Friday, October 30, 2015

THE SANTA FE OPRY PLAYLIST

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Friday, October 30, 2015
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

Here's my playlist :

OPENING THEME: Buckaroo by Buck Owens

(It's a) Monster's Holiday by Buck Owens

Cold by Legendary Shack Shakers

I Created a Monster by Glenn Barber

I Wanna Be Your Zombie by Slackeye Slim

Your Friends Think I'm the Devil by The Imperial Rooster

Smash That Radio by The Electric Rag Band

Big Bad Bill is Sweet William Now by Emmett Miller

Outside a Small Circle of Friends by Phil Ochs

The Ghost and Honest Joe by Pee Wee King

 

Garden of the Dead by Pine Hill Haints

Cocaine Cowboy by Terry Allen

The Gayest Old Dude That's Out by Uncle Dave Macon

Delilah by Jon Langford & Sally Timms

Long Black Veil by Sally Timms & Edith Frost

Monsters Under Your Bed by Salty Pajamas

The Devil's Great Grandson by Roy Rogers

Pink-O Boogie by Ry Cooder

Material Girl by Petty Booka

 

Happy Hour by Sunny Sweeney

Sorry You're Sick by Ted Hawkins

Bad Dog by Danny Barnes

Green Green Grass of Home by Ted Hawkins

She's My Witch by Southern Culture on the Skids

Hell Naw by The Reverend Peyton's Big Damn Band

Lonesome Grave by Holly Golightly & The Brokeoffs

Ghost In The Graveyard by Prairie Ramblers

Graveyard by Trailer Bride

La Llorna by J. Michael Combs

 

Devil's Game by Stevie Tombstone

Boneyard by Angry Johnny & The Killbillies

Ghost Stories by Eric Hisaw

The Devil Had a Hold on Me by Gillian Welch

I Just Can't Let You Say Goodbye by Willie Nelson with Emmylou Harris

My Ghost by The Handsome Family

CLOSING THEME: Comin' Down by The Meat Puppets


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Thursday, October 29, 2015

TERRELL'S TUNE-UP: Son of Beyond the Monster Mash

A version of this was published in The Santa Fe New Mexican 
October 30, 2015


A few years ago in this column, right around this time of year, I published a list of songs I called “Beyond the ‘Monster Mash,” a list of rock ’n’ roll horror tunes for people who, after 50-some years, are sick to death (insert evil laugh) of the “Monster Mash.”

But this year I’m not going to make another list. Instead, I’m going way back to the days before rock ’n’ roll, the 1920s and ’30s, to the era of hot jazz and the smooth crooner.

I’m not claiming that there were any Roaring ’20s Roky Ericksons or Depression-era Rob Zombies. But every once in a while some singer got the bright idea of recording a novelty song about devils, ghosts, dancing skeletons, and other topics that were spooky and/or morbid. Many of these can be found in a compilation released several Halloweens ago on Legacy Recordings: Halloween Classics: Songs That Scared the Bloomers Off Your Great-Grandma.

There are a couple of famous names on this 2007 collection that everyone should recognize: Cab Calloway (performing one of his many “Minnie the Moocher” sequels, “The Ghost of Smokey Joe”) and Rudy Vallée (who, in his best fake cockney accent, sings “With Her Head Tucked Underneath Her Arm,” a song about Anne Boleyn).

While I can’t say I’m familiar with 1920s singer Fred Hall, I immediately recognized his contribution to this collection. “’Taint No Sin (to Take Off Your Skin)” was part of Tom Waits’ 1993 album The Black Rider. On Waits’ nightmarish version, author William S. Burroughs provided rather atonal vocals, encouraging listeners to “take off your skin and dance around in your bones.” Except for the lyrics, Hall’s version sounds like an archetypal upbeat speakeasy jazz number. I see visions of skeletons dancing the Charleston.



So most of the performers here are lesser-knowns, and the songs they sing, for the most part, are even more obscure.

The album starts off with a chipper little tune called “Hush Hush Hush (Here Comes the Boogie Man)” performed by British bandleader and BBC regular Henry Hall — who is more famous for “Teddy Bears’ Picnic,” which he recorded in 1932, the same year as “Boogie Man.” “Hush Hush Hush” begins, “Children, have you ever met the Boogie Man before/No, I’m sure you haven’t, for you’re much too good, I’m sure.” Then vocalist Val Rosing gives the kiddies practical advice on how to ward off the evil one.

Halloween Classics has another song about the same guy, “The Boogie Man” by Todd Rollins & His Orchestra. Here the title character is something of a sexual predator, threatening “bad little girls like you.” Rollins croons, “I’ll torture you and hunt you/I’ve got you where I want you/A victim of my dark and dirty plot/And at the slightest whim/I’ll tear you limb from limb.” What kind of message does that send to the children?


There are a couple of tracks by country artists of the day, and, blow me down, both singers involved sound more like Popeye than Jimmie Rodgers. One is “Minnie the Moocher at the Morgue” (yes, another Minnie song) by Smiley Burnett, who in the ’60s played train engineer Charley Pratt in Petticoat Junction. T

he other is “Ghost in the Graveyard” by The Prairie Ramblers, who later became more famous when they started backing up Patsy Montana.

A couple of my favorites on Bloomers deal with a creepy old man named Mose. Rube Bloom and His Bayou Boys recorded “Mysterious Mose” in 1930. Later that year, a different recording of the song became the basis of a Betty Boop cartoon. New Orleans trumpet man Wingy Manone does another about “Old Man Mose,” whose main offense is that he died and was discovered by a neighbor not fond of dead people.

This tune has been covered by Louis Armstrong as well as Betty Hutton. And there is also an obscene version (I’m not kidding) recorded in 1938 by Eddy Duchin’s band with singer Patricia Norman.




Just like the best metal, psychobilly, and garage songs of modern times that deal with Satan, ghosts, and monsters, the best songs that scared the bloomers off our great-grannies were humorous ways of confronting our fear of death and other unknowns. They allow you to acknowledge your impending death and the boogeymen who haunt your nightmares. You can’t beat ’em, so join ’em. Dance around in your bones.

Here are some Halloween treats and tricks on the web:

*  Santa Fe’s favorite busker sings about New Mexico’s favorite ghost: On a recent Saturday at the Santa Fe Farmers Market, J. Michael Combs agreed to sing a song about La Llorona while my faithful camera crew (actually just me and my iPhone) recorded a video of it. Check it out:





Surfing spooks: Surf music and horror themes have gone together at least since the days of the 1966 teen beach flick The Ghost in the Invisible Bikini.

Portland visual artist J.R. Williams, who has been responsible for a ton of free retro rock ’n’ soul underground compilations, has a new volume of his Halloween Instrumentals series on his blog, featuring bitchen rock instrumentals interspersed with radio ads for cheesy horror flicks.

Mostly there are obscure bands, but you’ll also find tracks by The Ventures, Duane Eddy, and R&B great Bill Doggett.

The 2015 Big Enchilada: My latest podcast is my annual Spooktacular, which includes a couple of tracks from Songs That Scared the Bloomers Off Your Great-Grandma. You can find that HERE. (Or right below)



And all eight (!) of my Halloween podcasts are at www.tinyurl.com/SpookyEnchiladas.



