Wednesday, October 17, 2018

WACKY WEDNESDAY: A Musical Tribute to Dennis Hof

Dennis Hof, brothel owner / GOP legislative speaks at a campaign rally hours before he died.
That's porn star Ron Jeremy backing him on harmonica.

Dennis Hof, legal brothel owner, HBO Cathouse star and Republican legislative candidate in Nevada, was found dead at one of his establishments called the Love Ranch Tuesday.

Hof, 72, had been partying with friends like Ron Jeremy (who found Hof's lifeless corpse) and former Hollywood madam Heidi Fleiss after a campaign rally attended by  anti-tax crusader Grover Norquist and disgraced (but pardoned) Arizona Sheriff  Joe Arpaio. Fox News host Tucker Carlson had called into the event to express his support for Hof's candidacy.

His supporters didn't seem concerned that Hof was accused just last month of raping a woman and previous accused of other sexual misconduct by several ex-employees at his brothels. Somewhere in the Great Beyond, former New Mexico state Sen. Eddie Barboa is shaking his head and saying, "I was born 40 years too early."

Anyway, here's a little musical tribute to Mr. Hof, a set of songs about the business he so loved.

First this gem from 1990 by a group called HWA (Hoez With Attitudes)

Here's one by singer Cliff Ferre, who despite the weird accent here, was an American

Nevada's not the only place with legal brothels, as Dave Van Ronk knew.

Of course, the ultimate whorehouse song is House of the Rising Sun. I did a deep dive into that song, which you can see HERE

Tuesday, October 16, 2018

10 Rockin' Years of The Big Enchilada!


Welcome to the 10th anniversary of The Big Enchilada!!!!! And just like my very first podcast back in October 2008, it's another Halloween show. So brace yourself, Bridget, it's a twitchy, witchy, blood-suckin', flesh-eatin' nightmare of an episode and there's not a ghost of a chance that you won't love it.

Remind your loved ones that The Big Enchilada is officially listed in the iTunes store. So go subscribe, if you haven't already (and gimme a good rating and review if you're so inclined.) Thanks. 


Here's the playlist:

(Background Music: Halloween Hell by The Goldstars)
Happy Halloween by The Fuzztones
All My Friends are Zombies by The Priscillas
Leave The Ghost at Home by Troy Gregory & The Sights
I Drink Blood by Rocket from the Crypt
I Came From Hell by The Monsters
Ghost Riders by Ronnie Dawson

(Background Music: Ghost Surfer by The Surf Lords)
Zombie Outbreak by Alien Space Kitchen
Ghost on the Highway by Trailer Bride
Cuidad Muerto by Los Eskeletos
Zombified by Southern Culture on the Skids
Runnin' from the Ghost of Your Past by Stevie Tombstone
The Ghost With the Most by Almighty Defenders

(Background Music: Ghost Train by Stompin' Riff Raffs
Ghost in the Trees by Thee Oh Sees
My Love is a Monster by Compulsive Gamblers
Spooks by Ghost Bikini
Vampire by Black Joe Lewis
(Background Music: Night of the Werewolf by Lee Kristofferson)

Play it below:

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Sunday, October 14, 2018


Sunday, October 14, 2018
KSFR, Santa Fe, NM
10 p.m. to midnight Sundays Mountain Time
Host: Steve Terrell 101.1 FM
Email me during the show! terrel(at)

Here's my playlist :

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

Dancing All Around the World by The Fleshtones
Blood Vision by Jay Reatard
A Fix on You by Dead Moon
Flesh Eating Cocaine Blues by Daddy Long Legs
Hush Hush by The Plimsouls
Geraldine by The A-Bones
No Thanks by King Brothers
Distemper by The Ar-Kaics
I Never Told You by Reverend Beat-Man & Izobel Garcia
I Want it Back by Jonah Gold & His Silver Apples

The Trip of Kambo by O Lendario Chucrobillyman
Another  She by Arvidson & Butterfly
The Noose That Snapped by Demented Are Go
Handshake Drugs by Black Joe Lewis & The Honeybears
I Am Trying to Break Your Heart by JC Brooks & The Uptown Sound
Get the Family Together by The Reverend Peyton's Big Damn Band
Single Again by Fiery Furnaces
Wimp by Jean Caffeine
Where have you been, Billy boy, Billy boy?

Every Bit of Me by Thee Headcoats
Davy Crockett by Thee Headcoatees
Jack the Ripper by The Revillos
Are You a Wally by The Spartan Dreggs
Punk Rock Enough For Me by CTMF
All My Friends are Zombies by The Priscillas
Ain't No Rock 'n' Roll Rookie by Johnny Moped
Love Pours Out of My Heart by Miss Ludella Black
Walk a Mile by Holly Golightly
I Don't Like the Man That I Am by Billy Childish & The Singing Loins
Archive from 1959 by The Buff Medways

I Had a Dream by Charlie Pickett
Dusty Bibles and Silver Spoons by The Bloodhounds
Waltzing in the Moonlight by Country Joe & The Fish
From Her to Eternity by Nick Cave & The Bad Seeds
Say We'll Meet Again by Lindsey  Buckingham
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

Like the Terrell's Sound World Facebook page

Want to keep the party going after I sign off at midnight?
Go to The Big Enchilada Podcast which has hours and hours of music like this.

Subscribe to The Big Enchilada Podcast CLICK HERE

Thursday, October 11, 2018

TERRELL'S TUNE-UP: In praise of Damaged Goods

A version of this was published in The Santa Fe New Mexican 
Oct. 12, 2018

Which way ya goin', Billy?
Steven John Hamper — or is it William Charlie Hamper? — of Chatham, England, aka Billy Childish, sometimes records under the name of “Wild Billy Chyldish” and other variations of his pseudonym.

He's a painter, a photographer, a poet, and — let’s go full Kristofferson here — a picker and a prophet and a prolific pusher of a do-it-yourself aesthetic of rock ’n’ roll that is informed by punk, garage, blues, folk, and probably other influences that lesser mortals have yet to uncover.

This infamously curmudgeonly contrarian has been responsible for a crazy number of bands since the mid-’70s, including The Pop Rivets, Thee Milkshakes, Thee Mighty Caesars, The Delmonas, Thee Headcoats (which spawned the all-girl group Thee Headcoatees), The Buff Medways, The Chatham Singers, The Musicians of the British Empire, The Spartan Dreggs, and, most recently CTMF — unless he’s started a new group since I began writing this.

