electric Mess
Rhinestone Cowboy by The Frontier Circus
Wave Goodbye by Ty Segall Band
I Shot the Devil by Gravelroad

Preaching the Blues by The Gun Club
Angel of Death by The Bassholes
Burnin' Love by The Hickoids
The Other Side of This Life by The Jefferson Airplane
Been Away Too Long by Soundgarden
I'm Tired by Bettye Lavette
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

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Friday, December 21, 2012

THE SANTA FE OPRY PLAYLIST


Santa Fe Opry Facebook BannerFriday, Dec. 21, 2012 
KSFR, Santa Fe, NM 
Webcasting! 
10 p.m. to midnight Fridays Mountain Time 
Host: Steve Terrell 
101.1 FM
email me during the show! terrel(at)ksfr.org
 OPENING THEME: Buckaroo by Buck Owens & The Buckaroos
Run Run Rudolf by Dan Hicks & The Hot Licks
My Baby Don't Love Me Anymore by Chris O'Connell
The Hoover Farm Exorcism by The Imperial Rooster (free download HERE)
Do Do Do by Commonwealth Jones
Tennessee Walts by Lolita #18
Jesus' Chariot by Neil Young
Pete, the Best Coon Dog in the State of Tennessee by Jimmy Martin
The Black Bird by Rachel Brooke

I'm Headed Back to Austin Tonight by Junior Brown
I'll Be Glad When You're Dead You Rascal You by Hank Thompson
Time's a Wastin' by June Carter
Little June by Tommy Collins
Two Hands by Wanda Jackson
There Stands the Glass by Ernest Tubb
Merry Christmas Darlin' by James Hand
You Don't Have to Move That Mountain by Tim O'Brien & Darrell Scott
A Whole Lot More by Holly Golightly & The Brokeoffs
Daddy Won't Be Coming Home This Christmas by Angry Johnny & The Killbillies

Cocaine by Dick Justice
Cosmic Accident by Kevin Deal
Seein' Double, Feelin' Single by Merle Kilgore
Holiday Hell by Dead Men's Hollow
On a Christmas Day by C.W. Stoneking
Feeling Mortal by Kris Kristofferson
Bathwater by The Calamity Cubes
Sweet Virginia by The Rolling Stones
Santa Looked a Lot Like Daddy by Anthony Leon & The Chain

Levi by Old Crow Medicine Show
Desert Rose by The Desert Rose Band
Do You Call That a Buddy? by Martin, Bogan & Armstrong
God Rest Ye Merry Gentlemen by Legendary Shack Shakers
Wine Spodee Odee by Kell Robertson
Cool and Dark Inside by Blonde Boy Grunt & The Groans
CLOSING THEME: Comin' Down by The Meat Puppets

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eMusic December

* Songs of a Freeborn Man by Jimmy Martin. When most casual bluegrass think of the classic performers of the genre, they usually think in terms of Bill Monroe, Flatt & Scruggs and The Stanley Brothers. But there's another name that belongs in that pantheon -- Jimmy Martin.

 A veteran of Monroe's Bluegrass Boys -- and a longtime devotee of Monroe's music -- Martin, whether he meant to or not, infused a rock 'n' roll spirit into his music. Anyone who's enjoyed Junior Brown ripping through Martin's signature song, "Freeborn Man," could testify to that. Martin doesn't use any electric instruments on his version (or anywhere else here for that matter), but you can hear the blues in his soul and the growl in his voice.

 This is hardly a collection of essential Martin recordings. The 25 tracks on this album, released after the turn of the century, are compiled from three different projects, according to Jon Weisburger in a No Depression review:

 "... a late 1950s home recording of Martin and two of his greatest Sunny Mountain Boys (with bass overdubbed years later), a live album originally released in 1990, and an album of duets recorded in the early 1990s that may or may not have been sold at his record table for a brief period .... 

 Those duet partners include Little Jimmy Dickens, Leonna Williams, Marty Stuart, Ricky Skaggs and Jett Williams. Most of the stars wisely don't try to dominate the feisty Martin.

One strange aspect of this album is that tacked on to the songs that begin and end the album is a snatch of a tune not by, but about Martin. It's Gary Brewer singing s "Jimmy Martin Songs for Dinner," a re-written version of Tom T. Hall's "Bill Monroe for Breakfast."

 On the first track, the Brewer song and Martin's "Made in the Shade If a Tree Don't Fall" are separate by the outgoing message on Martin's answering machine that features the barks of one of his coon dogs. Later there's a song about "Pete the Best Coon Dog in the State of Tennessee."

One of my other favorites here is about another one of Martin's animals, "Jimmy's Mule" which features some world-class hee-hawing by Martin.

There's not a bad track on here, although there's a few too many over-covered bluegrass standards here for my own tastes -- "The Sunny Side of the Mountain," "Molly and Tenbrooks," the obligatory "Will the Circle Be Unbroken" etc. Of course Martin does all of these justice. And his version of "Little Maggie" is just wonderful.