THROWBACK THURSDAY: Still Chasing the Devil's Herd

Painting by James Clark
(Art by James Clark. Used with permission.)

I'm going to indulge in a little recycling this Throwback Thursday and revive the 2009 Terrell's Tune-Up Halloween column, in which I explored a favorite song "(Ghost) Riders in the Sky." Checking the original blog version I found a whole lot of missing Youtubes, broken links ... a basic ghost town of a blog post.

So, after a few basic repairs please enjoy the tale of that Devil's herd thundering across the sky.

A version of this was published in The Santa Fe New Mexican
October 30, 2009



An impressionable 12-year-old rode to the top of an Arizona hill one afternoon with an old Cowboy friend to check a windmill. A big storm was building and they needed to lock the blades down before the wind hit. When finished, they paused to watch the clouds darken and spread across the sky. As lightning flashed, the Cowboy told the boy to watch closely and he would see the devil’s herd, their eyes red and hooves flashing, stampede ahead of phantom horsemen. The Cowboy warned the youth that if he didn’t watch himself, he would someday be up there with them, chasing steers for all eternity. 

More than 60 years ago this frightening vision, now found on the Western Music Association Web site, was etched into the consciousness of America. “Ghost Riders in the Sky” is a perfect Halloween song for the West. It’s the only cowboy song in which “yippie-yi-yay” becomes a demonic taunt. The boy who heard the tall tale from the old cowpoke would grow up to be forest ranger/songwriter Stan Jones.

“Ghost Riders” became a huge hit in 1949, a year after Jones wrote it. Pop-folkie Burl Ives was the first to record it that year. Frank Sinatra, Bing Crosby, and Peggy Lee chased the devil’s herd, too, and before the end of the year, avant jokester Spike Jones merrily mutated the saga of the demon cows and fire-snortin’ horses. But the biggest hit at that time came from pop crooner Vaughn Monroe, also in 1949.


Of course, it didn’t stop there. It’s been covered by everyone from Concrete Blonde to Dean Martin. Frankie Laine, another popster with an ear for cowboy songs (think “High Noon” and “Rawhide”) also covered “Ghost Riders.”

Artists like Bob Wills, The Sons of the Pioneers, Gene Autry, and Marty Robbins brought “Ghost Riders” back West. Dick Dale went surfing with it. Ronnie Dawson made it a rockabilly romp. The Southern-rock group called The Outlaws introduced it to the dazed and confused generation in 1980. Johnny Cash sang it with the Muppets. Tom Jones took it to Vegas, and the Legendary Stardust Cowboy took it to Mars.

The fact that “Ghost Riders” has a cinematic feel to it is no accident. Jones did a lot of soundtrack work for John Ford Westerns, including writing music for The Searchers (in which John Wayne spoke a catch phrase that inspired a Buddy Holly hit, “That’ll Be the Day”) and Rio Grande.

When Jones wrote “Ghost Riders,” he was working for the National Park Service in Death Valley.

According to the Western Music Association Web site, “The Park Service made Stan its representative to Hollywood film crews when they came to Death Valley. After a long, hot day of filming, cast and crew members often sat around and listened to Stan’s songs and stories. They encouraged him to get a publisher in L.A.” Shortly after, “Yippee-yi-yay, yippee-yi-yo,” was being heard across the land.

My two favorite versions of “Ghost Riders” are no longer in print. The one that raised goose bumps on me as a kid was on a 1964 LP called Welcome to the Ponderosa by Lorne Greene — yes, a tacky TV tie-in from Bonanza’s Ben Cartwright. This version has a full-blown orchestra, a chorus, and Greene’s distinct gravely voice. (Greene’s hit “Ringo” was also on this album.)

Then there’s the country-rock version from New Mexico’s own Last Mile Ramblers, from their 1974 album While They Last. The artist currently known as Junior Brown is playing guitar, and the vocals are by Spook James. This was always a highlight of the Ramblers’ shows at The Golden Inn and Bourbon & Blues. 

I’m not sure how many cowboys changed their ways because of the warning in the song. But next time you see lightning in the sky, look for those red-eyed cows and gaunt-faced cowboys.

xxxxxxx

Here's an entire herd of "Ghost Riders" videos.



Ler's start out with Marty Robbins



Vaughan Monroe

 

 Johnny Cash and his pals, The Muppets.



Spike Jones

 

Last Mile Ramblers



The Outlaws

 

Dick Dale

 

The Legendary Stardust Cowboy



And my sentimental favorite, Lorne Greene

 


Wednesday, October 28, 2015

WACKY WEDNESDAY: Spooky Betty Boop



For the last Wacky Wednesday before Halloween, here's a Betty Boop at her spooky best.

Mysterious Mose, released in December 1930 was one of Betty's first appearances and it's a fright-filled doozy. She literally gets scared out of her nightshirt by strange noises in the night. Notice that in this one she still has dog ears. Betty started out as a strange Poddle/woman hybrid.

 

Betty teamed up with singer Cab Calloway for several cartoon shorts. St. James Infirmary is especially Halloween appropriate. (For more on that song, CLICK HERE)



Finally here's Betty at her own Halloween party.

Sunday, October 25, 2015

TERRELL'S SOUND WORLD PLAYLIST

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Sunday, October 25, 2015
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

Here's the playlist:

OPENING THEME: Let It Out (Let it All Hang Out) by The Hombres

Frankenstein Meets The Beatles by Dickie Goodman

Bloodletting by Concrete Blonde

Edgar Allen Poe by Lou Reed

Missy Le Hand by Pocket FishRmen

Yabba Ding Ding by Joe "King" Carrasco

Shoot the Freak by Lovestruck

Whizz Kid by Hickoids

Minnie the Moocher at the Morgue by Smiley Burnette

 

Headless Go-Go Dancer by Fire Bad!

Scream and Scream by Screaming Lord Sutch

The Big Break by Richard Berry

Human Fly by The Cramps

Free & Freaky by The Stooges

Mr. Good Enough by J.J. & The Real Jerks

He's Waitin' by The Sonics

World's in Bad Condition by Dave & Phil Alvin

Time Warp by The Rocky Horror Picture Show cast

Run Witch Run by The Desperate Twisters

 

Bloody Hammer by Roky Erikson & The Aliens

I Wanna Come Back from the World of LSD by Fe-Fi-Four plus Two

A Girl Named Sandoz by Eric Burdon & The Animals

The Trip by The Rockin' Guys

The Wolf by The Bloodhounds

Voodoo Doll by Deadbolt

'Taint No Sin (To Take Off Your Skin) by Fred Hall

 

I've Known Rivers by Gary Bartz & Nu Troop

Ineti by Granmoun Lele

First There Was by Johnny Dowd

Lord I've been Changed by Tom Waits & Johnny Hammond

CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

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Friday, October 23, 2015

THE SANTA FE OPRY PLAYLIST

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Friday, October 22, 2015
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

Here's my playlist :

