Friday, October 11, 2013

TERRELL'S TUNEUP: One Last Look at Ponderosa Stomp 2013

A version of this was published in The Santa Fe New Mexican 
Oct. 11, 2013


Dr. Ike with The Gaunga Dyns
"Dr. Ike" Padnos, founder of Ponderosa Stomp with
The Gaunga Dyns 
A few months ago, when I decided I wanted to go to the Ponderosa Stomp, a music festival in New Orleans (named for a song by Louisiana bluesman Lazy Lester) I didn’t consciously realize that I was giving myself a slightly belated birthday gift — and it was a very appropriate gift, too.

I just turned 60, which could make a guy start to feel old. However, at the Stomp, the vast majority of the headline performers were well into their 60s, some even beyond that. And nearly all of them were full of energy and crazy grace. And some of them rocked like madmen. Suddenly 60 didn’t feel so old.

(What followed in this column, published today in The Santa Fe New Mexican were thumbnail reviews of my favorite performances, based on what I wrote last week in this very blog HERE and HERE. You can read the entire Tuneup column at The New Mexican's Pasatiempo site.

Blog Bonus

Here's some Youtubes from The Ponderosa Stomp. First, The Sonics.


The fabulous Gaunga Dyns covering Roky:


Chris Montez performs his first hit:


His first time on stage for decades, Richard Caiton


Thursday, October 10, 2013

Family Lotus Reunites for Joe West Psychedelic Folk & Bluegrass Festival

Back in late August, 1971, the week I moved to Albuquerque to attend the University of New Mexico, I saw a poster, very similar to the one above, advertising the "Second Annual King Kong Memorial Stomp" starring Bo Diddley and a Santa Fe band called Family Lotus at the Student Union Building Ballroom. I went to the show to see Bo, and, of course, he was fantastic. (He was living down in Los Lunas, N.M. at the time.)

Some version of Family Lotus with Pete Seeger at
Paolo Soleri amphitheater, date unknown
But that night I became a fan of Family Lotus. They looked like a bunch of Cerrillos hippies -- and there was good reason for that. They had a happy aura of hillbilly anarchy about them onstage. But they actually could play and sing. And they did mostly, if not all, original songs. Their banjo player Jim Bowie at one point performed what he called a "banjo raga." I was hooked. I tried to catch them every time they played Albuquerque during the next few years.

Years later, when I became a freelance music writer for The Santa Fe Reporter, the other music freelancer there was none other than Lotus-man Jerry Faires. I always felt honored to be sharing a stage with him -- even though that "stage" was a newspaper.

Faires, Bowie and other members of the Family Lotus family are reuniting for an appearance this Saturday at Joe West's Psychedelic Folk & Bluegrass Festival in Madrid this Saturday. The show, which will be in a tent outside the Mineshaft Tavern starts at noon. Here's the schedule:

NOON Joe's Opening speech (Will he announce that he's running for governor?)
12:05 Will and the Won'ts
12:45 The Rio Grande Family Band
1:30 Pa Coal and The Clinkers
2:15 Sage and Jared's Happy Gland Band
2:45 Todd And The Fox
3:30 Janice Mohr-Nelson The Kentucky Humdinger
4:00 Joe West and the Santa Fe Revue (with guest Laurainne Fiorentino and Archie West)
4:45 Hillstompers
5:15 Hot Honey
5:45 FAMILY LOTUS (THE SECOND COMING)
7:00 Hillstompers (The Exit Procession)
8pm Broomdust Caravan (In the Tavern)

Tickets are $10 in advance (available at The Mineshaft and The Candyman) and $15 on the day of the show.

Joe says parking is atrocious in Madrid. "Best to park out above the old ball park and walk into town."

Sunday, October 06, 2013

PONDEROSA STOMP: The Finale

IMG_3507
Tom McLoughlin of The Sloths preaches the Gospel of Garage
After Friday night's crazy performance at the Rock 'n' Bowl in New Orleans by The Sonics, I had this nagging fear yesterday that the second night of The Ponderosa Stomp might be something of a letdown. How could anyone match that level intensity and wild abandon?