As could be expected, this fifty-eight-year-old artist — who says he’s made more than 150 albums, never using a producer — has recorded on a long list of independent record companies including Sub Pop, Sympathy for the Record Industry, K Records, Amphetamine Reptile, Get Hip, and his own Hangman label.

But when I think of Billy Childish, the first label I think of is Damaged Goods, the British label started 30 years ago by a guy called Ian Damaged (who’s married to a lady named Alison Wonderland). And now, that wondrous label is releasing a two-disc, 37-song 30th anniversary compilation called Damaged Goods 1988-2018, described by the DG media machine as “a selection of top tracks, deep cuts, lost gems, and personal favourites.”

No, Damaged Goods and Billy Childish are not synonymous. DG started out as a punk-rock reissue label, and Childish didn’t start recording for them until 1991 (initially with Thee Headcoats, which served as his major music vehicle through most of the ’90s).

And Childish probably isn’t as well known with the general public as the Manic Street Preachers, who went on to major labels after their 1990 debut on Damaged Goods, New Art Riot E.P. (The title track is included here, but, frankly, it’s not all that impressive.)

But Damaged Goods began managing Billy’s back catalog a few years ago, and I’d argue that even though he was a little late to the party, he quickly became the soul of the label. I’m not comparing Ian Damaged to Sam Phillips, but trying to discuss Damaged Goods without Billy Childish is like trying to talk about Sun Records without mentioning Elvis Presley.

Besides, Childish is all over this collection.

He’s responsible for a quarter of the tracks on the first disc. Following a cool blast of punk by a guy called Johnny Moped called “Ain’t No Rock ’n’ Roll Rookie,” Thee Headcoats barge in with a tune of classic Childish self-loathing called “Every Bit of Me.” Childish, who has frequently talked publicly about being molested at the age of nine by a “friend” of his family, roars in this song about that defining incident: “He was forty years old inside my jeans/I was nine years old and feeling unclean/He told it’s a secret to keep to myself/I wanted to hate him but I hated myself/with every bit of me, every bit of me ...”

In another Childish song in this compilation, “I Don’t Like the Man That I Am,” recorded with the folk-punk group The Singing Loins, Childish works a similar introspective theme. Backed only by banjo, acoustic guitar, and bass drum, he sings, “I don’t love you ’cause I don’t like the man I am.”

There’s another autobiographical tune, a fierce rocker called “Archive From 1959” (that’s the year he was born) by The Buff Medways, and some weird noodling from Childish and his crony, fellow artist-poet-singer Sexton Ming called “Sing Shed Sing” (a minute and 16 seconds of spoken word over what sounds like a toy organ and chimes). I also like “Are You a Wally?” by The Spartan Dreggs, though I have no idea what Childish is singing about here. (Could it be that I’m a Wally?)

But the best song on the whole collection is “Punk Rock Enough for Me,” by Childish’s CTMF — and don’t ask me what that alphabet soup of a band name stands for. The song is basically a list of musicians, writers, artists, and some inanimate objects, like a cup of tea — all of which Billy considers to be punk rock — sung over a tune that sounds like a hard-edged version of Them’s “Gloria.”

Among this esteemed company are Robert Johnson, Jimi Hendrix (in Beatle boots), Bo Diddley, Fyodor Dostoevsky, Billie Holiday, Nikolai Gogol, and Buddy Holly. And I almost did the Freddie when Childish included the ’60s British band Freddie and The Dreamers. This tune is a dandy put-down of punk-rock purity.

Besides Childish himself, Damaged Goods 1988-2018 includes what might be the most popular song by the lovely and talented Headcoatees, the cool, wacky “Davy Crockett,” which has a melody similar to Don and Dewey’s “Farmer John.”

Even better are some lesser-known songs by former Headcoatees who went on to solo careers. There’s the soulful “Love Pours Out of My Heart” by Miss Ludella Black (I can imagine Sally Timms of The Mekons singing this one) and a couple from the ever-delightful Holly Golightly, who sings a bluesy, sultry “Walk a Mile,” as well as a song with The Brokeoffs, “Just Around the Bend.”

Speaking of girl groups, the best non-Childish tracks on the compilation are by female bands or singers. Thee Dagger Debs sound like a tougher Bay City Rollers on the catchy “Ain’t Worth the Time.” The Period Pains do a tune called “Spice Girls (Who Do You Think You Are?),” while Betty and The Werewolves toast a pop star from a previous era, “David Cassidy.” And speaking of werewolves, The Priscillas have a great spook-rock tune called “All My Friends Are Zombies” just in time for Halloween.

With the music biz imploding and transforming at a near-deadly pace, it’s refreshing to see that a determined independent label like Damaged Goods can last three decades. Here’s to 30 more years for this wonderful company.

Let's see some videos:

Here's some live Billy & The Buffs

Thee Headcoatees were the queens of the wild frontier

I don't think I'm a Wally, but how can I be sure?

And as a special treat, here is my Spotify playlist of various Billy Childish bands, offshoots and related artists.

THROWBACK THURSDAY: Jimmy Brown the Newsboy, It's Almost Your Day!

It's almost International Newspaper Carrier Day. So in honor of that cherished holiday, which this year falls on Saturday Oct. 13, let's take a look at song about America's most beloved newsboy, a lad named Jimmy Brown.

William Shakespeare wrote the original version of this song. William Shakespeare Hays, that is. He was a songwriter born in Louisville, Kentucky in 1837. Hays wrote it under the title of "Jimmie Brown (the Paper Boy). It had a different melody than the one we later came to know (CLICK HERE to download a midi version). But the story is basically the same:

I'm very cold and hungry, sir,
My clothes are worn and thin,
I wander on from place to place,
My daily bread to win;
But never mind, sir, how I look,
Don't sneer at me, or frown,--
I'm selling papers, for I am
The newsboy, Jimmie Brown.

I sell the morning paper, sir,
My name is Jimmie Brown,--
Most ev'ry body knows I am
The "poor boy of the town."

My father was a drunkard, sir,
So I've heard my mother say,--
Before he died, how oft for him
I've heard her weep and pray!
But I am helping mother now,
I journey up and down,
To sell my papers, for I am
The newsboy, Jimmie Brown.