OPENING THEME: Buckaroo by Buck Owens

9 to 5 by The Yawpers

Done Gone by Ray Condo & The Ricochets

Man on a Mission by The Supersuckers

Sweet Thang by Sleepy LaBeef

What Can I Do by Linda Gail Lewis

Jackhammer by Holly Golightly & The Brokeoffs

Great Expectations by Buck Owens

Baby Baby Me by Big Sandy & His Fly-Rite Boys

The Devil Made Me Do It by Duane Williams


Wallflower by Doug Sahm with Bob Dylan

I'm Not That Kat Anymore by Texas Tornados

Pallet on the Floor by Amanda Pearcy

Rock Island Line by Chris Thomas King

Under the Jail by Mose McCormack

Ain't Love a Lot Like That by The Satellites

 Keep it Clean by Charley Jordan

Get a Load of This by R. Crumb & The Cheap Suit Serenaders

Poon-Tang by Deke Dickerson with The Treniers


Mama Drove a Mack Truck by Shot to Hell

Malfactor March by The Goddam Gallows 

Lily, Rosemary and The Jack of Hearts by Mary Lee's Corvette

Did You Hear John Hurt by Jack White

Stagolee by Mississippi John Hurt

A Place Called Misery by Von Coffman


We Must Have Been Out of Our Minds by George Jones & Melba Montgomery

Blind Willie McTell by The Band

Land of Disease by Philip Bradatsch

Bluebells by Peter Case

Haunted House by Leon Redbone

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

 

Thursday, October 22, 2015

THROWBACK THURSDAY: A Musical Birthday Salute to Dr. Leary


Dr. Timothy Leary, Harvard professor, psychedelic shaman and, for a few years, an international fugitive, would have been 95 years old today.

Happy birthday Dr. Tim.

Though most remember Leary for his advocacy of LSD and his oft-quoted catch phrase, "Turn On, Terrell's Tune-Up and Drop Out" (that was it, right?), he also has a musical legacy, which we'll celebrate here. (And I'm not talking about that dreary Moody Blues song, so don't even ask.)

For one thing, he had this affinity with John Lennon.

The introduction of the 1964 book The Psychedelic Experience, written by Leary, Richard Alpert and Ralph Metzner, contains this advice to trippers;

Trust your divinity, trust your brain, trust your companions.
Whenever in doubt, turn off your mind, relax, float downstream.

You might recognize that line which appeared a couple of years later on The Beatles' Revolver in one of the most psychedelic tunes the Fab Moptops ever recorded.



Leary actually appeared on a Lennon record. He was one of a whole gaggle of counter-culture celebs who sang background on "Give Peace a Chance." And according to several accounts, that led, eventually to another Beatles song

According to the Beatles Bible web site:
Double Date: The Learys & The Lennons

The following day Lennon offered to help Leary's campaign [an aborted third-party run for governor of California.] His slogan was 'Come together, join the party'. Lennon sent Leary a demo tape of song ideas. However, when Leary was imprisoned for cannabis possession the campaign ended, enabling Lennon to record the song with The Beatles.
,
Lennon told interviewer David Sheff:

The thing was created in the studio. It's gobbledygook; Come Together was an expression that Leary had come up with for his attempt at being president or whatever he wanted to be, and he asked me to write a campaign song. I tried and tried, but I couldn't come up with one. But I came up with this, Come Together, which would've been no good to him - you couldn't have a campaign song like that, right?

Yes, Leary's imprisonment on a 1968 marijuana arrest saved "Come Together" from becoming a political jingle.

But that 10-year (!) sentence also led to Dr. Leary fleeing the country. He was living in Switzerland in 1972 when he hooked up with a German band called Ash Ra Tempel. Together they recorded a crazy, psychedelic album called Seven Up. Leary's spoken-word vocals fade in and out all through the record. The record starts out as a hippie blues exploration but quickly drifts into spacey pyschedelia.

Here's the entire thing on a YouTube.



Near the end of his life in 1996, Leary recorded an album with rocker Simon Stokes under the name of-- brace yourself, Bridget --LSD (Leary Stokes Duets). The album was called Right to Fly, and while I prefer Stokes' own records, this one has it's weird charm.

Here's one of my favorite tracks from it.



So once again, happy birthday, acid priest.

Wednesday, October 21, 2015

The Big Enchilada Puts the "Tacky" in Spooktacular


THE BIG ENCHILADA



Happy Halloween, podlubbers! It's that most bloodcurdling time of the year. Settle back with a cold glass of Type O negative and enjoy some rocking spooky sounds from the crypt.

It's the seventh anniversary of The Big Enchilada ! Thank you for being my listener,



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Here's the playlist:
(Background Music: Rose by Stan Ridgway & Pietra Wexstun)
I Kissed a Ghoul by Nekromantix
Creatures of the Night by Paradise
Cabeca Zumbi by Horror Deluxe
When De Debbil Taps You on the Back by Della Hicks
Red Headed Mortician by The Suicide Shifters
Swamp Girl by Kay Martin

(Background Music: Igor's Lament by Tony & The Monstrosities)
Shallow Grave by The Nevermores
Headless Go-Go Dancer by Fire Bad!
Sueno Interminable by Los Eskeletos 
The Man Who Cheated Death by the Blue Giant Zeta Puppies
Rock 'n' Roll Fright Fest (in Pitch Black) by Dead Man's Tree
'Taint No Sin (to Take Off Your Skin) by Fred Hall & His Sugar Babies

(Background Music: Sexting the Dead by Genki Genki Panic)
Horror Movies by Dickie Goodman
It Came From Beyond by The Barbarellatones
My Ghoul Maggie by Angry Johnny & The Killbillies
I Think of Demons by Roky Erikson & The Aliens
Transylvanian Night by Rattanson
I'm Sick of You, Satan by Pat & Keith Wayne
(Background Music: Strange Ghost by The Pastel Six)








WACKY WEDNESDAY: Conjuring the Ghost of Dickie Goodman



The Wacky Wednesday Halloween countdown continues. This week we're going to take a look at the Halloween legacy of Dickie Goodman.

Goodman was a record producer who, beginning in the 1950s, worked for many popular artists including Bobby Darin, Frankie Lymon and The Del-Vikings.

But he also was known as a songwriter and performer of novelty songs. He's most famous for what is known as the "break-in" song. For nearly 20 years beginning in 1956 with "The Flying Saucer," (performed with fellow songwriter Bill Buchanan, Goodman made the charts with several of these records.

Basically, they were weird little skits in which Goodman played a radio reporter interviewing people. The answers would come in the form of short snips of songs that were currently or recently popular. My favorite of these was in 1975's "Mr. Jaws," where Dickie asks the shark why he's biting his hand. The answer is a line from Melissa Manchester's pop hit "Midnight Blue."

"Wouldn't you give a hand to a friend? ..."

Indeed, though most of these break-in songs were unabashedly stupid and frequently annoying, Goodman was something of a record-sampling pioneer.

From a 2003 press release touting The King of Novelty: Dickie Goodman, a biography by Goodman's son Jon Goodman:

Dickie Goodman was sued by 17 record labels for copyright infringement in  1956 because his hit record, "The Flying Saucer" (a satire about the UFO  phenomenon) contained short samples of several other hit records.  After  hearing the record with Dickie Goodman narrating while Elvis and Little  Richard sang about Martians landing on Earth, NY Supreme Court ruled that a  new work had been created and as long as the samples were paid for, no  infringement existed.

"Mr. Jaws" in 1975 was the last real hit for Goodman. Fourteen years later, he ended his life, shooting himself in the head.

With that morbid detail, let's get back to Halloween.