Well, here's the deal. It's still obvious that the best show of this festival was The Sonics.

But Saturday night's lineup, especially The Standells and The Sloths -- the latter band being joined for a couple of tunes by the mysterious Ty Wagner -- was nothing short of amazing.

IMG_3494
The Standells impressed me last night even more than they did when they first twisted my head off when I was in 7th grade. Of all the 2013 Ponderosa Stomp lineup they were the most commercially successful (except maybe Chris Montez. More on him later.) Is there anyone around my age who doesn't remember "Dirty Water" or, my favorite, "Sometimes Good Guys Don't Wear White" ?

They played these hits as well as others from that era -- "Riot on Sunset Strip" (the title song of a teen exploitation movie from the mid 60s. Standells singer Larry Tamblyn said at a panel discussion a couple of days ago that he truly enjoys that film. The same way he enjoys Plan 9 From Outer Space) -- and some of my favorites from the Dirty Water album like "Rari" and "Medication."

IMG_3500
Cyril Jordan (center) with The Standells
Late in the set they were joined onstage by Johnny Echols, a former member of Love (The Standells' John Fleckenstein also was a Love man in that group's early days), and Cyril Jordan of The Flamin' Groovies. They played some Love songs, including a fiery "Seven and Seven Is," "Little Red Book" and "Hey Joe," which both Love and The Standells covered (as did about 98 percent of all American bands in the mid '60s)

All too often when you hear old bands play their old songs from decades past, it's sad and cheesey. But these Standells aren't ready for the casino circuit, and hopefully they never will be. They play like they could start a real riot on Sunset Strip.

And the reconstituted Sloths were no slobs either. Unlike The Standells, they never had a massive "Dirty Water"-level hit, but their song "Makin' Love," featured on one of the Back from the Grave compilations a few years ago is one of the finest examples of snarling minimalist, primitive angst-rock you'll ever hear.

IMG_3514
Waving the flag
They're fronted these days by singer Tom McLoughlin, who was with a '60s L.A. garage band called The May Wines with some members of The Sloths (I can't keep up with this cross-pollination) He's got more of a "rock star" aura than most the other garage-band performers I saw this weekend.

He also has a weird knack for silly props. During The Sloth's rendition of "Hey Joe" (I told you, all the bands back then did this song) he held up a hand-written hitchhiker sign that said "Mexico" as he sang "I'm goin' way down south to Mexico ..." Then he whipped out a Mexican flag, which he wore as a cape. In one song he tried to blow up a cheap plastic sex doll, but ran out of time before he had to start singing the next verse.

IMG_3523
After their own raucous set, The Sloths were joined onstage by Ty Wagner, another L.A. garage-rocker whose most famous song is "I'm a No Count." He sang that one as well as one by his rock 'n' roll hero Eddie Cochran, "Come On everybody." My only complaint about Wagner is that I wish he's have done more. He's got a moody intensity about him and sings every word as if his life depended on it.

Other music of note Saturday night was The Gaunga Dyns, a New Orleans garage group who had a local hit in the late '60s with "Rebecca Rodifer," a sad tale about a girl who died from an illegal abortion. This group recently reformed and are a tight outfit with hints of folk-rock, featuring three guitarists. My only gripe about them is that they opened with not one, not two, but three songs of The Animals. Each one sounded good, especially "I'M Cryin'," but for a while I thought it was an Eric Burdon cover band. On the other hand, their version of Paul Revere & The Raiders' "Just Like Me" was a complete delight.

IMG_3479
Charley Gracie, a rockabilly from Philly, was a complete delight. Backed by a band that included guitarist Deke Dickerson, Gracie really shined in his cover of "Just a Gigolo/I Ain't Got Nobody."