* Putrifiers II by Thee Oh Sees. I only became a fan of this San Francsco group earlier this year when I saw them on the same bill as The Gories and Kid Congo Powers & The Pink Monkeybirds in Austin during South by Southwest. With both a male and female vocalist (John Dwyer and Bridget Dawson), they're a cool blend of garage pop with some almost Black Angel-like psychedelic overtones. You might even hear some overtones of Yo La Tengo.

Soon after seeing them, I downloaded last year's Carrion Crawler/The Dream, which verified my first impression of Thee Oh-Sees as a band I wanted to follow.

However, this one, their latest album, released in September, is something of a disappointment. No, it's not bad and it starts out strong with a couple of fuzzed-out rockers, "Wax Face' and a glam-rock contender called "Hang a Picture."

Later on there's some fine treats like "Flood's New Light" (a song showing the influence of '60s soul) and "Lupine Dominus," which, after 25 seconds or so of a piercing organ note and electronic sputtering, breaks into a high-powered romp that sounds like the work of a rock 'n' roll cargo-cult that worships The Beatles' Revolver.

If the rest of the album was half as impressive as "Lupine Dominus" I wouldn't be complaining . Unfortunately too many of the remaining songs are anemic. There's the plodding title song; the dreamy flower-power reminiscent "So Nice"; and, speaking of The Fab 4, "Wicked Park" sounds like Dwyer and Dawson imitating Robyn Hitchcock imitating The Beatles.

I have to admit that I've come to enjoy "Will We Be Scared," which sounds like a girl-group era tune performed by Martians.

So I'm not giving up on Thee Oh Sees. I just hope they pick up the pace on their next reccord.


* Who Put the Benzedrine in Mrs. Murphy's Ovaltine? by Harry "The Hipster" Gibson. I've got Ronny Elliott to thank for sparking my interest in this proto rocker. So I'll give Ronny the task of explaining the story of the man born Harry Raab, who had played piano for Dizzy Gillespie, Charlie Parker, Billie Holiday, and other greats. (from Ronny's song "Handsome Harry the Hipster." on his album I've Been Meaning to Write.)

“In the ’40s, Harry began pumpin’ up the rhythm, and tearin’ up the keyboards,” Elliot drawls. “With rollicking songs like ‘Handsome Harry the Hipster’ and ‘Get Your Juices at the Deuces,’ he was bringing hip Manhattan its first taste of rock ’n’ roll.”
Gibson in his songs sang about the joys of drugs. The title song of this collection, some say, got him "blacklisted" -- though I have to wonder whether it was his own drug habit that made it hard for him to find work in the late '40s and  '50s instead of evil censors -- whoever they were -- upset over that one funny novelty song. (I mean, hell, the song "Wacky Dust" hardly stunted Ella Fitzgerald's career. Cab Calloway did lots of songs about dope and he did OK.)

This album consists of material Gibson did in the '70s and '80s. Many if not most of the songs are dope humor that make Cheech & Chong seem sophisticated. The first words out of his mouth on the opening track "Hey Man! You Just Mde My Day" are "I'm the kind of guy who likes to get high on reefer, hash and snow." Then there's "I Flipped My Wig in San Francisco" and "I Want to Go Back to My Little Grass Shack" (Grass! Get it?)

But there's something irresistible about Harry the Hipster , especially on the songs where he's backed by a tasty little jazz combo. And the 7-minute THC-laden shaggy-dog tale "Me and Max" can't help but remind you of those long hilarious stories Tom Waits told, to similar musical accompaniment, on Nighthawks at the Diner.

Read more about Gibson HERE and find Ronny Elliot's latest album HERE

* Sinner Man by Esquerita. This album comes from sessions recorded in New York City in 1966. Esquerita sings and plays piano and organ, sometimes switching back and forth during the course of a song. He’s accompanied only by a drummer, whose name has been lost to history.

The fiery eight-minute title track that opens the album (there’s also a shorter version later) should be required listening for any student of soul music. Inspired by Nina Simone’s take on the old spiritual, Esquerita pounds the piano as frantically as his drummer pounds the skins. He sings “Running to the Lord/He told me to go on to the devil” like someone who had just had that conversation a few minutes before. And when he sings “Went to the devil/The devil he was waiting,” you can almost smell the brimstone.

Sound familiar? I reviewed this in Terrell's Tune-up not long ago. CLICK HERE to read the full review.

Thursday, December 20, 2012

TERRELL'S TUNEUP: Soundgarden Roars Again

A version of this was published in The Santa Fe New Mexican 
Dec. 21, 2012

Years before Nirvana came to symbolize the Seattle sound — and something called “grunge,” a label that no “grunge” band actually embraced — a group called Soundgarden seemed perched to conquer the world.

It started out in the mid ’80s, recording on venerable independent labels like SST and, yes, Sub Pop. With a fresh metallic punch — too derivative, in the early days, of Led Zeppelin and Black Sabbath — by the early ’90s Soundgarden had evolved into a powerful musical force.