A pop-culture wizard like Goodman would not want to ignore the resurgence of popularity for movie monsters in the 1960s. Beginning in the previous decade, local TV stations created local celebrities in the form of Vampira, Tarantula GhoulZacherley,  Count Gregor and untold other hosts of late-night horror shows.

The popularity of monster movies continued into the '60s. Bobby "Boris" Pickett's "Monster Mash" was a graveyard smash. Every male kid I knew back in the early to mid '60s bought up the Aurora company's plastic models of Frankenstein, The Wolfman, Dracula and The Mummy. Famous Monsters of Filmland became must-read material.

So how could Goodman not pass up the opportunity to cash in on the monster craze?

Here are some of Dickie's monster melodies for this Halloween season. True, some of them make Bobby "Boris" Pickett seem like Cole Porter, but what the heck?

Let's dance to the "Werewolf Waltz"



And don't forget the "Mambo Mummy.'



Here's Goodman's Halloween take on The Coasters' "My Baby Loves Western Movies"



 Finally, here's the one I remember from my childhood. My mom got the early version of Goodman's The Monster Album for my brother and me. Even back then when I was in grade school, it seemed pretty tacky and corny. And the tackiest, corniest, dumbest song on the record was "Frankenstein Meets the Beatles." The pairing was obvious, as Dickie explained in the lyrics: "Well, they screamed for The Beatles and they screamed for Frank, but it wasn't the very same kind ..."




And here is a later version of The Monster Album, including some horror-related break-in tune, some modern offerings from Goodman's son and some songs that don't appear to have any reason to be there at all.










Monday, October 19, 2015

BEYOND BORDERS PLAYLIST

Monday, October 19, 2015
KSFR, Santa Fe, N.M.
9 p.m. to midnight Mondays Mountain Time
Substitute Host: Steve Terrell (filling in for Susan Ohori)
Webcasting!
101.1 FM
email me during the show! terrell(at)ksfr.org

Here's the playlist
OPENING THEME: Babulu Music by Desi Arnaz
Love's a Real Thing by Super Eagles
Gamagaj by Cankisou
Crazy Loving You by Drakkar
Biskotin by Istanbul Blues Kumpanyasi
Violence Inna da Street by U Mike
I Wanna See You Bellydance by The Red Elvises

Kora by Cherif Mbaw
Malodrino by Gogol Bordello
I Wish You Would by The Dynamics
Tanz by Golem
Born to Be Wild by Fanfare Ciocarlia
Boogie On by Rob
Ganges a Go Go by Kalyanji & Anandji Shah
Hungarian Sausage Commerical

Bemin Sebeb Letlash by Mahmoud Ahmed
Tenesh Keibe Lay by Mulugen Mellesse
Zombie by Los Sleepers
Psychedelic Woman by Honny & The Bees Band
Mal by Johnny Haliday
Peach Pie on the Beach by Polysics
Chicago Falcon by The Budos Band

Fulanu Coochie Man by Justin Adams & Juldeh Canara
The Ugly Side of the Face by Hang in the Box
Dancing Is Beautiful by Vijaya Anand
Heads of Government by Lee "Scratch" Perry
Fai Yen by Ream Daranoi
Siki Siki Baba by Kocani Orkestar

Mary Ann by Kopy Kats
Rock el Casbah by Tacid Taha
Logba Logba / Edumare da Mi Lihun / E Se Rere / Prof Oyewole by Orlando Owoh & His Omimah Band
Accused by Kult

Amagideon by Bunny Wailer
Death by Ravi Shankar
Mi Kple Dogbekpo by Lokonan Andre & Les Volcans
White House Blues by Jadoo
Terra by Caetano Veloso
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Flashback: When Sir Doug Died in New Mexico.

On Saturday I saw the excellent biographical documentary about Texas musical titan Doug Sahm called Sir Doug and the Genuine Texas Cosmic Grove.

 Directed by Texas journalist Joe Nick Patoski, the movie was part of the Santa Fe Independent Film Festival, which also brought Sahm crony and longtime sideman Augie Meyers to town for a couple of performances.

I dug Doug ever since I first saw The Sir Douglas Quartet on Hullabaloo back in 1965 when I was in still in elementary school.  I pnly got to see Sahm perform live a couple of times -- both in the 1990s during the South by Southwest festival.

I saw him play with The Texas Tornados in 1996 at the Hole in the Wall. Elvis Presley's drummer D.J. Fontana, sat in with them.

A year later I saw Doug, along with Augie, Joe Ely, Rosie Flores, Rick Trevino and others in the back of Austin's now departed Las Manitas cafe. It was a private party and I'm still not sure how I got an invitation. The Latino supergroup Los Super Seven sprang from that amazing little gig.

It was my pleasure to have seen Doug Sahm play. And it was my sad responsibility to have to report on his death.

I was the reporter who broke the news that Sahm had died in Taos in 1999. As I was about to go home from a long day of work, an editor got a tip that he'd died in a Taos hotel room. Sadly, it turned out to be true.

Here is the initial story I wrote for The Santa Fe New Mexican, followed by the second-day story when I interviewed a local woman who spent time with Doug in Santa Fe before he died.


TEXAS TORNADOS STAR FOUND DEAD IN TAOS MOTEL
By Steve Terrell
November 19, 1999

Texas musician Doug Sahm was found dead in a Taos motel room Thursday afternoon.

Cause of death was not immediately known. However, a field examiner with the state Office of the Medical Investigator determined that there was no foul play and released Sahm's body to the Rivera-Hanlon funeral home.

Sahm who first became famous in '60s with The Sir Douglas Quintet, then 25 years later with The Texas Tornados was staying at the Kachina Lodge. A Taos police dispatcher said someone from the hotel's front desk called police shortly before 1 p.m. about ``an unresponsive person.''

Police and an ambulance were dispatched to the hotel, where Sahm, 58, was pronounced dead.

Matthew Rivera of the funeral home said he was waiting to hear from one of Sahm's sons to find out about funeral arrangements.

What Sahm was doing in Taos was not immediately clear. A woman answering the telephone at the Kachina Lodge refused to say how long Sahm had been staying there.

Born Douglas Wayne Sahm on Nov. 6, 1941, in San Antonio, Texas, Sahm was well versed in rock, country, blues and Tex-Mex music.

He began his long music career as a child, playing in a local band and singing on the radio at the age of five and becoming a regular on the famed Louisiana Hayride radio show at the age of eight. Sahm, at the age of 11, sang at a Hank Williams concert in Austin only weeks before Williams died.

As a teen-ager he started his recording career in 1955 with a single called "A Real American Joe" under the name "Little'' Doug Sahm.

Sahm did not achieve national fame until 1965, when his band The Sir Douglas Quartet had a hot with the song "She's About a Mover." Other hits by the band included "The Rains Came' and "Mendocino." His longtime musical collaborator Augie Meyers played electric organ with the Quintet.

In the 1970s he became an icon of the ``Cosmic Cowboy'' scene in Austin, along with Willie Nelson and Jerry Jeff Walker. In 1973 he recorded an album called Doug Sahm & Band, which featured appearances by Bob Dylan, Dr. John and Flaco Jimenez.

In the late 1980s Sahm teamed up with Freddy Fender, Jimenez and Meyers to form the Tex-Mex super group The Texas Tornados, which had hits with songs such as "Who Were You Thinking Of ?" and "Hey Baby Que Paso?"