Dickerson and company also backed Chris Montez. Though Montez is best known for late '60s pop hits like "Call Me" and "The More I See You," he wisely concentrated on music from his early, Ritchie Valens-influenced days. "Let's Dance" with its spot-on Farfisa organ, can't help but make you smile.

I wish I would have stayed for R&B shouter Eddie Daniels. But after Ty Wagner and The Sloths, I was afraid I was going to end up like this guy below.

IMG_3497
All Stomped Out





But it was a fantastic festival.

Stomp on!







More Ponderosa Stomp Coverage:

* First Report: CLICK HERE
* Second Report: CLICK HERE

Photos (of the Stomp and other New Orleans craziness) CLICK HERE

Saturday, October 05, 2013

PONDEROSA STOMP: SECOND REPORT


I always liked The Sonics and thought they were pretty cool. But after seeing them tonight in New Orleans I'm a complete zealot. I'm actually embarrassed that I'm going to have to explain just who these guys from Tacoma, Washington are to so many of you gentle readers. Fact is, The Sonics -- who played at the Midtown Rock 'n' Bowl in New Orleans on the first concert of The 2013 Ponderosa Stomp -- are woefully under-recognized and under-appreciated by the masses.

So here's the nutshell history of The Sonics starting back in the mid-'60s: They were teenagers in Tacoma who worshiped another influential local band The Wailers. They recorded two albums -- Here Are The Sonics and Boom -- on the tiny Etiquette label (both produced by Wailers bassist Buck Ormsby). In those two albums were some of the rawest, wildest rock ever heard. Little Richard was the main inspiration, one of the band members said at a panel discussion Friday. It showed. On top of that, Gerry Roslie's voice lived up to the title of one of the group's signature songs: "Psycho." He sang as if he was being burned alive.
Larry Parypa of The Sonics
Larry Parypa

Much of The Sonic's material was fairly typical for garage bands of the day. "Money," "Do You Love Me," "Roll Over Beethoven," Good Golly Miss Molly," and, like all those other Pacific Northwest groups like the Kingsmen and Paul Revere & The Raiders, "Louie Louie."

But it was The Sonics' original songs that set them apart. "Psycho,"  "The Witch," and "He's Waitin'" (which is about Satan!) all show a gleefully twisted, sardonic sense of humor. And had The Sonics ever become as famous as they deserved to be, the federal government would have produced overwrought public service announcements warning America's youth about the dangers of drinking strychnine, was the topic of one of their finest songs.

It's probably for the best that The Sonics never got to be that famous. They never had the temptation to do anything as embarrassing as Paul Revere & The Raiders' teen idol period. They never went artsy during the flower-power era. Basically, they broke up, did other things in their lives and reunited decades later when they were old enough not to care about show-biz career pressures.

Gerry Roslie of The Sonics
Gerry Roslie
The 21st Century Sonics include three members from their glory days -- Roslie (who plays keyboards as well as handling about half the vocals), guitarist Larry Parypa and sax man Rob Lind. They're rounded out these days by singer/bassist Freddie Dennis and drummer Dusty Watson.

I shouldn't even have to say this, but just because Roslie, Parypa and Lind are in their late 60s doesn't mean they don't rock like crazy. They blazed through their tunes like "Boss Hoss," "Have Love Will Travel," and those others I mentioned above with crazed intensity. It seemed that everyone I encountered after The Sonics' set had wide eyes and dazed grins. Frankly I can't see how anyone on the Ponderosa bill tonight is going to top that.

While The Sonics were by far the highlight of Friday's show, there was lots of other great music at the Rock 'n' Bowl. 

Trouble ahead, Swamp Dogg in red ! #ponderosastomp
Trouble ahead, Swamp Dogg in red
Swamp Dogg, wearing a bright red suit, didn't disappoint. The iconoclastic soulman performed a set populated mostly by his best-known songs like "Total Destruction of Your Mind," "Synthetic World," and his wondrous, emotional cover of John Prine's "Sam Stone."