My mother tells me ev'ry night
To kneel with her and pray,--
She says if I've an honest heart,
I'll be all right some day;
And when she's gone to heaven, sir,
To wear a starry crown,
She'll wait up there to welcome home
The newsboy of the town.


A.P. Carter took the song, rewrote some of the lyrics, gave it a different melody and, as was his practice, gave himself the songwriting credit. Here's the Carter Family's version.

Bill Monroe, Mac Wiseman and others recorded "Jimmy Brown," but my favorite bluegrass version is by Flatt & Scruggs. Lester sang, while banjo deity Earl Scruggs proved that he's pretty darn good at flat-picking a guitar.

The song drifted overseas where Lonnie Donegan skiffled it all up.

It's a completely different song, but in 1989, Stan Ridgway recorded a song about another news carrier. This one is older, more cynical and more philosophical than little Jimmy Brown. And he also has crazy fantasies about becoming a caped crusader.

Sunday, October 07, 2018


Sunday, October 7, 2018
KSFR, Santa Fe, NM
10 p.m. to midnight Sundays Mountain Time
Host: Steve Terrell 101.1 FM
Email me during the show! terrel(at)

Here's my playlist :

OPENING THEME: Let It Out (Let it All Hang Out) by The Hombres
I Walked With the Zombie by Roky Erikson & The Aliens
Her Cold Cold Heart by The Night Beats
I Suffer, I Get Tougher by The Reverend Peyton's Big Damn Band
Hangman by Beat Happening
Conception of the Blues by The Goon Mat & Lord Bernardo
El Perversio by Deadbolt
Johnny Voodoo by Empress of Fur
Thunderbird ESQ by Hank Haint
Love Pours Out of My Heart by Miss Ludella Black
Nudist Colony by Kirk Hansard

DJ. Why Why Why by Bee Bee Sea
Ask the Angels by Patti Smith
Heat Wave by The Vagoos
Strangest Stranger by Salty Pajamas
Cosmic Two Step by The Barbarellatones
The Straight Life by Mudhoney
Jack the Rippers by The Revillos
Can't Help (But Wonder) by The Moonbeats
What I Like About Miami by Charlie Pickett

You Turn Me Bad by The Ar-Kaiks
Lost Memories by Sloks
You're So Sorry by The Budget Girls
Dead Man's Shoes by Hipbone Slim & The Knee Tremblers
Long Runs the Fox by The Bonnevilles
I Ain't the One by Bobby Rush
Spiders by Harlan T. Bobo
Evil Woman by Gogo Loco
Something's Goin' On by Jessica Lee Wilkes
I Drink Too Much by Cornell Hurd

Sundown Blues by Tony Joe White
She Said She Said by Black Keys
Trouble in Mind by Johnny Dowd
Season of the Witch by Donovan
Say We'll Meet Again by Lindsey Buckingham
Please Send Me Someone to Love by The Persuasions
I Believe Her by Ramblin' Deano
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

Like the Terrell's Sound World Facebook page

Want to keep the party going after I sign off at midnight?
Go to The Big Enchilada Podcast which has hours and hours of music like this.

Subscribe to The Big Enchilada Podcast CLICK HERE


Sunday, October 7, 2018
KSFR, Santa Fe, NM
8 am to 10 am Sundays Mountain Time
Substitute Host: Steve Terrell 101.1 FM

Email me during the show! terrel(at)

Here's the playlist :

The Crawdad Song by Doc Watson
Happy Hickey the Hobo by The Delmore Brothers
Flora by Peter, Paul and Mary
He's a Lone Ranger by Don Flemons
Ruby, Are You Mad at Your Man by Carolina Chocolate Drops
Mysterious Mose by R. Crumb & His Cheap Suit Serenaders
Another Clown by Mose McCormack
I Hate These Songs by Dale Watson
Jesus in Pajamas by Kinky Friedman

The Feller That Looked Like Me by The Volo Bogtrotters
What's the Matter? by Memphis Jug Band
Grinnin' In Your Face by Son House
I Don't Like the Man I Am by Billy Childish & The Singing Loins
Some of Shelly's Blues by Nitty Gritty Dirt Band
A Song for Blaze by Elliot Rogers
Blaze's Blues by Townes Van Zandt
Down Here Where I Am by Blaze Foley
The Rue of Ruby Whores by Michael Hurley

World So Full of Love by Rodney Crowell
When Two Worlds Collide by Flatt Lonesome
Jason Fleming by Roger Miller
Wine Spodee Odee by Kell Robertson
Fruit of the Vine by Nancy Apple
Road Map for the Blues by Butch Hancock
Happy Rolling Cowboy by Holy Modal Rounders
Goldfinger by Peter Stampfel
The Gardens by Dave Alvin & Jimmie Dale Gilmore

On the Jericho Road by Robbie Fulks & Linda Gail Lewis
Salty Dog by Gus Cannon
The World is Going Wrong by Mississippi Sheiks
You Can't Stop a Tattler by Washington Phillips
Big Rock Candy Mountain by Chris Thomas King
Dust Bowl Refugees by James Talley
I Hate Men by Little Carolyn Sue
Philadelphia Lawyer by The Maddox Brothers & Rose
Fixin' to Die Blues by Bukka White

Subscribe to The Big Enchilada Podcast! CLICK HERE

Wednesday, October 03, 2018

WACKY WEDNESDAY: It's Twilight Time

It was 59 years ago -- actually 59 years and a day -- when CBS premiered a new drama anthology series seeped in science fiction, Kafkaesque horror, thinly disguised political and social commentary and just plain weirdness.  Written and produced by Rod Serling, the series was called The Twilight Zone.

"There is a sixth dimension beyond that which is known to man," Serling told America atthe outset of the show. (This later was changed to "fifth dimension.") "It is a dimension as vast as space, and as timeless as infinity. It is the middle ground between light and shadow, and it lies between the pit of man's fears, and the sunlight of his knowledge. This is the dimension of imagination. It is an area that might be called, The Twilight Zone."

The show lasted five seasons on CBS, but was syndicated for years. There have been a few attempts to revive The Twilight Zone, but none were as successful as the original.

While not directly related to the show, The Twilight Zone has inspired a number of songs -- after all it is "the dimension of imagination" -- through the years. So when the aliens serve man, they should include these musical side dishes.