The band’s album Badmotorfinger, released in October 1991, was nothing short of a head-twister. With songs like “Rusty Cage,” “Jesus Christ Pose” and “Outshined,” it was metal, all right, and but it was metal hurling itself into exciting, unexplored directions.

But in what definitely was a case of bad timing, this album was released just after Nirvana’s breakthrough Nevermind, which (sorry) outshined Soundgarden’s album in terms of national attention and critical acclaim But then and now I believe Badmotorfinger was the superior album. And, in fact, I still like it even more than Superunknown, Soundgarden’s most popular album, which came out in 1994.

Soundgarden called it quits in 1997. But they’re back. The musicians reunited for some live shows a couple of years ago. And late this year they unleashed King Animal, an album of all new material. All hair-metal casino acts, nu-metal pretenders, indie-rock shoegazers, and emo wimps should flee in fear. This album, especially the first half, is a doozie.

If Soundgarden fans back in, say, 1999 could have heard King Animal, they probably would have been delighted, but they would not have been shocked. Thankfully, there’s no self-conscious effort to update the band’s basic sound. No fancy, zingy technological touches are noticeable.

Granted, there are some signs of maturity on this record. The band employs a little more acoustic guitar than it did in the old days on songs like “Black Saturday” and “Bones of Birds” (which reminds me of Temple of the Dog, an early 90s album that included Soundgarden members.) But singer Chris Cornell still wails — if not quite as loud as the old days. Kim Thayil’s guitar still leads the screaming life. And drummer Matt Cameron and bassist Ben Shepard are still one brawny rhythm section.

King Animal starts off, appropriately enough, with a rocker called “Been Away Too Long.” It’s the lament of someone returning to his hometown, though it’s hard not to see it as a metaphor about going back to a “town” called Soundgarden. “I’ve been away for too long/Though I never really wanted to stay.”

The next song, “Non-State Actor,” is also a pounder, with Cornell seemingly giving voice to some underground populist movement: “We’re not elected but we will speak/We’re not the chosen, but we believe/And we settle for a little bit more than everything.”

The thumping “Blood on the Valley Floor” is Soundgarden at its most Black Sabbath-like, while the opening strains of “By Crooked Steps” might remind you of early U2, until the entire band bursts in. The song starts out with Cornell singing about “stealing love” and declaring, “I’m a walking believer/I’m a ghost and a healer/I’m the shape of the home inside your mind.” That sounds nice and positive. But this ain’t no New Age ballad. The narrator soon reveals a harsher sider. “Blood raining down/Cuts a deep, deep river/And we’re diving.”

The album ends with “Rowing,” a five-minute slow burner that almost suggests an old chain-gang chant. “Don’t know where I’m going, I just keep rowing” goes the refrain.

Let’s hope Soundgarden keeps on rowing through the murky river of modern music.

Also Recommended:

The Frontier Circus
* Sideshow EP by The Frontier Circus. Here’s a four-song disc from a group I currently consider the best cover band in America. This is a nifty follow-up to the Conway, Arkansas, group’s debut album, A Little Bit Psycho … A Little Bit Western, released last year. That one featured the Circus’ feedback-drenched psychedelic/punk versions of songs by Johnny Paycheck, Jefferson Airplane, Wanda Jackson, and Roky Erickson, among others. My favorite there is a loud, grating mash-up of “A Horse With No Name” and “Cool Clear Water.”

On Sideshow, Frontier Dan and his combo perform crazy versions of songs made famous by Nancy Sinatra, The Velvet Underground, Cher, and fellow Arkansas native Glen Campbell.

They’re all good, but the best is the visionary take on the Lee Hazlewood-penned “Some Velvet Morning,” on which Dan sings both the Nancy and Lee parts while the guitars sound like a Martian attack. It sounds kind of funny when Dan sings “White men always called me ‘Indian squaw’” on Cher’s “Half-Breed,” but this is one rocking tune.

“All Tomorrow’s Parties” retains the folk-rock jangle of the Velvets’ original, and Campbell’s “Rhinestone Cowboy” is pure joy (even though my favorite cover still is local boy Joe West’s version.)

My only complaint is that this is a four-song EP and not a full album. This might just be a sideshow, but I’m looking forward to seeing what’s inside the big top for The Frontier Circus.

Blog Bonus:

Enjoy yourself some videos:




And here's a little Circus music

Tuesday, December 18, 2012

Merry Christmas from The Big Enchilada Podcast!

THE BIG ENCHILADA


Once again it's Christmas time at the Big Enchilada. Hang your Yule logs and burn your stockings, It's the War on Christmas and it's gonna rock.