His grand finale also was a cover, The Bee Gee's "I've Just Got to Get a Message to You." At the end of the song, he stepped off the stage and walked out into the audience shaking hands while repeatedly singing the refrain, "I've just got to get a message to you / Hold on, hold on ..." Sometimes he'd complete the chorus, "One more hour and my life will be through ..." After several minutes of this I almost started to believe that he was going to take that whole hour.

Long, tall Chris Clark, the first white singer on the Motown label (reportedly she was known as "The White Negress"), said she had a cold, sounded fine. Any hoarseness just added to the  charm of her husky voice. She reminded me of Dusty Springfield and Jackie DeShannon.

Richard Caiton
Richard Caiton throws out the Mardi Gras beads
And I was happy to see that the sets of Charles Brimmer and Richard Caiton got an enthusiastic reception from the crowd. This was the first time on stage for decades for both these New Orleans soul singers. I heard them on a panel discussion Thursday and both seemed anxious about their respective performances. Both men can be proud. (I just wish I'd gotten a decent photo of Brimmer's cool golden alligator boots.)

I hate to admit that after The Sonics I had to go outside, so I missed James Alexander's set. And my brain was still so scrambled after the boys from Tacoma, I just couldn't into zydeco man Lynn August. I hope to catch him again when I'm not on Sonics sensory-overload.

Tonight ... The Standells (with Love's Johnny Echols), The Sloths (with Ty Wagner), Charlie Gracie and more ... Stay tuned.

Check out my Ponderosa Stomp/New Orleans snapshots HERE


Friday, October 04, 2013

Ponderosa Stomp: First Report

IMG_3372

NEW ORLEANS -- I'm originally from the Sooner State. That's the excuse I use when I show up somewhere way too early. (When I'm running late I have to get more creative with my excuses.) So blame it on Oklahoma for me arriving at the DBA club an hour before the party was supposed to start.

Luckily, I was in the Frenchman Street area of New Orleans, so I didn't have a problem finding a party while I waited. It's an artsy and very lively little district with bars and bookstores, less sleazy (I didn't see any Larry Flynt clubs) and overtly touristy than Bourbon Street. 

Right down the street from DBA, a brass band had begun to congregate. When I first was heading for The club there was just a drummer and tuba player pooting forth some semblance of song. But by the time I checked out the empty club and headed back, they had grown into a full band. Several folks were dancing in the street, cab drivers patiently negotiating their way around them. Some of the crowd that had gathered looked like tourists or college kids.

IMG_3394By the time I got back to DBA, the event that attracted me there had started. This was the annual Hip Drop, the first official musical event of The Ponderosa Stomp. This basically is an all-night (well, close. It's supposed to go on until 3 a.m.) record hop. The show features DJs from all over the doing 30-minute sets featuring cool old 45s.

In these troubled times, when someone sees "DJ" they automatically think of techno, house or even disco. Not so here. Like the music celebrated at the Ponderosa Stomp itself, the music featured at the Hip Drop consisted of old R&B, soul, rockabilly with some '60s garage-band sounds and a little surf music thrown in -- mostly by bands and singers who never became famous. In a small town like Santa Fe sometimes I feel fairly alone in my love for this stuff. So it was a real pleasure seeing a packed club full of people dancing and shouting to these crazy sounds.

Ponderosa Stomp Record ShowThursday
Among the DJs last night were Miriam Linna and Billy Miller the owners of the much beloved Norton Records in New York. Reissuing these crazy sounds -- forgotten works by forgotten artists is the major part of Norton's business, so Billy and Miriam (pictured above) know their way around this material.

And speaking of Norton Records, earlier in the day, over at the Ponderosa Stomp Record Show, I bought a bunch of 45s that had been salvaged from the Hurricane Sandy disaster at Norton's warehouse last year. Then walking from the conference center at the Wyndham Riverfront back to my hotel, I got caught in an afternoon rain and my bag got soaked. I took the records out of their jackets and let them dry. I think they survived yesterday's lesser storm. (I'll play some on Terrell's Sound next week to see how they sound.)

