Tuesday, February 28, 2006

NORMAN PETTY'S MONITORS


No, this blog isn't turning into a classified ads section.

But a friend of mine Bill Simoneau -- a New Mexico rock 'n' roll behind-the-scenes guy who's worked as stage manager at the Thirsty Ear Festival and sound man for Al Hurricane -- has some pretty interesting equipment he's trying to sell. In Bill's own words:

"These four Altec 612a studio monitor speakers were in the Norman Petty Studios, in Clovis, New Mexico, from the 1950s through the early 1970s, when Petty upgraded all his equipment. They were used by artists such as Buddy Holly, Roy Orbison & The Teen Kings, Buddy Knox, The Fireballs and other artists who recorded at Petty's studio. They are in super condition. After Petty sold them, they were used in an Albuquerque studio for about 10 years and have been in storage since.

Lots of documentation will be included with these speakers, including:

correspondence letters from Petty, photos, canceled checks and loan papers from the party who originally purchased them from Petty, a Clovis newspaper article that discusses the sale, and more.

Will sell as a unit of four or in pairs of two.

Also selling Petty's Scully professional tape recorder from the same era.

Contact:
tunzter@aol.com"

Monday, February 27, 2006

TERRELL'S SOUND WORLD PLAYLIST

Sunday, February 26, 2006
KSFR, Santa Fe, N.M.
Webcasting!
10 p.m. to midnight Sundays Mountain Time
Host: Steve Terrell



OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres
Video Violence by Lou Reed
Faster Pussycat by The Cramps
Wonder Why by The Stillettos
It Takes a Worried Man by Devo
Never Say Never by Romeo Void
The Temple by The Afghan Whigs
Bird Brain by Kevin Coyne
Springtime in the Rockies by Tiny Tim & Brave Combo

Hey Grandma by Moby Grape
The Ballad of You & Me & Pooneil by The Jefferson Airplane
Combination of the Two by Big Brother & The Holding Company
Here I Go Again by Country Joe & The Fish
Pride of Man by Quicksilver Messenger Service

Who Knows One? by Frank London's Klezmer Brass Allstars
Sumbawa by Sabah Habas Mustapha
Gunslingers by The Mighty Sparrow
Sumbula by Severa Nazrkhan
Punjabis, Pimps & Players by Anandji V. Shah & Kalayanji V. Shah
James Bond Theme by The Son of the P.M.
Pretty Thing by Nightlosers

Local Boys by Graham Parker & The Figgs
Christo Redemptor by Charlie Musselwhite
The Great Nations of Europe by Randy Newman
Homeland Pastoral by Mark Eitzel
World I Never Made by Dr. John
I Wish I Was in New Orleans by Tom Waits
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

Saturday, February 25, 2006

RALPH STANLEY/THE GOURDS

I've been meaning to post all day about the Ralph Stanley/Gourds concert I saw Thursday night at The Lensic.

In short, it was wonderful.

Ralph doesn't play much banjo these days. His friend "Arthur Itus," he explained. But the Clinch Mountain Boys is one precision unit. (And that bass player, Danny Davis is one crazy dancer!)

Surprisingly my favorite moment was his a cappella "O Death." When I saw him do this five years ago, it seemed like an obligatory bone to throw at the trendsters who'd never heard of him before O Brother Where Art Thou.

But on Thursday, Dr. Ralph seemed to take the old chant into strange dark dimensions. At the end, after the last "Won't you hold me over for another year?" he sang a solemn "Thank .... yoooooo."

That's when I realized that I'd just witness a man having a conversation.

Later in the show, Stanley said if he lived until Saturday he'd be 79 years old. As far as I know, he made it.

HAPPY BIRTHDAY, RALPH!!!!!!

As for The Gourds, I loved 'em. I was a little bit worried that they might not get a great reception if there were too many bluegrass purists in the audience. But the crowd seemed pretty impressed.

I do get the impression that they were holding back some in their mainly acoustic set -- probably because of the audience. Several people were disappointed that they didn't play "Gin and Juice." My guess is that they figured that there were probably just a few too many "motherfuckers" in the lyrics for some of the older Ralph Stanley fans at the Lensic.

I didn't really care about that missing crowd-pleaser. My only disappointment is that they didn't do "Ants on the Melon."

But I was happy to hear "Burn the Honeysuckle," "O Rings" and "Cracklin's."