The Dutch group Golden Earring had a hit with this in 1982. (Though it's not nearly as bitchen as their hit from the previous decade, "Radar Love.")

In the early '70s, Dr. John, in his Night Tripper phase, had this peppy little ditty:

In 1979, The Manhattan Transfer incorporated The Twilight Zone's TV theme for this number:

Finally, here's Ministry's take on that place between the pit of man's fears, and the sunlight of his knowledge:

Monday, October 01, 2018

Here's the New Big Enchilada Podcast Episode


It's chile today, hot tamale! And these are the most red hot sounds on the Internet -- Joe "King" Carrasco, Billy Childish, Mark Sultan, Charlie Pickett, The Morlocks and much much more. So grab a bowl of chili beans at Jack's or John's or Jim's or Jean's and let this month's Big Enchilada warm up your eardrums.

Remind your loved ones that The Big Enchilada is officially listed in the iTunes store. So go subscribe, if you haven't already (and gimme a good rating and review if you're so inclined.) Thanks. 


Here's the playlist:

(Background Music: Congo Mando & The Chili Peppers)
Current Events by Joe "King" Carrasco
Punk Rock Enough for Me by CTMF
Kick Ass Rock by The King Brothers
Travelust Revisited by Charlie Pickett
What You Do by The Ar-Kaics
Little Girl by John & Jackie 

(Background Music: Taco Wagon by Man or Astroman?)
Invisible People by Marshmallow Overcoat 
Just a Sign by Maiorano
Coffin Nails by Mark Sultan
You're So Sorry by The Budget Girls
The Bear by Johnny "Guitar" Watson
Satan Gave Me a Taco by Beck

(Background Music: Chili Beans by Felix & His Guitar)
Til My Mojo Works by The Peawees
Coffee Grounds by The Moonbeats
Crystal Clear by Johnny Mafia
The Swamp by Sloks
No One Rides for Free by The Morlocks
Dancing on the Razor's Edge by The Cavemen
(Background Music: Chili with Honey by Danny Bell & The Bell Hops)

Play it below:

Support Radio Mutation on Patreon

Sunday, September 30, 2018


Sunday, September 30, 2018
KSFR, Santa Fe, NM
10 p.m. to midnight Sundays Mountain Time
Host: Steve Terrell 101.1 FM
Email me during the show! terrel(at)

Here's my playlist :

OPENING THEME: Let It Out (Let it All Hang Out) by The Hombres
This Year's Girl by Elvis Costello
Kill Yourself by Mudhoney
Era Axial by Hollywood Sinners
Jack Pepsi by TAD
Yeah! by The Cynics
Current Events by Joe "King" Carrasco
Kick Ass Rock by The King Brothers
Hialeah Backstretch by Charlie Pickett
Your Past's Gonna Come Back and Haunt You by Emily Kaitz

Plastic Fantastic Lover / It's No Secret by Jefferson Airplane (R.I.P. Marty Balin)
Swimsuit Issue / Youth Against Fascism by Sonic Youth
Saxophone by Bottle Rockets
What You Do by Ar-Kaics
Crystal Clear by Johnny Mafia
Easy Action by The Morlocks

Natural Ball / Gambler's Blues by Otis Rush
Monkey in My Head by Maiorano
Let's Get a Groove On by Lee Fields
Phil Spector by The Peawees
My Favourite Place by J. Church
Uum Uum Uum by The Fox Sisters


Cold Cold World by Blaze Foley
Blaze Foley's 113th Wet Dream by Gurf Morlix
A Song for Blaze by Elliott Rogers
Springtime in Uganda by Blaze Foley
Blaze's Blues by Townes Van Zandt
Rainbows and Ridges by Blaze Foley
Friend of Mine by Michele May
Drunken Angel by Lucinda Williams
If I Could Only Fly by Blaze Foley
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

Like the Terrell's Sound World Facebook page

Want to keep the party going after I sign off at midnight?
Go to The Big Enchilada Podcast which has hours and hours of music like this.

And there's a brand new one posted earlier tonight!

Subscribe to The Big Enchilada Podcast CLICK HERE

Friday, September 28, 2018

TERRELL'S TUNE-UP: Blaze on Film

A version of this was published in The Santa Fe New Mexican 
Sept. ,28 2018

Ben Dickey as Blaze Foley with Alia Shawkat as Sybil Rosen.

One of the sturdiest genres of cinema is the biopic — and a lucrative subgenre of the biopic in the last several decades has been the movie about celebrated popular musicians.

There have been biopics about Hank Williams (I Saw the Light in 2015 and Your Cheatin’ Heart in 1964); Billie Holiday (Lady Sings the Blues, 1972); Sid Vicious (Sid and Nancy, 1986); Buddy Holly (The Buddy Holly Story, 1978); Loretta Lynn (Coal Miner’s Daughter, 1980); NWA (Straight Outta Compton, 2015); Charlie Parker (Bird, 1988); Ritchie Valens (La Bamba, 1987); The Runaways (The Runaways, 2010); Patsy Cline (Sweet Dreams, 1985); Ray Charles (Ray, 2004); Glenn Miller (The Glenn Miller Story, 1954); Bessie Smith (Bessie, 2015); Brian Wilson (Love and Mercy, 2014); Johnny Cash (Walk the Line, 2005); and who knows how many more.

One thing all those films have in common (not counting the fact that most of them had tragic endings) was that every subject was famous in their respective fields, and well-known hit-makers of their times.

That’s not the case with singer-songwriter Michael David Fuller, aka Blaze Foley. But Foley, who died virtually penniless nearly 30 years ago, now has his own biopic. Blaze stars Ben Dickey, an actor who, at least up to now, probably is even less famous than Foley — though hopefully his future is brighter. The film opens in Santa Fe on Friday, Sept. 28.

A man called Blaze
Foley turned out to be a respected songwriter, though much of that respect came years after his death. Like so many rough-hewn geniuses, his life was a mess.

A self-destructive alcoholic, he was essentially homeless during the last months of his life, sleeping under pool tables at bars. He’d patched up old shoes — and basically everything else — with duct tape.

He was shot and killed in a drunken argument in Austin, in 1989, just a few months after his 39th birthday.