Swamp Dogg at Ponderosa Stomp Record Show Thursday
The conference on Thursday also was fun. One of the speakers was Jerry Williams, Jr., better known as Swamp Dog. Born in Virginia to parents who were musicians, Swamp started recording in the mid-1950s under the name of Little Jerry and later “Little Jerry Williams.” His Swamp Dogg persona didn’t emerge until 1970, after working for years as an in-house songwriter for music publishing companies.

"I thought I was a great songwriter," he said, talking about his early career. "I thought I would set Tin Pan Alley on its ass."

Recording on a myriad of different labels, and starting his own company, Swamp Dogg Entertainment Group, the price of independence was leaner record sales and relative obscurity.

Although he's known to be cranky at times, ("I'm not as political as I am angry and belligerent," he told the Ponderosa Stompers)  unlike many overlooked musicians from his era, Swamp Dogg doesn't seem bitter.

"I really feel God is watching over me. And He likes me," Swamp said.

Charles Brimmer & Richard Caiton: New Orleans Soul MenThat also was the case with two New Orleans soul singers who spoke at the conference Thursday.

Both Charles Brimmer and Richard Caiton, who recorded in the '60s with New Orleans R&B icons like Dave Bartholomew, Wardell Quezergue and Senator Jones, both realized at some point that the music biz was not for them. "I thought I was going to have hit after hit after hit," Caiton said. "Instead, I had miss after miss after miss."

Both men went on to college -- Brimmer financing his studies by constant gigging -- and both did ok for themselves in their chosen fields (Brimmer in business, Caiton with a career in education.) Each talked about how the music industry cruelly takes advantaged of young people with starry-eyed ambitions of fame. But neither let such experiences sour their lives.

Brimmer, Caitron and Swamp Dogg will be playing tonight at the Ponderosa Stomp at the Rock 'n' Bowl.

Wednesday, October 02, 2013

New Orleans, Here I Come!


As I've been babbling about for the past several weeks, I'm off for New Orleans today, where I'll be enjoying -- and blogging about -- the 2013 Ponderosa Stomp.


No, this isn't some weird cult ritual dedicated to the memory of Hoss Cartwright. It's a music festival dedicated to the "unsung heroes of American music." On the bill are R&B, soul, rockabilly, zydeco, and garage-rock acts.

NEW ORLEANS '75 COLLAGE
From my previous visit to NOLA,
summer 1975
This will be the second Ponderosa event I've attended. Three years ago I went to their Detroit Breakdown show at Lincoln Center in New York City, where I saw Question Mark & The Mysterians, The Gories, Death and more.

This year's Stomp lineup includes The Sonics, The  Standells, Ty Wagner, Maxine Brown, Chris Clark (the first white singer on Motown), Chris Montez ("Let's Dance"!), zydeco fiend Lynn August, Charlie Gracie, the unstoppable Swamp Dogg and many more.

I've been playing many of these artists on Terrell's Sound World and The Santa Fe Opry during the past few weeks. And half of my latest Big Enchilada podcast ("Chompin' at the Stomp") is devoted to Ponderosa acts.

You can listen to that podcast on the player below. And check out these official Ponderosa Stomp videos as well.

The Sonics still are psycho!



Classic garage bands



Swamp Dogg and his giant rat rodeo


You can find more Ponderosa Stomp videos HERE.

Now, in case you haven't heard "Chompin' at the Stomp" ...

Tuesday, October 01, 2013

Yep, I'm Still an eMusic Fiend

It's been several months since my last eMusic report and my inbox is full of angry emails demanding I get back on my monthly routine. (Actually, nobody has seemed to notice I'd stopped doing it. I guess I'm just posting this shows how obsessive I am.)

Anyway, I'm just going to give a quick glance at what I've downloaded in the past 3 or 4 months.

Naturally, I downloaded some of those excellent, bargain-priced compilations that eMusic is known for.