By the way, there's a new Web site for purchasing live Gourds shows. CLICK HERE

No, it's not free like the Live Music Archive, but there's nothing wrong with a band trying to make a little cash from their music. Besides, the prices aren't bad. And if you look hard enough you can find a Gourds version of the Three's Company theme.

Come and knock on their door ...

THE SANTA FE OPRY PLAYLIST

Friday, February 24, 2006
KSFR, Santa Fe, NM
Webcasting!
10 p.m. to midnight Fridays Mountain Time
Host: Steve Terrell


OPENING THEME: Buckaroo by Buck Owens & The Buckaroos
Sweet Soul Music by Run C&W
Shake the Chandelier by The Gourds
It Was the Whiskey Talkin' (Not Me) by Jerry Lee Lewis
Starman by Jessi Colter
Blues About You Baby by Big Al Anderson
Darlin' Companion by Johnny Cash & June Carter Cash
Caves of Burgundy by Boris & The Saltlicks
Los Tequileros by Los Pinguinos del Norte

Peggy by Eric Hisaw
Sam Bass' Blues by Danny Santos
Miller's Gulch by Jerry Faires
Take Me Home Poor Julia by Norman & Nancy Blake
Moon Song by Michael Hurley
Lift Him Up, That's All by Ralph Stanley

BLACK HISTORY MONTH SET
Cross That River by Allan Harris
When I Was a Cowboy by Odetta
Don't Let Her Know by Ray Charles
Just Between You and Me by Charlie Pride
Wabash Cannonball by Blind Willie McTell
John Law Burned Down the Liquor Sto' by Chris Thomas King with Colin Linden
There Stands the Glass by Ted Hawkins
Opportunity to Cry by The Holmes Brothers
Talacatcha by Alvin Youngblood Hart
Careless Love Blues by Butch Cage & Willie B. Thomas

Drop Me Down by Tres Chicas
Snake in the Radio by Mark Pickerel
The Death of Clayton Peacock by Fruit Bats
Wild American by Kris Kristofferson
Why Me Lord? by Porter Wagoner
Margie's at the Lincoln Park Inn by Bobby Bare
CLOSING THEME: Comin' Down by The Meat Puppets

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

Friday, February 24, 2006

TERRELL'S TUNE-UP: DESERT ROCK, GRUMP ROCK

A version of this was published in The Santa Fe New Mexican
February 24, 2006


Boris McCutcheon, the self-described “singer/songwriter/farmer,” actually comes from New England. But his music always has shown a Southwestern sensibility. To borrow one of his song titles, both the words and the music seem singed by volcanic winds. McCutcheon’s first album, inspired by a stay in NambĂ©, was called Mother Ditch. His second release, When We Were Big, recorded in Tucson, had song titles like “Diablo Waltz” and “Fine Suede.”

That Southwestern sensibility is even more pronounced in his latest album, Cactusman Versus the Blue Demon, recently released on Frogville Records under the name of Boris & The Saltlicks.

It’s acoustic-based desert-rat music, celebrating the harsh beauty but warning of the cruelty of the desert and its denizens. “I pity this poor place,” McCutcheon sings in “Volcanic Wind,” the album’s first song, “All these creatures have God on their face.” The tune starts out with a “crazy woman” on the side of the road feeding Alpo to the coyotes.

McCutcheon’s songs are sometimes somber, sometimes exuberant, sometimes sardonic. And often inscrutable, like the concept behind the title. (According to McCutcheon’s Web site, Cactusman and the Blue Demon were characters in a series of dreams he had in the early ’90s. And here I thought the Blue Demon was the old lucha libre star.)

He can be a straightforward storyteller. For instance, “Seeds & Candy” is a harrowing tale of a city couple who freeze to death in the mountains of Utah, sung over an irresistible Celt-rock backdrop, with McCutcheon himself on mandolin.

There’s lighter-hearted fare here, too. “Don’t Get Weird” is a bluesy number (Kevin Zoernig slinking in with some nice Jimmy Smith organ riffs) that starts out romantically. “The moon is rising and you delight me.” But trouble, not hot romance, seems to be ahead. By the end of the first verse, he’s pleading, “Don’t get weird, don’t get weird ...”