Actor-director Ethan Hawke was familiar with Foley’s story. Hawke — who starred in a 2015 biopic about jazz trumpeter Chet Baker — set out to make a film about a musician who never achieved actual fame but was true to his art, though enslaved by his demons.

Instead of thrilling scenes in which the hero fights his way through the star-making machinery, plays that big important concert, or makes that big important record and conquers the world, this movie shows the bumbling Foley screwing up every opportunity ever presented to him.

He unwittingly pushed away the one woman he really loved and hurtled toward his senseless and violent fate. There is no big important concert here — much of the film shows Foley playing somberly at an Austin dive called The Outhouse. He played there the night he was killed, capturing 24 songs in a two-hour gig before a small audience that didn’t seem to care.

No, Foley didn’t set the music industry ablaze. His biggest impact on the business side of music was bankrupting a small record company that gambled on him. One of the movie’s funniest scenes, in a dark sense, was when the three former Texas oilfield roughnecks in charge of Zephyr Records — played by Sam Rockwell, Richard Linklater, and Steve Zahn — confront a drunken Foley over his role in the company’s demise.

While Foley remains unknown to most of civilization, he caught the eyes and ears of many major players in country, alternative-country, and folk circles.

Lucinda Williams eulogized him in her song “Drunken Angel,” as Townes Van Zandt — Foley’s most famous crony — did in “Blaze’s Blues.” John Prine recorded Foley’s song “Clay Pigeons” for his 2005 album Fair & Square. Lyle Lovett sang a Blaze tune called “Election Day.” Willie Nelson and Merle Haggard recorded a 1987 duet of Foley’s greatest song “If I Could Only Fly.” And then Hag re-recorded an even more heart-wrenching cover of that song, making it the title track of his excellent 2000 comeback album.

Much of the story in Blaze is based on Living in the Woods in a Tree, the memoir of Foley’s girlfriend and muse for many of his greatest songs, Sybil Rosen (who is portrayed in the film by Alia Shawkat, best known for her role as Maeby in the TV comedy Arrested Development). Rosen (who has a cameo as her own mother in the movie) co-wrote the screenplay with Hawke.

The movie is framed by a recurring radio interview featuring an unnamed radio host played by Hawke (we only see the back of his head during these scenes) and Van Zandt, who is impressively played by Austin guitar picker Charlie Sexton.

The interviewer isn’t hip to Foley — he calls him “Blaze Folly.” Sexton’s Van Zandt corrects him and fills him in on the life of his friend — some of which, like his infamous twisted tall tale about digging up Foley’s grave to get a pawn ticket out of the dead man’s jacket — are likely more fiction than fact. But I bet Blaze would have gotten a kick out of most of the stories.

Dickey is the real star of the show. He captures Foley’s lumbering presence, his menacing scowl, his mumble, and his vulnerability underneath a thick beard and oversized cowboy hat.

And he even sounds a lot like Foley when he sings. There is an album to go along with the movie, Blaze (Original Cast Recording), featuring Dickey’s versions of Foley tunes. It’s decent, but I suggest that before you buy that, seek out Foley’s original material. Though — as the film makes clear — Foley was a flawed human, his soulful music deserves wider recognition. ◀

Blaze opens at Violet Crown Cinema on Friday, Sept. 28.

Video Time!

This is the official trailer for Blaze.

Here's one of my favorite Blaze tunes

Another Foley classic. John Prine thought so too.

Some hard-hitting political commentary.

And here's Blaze's greatest

Thursday, September 27, 2018

THROWBACK THURSDAY: The Death of Bessie Smith

Bessie Smith didn't have a tombstone until 1970. Janis Joplin helped pay for it.

Eighty-one years ago yesterday, Sept. 26, 1937, Bessie Smith, the Queen of the Blues, died from injuries she received in a car wreck in Coahoma, Miss., between Clarksdale and Memphis. She was 43.

According to American Blues Scene, she and her boyfriend/manager Richard Morgan were traveling down Highway 61 in an old Packard. They hit a truck that was parked on the side of the road. The man in the truck fled. A doctor named Hugh Smith and a fishing buddy stopped.

It was 2 a.m. Smith and his associate jumped out of the car, and by the light provided by the headlights, examined Bessie. Her right arm had been torn completely loose at the elbow. Dr. Smith said “ essence, a traumatic amputation…”. The artery in her arm was still intact, and she was bleeding profusely. Dr. Smith applied a tourniquet. Bessie also had severe internal injuries to her chest and abdomen. She was conscious.

Then another car smashed in the doctor's vehicle.

It has been largely reported, most notably in Down Beat, that Bessie Smith was taken by ambulance to a white hospital, where she was turned away. From there, she was taken to G.T. Thomas Afro-American Hospital (now the Riverside Hotel) where she was pronounced dead. No records, if they ever existed, were found concerning her stay at the hospital. Could the white hospital have saved her? The short answer is no. First of all, the two hospitals were not even a half-mile apart. Secondly, in 1937 in the deep south, where almost everything was segregated, no ambulance driver would even think of taking a black patient to a white hospital.

According to the American Blues Scene article, "Dr. Smith would later say Bessie would have died from her injuries even if the accident happened outside the city hospital. They were simply that severe."

But enough about Bessie's death. Let's celebrate her art.

Below is "Wild About That Thing," the first Bessie Smith song I ever heard, as a college freshman at the University of New Mexico in 1971. Either this song or the very similar "You've Got to Give Me Some."

"Gimme a Pigfoot and a Bottle of Bear" is one of Bessie's most popular tunes.

Another longtime favorite, "Send Me to the 'Lectric Chair."

Finally, Bessie even tried a little gospel music -- though I'm pretty sure her tongue was in her cheek when she sang "Moan You Moaners."