Last year Sahm sang a verse of Rio De Tenampa on the Grammy-award-winning Los Super Seven CD, which included members of the Texas Tornados, Los Lobos and other Texas and Hispanic musicians.

LATE TEXAS MUSICIAN HAD COMPLAINED OF ILL HEALTH
By Steve Terrell
November 20, 1999

Doug Sahm and Freddy Fender of The Texas Tornados
The Hole in the Wall, Austin, Texas 1996
Texas musician Doug Sahm had not been feeling well in recent weeks. He complained to friends that he was feeling old, that his hands and arms were feeling numb, that it was getting harder to play the guitar.

And so the Texas Tornados singer drove to New Mexico, which often served as an inspiration for songwriting. This time he came here to be healed.

But on Thursday, Sahm, 58, was found dead in a Taos hotel room.

The cause of death is still unknown. Police have said foul play is not suspected.

Initially, the state Office of the Medical Investigator released Sahm's body to a Taos funeral home, however, now the OMI will conduct an autopsy on Monday in Albuquerque after a request from Sahm's family in Texas, OMI spokesman Tim Stepetic said Friday.

Sahm rose to fame in the 1960s with the Sir Douglas Quintet, but he was best known in recent years for his work with the Texas Tornados.

He usually visited New Mexico about four times a year, said Sharon Steiber, a former Austin, Texas, resident living in Santa Fe and perhaps the last friend Sahm saw.

Steiber, who works at the music department in Borders, said that she and the singer were ``just
buddies.''

``He loved New Mexico and Nova Scotia better than anywhere else in the world,'' Steiber said. ``He said he came here for the spirituality. Texas didn't have any spirituality, he told me.''

She read from the liner notes of a 1998 Sahm CD Get a Life in which Sahm wrote that he was sitting in ``beautiful Taos'' watching snowflakes fall.  [2015 note: I have a version of this, with the same liner notes, called SDQ '98. It has a song called "Get a Life."]

Sahm usually drove a Cadillac or Lincoln Continental when he traveled, Steiber said. ``He loved to drive and be out on the road,'' she said.

``Most the time he came out here he was on his way to California,'' she said. ``Usually, he would visit me here in Santa Fe, then head up to Taos.''

Indeed, that was his plan for this trip, Steiber said. ``He arrived in town Friday night and stayed at a Best Western motel. Then he spent Saturday night at my house.''

Usually Sahm enjoyed going out to restaurants in Santa Fe, but this time he wanted to eat at home, Steiber said.

He didn't seem his usual jovial self, Steiber said. ``He was very serious,'' she said. ``He was walking very slow.''

Sahm always was very health-conscious, Steiber said. "He'd always give the waitress the third degree about what type of mayonnaise the restaurant used.''

She said Sahm carried around a bag of various herbs and vitamins. In an interview in Friday's San Antonio Express, Sahm's longtime musical partner Augie Meyers also mentioned Sahm's "bag of ginseng and vitamins.''

While Sahm was visiting Santa Fe, he and Steiber sat in a hot tub, where Sahm was wheezing, Steiber said. ``He blamed it on the altitude,''

Sahm said he had seen doctors in Texas recently. He was concerned because his arms had been feeling numb and he was having trouble making a fist. He feared he was getting carpel-tunnel syndrome. One doctor said he might have tendonitis.

The two went to Wild Oats supermarket Saturday, where they met up with Jimmy Stadler, a Taos musician who had played at a Texas music festival with Sahm a few years ago.

Stadler said he, Steiber and Sahm talked. "He talked about Flaco Jimenez,'' he said, referring to Sahm's fellow Texas Tornado. "He talked about Austin, how he hated it, but he loved it. He said he was fed up with modern life computers, cell phones, all that stuff. When I talked to his son and told him that, he said, `Yeah, that's my dad.' ''

Sahm might have spent Sunday night at the El Rey Inn, Steiber said. A receptionist there would not confirm whether he stayed there.

Sahm told Steiber he was planning on spending at least one night at Ojo Caliente Mineral Springs. A clerk at the facility confirmed that he checked in Monday and checked out Tuesday.

Then on Tuesday he made it to Taos. A Kachina Lodge desk clerk confirmed Friday that Sahm checked in Tuesday.

On Wednesday morning Sahm called Stadler at his home. ``He said he was feeling bad and asked me to set him up with a doctor, to find someone who could do a house call,'' Stadler said.

"I called a few friends of mine who are doctors, but they couldn't make it.'' He called Sahm back at the hotel. "I told him about a walk-up clinic, but he said he was afraid of doctors. He said he thought he'd just try to sleep it off.''

This was the last known conversation Sahm had.

Stadler called back on Tuesday to check on Sahm. ``Nobody answered the phone,'' he said. ``I was worried. I called the hotel and asked them to send someone to check on him.''

The Kachina Lodge desk clerk said a maid went to the room and opened the door.

"She found him lying on the floor,'' she said. "It appeared that he had been dead for some time.''

Police and an ambulance arrived, but Sahm was pronounced dead at the hotel.

"I feel bad,'' Stadler said. "I wish there would have been something I could have done.''

Me with Augie Meyers, Ocr. 2016
The Skylite, Santa Fe, NM
Photo by Howard Houghton

Sunday, October 18, 2015

TERRELL'S SOUND WORLD PLAYLIST

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Sunday, October 18, 2015
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

Here's the playlist
OPENING THEME: Let It Out (Let it All Hang Out) by The Hombres
She Digs My Love by Sir Douglas Quintet
Little Doll by The Stooges
As Long as I Have You by Detroit Cobras
Speed Limit by The Dot Wiggins Band
Fire Engine by The Molting Vultures
That's the Bag I'm In by Big Foot Chester
Tres Borrachos by Left Lane Cruiser
People Ain't No Good by The Cramps
Sit Down, Baby by Dave & Phil Alvin

Jockey Full of Bourbon by Los Lobos
Walk on Gilded Splinters by Jello Biafra & The Raunch and Soul All-Stars
Big Chief by Dr. John
21 Days in Jail by Magic Sam
Redhead Mortician by The Suicide Shifters

Video Violence by Lou Reed
Police Call by Drywall
Subhuman Woman by Devo
The Wicked Messenger by Black Keys
25th Floor / High on Rebellion by Patti Smith
He Looks Like a Psycho by The Electric Mess

Isis by Bob Dylan
Full Moon in the Daylight Sky by Barrence Whitfield & The Savages
Bring it on Home to Me by The Animals
Seven Wonders by Holly Golightly
Harry Hippie by Bobby Womack
Hey Hey by Pat Burns with Cynthia Becker
Mean Mean Man by Lou Ann Barton
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

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Friday, October 16, 2015

THE SANTA FE OPRY PLAYLIST

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Friday, October 16, 2015
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

Here's my playlist :

OPENING THEME: Buckaroo by Buck Owens

Guacamole by Freddy Fender & Augie Meyers

Stay a Little Longer by Glambilly

Jason Fleming by The Sadies with Neko Case

Jump in the River by Holly Golightly & The Brokeoffs

Wingless Angel by Asylum Street Spankers

Hey Mama, My Time Ain't Long by Ray Wylie Hubbard

If You See My Savior by Dave & Phil Alvin

The Ballad of Irving by Frank Gallop

 