But the real masterpiece on Cactusman is “Caves of Burgundy.” With a melody that suggests some long-lost Steve Young tune, the lyrics suggest a supernatural encounter, like those spooky old British ballads Steeleye Span used to be so fond of, where malevolent beings seduce unsuspecting humans to follow them to Elfland, which ultimately turns out to be hell.

What I like best about this song, though, is the insane interplay between Zoernig’s tinkly-winkly toy piano and Brett Davis’ strangled, screaming guitar during the final fadeout.

It would be impossible to talk about this CD without mentioning the wonderful artwork on the front and back covers. A series of cartoons by artist Neal Cadogan depicts the cosmic showdown in the desert between the two title characters. Buy this album so McCutcheon can afford to pay Cadogan to make a Cactusman video.

McCutcheon is playing at 9 p.m. today, Feb. 24, at the Cowgirl, 319 S. Guadalupe St. (admission $5), and 8 p.m. Saturday, Feb. 25, at the Mine Shaft Tavern, 2846 N.M. 14, Madrid.

Also recommended

*Songs of No Consequence by Graham Parker & The Figgs. “Has rock ’n’ roll just died/Or does it just smell bad?”

Graham Parker on his latest album has a few bones to pick. He’s never been Little Mary Sunshine, but I haven’t heard him so pissed off in years.

In fact, Songs of No Consequence could be the grump-rock album of the decade. It is a virtual bouquet of splendid grouchiness.

Who invented grump rock? Was it Lou Reed, who perfected the form in his 1989 classic New York? Or was it nearly 20 years earlier when John Lennon, whose album Imagine balanced his weepy politically correct title song with blistering put-downs like “Give Me Some Truth” and “How Do You Sleep?” And surely, Randy Newman and Elvis Costello fit into the grump-rock pantheon.

And so does Costello’s contemporary, Parker. He gleefully rips into the entertainment media on the opening cut, “Vanity Press,” but before long, it is obvious he’s talking about the American press in general. “It’s got to be a puff piece/That only shows the best/About the war next door/And it’s a great success,” he snarls in the song.

Parker turns his ire to radio in “There’s Nothing on the Radio,” singing “I don’t want no ’60s junk/Or that ’90s cartoon punk ... I don’t want those whiny chicks/Or those cardboard country hicks ...” He concludes, “The future looks like toast/We’d better burn it.”

His fellow rockers are at the end of Parker’s ugly stick on “Did Everybody Just Get Old?” “That stranger who used to live for danger/is now acting like he never was a teenager,” he sings. “Those rockers with dirty pictures in their lockers/Now have ’em on their computer screens.”

Parker waxes acerbic on a traditional grump-rock target: life on the road. “Well, I can play a guitar just like wringing a neck,” he starts out in “Suck ’n’ Blow,” which is full of imagery of breaking down equipment and screeching air brakes. But I think this old grouch has a soft spot.

“Go Little Jimmy” is about a young blues harpist touring small clubs and wowing the girls. In a rare break in the mood of this album, Parker seems almost excited for the kid.

Of course, he seems to take more pleasure in putting down small-minded, small-town dolts who try to persuade a young woman not to pursue her crazy dreams in “Local Boys”: “Don’t leave here all alone/Don’t go to Paris, don’t go to Rome/Stay in town just like your sister Joyce/And don’t look any further than the local boys.”


Thursday, February 23, 2006

ROUNDHOUSE ROUND-UP: HAVE DEATH WILL TRAVEL

A version of this was published in The Santa Fe New Mexican
Februart 23, 2006

California is having trouble executing condemned murderer Michael Morales. Seems like anesthesiologists and other medical professionals in the Golden State are getting a little queasy about helping out in the fine art of lethal injection.

Something about the Hippocratic Oath or some other medical mumbo jumbo.

So why doesn’t California just do what New Mexico did in 2001, when the state performed its first (and so far only) legal execution since 1960?

Hire moonlighting executioners from Texas.

In 2001, when child killer/rapist Terry Clark’s days officially were numbered, the state hired two employees of the Texas prison system.

The $12,000 contract had to be one of the most macabre ever issued by the state:


“At approximately 20 minutes before the scheduled time for the execution, as directed by the warden, contractor shall insert the necessary catheters into the appropriate veins of the inmate sentenced to death. At the scheduled time of the execution, if directed to proceed by the warden, contractor shall administer the lethal injection to the inmate sentenced to death.”
A New Mexico Corrections Department spokesman said at the time that the two “execution experts” had also been hired to help out with capital punishment in New York, Montana and Kentucky.