Here's the playlist:

(Background Music: Jingle Bells by Rebirth Brass Band)
City of Christmas Ghosts by Goldblade feature Poly Styrene
Tamale Christmas by Joe "King" Carrasco y El Molino *
Boogie Woogie Santa Claus by Mabel Ross
Santa is a Swinger Now by Candye Cane
Santa's Helper by Joe Poovey
Santa's Gonna Shut 'em Down by Untamed Youth
Jingle Bells by Richard Cheese
(Background Music: Black Santa by King Salami & The Cumberland 3)

White Elephant by The Hentchmen
The Only Law That Santa Clause Understood by Ted Lyons
Under the Tree by Drunken Thunder 
Christmas Tree on Fire by Holly Golightly
The Death of an Elf by Rev. Glen Armstrong
Merry Christmas Polka by Sonny Cash
Pappa Ain't No Santa, Mama Ain't No Christmas Tree by Butterbeans & Susie
(Background Music: Sleigh Ride by El Vez)

Please Daddy, Don't Get Drunk This Christmas by Anthony Leon & The Chain
Drinking Up Christmas by The Dwarves
You Better Ask Santa by The Yule-Tones
Christmas with Satan by James White

* From Holiday HAAM Jam, a benefit CD for the Health Alliance for Austin Musicians.

Play the darned thing here:



 For all my Christmas podcasts, CLICK HERE

Sunday, December 16, 2012

TERRELL'S SOUND WORLD PLAYLIST


Terrell's Sound World Facebook BannerSunday, Dec. 16, 2012 
KSFR, Santa Fe, N.M. 
10 p.m. to midnight Sundays Mountain Time 
Host: Steve Terrell
Webcasting!
101.1 FM
email me during the show! terrell(at)ksfr.org

 OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres
Heartbreak Hotel by The Cramps
Hey Sailor by The Detroit Cobras
Bottle Baby by Jon Spencer Blues Explosion
Personality Crisis by Johnny Thunders
Ring Dang Do by Lyres
My Love Machine by The Fleshtones
The Tongue by The Ty Segall Band
The Wolf Song by LoveStruck
Christmas Boogie by Canned Heat & The Chipmunks
Boogie Woogie Santa Clause by Busy McCarroll

Non-State Actor by Soundgarden
Holy Juke Joint Beat by The Juke Joint Pimps
This Shit is Gold by Holly Golightly & The Brokeoffs
Half Breed by The Frontier Circus
Eggnog by The Rockin' Guys
Happy Wanderer by The Polkaholics
Wiener Dog Polka by Polkacide

Run Run Run/ Who Do You Love ? by The Plimsouls
Before You Accuse Me by The 13th Floor Elevators
Hot Pastrami with Mashed Potatoes by Joey Dee & The Starliters
Long Haired Guys From England by Too Much Joy
Sock it To Me Santa by King Salami & The Cumberland 3
Reindeer are Wild by Thee Headcoats with  Thee Headcoatees
This is Hi-Fi by Mission of Burma
Apartment Wrestling Rock 'n' Roll Girl by Lightning Beat-Man & The Never Heard of Ems

Dark Night of the Soul by Dangermouse, Sparklehorse & David Lynch
Get Happy by Simon Stokes
It's Bad You Know by R.L. Burnside
Jenny I Read by Concrete Blonde
Death is Not the End by Nick Cave & The Bad Seeds
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

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Thursday, December 13, 2012

TERRELL'S TUNEUP: Dark Cries from the Country

A version of this was published in The Santa Fe New Mexican 
Dec. 14, 2012

I was afraid that there was no way Rachel Brooke’s new album, A Killer’s Dream, could live up to her previous one, Down in the Barnyard. I was correct in thinking that the new one would be a lot different from Barnyard.

But my fears were for naught. The new album is just as good if not better than her earlier effort.

Brooke’s previous albums have mostly been acoustic affairs. On her new one, a lot of the songs feature the sweet-voiced Michigan country singer backed by a Florida group called Viva Le Vox. The band gives her sound heft, and Brooke gets the opportunity to rock and even strut. Together they do a creditable version of a Fats Domino song, “Every Night About This Time.”

When I reviewed Down in the Barnyard a couple of years ago, I called Brooke the “Wednesday Addams of country music,” because, despite her innocent-sounding voice and her pretty melodies, her lyrics reveal a dark, spooky side and are full of stories of murder, violence, vengeance, and all the things that make American folk music — real folk music, not the watered-down stuff too many people think is folk music — the deep, mysterious force it is.

The lyrics of the new album aren’t quite as violent as those on Barnyard, but there are still plenty of dark corners. The song “Serpentine Blues” opens with Brooke singing, “I had a dream last night, a big black rat in my bed.” Spookier still is a tune called “The Black Bird,” in which she explores the paranoia prompted by forbidden love. “Fox in the Hen House” sounds like an easygoing blues tune, but by the end of the song Brooke is threatening her romantic rival with a firearm.

For this album Brooke rerecorded a couple of songs from an acoustic EP she released earlier this year. Personally, I like the new versions of “Late Night Lover” and “Ashes to Ashes” better. Both feature a sleazy sounding trumpet, while “Late Night Lover” also has an uncredited musical saw — or at least something that sounds like a saw. You might think it’s a torch song from another planet.