Two Janes by Los Lobos

Deacon Brodie by The Yawpers

Raise a Little Hell by Reverend Peyton's Big Damn Band

Little Richard Medley by Andy Anderson & The Dawnbreakers

The Cat Never Sleeps by Mama Rosin together with Hipbone Slim & the Kneetremblers

She Still Comes Around to Love What's Left of Me by Jerry Lee Lewis

Them Hillbillies Are Mountain Williams by Hoosier Hot Shots

Tony the Tiny Texan by Hal Keefer

 

Billy the Kid by Ry Cooder

The Streets of Bakersfield by Jon Langford & Sally Timms

Boxcars by The Satellites

Machine Gun Molly by Billy Stolz

Born Under a Bad Sign by Legendary Shack Shakers

Send Me to the Lectric Chair by David Bromberg

Mr. Edison's Electric Chair by Ronnie Elliot

Rein Rein by Lori Ottino

 

Shake Sugaree by Elizabeth Cotten (Vocals by Brenda Evans)

Pawn Shop Gun by Amanda Pearcy

Lament by The Gourds

Jolie Louise by Daniel Lanois

Waiting on a Plane by Peter Case

CLOSING THEME: Comin' Down by The Meat Puppets


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Thursday, October 15, 2015

TERRELL'S TUNE-UP: Memorable Songs from The Alvin Brothers

UPDATED 10-17-15 with new video

A version of this was published in The Santa Fe New Mexican 
October 16, 2015

If you rate albums on the basis of how many times you find yourself singing its songs to yourself during the day, then Lost Time by Dave & Phil Alvin would definitely be the top record of the year.


Seriously, I’ve lost count of the times I’ve caught myself — in my car, at home, during interviews with important political leaders (just kidding, just kidding) — humming or singing under my breath “Papa’s on the House Top” or “In New Orleans (Rising Sun Blues)” from this cool little album. I can’t help myself. The only places I’m immune to it are at the farmers market or the produce section of supermarkets. And that’s because at those places I’m usually singing Brian Wilson’s “Vegetables.” (I’m sure there is a name for this disease.)

Before we go on with my true confessions, let’s talk about these Alvin brothers for the benefit of the uninitiated. Back in the early ’80s, these Downey, California, natives were the core of one of the greatest groups of the era, the Blasters. Older brother Phil sang while Dave played guitar and wrote songs for the band, which was part of an impressive and highly influential Los Angeles roots-rock scene that included Los Lobos, country singer Dwight Yoakam, and the punk gods X. (Dave Alvin was briefly a member of X.)

And even before the Blasters, Dave and Phil were obsessed with the senior blues, early rock, and R & B giants who were still alive and pickin’ in the late ’60s and ’70s. They’d sneak into clubs like the Ash Grove and sometimes even hang out with rasty old blues heroes old enough to be their grandfather.

Dave Alvin in Santa Fe 2009 with The Guilty Women
By the mid-’80s, after four studio albums and untold amounts of sibling rivalry (Google “The Kinks”), the Blasters broke up. Dave, after his stint with X (and X’s side project, the Knitters) went on to a successful solo career.

Phil did a couple of solo albums, most notably Un “Sung” Stories, a 1986 effort that included some tracks with Sun Ra’s Arkestra. He also revived the Blasters — without Dave, though little brother Dave has occasionally reunited with the group. Back in 2011, Phil did a guest spot on a song on Dave’s album Eleven Eleven — a song appropriately called “What’s Up With Your Brother?” It was the first time the two had recorded together since the Blasters’ heyday.

Then last year — following an abscessed tooth infection that hospitalized and nearly killed Phil — the two did an actual album together, Common Ground, a tribute CD featuring songs by blues titan Big Bill Broonzy. Apparently that album wasn’t just a one-shot deal. On Lost Time, the brothers sound as if in their late middle age, they’re actually enjoying making music with each other again. Like the Broonzy album, there are jaunty acoustic country-blues numbers as well as hard-edged, Blasterific blues.

Phil Alvin jamming with Rev. Horton Heat and Los Lobos
Hootenanny 2009, Irvine, Calif.
The album starts out with “Mister Kicks,” a song by under-recognized (nearly forgotten) R & B/pop singer Oscar Brown Jr. from his masterpiece 1960 album, Sin & Soul. Nearly a decade before The Rolling Stones’ “Sympathy for the Devil,” Brown, backed by beatnik bongos, sang, “Permit me to introduce myself, the name is Mr. Kicks/I dwell in the dark dominion way down by the River Styx.” There are no bongos in the new version, but in the hands of the Alvin brothers, the song becomes a natural vehicle for Phil’s soulful tenor and Dave’s piercing guitar.

Another standout on Lost Time is “Sit Down, Baby,” an old Otis Rush chugging tune (written by Willie Dixon) that Dave sings. It starts off with a classic blues meme about “the little red rooster” talking to “the little brown hen” and then moves seamlessly to a new take on the Aesop fable with a hepcat turtle taunting the rabbit (“You ain’t got a chance of winning this race!”). Then it gets into politics with a verse about an old labor dispute: “The C.I.O told U.S. Steel/We ain’t gonna take your dirty deal.” The Alvins added a verse about Rosa Parks (she tells an Alabama judge that it’s time for him to sit in the back of the bus) that wasn’t in Rush’s original.

Dave and Phil do a couple of tasty upbeat gospel songs here. The brothers trade off verses on an electric (and electrifying) version of “World’s In a Bad Condition,” an old song. (I can’t say for sure who did it first, but I found a 1935 version by a quartet called Heavenly Gospel Singers on YouTube.) And the album concludes with a Rev. Thomas A. Dorsey song, “If You See My Savior.” The brothers do this in a sweet acoustic country style. They sing this as a call-and-response, with Phil calling and Dave responding.

As for those memorable songs that always seem to pop into my brain, “Papa’s on the House Top” is a funny old 1930 novelty by blues pianist Leroy Carr. “In New Orleans (Rising Sun Blues)” is a version of the old whorehouse lament, “House of the Rising Sun.” But you might not recognize the melody. Gone is the slow pace and minor key that The Animals (and Bob Dylan and Josh White and countless others) popularized. I can’t quite figure out where the melody the Alvins use came from, but to my ears, it sounds closer to the 1933 version by Tom Clarence Ashley and Gwen Foster than to anything else.

Not every song on Lost Time is a winner. While Phil does a respectable job on “Please Please Please,” I can’t see anyone ever topping James Brown’s original.

But there are so many great tracks here, that’s just a slight quibble. I hope Dave and Phil continue to demonstrate together the Alvin family values.

Video Time!

UPDATED 10-17-15
I'm adding this on Saturday, the day after I posted the original version of this Tune-Up. I just learned this morning that this new video of the Alvins singing  “World’s In a Bad Condition” debuted Friday on the Relix site. And it's a good one!


Dave and Phil play a song from their previous album, Common Ground.



On this one, the brothers play a couple of old Blasters tunes



Here is an early version of "This Old World is on Bad Condition."




And please allow me to introduce you to Oscar Brown, Jr. and "Mr. Kicks."





THROWBACK THURSDAY: Send Me to the 'Lectric Chair!