Sunday, September 23, 2018


Sunday, September , 2018
KSFR, Santa Fe, NM
10 p.m. to midnight Sundays Mountain Time
Host: Steve Terrell 101.1 FM
Email me during the show! terrel(at)

Here's my playlist :

OPENING THEME: Let It Out (Let it All Hang Out) by The Hombres
The AARP is After Me by Drywall
Slay Me by The Darts
Evil Woman by Gogo Loco
Is You Is or Is You Ain't My Baby by Screamin' Jay Hawkins
Rub It Til It Bleeds by PJ Harvey
Coffee Grounds by The Moonbeats
Distemper by The Ar-Kaics
Country Blues by William Elliott Whitmore
That's What She Said Last Night by Billy Joe Shaver

The Crusher by The Novas
Paula by Harlan T. Bobo
Pain by Pussycat & The Dirty Johnsons
Bastard by The Mekons
Psycho Bitch From Hell by Roger Alan Wade
I'm Bad by Bo Diddley
Where Are you Going? by Travel in Space
It Makes Me Belch by Wat Tyler
Dad Can Dance by Sloks
Look at Granny Run by Howard Tate

Globalquerque 2018
Lemon Bucket Orkestra at Globalquerque
Sept. 22, 2018
Globalquerque Set

Crooked by Lemon Bucket Orkestra
Bapasi by Jupiter & Okwess
Vodka is Poison by Golem
Porro Maracatu by Ladama
Dos Caras by Ladama Blanche
The Herdsman by Anda Union
Asa Branca by Coreyah
Jaguar Nana by Orlando Julius
Intra La Danza by Canzoniere Grecanio Salentino

I Got You by Maiorano
Flower of My Heart by Sparkle Moore & Dan Belloc
Strange Conversation by Many Barnett
Tower of Song by Leonard Cohen

CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

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Thursday, September 20, 2018

THROWBACK THURSDAY: Leonard Cohen's Birthday Eve

Tomorrow is Leonard Cohen's birthday. Cohen, who died in 2016, would have been 84.

His voice would have been 1,000.

Here are a few of my favorite Leonard songs, starting with the first one that grabbed me, "So Long Marianne," which was on his first album, Songs of Leonard Cohen (1967). The version below is from a German TV appearance in 1979. (The violin solo that comes in right before the 3-minute mark is jaw-dropping.)

Here's a slow-and-low version of "Tower of Song" on Night Music in 1989

Leonard went full-blown Old Testament prophet on "The Future" -- afterall, as he said himself, he's "the little Jew who wrote the Bible." It's weird that this "official video" from 1993, censors the words "anal sex" and "crack."

Thank you for guarding my morality!

I know that we celebrated The Austin Lounge Lizards only yesterday, but I'd be remiss if I didn't include the greatest Leonard Cohen spoof in human history.

Wednesday, September 19, 2018

WACKY WEDNESDAY: In Praise of the Austin Lounge Lizards

They didn't start in Austin. And they're  not really lizards.

Here's a Wacky Wednesday cheer for a little string band from deep in the heart of Texas.

Actually, however, the group's origins go back to the late '70s when two Princeton students, Conrad, Deisler and Hank Card met and began playing country, folk and bluegrass. They moved to Austin in 1980, teamed up with banjo/dobro player Tom Pittman and The Austin Lounge Lizards were born.

The line-up of the band has shifted through the past, but they've faithfully kept their original vision, which, according to their website is "spoofing topics American families try to avoid at the Thanksgiving table: subjects like politics, religion, romance, and themselves."

I'll go ahead and quote their website again:  "The Austin Lounge Lizards are arguably the perfect pairing of their hometown’s slogan, `Live Music Capital of the World,' and its unofficial motto, `Keep Austin Weird'.”

The first two songs I'm going to post here are the songs that made me realize I was an Austin Lounge Lizards fan. A friend of a friend played these at a pickin' party I went to sometime in the mid 80s. The FOF (whose name I forget) explained  the tunes were from an album called Creatures From the Black Saloon .

The Lizards do bluegrass justice to this Pink Floyd classic. Truly they are a band less reverent than Spike Jones, but more punctual than George ...

And through the years, the Lizards have sung more than their share of stupid songs about Texas ...

Sunday, September 16, 2018


Sunday, September 16, 2018
KSFR, Santa Fe, NM
10 p.m. to midnight Sundays Mountain Time
Host: Steve Terrell 101.1 FM
Email me during the show! terrel(at)

Here's my playlist :

OPENING THEME: Let It Out (Let it All Hang Out) by The Hombres
The Devil's Trick is Not a Treat by The Devils
Born to Die by King Khan
Everybody Wants to Go to Heaven by Trixie & The Trainwrecks
I'm Gonna Kill My Baby Tonight by The Mummies
So Long Johnny by Charlie Pickett
Gung Ho by Black Lips
Walk a Mile by Holly Golightly
Spice Girls by Period Pain
Black Metal by Reverend Beat-Man & Izobel Garcia
Delilah by Jon Langford & Sally Timms
Burning Hell by Tom Jones

Ride With Me by Sulphur City
Buzz Buzz Buzz by The Blasters
You Don't Love Me Yet by Roky Erikson
The Roaring 20s by Archie & The Bunkers
Put That in Your Pipe by The Mobbs
Cheepnis by Frank Zappa
Girl Scout Cookies by Blaze Foley

Roger Miller set

Old Friends by Willie Nelson, Kris Kristofferson & Merle Haggard
When Two Worlds Collide by Flatt Lonesome
I Wish I Could Fall in Love Today by Roger Miller
Oo-De-Lally by Ben Dickey & Alia Shawkat
One Dyin' and a Buryin' by David Yow
Pardon This Coffin by Jon Rauhaus
You Can't Do Me This Way by Dean Miller & The McCrary Sisters
Lock, Stock and Teardrops by Mandy Barnett
Invitation to the Blues by Ray Price
Train of Life by Merle Haggard
The Moon is High by Neko Case
The Last Word in Lonesome is Me by Roger Miller

Lo-Fi by Bottle Rockets
25 Times by Maiorano
Gone Deep Underground by Stan Ridgway
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

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Go to The Big Enchilada Podcast which has hours and hours of music like this.

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Thursday, September 13, 2018

TERRELL'S TUNE-UP: Roger Rides Again!

A version of this was published in The Santa Fe New Mexican 
Sept. 14, 2018

He enlightened us with the hillbilly zen wisdom of avoiding rollerskating in a buffalo herd. He introduced us to the concept of “maple surple.” He struck an early blow in support of transgender people with his song “My Uncle Used to Love Me But She Died.” Growing up in Oklahoma, Roger Miller was a member of my Holy Okie Boyhood Heroes Trilogy, along with Mickey Mantle and Leroy Gordon Cooper.