The most emotional song here is “Old Faded Memory,” a duet with a guy named Lonesome Wyatt (from the band Those Poor Bastards). This a melody that could be straight out of the 1890s. It’s a story of two elderly people, once a couple, separated by the decades, pining for each other.

“And with my last breath unto death may I stare/I’ll remember the life that we never shared,” Brooke sings. It’s sentimental, but it packs a punch.
^
Also recommended:

* Sunday Run Me Over by Holly Golightly & The Brokeoffs. For the past five years or so, British-born singer Holly Golightly and her partner, “Lawyer Dave” Drake, have quietly cranked out some of the most enjoyable country-soaked, devil-fearing blues-inspired rock ’n’ roll records you’ll find anywhere. These albums seemingly pop out of the soil of the couple’s Georgia farm like misshapen pumpkins or oversized zucchinis that look like Dick Nixon.

Golightly clearly loves the roots music of her adopted land, and she and Drake play it in an irresistibly irreverent way. Their latest album is an unmitigated joy.

Golightly is a protégée of English garage-rock renaissance man Billy Childish. If you haven’t heard Holly’s old band Thee Headcoatees, a ladies auxiliary of Childish’s Thee Headcoats, that’s your next assignment. One of the tunes here, a swampy stomper called “This Shit Is Gold” actually reminds me of Holly’s Childish days.

Sunday Run Me Over kicks off with “Goddamn Holy Roll,” an urgent gospel-infested rocker with some devilish slide guitar from Lawyer Dave. It’s followed by the slow, menacing “They Say,” another showcase for Dave’s slide. And this is followed by “Tank” — with some chicken-scratching lead guitar that sounds as if Jerry Reed has risen from the dead. “One for the Road” is a clunky-funky waltz that has echoes of vaudeville or English music hall songs.

While Golightly wrote most of the songs here, The Brokeoffs also do some wonderful covers. “I Forgot More” is a sad, sweet country tune made famous by The Davis Sisters (though I first heard it done by Johnny Cash in the ’60s).

Lawyer Dave steps out front to sing a hilarious take on an old Mac Davis novelty, “It’s Hard to Be Humble.”

(Involuntary flashback: back when I was a substitute teacher about 30 years ago, I overheard a girl at a local junior high talking to her friend say, “Did you see Mac Davis on TV last night? He sang the most conceited song!” Irony deficiency is a most tragic condition.)

The most subversive cover song I’ve heard lately is The Brokeoffs’ rewrite of Wayne Raney’s finger-wagging classic, “We Need a Lot More of Jesus (And a Lot Less Rock and Roll).” Golightly has retitled it, “A Whole Lot More …” and, true to her punk-rock heritage, basically reversed the sentiment, singing “We need a whole lot less of Jesus and a lot more rock ’n’ roll.”

The couple harmonizes, “You can read it in the morning paper, hear it on the radio/Christ has taken the nation, and we don’t all want to go.” I hope their neighbors in rural Georgia understand.


Queen of the wild frontier: E. Christina Herr & Wild Frontier are having a CD-release party for her hot-off-the-presses album Americana Motel at Cowgirl BBQ (319 S. Guadalupe St., 982-2565) on Saturday, Dec. 15, at 8:30 p.m. There is a $5 cover.

Herr is an Albuquerque singer who has a warble in her voice that may remind you of Chrissie Hynde.

A follow-up to her 2009 album Lullabies & Cautionary Tales, Americana Hotel is a collection of 11 original songs, plus one impressive drum-heavy cover of Bruce Springsteen’s “State Trooper.” Hopefully she’ll be doing this one on Saturday, as well as the title song and “Townes,” which may or may not be a tribute to the late Mr. Van Zandt.

BLOG BONUS

Here's Our Miss Brooke doing an early version of "Late Night Lover."

And here's Holly Golightly & The Brokeoffs singing about the Rapture

SF MUSIC ALLIANCE PARTY

Mariachi Buenaventura 
The newly formed Santa Fe Music Alliance is hosting its first fundraiser/membership drive/holiday party. There's going to be live music by Mariachi Buenaventura and the Swinging Ornaments plus "special guests."

The shindig is 5 pm to 8 pm Sunday at the Cowgirl BBQ (which will be providing free appetizers.)

The party is free but expect the group to hit you up to buy a membership, which is only $20 a year (cheap).

And, in case you were wondering, "The Santa Fe Music Alliance is a non-profit organization of musicians, music industry professionals, and music advocates. The SFMA is dedicated to fostering creativity and community by supporting a sustainable and vital environment for music of all genres in Santa Fe, N.M."

So go foster some creativity and go to the party Sunday.

Wednesday, December 12, 2012

Adventures in Santa Fe Music

(not my Teddy bear.)
I had kind of a flashback today when I was at an auto glass repair shop making an appointment to replace my windshield. I realized I'd been in the exact same place just over 34 years ago.

It was October 1978. At the time I had a weekly Sunday-night gig at this bar called Faces in DeVargas Mall. (It was where the Baskin-Robbins ice cream shop is today.)