So how come California didn’t do the same and hire some outside “execution specialist”?

One of Terry Clark’s attorneys, Brian Pouri — an Albuquerque lawyer who also is licensed to practice in California — said Wednesday that California’s laws governing executions are virtually the same as New Mexico’s.

But in the Morales case, a federal judge ordered restrictions on the lethal-injection process. Basically, Pouri explained, the court ruled that the state could either have an anesthesiologist on hand to make sure Morales wasn’t feeling pain — or in the alternative, give the condemned man a big enough dose of barbiturates to kill him.

“Once they got the doctors involved, that was it,” Pouri said.

Why didn’t that happen in Clark’s case?

Clark, who murdered 9-year-old Dena Lynn Gore in Artesia in 1986, wanted to die. He asked to stop any further legal proceedings.

“Nobody else had any (legal) standing,” Pouri said.

Speaking of medical ethics: The contract for Clark’s executioners included travel and expenses. But there’s one thing the Texas guys didn’t have to provide — the drugs used in the execution.

The sodium thiopental, pancuronium bromide and potassium chloride were purchased by the state Health Department — you know, that agency with the mission statement that says it’s supposed to “promote health, prevent disease and disability.”

But the federal Drug Enforcement Agency, the agency that licenses government agencies and private companies to buy controlled drugs, said it had no problem with the state Health Department supplying drugs to kill a man.

At least they didn’t give him something illegal like medical marijuana.

No announcement of an announcement: Gov. Bill Richardson has said since before Day 1 that he plans to seek re-election. He is already on the June primary ballot — unopposed.

So there’s no real need for a formal announcement. But can you imagine Bill Richardson giving up a chance to give a speech before an adoring audience cheering wildly every time he says he’s “moving New Mexico forward”?

Yet on Wednesday, when asked whether a formal announcement was forthcoming, Richardson seemed noncommittal.

His chief of staff (and 2002 campaign manager) Dave Contarino said there probably would be some kind of announcement. But Contarino noted that when Bill Clinton ran for re-election for governor of Arkansas, he never formally announced.

Last November during an interview on CSPAN2, Richardson said he wasn’t pledging to serve a full four years if re-elected.

On that show, he used the example of President Bush, who told voters when running for re-election as Texas governor in 1998 that he might run for higher officer. “I may do the same, but I haven’t decided that. ... What I will do is, I will tell my constituents the truth when I talk to them about whether I go beyond this.”

But Richardson said Wednesday that he’s not ready yet to have such a talk with voters.

The latest numbers: Richardson continues to do well in the SurveyUSA/KOB TV poll. The latest one, conducted Feb. 10-12 of 600 New Mexico adults, shows his best numbers in 10 months. The firm has been doing monthly tracking polls of the nation’s 50 governors.

Richardson’s approval rating was 64 percent. Only 32 percent said they disapproved of the way Richardson was doing his job.

For the first time, SurveyUSA shows Democrat Richardson getting a majority of Republicans giving him approval. That’s 52 percent to 42 percent who disapprove.

SurveyUSA’s margin of error is 3.9 percent.

Monday, February 20, 2006

TERRELL'S SOUND WORLD PLAYLIST

Sunday, February 20, 2006
KSFR, Santa Fe, N.M.
Webcasting!
10 p.m. to midnight Sundays Mountain Time
Host: Steve Terrell



OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres
Leave the Capitol by The Fall
Ugly Band by The Mekons
Almost Dying by Kevin Coyne
Cigarettes by Greg Dulli
True to This by Concrete Blonde
Trouble Ahead by The Grabs
Is She Weird by The Pixies
Amphetimine Annie by Canned Heat
Do the Watusi by Cat

I Will Sing You Songs by My Morning Jacket
Bad Chardonay by Graham Parker
Little Floater by NRBQ
Goosebumps by Jerry Lee Lewis
Motor City Baby by The Dirtbombs
Tango by Bernadette Seacrest
Get Right Church by The Rev. Gary Davis

I Could Never Be President by Johnnie Taylor
If You Want Me to Stay by Devin Lima
Don't Call Me Nigger, Whitey by Sly & The Family Stone
My Mind's Playing Tricks on Me by The Geto Boyz
If Loving You is Wrong (I Don't Want to Be Right) by Isaac Hayes
Just Say So by Bettye Lavette