These include:

* Screaming Gospel Holy Rollers vol. 1This just might be the most spirit-filled, tambourine-shaken', hallelujah-shoutin' old-time gospel collections I've ever come across. This music -- African-American gospel of the '40s and '50s -- truly is the spring from which rock and soul music flowed. And, yes, it was this collection that prompted me to include a wild gospel set on my recent Big Enchilada podcast Shout When the Spirit Says Shout.  Compiled by "Radio DJ and TV presenter" Mark Lamarr for the British Vee-Tone Records, this album features some gospel giants such as Marie Knight, the Famous Davis Sisters and the Blind Boys (both Archie Brownlee's group from Mississippi and their rivals, Clarence Fountain's group from Alabama), as well as several I've never heard of. Each track is tremendous And here's some great news: There's a Volume 2 of Screaming Gospel Holy Rollers.

* Rockin' Boppin' Hillbilly GalsThe title of this 40-track (!!) collection might be somewhat misleading. Whoever slapped this together -- and indeed, the album does have a slapdash feel -- has a bigger-tent definition of "hillbilly" than most of us. The "hillbilly gals" include country stars like Loretta Lynn, Rose Maddox and Kitty Wells; first-generation rockabilly fillies Wanda Jackson and Janis Martin; blues belters like Big Mama Thorton and Lucille Bogan; gospel great Clara Ward; and even an early jazz singers, Bertha "Chippie" Hill and Eva Taylor, both of whom sing on tracks with Louis Armstrong. With songs ranging from Bogan's "Shave 'em Dry" to Ward's "King Jesus is All I Need, " you can't say there's not variety here. 


 * Cool Town Bop. This is an international rockabilly revival collection from the early '90s. "International?" you ask. Indeed, there's Greek rockabilly, Dutch rockabilly, Swedish rockabilly, some token American rockabilly, a bunch of British rockabilly, and  my favorite Cannuckabilly, the late Ray Condo doing a song called "One Hand Loose." Condo is the only act I recognized here and his contribution probably is the best thing here, though I'm also fond of "Please I Wonder" by The Roomates, an English band, though it's more doo-wop than rockabilly. While there's no great revelations here, it's a good listen

I also downloaded these single-artist albums

* House of Blue Lights by Don Covay & The Jefferson Lemon Blues Band. Did I say I was obsessive? Back when I was a freshman in college, (1971-72) I was listening to the KUNM blues show (It was on Wednesdsay nights back then too.) and decided to tape it. One of the songs I remember from that tape was "The Blues Don't Knock" by Don Covay. It wasn't your typical blues song. it was slow and dreamy and featured a flute, I lost that tape years ago, but a few months ago I started thinking about that song and with a few quick Googles I learned it was on this 1969 album, which is available on eMusic. And I'm happy I found it. Though he's best known as an R&B and soul artist, this is a stab at raw blues, backed by a rock band. Though I came for "The Blues Don't Knock," I stayed for the title song, a seven-minute-plus minor-key show-stopper about a guy whose life is ruined by a whore house. (There's a shorter reprise of the song at the end of the album that's nearly as intense.)

* Fire On the Bayou by Stephanie McDee. I'll admit it. I downloaded this because it has the original version of "Call the Police," which was covered by The Oblivians on their great comeback album Desperation earlier this year. McDee's music is a hopped-up zydeco hybrid with elements of hip-hop and techno. This album is less than a half-hour long and it gets pretty repetitive. But I bet it's great live.

* Love Visions by Nobunny. Cwazy Wabbit! If he were more famous, singer/guitarist Justin Champlin would do for shopping mall Easter Bunnies what John Wayne Gacy did for clowns. And he should be more famous. Behind the ratty rabbit mask is a master of irresistible, hooky pop/punk songs. Just about all these songs will get you hopping.

* Live at the Fish Fry by Pocket FishRmen. This band of wild Texas punks started out in the mid '80s. They broke up around the turn of the century, but in recent years they've reunited at least once a year to host an annual charity show in Austin called "The Pocket FishRmen Fish Fry." This album, released in 2011, was recorded at one of those. It's full of frantic, foul-mouthed fun, including odes to Amy Carter, Santa Claus and Saddam Hussein.