One night there was a table full of rowdy members of a local basketball league. A bunch of drunken  jerks. (I'd better be careful. Most of them probably still live here.)

They got in some kind of hassle with Faces' bouncer, who kicked them out.

But apparently the basketball boys came back for revenge.

They broke every damned windshield of every vehicle in the parking lot, including my new 1979 Ford Fiesta. Needless to say, the windshield cost a lot more than I made that night.

Otherwise, a pretty good gig for a Sunday.

Monday, December 10, 2012

TERRELL'S SOUND WORLD PLAYLIST


Terrell's Sound World Facebook BannerSunday, Dec. 9, 2012 
KSFR, Santa Fe, N.M. 
10 p.m. to midnight Sundays Mountain Time 
Host: Steve Terrell
Webcasting!
101.1 FM
email me during the show! terrell(at)ksfr.org

 OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres
Funky Russia by Alien Space Kitchen
Some Velvet Morning by The Frontier Circus
Third Degree Burn by The Electric Mess
Glow in the Dark by LoveStruck
Girl from '62 by Thee Headcoats
Dick Shake by The Juke Joint Pimps
Black-Hearted Woman by The Standells
Not So Sweet Martha Lorraine by Country Joe & The Fish

Red Hot by Sam the Sham & The Pharoahs
Big Boss Man by The Syndicate of Sound
Lockdown Blues by The Angel Babies
In the Blood by Mudhoney
Strawberry Soda by Bastard Winos
Funtime by Iggy Pop
Mine All Mine by The Beat Rats
ZIp a Dee Doo Da by The Mummies
Honey Don't You Want a Man like Me by Frank Zappa

Wasted Time by The Grannies
Blood Rush to Your Head by Dennis Most
(Yeah Baby) It's Because of You by Outrageous Cherry
Anti-Disco by The Stilletos
Caught You Red Handed by The Fuzztones
El Tren de la Costa by The Del Moroccos
Try Me One More Time by Demon's Claws
Adeline by The Nevermores
Flood's New Light by Thee Oh Sees

Wasted by Pere Ubu
Pierce the Morning Rain by Dinosaur Jr.
One Night of Sin by Simon Stokes & The Heathen Angels
The Sniper by The Black Angels
Dagger Moon by Dead Moon
John Lawman by Roky Erikson & Okkervil River
Soul Searchin' by Solomon Burke
No Regrets by King Khan & The Shrines
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

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Friday, December 07, 2012

THE SANTA FE OPRY PLAYLIST


Santa Fe Opry Facebook BannerFriday, Dec. 7 , 2012 
KSFR, Santa Fe, NM 
Webcasting! 
10 p.m. to midnight Fridays Mountain Time 
Host: Steve Terrell 
101.1 FM
email me terrel(at)ksfr.org

Tonight's show was pre-recorded so I could play at the Santa Fe Children's Museum benefit.

 OPENING THEME: Buckaroo by Buck Owens & The Buckaroos
Fox in the Henhouse by Rachel Brooke
Blow Your Top by Pearls Mahone
Go-Go Truck by The Defibulators
Shake Shake by The Bluetones
Move a Little Closer by The Collins Kids
Chicano by Doug Sahm
You're an Angel by James Hand
Wanted Man by Johnny Cash
I Want to Be Sedated by Two Tons of Steel
Tonight I Think I'm Gonna Go Downtown by Mudhoney
Tamale Christmas by Joe King Carrasco

 Hang Up and Drive by Junior Brown
Shady Grove Gypsy Moon by Jayke Orvis
Roly Poly by The Last Mile Ramblers
Purr Kitty Purr by Sid King & The Five Strings
Turn Around by Holly Golightly & The Brokeoffs
Bourbon Street Lights by Jason Ecklund
You Put the X in Christmas by Dead Men's Hollow

Americana Motel by E Christina Herr & Wild Frontier
Parallel Bars by Robbie & Donna Fulks
Gideon by Kevin Deal
Jack's Red Cheetah by Bob Coltman
San Antonio Romeo by Cathy Faber's Swingin' Country Band
Cold Black Hammer by Joe Ely
Boom Town Boogie by Butch Hancock, Terry Allen, Jo Carol Pierce & Joe Ely
Bathwater by The Calamity Cubes
Carved Your Name by Angry Johnny

Waltz Across Texas by Ernest Tubb
One Sweet Hello by Merle Haggard
I Wish I Was Back in Vegas by Stevie Tombstone
So Much to Do by Willie Nelson
Jessie's Mom by Nels Andrews
In Your Wildest Dreams by The Rev. Horton Heat
One Endless Night by Jimmie Dale Gilmore
CLOSING THEME: Comin' Down by The Meat Puppets

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

TERRELL'S TUNEUP: From the Sonic Garage

A version of this was published in The Santa Fe New Mexican 
Dec. 7, 2012

Here are a few new, or at least fairly recent, records from the sonic garage.