Earth Blues by Jimi Hendrix
You Don't Love Me Yet by Bongwater
Cryin' in the Streets by Buckwheat Zydeco
Make Sure They Hear by Mark Eitzel
Into the Mystic by Warren Zevon
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

Saturday, February 18, 2006

THE SANTA FE OPRY PLAYLIST

Friday, February 17, 2006
KSFR, Santa Fe, NM
Webcasting!
10 p.m. to midnight Fridays Mountain Time
Host: Steve Terrell


OPENING THEME: Buckaroo by Buck Owens & The Buckaroos
I Want to Grow Up to Be a Politician by The Byrds
The Education Song by The Gourds
American Trash by Betty Dylan
Blues About You Baby by Big Al Anderson
All You ever Do Is Bring Me Down by The Mavericks
Drinkin' Thing by Gary Stewart
Hot Dog! That Made Him Mad by Wanda Jackson
Long-Legged Guitar Pickin' Man by Johnny Cash & June Carter Cash
Ain't Got No Home by The Band

LUBBOCK SET
Midnight Shift by Buddy Holly
Stars in My Life by The Flatlanders
Stubbs Boogie by Jesse Taylor
Own and Own by Butch Hancock with Marce Lacouture
The Lubbock Tornado by Terry Allen
Hopes Up High by Joe Ely
Winds of Time by The Legendary Stardust Cowboy
Don't Let the Stars Get In Your Eyes by Jimmie Dale Gilmore
Boomtown Boogie by Butch Hancock, Terry Allen, Jo Carol Pierce & Joe Ely
One Road More by The Flatlanders

Pedal Steal by Terry Allen

The Burden of Freedom by Kris Kristofferson
The Revenant by Michael Hurley
Bootleg John by Ralph Stanley
Take Me by George Jones
Everybody's Talkin' by Bobby Bare
CLOSING THEME: Comin' Down by The Meat Puppets

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

Friday, February 17, 2006

TERRELL'S TUNE-UP: IT CAME FROM LUBBOCK

A version of this was published in The Santa Fe New Mexican
February 17, 2006



At 9:10 p.m. on Aug. 25, 1951 ... The night was clear and dark. Suddenly all three men saw a number of lights race noiselessly across the sky, from horizon to horizon, in a few seconds. They gave the impression of about 30 luminous beads, arranged in a crescent shape. A few moments later another similar formation flashed across the night. ... A check the next day with the Air Force showed that no planes had been over the area at the time.
— From ufocasebook.com


When you Google the phrase “Lubbock Lights,” the above passage is what you find on the first site listed.

This mysterious phenomenon is mentioned in Lubbock Lights, a documentary by Amy Maner showing this weekend at the Santa Fe Film Center. But that’s not really what the film is about. Lubbock Lights deals with the amazing musicians who came out of that unassuming little West Texas city, from Buddy Holly to the Flatlanders to The Legendary Stardust Cowboy.

I can’t help but wonder if there’s not some direct connection between the spook lights of ’51 and the talent that rose out of Lubbock in the years to follow. Joe Ely suggests it in the movie. Terry Allen was at a drive-in theater and saw the darn things fly over. Jimmie Dale Gilmore says he saw something similar about 10 years later.

Lubbock Lights starts out with images of West Texas highways, the Lubbock skyline, lightning storms, tornadoes, even a grainy, black-and-white local TV weather report. There are a few moments of what apparently was an old documentary about Lubbock history that starts out with square-dancing cowboys.

The movie is rich with musical footage. You can see Joe Ely’s band when they were in their late-’70s/early-’80s prime. There’s a young Allen ripping the hell out of his song “The Lubbock Tornado.” You’ll meet C.B. Stubblefield — aka Stubb, the tall barbecue cook, restaurateur, and mentor to musicians — and hear him sing “Summertime” and talk about feeding the world. You’ll marvel at a shirtless Stardust Cowboy going insane onstage.

There’s a fascinating segment on Tommy X. Hancock (no relation to the Flatlanders’ Butch Hancock), a Lubbockite who started out in the ’40s as a fiddler in a Western swing band. He later went to San Francisco, dropped acid, and started a group called the Supernatural Family Band with his wife and kids. His music took just a slight turn to the weird — there’s a video of the group playing a bluegrass rock stomp and dancing around the ruins of Machu Picchu, Peru.