“My name is Roger Miller, probably one of the greatest songwriters to ever live … I have written a few songs, probably eight or 900 in my professional career, and we’d like to do about 700 or 750 here tonight.”

That’s a little Miller stage banter that kicks off the new various artists tribute album, King of the Road: A Tribute to Roger Miller. It’s true that most tribute albums suck the warts. But partly because Miller really was one of the greatest songwriters to ever live — and partly because of the caliber of the talent that producer (and Roger’s son) Dean Miller has wrangled for this project — nearly every track is a winner. The songs capture Roger’s wide emotional range: the funny tunes, the cool anthems, the honky-tonk stompers, the surprisingly powerful heartache songs.

Among the various artists here are classic country cronies of Miller’s, a few current commercial country singers, a couple who fall into the basket called “Americana,” and some truly offbeat but enjoyable choices, including Ringo Starr, actor John Goodman, and alt-rock bands like Cake and Toad the Wet Sprocket. And here’s the news: Huey Lewis sings “Chug-a-Lug,” backed by Asleep at the Wheel, and does a credible job.

Roger Miller at home in Tesuque, N.M., 1980
Photo by Pam Mills
There are several artists here I’d never heard of, and I consider some of them to be important discoveries. For instance, the female-fronted band Flatt Lonesome does a stunning bluegrass cover of “When Two Worlds Collide.” And Lily Meola, who I don’t believe had ever graced my eardrums before, sings a soulful take on a little-known Miller song called “I’ll Pick Up My Heart and Go Home.”

I haven’t heard all 900 of Roger’s songs — probably only 650-675 of them — but I’ve heard enough to realize that for every Miller that makes you chuckle, there’s at least one that’ll rip out your heart and stomp on it.

And even though songs like “Dang Me” and “Chug-a-Lug” are what first drew me to Miller, it’s those sad ones that made me stay. Many or most of them were written back when Miller was a sideman for country stars like Ray Price and Minnie Pearl (!) while writing hits (and occasional misses) for the likes of George Jones, Faron Young, and Jim Reeves — long before he broke out as a solo artist.

Besides those tracks by Flatt Lonesome and Lily Meola, my favorite cry-in-your-beer songs on King of the Road include “The Last Word in Lonesome in Me,” a hit in the mid-’60s for Eddie Arnold and sung here by Dolly Parton and Alison Krauss; “You Oughta Be Here With Me,” sung as a medley with “I’ve Been a Long Time Leaving” performed by Krauss with The Cox Family; Loretta Lynn’s heart-stopping version of “Half a Mind”; “World So Full of Love” by Rodney Crowell.

And at this writing, my favorite song on the whole double-album, “Lock, Stock, and Teardrops” sung by Mandy Barnett. It’s slow, a little jazzy, and a lot countrypolitan. Every time I hear it, the song conjures an image of Roger and Patsy Cline smiling down on me from Hillbilly Heaven as Miller reflects, “We could have left it in a lot worse hands.”

There also are many notable upbeat songs on King of the Road. Dean Miller, backed by The McCrary Sisters, turns his dad’s “You Can’t Do Me This Way” into a soulful romp. Kacey Musgraves’ contribution, “Kansas City Star,” concerns a local celebrity who believes that big fish often do better in small ponds, even if you have to decline more money, all expenses paid, and a car.

Dwight Yoakam sings a tune he co-wrote with Miller, “It Only Hurts Me When I Cry.” John Goodman, who appeared in Miller’s 1985 Broadway musical Big River, sings — or, actually rants — the song “Guv’ment,” which he performed in that production.

And now, here’s the conventional part of a tribute album review in which the critic whines, “But they left out one of my favorite songs.”

In this case, it’s “The Moon is High (And So Am I),” which was one of Miller’s funniest from his early solo career, as well as being an early showcase of Miller’s mad genius at wordplay: “Well, the moon is high and so am I, the stars are out and so will I be pretty soon ... But come the dawn and it will dawn on me you’re gone ...”

That omission aside, Miller fans should love this album. It was put together by folks who loved Miller and his musical legacy. But unlike many tribute albums, before King of the Road can get too close to being overly sentimental, an interspersed, irreverent sound clip of Miller onstage brings it back to ground.

Hopefully this album will attract new fans who can enjoy discovering the source material.

O.K., enough of my yack: Here are some videos.

First, a promo video for this album:

Hello Dolly (and Allison too):

Mandy Barnett kills on this great Roger song:

Here's Flatt and Lonesome:

THROWBACK THURSDAY: Johnny Cash, 15 Years Gone

A mural at The Hole of the Wall, Austin, Texas
Photo taken 2008

Johnny Cash died 15 years ago yesterday -- Sept. 12, 2018.

His tuth goes marching on. Here's a brief musical tribute to the Man in Black:

Speaking of which, let's start with that song;

Here's a Cash obscurity I hadn't heard before yesterday

A strangle little tune Johnny did on his TV. (There's some schtick before the song starts)

Finally, a little New Mexico True from the Man in Black. (I still think the state Tourism Department should use this in an ad …)

Wednesday, September 12, 2018

WACKY WEDNESDAY: Deliver the Letter, the Sooner the Better

Smarter (and more sentimental) people than I have lamented the lost art of letter writing in this age of email, texting, and other technological advances.

Kids these days ... they only know the U.S. Postal Service as the deliverer of bills and junk mail.They don't know the fear and frustration of waiting day after day for that letter from the one you love and watching the mailman walk past your house -- or the joy you felt when the letter finally arrives.

But not that long ago, handwritten letters, empty mailboxes and even postal workers frequently appeared in popular song.

Just recently I posted here on Ketty Lester and her haunting obsession with love letters (straight from your heart). Here are a few more of my favorite songs about the mail.

Let's go back to Son House, whose best-known song probably is "Death Letter Blues."

The Marvelettes in 1961 captured our hearts with their desperate teenage pleas to a certain federal employee.

Elvis knew a thing or two about the Post Office

The King also recorded this song about tampering with the mail (or the male) in the late '60s

A little 1967 garage-pop here from The Five Americans, who for some reason assumed that zip codes, which were adopted by the U.S. Postal Service just few years before, would improve the communication lines of love.

The Box Tops, featuring a youthful Alex Chilton, a Tennessee teen who sounded like Tom Waits' grandpappy. Joe Cocker later covered it. But here's an obscure version by Al Green

From deep in the heart of Texas, here's country weeper by Asleep at the Wheel in the 1970s.