Here's a little courtroom drama for you:

Judge you want to hear my plea 
Before you open up your court
But I don't want no sympathy
'Cause I done cut my good man's throat
I caught him with a trifling Jane
I warned him 'bout before
I had my knife and went insane
And the rest you ought to know

These, of course are the opening lines of "'Send Me to the 'Lectric Chair," a black-humor ditty recorded in 1927 by The Empress of the Blues, Bessie Smith.

The song, credited to George Brooks -- which was a pseudonym for Fletcher Henderson, the influential bandleader and music director. This is one of many tunes he wrote for Bessie. But it's the most memorable.

The woman in the song is begging the judge to send her to the chair because she knows she has to reap what she's sown.

And if the judge was prone to having sympathy for the poor woman, it probably dissipated after she added  these details to her true confession:

I cut him with my Barlow 
I kicked him in the side
I stood here laughing o'er him
While he wallowed around and died

Yep, by that time he probably was ready to send her to the Devil down below, just like she requested.

Here's Bessie's original:



In 1958 Dinah Washington released an album called Dinah sings Bessie Smith. " 'Lectric Chair" was on it. Below is a TV performance by Washington. I don't know which show it is but it's sometime after her Bessie album was released.


Like a lot of folks my age, I came to this song through David Bromberg's version, which appeared on his 1974 album Wanted Dead or Alive. It's still a staple of his live shows. Playing the lead himself on acoustic guitar, Bromberg turned " 'Lectric  Chair" into a crazy Dixieland romp. He changed the lyrics slightly to make the narrator/killer into a man. (Instead of a "trifling Jane," his loved one was messing around with a "gambling Joe.")

One of my favorite touches is when Bromberg, when begging the judge, says, "Mr. Sirica, please ..." (This was recorded during the Watergate  era, remember.)

Here's a live 1977 performance.



And somehow this funny little song of crime and punishment led to a very short but very strange 2009 film of the same title directed by Guy Maddin and Isabella Rosselini. Actually the film doesn't seem to have much to do with the tune -- except the fact that a snippet of Bessie's song comes in briefly at the 1:31 mark.




Wednesday, October 14, 2015

WACKY WEDNESDAY: Some Satanic Tales from The Vinyl Wastelands



It's the Wacky Wednesday Halloween Countdown!

I recently scored not one but two CD volumes of the incredible Twisted Tales from the Vinyl Wastelands series for a good price. And that was just a few weeks after I purchased another volume from Norton Records, where all 15 volumes are now sold legally.

(And very soon, the wizards at Trailer Park Records will be releasing new vinyl versions of Twisted Tales. Keep an eye on the Facebook page for more info.)

So I've been listening to a lot of Twisted Tales tunes lately, sometimes on shuffle mode. And sometimes I've heard THE DEVIL!

Here are three twisted Satanic tales from this wonderful series.

"When De Debbil Taps You On De Back" by Della Hicks) available on Vol. 9: Sorrow City Heebie Jeebies)



"The Devil, My Conscious and I " by Billy Barton (available on Volume 6: Strange Happenings at the Boonies.)



"The Devil Made Me Do It" by child singing sensation Duane Williams (available on Vol.1: Hog Tied & Country Fried)



And what the hell, maybe this devilish delight from my feckless youth will be one some future volume of Twisted Tales ...


Sunday, October 11, 2015

TERRELL'S SOUND WORLD PLAYLIST

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Sunday, October 11, 2015
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

Here's the playlist
OPENING THEME: Let It Out (Let it All Hang Out) by The Hombres
Judy in Disguise by Jello Biafra and the Raunch & Soul All-Stars
Big Black Witchcraft Rock by The Cramps
Stare into the Night by Cheetah Chrome
Eviler by The Grannies
Spin the Bottle by The A-Bones
C'mon a My House by The Satellites
Devil Smile by Nekromantix
Rosalyn by The Pretty Things
The Dozens by Eddie One-String Jones

Manny's Bones/ Oh Yeah by Los Lobos
People Who Died by The Jim Carrol Band
WPLJ by The Four Deuces
Wine-O Boogie by Don Ramone, Sr. y Su Orquestra
WPLJ by The Mothers of Invention
Gonna Feed My Baby Poison by The Rocketeers

1970 / Funhouse by The Stooges
The Departed by Iggy & The Stooges
Black Girls by The Violent Femmes
Give Me Back My Wig by Hound Dog Taylor

Crawdad by The Gories
Maybe Your Baby by The Dirtbombs
Ain't That a Bitch by Johnny "Guitar" Watson
Golden Rule by John the Conquerer
But I Forgive You Blues by Don Covay & J. Lemon Blues
This Train by Sister Rosetta Tharpe
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis
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FOLK REMEDY PLAY LIST



8 a.m. to 10 am Sunday Mountain Time 
KSFR, Santa Fe, NM 
Webcasting! 
Substitute Host: Steve Terrell 
101.1 FM
email me during the show! terrel(at)ksfr.org

Here's the playlist

Welcome Table and Prayer by Alice Wine
Witness for My Lord by Silver Leaf Quartet
The Holy Spirit by Rev. Lonnie Farris
A Little Talk With Jesus by Ernest Phipps & His Holiness Singers
I'm a Royal Child by Reverend Kelsey
I've Got a Home by Holy Wonders
A Sinner's Plea by The Jubilee Hummingbirds
I Know I Got Religion by Andy Mosely
Don't Forget the Bridge by The Five Blind Boys of Mississippi
I'll Lead a Christian Life by Elder Golden P. Harris

Hell Bound Express Train by Reverend J.M. Gates
Do You Call That Religion? by Rev. A. Johnson
I Prayed All Night by Pressers of Christ
God is Alright by Sons of South
I'll Fly Away by Joe Lastie
Just Beyond the River / Christian Automobile by Bright Light Quartet
Get Ready, I'm Going to Move in the Room Upstairs by Rev. Louis Overstreet

It AIn't Nobody's Biz'ness What I Do by Hoosier Hot Shots
How You Want It Done by Big Bill Broonzy
I Wish I Could Shimmy Like My Sister Kate by Ray Miller & His Hotel Gibson Orchestra
Jimbo Jambo Land by Shorty Godwin
Low Down Rambler Blues by Peg Leg Howell
Old Rub Alcohol Blues by Dock Boggs
Canned Heat Blues by Tommy Johnson
The Devil's Great Grandson by Roy Rogers
Pussy by Harry Roy & His Bat Club Boys

Casey Bill by Earl McDonald's Original Louisville Jug Band
She's Hum Dum Dinger by Jimmie Davis
Dying Crapshooter's Blues by Blind Willie McTell
Minglewood Blues by Cannon's Jug Stompers
On the Road Again by Memphis Jug Band
That'll Never Happen No More by Howard Armstrong
Chicken Don't Roost Too High by Georgia Pot Lickers


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Friday, October 09, 2015

THE SANTA FE OPRY PLAYLIST

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Friday, October 9, 2015
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
Here's my playlist :
OPENING THEME: Buckaroo by Buck Owens
Jibber Jabber by The Supersuckers
Kiss and Tell Baby by Kim Lenz & Her Jaguars
Battle with the Bottle by Linda Gail Lewis
Banana Puddin' by Southern Culture on the Skids
Old Chunk of Coal by Billy Joe Shaver
Under the Jail by Mose McCormack
Heaven Buy and Buy by Holly Golightly & The Brokeoffs
I Gotta Go Get My Baby by The Maddox Brothers & Rose
Rubber Hits the Road by The Legendary Stardust Cowboy