One of my favorite parts was an old black-and-white clip of the Flatlanders — Ely, Gilmore, and Butch Hancock — playing “The Stars in My Life” in the early ’70s at the Kerrville Folk Festival. As was true on the band’s first record, the Plan 9 From Outer Space musical saw is too loud, but in a weird way it adds to their ragged charm.

Ex-Talking Head David Byrne pops up in a woolly Russian hat saying that the Flatlanders were to Texas what the Velvet Underground was to New York. “It was a group that didn’t sell many records, but ... anyone who heard them started a band — or started writing songs,” Byrne said.

I’ve heard the story of Lubbock music history a million times. But this movie only makes it more enjoyable. Everyone interviewed seemed so sincerely positive and warm toward each other — and not in a smarmy, show-biz kind of way. The laughs sound real, the love is obvious, and the music is soul-deep.

Lubbock Lights is showing at The Film Center, 1616 St. Michael’s Drive, at 5:30 p.m. and 7:45 p.m. Friday and Saturday, Feb. 17 and 18, and at 3 p.m. and 7:45 p.m. Sunday, Feb. 19. Call 988-7414 for more details.

You won’t find this DVD at ufocasebook.com so look for it at lubbock-lights.com.

Also recommended:

Pedal Steal by Terry Allen. Unlike your typical “album,” this isn’t a collection of a bunch of songs. It’s a 35-minute stage piece commissioned by the Margaret Jenkins Dance Company in the ’80s. Sugar Hill Records reissued it this month.

Songs and instrumental pieces weave in and out of spoken-word pieces eulogizing a steel guitarist named Wayne Gailey, who toured around Texas and New Mexico — and who did studio work with Rose Maddox and undoubtedly others — and died of a drug overdose in the late ’70s. (“Death by misadventures” was on the autopsy report.) Here he’s called “Billy the Boy.” Sometimes his myth seems to overlap with that of Billy the Kid.

Pedal Steal also is an irreverent tribute to 20th-century Route 66 culture. It’s all there: the drive-in theaters, the motels, the trucks, the beer joints, the trailer parks, the graveyards. There’s a recurring Navajo chant, strains of mariachi, lots of piano boogie, and “Sentimental Journey” performed by sax men Bobby Keyes and Don Caldwell. It’s also got a great overlooked Allen song, a sad and lovely tune called “Loneliness.”

The true magic of the West is summed up in the monologue about motels:

"Out west they’re always raisin’ holy hell, kickin’ in walls, shootin’ guns, havin’ fights and wild parties. Somebody’s always screamin’ bloody murder or [sexual intercoursing] their brains out in the room next door. Back east motels are different. You never hear nothin’, not a peep ... course they can kill your ass in either place. It’s just a lot more fun out west.”
If you’re only interested in the music, Allen distilled most of the songs from Pedal Steal onto a nine-minute medley on his 1999 Salivation album. But there you won’t hear about the spooky man in the Moriarty bar who warns of “The Creature” or Billy’s batty mom or the other lonesome ghosts of Pedal Steal.

Hear music from the lights of Lubbock — including the complete Pedal Steal — tonight, Feb. 17, on The Santa Fe Opry, 10 p.m. to midnight on KSFR-FM 90.7

Thursday, February 16, 2006

LEGISLATURE HEADING TOWARD OBLIVION

Just when I needed it the most, my New Mexican Legislature blog is having some kind of technical problem. This started sometime around 1 a.m. last night, which helped lead to my decision to go home. I lost one large post and so far the paper's site has caused both my home and work computers clog up.

Kind of like House of Representatives. It's been dominated by Filibuster Foley most the morning. Lots of things still out -- minimum wage, tax cuts, medical marijuana -- with less than an hour left.

There's a funny Xerox floating around the Capitol -- an Isletta Casino boxing ad with the faces of Gov. Bill Richardson and a famous cartoon character pasted over the boxers. The caption: "Porky Pig vs. the Flabby King."

TERRELL'S SOUND WORLD PLAYLIST

  Sunday, March 24, 2024 KSFR, Santa Fe, NM, 101.1 FM  Webcasting! 10 p.m. to midnight Sundays Mountain Time Host: Steve Terrell E...