Finally, Taj Mahall wanted to move up to the country and paint his mailbox blue. I wonder if he ever really did that.

Sunday, September 09, 2018


Sunday, September , 2018
KSFR, Santa Fe, NM
10 p.m. to midnight Sundays Mountain Time
Host: Steve Terrell 101.1 FM
Email me during the show! terrel(at)

Here's my playlist :

OPENING THEME: Let It Out (Let it All Hang Out) by The Hombres
Rattle Your Mind by Gogo Loco
Abuelo del Skate by Hollywood Sinners
I'm Leaving by Fiery Furnaces
Done Got Old by Junior Kimbrough
Tangled Up in Bush by Left Lane Cruiser
Rosie and Billy by Charlie Pickett
Coffin Nails by Mark Sultan
The Saddest Girl on Earth by The Legendary Tigerman
Hootchy Kootchy by Gene and Eunice
Sit With the Guru by Strawberry Alarm Clock

Just a Sign by Maiorano
Rock and Soul Music by Country Joe & The Fish Nathaniel Rateliff & The Nightsweats
Broken Bones and Pocket Change by Saint Paul & The Broken Bones
Took My Lady To Dinner by King Khan & The Shrines
Let's Go Crazy by Prince

Mystery Train by Rocket 808
Town by Harlan T. Bobo
Come and Get it by Mean Motor Scooter
Dirty Photographs by The Bonnevilles
Riot on the Strip by James Williamson & The Pink Hearts
I Got Nothin' by Iggy Pop & James Williamson
Are You a Wally by Spartan Dreggs
Why You Gotta Be So Mean by The Reverberations
Short Fat Fanny by Larry Williams
Bless You by Devil Dogs

Violent Shiver by Benjamin Booker
Knocked Down by Salty Pajamas
Reincarnation by Cake
It's All in the Game / Sitting in the Park / Make It Real One More Time by Van Morrison
The Ways of the World by Waylon Jennings
September Song by Jimmy Durante
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

Like the Terrell's Sound World Facebook page

Want to keep the party going after I sign off at midnight?
Go to The Big Enchilada Podcast which has hours and hours of music like this.

Subscribe to The Big Enchilada Podcast CLICK HERE

Thursday, September 06, 2018

THROWBACK THURSDAY: Sonny, Thank You for the Love You Brought My Way

Tomorrow  is the birthday of a man many consider the greatest living saxophone player -- Sonny Rollins. He'll be 88.

Happy birthday, Sonny!

From his website:

Theodore Walter Rollins was born on September 7, 1930 in New York City. He grew up in Harlem not far from the Savoy Ballroom, the Apollo Theatre, and the doorstep of his idol, Coleman Hawkins. After early discovery of Fats Waller and Louis Armstrong, he started out on alto saxophone, inspired by Louis Jordan. At the age of sixteen, he switched to tenor, trying to emulate Hawkins. He also fell under the spell of the musical revolution that surrounded him, Bebop.

He began to follow Charlie Parker, and soon came under the wing of Thelonious Monk, who became his musical mentor and guru. Living in Sugar Hill, his neighborhood musical peers included Jackie McLean, Kenny Drew and Art Taylor, but it was young Sonny who was first out of the pack, working and recording with Babs Gonzales, J.J. Johnson, Bud Powell and Miles Davis before he turned twenty.

But enough talk. Let's get on with the music.

Here's a 1956 recording he made with John Coltrane, "Tenor Madness."

Here are Sonny and Diz in 1987

A couple of years later, Sonny appeared on my favorite TV show, Night Music.

And now for something completely different. In the early '80s, Sonny played sax with The Rolling Stones on "Waiting for a Friend." (He's not in the video, which is a shame.)

Wednesday, September 05, 2018

WACKY WEDNESDAY: Salute to Grace Slick and Her Radical Stage Apparel

Hers is the voice that launched a thousand trips.

Grace Slick, lead singer of the classic Jefferson Airplane line-up had the pipes. She had the looks. She had the intensity. And she had a great sense of humor and, now and then a crazy willingness to express political opinions through her clothes -- and in one case, make-up. This was obvious from the start of the Airplane's national popularity.

Grace will turn 79 next month. But from interviews with her I've read in recent years. she's still got the rock 'n' roll spirit -- even though she's been retired from music for years.

David Crosby, back in the daze, once dubbed Slick "The Chrome Nun." Maybe the video below could explain that.

Check out her sexy nun outfit on the band's June 1967 appearance on American bandstand. (A couple of Voodoo Rhythm artists, drummer Erica Toraldo of The Devils and Reverend Beat-Man's beautiful accomplice Nicole Izobel Garcia carry on that tradition today. (Also worth soaking in is America's Oldest Teenager talking about how San Francisco is "where it's at ...")

A little more than a year later, Grace appeared with The Airplane on The Smothers Brothers Comedy Hour.  She was in blackface, a move that Dangerous Minds called an "insane and mercifully short-lived" phase.

From Dangerous Minds: 

Slick maintained that the gesture was one of solidarity with either the Black Power Movement generally or Angela Davis specifically ... I can’t imagine how anyone could think that the intent of solidarity could possibly trump the massively offensive history of minstrelsy ineradicably attached to blackface performance. But it could have been just a blip if Slick hadn’t doubled down, appearing on the January 1969 cover of Teenset magazine in blackface. Giving a black power salute. (Irony abounds in that mag ...)

Is that why Tommy Smothers called her "Grace Sick"?

Yeah, blackface in retrospect was a dumb move.

Still, As Al Jolson might say, I'd walk a million miles for one of her smiles.

Finally, on Sept. 29, 2001, Slick appeared at a gig by The Jefferson Starship wearing a burqa. She creeps around the stage for a couple of minutes before taking it off, revealing some kind of American flag garment with the words "Fuck Fear"on the back.

"That outfit I had on is not about Islam, it's about oppression," she says about the burqa (at the 2:45 mark), right before singing "Wooden Ships" adding, "This flag is not about politics, it's about liberty."

WACKY WEDNESDAY: A Musical Tribute to Dennis Hof

Dennis Hof, brothel owner / GOP legislative speaks at a campaign rally hours before he died. That's porn star Ron Jeremy backing him...