Just A.S.K. by Alien Space Kitchen. This Albuquerque group describes its sound as “hot interstellar space punk for consenting adults.” Dr. Rox (Dru Vaughter) handles guitar bass and most of the lead vocals, and Chiffon (Noelle Graney) plays drums and sings. They create a pleasant, upbeat, kind of garagey, kind of poppy sound with catchy tunes that might remind you a little of early New Pornographers.

Did I say catchy? Some of these melodies will stick in your head all day. “Lucky Boy,” the opening track, might be the best one on the album. It’s probably the hardest-rocking one, with lyrics extolling the joy of being a local rock hero. “Give those lucky bones another throw/Let’s get this rock ’n’ roll show on the road,” Vaughter sings.

 In “Parallel Universe,” an acoustic guitar is prominent, and the lyrics are dark. “In the new world paradigm, everyone’s a whore.” Though it doesn't sound like country music, in the last verse Vaughter name-checks the Hillbilly Shakespeare: “To quote the late Hank Williams, no one gets out alive.”

Graney sings lead on “Red Planet,” a dreamy tune aided by Steve Brittenham on organ and Vaughter’s wah-wah pedal. The group lives up to its space-alien heritage on “Alien Frontier,” thanks to guest theremin player Dan Vascko. And even though “Funky Russia” doesn’t sound particularly funky or remotely Russian, it’s a punchy little number.

The least interesting songs here are the folk-rock influenced numbers such as “I Can’t See It Anymore” and “The Cause.” Alien Space Kitchen should stick to the space pop and leave the warmed-over alt country to lesser mortals.

Just A.S.K. is available in vinyl, CD, and MP3 downloads.

Glow in the Dark by LoveStruck. The group isn’t well known in these parts, but it is one of the finest bands I’ve ever met hiding out at the GaragePunk Hideout. LoveStruck is a basic guitar/bass/drums trio seeped in garage punk with recessive rockabilly DNA.

The band is based in Brooklyn, though frontwoman Anne Mette Rasmussen is originally from Denmark. She sings and plays guitar. (Her day job is technical fashion designer.) Bassist Stu Spasm and drummer Rich Hutchins round out the band.

This is LoveStruck’s second full album, following 2010’s Will the Good Times Never End? And it’s no sophomore slump. The group hasn’t lost that original spitfire spirit and knack for writing good hooky tunes that made me like it in the first place. But the sound on the new album is more varied, more experimental (without sounding self-conscious), and ultimately more memorable than before. It’s the sound of a band that’s growing.

Lovestruck in action
I love LoveStruck’s rocked-out tough-chick tunes like “Dogs and Dolls,” “Don’t Look Down,” and “Stick a Fork in It” as well as frantic sonic craziness like “Ji Ha.” Another standout is “The Wolf,” a minor-key psychedelia-infused track (someone’s playing a lysergic organ on this one) that Nick Cave might appreciate.

I can’t tell what the song “Gypsy” is about, but the crazy rhythms are a nice showcase for drummer Hutchins. I’ve already praised the song “Shoot the Freak” in this column. Named after a now-defunct game booth on Coney Island, this brash little cruncher — with Rasmussen shouting “I am a lunatic!” — is one of the strongest cuts on the recent GaragePunk Hideout Halloween collection, Garage Monsters.

But the song against which I’ll measure all future LoveStruck material is the title track. It’s a slow, sleazy minor-key tune that might best be described as “garage noir.” There’s even a cello that comes in in the middle of the song, but it’s mixed so masterfully that it’s not overwhelming, as cellos sometimes are with rock ’n’ roll songs.

I’m tempted to complain that the album is too short — 10 songs weighing in at just 23 minutes. It left me wanting more. But LoveStruck accomplishes more in 23 minutes than a lot of bands do in an hour.

* Now More Than Never by The Nevermores. This high-energy St. Louis foursome is influenced by a lot of the usual garage-rock suspects — The Sonics, The Stooges, Billy Childish, Edgar Allan Poe — Well maybe the latter isn’t that usual. I understand that he wrote a poem about a bird or something.

Actually, the band’s previous album, Nevereverafter, featured several songs ripped from the pages of the poet —“Annabel Lee,” “I Lost Lenore,” “Tell-Tale Heart.” They aren’t the first musicians to be inspired by Poe. Folkie Phil Ochs put the poem “The Bells” to music in the ’60s.

On this album, The Nevermores’ Poe lore isn’t quite so obvious. For instance, I don’t think Edgar Allan had anything to do with the song “Tangerine Submarine.” But there are plenty of tracks to give listeners a mild case of the creeps as they rock out.

Among these are “Shallow Grave” (another one from Garage Monsters), “I’m Waiting” (in which the narrator appears to be a stalker), and “Adeline,” in which the narrator compares his love to the “ghostly remnants of an opium dream.”