* (The songs I didn't already have from) Blank Generation by Richard Hell & The Voidoids. The title song of this was one of the earliest and still one of the greatest punk anthems ever. While  no other song came close to "Blank Generation," the rest of the album is good. How can any band with Robert Quine on guitar be anything but? I love Hell's weird barking in "liars Beware." And I'm a complete sucker for the slow dance cover of the Sammy Cahn /James Van Heusen standard "All the Way." For punk/lounge music, it's matched only by Iggy Pop's version of "One for My Baby (and One More For the Road)."

* The Anti- Naturalists by The Voluptuous Horror of Karen Black. I downloaded this right after the death of Karen Black this summer. Black herself was a talented singer and songwriter, but, no, she wasn't part of this 1990s New York punk outfit that took her name and honored her voluptuous horror. VHKB, fronted by singer Kembra Pfahler, wasn't exactly groundbreaking, but this record showed they were a lot of fun.

* Moon Sick by Thee Oh Sees. Back in May, I declared Thee Oh See's Floating Coffin as my likely choice for album of the year. Months have passed and I still feel that way. This four-song EP consists of outtakes from the Floating Coffin sessions. The first three songs, "Born in a Graveyard," (which starts off with some computer beeping right out of Wall of Voodoo's "Mexican Radio") "Sewer Fire" (one of the band's harder-edged tunes) and "Humans Be Swayed" would have fit in on Coffin. The more I listen to this EP, the more I'm impressed with "Humans Be Swayed," which starts off with slow droning, then bursts into a frantic, choppy rocker. The last song "Candy Clocks" is almost folk-rock. I continue to be amazed and infatuated by Thee Oh Sees.


* The Devil in Me by Big Foot Chester. I just downloaded this album a couple of days ago. It's raw, minimalist punk blues from a 1990s band led by Texas harmonica man Walter Daniels, who has played with some of my favorite musical acts including Hickoids, Buick MacKane and Eugene Chadbourne. I saw Daniels last year in Austin playing an acoustic set with guitarist John Schooley and banjoist Ralph White.

Several of the albums I got from eMusic in recent weeks ended up being reviewed in my weekly Terrell's Tuneup column.

Namely:

Signed and Sealed in Blood by Dropkick Murpheys (My review is HERE)
Fayt by Cankisou (My review is HERE)
Electric Slave by Black Joe Lewis (My review is HERE)
Haunted Head by Kid Congo & The Pink Monkeybirds (My review is HERE)
And though it's not really an album ...
* Nine Songs by Tim Timebomb "(Between the Two of Us) One of Us Has the Answer"; "Dope Sick Girl"; "Gentleman of the Road"; "Hard Travelin' "; "Jim Dandy"; "Jockey Full of Bourbon"; "Rock This Joint"; "Squeezebox"; and "Rocks Off"  (My review is HERE)

I've also downloaded several individual songs including:

* Three Ty Wagner songs (who I'm looking forward to see this weekend in New Orleans at the Ponderosa Stomp.)
* "Blues in the Night" by Eydie Gorme. (R.I.P.)
* "Warmed Over Kisses" by Dave Edmunds. A nice dose of bluegrass-rock.
* Two songs from Nancy Sinatra's self-titled 2004 album (which since has disappeared from eMusic!) The best of these is "Ain't No Easy Way," which is funky duet with the mighty Jon Spencer. "Don't Let Him Waste Your Time" which is nice and pretty with Nancy singing disparagingly of "some skinny bitch in hotpants."
* Three songs from Other Voices by The Doors, the band's first post-Jim Morrison album. No Freudian pyscho-odysseys without ol' Jim. But these tunes, "I'm Horny, I'm Stoned," "Variety is the Spice of Life," and "In the Eye of the Sun" are just decent bluesy rock.)


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...