The Girl Who Danced Oklahoma / I'm Not That Kat Anymore by Terry Allen
Knoxville Girl by Brett Sparks
Big Lotsa Love by The Bottle Rockets
Hey Baby by Country Blues Review
If I Go Crazy by Peter Case

Night on the Town by Joe West
How Far Down Can I Go? by T. Tex Edwards & The Swingin' Korn Flake Killers
The Dog was Dead by Billy Bob Thornton with Legendary Shack Shakers
Down to the Bone by Legendary Shack Shakers
Sweet Singin' Daddy by Jimmy and Johnny
One Time One Night by Los Lobos
If I Had Three Wishes by Buck Owens
Half Broken Horse by Eilen Jewell
Bloodstains On The Wall by Honeyboy

Together Again by Chris Hillman & Herb Pederson
Small Town Radio by Jim Terr
Streets of Laredo by Webb Wilder
That's the Way Love Goes by The Harmony Sisters
It's All in the Movies by Merle Haggard
Goodnight Irene by Wayne & Gina Hancock
I'll See You In My Dreams by Asylum Street Spankers
CLOSING THEME: Comin' Down by The Meat Puppets

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Thursday, October 08, 2015

THROWBACK THURSDAY: Go to Bed, Already, Irene!


On his new solo album, Crosseyed Heart, Keith Richards (he's a member of some band whose name I'm trying to remember ...) takes a stab at a true American classic, Leadbelly's "Goodnight Irene." And it's a good stab indeed, as you'll hear below:



And below, Keith talks about why he recorded "Irene." For one thing, he says the lyrics referring to morphine (as he sings it, "Well I love Irene, god knows I do. I'll love her till the seas run dry. And if Irene ever turned me down,  I'll take morphine and die") were "right up my alley."



Indeed, "Irene," though a lot of people think of it almost like a sweet lullaby, is a pretty dark tune. Before the lyrics even get to the morphine, the singer, who has just been left by his young wife, has already declared, "Sometimes I get the great notion to jump in the river and drown."

Richards' cover actually is the second new release in which Irene raised her sleepy head,Just recently, Holly Golightly & The Brokeoffs, on their new album Coulda Shoulda Woulda, did a song called "Jump in the River," which has obvious roots in "Goodnight Irene." In it, Lawyer Dave sings, "Sometimes I get the big idea, I'm gonna jump in the river and drown." Notice, this wasn't a "great notion," just a "big idea."  (Sorry, I can't find this song on YouTube, Spotify, Soundcloud or anywhere. You can hear it on my latest Big Enchilada podcast though.)

Leadbelly recorded several versions of his song, Here is one of them:



But the song wouldn't break nationally until shortly after Leadbelly died. That was in 1950 when a folk group called The Weavers (which included Pete Seeger) did a safe, soft and sanitized version that was a major hit. You won't find any morphine here:



This big hit probably helped bring The Weavers to the attention of the Red-baiters during the McCarthy era. They were blacklisted, Seeger being found guilty of contempt of Congress when he refused to answer questions from  House Committee on Un-American Activities in 1955. (His conviction was later overturned.)

But that didn't stop Irene from sweeping the country. The Weavers' hit unleashed a wave of covers by pop, folk, country, and later rock 'n' roll acts.

Country singer Hank Thompson poked fun at the phenomenon of Irene-mania in his song "Wake Up, Irene."




And here is a Spotify list that shows Thompson was right. Here you'll find covers ranging from Sinatra to Little Richard; Ernest Tubb to Brian Wilson; Gene Autry to Little Richard. Enjoy!


Wednesday, October 07, 2015

WACKY WEDNESDAY: Got Plenty of Lemon, Got Plenty of Wine

Well, it's a good good wine,
 It really make you feel so fine

Today I'm going to salute, and hopefully turn a few people on to one of my favorite lesser-known, under-rated and unsung (actually, it was sung) Frank Zappa songs of all time:

"WPLJ" -- (That's White Port and Lemon Juice for all you squares) -- which was the opening track on The Mother of Invention's 1970 album Burnt Weenie Sandwich.

I was a student at Santa Fe High School when Burnt Weenie first came out and WPLJ immediately became part of the jukebox of my mind the first time I heard it.

It's one of Zappa's over-the-top doo-wop extravaganzas. I almost wonder whether this was an outtake from Cruising with Ruben & The Jets, released just a couple of years before. Burnt Weenie Sandwich ends with another Rubenesque number called "Valerie" (originally recorded by Jackie & The Starlites.

Let's take a listen, shall we:



Like I say, I loved "WPLJ," from the start. The sheer absurdity of going on and on in praising this low-rent drink always made me laugh. But what really made the tune was the finish, that  crazy Spanish rap by Mother Roy Estrada at the end of the song:

  “The modern-day pachuco refuses to die.”
Ruben Sano:
Por qué no consigues tu . . . tu carnal que nos compre some wine ese, ándale, pinche bato, puto, hombre, no te hagas nalga, hombre . . . (chale!) no seas tan denso, hombre (chale!), ándale, dile, porque no merecer, ándale, pinche vino, más sua . . . más suave es, más . . . más lindo que la chingada, hombre, ándale, pinche bato, hombre, quiere tu carnal, hombre, tu carnal ese, tú, tú sabes, tú sabes esto de la movida, tú sabes la movida, ese, tú sabes cómo es, tú sabes, pinche vino, puta, ándale, pinche bato, cabrón, ándale ... (Transcription from  Zappa Wiki Jawaka

To me it sounded like Santa Fe in 1970! I had tons of friends who talked just like that.

By the way, I ran this through Google Translate and came up with the English version:

Why not get your. . . your carnal buy us some wine that, go ahead, click bato, fucking, man, do not get your butt, man. . . (chale!) Do not be so dense, man (chale!), go ahead, tell, because they deserve, go ahead, click wine, more sua. . . softer, more. . . cuter than a bitch, man, go ahead, click bato man wants your carnal man your carnal that, you, you know, you know this from the move, the move you know, that, you know how it is, you you know, fucking wine, whore, go ahead, click bato, bastard, go ahead

I'm sure that's 100 percent correct.

But "WPLJ" was not a Zappa original. He was covering an obscure Salinas, California doo-wop group called The 4 Deuces, who recorded as a B-side in 1956. The song was used in an ad for for Italian Swiss Colony, a company that produced white port.

Here's how that sounded:



But notice, the Deuces don't include the magical Spanish spoken-word performance at the end. I always wondered what inspired Zappa to do that.

Then in 2002, Arhoolie Records released a bitchen compilation called Pachuco Boogie full of Mexican-American hipster jazz between 1948 and 1950, mainly in Los Angeles. A big chunk of the selections, including the title song were by one  Edmundo Martínez Tostado, an El Paso native better known by his stage name: Don Tosti.

Tosti and his group also recorded under the names Don Ramone Sr. y su Orquesta and Cuarteto de Ramon Martinez.

Whatever he called his band, these two songs make me thirsty for some white port and lemon juice and hungry for a burnt weenie sandwich.

I'd say mystery solved.




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