* What kind of message does this send to the children? You might know Gregg Turner as a former Angry Samoan, a Roky Erickson accolade, and a writer of crazy songs about chupacabras and hantavirus. But he also loves children and has two beautiful little girls. Turner got bent out of shape when he heard about the financial woes of the Santa Fe Children’s Museum, so he organized a benefit with local favorite Jono Manson — who, like me, has the weird distinction of singing at Turner’s wedding many years ago. Also on the bill are Turner, naturally, and Art of Flying from Taos. I’ll make one of my periodic comical attempts to play a couple of songs. The show is at 7:30 p.m. on Friday, Dec. 7, at Gig Performance Space, 1808-H Second St. Admission is $10.

Blog Bonus: I couldn't find anything by Alien Space Kitchen, but here's a couple of videos from LovesStruck and The Nevermores.

This is from LoveStruck's first album



And here's The Nevermores ...

Wednesday, December 05, 2012

Enjoy This Rachel Brooke Song (and Cartoon)


I just got a copy of Rachel Brooke's new album Killer's Dream last weekend and I'm loving it.

I'll start playing it on The Santa Fe Opry this Friday.

Meanwhile, enjoy "The Black Bird," one of the songs, accompanied by a cool cartoon. The animation is by Matt Rasch








Tuesday, December 04, 2012

Robert Plant Likes Junior Brown

Indulge me in a little name-dropping, but I just got a call this morning from my old high-school buddy Jamie Brown, better known as Junior Brown.

One thing he mentioned is that Robert Plant recently sung his praises in The Washington Post.

I checked it out and he's right. Talking about living in Austin, Texas, Plant said:

“It’s fantastically stimulating. And it attracts all kinds of genres of music, which is really good. So you can go to the Long Center [for the Performing Arts] and hear the opening of a great classical season – just stunning! – and then go around the corner and hear Junior Brown, who is stunning in his own way, too.
Brown plays at the Continental Club every Sunday night -- though he said that drive back to his home in Oklahoma every week gets pretty old.

Check out JB's new EP, Volume 10 . Meanwhile, here's some classic Junior at the Grand Old Opry:



UPDATE: 3:25 pm I should have mentioned, that drummer is Santa Fe's own Pete Amaral!

Monday, December 03, 2012

What Kind of Message Does This Send to the Children?

A MAN CALLED TURNER
Mr. Turner
You might know Gregg Turner as a former Angry Samoan, a Roky Erikson accolade and a writer of crazy songs about chupacabras and hantavirus.

But he also loves kids and has two beautiful little girls of his own. Turner got bent out of shape when he heard about the financial woes of the Santa Fe Children's Museum, so he organized a benefit headlined by Santa Fe favorite Jono Manson, who, like me, has the weird distinction of singing at Turner's wedding many years ago.

JONO MANSON
Jono Manson (Peter Williams in the background)
Also on the bill are Turner himself -- aided by autoharp maniac Billy Miller, and Art of Flying from Taos. Also I'll make one of my periodic comical attempts to play a couple of songs.

The show is 7:30 pm Friday Dec. 7 at The Gig Performance Space, 1808 Second Street. Admission is $10 (cheap) and it's going to help save the Children's Museum.

Sunday, December 02, 2012

TERRELL'S SOUND WORLD PLAYLIST


Terrell's Sound World Facebook BannerSunday, Dec. 2, 2012 
KSFR, Santa Fe, N.M. 
10 p.m. to midnight Sundays Mountain Time 
Host: Steve Terrell
Webcasting!
101.1 FM
email me during the show! terrell(at)ksfr.org

 OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres
I'm Cryin' by The Animals
Strobe Light by The B52s
Laptop Dog by The Fall
Some Velvet Morning by The Frontier Circus
Cut Across Shorty by The 99ers
Shakin' With Linda by The Soul Survivors
Harriet It's You by Gentleman Jesse & His Men
Downward and Outward by J.J. & The Real Jerks
These Spectacles Reveal the Nostalgics by The Hives

Another Lost Heartache by Gregg Turner (For info on next Friday's benefit for the SF Children's Museum CLICK HERE )
The Great Banana Hoax by The Electric Prunes
Girl You Captivate Me by ? & The Mysterians
If Mother Knew by The Oblivians
Satisfied Fool by Nathaniel Mayer
Sinner Man by Esquerita

Add in Unison by Mission of Burma
Born to Lose by Social Distortion
City of the Christmas Ghosts by Goldblade featuring Poly Styrene
Born With a Tail by The Supersuckers
Smooth and Dry by The Ungodly 77s
She'll Always Be Mine by The Customs
Pity the Noose by Churchwood
Ice Cream Killer by The Jon Spencer Blues Explosion
Non-State Actor by Soundgarden

Pinky's Dream by David Lynch with Karen O
The Wolf Song by LoveStruck
Red Planet by Alien Space Kitchen
Thankful 'n' Thoughtful by Bettye LaVette
I Wanna Know by Lenny Kaye
That Feel by Tom Waits with Keith Richard
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

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Here's July's Big Enchilada Podcast!

Leapin' lizards, it's a new Big Enchilada episode! Featuring some of the world's greatest lizard bands including The...